Category Archives: Interviews

March 18, 2026 · 7:49 pm

A Comics Artist on a Mission: Alex Newton Interview

You can gain control of your own destiny if you just don’t give up and keep moving forward. This simple act of will power, even defiance in the face of all challenges, is what I see coming from a remarkable comics artist, Alex Newton. Well, Alex’s new book can speak for itself. We cover Artichoke Knight in great detail. It’s what I like to call “pure comics” in the sense that it consistently commands the reader’s attention making full use of comics devices.

Take a look at his artwork and you can’t deny it is tight and spot on. Read his work and you’ll see that there’s a thoughtful balance in plot choice, character exchanges, the whole fabric of the narrative. Alex speaks eloquently and with an easygoing confidence.

Among the topics we chat over is the interesting dynamic between the two main characters in Artichoke Knight: go-getter Cherry, a young woman with a passion to excel; and methodical Charlie, struggling to find his feet. In so many forms of media, there would be a subplot brewing that focused on a promise of romance. But not these two. They’re friends and making the most of that special bond, not an easy one to maintain in real life or in comics.

Another topic we cover is the time-honored storytelling trope of leaving one world and entering another. Alex readily embraces it, carrying forward in the tradition of the hero’s journey. Alex’s approach is done with relish and a healthy sense of wonder.

I recently reviewed Alex’s work and, after our interview, I am spurred to continue spreading word as best I can and keep Alex’s work on my radar. I’m sure, if you enjoy comics, that you will feel the same way.

By all means, dive into our conversation. I welcome your Views, Likes and Comments made directly to the YouTube channel.

I invite you to check out our conversation. It is available to view on YouTube as well as to listen to wherever you get your podcasts.

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March 2, 2026 · 10:41 am

Matt MacFarland and His Comics Universe interview

Welcome to the Matt MacFarland comics universe!

Matt MacFarland is quite a prolific and versatile comics artist. Over the course of the last decade, he has cultivated his own comics universe made up of various characters searching for answers, looking for love in all the wrong places, and simply seeking a connection. These comics can be bittersweet, mysterious or downright hilarious. Something for everyone.

Matt’s story is that of a fine artist who has chosen to focus his efforts within the comics medium. That means he comes equipped with certain methods and tools from other artistic disciplines that can help in creating interesting comics work. Another key ingredient is follow-through and Matt has plenty of that. In the end, any creative endeavor is a process and Matt MacFarland is having fun with it.

It’s all about process. You can get rusty if you go too long without creating work, even if it’s just a little bit of sketching. It all adds up. Quite literally, one thing will lead to another as you continue your creative journey. This is what got Matt moving along from one world to the next.

As we discuss in our conversation, there are all sorts of crossover activities within creative circles. One of the most essential is a sense of community. One key form in the world of comics is collaborating on an anthology. These days, one of the best on-going anthologies is Rust Belt Review. Here, you can find Matt MacFarland as a contributor. Volume 7 features his OK Cryptic cast of characters.

Another thing to keep in mind about artists and comics artists is that this is a crowd that likes to bend the rules, blur the lines and mix it up. This explains why Matt MacFarland will always be an artist, as well as a comics artist. Consider his latest addition to his cursed pants comics series, Dark Pants: individual ceramic panels with three-dimensional elements. Take a closer look at the sample above. I think it’s safe to say MacFarland is passionate about his work.

Again, I have to stress that Matt MacFarland offers something for everyone. He can delve into the dark recesses of the adult mind and feel just as compelled to share childhood memories. Be sure to check out his graphic novella, Cookies and Herb, published by Fieldmouse Press.

I hope you enjoy the interview. As always, your Views, Likes and Comments at the Comics Grinder YouTube Channel are greatly appreciated. You can find this interview simply by clicking the above video. You can always simply type in “Comic Grinder” and find this, and other interviews, wherever you get your podcasts. Be sure to keep up with Matt and find his work for sale at his website.

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February 10, 2026 · 8:15 pm

Nathan Gelgud cartoonist interview

Nathan Gelgud

If you’re in L.A., be sure to participate in a comics workshop led by Nathan Gelgud on February 12, 2026. Sometimes, the last mentions need to go first. Seriously, this is an opportunity to learn the process of making comics from a very thoughtful and dedicated cartoonist. Gelgud is known for his comics about cinema and culture, published by The New York Times. His new book, Reel Politik, published by Drawn & Quarterly, is a collection of his hilarious comic strip about a bunch of art house movie theater employees who become revolutionaries. I got to chat with Nathan and get a better appreciation for his comic strip and his point of view.

Nathan Gelgud is someone who loves movies, all kinds of movies. He has studied film theory and history and viewed countless films. Along the way, he decided that a great way to express and share his passion is through comics. If you’re still unsure of what this is all about, think of it this way: the comics medium allows Gelgud to create work that explains things that often are only discussed in academic circles or within groups of film enthusiasts. He opens things up for everyone.

