Do you remember yesterday? I often barely remember where I parked but I more or less know what I do day to day. In Transience, Leo Johnson and Ricardo Mo have assembled a collection of stories that build a world wrecked from amnesia.
In a unique science fiction premise, they’ve imagined a world where a series of biological attacks have left cities and towns around the world without the ability to form new memories. Each morning, people wake up with the previous day lost to them. Each story is set in a different city around the world where years have passed since the attack.
The creative teams tackling these stories often come from the location of their story, and make up an international team of collaborators that helped form this world.
The creator of ‘How To Be Happy’ discusses her latest book from Koyama Press, which details her cycling trip from Arizona to Georgia.
In 2014, Fantagraphics published How To Be Happy, a collection of short comics by Eleanor Davis, which immediately established the cartoonist as one of the major figures of her generation. In the book, Davis jumped between styles and approaches, telling different kinds of stories ranging from the fantastic to realistic. Since then she made a children’s book with Drew Weing, Flop To The Top, for Toon Books. She also made the comics novella Libby’s Dad, which came out last fall from Retrofit Comics, and was recently awarded the Slate Book Review 2017 Cartoonist Studio Prize for Best Print Comic.
Davis’ new book, out now from Koyama Press, is You & A Bike & A Road. The book is a series of comics about a bike trip that Davis undertook from Tucson, Arizona, where she grew up, to her home in Athens, Georgia. We spoke recently about the book, the journey, agitprop and more.
When Spaniel Rage was first published in 2005, the collection of diary comics made a splash. Vanessa Davis didn’t come from a comics background, and she had a unique way of laying out and designing pages and her own sensibility. A few years later when Drawn & Quarterly collected many of her short comics in the book Make Me a Woman, it established Davis’ reputation as one of the great cartoonists of her generation.
Since then Davis has been making short comics and illustrations for many publications, including The New York Times, Tablet, Lucky Peach, and elsewhere. Her work has appeared in Fairy Tale Comics, Nursery Rhyme Comics, Kramer’s Ergot, and Best American Comics. D&Q has just reissued Spaniel Rage with a new introduction by Davis. The book remains a striking and vivid book about life in one’s 20s, about New York City, about the life of the young artist. Davis spoke about revisiting her work, what she’s working on now, and The Terry Southern, which she was just awarded for her work for The Paris Review.
Alex Dueben talks to Mark Fertig about his latest book from Fantagraphics, World War II, graphic design and more.
In his recent book Take That, Adolf!, Mark Fertig looks at Golden Age comics and how World War II transformed the industry and the content. While for many people, the appeal of the book may be the hundreds of comic book covers that feature Adolf Hitler being punched and Nazis thwarted, the highlight is Fertig’s long essay.
In that piece Fertig examines race and gender; he looks at how the comics industry was changed, the ways that it’s impossible to think about the business and many characters without the influence of the war, and many more issues. Fertig is an Associate Professor at Susquehanna University in Pennsylvania, where he teaches graphic design, and we spoke about the book, World War II, graphic design and comics in the classroom.
I enjoyed the book – who doesn’t like seeing Hitler get punched repeatedly? When you conceived the book, I’m sure you never imagined that the media would be discussing when it’s acceptable to punch nazis.
Yeah, I did a Twitter search the other day, and the book showed up. I don’t think the book has really worked its way into the public consciousness on any level, and yet it showed up in a political tweet where somebody had linked to the book and said, “This is our book.” I thought that was pretty fascinating. When I wrote it I thought I was writing it for comic book people and World War II people, but if it’s interesting to other people, that’s fine by me.
And in the interest of full disclosure, I should mention that I’ve been blogging with Michael in some form or fashion for about a decade now myself. So I’ve watched from ringside as KAM progressed from a webcomic to a Kickstarter project to a story in Dark Horse Presents and now to this giant-sized collection. It’s a fun story about an Earth overrun with giant monsters and the humans trying to take it back. I’m glad I’ve gotten to watch it come to life, just as I’m happy to talk with the two of them about the project’s origins and what comes next for this world they’ve created.
Plus: New superhero universe Catalyst Prime, comics to fight fake news, Jillian Tamaki, Rico Renzi’s color palette, and more!
What’s up with MAD Magazine?Mark Evanier lays out a brief history of MAD, which has been part of DC Comics for a long time (it’s complicated!), and updates us on its current status, which is… not good. Like pretty much all print magazines, MAD has been struggling for a while, although Evanier thinks editor John Ficarra has been doing a bang-up job. When the rest of DC packed up and moved to Burbank, California, a while ago, the MAD staff stayed, but they are moving out of their New York office at the end of this year, and DC has not been forthcoming with any news about what will happen next, beyond the fact that the magazine is moving to Burbank and only one staffer, a production artist, will be going with it. The February 2018 issue will be the last one produced by the Usual Gang of Idiots. DC has not made any announcements about what happens next, but Evanier suggests following the blog of artist Tom Richmond, one of the most frequent contributors to the magazine, for updates.
Brigid Alverson shares a previously unpublished interview with the creator, who passed away last weekend.
Geoffrey Hayes, the creator of TOON Books’ Benny and Penny series, died last weekend at the age of 69. I met him just once, at the American Library Association midsummer meeting in 2010.
I was actually a longtime fan of his work, because my children loved his Otto and Uncle Tooth picture books. Geoffrey came to comics fairly late, after an artistic dry spell—Francoise Mouly somehow knew to call him and have him create the Benny and Penny comics for TOON Books. But he had always lived a creative life; while I was doing research to write an appreciation, I ran across this essay in which he talks about how he and his brother, Rory Hayes (who was known as an underground cartoonist) spent their childhood creating stories together.
When I heard about Geoffrey’s death, I went through my files looking for a photo of him, and I was surprised to find an interview that I had done in 2010 but never published anywhere. So here it is, seven years later. As delightful as it was to relive that moment, I was also saddened when I got to the end, where he talks about the graphic novel he was working on. That book, Lovo and the Firewolf, was to be his magnum opus, and Fantagraphics was going to publish it next year. His death leaves it incomplete.
What if Pinocchio’s wish was never granted, and he never became a real boy?
Sho Uehara was at work when he turned to a fellow employee and said, “Hey! I have this great idea! What if Pinocchio never got his wish and he was just an empty immortal wooden puppet forever?” Nick Johnson thought it was brilliant, and the two of them started spit firing ideas back and forth until they realized they had an anthology on their hands. Wishless: A Graphic Anthology was born.
“When we realized how intense and how many possibilities there were, I was like, ‘You know, this might be the perfect thing to unify in an anthology,’” Johnson explained. “I wasn’t really into doing anthologies anymore because I had done a bunch already, but by doing one where everyone was tapping that same idea and seeing where they would go with it got us both really excited!”
If you read the Eisner-nominated High Crimes, you know Christopher Sebela has a talent for turning crime stories on their head, setting them up in interesting places with compelling characters. With Short Order Crooks, Sebala leaves Mount Everest behind and heads to Portland’s food truck scene, enlisting the talented George Kambadais and Lesley Atlansky to help cook up a story with equal parts comedy, crime and cooking.
With eight days left on the timer, Short Order Crooks passed its funding goal yesterday on Kickstarter. As they look ahead to their stretch goals, I spoke with both Sebela and Kambadais about the project, food trucks and more.