I love this video that features comic-drawing rebel professor Lynda Barry doing her own thing. Around the six minute mark, Lynda confides in the audience that she knows that most folks abandon drawing when they try to draw a nose! She proceeds to draw a bunch of fun noses. First, she begins by drawing what her cousin advised to be the proper way to draw a nose, circa 1962. Then, she riffs on the wonderful world of noses. Starting with the shape of a head, Lynda Barry, one of our all-time great cartoonists, guides the viewer into visual anarchy. If there is only one rule to follow, it is this: the drawing still needs to “read” as whatever it is you’re drawing.
Lynda Barry has worked as a painter, cartoonist, writer, illustrator, playwright, editor, commentator, and teacher and found that they are very much alike. She is the inimitable creator behind the seminal comic strip Ernie Pook’s Comeek as well as numerous comic books and graphic novels, and is the recipient of both the Eisner Award and the R. R. Donnelly Award. She lives in Wisconsin, where she is an associate professor of art and a Discovery Fellow at the University of Wisconsin–Madison. Her most book is Making Comics, published in 2019 by Drawn & Quarterly.
This is one of the most inspired scenarios for a comic that I’ve seen in a while. What if all the great mystery writers of the 193os formed a club–and had amazing adventures? That is exactly what is happening in this totally cool new graphic novel series, The Detection Club, script and art by Jean Harambat, published by Europe Comics. We’re talking about the golden age for mystery writers including G. K. Chesterton, Agatha Christie, John Dickson Carr, and Dorothy L. Sayers. This is from the same brilliant talent who created the spy thriller series graphic novels, Operation Copperhead. If you like crisp and witty humor, then this is for you. And, yes, this book is in English. That’s an essential component of Europe Comics, your home for comics from Europe, translated into English.
The Detection Club page excerpt
First off, you need to know that there really was a Detection Club and it must have been something! Just imagine all of these world-class writers meeting on a regular basis, helping each other out with their craft, and even writing books together under the name of the club itself! I don’t think I was aware of this and, if I was, I’d forgotten. So many years and beers ago, you know. But now I’m fully aware of this fact thanks to this wonderful graphic novel series. So, that is the basis in reality for this series but Harambat takes it much further and places a select bunch of our writer heroes in quite a madcap adventure involving a crime-solving robot who may or may not have just committed murder! So, lots of fun for all ages, even for much older kids at heart such as myself.
Panel excerpt: Our main characters all in row.
I really like to showcase panel art. There are so many reasons to do this. The main reason is to simply get a closer look! This makes sense, just as you would focus on a particular passage in any novel. It gives us a moment to savor the process. What is key about Harambat is that he loves to draw. This is quite evident in the above example. Too many young aspiring cartoonists believe that any scrawl that they produce is priceless. That wrongheaded thinking is much too ingrained in the indie comics community. Yes, there is a place for spontaneity and a loose and sketchy style can be quite legitimate. But look at the dazzling results you get from rigorous care in the pursuit of refined essentials. Everything reads as very crisp and clear! You want that kind of clarity!
The Detection Club page excerpt
Harambat is an auteur cartoonist who truly loves to write and draw economically. It is a very functional approach that makes it easier to tackle such an ambitious project that involves characters with formidable back-stories. We’re talking about some of the greatest popular writers of all time–either intimately known by readers or at least recognized to some degree. There are expectations already in place. Many readers coming to this graphic novel already have some notion as to who Agatha Christie was and expect someone unusual and clever–and will expect the same from her contemporaries. Any reader attracted to this book is already curious about the world of mystery and crime fiction and related matters. Harambat is there to deliver on all counts: he fills in the blanks, connects the dots, and thoroughly entertains. All the characters are drawn in a direct and clear way, easy to keep track of, easy to relate with. Then you bring in the villain, an eccentric billionaire living on some secluded tropical island with a huge robot at the center of a murder mystery. Bingo! What a premise to kick off this series!
The Detection Club: Part 1 is an 86-page book, available in digital format on various platforms. For more details, visit Europe Comics, your home for all European comics, all digital, all in English.
The Best American Comics 2019, series editor Bill Kartalopoulos, editor Jillian Tamaki, published by Houghton Mifflin Harcourt, 400 pages, $25.00.