The idea of making things accessible for all the people is a big theme here. As I got to know Nathan’s comic strip, and then chat with him, I got a better appreciation for the man and his work. You can read my initial thoughts on Reel Politik in my review here. While preparing for my interview, I revisited the comic strip and delved deeper, getting to know the characters: Skip, the manager of the movie theater before it was taken over and turned into the people’s theater; Sandra, the slouch with supernatural powers; Bertie, the diehard revolutionary; and Hale, who prefers to sit on the fence until further notice. Perhaps I’m a little bit like Hale, open to new challenges but not always certain how to proceed. I suppose we’re all a little bit like Hale.

It was a pleasure to chat with Nathan. I know we could have covered even more and I feel like we get along. Hopefully, we’ll have him back. For now, enjoy this interview!

And remember, if you’re in the L.A. area, go to the Scribble event:

How To Make Comics

Thursday, Feb 12, 2026, 6:00 PM

How To Make Comics: A Workshop with Nathan Gelgud (New York Times, New Yorker, Hyperallergic, The Paris Review, Reel Politik).

– Make a one page comic

– Talk about being a working cartoonist

– Kill your inner critic

 

Guided workshop from 6-8pm

All are welcome to stick around for additional discussion and drawing until 9pm!

 

All levels welcome!

Materials provided

 

RSVP here, pay what you want at the door (no one will be turned away)

Arrive late and leave early!

EDITOR’S NOTE: This workshop is ongoing. Note that the next one is online and, as of this writing, is coming up on February 19th. Register by emailing Nathan! Find him at his website.

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October 5, 2025 · 6:08 pm

Mary Shyne Interview: YOU AND ME ON REPEAT

You and Me on Repeat, published by Henry Holt & Co., is a delightful graphic novel. You can read my review here. This is the first major graphic novel for Mary Shyne, also known for her own self-published graphic novel, Get Over It. So, keep in mind that Mary Shyne is very well-versed in the world of comics with numerous achievements: establishing a solid reputation with a self-published work; working in the book industry (Penguin Random House, no less); earning an MFA from the well respected Center for Cartoon Studies; getting her work published by a major publisher (Henry Holt & Co.); and, to top it off, Mary holds a key position at the Charles Schulz Museum. Alright then, no doubt, Mary Shyne is an exceptional person to talk about comics with. It was a pleasure to chat about Mary’s career path and her new book, a story about two star-crossed time-traveling teenagers.

Given that Mary’s career covers so much ground, this turned out to be a great opportunity to discuss various aspects of comics, specifically, the independent artist who self-publishes and often works alone (the auteur cartoonist) versus a new breed of comics artist that works within a team environment, including an agent, editor and publicist. There are variations to this. For instance, some well-established professional cartoonists retain the “auteur cartoonist” work method, giving up little to no control. While other cartoonists embrace working with others from the very start. Add to that the fact that many independent cartoonists are not thinking in terms of a “comics career” in the first place. But today such a path is potentially more viable if you follow certain steps. Your mileage will vary! There are so many variations on a theme, especially when it comes to a comics artist, etc.

Circa 2003: On a wing and a prayer, emerges The Center for Cartoon Studies.

We also dig deeper into the attitudes and approaches of cartoonists who came up the ranks with little to no formal training compared to cartoonists who have gained this new level of specialized comics training that was not quite possible a generation or so ago. The Center for Cartoon Studies stands out as a place of higher learning that trains those individuals who aspire to some kind of comics career, outside of working in the more mainstream superhero environment. These aspiring cartoonists are setting their sites on all kinds of comics that fit outside of the superhero genre (although there’s always unique exceptions) and these comics tend to be more personal “autobio” slice-of-life type of work, a genre all its own. These stories often find a home at more independent publishers or major book publishers interested in quirky offbeat work that tends to fit primarily into their young adult demographic (age 12 to 18), or the young reader market (age 8 to 14). And there’s more markets and age groups. The point is that there’s a strategy in place long before there’s a story. I suppose the trick, for any enterprising cartoonist, is to transcend any strategy. Those who manage to do that are really the ones who will thrive. After chatting with Mary, I can see she absolutely fits into that group.

All You Need is Kill

It was so much fun to chat with such an enthusiastic and experienced member of the comics community. Mary was very generous in sharing about her work and provided a window into her process. We bounced around a lot of ideas and covered a lot of ground. For instance, we talked about the graphic novel series, All You Need is Kill.

Palm Springs, on Hulu.

We talked about one of the great time loop movies, Palm Springs.

Lowlife (1992) by Ed Brubaker.

We talked about Ed Brubaker’s amazing comic book series, Lowlife.

My Entire High School Sinking Into the Sea by Dash Shaw

We talked about Dash Shaw and his amazing animated feature, My Entire High School Sinking Into the Sea.

Osamu Tezuka

We talked about Osamu Tezuka and his “star system” approach to comics.

Chuck Todd

Given that comics and pop culture are so closely aligned, and the fact that any conversation today can’t help but get a little self-referential, I brought up a giant in media, Chuck Todd, a recent sign of the times. Folks who find themselves pulled out of their high profile positions often turn to doing a podcast. At the time, I could not think of the title of Chuck Todd’s podcast. Well, it’s actually easy: it’s The Chuck Toddcast! I had not planned on mentioning Todd but it made sense. Chuck is someone who did everything right, loved his work, was respected by his peers, and yet it wasn’t enough. He was replaced as moderator of NBC’s Meet the Press, by Kristen Welker, who he graciously mentored. He came to my mind in terms of dealing with the demands of any industry attempting to gain top market share. It’s a war out there and good people can get caught in the crossfire.

