We love all of our books but are especially happy for the creators of the Eisner-nominated books. You can vote until June 12 online. If you haven't read all of them, check 'em out individually or via our list!

Best Short Story: "Moon 1969: The True Story of the 1969 Moon Launch," by Michael Kupperman, in Tales Designed to Thrizzle #8

"Rainbow Moment," by Lilli Carré, in Heads or Tails

Best Single Issue (or One-Shot): Tales Designed to Thrizzle #8, by Michael Kupperman

Best Humor Publication: Naked Cartoonists, edited by Gary Groth

Best Anthology: No Straight Lines: Four Decades of Queer Comics, edited by Justin Hall

Best Reality-Based Work: You'll Never Know, Book 3: A Soldier's Heart, by C. Tyler

Best Graphic Album-New: You'll Never Know, Book 3: A Soldier's Heart, by C. Tyler

Best Graphic Album-Reprint: Cruisin' with the Hound, by Spain

Heads or Tails, by Lilli Carré

Best Archival Collection/Project-Strips: Mister Twee Deedle: Raggedy Ann's Sprightly Cousin, by Johnny Gruelle, edited by Rick Marschall

Pogo, Vol. 2: Bona Fide Balderdash, by Walt Kelly, edited by Carolyn Kelly and Kim Thompson

Roy Crane's Captain Easy: The Complete Sunday Newspaper Strips, vol. 3, edited by Rick Norwood

Best Archival Collection/Project-Comic Books: Walt Disney's Uncle Scrooge: Only a Poor Old Man, by Carl Barks, edited by Gary Groth

Young Romance: The Best of Simon & Kirby's Romance Comics, edited by Michel Gagné

Best U.S. Edition of International Material: Athos in America, by Jason

New York Mon Amour, by Benjamin LeGrand, Dominique Grange, and Jacques Tardi

Best Writer/Artist: Gilbert Hernandez, Love and Rockets New Stories, vol. 5

Jaime Hernandez, Love and Rockets New Stories, vol. 5

C. Tyler, You'll Never Know, Book 3: A Soldier's Heart

Best Painter/Multimedia Artist (interior art): Lorenzo Mattotti, The Crackle of the Frost

Best Lettering: C. Tyler, You'll Never Know, Book 3: A Soldier's Heart

Best Comics-Related Periodical/Journalism: tcj.com, edited by Timothy Hodler and Dan Nadel

Best Publication Design: Dal Tokyo, designed by Gary Panter and Family Sohn

Mister Twee Deedle: Raggedy Ann's Sprightly Cousin, designed by Tony Ong

Still no sure which to read? Heidi MacDonald, Cal Reid and company discuss the nominations on the Publishers Weekly podcast. Meanwhile, Chris Sims, Matt D. Wilson and more of War Rocket Ajax discuss the nominations, although I'm not sure how long the podcast will be up at this link. 

Some of the nominations gather in our mail room. See you in JULY!

The longest, unabridged edition of Online Commentaries & Diversions:

• Review: The Village Voice is almost hospitalized while reading Michael Kupperman's Tales Designed to Thrizzle Vol. 2. "Kupperman heaps absurdity upon absurdity…The result is a jubilant rococo, the strips all thrilling ornamentation…No exaggeration: I coughed hot soup out of my nose while reading the new hardbound volume of deadpan dadaist Michael Kupperman…" states Alan Scherstuhl.

• Review: Comic Book Resources looks at Tales Designed to Thrizzle Vol. 2 by Michael Kupperman. Brian Cronin loves the Moon 69 story. "The devolution of the ads as the story continues might be my favorite part…The second collection of Kupperman’s individual Thrizzle issues JUST came out and it includes [Moon 69]! So go buy it, dammit!"

• Review: Tales Designed to Thrizzle Vol. 2 by Michael Kupperman shines at The AV Club. "Kupperman's work only gets funnier when read in bulk... Kupperman's comics take pre-existing popular culture-TV shows, advertising, other comics-and tweak them just a little until they become hilariously absurd," states Noel Murray.

• Plug: Time Out New York analyzes Tales Designed to Thrizzle Vol. 2 with one interactive panel. Cool!

