This podcast continues to be a booster of Chad Bilyeu (“Chad in Amsterdam“), and he’s been busy lately! In addition to releasing the second issue of The Re-Up, his recollection of that time when he was a pot dealer, he’s also curated an anthology, called Megillah Sunday Funnies, that is also a museum show (through May 26, 2023) and auction of the original work in the publication, by 35 different indy creators. This time, Tim and Kumar dig into both.
Charles Schulz’s Peanuts is a master class in how to do a comic strip. This week Kumar and Tim are focusing on a five-year period of Schulz’s career, 1957 to 1961, and 25 Sunday strips that demonstrate Schulz’s skill at dialog-free comics. You might want to read the strips before listening; see below!
Cathy Guisewite‘s longrunning comic strip Cathy is still a topic of discussion, 11 years after it ended. While it may sometimes seem as if topics like sexual harassment and body image are new fields discovered in the last five or ten years, Cathy was bringing them up in the ’80s and ’90s.
Comedian Jamie Loftus wanted to dig in and have a discussion about this classic strip, so she started a podcast miniseries, Aack Cast, in which she talks with Cathy readers, other cartoonists, and even Guisewite herself about many of the issues raised in the strip. Emmet talks with Jamie in this episode.
After fifteen years of cartooning for The New Yorker, Joe Dator has a deep catalog of published work – and a pretty deep catalog of UNpublished work as well (it’s a competitive business!). So in his new book Inked: Cartoons, Confessions, Rejected Ideas and Secret Sketches from the New Yorker’s Joe Dator, Joe includes not only some of his best New Yorker work, and why he seems to get stuck on certain topics (birds, anteaters, arguably nightmarish faces made of bacon and fruit on top of a pancake) but his favorites of the work that hasn’t seen print before. Joe returns to the podcast this week to chat with Tim about the book.
This week, Critiquing Comics favorite Kristin Tipping talks about the background to Evil Witch Allie and A Book for Sad Pets. Why did her art style change on Evil Witch Allie, and why did volume two seem more confident than volume one? Why is the tone of A Book for Sad Pets so desperate? Plus, her experience in going to school to make comics, and more.
In town for the Toronto Comic Arts Festival, comics power couple Eddie Campbell and Audrey Niffenegger talk to Koom in this episode about their new collaboration, called Bizarre Romance. We also get some tidbits about Audrey’s work on the sequel to her novel The Time Traveler’s Wife, and Eddie talks about coloring From Hell and his recent book The Goat-Getters.
A comic strip gag can be a deceptively simple thing. Once you take it apart — “deconstruct” it, one might say — you find that it actually has many moving parts.
Paul Karasik and Mark Newgarden‘s How to Read “Nancy” takes a close look at each of those parts — as well as arguing persuasively for Bushmiller’s underrated artistic chops, and giving us some comic-strip history as well. Tim and Patrick review.
PLUS: Roland Mann, Dean Zachary, and Kevin Gallegly join Tim to talk about the return of Cat and Mouse!
In this episode, Kevin Patrick tells Emmet about the character’s global popularity, especially in Sweden, Australia, and India — and how “The Ghost that Walks” made his first appearance in all three countries in the same unlikely way. Why did the setting change in the early years from an urban situation to a jungle? What does it say about the situation in the former British colonies, especially in Africa? Why is the Phantom that Emmet remembers considered “wrong” by fans? All this and more.