All in all, the goal of the annual Best American Comics is to represent the overriding impact of significant and notable comics during the last year and say something about comics that is fresh and new. Well, among the most fresh and new, is the work of 81-year-old Jerry Moriarty. In this new edition, you’ll find this example, an excerpt from Whatsa Paintoonist? published by Fantagraphics Books. We see the artist chatting as he goes about his day in his studio. The featured pages depict a wonderfully eccentric and talkative artist with his creations having come to life.
WHATSA PAINTOONIST? (excerpt)
Painting with acrylic and drawing with a Papermate pen, Moriarty epitomizes what is takes to cut through barriers and pretense and get on with creating art. You take a look at his paintings about sexual awakening and you see direct and incisive work. After graduating from Pratt, he went on to teach at the School of Visual Arts for fifty years. In 1984, his first comic, Jack Survives, was published by RAW. Put it all together and Moriarty’s artistic activity is genuine and authentic. Moriarty definitely fits into my criteria for what belongs in a collection of the best comics: work of quality; work that advances the comics medium; and work that speaks to the current state of comics. I have always maintained that the ideal cartoonist is the auteur cartoonist, a sole creator who treats comics as the art medium that it is. If such a person is so fortunate as to be able to build a career solely upon their comics and graphic novels, that’s great. But, all too often, you just do what you need to do because you’re compelled to create the work, in the same way that a genuine poet creates poetry. That is what Jerry Moriarty has done.
WHATSA PAINTOONIST? (excerpt)
The goal of Best American Comics is to feature the wide spectrum of the best work of the previous year. And while seeking out the best can become quite subjective, the goal is to overcome that. Honestly, if it’s not overcome, then you end up with more of a promotional book of commercial artists or an overly self-indulgent exploration of experimental work. Neither extreme is welcome to carry a whole book. There are other venues for that. Of course, one needs to try to cover as much as possible. Best American Comics has a pretty good system in place where the series editor gathers up work throughout the year and hands it off to that year’s guest editor. In the end, you get a collection that includes industry leaders and quite a few intriguing discoveries. I think it’s fair to say that this is an imperfect process but one can keep striving to do better. The good news is that each year brings a collection with wonderful new work to discover or rediscover like the work of Jerry Moriarty, who has been in the business for well over fifty years. Nice to see that he made it into Best American Comics this year!
Paris/London: A First Look is an art book by Henry Chamberlain and Jennifer Daydreamer, published by Comics Grinder Productions. It is a tour of Paris and London through the eyes of two cartoonists. There are 24 drawings featured in this full color hardcover. You can buy it here.
Art by Henry Chamberlain
Henry and Jennifer set out to explore Europe together for the first time equipped with sketchbooks and eager to create art. This is their carnet de voyage to share with all those with a similar wanderlust.
Art by Jennifer Daydreamer
The idea for this book is simple: share one’s joie de vivre on a trip abroad. In this collection of drawings you’ll find a nice variety of subjects covered: culture, food, sightseeing, and the personal observations that you find in journal entries.
The Montparnasse neighborhood where we stayed for most of our visit to Paris.
What is it that compels someone to draw what they see? Well, that can be anyone for all sorts of reasons. One ideal scenario is when you’re completely out of your element. Say goodbye to the familiar routine. Set aside your regular obligations. Your only goal, really, is to be good to yourself. Of course, we can all do that right this minute right within our everyday life. But it never hurts to set out and explore something new, right? So, why not Paris? Why not London? Indeed!
Henry Chamberlain: “Sometimes, drawing in the rain is your best medicine.”
Let me give you a perfect example of how being out of the norm gives you that added boost. While Jennifer and I were visiting the Rodin Museum, it began to pour down rain like we hadn’t seen in a long time. It was nonstop and torrential. But we didn’t let that get in our way. In fact, I drew my portrait of Rodin’s Thinker while being pelted by rain. Would I have been so nonchalant about rain if I was trying to draw something in Seattle? Heck no, I would have just packed it up and walked away! But you draw from a special reserve inside you that is saved for moments like this. I told myself that I’d better concentrate and keep drawing since I didn’t know when I’d get this chance again! Sometimes, drawing in the rain is your best medicine. As it turned out, it all worked out rather well. The drawing I did was sealed with raindrops when I closed my sketchbook. The next time I opened it, I discovered that the ink had run onto the opposite page creating a perfect mirror image! Now, that sort of thing would not normally happen to me back in Seattle but I’m eager to be patient and see if it just might all the same. These trips abroad have a way of re-energizing you and giving you the added perspective you need once you’re back home.