• Review: Glen Weldon reviews The Comics Journal #302 on New Republic, exclusively the Maurice Sendak interview conducted by Gary Groth. "Why on earth would I want to read 100 pages of caustic carping? Because Sendak is funny.  Deeply, passionately so. Read in full, Sendak’s zingers lose their venom and evince a sincere and surprising warmth. He comes off as bitter, but not embittered—a fine distinction, perhaps, but a real one."

• Plug (video): Mark Judge made a music video for TCJ #302. Trust me, you'll want to see this.

• Plug: USA Today's Pop Candy mentions TCJ #302. "This week I've been reading the wonderful (and massive) issue No. 302, which contains a huge Maurice Sendak tribute as well as his final interview"

• Revew: Chris Estey of KEXP writes on some of our new titles like The Comics Journal #302, edited by Gary Groth, Kristy Valenti and Michael Dean. "Probably my favorite single issue magazine of 2013, it is actually a freakily-elevated edition of the long-running only-trustable trade magazine devoted to comics…it gives us a chance to sample the gamut of an ever-evolving and surprisingly inspiring art-form."

• Revew: Chris Estey of KEXP reviews our newest book of music criticism The Grammar of Rock by Alexander Theroux. "Ripping through this hilarious rage on banality and unexpected pleasures I thought, they don’t make writers like this anymore…Drop that boring band biography and fetch this, if only for the mountains of lists of rarely-heard missing gems he has sampled and tasted beforehand for you."

• Review: Pop Matters has to tune into The Grammar of Rock by Alexander Theroux. John L. Murphy writes, "Naturally, the fun of The Grammar of Rock lies in its acerbic prose as well as its aesthetic insight…You’ll either laugh or you won’t. I laughed."

• Review: Washington Independent Review of Books also looks at Alexander Theroux's The Grammar of Rock. "Reading Alexander Theroux’s The Grammar of Rock is like hitching a ride with a suspiciously awake truck driver who talks endlessly for hours…All in all, this book is a very cold love letter," says DJ Randy Cepuch.

• Plug: Wired runs 10 sketches by Janet Hamlin featured in her upcoming book, Sketching Guantanamo. Hamlin remembers sketching Khalid Sheikh Mohammed, "He would turn and pose — a deliberate turn, facing me, holding very steady." 

• Review: Julio's Day by Gilbert Hernandez gets reviewed on on The AV Club. "Julio's Day(Fantagraphics) is as much about what's not on the page as what is...Fashions, mores, and technologies change; but desires and disappointments do not," writes Noel Murray.

• Review: Nerds of a Feather give an outstanding rating and review a recent reprint of Jack Jackson's work. Philippe Duhart writes, "Los Tejanos and Lost Cause are the products of serious historical research, and as such they are clear exhibitions of comics' potential as a viable media for academic and journalistic work…I appreciate that Johnson sticks with the perspective of the “losers” -- Juan Seguin's struggles against racism following Texas’ rebellion and Texan Confederates' struggle to regain a sense of honor following the defeat of their cause."

• Review: Fingers on Blast reads Linda Medley's Castle Waiting Vol. 1. "The tales weave their way together seamlessly thanks to Medley's art.  There is no simple way to describe it, but to say it draws you ever deeper into the story."

• Revew: Chris Estey of KEXP writes on some of our new titles Peter Bagge's Other Stuff which" features Bagge doing some sharp-witted journalism (on comedy festivals, especially) and historical stories…it is an electric, howlingly funny, bona-fide classic mangle of manic music history, prickly satire, and perfectly rendered cartooning."

• Review: Scoop covers Buz Sawyer Vol. 2: Sultry's Tiger by Roy Crane in one hell of a history lesson on newspaper and adventure comics. "Buz Sawyer may be the peak of the adventure strip as a genre…Crane’s ability to walk a fine line between hyper-realism while still incorporating an easy to read and understand style places him among the greats in comic history," says Mark Squirek. 

• Review: Scoop covers Mort Meskin's Out of the Shadows. "He is so skilled at body language that without reading a single word you can see the kid’s enthusiasm for his grandfather’s story grow across the first three panels," writes Mark Squirek.

• Interview: Comic Book Resources and Alex Dueben interview Tom Kacyznski about his books. Kacyznski says, "There's an easy willingness to imagine the collapse of everything instead of small changes in the political system that could fix a lot of the problems that we're having. Those kinds of themes interest me."