Charles Schulz

And we round things out with wondering what Charles Schulz would do in the brave new world that is comics today. Mary thinks that Sparky would have most likely avoided social media, but that’s just a little bit of fun speculation.

I hope you enjoy the video interview. As always, your views, LIKES and COMMENTS directly at the Comics Grinder YouTube channel are crucial to our survival. Any bit of engagement is very welcome and appreciated.

Editor’s Note: If you are in San Francisco, be sure to view original art from Mary Shyne’s new graphic novel, You and Me on Repeat, at the Cartoon Art Museum. The exhibit runs from September 27, 2025 through January 18, 2026.

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October 1, 2025 · 8:00 am

Joe Sacco Interview: As Goes India, So Goes the World

I want to make clear that Joe Sacco did not say, “As Goes India, so goes the world.” That’s just my summation, my interpretation, as trite as it may sound. But I’m sure Joe would acknowledge my attempt at finding the universal truths in his latest work of comics journalism: The Once and Future Riot, published by Henry & Holt, releasing on October 14, 2025 and available for pre-order. Well, we had a most agreeable conversation. No doubt, Joe Sacco is a towering figure in comics, known for such landmark work as Palestine and Footnotes in Gaza. My main concern was simply to focus on the new book at hand and resist getting caught up in so many other things we could have talked about. But that was easy since the point I kept coming back to is that this new book has so much to say and proves timeless and highly relevant.

“They are rich people. We are poor people.”

This was an easygoing conversation, just like you’d expect in a coffee shop. I wasn’t there to argue this or that fiery point. I was there to, I suppose, coax along insights. A revelation for me, when I think about it, is that Joe Sacco is quite a regular guy in the sense that he’s not there to persuade you with any sort of slanted rhetoric. No “slanters,” just a progression of logical observations. All of this in the service of talking about this book, an exploration of political violence and focusing on a prime example in India: the communal hatred between Hindus and Muslims that led to the 2013 riots in Uttar Pradesh. How, and why, did this happen? All of this emerges in layers within layers.

“No one is left in the middle.”

Here’s the thing to keep in mind about any book by Joe Sacco: the background is essential because that’s where the meat of the story resides, made up of numerous personal stories. Joe’s tried and true method has been to go about capturing these moments with all their subtle nuances in words and pictures which provides an uncanny result by a reporter who literally has gone beyond the initial hard news to uncover the sort of details that can so easily get lost in the shuffle. During our conversation, I was struck by Joe’s patient and calm delivery, his response to my sometimes excitable questions. He was so engaged in the moment, which is undoubtedly the ideal state you want your guest to be in, that we were able to truly enjoy a conversation and let ideas flow.

The Lie becomes Truth.

One of the most interesting things about this new book is that it poses a lot of questions, more than we can hope to fully answer although we will keep on seeking solutions. As I suggest, this is a book not only about India but about the state of the whole world. Everywhere, we must confront demagoguery; we must confront those with power who prey on those without power; and we must confront our lesser selves who contribute to a polarized society. I shared with Joe what I believed to be the book’s conclusion: a primary way to end the vicious cycle of political violence among a nation’s people is to have a government that the people can rely upon and trust. He asked me if I thought that was his conclusion and I readily said, yes. And he agreed. We played with the thread of that idea. Joe shared that he thought of himself as a Democrat, but with a small “d,” as far from the established Democratic Party as possible. What other options did one have within the current reality? A very good question.

War on Gaza

I brought up something during our conversation that I didn’t think I would, and then I did. At the time that Joe Sacco did his War on Gaza limited series, published by The Comics Journal, I was on the fence about it because I feared it would help, in its own modest way, to contribute to a Democrat loss in the presidential election. It feels like a lifetime ago but, back then, Americans were facing a very close election, which it was, if you admit Trump’s 77 million to Harris’s 75 million votes was close, which it was, the closest one this century. With hindsight, I conclude that Sacco’s comics revisit of Gaza, his calling out genocide, was an honest response that made sense and still does. Democrats are far from perfect but, compared to the current administration, well, you tell me.

Ultimately, Joe and I both let out a collective sigh at confronting the hard truth that the big, truly substantial, leaps of progress still lay way ahead in the distant future. And yet the effort must continue towards that future, no matter how elusive, no matter how far out of reach, it may be.

Enjoy the video interview. As always, your views, LIKES and COMMENTS are very welcome and help us continue to do what we do here at Comics Grinder.

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August 6, 2025 · 6:15 pm

Molly and the Bear creator interview with Bob & Vicki Scott

Pages from Molly and the Bear.

We continue the Molly and the Bear coverage with a special creator interview with the husband-and-wife team of Bob and Vicki Scott. In this interview, we cover quite a lot of ground, from the origins of Molly and the Bear comics to a number of creative insights. Enjoy!

