Conversations with Comic Artists Series – serie

The early 1980s saw a revolution in mainstream comics--in subject matter, artistic integrity, and creators' rights--as new methods of publishing and distribution broadened the possibilities. Among those artists utilizing these new methods, Chester Brown (b. 1960) quickly developed a cult following due to the undeniable quality and originality of his Yummy Fur (1983-1994).Chester Brown: Conversations collects interviews covering all facets of the cartoonist's long career and includes several pieces from now-defunct periodicals and fanzines. It also includes original annotations from Chester Brown, provided especially for this book, in which he adds context, second thoughts, and other valuable insights into the interviews. Brown was among a new generation of artists whose work dealt with decidedly non-mainstream subjects. By the 1980s comics were, to quote a by-now well-worn phrase, ""not just for kids anymore,"" and subsequent censorious attacks by parents concerned about the more salacious material being published by the major publishers--subjects that routinely included adult language, realistic violence, drug use, and sexual content--began to roil the industry. Yummy Fur came of age during this storm and its often-offensive content, including dismembered, talking penises, led to controversy and censorship.With Brown's highly unconventional adaptations of the Gospels, and such comics memoirs as The Playboy (1991/1992) and I Never Liked You (1991-1994), Brown gradually moved away from the surrealistic, humor oriented strips toward autobiographical material far more restrained and elegiac in tone than his earlier strips. This work was followed by Louis Riel (1999-2003), Brown's critically acclaimed comic book biography of the controversial nineteenth-century Canadian revolutionary, and Paying for It (2011), his best-selling memoir on the life of a john.

Michael Allred stands out for his blend of spiritual and philosophical approaches with an art style reminiscent of 1960s era superhero comics, which creates a mixture of both postmodernism and nostalgia. His childhood came during an era where pop art and camp embraced elements of kitsch and pastiche and introduced them into the lexicon of popular culture. Allred's use of both in his work as a cartoonist on his signature comic book Madman in the early 1990s offset the veiled autobiography of his own spiritual journey through Mormonism and struggles with existentialism.Thematically, Allred's work deals heavily with the afterlife as his creations struggle with the grander questions--whether his modern Frankenstein hero Madman, cosmic rock 'n' roller Red Rocket 7, the undead heroine of iZombie (co-created with writer Chris Roberson), or the cast of superhero team book The Atomics. Allred also enjoys a position in the creator-driven generation that informs the current batch of independent cartoonists and has experienced his own brush with a major Hollywood studio's aborted film adaptation of Madman. Allred's other brushes with Hollywood include an independent adaptation of his comic book The G-Men from Hell, an appearance as himself in Kevin Smith's romantic comedy Chasing Amy (where he provided illustrations for a fictitious comic book), the television adaptation of iZombie, and an ongoing relationship with director Robert Rodriguez on a future Madman film.Michael Allred: Conversations features several interviews with the cartoonist from the early days of Madman's success through to his current mainstream work for Marvel Comics. To read them is to not only witness the ever-changing state of the comic book industry, but also to document Allred's growth as a creative genius.

Ed Brubaker (b. 1966) has emerged as one of the most popular, significant figures in art comics since the 1990s. Most famous as the man who killed Captain America in 2007, Brubaker's work on company-owned properties such as Batman and Captain America and creator-owned series like Criminal and Fatale live up to the usual expectations for the superhero and crime genres. And yet, Brubaker layers his stories with a keen self-awareness, applying his expansive knowledge of American comic book history to invigorate his work and challenge the dividing line between popular entertainment and high art. This collection of interviews explores the sophisticated artist's work, drawing upon the entire length of the award-winning Brubaker's career.With his stints writing Catwoman, Gotham Central, and Daredevil, Brubaker advanced the work of crime comic book writers through superhero stories informed by hard-boiled detective fiction and film noir. During his time on Captain America and his series Sleeper and Incognito, Brubaker revisited the conventions of the espionage thriller. With double agents who lose themselves in their jobs, the stories expose the arbitrary superhero standards of good and evil. In his series Criminal, Brubaker offered complex crime stories and, with a clear sense of the complicated lost world before the Comics Code, rejected crusading critic Fredric Wertham's myth of the innocence of early comics.Overall, Brubaker demonstrates his self-conscious methodology in these often little-known and hard-to-find interviews, worthwhile conversations in their own right as well as objects of study for both scholars and researchers.

Canadian cartoonist Gregory Gallant (b. 1962), pen name Seth, emerged as a cartoonist in the fertile period of the 1980s, when the alternative comics market boomed. Though he was influenced by mainstream comics in his teen years and did his earliest comics work on Mister X, a mainstream-style melodrama, Seth remains one of the least mainstream-inflected figures of the alternative comics' movement. His primary influences are underground comix, newspaper strips, and classic cartooning.These interviews, including one career-spanning, definitive interview between the volume editors and the artist published here for the first time, delve into Seth's output from its earliest days to the present. Conversations offer insight into his influences, ideologies of comics and art, thematic preoccupations, and major works, from numerous perspectives--given Seth's complex and multifaceted artistic endeavours. Seth's first graphic novel, It's a Good Life, If You Don't Weaken, announced his fascination with the past and with earlier cartooning styles. Subsequent works expand on those preoccupations and themes. Clyde Fans, for example, balances present-day action against narratives set in the past. The visual style looks polished and contemplative, the narrative deliberately paced; plot seems less important than mood or characterization, as Seth deals with the inescapable grind of time and what it devours, themes which recur to varying degrees in George Sprott, Wimbledon Green, and The Great Northern Brotherhood of Canadian Cartoonists.

