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Hi there,

Today Frank joins us to discuss Mardou's Sky in Stereo.

This is a romance set in Manchester UK and drawn in a clean "cartoony-realism” style. It's a coming-of-age tale if there ever was one; we follow Iris as she navigates her late teens. Parents, religion, boys, drugs, fast food, and daily life are the fare. 

There are a range of ways in which I could tell you about the story and how it unfolds and how it’s drawn. However, I would like to focus on the fact that I usually don't enjoy this type of story. There's usually something heavy-handed in the presentation. It’s too cutesy, or too serious, or just not well made. And here is a story that is not cutesy, or too serious, and it’s well made. It just breezes by like a good movie which you want to watch again, or a TV show that you re-watch rather than wait for the next episode. I can binge read this book.


Life as as cartoonist in 1913.

Philly store and publisher Locust Moon will now just be a publisher and con organizer.

There's a new Mineshaft on the horizon.


Gee Wiz

Today, we bring you a personal and colorful tribute to the great and highly influential Shigeru Mizuki, written by one of his English translators, Zack Davisson.

Mizuki wrote multiple accounts about life on the front line in the South Pacific theater, full of honest horror and humanity. Two are available in English: the fictionalized Onwards Towards Our Noble Deaths and the autobiographical, four-volume Showa: A History of Japan. They are tremendous works of art, both Eisner winners, and stand tall with any war story ever written in any medium. I encourage you to let Mizuki tell you himself about those years. But I will expound on two events during his time in Rabaul.

The first—and most obvious—was the loss of his arm. At the time he was out of his wits with malaria, recuperating in a military hospital. The doctors recommended stopping his food and medicine, since no one as ill as Mizuki could possibly survive. When he heard this, he rose from his sick bed like a zombie and proceeded to eat everything in sight, convincing the doctors to give him another chance. But his supernatural stamina couldn’t help him from the bomb dropped on the hospital. Accounts differ as to which Allied force dropped it—most say the U.S., but the majority of the Battle of Rabaul was lead by Australian forces. Either way, the result was the same. Mizuki lost his arm. His drawing arm.

Meanwhile, elsewhere:

—News. Seattle's Short Run Arts & Comix Festival has been awarded a $15,000 grant from the NEA.

—Reviews & Commentary. Huib van Opstal writes about 21 strips from Roy Crane's Wash Tubbs, and republishing efforts in general.

The bad example set by Woody Gelman’s oblong books from 1977 (with old Scorchy Smith dailies by Noel Sickles, Nostalgia Press reprints, 3 daily strips per page) still wreaks havoc in our modern reprint business. Reprinted Wash Tubbs dailies continuously end up in unpleasant books, with too little horizontal space on the page, and with a nefarious split in the middle killing their overall design.

Salon's piece on the best comics of 2015 displays a shockingly blinkered and narrowly cramped knowledge of the form, going so far as to include a television show but not any work not published by one of the corporate genre machines.

—Misc. Pat Mills and Kevin O'Neill remember working for 2000 AD. O'Neill:

When I became art editor, I had to clandestinely introduce credits for the writers, artists and letterers. In my early career, I’d worked as a “bodger”, removing signatures hidden in hedgerows and the like. We were told British comics had traditionally never had attributions, but IPC were actually scared: if they identified creators, they might lose them to other companies like DC Thomson. I said “This is bullshit”, stuck credit panels on and told management we were experimenting. They’ve been there ever since.

Hogan's Alley shares a huge assortment of Christmas cards from cartoonists, ranging from Chester Gould to Jaime Hernandez to Lynn Johnston.

D&Q publisher Peggy Burns on what to do in Montreal.



Today on the site Joe takes us through one of the last release weeks of 2015...


Looking for a good holiday gift? May I recommend heading over to Marc Bell's online store? Yes, I will. Prints, patches, sculpture, what else do you want? Marc has also completed the posting of his and Joey Haley's series of films, exhumed from a 1990s bank vault.

Deconstructing Comics posts its 10th anniversary show.

Pam Butler and Kim Deitch are posting their drawings for Christmas cards from over the years, and of course it's a typically awesome bunch.

Ryan Holmberg has a feature in the new Art in America about the depiction of nuclear power plant works in Japanese art and comics. Print only for now.

And now a shameless plug: Look, I now have a web site for my own projects! Visit it and, uh, see what else I'm doing?