Thank you for joining me. Great to have both of you.

It’s nice to be here!  Thank you for chatting with us!

Please share with us what both of you would like to tell folks about your new book.

Bob:  Molly and the Bear: Campers Beware is the follow-up to our first book, Molly and the Bear: An Unlikely Pair, which came out a year ago.  Both books are fun graphic novels for middle grade readers who like the idea of hanging out with a very large, very real Bear who has real issues.  Hmm, I guess I would like to let people know that these are fun books, full of heart and laughs.

Vicki: I’d like to let people know that they may be hard-pressed to find the books in the big stores like Barnes and Noble or Target, but online shopping is not their only option!  We peek into as many indie bookstores as possible, and we’ve been delighted to find the indie booksellers stocking out books!  It is a real thrill to see the books on the shelf.  We’ve also found Molly and the Bear: An Unlikely Pair in public and school libraries!!!  (We hope they pick up the new book too!) Of course, the online retailers carry the books, but we love and appreciate the indies and libraries!!!

Would you share about the evolution of Molly and the Bear, from comic strip to book series?

Bob: Molly and the Bear started back when Universal Press Syndicate ran Comics Sherpa, a web platform for budding comic strips.  Sherpa was open to anyone, and the fellow creators were so supportive and encouraging.  GoComics is the syndicate’s “Invite-Only” web syndication platform and I jumped on Go in 2009.  I love the immediacy of posting a strip and getting immediate reaction.

Vicki: However.

Bob: GoComics audiences tend to hit a plateau, and Molly and the Bear had a couple thousand subscribers and the audience was not growing.  But I really wanted more people to see my work.  Vicki began suggesting adapting the strip into graphic novels.

“An Unlikely Pair”

Tell us about getting into the zone for your readers, the middle grade kids.

Bob: I released 2 compilation books, which my friends dutifully bought.  Fortunately, they left the books lying around on their kitchen tables long enough for their kids to get curious.  We got reports that the 11 – 12-year-old daughters LOVED the characters.

Vicki: Since doing a graphic novel was my big idea, I had the pleasure of reaching into Bob’s huge pile of strips and pulling out story lines that focused on Molly and Bear. It was the same process I used when I had worked for the Schulz family adapting TV specials and comic strips into the long-form comics for Boom Comics. By knowing the characters super well and weaving strips into the script, the integrity of Bob’s work (and Sparky’s) was maintained.   I love Molly and Bear and it is a pleasure to help shape the story into a long graphic novel.

Bob: While we kept the story focused on Molly and Bear, we added Harper, a best friend for Molly. Harper has become a regular in the strip too.

Vicki: By adding a best friend for Molly, and taking her to school, it helped make the story just right for 11 -12-year-olds.

Vicki: (whispering) A small note, the books are for middle grades, which is book-speak for 8 – 12- year-olds.  Books for middle school kids is YA.  It’s confusing even for us.  Bob and I nearly came to blows once over the term “chapter book”. Kidding.

“Campers Beware”

What can you share about your process? Anything is fair game: panels, lettering, coloring, layout, software used, any physical art process?

Bob: My process for the new books and the strip has only a couple of small differences.  Both are drawn in blue (or red) pencil on Bristol Board, then inked with a Windsor Newton Sable brush and waterproof India Ink. I love the feel of drawing on the board, the meditative nature of inking, and the satisfaction of holding the end product in my hands.

For both the books and the strips, I scan them and use Photoshop to remove the blue (or red) pencil lines.  For the strip, I usually ink the borders; for the books I do the borders in Photoshop.  All color is done in Photoshop.

The biggest difference is that I made a font of my lettering to use for the books. This made edits and possible translations easier.

Vicki: Once Bob got the art to the scan stage, I helped as much as I could as he held a full-time job for most of the books’ production.  I was tasked with coloring the book.  I made a conscious decision to not use shadows or gradations or anything fancy with the color so Bob’s beautiful inkwork remained the star.

Let’s get psychological. What does the Bear symbolize?

Bob: All the characters have large parts of me. I can be fearful, pessimistic, optimistic, brave, cranky.  We all have many sides to us, and I think when artists tap into those common threads sincerely, the art is relatable, and people connect to it.

Vicki: Yeah, we all contain multitudes.  And Bob blends them into comedy.

What’s it like working as a team?

Vicki: Lawyers were not called at any time.  No, seriously, Bob and I have worked together many times. My first job after graduating art school was inking US Acres, which he was co-penciling for Jim Davis.  It saved so much time, really.  We didn’t have to have that hour long conversation, “How was your day?” because we already knew.  We sat next to each other all day.  I love Bob’s art, I respect what he does and keep my hands off everything that makes Bob’s art his.

Bob: I like what Vicki brings to the work.  She adds a side to the characters that I wouldn’t think of.  Example: I drew Harper in an oversize sweater. I thought it was cute, and kind of in fashion right then.  Vicki made up the back story that the sweater belongs to Harper’s mom, and since the mom works long hours, Harper misses her.  So, Harper snuggles into the sweater every day like a portable Mom-hug.  I would never have thought of that, and it added so much to Harper.

