Today we have the final 2012 column of Sean T. Collins, in which he says hello to Aidan Koch, creator of The Whale and The Blonde Woman. Here's an exchange from their discussion:

Are you content with tone coming through even if the transmission of the narrative is incompletely received? Is the tone the important thing to you?

Oh absolutely. I mean, think about the idea of studying literature and the hundreds and thousands of students that have to pull theses and hypothesize about symbolism and undercurrents. I think it's fair to say that sure, those authors probably didn't intend the majority of what people speculate, and yet we recognize it as a valid undertaking. I think what's important is what the author does give us is a basis or guideline to such speculation. I'd much rather create work that's dynamic and compelling than overly explanatory or simply "readable." In comics especially, there is so much the artist has to work with in their favor between the written, visual, and sequencing. It's kind of like how film is to photography, comics are to drawing/painting. It's about the immersive experience.

Elsewhere, in no particular order:

—The Comics Reporter republishes a very funny Noah Van Sciver comic about traveling back to early '90s Seattle and applying for work at Fantagraphics.

—This piece at The Scotsman about the rise of graphic novels isn't anything new really, except perhaps in tone.

—Hogan's Alley republished an interview with the late Bud Blake.

—The Guardian has another long profile of Alan Moore, of the kind they seem to run every fortnight or two, but this is an unusually good one covering lots of new territory.

—There's a forthcoming biography of Ward Kimball that's apparently run into trouble with Disney.

—Milo George has transcript of a 1955-era Orson Welles talking about horror comics.

—James Romberger reviews a slew of comics. I always enjoy reading his take on things.

—I missed this studio visit with the publisher, cartoonist, and occasional TCJ contributor Austin English.

—MoCCA &The Society of Illustrators has announced the formation of a new steering committee.

—Finally, a couple videos from 1966. First, the legendary Gene Deitch's test film for a never-made version of The Hobbit (via):

And second, a vintage CBS Christmas message from R. O. Blechman (via):

8 Responses to Advent

  1. Oof. Gene Deitch is master craftsman, but that Hobbit is an insane misfire in every possible way it could be. Not a good match of source material with director…

  2. Robert Cook says:

    I remember vividly that R.O. Blechman Christmas spot from my childhood…but it never hit me with the emotional force as it did just now. Some things you just have to be old enough to understand.

  3. Why is their still a MOCCA festival if MOCCA itself is no longer raising funds to support a museum? Oh, because SOI is ‘proud to increase the visibility of comics as a major component of its storied institutional mission.’ I’m not exactly clear what that means, but I assume that the cost of entry will be low and table space will be very cheap, since there is no institution in need of funding now.

  4. Dominick Grace says:

    “Slag?” Oh dear….

  5. Rob Clough says:

    I looked at the website. A full table is $460, half-table is $290. Students get discounts ($330/$210), as do MoCCA or SOI members ($420/$250). I don’t see anything about cost of entry.

  6. That’s about as expensive as last year. Not sure why the cost is so high when there’s no need to fund a ‘museum.’

  7. Dominick Grace says:

    Alan Moore link does not seem to be working.

  8. Tim Hodler says:


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