Today at the Journal, we've got a fresh, meaty look at the latest work from Antoine Cossé, a cartoonist schooled in my favorite philosophy: make, make, make. While he's worked with a number of outlets, is preferred publisher is Breakdown Press--and the new book is called Showtime.
Zanadu Comics will close this coming January. As someone who has directly experienced how incredibly dumb the commentary gets online around the closing of a comic book store, I'll keep it super simple: Zanadu was a wonderful store staffed by wonderful, intelligent, funny and hardworking people. I loved going there, and feel sorry that other people won't get to have that experience.
-Interviews & Profiles.
The Chicago Reader covered an online petition to get Eve Ewing--a poet and sociologist known on Twitter as Wikipedia Brown--hired by Marvel as the new writer for Invincible Iron Man, one of the many comics that Brian Michael Bendis was responsible for. The day after, a larger piece about Eve and the lack of black female comic book writers went up at Shondaland. While Eve's initial interest seemed to be driven mostly by her own amusement and how similarly she and the character style their haircut, the campaign seems to have taken off, especially over the last few days--which is also right around the time it was discovered by racist maniacs and horrified Marvel readers who might be taking themselves a bit too seriously.
Another day, another Emil Ferris article--and this one is in American Libraries, a monthly magazine, which always makes it feel even more intense, because that's prime real estate. It only comes out once a month!
My first champion was a librarian at Gale Elementary School named Mrs. Eldridge. She started me competing in the Illinois History Day competitions, and I got to go down to Springfield. I joke about it, but it seemed that I would shake a governor’s hand, and he would be indicted two months later. It happened more than once.
You might think that Republicans and Democrats can't agree on anything, and if you were basing your opinion solely on social media, you'd be right. But in the real world, Democrats and Republicans all got together and universally agreed that all Federal websitesshould be mobile friendly. Imagine that!
This is the second unauthorized Batman comic to be written by Josh Simmons, that unsparing specialist in physical, emotional and moral breakdown. The first one was a self-published minicomic printed in 2007 under the simple title of Batman and subsequently posted online; it depicted the caped crusader at his most ideologically severe, lecturing a disgusted Catwoman on how he's devised a magnificent means of permanently disfiguring criminals. Batman cannot ever kill, you see, so it's crucial that the superstitious and cowardly lot that is the criminal element be marked - to live forever with the shame of their transgressions, and to be shunned, then, by all the good people of society. On its own, this is not an original idea. Lee Falk's transitional superhero character and Batman predecessor the Phantom left the mark of a skull on the jaws of those villains he struck, while the yet-earlier pulp character the Spider stamped his brand upon the foes he felled, but Simmons' Batman is depicted with unusual intimacy: knees pressing against his chin as he curls up to dream of packed prisons and children getting blasted with fire-hoses, swooning ecstatically, high above a tottering riot of Gotham rooftops.
—Interviews & Profiles. Chris Ware continues to promote his backbreaking new career retrospective, Monograph, which is more or less essential reading for his enthusiasts, and may be the only person alive to appear in the same week on both Charlie Rose and Inkstuds.
At Vulture, Abraham Riesman interviews Walking Dead co-creator Robert Kirkman about his new TV documentary series, Robert Kirkman’s Secret History of Comics, focusing on the "really, really ugly history of the comic-book industry," specifically in regard to creators' rights. (Strangely, Tony Moore's name never comes up.)
Was it hard to get DC and Marvel to play ball, given that a lot of the episodes are pretty critical of them?
A little bit. DC seemed to cooperate a little more than Marvel did. We got access to [DC co-publisher] Jim Lee for the Image episode, which we’re very grateful for. They were very involved in the Milestone episode because they’re doing a Milestone relaunch. But, y’know, I think that a lot of the worst things that Marvel and DC have done in their history, hopefully, are behind them. I think that it’s different people at the helm at this point, and I think they recognize that. So, it wasn’t too terribly difficult. And it’s not like the people that work at DC don’t think that [Superman co-creators Jerry] Siegel and [Joe] Shuster were given the short end of the stick.