Peter Kuper (b. 1958), one of America's leading cartoonists, has created work recognized around the world. His art has graced the pages and covers of numerous magazines and newspapers, including Time, Newsweek, the New Yorker, Harper's, Mother Jones, the Progressive, the Nation, and the New York Times. He is also a longtime contributor to Mad magazine, where he has been writing and drawing Spy vs. Spy for nearly two decades. He is the cofounder and coeditor of World War 3 Illustrated, the cutting-edge magazine devoted to political graphic art. His graphic novels have explored the medium from comics journalism and autobiography to fiction and literary adaptations. Among the works examined herein are his books The System, Sticks and Stones, Stop Forgetting to Remember, Diario de Oaxaca, and adaptations of Franz Kafka's The Metamorphosis and Upton Sinclair's The Jungle. Kuper also discusses his recently published opus, the 328-page Ruins, inspired by his experiences in Oaxaca, Mexico.Along with two dozen black-and-white images, this volume features ten lively, informative interviews with Kuper, including a career-spanning lengthy new interview. The book also includes a quartet of revealing interviews with underground comix legends R. Crumb and Vaugh Bod?, Mad magazine publisher William Gaines, and Jack Kirby, co-creator of mainstream superheroes from the Avengers to the Fantastic Four. These interviews were conducted by Kuper and fellow artist Seth Tobocman in the early 1970s, when they were teenagers. Most of the interviews collected in this book are either previously unpublished or long out of print, and they address such varied topics as the nuts and bolts of creating graphic novels, world travels, teaching at Harvard University, Hollywood deal-making, climate change, Spy vs. Spy, New York City in the 1970s and 1980s, Mad magazine, and World War 3 Illustrated.

Virtuoso Chris Ware (b. 1967) has achieved some noteworthy firsts for comics. The Guardian First Book Award for Jimmy Corrigan: The Smartest Kid on Earth was the first major UK literary prize awarded for a graphic novel. In 2002 Ware was the first cartoonist included in the Whitney Biennial.Like Art Spiegelman or Alison Bechdel, Ware thus stands out as an important crossover artist who has made the wider public aware of comics as literature. His regular New Yorker covers give him a central place in our national cultural conversation. Since the earliest issues of ACME Novelty Library in the 1990s, cartoonist peers have acclaimed Ware's distinctive, meticulous visual style and technical innovations to the medium. Ware also remains a literary author of the highest caliber, spending many years to create thematically complex graphic masterworks such as Building Stories and the ongoing Rusty Brown.Editor Jean Braithwaite compiles interviews displaying both Ware's erudition and his quirky self-deprecation. They span Ware's career from 1993 to 2015, creating a time-lapse portrait of the artist as he matures. Several of the earliest talks are reprinted from zines now extremely difficult to locate. Braithwaite has selected the best broadcasts and podcasts featuring the interview-shy Ware for this volume, including new transcriptions. An interview with Marnie Ware from 2000 makes for a delightful change of pace, as she offers a generous, supremely lucid attitude toward her husband and his work. Candidly and humorously, she considers married life with a genius in the house. Brand-new interviews with both Chris and Marnie Ware conclude the volume.

For fans of Peter Bagge (b. 1957) and his bracing satirical writing and drawing, this collection offers a perfect means to track how he describes his career choices, work habits, preoccupations, and comedic sensibility since the 1980s. Featuring a new interview and much previously unavailable material, this book delivers insightful, occasionally gossipy, sometimes funny, and often tart conversations. His career has intersected with the modern history of comics, from underground comix and indie comics to comics journalism and graphic nonfiction.Bagge's detailed, garrulous, and often grotesquely funny (and discomfiting) work harks back to the underground generation, recalling Robert Crumb and Gilbert Shelton, while also pointing forward to the emergence of alternative comics as a distinct genre. His signature series, the rawly humorous Hate (1990-1998) and his editorship (1983-1986) of the often outrageous Weirdo magazine, founded by Crumb, established Bagge as a leading voice in alternative comics, and his rude, wildly expressive cartooning makes him a counterpoint to the still introspection of recent literary graphic novels.In his career over three decades, Bagge has left his mark on various formats and genres, as a prolific cartoonist, an accomplished musician, and a sometime essayist, editor, and animator. While his creative output encompasses autobiographical comics, graphic nonfiction, magazine illustrations, gag cartoons, minicomics, political commentary, superhero parodies, comic strips, animated videos, and one-page humor pieces, Bagge stands out for creating continuity-based graphic stories that revolve around sharply defined, over-the-top fictional characters. Libertarians know him for his comics journalism, as his graphic biography of Margaret Sanger in 2013 reaches new audiences. While some have lazily branded Bagge as a grunge-era visual satirist, his creative restlessness and expanding body of work make it difficult to confine him within any single genre, cultural niche, or historical moment.