Anything you’d like to share about the writing process–about the comedic timing?

Vicki: Writing a comic strip is like the haiku of comedy writing.  Bob is a master of it, and it is harder than it looks.  I like to blather on and on, so I can take Molly and Bear into full-length stories.  I like call-backs, long-running jokes and soap-opera-esque drama.

Bob: If I can make a joke work with a great, funny drawing, that’s what I love.  I love the slapstick of cartoons, the wild takes, the animation I can put into the comic strip and the books.  I love a pun as much as anyone, and Bear is always fun to write, but he is way more fun to draw.

Vicki: To be clear, Bob writes and draws his strip completely solo.  I help with the books, but the strip is all Bob.

Share with us anything you like about your early years.

Bob: I have been making comic strips since I was little. I saw strips in the newspaper every day (newspapers used to be on paper and delivered to your house.  Crazy times) and I drew my favorites.  Pretty soon I was making my own strips.  I have been on a quest for syndication my whole life.   Fortunately, I also wanted to be an animator.

Vicki: I don’t remember it very well, but I wasn’t always this tall. My feet were always this big, however.

Bob: Ha! Ha!

What would you tell someone just getting into making comics. Some folks do it as a creative outlet and others are looking to pursue it as part of a creative career. Any advice?

Bob: A lot of people ask me how to make a comic strip. I walk them through finding a size to draw the strip that works for them and turn them loose.  That’s it!  There is no big list of requirements for strips.  It’s why I love strips.  I work on animated features and TV series all day and I LOVE that I’m my own boss on the strip. Three panels? Sure!  Five panels? Why not?  Web-based syndication is very free.

Interestingly, people roll up their sleeves and do about 8 strips.  That’s about when everyone sees it is a lot of work.  Endless.  But I love that too.  Every single day, I get to make a new strip.  Tell a new joke.  Draw something funny that makes me laugh.

It’s not for everyone.

Vicki: When Bob was young, making a living doing a comic strip was a real possibility.  He was just a few years behind Bill Watterson (Calvin and Hobbes).  But when the papers began failing, comic strips entered a dark period where almost no one could launch a strip that would support them.  Now, there are more ways to get comic strips out there, and the future for comic strip artists may be looking better.  Strange Planet is a good example of a web-based comic “making it big”.

Any final thoughts are welcome. What is in store for the future?

Bob: We would love to continue the Molly and the Bear graphic novels, but publishing is a business and that means we need Molly and the Bear: An Unlikely Pair and Molly and the Bear: Campers Beware to sell through the roof.   I hope we get to do a third: Molly is going to do a school play, Bear will need to stand in for a sick kid, and of course the theater is haunted.

Vicki: Hilarity will ensue.

Molly and the Bear: Campers Beware and Molly and the Bear: An Unlikely Pair are published by Simon & Schuster.

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July 14, 2025 · 11:58 am

The Horrors of Being a Human: A Cola Pop Creemees comics review and creator interview

The Horrors of Being a Human: A Cola Pop Creemees Comic. Desmond Reed. Microcosm Publishing. 2025. 270pp. $19.99.

Desmond Reed is a rising talent in the world of comics. His latest book makes that clear. Years of dedication to the making of comics has resulted in his design being sharper, his insight being keener and, heck, the guy knows how to put on a good show. It is that focus on storytelling, as well as development of character, that leads us to such a smooth and pleasing comics experience. As Reed explains, he has five characters, the Cola Pop Creemees, who, among other things, represent different emotions and different aspects of himself, or yourself. I can see that this comic is very relatable, in the spirit of such groundbreaking work as BoJack Horseman. Let me just say from the get-go, the Cola Pop Creemees are very different and original, and if you see them turned into an animated series someday, well, you heard about it here first.

Cartoonist and Publishers.

The world of cartoons and comics has always dealt with far more than might meet the eye, depending upon where you venture off to. In the world of Desmond Reed, you enter a kaleidoscopic world of the real and surreal. For instance, our heroes live in a house in the shape of a hand. There is plenty to be anxious about in the real world, and this comic manages to tackle many of these issues within its quirky borders.

Cartoonist and Comics Festivals.

Desmond Reed has set the stage and, from there, he can modulate the tone. Stories vary in length with some far-out zany and others more contemplative. Reed’s most serious and ambitious work to date is one of his longer stories, “Memories,” winner of a 2022 MICE Mini-Grant. Here, he focuses on his most madcap character, Wallace T.J. by allowing for a careful look back at his development and the darker side to his life.

“Memories”

Life is quite a journey with plenty of bumps in the road and that’s where a daring artist like Desmond Reed steps in to create art to defy even the most challenging of times. Believe me, there’s always room for another valiant artist to lead the way, especially one as gifted as Reed. It all comes down to the reader getting a chance to know the work–and so I encourage you to seek out this highly inventive work and let it speak for itself. I can tell you that Reed has a magic touch, with his pared-down whimsical style, when it comes to addressing some very serious issues like addiction and depression.

The Cola Pop Creemees live inside a hand.

