When and How did you get into the comics industry?

I got into comics about 1985, I think, about a year after leaving art school. I’d done lots of fanzine work and via that I got to know Richard Starkings at about the same time he got a job on staff at Marvel UK. He managed to get my foot in the door, and I got offered my first regular gig drawing Zoids.

What was it like at the time when you started to break into the scene, in terms of Marvel UK and having so many Brits working there and on other titles?

Looking back it was a great time. There was lots of money sloshing around in comics, and there was a real sense of a comics community. There was a bunch of us sharing a studio in Brixton, where there was also Acme Comics who used to hold rather good parties!

How different was it to make the move over to Iron Man at Marvel proper? Was it similar to the work you had been doing for Marvel UK?

The big difference was in having 22 pages to play with, rather the 4 or 5! Apart from that the process was very familiar. Marvel UK was a very good training ground.

You got to design a lot of armour whilst on Iron Man - including War Machine which you co-created. In retrospect you got to do a lot of designing that other artists would probably have killed to do, did you feel like that at the time, or was it more of a chore?

Designing cool new stuff is always enjoyable, but I was always doing it under certain deadline constraints, so it’s only it retrospect that I can see how lucky I was. However, I’d have been luckier if I was going to see some royalties from the War Machine toys…

I presume you worked in the Marvel style on the book, with yourself working from a script outline and creating the artwork for it to be dialogued later. Did you like working in that way, I would imagine it allows the artist a lot more freedom?

Yes, I prefer working in the Marvel method. I think it allows the storytelling to flow better.

What was the most fun you had whilst working in comics?

The studio in Brixton was a laugh. I enjoyed getting to go to New York and working out of the Marvel offices for a week as well.

Come the boom and bust of the Nineties comic market, you were one of the artists who seemed to disappear. Did the collapse directly affect you or had you already seen it coming?

I knew something was a foot when the Iron Man royalties stopped coming! I left Iron Man to work on a creator owned comic for Epic, which disappeared when Epic went down the pan. All my contacts at Marvel seemed to loose their jobs at the same time, which I took as a sign.

Geoff Senior went into advertising work and is still there, what was next for you once you found yourself outside of mainstream comics?

I went into computer games for a couple of years and hid out there! From there I got contacts with Games Workshop and worked on their comic for a couple of years, as well as doing more mainstream publishing work.

Steve White somehow managed to get Geoff to emerge from his champagne, jet-setting lifestyle and draw a story for the new Transformers UK comic, have you had any offers that would tempt you back into the comics field?

I’ve just done a Warhammer comic for Boom Studios and a Spiderman story for Eaglemoss, so I may be drifting back into comics. I haven’t actively chased US work because the dollar exchange rate is so rubbish at the moment!

You do a lot of educational illustrations for various newspapers and magazines. What’s the strangest piece you’ve been asked to do?

I had to draw a “What if Spiderman was a goat” illustration for an article about gene splicing.