At Hyperallergic, Angelica Frey profiles the mysterious GG.
GG chose to publish pseudonymously, as she does not want her work and her art to be overshadowed by her personality or backstory. In fact, when she started seriously writing comics, she initially only wanted to publish online and anonymously. “I agree with Elena Ferrante, who’s stayed totally anonymous, that books don’t need their authors once they’re written — if the work has something to say, it will find the right people to hear and understand it without the author having to speak for it,” she elaborated to me. And indeed, despite GG’s austere and allegorical modes of storytelling, the theme of alienation in I’m Not Here resonates loud and clear.
The popularity of the Moomins spawned an empire of television shows, films, and theme parks, as well as all manner of merchandise from plastic toys to crockery.
But over time, Jansson came to feel exhausted by the Moomins and that their success had obscured her other ambitions as an artist. In 1978, she satirized her situation in a short story titled “The Cartoonist” about a man called Stein contracted to produce a daily strip, Blubby, which has generated a Moomin-like universe of commercial paraphernalia—“Blubby curtains, Blubby jelly, Blubby clocks and Blubby socks, Blubby shirts and Blubby shorts.” “Tell me something,” another cartoonist asks Stein. “Are you one of those people who are prevented from doing Great Art because they draw comic strips?” Stein denies it, but that was precisely Jansson’s fear.
Fire!! takes its name from the short-lived literary journal [Zora Neale] Hurston co-founded and edited with other Harlem Renaissance luminaries, including her roommate Richard Bruce Nugent, Langston Hughes, Wallace Thurman, Countee Cullen, Gwendolyn Bennett, and several others.
Fire!!, which was meant as a shot across the bow of the respectable, middle-class black literary production favored by the likes of Alain Locke and W. E. B. Du Bois’s “talented tenth,” reflects Hurston’s idiosyncratic ideas and deep commitment to African-American cultural production. The journal set out to give voice to the “low” art of Harlem and address many of the taboo issues within the community, including homosexuality, interracial love, and racism. However, Hurston et al. only managed to produce one issue before their headquarters burned to the ground. As Bagge has Hurston say to Bruce Nugent upon hearing the news, “Pretty prophetic, huh?”
After World War II, when the NAACP and other organizations ran campaigns criticizing explicitly racist caricatures in animation, the industry responded by simply ceasing to create black characters of any kind. In Christopher P. Lehman’s The Colored Cartoon he writes: “No theatrical cartoon studio created an alternative black image to the servile, crude, hyperactive clowns of the preceding half-century. The cartoon directors of the 1950s, many with animation careers dating back to the 1920s, had no experience in developing such a figure.” Studio MDHR, in interviews, is quick to point out that they avoided stereotypes in Cuphead; that they focused on “the technical, artistic merit, while leaving all the garbage behind.” The truth may be dirty, and often uncomfortable. But it’s preferable to offering up a bleached white past, while pretending nothing was lost in the process.
What draws you to science fiction? And what makes you so optimistic about humanity’s future and potential?
To tell you the truth, I'm not optimistic about humanity's future. But Solar System and its conclusion were conducted in spite of this, because it's our responsibility to look up, for as long as we populate this planet. Our main problem as a species is that "look up" means different things to different traditions.
Science fiction is the ultimate escape from this mess. Anything can be possible, even hope. Although, I can't help but wonder if we turn to fantasy to satisfy the impulse to do something, which then quenches that initiative. Too much escape, and nothing will happen in the real world. As a storyteller, my hat is off to those who did get their degrees—via an institution or the street—and are struggling to make a difference.
-News. This Montreal Gazette profile of Drawn & Quarterly's recent expansion in the retail market--they opened a children's bookstore--is meaty and full of insight into what it takes to be an indie in the Amazon era. If you've run into Peggy in the past year and talked to her for more than a few minutes, you already know how much of a positive impact the first D&Q store has had on their neighborhood. The retail passion is REAL.