Rules drawing by Jennifer Daydreamer
I’ll add a bit more here. I know that our trip did wonders for us. And we can’t wait to go back. This is our first book together. We have drawn mini-comics together but this is our first art book. I look forward to more collaborations and all sorts of other creative projects. And I look forward to visiting that venerable landmark in London, now one of our favorite places for a meal and a drink, Rules! Let me tell you about it. Established in 1798, Rules serves classic British food (especially game) in what we came to appreciate as, “Edwardian surrounds.” The restaurant is decorated primarily with an array of vintage artwork, especially old cartoons, which we really loved. For the more adventurous, after dinner, you can sneak up to the bar up two narrow flights of stairs. This is exactly where King Edward went to rendezvous with entertainer Lillie Langtry during the time of their affair. So, the place is a little dark, intimate, and filled with a sense of intrigue. It was perfect inspiration of Jennifer and she created one of her best drawings there. She gave it to the two bartenders that night. But I was quick to act and took a photo before it was on its way and added essential digital color once back in Seattle. Pretty cool, huh?
Around the Champs-Élysées
Alright, now that we’re quite settled in and I’m in a more chatty mood, I’ll continue along for some more. The photo above is another of many photos I took on the sly as we were briskly walking from one place to another. You wouldn’t know it but there’s a story here. We began our trip in London, then took the train to Paris, and ultimately took the train back to London. We found going through Heathtrow to be rather comforting. I recall Charles De Gaulle airport being very hectic from a trip many years ago. Anyway, the plan had been to have a spectacular view of the Eiffel Tower from the table we’d reserved at Chez Francis. But, for some reason, we were having great difficulty finding Chez Francis! We just didn’t have it all together yet. Subsequently, on our way from some other event, we stumbled upon Chez Francis and finally had our dinner with a view. This is a goal of many a tourist and even the Chez Francis menu is dominated by the Eiffel Tower. Later on, the next day I think, Jennifer wanted to know how it was that we missed the Arc de Triomphe if we were already on the Champs-Élysées. Well, it was already getting late and pretty dark and it just wasn’t meant to be! But I managed to get the above photo which I still like very much. I’m looking forward to finding the movie that is advertised on that column. Looks like it’s probably a moody action thriller, doesn’t it? Yeah, leave it to the French to make great moody action thrillers.
Paris/London: A First Look is available at the Comics Grinder store.
Gahan Wilson was, in many respects, the ideal cartoonist for distinctive, wild and funny cartoons in the leading magazines of the day, National Lampoon, Playboy, and The New Yorker. I just got news of his passing. I had donated to a GoFundMe campaign for his care and received updates from his son, Paul Winters. The announcement begins: “The world has lost a legend. One of the very best cartoonists to ever pick up a pen and paper has passed on. He went peacefully – surrounded by those who loved him. ” Since I do my best to travel in various relevant circles, I did end up having the pleasure of meeting Gahan Wilson. I was in that famous green room that The New Yorker kept as a holding pen for cartoonists awaiting to see the legendary cartoon editor, Bob Mankoff, back when The New Yorker was located in rather cramped, but thoroughly charming, offices in Times Square. So, I kept putting off going in to see Bob since I wanted to soak up the atmosphere. I got a chance to chat a bit with old-timers and new emerging talent. As an artist-writer-cartoonist, I was there with a legitimate batch of cartoons but I was mostly there just to be there since a visit to New York wasn’t something I did regularly. Anyway, there was Gahan Wilson. He was quietly seated on one of the big sofas. This was circa 2005. Gahan smiled and asked to see my cartoons. He nodded and picked out the ones he liked. “Good luck, kid,” he said. It was shortly after those words of encouragement that another cartoonist suggested I should go in before I missed my chance. For some reason, there was no list. You just went in. Very informal. So, I went in and Bob was Bob. In other words, he batted me around like a piñata. Before I knew it, I was done. In the end, Bob offered words of encouragement too. After that, I took one last look over to the green room. Gahan was there, smiling, very quiet, observing as a good cartoonist does, probably thinking up his next deliciously diabolical and weird cartoon. Oh, I had signed a waiver when I had first arrived. Apparently, I had picked the day that a documentary on Gahan Wilson was being filmed. It was released in 2013, Gahan Wilson: Born Dead, Still Weird. And, if you happen to see it, you’ll see me in Bob’s office getting a thrashing, all in good fun, but a thrashing none the less. Funny thing is that I didn’t mind it at all, which is what a good cartoonist does. And how can one complain when in the presence of such greats as Bob Mankoff and Gahan Wilson? You just don’t. You’re grateful for the moment in this fleeting life. Rest in peace, Gahan.
