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Masters of Comics: Inside the Studios of the World’s Premier Graphic Storytellers is a unique behind-the-scenes look at the studios and work habits of some of the all-time great comic book artists, published by Insight Comics, with interviews by Joel Meadows. It is a pleasure to get a chance to chat with Joel Meadows, a fellow comics journalist. Mr. Meadows jumped into comics journalism in 1992 with his own Tripwire Magazine. In this interview, we’re going to unpack what that all means. There have been so many others who have joined the ranks of comics journalists, including myself, so there’s plenty to unpack!

HENRY CHAMBERLAIN: Joel, thank you for joining me for this conversation. We’re going to chat about Masters of Comics and the world of comics journalism. You begin in 1992 as a young guy who is compelled to create Tripwire, a magazine of genre culture, and that has evolved into an exciting new website presence and the publication of significant books on pop culture. I believe you really hit upon something with the original Studio Space and now the current Masters of Comics. As a jumping off point, share with us some of the thinking that led you to pursue a collection of in depth process interviews.

It started with the magazine, you mentioned Tripwire. We used to run a feature, Studio Space, where we interviewed artists and illustrators in order to get a closer look, get behind their work: the way they work and how they approach their work. We began with Tim Bradstreet, Phil Hale, and John Bolton. I found it fascinating and I thought it might be fun to pursue this further as a book. We put together a line up of artists for Image in 2008 and that was an impressive book. I was very proud of that book. That came out 11 years ago. We had the late great Joe Kubert. We had Sergio Toppi. We had Steve Dillon. We had Howard Chaykin. I can’t recall everyone. It was a pretty amazing list. I was very proud that we had managed to gather all these great artists together and get into each of their headspace and look at how they actually created work and how each studio was different from the next.

I love the fact that you have books out in the world. For me, my first loyalty is with print. We both go back to a pre-internet perspective. It used to be that to have something in print was the be all, end all. You feel secure with print. You can feel a bit uncertain about the internet: things can be completely wiped away. The whole website might blow up but you can always have a print edition somewhere. Do you feel like that sometimes?

A little bit. We switched to the web back in 2015 and it has its pros and cons. If you make a mistake you can always go back and fix it. But there’s something about the physicality of a book or a magazine. There’s the tactile nature of it. Say, if you meet someone and they ask you what you do, you can direct them to a website but, in some ways, it’s even nicer to be able to show them the book that you’ve published or the magazine that you edit. There’s something about having something physical that is hard to beat.

Exactly, that’s what I want to stress to everyone. Of course, you can go to a tutorial on Youtube but it’s so great to be able to pick up a book and pore over the pages and make discoveries. I think of someone like John Paul Leon, an amazing artist who will be new to a lot of readers. There’s one title that he worked on, The Winter Men, that really sticks with me. You’ve got such a wonderful range of talent, everyone from Frank Quitely to Bill Sienkiewicz to J.H. Williams III, and everyone has their own way of working. There’s so much to consider, of course, over creating the work physically or digitally or a combination of the two. 

Maybe it’s a generational thing. I interviewed Mike Kaluta for the book and he works physically with pen and ink. J.P. has more of a mix. Walt Simonson works physically but he does fix lines digitally. I think it was Laurence Campbell, who does work physically, who said that, with digital, he misses the idea of being able to have a happy accident. You might make a mistake but it’s a good mistake. It brings the work to life a little bit more. In some ways, it comes down to digital coming across as too precise. The idea that you can go in and fix a mistake in Photoshop can leave some artists feeling that something is missing. Obviously, other artists love digital. Sean Phillips he draws his line art digitally but he also paints physically. He went back to painting for some of his covers and some of his work for Criminal. He likes to jump between the two. It really depends upon the artist. Some like the tactile experience of physically painting. Others like the convenience of digital. So, it comes down to a case by case basis.

Yes, I think it does come down to a case by case basis since you can’t totally peg it as generational. You have so many young artists who enjoy doing work physically. I even wonder sometimes if using markers is really the best approach to coloring your work. But, hey, if an artist can make it work with markers, then why not.

Exactly.

I want to ask you about your own process. Maybe you can take us behind the scenes of how you got the book put together. Did you personally interview each artist in their studio or were some interviews over the phone?

It was a mix. I got to visit some of the artists personally: Mike Kaluta, Walt Simonson, Posy Simmonds, Laurence Campbell, and Sean Phillips. The rest were e-mail or telephone interviews and, for those, they supplied the photographs. I would have loved to have interviewed in person Eduardo Risso but he’s way over in Argentina. The same with Rafael Albuquerque. He’s in Brazil. I did the photography for the artists that I met with in person.

It’s a seamless presentation, how all the profiles were put together into such a compelling whole.

Insight did a great job with the design. It looks beautiful. They did a great job with the typography and the way all the images fit, the comics art and the photography. It holds together really well as a cohesive package.

There are 21 profiles here. Maybe you can tell us something more about the decision-making process in choosing artists. It is a stellar line-up of artists. Rafael Albuquerque. Tim Sale. Yumo Shimizu. The list goes.

We wanted to have a cross section of artists coming from different disciplines. For instance, Walt Simonson is very much a pen and ink guy. John Paul Leon is more of a marker artist. Dave Johnson is a cover artist, one of the best.  If we picked 20 or so artists that were all in the same style, then it would have gotten repetitive. So, we wanted to have something that was varied in terms of approach and actual work.