Today on the site, Eric Buckler interviews the cartoonist and educator Jessica Abel about her most recent book, Out on the Wire: The Storytelling Secrets of the New Masters of Radio.

How did you become interested in podcasts?

The journey does not really start with podcasting. It starts with This American Life on the radio in Chicago in the mid- ‘90s. I started listening to it before I left Chicago, and then when I moved to Mexico, Matt [cartoonist Matt Madden, Jessica’s husband] and I would stream it on RealAudio on a laptop in Mexico City over like 56.6K baud, dial-up service. It was a nightmare. But we were totally into it, so we did that. Then, when Ira called me and asked me to do the book, it was like this totally insane thing. I was in Mexico City and who was on my phone? I mean, This American Life was a phenomenon at that point, it wasn’t like I was the only person listening to it. It was still niche, we’re talking like 1998 here, but still.

So I did the book and continued to have somewhat of a relationship with Ira, you know, not like seeing him often, but we cross paths. And then I came back to him to talk about doing this new book in 2011, I guess.

Meanwhile, as a cartoonist—I am sure you have experienced this talking to cartoonists at The Comics Journal—we are a core public-radio audience, because we spend insane hours in front of our drawing tables. I can’t listen to talk radio when I am writing, but when I’m not writing I need something to fill that part of my brain. When I’m drawing or sketching and trying to get something down, or especially if I’m inking or doing something that is… it’s not mechanical, but it’s not using the intellectual part of my brain. As soon as that happens? Oh my god, coloring? You need something interesting to listen to. And music, of course, fills the bill to a certain extent, but scratch a cartoonist and you find a radio fan. We listen to radio all the time.

Meanwhile, elsewhere:

—Interviews & Profiles.
Joelle Monique spoke to Cathy Johnson.

I’ve had disputes with critics in the past who say Dear Amanda is about gender, and it isn’t at all. It’s a romance. I’m a queer person, so I do explore gender in my comics sometimes, because it’s something I think about. I also think about romance, which comes up in my work a lot, too. And when you’re gay your romances are gay ones. It just is everyday. Being queer is my reality. It’s the reality of my friends, it’s the every day life of millions of people. I make comics about people’s lives. It’s important to me that my work is true and reflective of the world.

The most recent guest on Inkstuds is Jane Mai.

Here's Kate Beaton from the Toronto Public Library last September:

—Reviews & Commentary. Alternative Comics publisher Marc Arsenault writes about production problems with the most recent issue of Magic Whistle.

It was the Tuesday before Thanksgiving. I received a slightly cryptic email from an artist about his new comic that I was publishing. It started simply enough, “Just got my copies. There is no text on the inside covers.” There weren’t really any more informative details. It was a December book and the email didn’t sound very urgent… I hoped it was a fluke, a bad batch. Even with a worst case scenario we still had plenty of time to fix it. I went back to my tea and morning news.

The next email arrived an hour later. It was a little more to the point. The subject was “they fucked up”.

Mark Evanier remembers his work on a misbegotten DC Comics adaptation of the 1978 version of The Wiz.

Words were exchanged…and not the most pleasant ones. Some months later, all of this would be worked out with different contracts and a lot of soothing apologies all around. In fact, DC Comics became a lot more mature and sane about how they dealt with talent. But for the moment, Sergio [Aragones] was no longer willing to work for them.

This was not a problem for me. I'd already signed the old contract to do The Wiz and was just about done with the script. Suddenly though, Joe Orlando had no one to draw what I was about to hand in. He called and asked me who I'd like. I said, "How about Sergio signing the contract someone could have given him four weeks ago?" He said that was no longer possible and asked me to think about artists and we'd talk the next day. Okay…

I called Sergio and suggested I would withdraw from the magazine in solidarity. He said don't be silly…"They didn't ask you to sign a contract you wouldn't sign." Besides, he said, the perfect artist for the job — righter for it than him, he said — was our friend, Dan Spiegle. "Ever since they asked me to do it, I keep thinking he would be so much better at it than I would."

Rachel Cooke at The Guardian selects her best comics of 2015.

—News. The New York Times ran an obituary of Shigeru Mizuki.


Four in a Box

Today on the site, Jason Overby reviews the great Qviet by Andy Burckholder. I'd excerpt it here, but it needs to be seen in full.


NPR on Eternaut. 

The Atlantic has a nice video chat with Hayao Miyazaki.