"Warner Bros and DC Entertainment have terminated the employment of DC Comics Group Editor Eddie Berganza," the company said in a statement. "We are committed to eradicating harassment and ensuring that all employees, as well as our freelance community, are aware of our policies, are comfortable reporting any concerns and feel supported by our Company."
You can take your pick of news outlets for this story, I chose the Newsweek one because it was one of the few that acknowledged how long the Berganza stories have been around. It would be repugnant to twist this particular story into some kind of "look how far things have come" narrative...and yet, I can't help but be glad that, at the age of 53, Eddie Berganza is out of a job and will now have to attempt to find another one with this particular black mark against him. It's a cheap, petty thing to say. And yet this is a man who treated women cheaply, and dismissed their feelings, lives and careers as petty things, beneath his concern. It is unlikely he did anything abhorrent enough to be punished in a court of law. His friends have yet to abandon him, and most likely never will. So for today, for this week--I think it is fine to acknowledge the victory. It was too long in the making, and it isn't enough. But it is something.
Chris Mautner is here with a review of Ulli Lust's most recently translated book, Voices in the Dark.
Ulli Lust’s North American debut, Today Is the Last Day of the Rest of Your Life, was a harrowing, heartbreaking and incredibly powerful work. Her 2013 graphic novel, Voices in the Dark, released recently in the U.S. by New York Review Comics, strives to be just as ambitious and emotionally wrenching. It unfortunately isn’t, but it's not for lack of trying, and it does prove that Lust is more than a flash-in-the-pan cartoonist.
An adaptation of a novel by German author Marcel Beyer,Voices in the Dark tells the story of two people during the second world war: Helga Goebbels, the eldest daughter of Nazi propaganda minister Joseph Goebbels, and Hermann Karnau, a fictional sound engineer who ends up working for the Nazis and finds himself in the Führerbunker, alongside Helga and her siblings, during the final days of the Third Reich.
One of the biggest problems with Voices lies in the character of Karnau. I have no problem with an unsympathetic or unlikeable protagonist, but Karnau is: a) clearly designed to be a surrogate for the reader; b) really boring.
—News. The biggest news in comics began on Friday with the publication of a lengthy, well-reported BuzzFeed story detailing accusations of sexual harassment leveled against the longtime DC editor Eddie Berganza.
Among the women who reported Berganza to human resources, none still work for DC. None are even working at mainstream comics publishers anymore; they’ve largely put superheroes behind them.
“We all left, and he’s still there,” said Janelle Asselin, a former DC editor who spearheaded the multi-employee HR complaint against Berganza in 2010. “That, to me, tells me what DC Comics’ priority is.”
Berganza did not respond to requests for comment for this story. A representative for DC Comics said DC and WB were “committed” to a harassment-free workplace. Unlike cases in other industries, the people who spoke to BuzzFeed News did not know of settlements, payouts, or nondisclosure agreements with women who say Berganza harassed them. Instead, what has kept many of these stories confined to gossip, blogs, and occasional social media posts is the small size of the comics industry, and fear of being blacklisted by the biggest publishers in comics.
Later in the weekend, DC announced that Berganza had been suspended pending review:
DC Entertainment has immediately suspended Mr. Berganza and has removed him from performing his duties as Group Editor at DC Comics. There will be a prompt and yet careful review into next steps as it relates to the allegations against him, and the concerns our talent, employees and fans have shared. DC continues to be extremely committed to creating a safe and secure working environment for our employees and everyone involved in the creation of our comic books.
This is the most prominent story involving sexual misconduct in comics, but not the only one, as accusations have been made against at least two cartoonists involved in small-press comics. After we gain more information, we will report on those.
—Interviews. At the Los Angeles Review of Books, Nathan Goldman interviewed Eli Valley.