As an American comic book writer, editor, and businessman, Jim Shooter (b. 1952) remains among the most important figures in the history of the medium. Starting in 1966 at the age of fourteen, Shooter, as the young protégé of verbally abusive DC editor Mort Weisinger, helped introduce themes and character development more commonly associated with DC competitor Marvel Comics. Shooter created several characters for the Legion of Super-Heroes, introduced Superman’s villain the Parasite, and jointly devised the first race between the Flash and Superman.When he later ascended to editor-in-chief at Marvel Comics, the company, indeed the medium as a whole, was moribund. Yet by the time Shooter left the company a mere decade later, the industry had again achieved considerable commercial viability, with Marveldominating the market. Shooter enjoyed many successes during his tenure, such as Chris Claremont and John Byrne’s run on the Uncanny X-Men, Byrne’s work on the Fantastic Four, Frank Miller’s Daredevil stories, Walt Simonson’s crafting of Norse mythology in Thor, and Roger Stern’s runs on Avengers and The Amazing Spider-Man, as well as his own successes writing Secret Wars and Secret Wars II. After a rift at Marvel, Shooter then helped lead Valiant Comics into one of the most iconic comic book companies of the 1990s, before moving to start-up companies Defiant andBroadway Comics.Interviews collected in this book span Shooter’s career. Included here is a 1969 interview that shows a restless teenager; the 1973 interview that returned Shooter to comics; a discussion from 1980 during his pinnacle at Marvel; and two conversations from his time at Valiant and Defiant Comics. At the close, anextensive, original interview encompasses Shooter’s full career.

Ed Brubaker (b. 1966) has emerged as one of the most popular, significant figures in art comics since the 1990s. Most famous as the man who killed Captain America in 2007, Brubaker’s work on company-owned properties such as Batman and Captain America and creator-owned series like Criminal and Fatale live up to the usual expectations for the superhero and crime genres. And yet, Brubaker layers his stories with a keen self-awareness, applying his expansive knowledge of American comic book history to invigorate his work and challenge the dividing line between popular entertainment and high art. This collection of interviews explores the sophisticated artist’s work, drawing upon the entire length of the award-winning Brubaker’s career.With his stints writing Catwoman, Gotham Central, and Daredevil, Brubaker advanced the work of crime comic book writers through superhero stories informed by hard-boiled detective fiction and film noir. During his time on Captain America and his series Sleeper and Incognito, Brubaker revisited the conventions of the espionage thriller. With double agents who lose themselves in their jobs, the stories expose the arbitrary superhero standards of good and evil. In his series Criminal, Brubaker offered complex crime stories and, with a clear sense of the complicated lost world before the Comics Code, rejected crusading critic Fredric Wertham’s myth of the innocence of early comics.Overall, Brubaker demonstrates his self-conscious methodology in these often little-known and hard-to-find interviews, worthwhile conversations in their own right as well as objects of study for both scholars and researchers.

Michael Allred (b. 1962) stands out for his blend of spiritual and philosophical approaches with an art style reminiscent of 1960s era superhero comics, which creates a mixture of both postmodernism and nostalgia. His childhood came during an era where pop art and camp embraced elements of kitsch and pastiche and introduced them into the lexicon of popular culture. Allred’s use of both in his work as a cartoonist on his signature comic book Madman in the early 1990s offset the veiled autobiography of his own spiritual journey through Mormonism and struggles with existentialism.Thematically, Allred’s work deals heavily with the afterlife as his creations struggle with the grander questions—whether his modern Frankenstein hero Madman, cosmic rock ’n’ roller Red Rocket 7, the undead heroine of iZombie (co-created with writer Chris Roberson), or the cast of superhero team book The Atomics. Allred also enjoys a position in the creator-driven generation that informs the current batch of independent cartoonists and has experienced his own brush with a major Hollywood studio’s aborted film adaptation of Madman. Allred’s other brushes with Hollywood include an independent adaptation of his comic book The G-Men from Hell, an appearance as himself in Kevin Smith’s romantic comedy Chasing Amy (where he provided illustrations for a fictitious comic book), the television adaptation of iZombie, and an ongoing relationship with director Robert Rodriguez on a future Madman film.Michael Allred: Conversations features several interviews with the cartoonist from the early days of Madman’s success through to his current mainstream work for Marvel Comics. To read them is to not only witness the ever-changing state of the comic book industry, but also to document Allred’s growth as a creative genius.