Desmond Reed is not afraid to go down to depths of despair and come back up with a tear and a smile. It is a combination of a pared-down style and a direct straightforward narrative. Think of it as a friend who sets you down and needs to tell you something. Maybe there will be some humor thrown in that both of you share. But then you get to the story, without pretense, and you just get it. That is what is happening here. Reed has constructed characters that you can tap into in the very best spirit of comics. You can say that the lodestar guiding us cartoonists in such matters is Peanuts, and, I dare say, there’s some of that Peanuts DNA in the Cola Pop Creemees gang.

Some much said within a special world.

What irony there is to be found here is subverted by a persistent vision of perseverance. That is not an easy thing to achieve and it has everything to do with Reed following his own instincts and staying true to his authentic self. That’s where you get original work and not some trendy “next big thing” that is aping some previous “next big thing.” Yes, it is possible for comics to be funny, sincere and have some redeeming quality that will speak directly to you.

It was a lot of fun to get to chat with Desmond about his new book and sharing thoughts about the cartoonist life. I hope you feel the same. So, please do check out the above conversation on the Comics Grinder YouTube channel and please view, LIKE and COMMENT directly on the channel. Every bit of input and engagement helps us continue.

Keep up Desmond Reed here. And be sure to visit Microcosom Publishing here.

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June 15, 2025 · 2:30 pm

Raymond Chandler’s Trouble Is My Business comics review and author interview

Raymond Chandler’s Trouble Is My Business. w. Arvind Ethan David. a. Ilias Kyriazis. Pantheon Books. 2025. 128pp. $29.

You may think you know Raymond Chandler. Thoughts of the quintessential detective Philip Marlowe and The Big Sleep may come to mind. In order to get to the bottom of it all, I highly recommend that you go back to the original 1939 short story by Raymond Chandler, featuring his most famous hard-boiled detective, Philip Marlowe–and the basis for this new graphic novel adaptation. Let me emphasize that this comics version is a gem. It does, without a doubt, bring up an issue in the zeitgeist that I’ve followed with great interest: re-working this or that classic work to contemporary scrutiny. It brings to mind a question I recently saw posted on Quora: Was John F. Kennedy a woke president? One person began their answer with: “It is not an easy fit, to take ‘woke’ values and apply them retroactively to 1960.” Not only is it not easy, the effort to examine history through a “do-over” lens is problematic. And, in creative works, the results can range from mixed to intriguing. That said, the trend to do do-overs is strong and prevalent ever since Hamilton opened on Broadway in 2015, ten years ago. So, the impulse is there and the question is what do you do with that impulse.

Trouble Is My Business by Raymond Chandler

Trouble Is My Business is a fast-moving Philip Marlowe short story authored by Raymond Chandler (1888-1959), that much we can’t deny. It is a classic noir detective story written by one of the masters. In all the rapid-fire storytelling, surely it would be asking a lot for Chandler to also recast himself as an activist or futurist–but, it turns out, he was far more aware than some may credit him to have been. The do-over strategy is playing with time travel or something beyond the reality of space and time. And perhaps that’s where a writer like Arvind Ethan David steps in to write this comics adaptation. He is no stranger to science fiction. He worked with Douglas Adams as executive producer to the TV adaptation of Dirk Gently’s Holistic Detective Agency. Now, maybe I’m being a bit tongue-in-cheek but I say all this just because I know other purists out there might be having some difficulty with a rethinking of a classic. But let’s take a pause. The way I see it, “a comics adaptation,” or any other adaptation, can utilize whatever options needed to fulfill a certain vision. Arvind Ethan David is no stranger to writing comics adaptations. He has written seven. And that’s only part of quite a remarkable career.

Arvind Ethan David’s approach, as he states in an interview with me, is to open up the story to other voices. He made a point of giving each major character a spotlight, complete with each having their own color palette and lettering font. That’s a tricky strategy, which David readily admits. You’re playing with the delicate balance to a tightly-woven mystery. When you add to a story, the trick is to not upturn the original’s purpose and charm: one gumshoe’s pursuit of solving a mystery. Not only that, we as readers owe it to ourselves to not overlook the original in other ways. For example, if you don’t bother to read the original, you might simply dismiss it as somehow inferior and unenlightened to today’s standards. Chandler’s version has George, a Black chauffeur, with an education from Dartmouth, who holds his own with the main character of Philip Marlowe. That’s certainly forward-thinking without it being forced upon the narrative.

“You’re a better man than I am, Gunga Din.”

Without resorting to spoilers, let’s just say that the impulse to balance the order of things is very strong today and so there’s some tilting of the power dynamics in favor of George in this graphic novel. Again, a tricky matter to pull off but an interesting one. George is elevated a bit in status in this comics version–complete with Philip Marlowe thanking him for his heroics. Marlowe says to George: “You’re a better man than I am, Gunga Din.” But, hey, after Raymond Chandler was given time to recover from a time travel adventure to 2025, he probably would applaud this tinkering with his work! Give the guy some credit. My guess is that Chandler would politely quibble with his relatively plot-driven story being transformed into an even more nuanced character-driven story. Given ample time to soak up the zeitgeist, maybe he would just smile and say that it’s awesome. The guy knew how to read a room.