While they stock all kinds of comics, Orbital Comics in London has quite an impressive collection of small press comics. Will Humberstone, Orbital Comics indie comics expert, assisted me in tracking down some of the store’s best titles currently in stock. I include here all the titles that he suggested. While I was in the store, I was impressed with a very tidy and organized shop. I found an upbeat environment with first-rate customer service. By all means, while in London, do make sure to visit Orbital Comics! I begin with some photos of the shop. This includes staff members who worked on some of the titles reviewed here: Ryan Jenkyns on Forged #1, and Valentina Sannais on Starfall #1.
Ryan Jenkyns and Valentina Sannais
Small Press Reviews
Forged #1 by Michael Eckett and Ryan Jenkyns
Forged #1, written by Michael Eckett and illustrated by Ryan Jenkyns, is a sweet all-ages ongoing series that proves to be a rather nice showcase of talent. I can see big things ahead for this series mostly geared toward younger readers. A boy off on big adventures! Stay tuned.
Starfall #1 by Adam Blackhat and Valentina Sannais
Starfall #1, written by Adam Blackhat and illustrated by Valentina Sannais, is an action adventure story with quite a lot to unpack. It seems that we are picking up the story right in the middle of momentous events with characters dealing with a lot of issues. Oh, and they also happen to have superpowers! Much to enjoy here and we’re only getting started. Visit the webcomic here.
Barky and the Bootmaker by Jasmine Parker
Barky and the Bootmaker, by Jasmine Parker, raises the bar high as this is a professional illustrator so maybe it’s a little unfair for someone with finely-honed artistic chops to blast into the slower-paced world of indie comics–or is it? It’s debatable, I suppose, but I really truly favor those comics creators who do work hard at their craft, keep polishing it, and demand a high level of excellence in their work. And then you have to ask, When is a work too slick? Ah, now there’s the rub–when to know you’ve got just the right vibe in your comics! I guess you have to sniff it out. In this case, Ms. Parker does a fine job with a very silly story that will have the tikes rolling in the aisles.
The Blade of Arozone by J. Edward Scott
The Blade of Arozone, by J. Edward Scott, is one of those little books where maybe I’m just not connecting with it all the way even though I really want to. If you enjoy a bit of sword and sorcery, then this might work for you. I think the best thing going here is the artwork. There’s a lot of promise here. For such a short work, you need to wow your reader with something really tasty. Not too busy either. So, keep on truckin’ and really have fun. Maybe I’m not seeing quite enough fun in these opening pages while I do see that elsewhere from this artist online.
Stutter by Joe Stone
Stutter, by Joe Stone, almost lost me with the cover. But, once I leafed through it, I knew that here was a serious cartoonist that I would need to focus on and give him his due. I can see that care has been put into character development, composition and pacing. Yes, it is an autobiographical story about one man’s struggle with stuttering. It has a nice crisp clarity to it. The style is a confident clean line, a cartoony semi-realistic approach that a lot of cartoonists use today. Stone is among one of the better examples I’ve come across. It’s an impressive and sharp mini-comic.
Shivers in London, Part 1 by Niki S. Banados
Shivers in London, Part 1, by Niki S. Banados, is another all too brief work that leaves me wanting more. Again, lots of promise here just like in Mr. Scott’s The Blade of Arozone. The art does have a nice ethereal quality to it but I’d just have to see a lot more of it. If this is an opener meant to entice the reader, then I need more of a wow factor. That said, I’m intrigued and look forward to more.