Mark Evanier tells the story of the never-published Wiz movie adaptation. 

Bad comics about good art, coming soon to Philly.




Today on the site, Frank Santoro writes a little about his recent crowdfunding experience, which will bankroll a new comics school in Pittsburgh.

I got the thing for 13K. It’s gonna take 20K to fix it up. Fortunately, that’s exactly what we got for the crowdfund (36K minus 3K of fees). So we have to watch every penny. I mean, Sam gave me the estimate for the new furnace and it’s 5K. Ray told me to save him 4K to fix the roof and repair all the damage done inside from the leaks. That's almost half of what we have to get it up to code. So, the money is already earmarked and while that is hard to swallow at this moment of victory—it’s not something I’m complaining about either. There’s no whining on the yacht here in Pittsburgh. Just put your head down and get to work—and that’s what we are doing. Ray’s got the roof. Sam’s got the basement. I’m clearing out the odds and ends in the middle.

Also, Daniel Kalder reviews the second volume of David B.'s Incidents in the Night, which is possibly even stranger and more recursive than the first:

David B. could easily have left Incidents in the Night there: as an enigmatic, fairly indescribable dream-narrative. However, he followed up [the depiction of] his own death with a multitude of cliffhangers and questions, and so it seemed possible that a continuation might be on the cards. For many years this appeared to be a ruse: volume 2 was not published in France until a decade after the first episode. American readers, however, have only had to wait a year to receive the continuation of the story. Incidents in the Night thus comes to us as if it were a “normal” serial narrative, published on a regular schedule- and not a mysterious book of questionable probability that presumably many French readers never expected to read. We are like foreigners discovering Guns N’ Roses twelve months before the release of Chinese Democracy, deprived of years of anticipation, doubt, and context.

Fortunately, comparisons to Chinese Democracy end there, as Incidents in the Night 2 is actually very good.

Meanwhile, elsewhere:

—Reviews & Commentary. Janean Patience returns to the comics internet to write at length about Dave Sim's Glamourpuss.

Dave Sim is still, in most of his dealings with the world, rational. And he knows that there is no audience for what he wants to say. He’s learned it by saying it, and watching that audience fall away. So for the first nine or so issues of Glamourpuss it’s all hidden, veiled behind parody or hyperbole. The misogyny is plausibly deniable; if a Sim fan wanted to argue it wasn’t there, he’s been given the tools. The model who addresses the reader as “microbe feces” and “paramecium vomit” in #7? Why, she’s just expressing the inexhaustible contempt that fashion magazines have for their readers! This isn’t personal.

But Glamourpuss the comic is nothing but personal. It’s nothing but an expression of Dave Sim’s psyche, of what’s going on in his head. So by the time we’re in double figures the facade falls away. The subtext becomes text.

At the New York Times, A.O. Scott reviews Adrian Tomine's Killing and Dying:

The awfulness of men — rendered more in rue than in rage — is the thread that binds these six pieces together. Male inadequacy is not a new subject for Tomine. It bubbles up in the otherwise lighthearted, autobiographical “Scenes From an Impending Marriage.” It sits at the anxious, lacerated heart of his earlier graphic novel “Shortcomings,” a breakup story set among young intellectually and artistically inclined Asian-Americans in the Bay Area. In that case the protagonist, Ben Tanaka, did not try to be a selfish jerk, but he succeeded all the same, and ­Tomine’s scrutiny of his dealings with women was both unsparing and sympathetic.

Slate has posted their choices for the best comics of 2015.

—Interviews & Profiles. The Chicago Tribune takes a guided photo-tour of Laura Park's bookshelves.

The Arab Times talks to Syrian artist Ali Ferzat about everything from the ongoing refugee crisis to the responsibilities of political cartoonists.

When the Baath party took over in Syria, they banned all privately owned newspapers. So censorship became very strong. For me and other artists to go around censorship, we had to revert to symbolism, that was the key. I transformed from symbolic and allegorical portrayals of political characters to bluntly drawing them with the support of the audience.

I feel very strongly that when a cartoonist portrays a political character as he is, he is able to break the bond of fear between the audience and the character. The people will see this and realise that it is okay to criticise that character. Having said that, in different situations it is important to go back to the symbolic representations, as they are important to caricature too.

—Misc. Ta-Nehisi Coates shares his thoughts on beginning to write Black Panther. He seems to be taking it pretty seriously.