Author Michael Chabon described Ben Katchor (b. 1951) as “the creator of the last great American comic strip.” Katchor’s comic strip Julius Knipl, Real Estate Photographer: Stories, which began in 1988, brought him to the attention of the readers of alternative weekly newspapers along with a coterie of artists who have gone on to public acclaim. In the mid-1990s, NPR ran audio versions of several Julius Knipl stories, narrated by Katchor and starring Jerry Stiller in the title role.An early contributor to RAW, Katchor has contributed to Forward, New Yorker, Slate, and weekly newspapers. He edited and published two issues of Picture Story, which featured his own work, with articles and stories by Peter Blegvad, Jerry Moriarty, and Mark Beyer. In addition to being a dramatist, Katchor has been the subject of profiles in the New Yorker, a recipient of a MacArthur “Genius Grant” and a Guggenheim Fellowship, and a fellow at both the American Academy in Berlin and the New York Public Library.Katchor’s work is often described as zany or bizarre, and author Douglas Wolk has characterized his work as “one or two notches too far” beyond an absurdist reality. And yet the work resonates with its audience because, as was the case with Knipl’s journey through the wilderness of a decaying city, absurdity was only what was usefully available; absurdity was the reality. Julius Knipl, Real Estate Photographer: Stories presaged the themes of Katchor’s work: a concern with the past, an interest in the intersection of Jewish identity and a secular commercial culture, and the limits and possibilities of urban life.

Peter Kuper (b. 1958), one of America's leading cartoonists, has created work recognized around the world. His art has graced the pages and covers of numerous magazines and newspapers, including Time, the New Yorker, Mother Jones, and the New York Times. He is also a longtime contributor to Mad magazine, where he has been writing and drawing Spy vs. Spy for nearly two decades. He is the cofounder and coeditor of World War 3 Illustrated, the cutting-edge magazine devoted to political graphic art. Along with two dozen images, this volume features ten lively, informative interviews with Kuper. The book also includes a quartet of revealing interviews with underground comix legends R. Crumb and Vaughn Bodé, Mad magazine publisher William Gaines, and Jack Kirby, co-creator of mainstream superheroes from the Avengers to the Fantastic Four. These were conducted by Kuper and fellow artist Seth Tobocman in the early 1970s, when they were teenagers.Kuper's graphic novels have explored the medium from comics journalism and autobiography to fiction and literary adaptation. Most of the interviews collected in this book are either previously unpublished or long out of print, and they address such varied topics as the nuts and bolts of creating graphic novels, world travels, teaching at Harvard University, Hollywood deal-making, climate change, Spy vs. Spy, New York City in the 1970s and 1980s, Mad magazine, and World War 3 Illustrated. Among the works examined herein are his books The System, Sticks and Stones, Stop Forgetting to Remember, Diario de Oaxaca, and adaptations of Franz Kafka's The Metamorphosis and Upton Sinclair's The Jungle. Kuper also discusses his recently published opus, the 328-page Ruins, inspired by his experiences in Oaxaca, Mexico. This book is the 2016 Eisner Award Winner for Best Graphic Album.

I think that if you're an editor, and you do what's right, you occasionally have to say 'no' to people. To the good people, the professionals, that's fine. But the people who are 'hacks,' they won't like that.""As an American comic book writer, editor, and businessman, Jim Shooter (b. 1951) remains among the most important figures in the history of the medium. Starting in 1966 at the age of fourteen, Shooter, as the young protégé of verbally abusive DC editor Mort Weisinger, helped introduce themes and character development more commonly associated with DC competitor Marvel Comics. Shooter created several characters for the Legion of Super-Heroes, introduced Superman's villain the Parasite, and jointly devised the first race between the Flash and Superman.When he later ascended to editor-in-chief at Marvel Comics, the company, indeed the medium as a whole, was moribund. Yet by the time Shooter left the company a mere decade later, the industry had again achieved considerable commercial viability, with Marvel dominating the market. Shooter enjoyed many successes during his tenure, such as Chris Claremont and John Byrne's run on the Uncanny X-Men, Byrne's work on the Fantastic Four, Frank Miller's Daredevil stories, Walt Simonson's crafting of Norse mythology in Thor, and Roger Stern's runs on Avengers and The Amazing Spider-Man, as well as his own successes writing Secret Wars and Secret Wars II. After a rift at Marvel, Shooter then helped lead Valiant Comics into one of the most iconic comic book companies of the 1990s, before moving to start-up companies Defiant and Broadway Comics.Interviews collected in this book span Shooter's career. Included here is a 1969 interview that shows a restless teenager; the 1973 interview that returned Shooter to comics; a discussion from 1980 during his pinnacle at Marvel; and two conversations from his time at Valiant and Defiant Comics. At the close, an extensive, original interview encompasses Shooter's full career.