Cat Disco by Rebecca K. Jones
Cat Disco, by Rebecca K. Jones, is a work that has come to the party prepared to rock out. Now, fair warning, Ms. Jones is a seasoned illustrator so she has a lot more toys to play with and a lot more experience. I highly recommend this book to anyone looking for a fun read or anyone interested in becoming a better cartoonist. This story is told with sly wit and great confidence. It’s not easy to pull off but this is the sort of work that can carry the reader away. It’s a story about a house cat who decides to take a walk on the wild side and see what the street cats do at night–and then it goes on to deliver! You too will believe that cats love to disco! Bravo!
Heads by Ed Stockham
Heads, by Ed Stockham, seemed at first glance to be one of those classic twee mini-comics that tries one’s patience. However, years of mini-comic reading have taught me to not rush to judgment. Now, the art is very simple and raw but there’s a confidence running throughout that won me over. I think Mr. Stockham’s work, based on this little book plus what I see on his website, has just the right combination of a good sense of timing, artistic sensibility, and joie de vivre.
Seller on the Threshold by Claude T.C.
Seller on the Threshold, by Claude T.C., is a masterful little work by someone who spends a lot of time drawing and loves it. I see here a wacky sense of humor and the creative discipline to back it up. Is this the work of an inspired amateur who works at a professional level? Or is this the work of a professional who works at the level of an inspired amateur? You see what I mean, don’t you?! It’s polished, but not so slick that the life has been sucked out of it. This is the good stuff.
Some Short Stories by Knifeson Yu
Some Short Stories, by Knifeson Yu, is a collection of light vignettes where very, very little happens. This is an all too brief wisp of a sampler. But I like the wee bits of teaser found here. Seems like the work of an animator who is happy to just dabble in comics for now. We shall see.
Cindy and Biscuit: Sundays by Dan White
Cindy and Biscuit: Sundays, by Dan White, is another impressive work by a professional illustrator. This is A-game work. The story is a lot of silly fun, reminiscent of Calvin and Hobbes but very much its own thing. Cindy keeps seeing all sorts of amazing creatures and going off of all these larger-than-life adventures. Okay, maybe it’s a lot like Calvin Hobbes but it’s still very much its own thing! Five stars and lots of glitter!
Endswell by Peter Morey
Endswell, by Peter Morey, pay perhaps be the most ambitious work of the whole lot here in its own way. I mean, it has an ambiguous and quirky cover. You can only hazard a guess as to what it’s about. And, even once in, you don’t know for sure where it’s heading but you’re hooked. The opening pages have that ideal crisp and clear quality that is so crucial to bring the reader in. The characters are really saying things that are interesting and advancing the plot. You know the main character has got some problems and he’s taking part in some sort of therapy, whether he really wants to or not. All very intriguing. This gets an A-plus and whatever else I can say that is upbeat and supportive. Seriously, really good stuff!
Archie vs. Orbital by Joe Jinks and Will Humberstone
Archie vs. Orbital, art by Joe Jinks and script by Will Humberstone, is a fun little book that pits the Archie gang against the Orbital Comics staff! This is lighthearted fun as you might expect. That said, it is far more involved than you might expect too! The pacing is spot on and it has a tasty factor about it. Archie and the gang are not very nice in this comic. Think horror, scary horror. I recommend you pick it up.
A genius is not always fortunate to be appreciated in his own time. That was the fate of Wolfgang Amadeus Mozart. You would think that he’d get some love in such a sophisticated place as Paris but, back in 1778, he needed to hustle in order to get recognition. And Mozart was not one who easily hustled. He repeatedly had to fight for the right to be acknowledged as an artist on his own terms. Frantz Duchazeau brings that struggle to life in his new graphic novel, Mozart in Paris, published by SelfMadeHero, distributed by Abrams, available starting October 8, 2019.
A genius in Paris.
Mozart is Mozart, who can deny that? Maybe Salieri? You’ll know what I mean if you’ve seen 1984’s Amadeus. But even Salieri, the rival and villain in that movie, had the good sense to know he was dealing with a genius composer. In this graphic novel, we get a wonderful look at the reality of indifference and shortsightedness. French tastemakers, threatened or indifferent to Mozart’s original and innovative music, would try to keep him out of the limelight. Mozart’s own father was relentless in dismissing Mozart’s efforts but, to his credit, he was dealing with a highly precocious individual who did not calm more conservative nerves.
