Back in August I’ve been tinkering with a dataviz project, illustrating the publication timeline of Image Comics. I accessed the data from Comicvine’s database through its API and displayed it using D3.js.

Got inspired to do this after a day or two of discourse on Twitter about the various Image…

In this episode I talk with Spanish comic book artist Aneke about drawing powerful women, classic sword and sorcery comics, the pressures of the comic book industry and how the COVID-19 crisis affected her.

In this episode I talk with Ileana Surducan about getting her start on the francophone comics blogosphere, using zines to bootstrap a comics industry, various kinds of collaboration, developing a sense of using background and space as a character, balancing comics work with commercial illustration and much more.

Having a chat with Dan McDaid about his career in American comics and leaving his mark on corporate properties rendering them in electrifying ink. More specifically we talk about breaking into comics at the Doctor Who Magazine, building up contacts on the defunct Comics Should be Good site, how well Joe Casey writes for his artists, how drawing two post-apolyptic series one after another (Judge Dredd: Mega-City Zero and Dawn of the Planet of the Apes) nearly broke him and how the pulpy fun of the Fearsome Dr. Fang made it all better. We discuss the anxiety of influence, we wondered if he could write-off on taxes a model-ship as a work expense for Sea Dogs (his back-up strip in the Hill House Comics line) and much more.

One exciting thing about mainstream comics, at least when thinking about comics, is that the scale (large enough to need an intense division of labor, small enough that this division is easily categorized) of their production brings into focus many of the embedded contradictions permeating culture and the systems that…

In 1998 Bill Griffith wrote about the state of the comic strip and it’s fair to say that the creator of Zippy the Pinhead was disappointed at how the centennial artform looked. He says that:

“Comic strips today seem more of a comfort than an artistic statement. They’re there. And…

Alin Rautoiu

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