Speaking of that, you get a lot of shit from the Jewish right: Commentary’s John Podhoretz called you a kapo, meaning a Jew who cooperated with Nazis; The New York Times’s Bret Stephens called your work “grotesque” and “wretched.” How do you feel about those kinds of remarks?
I think they’re despicable, but they’re entitled to their views. “Grotesque” and “wretched” is fine, actually. “Kapo” is inexcusable — although I’ve been using it lately. However, I think when I’ve been using it, talking about people who are normalizing Nazism in the United Staes, it has much more relevance and accuracy than calling me a kapo for doing a comic that was a cry of anguish after a Palestinian boy was burnt alive. That’s literally why Podhoretz called me a kapo.
—Reviews & Commentary. Jason Shiga has written a guest post for the science fiction magazine Locus about the final volume of Demon.
Science fiction has always been my favorite genre, especially when the story takes the form of scientific discovery itself. There’s something incredibly satisfying about the classic scientific method of observing, imagining, testing and finally getting a clear answer from the universe about some fundamental way it’s structured. I feel the human mind has a science shaped keyhole in it and hearing a good story or joke or cleverly designed experiment all satisfy that same part of the brain. It could be Sherlock Holmes figuring out that what everyone else thought was a ghost was just a (spoiler for 100 year old story) dog covered in luminescent paint. In a way, I think all great fiction is science fiction of a sort.
Ytournel is the brightest and probably funniest newspaper cartoonist in Denmark. At their best, his strips break the old, long-established boundaries in terms of format, medium and — most importantly — humour, demonstrating that editorial cartooning can be different and creative, in spite of prescriptive tradition. And he is just plain funny, blending political with keenly observed, social satire. He has an eye for the absurdity and vanity in the banal details of diction and posture that other cartoonists either don’t notice or find too shallow to mine for commentary. This book collects his best work from more than a decade’s worth of work at the daily newspaper Politiken, including his brilliant 2013 comics inset on Søren Kierkegaard, written and drawn on the occasion of the world-famous Danish philosopher’s bicentenary. In it, he not only provides an ‘Existentialism for Beginners-type intro, but also comments hilariously on recent reception history and attendant controversy, and most poignantly situates Kierkegaard’s relevance to the average life of an average person wanting to be a football coach.
Today at TCJ, we've got an excerpt from the upcoming Chuck Forsman release, I Am Not Okay With This. Chuck is my brother from another mother, so you can view this as an abuse of power if you'd like, I am not in charge of your feelings. The new book is more teenage angst, and the first time Chuck did teenage angst, it got turned into a television series on Channel 4 with a soundtrack by the guy from Blur. Does it sound like i'm bragging about my friend Chuck? That's because I am. Because Chuck got a big time television show, and he got it by making a comic book in his house and selling it for a dollar a piece to people through the mail, as opposed to hanging around Meltdown in Los Angeles and chicken-hawking people with hooves for feet. If we don't brag about the times when good people find success, we're leaving the whole thing up to the assholes who are gonna run their mouths anyway. Congratulations, Chuck.
Excerpts are all the rage, it seems--here's one from Julie Maroh over at Buzzfeed from her latest,Body Music. It took me a second, but then I got it. Okay, more than a second. You should time it for yourself!
If you wanted to read any of Lucas Siegel's articles for StarWars.com--why?--you can't, because they've all been removed from the site, and his bio page no longer exists. There's still been no public statement from any of the sites where Lucas used to work, despite the fact that all of the allegations of harassment made against him so far seem to have taken place during the time he was working directly for those companies. I asked Newsarama about the allegations earlier this week, and was told the following by the Senior Director of Marketing and Communications at Purch, the company which currently owns Newsarama.
"We will not provide comment on the specifics of Lucas Siegel’s employment at Purch, or the specifics of employment for any other Purch employee, other than to verify that he was an employee from 2009 – 2014."