MOZART IN PARIS by Frantz Duchazeau
Mozart didn’t think it was really up to him to convince anyone of his skill and talent. That kind of attitude doesn’t come without a price. Frantz Duchazeau does a wonderful job of showing the reader just what price Mozart had to pay for his own brand of naive arrogance. What if he had only held back and allowed someone to receive a false compliment? What if he had held back and not insulted a rival?
Mozart, as instructor.
Duchazeau has quite an engaging way with the page. Of all the comics I’ve been reading lately, he is definitely among those I see with a magical touch. As if evoking the grace and uncanny elegance of Mozart’s music, Duchazeau balances an engaging mix of variety upon the page with nicely modulated recurring elements, like the way he constructs his panels with one center panel speaking to the bigger picture. In the two examples on display in this review, you have Mozart in the center of one page seeking consensus on his genius. On another page, he is at the center again, but this time he must restrain himself for the sake of his beloved pupil.
Mozart, a young man in a hurry.
Sometimes you must fold your wings in order to someday spread them. That is, unless you’re Mozart. But, on the other hand, this is also the story of a young man in the big city. Mozart was only 22 years-old during this early visit to Paris. And Mozart was driven and had no time to waste. Duchazeau guides the reader through Mozart’s bumpy ride as he stumbles and gets that much closer to his destiny.
Run, Mozart, Run!
Mozart in Paris is a 96-page full color trade paperback, published by SelfMadeHero, distributed by Abrams, available starting October 8, 2019.
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.
Tripwire magazine, circa 1990s
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.
Sean Phillips doing digital work.
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.
Michael William Kaluta doing physical work.
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.
Amazing Heroes (1981-1992), published by Fantagraphics
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.
Speakeasy, “the organ of the comics world,” March, 1990
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.
MASTERS OF COMICS
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.
During a recent visit to Portland, Oregon, I interviewed Jason Leivian, who runs Floating World Comics, one of the best comic book shops you could hope for. This is a comic book shop taken up to the level of a curatorial experience with everything neatly organized in different categories.
Floating World Comics holds the distinction of being one of few comic book shops that also functions as a publisher. During this interview, my goal was to bring out all that is special about Floating World Comics, and Jason Leivian proved to be a most excellent host. I hope you enjoy the video interview below:
I’ve come back with some choice titles published by FWC and we will be taking a look at them in the coming days.
When in Portland, or whenever you wish to find something exceptional in comics online, be sure to visit Floating World Comics.
Excitement is in the air as nominees are rejoicing over being part of this year’s Eisner Awards for Comics Excellence. The Eisner is the equivalent to The Oscar in the comics industry. The awards are presented every year at Comic-Con International: San Diego. This year’s ceremony is Friday, July 19, 2019. The official list has just been released and you can see it here or just look down below. A good amount of alternative comics and big publishers made the list with a big lead for Image Comics and D.C. Comics. As noted above, Alex de Campi received multiple nominations, as did Tom King.
Noah Van Sciver
Judges for this year are comics journalist Chris Arrant (Newsarama), academic/author Jared Gardner (Ohio State University), librarian Traci Glass (Multnomah County Library system in Portland, Oregon), retailer Jenn Haines (The Dragon, Guelph and Milton, Ontario, Canada), reviewer Steven Howearth (Pop Culture Maven), and comics creator Jimmie Robinson (CyberZone, Amanda & Gunn, Bomb Girl).
The official SDCC statement follows:
Image and DC received the most nominations: Image with 19 (plus 11 shared), and DC with 17 (plus 7 shared). Image swept the Best New Series category, with all six nominees (including Brenden Fletcher and Karl Kerschl’s Isola, up for 2 other categories as well). Also strong for Image are Steven Seagle’s Get Naked anthology (3 nominations), Ed Brubaker and Sean Phillips’ My Heroes Have Always Been Junkies (2 nominations), and the Alex de Campi–edited Twisted Romance (2 nominations plus 1 shared). For DC, Tom King and Mitch Gerads’ Mister Miracle is up for 4 nods, Eternity Girl has 2 nominations plus 1 shared, MAD and Exit Stage Left have 2, and Batman is nominated in Best Continuing Series plus several shared categories.