Harriet Huntress

Chandler’s short story also features a strong woman character, Harriet Huntress. She is a femme fatale and that may distress some readers but this is, after all, noir crime fiction so the character is true to form. It would be ridiculous to apologize for her being a villain. Anyway, she puts Philip Marlowe in his place in both the original story and in the comics adaptation with, as I say, the added benefit of getting her extended point of view in the graphic novel.

George Hasterman

It’s fascinating to read Chandler’s own introduction to his short story. He fears that there’s no way out of following a proven formula to writing a successful mystery. Well, you could argue that some writers today may fear there’s no way out of following a proven formula to writing a successful work that follows the latest trend. As I say during our conversation, I found David’s graphic novel to smoothly thread that needle. Part of what David is after is finding a way to tilt the focus, with a nod to the contemporary, and I believe he has achieved that. In David’s version, you see each major player take the stage in a fuller way, from their own point of view, and you can argue that Raymond Chandler himself would have had no problem with it. And he would have championed the artwork in this book by Ilias Kyriazis too.

So, I welcome re-imagining a classic. That’s not the issue. Just think of Orson Welles’s triumphant 1936 production of Macbeth, which featured an all-Black cast, 80 years before Hamilton. The problem is when people conflate history: mixing different events, time periods or contexts leads to inaccurate understanding of the past. Raymond Chandler’s original storytelling, his language, his artistry, doesn’t automatically require a retelling. Here’s a fine example from the original Raymond Chandler story: a quick snapshot of another strong woman character, Anna Halsey. A line, among so many other quintessential Chandler lines, that Arvind Ethan David uses in his graphic novel version too:

“I need a man good-looking enough to pick up a dame who has a sense of class, but he’s got to be tough enough to swap punches with a power shovel.”

Nice knowin’ ya.

Ultimately, the do-over strategy, or we can call it the Hamilton Effect, still has a lot of gas in the tank and can lead to some interesting results. But, at the end of the day, we will do ourselves a great injustice if we dismiss this or that classic, solely based upon some notion, ill-conceived or otherwise. I’m not saying that is happening in this graphic novel. More discerning readers will appreciate what is going on in this comics adaptation. Chandler’s work does not demand to have new life breathed into it, per se, and withstands being “reworked” in the same creative spirit as other great fiction has been re-imagined, from Shakespeare to Jane Austen. I think, in that sense, we can say that Arvind Ethan David has created a most notable reworking.

I hope you enjoy the above conversation with Arvind Ethan David, the author of this graphic adaptation. Raymond Chandler’s Trouble Is My Business is published by Pantheon Books. Do seek it out. It is brainy, quirky and something Raymond Chandler would give a gracious salute.

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June 6, 2025 · 6:57 am

Comics Chat: Todd Webb on The Poet, Volume 2!

I present to you, The Poet, Vol. 2!

We’ve had quite a number of comics chats here at Comics Grinder and we will press forward with more! In that spirit, I present to you Todd Webb, a perfect ambassador to the world of comics and a great person to chat with. This time around, we focus on Todd’s new collection, The Poet, Volume 2. You can find it via Todd’s website and various platforms, including Barnes & Noble. Todd is on a roll with one of the most consistently funny and engaging comic strips. Keep in mind, as we discussed in our previous chat, Todd is an old-fashioned cartoonist creating a daily comic strip. You must hop aboard and see what he’s up to. Join him on his Substack right here. Consider the following example:

In the above example, the bird gets the better of the poet yet again. But, I’m sure, the bird is only trying to help the poet reach his “A” game.

The Charlie in the Rye, the Schulz-Salinger mashup mini comic.

Todd is always coming up with new ideas. Recently, he wondered about how much Charles Schulz (1922-2000) and J.D. Salinger (1919-2010) might have in common considering they were contemporaries: both going off to war; both sharing in the same culture; both creatives working at the top of their profession. Well, you get the drift. The upshot to this is . . . very funny. What if you took lines from The Catcher in the Rye and inserted them into Peanuts comic strips? Todd was pleasantly surprised with the results and you will be too. Here is one example:

Well, pretty uncanny, don’t you think? This Schulz-Salinger mashup is priceless.

I try something a little different for our deep dive into Volume 2. It occurs to me that the back-of-the-book Notes are all too often overlooked or taken for granted. But people appreciate them when they read what’s there. With that mind, I begin with the notes and work by way back to the contents. Makes for some interesting discoveries.

Patrick McDonnell’s favorite comic strip from The Poet.

I encourage you to pick up a copy of The Poet, Volume 2. This 410-page book makes a perfect gift for a friend, a loved one, or yourself! I leave you with one more sample. This is the one that cartoonist Patrick McDonnell (Mutts) cited as one of his favorite The Poet comics strips in the foreword to this collection. If you’re a Mutts fan, then you appreciate the interest. Both McDonnell and Webb have a way with paring down to the essentials.

Be sure to check out our conversation and, if you have the time, please LIKE and COMMENT over at the YouTube Comics Grinder channel. Your support keeps us going.

 

And be sure to check out Todd’s Etsy store where he’s a Star Seller!