I guess I should start by saying I’ve never done this before. I expect that there will be stumbles and screw-ups on my part. My nightmare basically involves this turning into some sort of stunt or vanity project. I did not take this on to look pretty, or add a line to my CV. I took it on for the same reason I take on new stories—to grow intellectually and artistically. In this case it’s another genre—fictional, serial story-telling—one a good distance away from journalism, memoir and essays.

And at, Ada Palmer writes another nice appreciation of Shigeru Mizuki.

What we know of Betobeto-san and hundreds of other fantastic creatures of Japan’s folklore tradition, we know largely thanks to the anthropological efforts of historian, biographer and folklorist, Shigeru Mizuki, one of the pillars of Japan’s post-WWII manga boom, who passed away yesterday at the age of 93. A magnificent storyteller, Mizuki recorded, for the first time, hundreds of tales of ghosts and demons from Japan’s endangered rural folklore tradition, and with them one very special tale: his own experience of growing up in Japan in the 1920s through 1940s, when parades of water sprites and sparkling fox spirits gave way to parades of tanks and warships.


Passing By

Today on the site John Kelly looks at the highly racist and rich (literally) in coding comic strip, Ching Chow.

While a whole book could focus on the stereotypical treatment of Asians in this and other comics, that’s not our goal here.  Instead, we’ll focus on Ching Chow’s “secret” legacy, as a de facto encrypted tip sheet for gambles who played the horses and numbers games.

A bit of clarity on this is provided via author Nick Tosches’ 1988 novel Cut Numbers (Little, Brown and Company): “In his youth, he had watched his elders pour over ‘Ching Chow’ in the Daily News. This little cartoon, which occupied a two-by-three-inch space every day near the racing charts, was believed by many of those elders to contain the key to the next winning Brooklyn number. By counting the buttons on Ching Chow’s mandarin jacket, by noting how many of his fingers were extended and in which direction they pointed, by adding and subtracting blades of grass or the drawn lines of this or that, by studying Ching Chow’s aphorism of the day—by these and assorted other hermeneutic methods, people sought to decipher the secret information they believed was hidden there daily. In retrospect, it was always there: If 321 was the winning Brooklyn number, a look back at that morning’s ‘Ching Chow’ surely would reveal three buttons, two pointing fingers, and a lone bird flying overhead. If the number was 749, a look back—discounting, of course, the buttons, fingers and bird—would reveal seven pebbles, four sunrays, and nine words in the aphorism. It was widely held that this secret information was conveyed to the artist by an unknown but actual Chinaman who had grown fabulously wealth from his occult knowledge of numbers and who now, in his old age, wished to impart hat knowledge in his own inscrutable way.”


Today's header image is one of those Superman comic strips that Wayne Boring sold himself. When Superman wasn't in the strip, he offered to draw him in. That, to me, is the best thing in the world. I've never seen one of these in person, but I need to. I really do. Wayne Boring. He ruled.

Publisher Chris Oliveros and translator Zack Davisson remember Shigeru Mizuki.

Kelly Sue Deconnick on the work and life balance.

No one talks much about the Wizard of Id, but I sure love it. Here are some Sundays. 


The Long View

Joe McCulloch is here as usual this Tuesday morning with your essential guide to the Week in Comics.

Meanwhile, elsewhere:

—News. Shigeru Mizuki, the artist probably best known to English-language audiences for comics published in recent years by Drawn & Quarterly (Onward Towards Our Noble Deaths, Showa, etc.) has passed away at the age of 93. We will have a fuller obituary soon.

—Misc. Chris Ware not only drew a new cover for The New Yorker, he also made a brief animated film (with the help of the great unsung John Kuramoto). He writes about the project here.

Youth in Decline has begun its 2016 Frontier subscription drive.

—Reviews & Commentary. Bob Heer reviews the long-awaited collection (and completion) of Murphy & Zulli's Puma Blues.

Brian Nicholson has mixed feelings about the new collection of The Zines of Paper Rad.

Michael Cavna writes about the year in graphic art inspired by terror attacks in Paris.

—Interviews. Rose Marthis at 417 Magazine talks to Cole Closser.

Finally, here's a short television interview with Best American Comics series editor Bill Kartalopoulous and contributors Gabrielle Bell, Julia Gfrörer, and Anders Nilsen at the 2015 Miami Book Fair: