What Started It

John Hilgart returns to the site with an interview with Elaine Lee and Michael Kaluta on their new Starstruck push.

Elaine – This book will have 80 new pages of very detailed sequential art that will need to be drawn, inked and lettered. Our basic goal is $44,000. That would allow Michael to finish the black and white artwork, me to finish the script and layout, pay for the lettering and print signed and numbered, hardback books and mail them. Plus, other incentives.

If we can get $69,000, the whole 140 pages will get new, fully painted, digital color. If we make what we need for the color, the painting can start right away on some of the many finished pages, while Michael is drawing new ones.

We’re hoping to finish the work by end of December of this year. Then we’re allowing a couple of months to get the books printed.

I used to love going to the previous iteration of this comic-con.

Here are five things being thought about by comics people that Tom Spurgeon knows (guest appearance by yours truly).

Joanna Draper Carlson on the ComiXology/Saga controversy.

And these are particularly fine looking comics by Sam Alden (via Jordan Crane).


Taco Night

Tucker Stone's been doing a lot of laundry lately, and watching a lot of Mexican television in consequence—experience which colors his latest review column deeply:

I wouldn't say I look forward to these shows, because I keep bringing things to read, assuming this is the week I'll fight the temptation to stare, but it didn't take very many trips before I started to respect these shows, a whole lot more than I would have expected to. They're well-made entertainments, built around very base, very broad concerns: sex, money, violence, family. The people in the fictional stories are trying to get ahead, with some relying on hard work, and others relying on trickery. Love seems important, although loyalty is what they talk about most. The game and talk show hybrid relies more heavily on schtick, with the humor usually coming via very feminine fat men; the women give it to you straight, while dressed just on the classy side of risque. I don't respect these shows as art, but they don't want me to. They just want me to pay attention, and while my own ignorance keeps me a bit removed, they're incredibly successful at doing that.

And elsewhere on the internet, I'm not having much luck. Sometimes, there's a lot of news, sometimes there's a little.

—Chris Ware's Building Stories won the 2013 Lynd Ward Prize, with Lili Carré's Heads or Tails and Theo ELlsworth's Understanding Monster also picking up honors.

Elaine Lee talks to The Beat about her Kickstarter-supported Starstruck project.

—The Secret Acres team honors tradition by delivering another of their lengthy annual must-read MoCCA Fest reports. This year, they were on the steering committee, so it's particularly interesting.

—And Frank Thorne is still out there, making magic.


What About Me?

Today Sean T. Collins reviews Jordan Speer's Operation Vaporizer

“Operation Vaporizer” is a short sharp shock of a war/sci-fi/horror comic, narrated by a veteran reminiscing about his time with a top-secret unit that tested an experimental telepathic weapon in the jungles of Vietnam. The Full Metal Jacket-style slang (“I was in The Shit”) and the dingy green and red-orange palette root the thing to the period, providing a solid platform for diving out into the Weird.


Peggy Burns brings attention to a worthy Kickstarter campaign: Portland's Reading Frenzy, which is an excellent store and all around resource for small press publishing.

I'm still waiting for the hobo revival. So's Sam Henderson. I always have time for T.S. Sullivant. And some fine Moebius here.

More MoCCA coverage with a report from the "Art as Profession" panel. Everyone knows it's no kinda profession, but read on.

TCJ-contributor Michel Fiffe's three issue compendium of his series, Copra, reviewed.

And finally, Cerebus, widescreen.



The Rest of You Are Fired

This morning on the site we feature the return of Bob Levin, and his look at Chris Ware's Building Stories. Now based on Twitter conversations from a few months ago, I know a lot of you will immediately begin complaining that everyone has already read enough about that book, but (1) you haven't, not really, (2) get used to it, because books like this (ambitious and largely successful) tend to get talked about for a long time, and (3) Bob Levin is allowed to write about anything he wants. Here is a very brief excerpt, especially designed to annoy a certain kind of person:

The second day I slit the cellophane wrapper.


—The longtime New Yorker cartoonist Ed Fisher has died at the age of 86. That magazine's cartoon editor Bob Mankoff announced the news on his blog. The New York Times has an obituary here. Mike Lynch and Michael Maslin offer their own thoughts on the artist.