Other publishers with multiple nominations include IDW (10 plus 2 shared), Lion Forge (10), First Second (9 plus 1 shared), Marvel (7 plus 5 shared), Dark Horse (7 plus 3 shared), BOOM!(5 plus 1 shared), Drawn & Quarterly (5), and Gallery 13 (3 plus 2 shared). Six companies had 3 nominees: Beehive Books, Ohio State University Press, TwoMorrows, VIZ Media, and WEBTOON. Eight companies have 2 nominations each, and another 30 companies or individuals have 1 nomination each.
In addition to Isola, Mister Miracle, and Get Naked, titles with the most nominations include two books from Lion Forge/Magnetic Press, with 3 each: Watersnakes by Tony Sandoval (Best Publication for Teens, Best Writer/Artist, Best Painter) and A Sea of Love by Wilfrid Lupano and Grégory Panaccione (Best U.S. Edition of International Material, Best Painter, and Best Publication Design).
The creator with the most nominations is Tom King with 5: Best Short Story (from DC’s Swamp Thing Winter Special), Best Continuing Series (Batman), Best Limited Series (Mister Miracle), Best Graphic Album–Reprint (The Vision hardcover), and Best Writer. Two creators have 4 nominations each: Alex de Campi (Best Graphic Album–New: Bad Girls, Best Anthology: Twisted Romance, Best Writer, Best Letterer) and Jeff Lemire (Best Single Issue: Black Hammer: Cthu-Louise, Best Continuing Series: Black Hammer: Age of Doom, Best New Series: Gideon Falls, Best Writer). Creators with 3 nominations are Karl Kerschl (Best New Series, Best Penciller/Inker, Best Cover Artist for Isola), Grégory Panaccione (Best U.S. Edition of International Material, Best Painter, and Best Publication Design for A Sea of Love), and Tony Sandoval (Best Publication for Teens, Best Writer/Artist, Best Painter for Watersnakes).
Eleven individuals are nominated for 2 Eisners: John Allison, Emily Carroll, Nick Drnaso, Mitch Gerads, Sonny Liew, Carolyn Nowak, Sean Phillips, Nate Powell, Mark Russell, Noah van Sciver, and Jen Wang.
Voting for the awards is held online, and the ballot will be available at www.eisnervote.com. All professionals in the comic book industry are eligible to vote. The deadline for voting is June 14. The results of the voting will be announced in a gala awards ceremony on the evening of Friday, July 19 at a gala awards ceremony at the Hilton San Diego Bayfront Hotel. Jackie Estrada is the Eisner Awards Administrator.
Best Short Story
“Get Naked in Barcelona,” by Steven T. Seagle and Emei Olivia Burrell, in Get Naked (Image)
“The Ghastlygun Tinies,” by Matt Cohen and Marc Palm, in MAD magazine #4 (DC)
“Here I Am,” by Shaun Tan, in I Feel Machine (SelfMadeHero)
Matt Hollingsworth, Batman: White Knight (DC): Seven to Eternity, Wytches (Image)
Matt Wilson, Black Cloud, Paper Girls, The Wicked + The Divine (Image); The Mighty Thor, Runaways (Marvel)
David Aja, Seeds (Berger Books/Dark Horse)
Jim Campbell, Breathless, Calexit, Gravetrancers,Snap Flash Hustle,Survival Fetish, The Wilds (Black Mask); Abbott, Alice: Dream to Dream, Black Badge,Clueless, Coda, Fence, Firefly, Giant Days, Grass Kings,Lumberjanes: The Infernal Compass, Low Road West, Sparrowhawk (BOOM); Angelic (Image); Wasted Space (Vault)
Alex de Campi, Bad Girls (Gallery 13); Twisted Romance (Image)
Jared Fletcher, Batman: Damned (DC); The Gravediggers Union, Moonshine, Paper Girls, Southern Bastards (Image)
Todd Klein— Black Hammer: Age of Doom, Neil Gaiman’s A Study in Emerald (Dark Horse); Batman: White Night (DC); Eternity Girl, Books of Magic (Vertigo/DC); The League of Extraordinary Gentlemen: The Tempest (Top Shelf/IDW)