What's interesting about this story so far is that, while it does appear obvious that these companies let Lucas go in part due to the allegations of sexual harassment made against him, none of these companies appear to be willing to admit that's what they've done. Normally, a company would want to get out in front of a story like this, and make it clear that, when an employee violates their sexual harassment policy (thus putting said company in danger of a lawsuit by the victims of harassment), they look after their people. That isn't what's happening here.
It's almost like these companies aren't worried that any of the websites that cover this particular subculture are going to take the time to write about this story in any substantive fashion.
Here's a nice round up of what most struck the fancy of the Seattle Review of Books when they went by the most recent Short Run Festival.
I'm at a show myself right now (AASL), and while I'm sorry to miss seeing my friends at CAB--I can't remember the last time I didn't attend that show, and i've exhibited the last five--it would be disingenuous to act as if i'm not enjoying myself. Attending library shows with comics, even in the most minor proximity, is one of the most tremendously psychologically and professionally rewarding things one can do, and shows driven by buying and selling just can't compete. These shows aren't without their challenges, the primary one being that a good bit of the success comics has found in libraries has been won by using them as the gateway drug that will hook reluctant readers on "real" books, i.e. prose--but even the fact that that mentality is being acknowledged as a challenge is a good sign, and the conversations surrounding such subjects is one full of curiosity. I wish more comics artists and publishers would attend these shows for the artform as a whole, but selfishly--it sure does make what I do so much easier when there's only a handful of us to visit.
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.
[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.
"Is it possible to have a comics festival on the East Coast and not have Peter Kuper as a featured guest? How did you keep Dean Haspiel from attending?
Kuper is a featured guest, partly because he is awesome and partly because he is a Pratt alum. We want Pratt to feel good about our newfound partnership and are taking the opportunity to focus on alumni who have impacted comics culture, such as Kuper, Bill Griffith, Paul Karasik, and Jules Feiffer, who will all participate in programming. I can just hear Haspiel bitching that I didn't personally handcraft a royal invitation for him to participate, but nobody gets that treatment around here. But really, he has been involved in our show in the past and I would love to have him."
While it might be fun to ignore yesterday’s latest development in the longest and dumbest fight between two entertainment conglomerates, ya gotta admit: DC hiring away Brian Michael Bendis, the dominant creative voice behind the last two decades of Marvel Comics is big news. It’s not as big as it would have been seven years ago when the creator in question was still king shit of fuck mountain, but it's DC Comics--they didn't get ahold of John Romita Jr. when he was still taking chances, either. There's a lot of uninteresting articles out surrounding the move, but what unifies all of them is the total lack of access to the people and company involved. The move was announced via the DC Comics Twitter account at 6 in the morning,with a follow up tweet coming from Bendis a few hours later--and the rest of the day consisted of thinkpieces and shot-from-the-hip takes until George Gene Gustines remembered where he'd written down Brian's phone number. You'd think years of cheerleading might get you more access, but apparently, that isn't the case.
Anyway. If you've read a few Bendis comics in your time, then your prediction of "what this means" is as valid as the next persons. They will probably be readable, have a compelling enough thru-line that you will be curious about what happens next even if you don't really enjoy the experience. They will have too many words. But whatever it is, it'll just be another super-hero comic. It won't be as good as the ones you read when you were younger, it will be too expensive, and it will probably be drawn by someone you don't like. Enjoy!
ONWARD, TO INTERVIEWS
Jesse Jacobs, whose only failing seems to be that he's so effortlessly interesting that I take for granted that he'll keep getting better and have forgotten to be surprised at how consistently he does exactly that, is as fascinating an interview subject as he is a cartoonist. He showed up at Hazlitt in an interview with Matthew James-Wilson, the same person whose praises are being sung in today's Gabe Fowler interview.
I thought this Kelly Sue DeConnick interview was pretty interesting. I haven't read much of her writing, but it's rare to see a comics creator speak with such frankness about the nature of creative work. DeConnick seems to have been saddled with the "explain sexism to people" role that certain women in comics get assigned when they're smart and successful, and she handles that task with real passion.