Due to the huge success of her graphic memoir Fun Home: A Family Tragicomic in 2006 and its subsequent Tony Award-winning musical adaptation in 2009, Alison Bechdel (b. 1960) has recently become a household name. However, Bechdel, who has won numerous awards including a MacArthur Fellowship, has been writing and drawing comics since the early 1980s. Her comic strip Dykes to Watch Out For (DTWOF) stood out as one of the first to depict lesbians in popular culture and is widely hailed as an essential LGBTQ resource. It is also from this comic strip that the wildly popular Bechdel Test-a test to gauge positive female representation in film-obtained its name. While DTWOF secured Bechdel's role in the comics world and queer community long before her mainstream success, Bechdel now experiences notoriety that few comics artists ever achieve and that women cartoonists have never attained.Spanning from 1990 to 2017, Alison Bechdel: Conversations collects ten interviews that illustrate how Bechdel uses her own life, relationships, and contemporary events to expose the world to what she has referred to as the ""fringes of acceptability""-the comics genre as well as queer culture and identity. These interviews reveal her intentionality in the use of characters, plots, structure, and cartooning to draw her readers toward disrupting the status quo.Starting with her earliest interviews on public access television and in little-known comics and queer presses, Rachel R. Martin traces Bechdel's career from her days with DTWOF to her popularity with Fun Home and Are You My Mother? This volume includes her ""one-off"" DTWOF strips from November 2016 and March 2017 (not anthologized anywhere else) and in-depth discussions of her laborious creative process as well as upcoming projects.

Due to the huge success of her graphic memoir Fun Home: A Family Tragicomic in 2006 and its subsequent Tony Award-winning musical adaptation in 2009, Alison Bechdel (b. 1960) has recently become a household name. However, Bechdel, who has won numerous awards including a MacArthur Fellowship, has been writing and drawing comics since the early 1980s. Her comic strip Dykes to Watch Out For (DTWOF) stood out as one of the first to depict lesbians in popular culture and is widely hailed as an essential LGBTQ resource. It is also from this comic strip that the wildly popular Bechdel Test-a test to gauge positive female representation in film-obtained its name. While DTWOF secured Bechdel's role in the comics world and queer community long before her mainstream success, Bechdel now experiences notoriety that few comics artists ever achieve and that women cartoonists have never attained.Spanning from 1990 to 2017, Alison Bechdel: Conversations collects ten interviews that illustrate how Bechdel uses her own life, relationships, and contemporary events to expose the world to what she has referred to as the ""fringes of acceptability""-the comics genre as well as queer culture and identity. These interviews reveal her intentionality in the use of characters, plots, structure, and cartooning to draw her readers toward disrupting the status quo.Starting with her earliest interviews on public access television and in little-known comics and queer presses, Rachel R. Martin traces Bechdel's career from her days with DTWOF to her popularity with Fun Home and Are You My Mother? This volume includes her ""one-off"" DTWOF strips from November 2016 and March 2017 (not anthologized anywhere else) and in-depth discussions of her laborious creative process as well as upcoming projects.

Larry Hama (b. 1949) is the writer and cartoonist who helped develop the 1980s G.I. Joe toyline and created a new generation of comic book fans from the tie-in comic book. Through many interviews with Hama, this volume reveals that G.I. Joe is far from his greatest feat as an artist. At different points in his life and career, Hama was mentored by comics' legends Bernard Krigstein, Wallace Wood, and Neal Adams. Though their impact left an impression on his work, Hama has created a unique brand of storytelling that crosses various media. For example, he devised the character Bucky O'Hare, a green rabbit in outer space that was made into a comic book, toy line, video game, and television cartoon—with each medium in mind.Hama also discusses his varied career, from working at Neal Adams and Dick Giordano's legendary Continuity to editing a humor magazine at Marvel, developing G.I. Joe, and enjoying a long run as writer of Wolverine.This volume also explores Hama's life outside of comics. He is an activist in the Asian American community, a musician, and an actor in film and stage. He has also appeared in minor roles on the television shows M*A*S*H and Saturday Night Live and on Broadway.Editor and historian Christopher Irving compiles six of his own interviews with Hama, some of which are unpublished, and compiled others that range through Hama's illustrious career. The first academic volume on the artist, this collection gives a snapshot of Hama's unique character-driven and visual approach to comics' storytelling.

Larry Hama (b. 1949) is the writer and cartoonist who helped develop the 1980s G.I. Joe toyline and created a new generation of comic book fans from the tie-in comic book. Through many interviews with Hama, this volume reveals that G.I. Joe is far from his greatest feat as an artist. At different points in his life and career, Hama was mentored by comics' legends Bernard Krigstein, Wallace Wood, and Neal Adams. Though their impact left an impression on his work, Hama has created a unique brand of storytelling that crosses various media. For example, he devised the character Bucky O'Hare, a green rabbit in outer space that was made into a comic book, toy line, video game, and television cartoon—with each medium in mind.Hama also discusses his varied career, from working at Neal Adams and Dick Giordano's legendary Continuity to editing a humor magazine at Marvel, developing G.I. Joe, and enjoying a long run as writer of Wolverine.This volume also explores Hama's life outside of comics. He is an activist in the Asian American community, a musician, and an actor in film and stage. He has also appeared in minor roles on the television shows M*A*S*H and Saturday Night Live and on Broadway.Editor and historian Christopher Irving compiles six of his own interviews with Hama, some of which are unpublished, and compiled others that range through Hama's illustrious career. The first academic volume on the artist, this collection gives a snapshot of Hama's unique character-driven and visual approach to comics' storytelling.