Apple has reportedly decided not to offer Saga #12 to iPhone and iPad users due to two pages in the issue featuring somewhat distorted images of gay sex. Series writer Brian K. Vaughn responded by declining to change the images in question, and directing readers to other outlets (and the CBLDF). You can see one of the images in question below.

[UPDATE: ComiXology has issued a new statement today, contradicting earlier reports. I find this all somewhat confusing, and don't understand how to reconcile comiXology implicitly confirming the original story with this new information, but there it is. You can read the statement here.]

—The Doug Wright Awards have announced the members of the 2013 jury, including Julie Delporte, Pascal Girard, Jonathan Goldstein, Joe Ollmann, and Natalia Yanchak.

—Paul Gravett profiles Belgian cartoonist/architect François Schuiten.

—And then there are lots of reviews. Richard Samuel West reviews the recent Thomas Nast biography, Craig Fischer reviews Jim Rugg's Supermag, Tom Spurgeon reviews the new Tom Gauld collection, Christopher Stigliano reviews Sidney Smith's The Gumps: The Saga of Mary Gold, and Chris Mautner reviews a whole bunch of stuff.


Man, Chimp

Today on the site:

The Seattle home office uncovered some bits left out of the published Groth/Infantino interview. Of particular note is Infantino's take on C.C. Beck, as well as his departure from DC Comics. Also from 1996, a TCJ article on a Kirby/Infantino controversy.

And Joe McCulloch rounds it out with his week in comics.


MoCCA Fest returned this year. It was vastly smoother, well organized, and altogether pleasant. Here is one roundup and another.

And here's a manga business overview. Oh, here's some wondering after Vertigo.

Finally, a recommendation: The Harvey Kurtzman exhibition at the Society of Illustrators in NYC is excellent. I've seen Kurtzman originals before, but to see so many covers, and, best of all, a full set of rough breakdowns for an EC war story, was an unusual treat. Kurtzman's pencils have all the gestural verve I always felt in his brushwork, but it's that much more immediate here. The Bill Griffith exhibition upstairs is smaller but full of excellent work, both single drawings and complete strips, from throughout Griffith's career. Like Kurtzman, Griffith is both a master satirist and a highly skilled artist devoted to his craft. It shows in the work.


Watch It

Today, we have Bill Schelly's obituary for Carmine Infantino:

In 1956, [Julius] Schwartz chose Infantino to pencil a tryout issue of a new version of the Flash. Working from a script by Robert Kanigher, Infantino’s pencils on “Mystery of the Human Thunderbolt!” in Showcase #4 (September-October 1956) achieved a new kind of superhero action, emphasizing design and movement, with a kinetic quality that was exhilarating. Infantino’s design for the retooled Flash — an all-red costume except for bits of yellow — was like a sleek, modern sports car. His visual conception, along with uncommonly mature stories by Robert Kanigher and John Broome, sold the reinvented character to the burgeoning number of baby boomers who were looking for something new and exciting. The success of the Flash led to the reinvention of Green Lantern and other Golden Age heroes at National/DC, which in turn inspired Stan Lee and Jack Kirby to create the Fantastic Four in 1961. Later comics historians would identify Showcase #4 as the kick-off for what came to be called the Silver Age of comics.

Infantino was also memorialized in The New York Times. Mark Evanier and former assistant Nelson deCastro have also posted their thoughts.

Elsewhere on the internet, as we wait for the deluge of MoCCA fest reports. (I went Saturday. It seemed much improved in terms of organization, I met up with various people I like to see, & I got some interesting-looking comics I haven't read yet. Otherwise, I didn't get a strong sense of how the people at tables felt about the show.)

—Peter Bagge was interviewed by Reason:

Which alerted me to the fact that somehow I missed that Bagge had reviewed the new Al Capp biography.

—Tom Spurgeon, who was in fine form at MoCCA, has interviewed one of the other big '90s humor cartoonists, Bob Fingerman.

—The CBLDF has named the new members of their advisory board.

—Steven Heller reviews The Best of Punk Magazine, and interviews Nora Krug.

—Lilli Carré has a new Tumblr I don't understand, but in a different way than the other people's Tumblrs I don't understand.

—And people are still writing long stories about Bill Watterson keeping to himself.