Share with us about the world of comics journalism. It was a whole other world when you began in 1992. The field was wide open. Back then, there were only a few outlets, like The Comics Journal. Today, it’s a relatively crowded field, especially when you add in all the various tiers of involvement.

It has changed. The Comics Journal had its moments. I used to enjoy Amazing Heroes, going back to the late ’80s. The biggest one was Speakeasy. It had a column by Grant Morrison. It was a very irreverent magazine. That was a big influence on us at Tripwire. Back in the ’90s, you also had Wizard, which really wasn’t for me. And, yeah, I never connected with The Comics Journal. Today, there are a number of good websites. There’s a digital magazine based in the UK that is doing a lot of good work called, PanexPanel, run by Hass Otsmane-Elhaou. And Forces of Geek, with Stefan Blitz, does excellent work too. A lot of sites are just running press releases. At Tripwire, we try to dig deeper. We interview the creators and the key players. We try to look at the bigger picture. It’s a challenge.

The thing with press releases is that it’s a balancing act. You don’t want to rely on them. You have to really pick and choose. Some are quite informative and newsworthy. What is the criteria for you when it comes to content on Tripwire?

We try for variety and we try to cover people that other websites don’t. For example, we’ve recently run two interviews with Scott Dunbier from IDW. His artist collections and special projects are a great celebration of comics history. So, we try to pick people like him. We’ve interviewed Chuck Palahniuk a couple of times. We’ve interviewed Philip Pullman. We try to go beyond the boundaries of many comics websites. I want to dig a bit deeper like we did with our interview with J. M. DeMatteis. We try not to cover everything. And we try to contextualize our interviews and explain the significance of our interview subjects.

I do my best to go in depth with my interviews. And I’m always on the look out to go beyond the boundaries of a typical pop culture website. I will naturally gravitate to some novel, which may or may not have anything to do with comics. I might bring in an essay, or whatever. It just happens organically and it helps to keep things fresh and bring in a cross section of readers.

Yes, we do that too on occasion.

I wonder what your take is on alternative comics. My partner, Jennifer, and I are both cartoonists. We come from that indie alt-comics scene. I’m sure you’re familiar with the Page 45 quote.

Yes, I am.

It’s a brilliant observation by Stephen Holland, owner of the UK comics shop Page 45, about how “alternative comics are the real mainstream.”

There’s a lot of great material. I read indie comics. I’ve read the likes of Joe Matt and Daniel Clowes and Adrian Tomine back in the ’90s. I tried to keep up with their careers. There’s incredibly talented people. You have someone like Ed Brubaker who started life as an indie cartoonist and moved into the mainstream. He’s one of these guys who can straddle the two. I believe the Page 45 quote gets it right. You can give someone who doesn’t normally read comics a book like Berlin, by Jason Lutes, and they can appreciate it. But they will have a much harder time with a Batman or Teen Titan graphic novel which relies on more in depth comics knowledge.

I just need to ask you about what’s been on your pop culture radar. For instance, what was your take on how Game of Thrones on HBO resolved itself?

You have to feel sorry for the creators of the show since you can’t satisfy everyone. I remember when the Sopranos ended. I really liked how it ended but there were a lot of people who weren’t happy. A big show like that, which has been around for years, it’s almost impossible to satisfy all of your audience. I think the ending to Game of Thrones was okay. To be honest, I’m not sure how else HBO could have ended it.

There are some shows that we in the States have to wait for from across the pond. But then there’s also the reverse. For example, the new Twilight Zone on CBS All Access. Are you looking forward to that one?

I am curious. I enjoyed Get Out a lot. I think Jordan Peele is quite talented. I’m curious as to whether or not they’ve managed to keep that original flavor.

I’ve gotten a chance to view the whole season and I think it’s coming together. I think it’s going to be of those shows that will probably remain a bit uneven but can have exceptional episodes so you root for it.

There’s quite a bit of TV. I’m trying to catch up with Jessica Jones. I’m a bit ambivalent about the Marvel shows on Netflix. I enjoyed a lot of Daredevil and Luke Cage. I think the big problem is that a lot of these shows run too long. They would be much better off with shorter runs of six episodes per season. Another one, Punisher, I just couldn’t finish that.

How would you like to end our talk? Anything else you’d like to add about Tripwire or Masters of Comics?

We continue to evolve the Tripwire website. We’re hoping to organize a talk that ties in Masters of Comics at the Society of Illustrators in October during New York Comic Con. It would include Walt Simonson and Shawn Martinbrough. It would be very nice to have an event tie-in for the book. We’re also looking forward to some collections of interviews from Tripwire. This is something we’re working with another publisher on. The plan is to have the first book available in time for next year’s Comic Con in San Diego. So, that’s exciting. We’ll be returning to print after a bit of a break.

That would be so exciting to have a talk at Society of Illustrators. I hope that works out.

Well, thank you. We’re hoping to pin that down.

Thanks so much, Joel.

Thank you, Henry.

You can listen to a portion of the podcast interview by just clicking the link below:

Masters of Comics: Inside the Studios of the World’s Premier Graphic Storytellers is a 184-page full color trade paperback, with 21 profiles, with art samples and studio photographs, published by Insight Comics.

Keep up with Joel Meadows and Tripwire magazine by going right here.