Steve Gerber (1947–2008) is among the most significant comics writers of the modern era. Best known for his magnum opus Howard the Duck, he also wrote influential series such as Man-Thing, Omega the Unknown, The Phantom Zone, and Hard Time, expressing a combination of intelligence and empathy rare in American comics.Gerber rose to prominence during the 1970s. His work for Marvel Comics during that era helped revitalize several increasingly clichéd generic conventions of superhero, horror, and funny animal comics by inserting satire, psychological complexity, and existential absurdism. Gerber's scripts were also often socially conscious, confronting, among other things, capitalism, environmentalism, political corruption, and censorship. His critique also extended into the personal sphere, addressing such taboo topics as domestic violence, racism, inequality, and poverty. This volume follows Gerber's career through a range of interviews, beginning with his height during the 1970s and ending with an interview with Michael Eury just before Gerber's death in 2008. Among the pieces featured is a 1976 interview with Mark Lerer, originally published in the low-circulation fanzine Pittsburgh Fan Forum, where Gerber looks back on his work for Marvel during the early to mid-1970s, his most prolific period. This volume concludes with selections from Gerber's dialogue with his readers and admirers in online forums and a Gerber-based Yahoo Group, wherein he candidly discusses his many projects over the years. Gerber's unique voice in comics has established his legacy. Indeed, his contribution earned him a posthumous induction into the Will Eisner Comic Book Hall of Fame.

Steve Gerber (1947–2008) is among the most significant comics writers of the modern era. Best known for his magnum opus Howard the Duck, he also wrote influential series such as Man-Thing, Omega the Unknown, The Phantom Zone, and Hard Time, expressing a combination of intelligence and empathy rare in American comics.Gerber rose to prominence during the 1970s. His work for Marvel Comics during that era helped revitalize several increasingly clichéd generic conventions of superhero, horror, and funny animal comics by inserting satire, psychological complexity, and existential absurdism. Gerber's scripts were also often socially conscious, confronting, among other things, capitalism, environmentalism, political corruption, and censorship. His critique also extended into the personal sphere, addressing such taboo topics as domestic violence, racism, inequality, and poverty. This volume follows Gerber's career through a range of interviews, beginning with his height during the 1970s and ending with an interview with Michael Eury just before Gerber's death in 2008. Among the pieces featured is a 1976 interview with Mark Lerer, originally published in the low-circulation fanzine Pittsburgh Fan Forum, where Gerber looks back on his work for Marvel during the early to mid-1970s, his most prolific period. This volume concludes with selections from Gerber's dialogue with his readers and admirers in online forums and a Gerber-based Yahoo Group, wherein he candidly discusses his many projects over the years. Gerber's unique voice in comics has established his legacy. Indeed, his contribution earned him a posthumous induction into the Will Eisner Comic Book Hall of Fame.

Author Michael Chabon described Ben Katchor (b. 1951) as “the creator of the last great American comic strip.” Katchor's comic strip Julius Knipl, Real Estate Photographer, which began in 1988, brought him to the attention of the readers of alternative weekly newspapers along with a coterie of artists who have gone on to public acclaim. In the mid-1990s, NPR ran audio versions of several Julius Knipl stories, narrated by Katchor and starring Jerry Stiller in the title role.An early contributor to RAW, Katchor also contributed to Forward, the New Yorker, Slate, and weekly newspapers. He edited and published two issues of Picture Story, which featured his own work, with articles and stories by Peter Blegvad, Jerry Moriarty, and Mark Beyer. In addition to being a dramatist, Katchor has been the subject of profiles in the New Yorker, a recipient of a MacArthur “Genius Grant” and a Guggenheim Fellowship, and a fellow at both the American Academy in Berlin and the New York Public Library.Katchor's work is often described as zany or bizarre, and author Douglas Wolk has characterized his work as “one or two notches too far” beyond an absurdist reality. And yet the work resonates with its audience because, as was the case with Knipl's journey through the wilderness of a decaying city, absurdity was only what was usefully available; absurdity was the reality. Julius Knipl, Real Estate Photographer presaged the themes of Katchor's work: a concern with the past, an interest in the intersection of Jewish identity and a secular commercial culture, and the limits and possibilities of urban life.

First with his magisterial fantasy Bone to his mind-bending, time-warping sci-fi noir RASL, Paleolithic-Set fantasy Tüki: Save the Humans, arthouse-styled superheroic miniSeries Shazam!, and his latest children’s book Smiley’s Dream Book, Jeff Smith (b. 1960) has made an indelible mark on the comics industry. As a child, Smith was drawn to Charles Schulz’s Peanuts, Carl Barks’s Donald Duck, and Walt Kelly’s Pogo, and he began the daily practice of drawing his own stories. After writing his regular strip Thorn for The Ohio State University’s student paper, Smith worked in animation before creating, writing, and illustrating his runaway success, Bone. A comedic fantasy epic, Bone focuses on the Bone cousins, white, bald cartoon characters run out of their hometown, lost in a distant, mysterious valley. The self-published Series ran from 1991 to 2004 and won numerous awards, including ten Eisner Awards.This career-spanning collection of interviews, ranging from 1999 to 2017, enables readers to follow along with Smith's development as an independent creator, writer, and illustrator.