• Review: Beta Testing the Apocalypse by Tom Kaczynski gets a look-see on B-Sides & Rarities. Elizabeth Simins writes, "Kaczynski’s style involves a pretty dedicated commitment to setting scenes with lyrical descriptions as much as imagery, which is something I associate with the space between “regular” fiction and comics…You should read it."

• Review: Grovel reviews The Hypo by Noah Van Sciver. "It’s a surprising but fascinating insight into the psyche of a man that outsiders would normally assume to be a sort of political superhuman, but Sciver adds depth and soul to the two-dimensional image of the man with half a beard and a top hat," penned Andy Shaw.

• Review: Comic Pusher enjoys their read of Chris Wright's new book: "In Black Lung Wright presents a world of ceaseless violence and pain, his reflectively brutal cartooning interwoven with elegiac prose, with the very syntax of comic storytelling breaking down under the memory and transformative agony of loss and obsession," says Jeffrey O. Gustafson. 

• Review: Warren Leming over at Logos Journal reviews Everything is an Afterthought: The life and times of Paul Nelson. "Author Kevin Avery has done us a great service in bringing Paul Nelson’s woefully neglected story and life on the music culture scene into focus. This is a book for all those interested in what made 20^th Century American music an anthem for the world."

• Plug: Jade at D&Q Bookstore digs into Your Vigor for Life Appalls Me by R. Crumb. "The extraordinary title is only matched by the incredible insight into the iconoclast’s mind and the ultra-snazzy portrait of an early Crumb on the cover, sporting a corduroy jacket and tie… A definite must-read for any Crumb fan."

 
• Review: The Comics Journal digs Black is the Color by Julia Gfrörer. Sean T. Collins writes, "Gfrörer’s most moving comic to date, Black Is the Color eroticizes suffering not to glamorize it, but to endure it."

• Interview: Robin McConnell interviews Julia Gfrörer about her webcomic and soon-to-be-in-print book, Black is the Color on Inkstuds.

• Review: Comics Bulletin loves Charles Forsman's The End of the
Fucking World. Geoffrey Lapid writes "Instead of allowing you to step back and look at James and Alyssa through wistful adult hindsight, Forsman's fluid and subdued linework take us right into those moments that you only understand when you're 17 years-old, proudly oblivious and doomed…James and Alyssa feel like real, substantial characters rather than simple broad strokes alluding to a deeper history."

• Interview: Ed Piskor is interviewed by Jackie Mantey for Columbus Alive during his Ohio art residency and on Hip Hop Family Tree. "The purity of intent is something that’s important to me with anything I come across," Piskor believes. 

• Interview: Kelli Korducki interviews Jaime Hernandez on behalf of Hazlitt about Love and Rockets. Jaime answers, "I like the way women react to situations. Guys in a certain situation mostly try to keep it cool, keep their cover, keep things in control. With a lot of women I know, you get eight different reactions to a situation."

• Review: Jon Longhi looks at Spain Rodriguez in Having a Book Moment. Cruisin' with the Hound, a recent collection, is "it's all gang fights, hot rods, teenage mayhem and its wonderfully entertaining and beautifully illustrated."

• Plug: Craig Fischer on the Heroes Online Blog now looks at Messages in a Bottle: Comic Book Stories by B. Krisgstein. "Thanks to Sadowski, I’m now crazy for Krigstein."

• Plug: Earth Science Picture of the day is Elephant Feet, Arizona, (shot by Stu Witmer) as seen in the comic pages Krazy Kat by George Herriman. 

• Plug: Heidi MacDonald over at The Beat enjoyed Tom Spurgeon's interview with Gary Groth. Tom also put up a visit of Fantagraphics in pictures, but you know, didn't include the new office.

• Plug: The LA Times and David Ulin say some touching things after the announcement of Kim's cancer diagnosis. Thank you.

Kim Thompson has been my partner at Fantagraphics Books for 35 years. He's contributed vastly and selflessly to this company and to the comics medium and worked closely with countless fine artists over that time. This is a tough announcement to make, but everyone who knows Kim knows he's a fighter and we remain optimistic that he'll get through this and report back to work, where he belongs, doing what he loves.

