Artist, activist and ALS warrior Patrick Dean speaks with Eleanor Davis about what they learned from Donald Westlake, how he balanced the bad with the funny in his comic Eddie’s Week, and how he’s making work (including drawing with his eyes) despite his ALS.
Frank Young and James Danky talk about “Wisconsin Funnies”, Danky’s past adventures in comics curation and the challenges of mounting a historical exhibit during a pandemic.
Thanks to Steven Brower, The Comics Journal is pleased to share this never before published interview from 2000 between cartoonist & publisher Dylan Williams and Golden Age titan, Marvin Stein.
UK Comics Laureate Hannah Berry and cartoonist Katriona Chapman talk about the financial state of making comics, the UK Comics Creators Research Report, the lack of diversity in the top earning categories and the need for expanding the comics audience beyond its current niche.
James Romberger catches up with Ralph Reese about what he’s been drawing lately.
An exclusive preview of 2020’s *second* gigantic showcase for recent small-press manga, with extensive commentary by the editors!
Cartoonist Joe Decie and cartoonist Hannah Eaton talk about horror, both folk and personal, and how that informs and appears in her work, especially the recently published Blackwood.
Robert Newsome catches up with Andy Douglas Day, whose 2020 comic Boston Corbett may be the first of its kind: a 1300 page graphic novel that takes its design cue from “a car battery”.
Cartoonist Katie Skelly and Gary Groth talk about Maids, her new graphic novel with Fantagraphics, the real murders that inspired it, and how much they both love Isabelle Huppert.
Aubrey Sitterson talks to Ian Thomas about why doing a good job was actually doing the job badly during his time with the Big Two, why his newest project is going the Kickstarter route, and what the thinks it would take for comics creators to take the power in their own field.
Adrian Tomine talks about parenting and autobiography and how they informed his most recent comic, The Loneliness of The Long Distance Cartoonist with Hillary Brown.
An expansive conversation with Stuart Immonen, whose artistic output reflects his interests: diverse, dynamic and curious. Here, he talks with Alex Dueben about his self-published work (labeled “too serious” by the biter class) and what the “Marvel method” looks like these days. Reminder: he’s not retired!
Julia Gfrörer and Gretchen Felker-Martin discuss the intersection of horror and sex in the pages of Vision, her most recent comic, the most useful methods for dealing with losers online, and the value of an active fantasy life.
Ian Thomas speaks with Sarah Lopez, Lantz Arroyo & Meher Manda about Radix Media, the Brooklyn-based, worker-owned printshop and publisher as they expand their output to include graphic novels, and explain how to make art without hewing to traditional capitalist business models.
Jeffery catches up with Kevin Mutch’s, whose recent graphic novel Rough Pearl is currently preparing longtime Mutch readers for even more, via his 400-odd page webcomic Moon Prince.
The artist behind Crossed, Punisher: Soviet and Providence speaks with Alex about how he ended up responsible for some of the most diabolically unsettling images of the last decade, and what it’s like to go from Alan Moore to Garth Ennis.
Coming off the heels of his collection of American President portraits, Drew Friedman has begun his next collection of historical obsession: underground cartoonists, from Z to A. (That would be from Zap to Arcade.)
A dependable, influential writer for both Marvel & DC Comics sits down with one of his biggest fans for a rapid fire journey through the hits, the misses, and the super-heroes that filled the pages: ladies and gentlemen, it’s Steve Englehart.
Keiler Roberts grapples with the place of comics and artistic creation in her life as the school year begins, and shares some coping strategies that have served her over a difficult summer.
JB Brager’s comics and zine work challenges, educates and inspires, often in equal measure. In this conversation with Ian Thomas, they talk about their earliest inspirations, the responsibilities that come with teaching and what they’ve got planned for the future.
George Horner’s comics-adjacent work is aimed at the Louvre, MOMA, and “a spinner rack in some comic book nerd’s basement man cave”, and he provides enough examples in this conversation with Mark Newgarden for any reader to make the call.
Owen Pomery’s comics combine a fascination with place, architecture and analysis, but that doesn’t mean they are intended to be sterile exercises in design. In this interview with Nicholas Burman, he explains why, for him to better express a theory of architecture, comics are “the best tool for the job”.
Initially delayed by COVID-19, Derf Backderf’s work of graphic nonfiction Kent State arrives now, even as the lessons that its subject matter once taught America about the horrific dangers of state power seem to have been horrifically forgotten. He discusses the history behind the book and how he makes comics with Irene Velentzas.
Irene convinced Tom Gauld to take a break from making books, comics, giant dice, newspaper strips and messing around with math to see what he has to say about…well, all of those things.