Those of you suffering from Dan Nadel withdrawal will get some temporary relief today, as we present his interview with Paul Karasik and Mark Newgarden, regarding their extraordinary new book, How to Read Nancy.
You mention a few times that Nancy has not received the historical attention (or affection) it deserves. I wonder if that’s because is so prosaic on the surface. What is it about the way comic-strip history has been written that you think kept out Nancy? Is part of your contention that the almighty gag is equal to, say, the emotional heft of Krazy Kat or Peanuts, or the grandeur of Little Nemo? I think the answer is yes, and I agree, but perhaps you can explain a bit.
Krazy Kat and Little Nemo resemble “Art.” Peanuts resembles “Philosophy.” Nancy resembles nothing more and nothing less than a comic strip (and a gag-driven, self-proclaimed “dumb” one at that), hence: easily dismissed from the canon.
The public’s affection has always been there. Savvy critics such as Manny Farber certainly “got” Nancy at the time of its initial popularity, but the next wave (1960s–1990s) of “serious” comics historians tended to revile the strip, for a variety of reasons that reveal more about their agenda (and their generational bias), than the merits of the work. Nancy was simply a hard sell for anybody trying to get the middlebrow public to take comics “seriously” when, for whatever reason, that was the name of the game. This includes the heroic Bill Blackbeard who single-handedly archived complete runs of nearly every 20th century American comic strip of consequence except Nancy, so deep was his ambivalence. (Due to this sin of omission, as far as we know, there is no complete hardcopy run of this once–ubiquitous comic strip left on planet earth.)
Our choice of the late, great Jerry Lewis for a foreword was highly intentional, yet despite some obvious parallels, Ernie Bushmiller never had the contemporary equivalent of the French New Wave publicly championing his work. Lewis gave us a great compliment in saying that ours is “a book that was written with an infinite care rarely seen in today’s world.” This is how we feel about Nancy.
We hope that How To Read Nancy will encourage the skeptics (who assume that Nancy was just another vapid kiddie strip), as well as the hipsters (who Instagram their Sluggo tattoos, yet have never actually read it), to reevaluate and appreciate the mastery of Bushmiller’s work.
My own profession currently seems divided between comics fiction and comics memoir, the former more or less growing out of the childish fantasies now grotesquely metastasised as “superhero stories for adults” — which makes about as much sense to me as writing pornography for children. Some middle-aged colleagues and I believe literary comics fiction is possible without resorting to fantastical heroics, however, and the youngest and finest exemplar, 28-year-old Nick Drnaso, offers a new book next year to possibly top us all: Sabrina, about a missing woman, a video and the unspeakable possibilities of our contemporary mitigated reality. (After I recommended his first, Beverly, to Zadie Smith, she wrote back a one-word review: “wow,” and she’s just called Sabrina “the best book – in any medium – I have read about our current moment”.) I have no doubt that if Nick keeps it up, he will do things on paper that no other human has yet imagined (he basically already is), and that’s the best kind of heroism imaginable.
The series is pretty much peak-level Nilsen, but what immediately struck me about this 48 page comic is how it mixes and matches various Nilsen themes and approaches from over the years. There's the apocalyptic quality of his mythological work like Rage of Poseidon and his classic short story "Sisyphus" from Kramer's Ergot. There's the typical wrecked and bombed-out backgrounds of Big Questions, complete with intelligent animals. There's even the central character from Dogs and Water on a walkabout, his teddy bear still strapped to his backpack. It's a recapitulation of his entire career, yet it still feels fresh and bold.
David Lasky and Mairead Case have been chosen by the city of Seattle to create a comics history of the Georgetown Steam Plant.
The team will begin work immediately with in-depth research. As part of the project, they will be sharing progress throughout the next year in a combination of online updates on their blog at SteamPlantGraphicNovel and in-person events.