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May 9, 2025 · 7:57 am

Peter Kuper interview: On Comics and INSECTOPOLIS

Peter Kuper is a regular contributor to The New Yorker, The New York Times, The Nation and MAD magazine where he has written and illustrated SPY vs. SPY every issue since 1997. Kuper is also the co-founder and editor of World War 3 Illustrated, a political graphics magazine that has given a forum to political artists for over 40 years. Well, that gives you some sense of his impressive career, one that finds his latest graphic narrative a most notable addition. Insectopolis, published by W.W. Norton, is about the insect world and how it interacts with us humans and is truly one of those great all-ages works that will equally appeal to kids and adults. Insectopolis makes you all the more aware of your existence and how it is shared with a multitude of other beings, some with wings, antennae or multiple eyes and legs.

Insectopolis is published by W.W. Norton. The publication date is May 13, 2025 and is available for pre-order. Visit W.W. Norton here.

All great works of graphic narrative always involve a process with numerous factors in play: the research, the timing, the pacing, the work environment, and so on. It was an amazing and fascinating conversation I had with Peter Kuper. In terms of getting a window into the creative process, Kuper shares a multitude of observations on how his new book was created, and under some very unusual circumstances. As he explained, it all began when he was awarded a fellowship with The New York Public Library. Oh, it did just so happen to coincide with the Covid pandemic. This perfect storm or, let’s say, most unusual set of circumstances provided Kuper with quite a unique vantage point. Suddenly, here he was working on his new book with a world-class library practically all to himself.

“Roses?”

The Rose Room!

Suddenly, the famous Rose Room, a favorite of library visitors and usually filled with hushed activity, was empty and there for Kuper, and Kuper alone, to draw inspiration from. Well, he must have been in heaven, a heaven filled with butterflies, beetles, and even cockroaches! All insects are welcome here!

Under the library!

So, Kuper set about making the most of this situation he was in, where time had seemed to stand still. He was able to linger longer than ever before and explore places that normally would have gone unnoticed, like the library’s vast underground corridor. And, bit by bit, a book being created during a pandemic led to a book set in a post-apocalyptic future, post-human, where insects must assess the relationship between humans and insects. Fortunately for us, we can read the results. Without a doubt, this is a book that is a must-read for any human seeking a better connection with the vast array of potential insect friends.

A paperback talisman.

A little over ten years ago, Kuper published a wonderful graphic novel, Ruins, which follows two parallel stories: one of a troubled relationship between a husband and wife; and the other, the struggles of migration for a Monarch butterfly. Well, there are plenty of Monarch butterflies in Kuper’s latest book. Is there a connection? Oh, sure, but the deepest one goes back to a four-year-old Peter Kuper. As he states, it was picking up a paperback on insects at such an early stage that sparked a lifelong interest in insects. Peter even held up a copy of that very same beloved paperback. He keeps it handy, as a friendly reminder.

And then a gnat flew by.

I must say, there was something in the air on the day of our interview. This has never ever happened before to me but, just as I was reciting my introductory remarks, a gnat emerged out of nowhere and darted across the screen. You can see it for yourself. Was that a sign? Yes, of it was! That little gnat needed to be known!

Ants as Horror Movie Monsters.

As you will see in the video, our conversation is easygoing as well as at a steady pace. There are a lot of dots to connect. I did my best to imagine, beforehand, what it must have been like for Peter to find himself gathering one compelling set of facts after another and seeing how this element might fit in with another. For example, there is a good bit of unpacking on how insects have been demonized by humans. Dragonflies were once deemed spawned from hell itself. And ants get grilled over the coals and become monsters for Hollywood’s answer to the atomic bomb and the threat of nuclear war. But it’s humans who ultimately cause the most destruction to insects, the planet and to themselves.

One favorite moment for me is when Peter and I discuss what a cicada and a tree might chat about over the course of many years. That happened after we had discussed the various shifts in tone and style found in the book. The cicada sequence proves to be a refreshing shift from the previous sequence of pages–and a great example of how Kuper deftly balances the pace of things.

I greatly encourage you to view the video and, while you’re at it, give it a Comment and Like. I’m often good at getting people to stop by for a brief view and now I’m doing what I can to have more and more folks take it a step further and engage with my YouTube channel. Your engagement helps to secure more videos in the future and we all want to see me continue to do that, don’t we? Ah, well, that’s my pitch.

That said, by all means, seek this book out and, if you’re in New York City, be sure to catch a show of original art from the book at the Society of Illustrators. Details on the show follow:

Society of Illustrators Presents Insectopolis: A Natural History

Insectopolis: A Natural History will be on view at the Society of Illustrators from May 14 – September 20, 2025 in the second floor gallery. It will feature original artworks by Peter Kuper.

Exhibit Details:

On display in the 2nd Floor Gallery.

Join us on Thursday, May 22, from 5–9pm for a Museum Mixer celebrating the opening of Insectopolis: A Natural History.

The evening will kick off with a special pre-tour at 4pm & 4:30pm, led by artist Peter Kuper, with guest entomologist Louis Sorkin — who will be bringing live insects for visitors to observe and interact with up close! Space for the pre-tour is limited, so be sure to RSVP.

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