First with his magisterial fantasy Bone to his mind-bending, time-warping sci-fi noir RASL, Paleolithic-Set fantasy Tüki: Save the Humans, arthouse-styled superheroic miniSeries Shazam!, and his latest children’s book Smiley’s Dream Book, Jeff Smith (b. 1960) has made an indelible mark on the comics industry. As a child, Smith was drawn to Charles Schulz’s Peanuts, Carl Barks’s Donald Duck, and Walt Kelly’s Pogo, and he began the daily practice of drawing his own stories. After writing his regular strip Thorn for The Ohio State University’s student paper, Smith worked in animation before creating, writing, and illustrating his runaway success, Bone. A comedic fantasy epic, Bone focuses on the Bone cousins, white, bald cartoon characters run out of their hometown, lost in a distant, mysterious valley. The self-published Series ran from 1991 to 2004 and won numerous awards, including ten Eisner Awards.This career-spanning collection of interviews, ranging from 1999 to 2017, enables readers to follow along with Smith's development as an independent creator, writer, and illustrator.

John Jennings (b. 1970) is perhaps best known for his collaboration with Damian Duffy on the New York Times bestseller and Eisner Award-winning graphic novel adaptation of Octavia Butler's Kindred. However, Jennings is also a graphic designer and comic book scholar who, throughout his career, has conducted several interviews that shed light on the importance of Black Speculative narratives. The most enlightening of his interviews are brought together in John Jennings: Conversations.As a collective these interviews explore folklore, systemic racism, his Mississippi roots, and the phrase Jennings cocreated, the Ethnogothic. Jennings discusses the necessity for black heroes, not just for the sake of diversity, but for inclusiveness, touching on the conventions he has cofounded, such as the Schomburg Center's Black Comic Book Festival in Harlem. He addresses the struggle to be financially compensated for work, and he speaks at length about how being a professor informs his craft where he continues to examine black stereotypes in popular culture with courses of his own design. As a group the interviews in John Jennings: Conversations give a picture of a black man forging a way where comic books have afforded him a means to carve out an important space for people of color.

John Jennings (b. 1970) is perhaps best known for his collaboration with Damian Duffy on the New York Times bestseller and Eisner Award-winning graphic novel adaptation of Octavia Butler's Kindred. However, Jennings is also a graphic designer and comic book scholar who, throughout his career, has conducted several interviews that shed light on the importance of Black Speculative narratives. The most enlightening of his interviews are brought together in John Jennings: Conversations.As a collective these interviews explore folklore, systemic racism, his Mississippi roots, and the phrase Jennings cocreated, the Ethnogothic. Jennings discusses the necessity for black heroes, not just for the sake of diversity, but for inclusiveness, touching on the conventions he has cofounded, such as the Schomburg Center's Black Comic Book Festival in Harlem. He addresses the struggle to be financially compensated for work, and he speaks at length about how being a professor informs his craft where he continues to examine black stereotypes in popular culture with courses of his own design. As a group the interviews in John Jennings: Conversations give a picture of a black man forging a way where comic books have afforded him a means to carve out an important space for people of color.

Robert Kirkman (b. 1978) is probably best known as the creator of The Walking Dead. The comic book and its television adaptation have reinvented the zombie horror story, transforming it from cult curiosity and parody to mainstream popularity and critical acclaim. In some ways, this would be enough to justify this career-spanning collection of interviews. Yet Kirkman represents much more than this single comic book title.Kirkman's story is a fanboy's dream that begins with him financing his irreverent, independent comic book Battle Pope with credit cards. After writing major titles with Marvel comics (Spider-Man, Captain America, and X-Men), Kirkman rejected companies like DC and Marvel and publicly advocated for creator ownership as the future of the comics industry. As a partner at Image, Kirkman wrote not only The Walking Dead but also Invincible, a radical reinvention of the superhero genre.Robert Kirkman: Conversations gives insight to his journey and explores technique, creativity, collaboration, and the business of comics as a multimedia phenomenon. For instance, while continuing to write genre-based comics in titles like Outcast and Oblivion Song, Kirkman explains his writerly bias for complex characters over traditional plot development. As a fan-turned-creator, Kirkman reveals a creator's complex relationship with fans in a comic-con era that breaks down the consumer/producer dichotomy. And after rejecting company-ownership practices, Kirkman articulates a vision of the creator-ownership model and his goal of organic creativity at Skybound, his multimedia company. While Stan Lee was the most prominent comic book everyman of the previous era of comics production, Kirkman is the most prominent comic book everyman of this dynamic, evolving new era.

