Today on the site, Rob Kirby reviews the latest four minicomics from Kuš!, created by Evangelos Androutsopoulos, GG, Patrick Kyle, and Andrés Magán.
The Latvian comics publisher Kuš!, helmed by David Schilter and Sanita Muižniece, celebrated its tenth anniversary this year. From its inception, Kuš! has been dedicated to promoting art comics from international creators with subject matter ranging from light to dark, whimsical to inscrutable, and everything in between. I’ve thought of each new quartet of Kuš! minis as a sort of quasi-anthology and this latest batch genuinely coheres as such: while the comics within wildly vary both tonally and stylistically, all of them traffic in unreliable narration or highlight the subjective nature of reality. All four of these minis underscore what makes this publisher such a unique, exciting, and valuable branch of the indie comics scene.
—Interviews & Profiles. Tom Spurgeon talked to the new co-curator of CAB, Matthew James-Wilson.
I’ve been reading comics for most of my whole life, so I think they’ve always been a big part of my art education. I think in comparison to a lot of other mediums, comics are really equalizing in that you don’t need a lot of resources to make them, consume them, or share them, and there’s a really low barrier of entry to become a part of the community around them. It’s really important to me that art is available to people no matter what background or situation they’re coming from to it, and comics fulfill that really well.
I also think, since there’s so little money for the artists and publishers in the industry, there’s a level of purity with people’s intentions to make comics that’s missing from a lot of other art forms. I don’t think there are a lot of people who are in it for disingenuous reasons. With comics, if you didn’t truly care about doing making them, you probably would have given up by now.
Entertainment Weekly talks to Mark Millar about his first comic book officially published by Netflix, and maybe puts that last quote from James-Wilson in a different light.
Millarworld was always, first and foremost, a comic book company, but since we sold to Netflix it’s obviously become something that crosses all media. If something was turned into a movie, that was a lovely novelty in the past, whereas now when I’m creating stories as a member of staff, I need to keep my eye on the whole picture. We’re thinking of these as movies and TV shows, and the ones we feel would be great for comics will also appear as comic books. I’ve been writing comics since I was 19, so this is amazing for me because it’s what I love doing. I want to do as many comics as I possibly can but keep it all at this kind of level. The Olivier Coipels and so on. It’s actually a pretty perfect arrangement.
The most recent guest on Virtual Memories is Martin Rowson, the most recent guest on Comics Alternative is Joseph Remnant, and I missed that a recent guest on Gilbert Gottfried’s podcast was Drew Friedman.
—Misc. Time tries to figure out how much money you can make in comics.
[The letterer] is the person who uses a variety of fonts and sometimes even hand-drawn calligraphy to create everything in the word balloons and illustrating the sound effects. Typically this job runs between $10 and $25 per page, according to the FairPageRates survey. “I was lettering for a long time, that’s how I paid my bills,” Ed Brisson, writer for Iron Fist and an Old Man Logan, told New York Comic Con attendees last month.