Carmine Infantino, May 24, 1925 – April 4, 2013

Comic book artist, writer, art director and publisher Carmine Infantino has passed away at the age of 87. The introduction to Gary Groth's definitive interview with Infantino best sums up the man's achievements:

Like several others in his generation, Infantino began his career by doing a number of different jobs — writing, pencils, inks, even some support work — for a variety of publishers and titles. His strongest work during this period was for Shelly Mayer at National, where Infantino worked on popular second-tier superhero titles like Flash and Green Lantern.

Infantino produced his most fondly remembered and important comics art for DC in the “Silver Age” of the 1950s and 1960s. He was the artist on the title which marked the beginning of this period, the revamped Flash, from its launching in 1956 into the mid-’60s. His art on Adam Strange, with its elaborate cityscapes and elegant line-work, remains for many the quintessential American science-fiction comic. In 1964, his work on what was called the “new look” Batman saved that title from cancellation and pointed the way to several refashionings of the character of the next 25 years.

A popular artist and extremely effective cover designer, Infantino scaled back his artistic output at the height of his powers to become DC’s artistic director. He eventually became publisher in 1971 and then president of DC. In all of these positions, Infantino presided over a number of experimental titles and laudatory publishing efforts: comic-book version of pulp characters like The Shadow and Tarzan, the fan favorite Green Lantern-Green Arrow series, the Fourth World saga of Jack Kirby, and the revival of C.C. Beck’s Captain Marvel among the high-profile efforts; the luscious Sergio Aragones/Nick Cardy Bat Lash and the active recruitment of Filipino artists among his most important, lesser-known efforts.

We'll have further coverage next week.

Infantino was not the industry's only death this week. New Yorker cartoonist Ed Fisher passed away, and longtime Archie writer George Gladir also died.

On the site today:

Tucker Stone and co. with the wrap-up. And Lucy Knisley finishes out her week-long residence on the site.


Interview with Gilbert Hernandez are always a treat. Here's one.

Bil Keane will have a statue built in his honor.

I never ran across this group of images by Spain on his Facebook page.

Finally, here's something on self-publishing with a you-guess-it comics connection.




Today, Rob Clough reviews Miriam Katin's Letting Go:

The entire book is drawn in colored pencil. This adds a vibrancy and immediacy to the comic that makes it look like it was ripped right out of Katin's sketchbook. It also allows her to shift from naturalism to a cartoonier style with little effort. Katin's own self-caricature is one of the best I've ever seen from an autobiographical cartoonist. The scribbly lines of her hair, the slightly pointy nose, the tiny but wriggly eyebrows that express so much emotion and the way her posture alternates between slumped shoulders and excitedly active tell the story of a woman who is so often bursting with energy. In real life, Katin is poised, stylish, and charismatic, so it is funny to see her depict herself as slightly disheveled and neurotic in the pages of her book.

And Lucy Knisley is on day four of her Cartoonist's Diary.


—Speaking of Katin, she drew a fun short comic about the NYC launch of her new book tour.

—Another sad comics death this week, with the passing of European cartoonist Fred.

—In a smart get, Tom Spurgeon interviews the Society of Illustrators' Anelle Miller about this year's MoCCA festival. It will be interesting to see how things go there this weekend. People seem enthusiastic about the show in a way I haven't noticed in years.

—The CBLDF has posted a story and short documentary about Ryan Matheson, the young man arrested while crossing the border into Canada a few years ago, because of various manga images customs found on his laptop:

—The Toronto Globe and Mail profiles Shary Boyle in advance of the Venice Biennale, Paul Di Filippo reviews Ben Katchor's Hand-Drying in America, Discaholic Corner interviews R. Crumb about his record collection, and Paul Gravett turns in a late Angoulême report.

—It's been too long since we had a good debate about how much work Stan Lee did versus how much Jack Kirby and the other Marvel artists did, so I'm sad Stephen Bissette posted this old "Bullpen Bulletin" that I'm sure will put the matter to rest forever...

—Serge Gainsbourg loved to laugh.

—Sean Kleefeld finds the missing link in the Prince Valiant/Jack Kirby Demon story... And an unexplained something that had been nagging at my subconscious for years is suddenly free and clear.

—Abhay Khosla unearths a 1997-era art tutorial from Mike Mignola, and Spitzenprodukte does the same for a 1980s UK feminist propaganda comic featuring Tintin.

—Fiona Deans Halloran, author of the new Thomas Nast biography, appeared on C-SPAN2's Book TV.