Robert Kirkman (b. 1978) is probably best known as the creator of The Walking Dead. The comic book and its television adaptation have reinvented the zombie horror story, transforming it from cult curiosity and parody to mainstream popularity and critical acclaim. In some ways, this would be enough to justify this career-spanning collection of interviews. Yet Kirkman represents much more than this single comic book title.Kirkman's story is a fanboy's dream that begins with him financing his irreverent, independent comic book Battle Pope with credit cards. After writing major titles with Marvel comics (Spider-Man, Captain America, and X-Men), Kirkman rejected companies like DC and Marvel and publicly advocated for creator ownership as the future of the comics industry. As a partner at Image, Kirkman wrote not only The Walking Dead but also Invincible, a radical reinvention of the superhero genre.Robert Kirkman: Conversations gives insight to his journey and explores technique, creativity, collaboration, and the business of comics as a multimedia phenomenon. For instance, while continuing to write genre-based comics in titles like Outcast and Oblivion Song, Kirkman explains his writerly bias for complex characters over traditional plot development. As a fan-turned-creator, Kirkman reveals a creator's complex relationship with fans in a comic-con era that breaks down the consumer/producer dichotomy. And after rejecting company-ownership practices, Kirkman articulates a vision of the creator-ownership model and his goal of organic creativity at Skybound, his multimedia company. While Stan Lee was the most prominent comic book everyman of the previous era of comics production, Kirkman is the most prominent comic book everyman of this dynamic, evolving new era.

In a 2019 interview with the webzine DC in the 80s, Jeff Lemire (b. 1976) discusses the comics he read as a child growing up in Essex County, Ontario—his early exposure to reprints of Silver Age DC material, how influential Crisis on Infinite Earths and DC’s Who’s Who were on him as a developing comics fan, his first reading of Watchmen and The Dark Knight Returns, and his transition to reading the first wave of Vertigo titles when he was sixteen. In other interviews, he describes discovering independent comics when he moved to Toronto, days of browsing comics at the Beguiling, and coming to understand what was possible in the medium of comics, lessons he would take to heart as he began to establish himself as a cartoonist.Many cartoonists deflect from questions about one’s history with comics and the influences of other artists, while others indulge the interviewer briefly before attempting to steer the questions in another direction. But Lemire, creator of Essex County Trilogy, Sweet Tooth, The Nobody, and Trillium, seems to bask in these discussions. Before he was ever a comics professional, he was a fan.What can be traced in these interviews is the story of the movement from comics fan to comics professional. In the twenty-nine interviews collected in Jeff Lemire: Conversations, readers see Lemire come to understand the process of collaboration, the balancing act involved in working for different kinds of comics publishers like DC and Marvel, the responsibilities involved in representing characters outside his own culture, and the possibilities that exist in the comics medium. We see him embrace a variety of genres, using each of them to explore the issues and themes most important to him. And we see a cartoonist and writer growing in confidence, a working professional coming into his own.

In a 2019 interview with the webzine DC in the 80s, Jeff Lemire (b. 1976) discusses the comics he read as a child growing up in Essex County, Ontario—his early exposure to reprints of Silver Age DC material, how influential Crisis on Infinite Earths and DC’s Who’s Who were on him as a developing comics fan, his first reading of Watchmen and The Dark Knight Returns, and his transition to reading the first wave of Vertigo titles when he was sixteen. In other interviews, he describes discovering independent comics when he moved to Toronto, days of browsing comics at the Beguiling, and coming to understand what was possible in the medium of comics, lessons he would take to heart as he began to establish himself as a cartoonist.Many cartoonists deflect from questions about one’s history with comics and the influences of other artists, while others indulge the interviewer briefly before attempting to steer the questions in another direction. But Lemire, creator of Essex County Trilogy, Sweet Tooth, The Nobody, and Trillium, seems to bask in these discussions. Before he was ever a comics professional, he was a fan.What can be traced in these interviews is the story of the movement from comics fan to comics professional. In the twenty-nine interviews collected in Jeff Lemire: Conversations, readers see Lemire come to understand the process of collaboration, the balancing act involved in working for different kinds of comics publishers like DC and Marvel, the responsibilities involved in representing characters outside his own culture, and the possibilities that exist in the comics medium. We see him embrace a variety of genres, using each of them to explore the issues and themes most important to him. And we see a cartoonist and writer growing in confidence, a working professional coming into his own.

A legendary figure of underground comix, Robert Williams (b. 1943) is an important social chronicler of American popular culture. The interviews assembled in Robert Williams: Conversations attest to his rhetorical powers, which match the high level of energy evident in his underground comix and action-filled canvases.The public perception of Williams was largely defined by two events. In 1987, Guns N’ Roses licensed a Williams painting for the cover of their best-selling album Appetite for Destruction. However, Williams’s cover art stirred controversies and was moved to the inside of the album. The second defining event was Williams’s participation in the Helter Skelter exhibition at the Los Angeles Museum of Contemporary Art in 1992. Protests ensued when a room was set aside to feature his work. Uncovering long-forgotten and hard-to-find interviews, this collection serves as a social chronicle of counterculture from the 1960s through the early 2000s. One of the founders of the original ZAP Comix collective in the 1960s, Williams drew inspiration from pulp fiction, hot rod culture, pin-up girls, and traditional academic art. He invented the comics character Cootchy Cooty and worked for the studios of Ed "Big Daddy" Roth. He rubbed shoulders with outlaw motorcycle gangs and tested the legal limits of what was permissible comic book art during his day. He has often been described as a figure courting scandal and controversy, a reputation on which he commentates repeatedly in some of the interviews here. Since the 1980s, Williams has emerged as a force in the fine art world, raising interesting questions about how painting and comic art interrelate.