– Gary Groth

I'm sure that by now a number of people in the comics field who deal with me on a regular or semi-regular basis have noticed that I've been responding more spottily. This is because of ongoing health issues for the past month, which earlier this week resolved themselves in a diagnosis of lung cancer.

This is still very early in the diagnosis, so I have no way of knowing the severity of my condition. I'm relatively young and (otherwise) in good health, and my hospital is top-flight, so I'm hopeful and confident that we will soon have the specifics narrowed down, set me up with a course of treatment, proceed, and lick this thing.

It is quite possible that as treatment gets underway I'll be able to come back in and pick up some aspects of my job, maybe even quite soon. However, in the interests of keeping things rolling as smoothly as I can, I've transferred all my ongoing projects onto other members of the Fantagraphics team. So if you're expecting something from me, contact Gary Groth, Eric Reyolds, or Jason Miles and they can hook you up with whoever you need. If there are things that only I know and can deal with, lay it out for them and they'll contact me.

On behalf of Kim, we would like to encourage anyone who would like to reach out to him to feel free to send mail to him c/o Fantagraphics Books, 7563 Lake City Way NE, Seattle, WA 98115, or email.

Just arrived and shipping now from our mail-order department: 

The Comics Journal #302
edited by Mike Dean & Kristy Valenti; Gary Groth, Executive Editor

672-page black & white/color 7" x 8.5" softcover
ISBN: 978-1-60699-603-4

See Previews / Order Now

The newly formatted, 600+ page Comics Journal proved a resounding success with 2011’s edition. 2012’s Volume 302 is sure to prove just as essential and exciting to comics readers worldwide.

This edition’s cover feature is a long, intimate interview-portrait with and of Maurice Sendak, the greatest and most successful children’s book author of the 20th — and 21st — century, the author of Where the Wild Things Are, In the Night Kitchen, Outside Over There, Higglety Piggelty Pop, and the illustrator of works by Herman Melville, Leo Tolstoy, and Randall Jarrell. In his longest published interview (and one of the last before his death in 2012), Sendak looks back over a career spanning over 60 years and talks to Gary Groth about art, life, and death (especially death), how his childhood, his parents, and his siblings affected his art and outlook, his search for meaning — and also, on the lighter side, about his love (and hate) of movies. And his unbridled comments on the political leadership of the previous decade have already garnered national media attention and controversy.

Sharing equal billing in this issue's flip-book format: Kim Thompson conducts a career-spanning interview with French graphic novel pioneer Jacques Tardi. The two explore the Eisner Award-winner’s genre-spanning oeuvre comprising historical fiction, action-adventure, crime-thriller, “icepunk” and more, focusing on Tardi's working methods (with step by step illustration), collaborations and other media (such as film and animation), and his fascination with World War I. Plus, Matthias Wivel examines Tardi's adaptation of Léo Malet's 120, Rue de la Gare.

Also in this issue, Art Spiegelman conducts a wide-ranging aesthetic colloquy on classic kids’ comics (Carl Barks’s Donald Duck, John Stanley’s Little Lulu, Sheldon Mayer’s Sugar and Spike, and many more) with a group of comics critics and historians. Bob Levin provides a revelatory investigation of the twisted history of the "Keep on Truckin’" litigation and a fascinating biographical portrait of R. Crumb’s lawyer, Albert Morse. Warren Bernard writes a ground-breaking historical investigation of the 1954 Senate Subcommittee Hearing on Juvenile Delinquency. R.C. Harvey looks at Bill Hume's Babysan and Donald Phelps examines Percy Crosby's Skippy. And a tribute to the late Dylan Williams from his peers and the artists he published.

Plus: “How to Draw Buz Sawyer” by renowned newspaper cartoonist Roy Crane (and a previously unpublished interview), a new comic by Joe Sacco and one by Lewis Trondheim in English for the first time, Tim Kreider on Chester Brown, Tom Crippen on Mort Weisinger and Superman, Rich Kreiner on "difficult comics," and a visual gallery of and commentary on proto-comics.

The Comics Journal has been for 37 years the world’s foremost critical magazine about comics. It is now more vital than ever, a gigantic print compendium of critiques, interviews, and comics.

The Comics Journal #302
edited by Mike Dean & Kristy Valenti; Gary Groth, Executive Editor

672-page black & white/color 7" x 8.5" softcover
ISBN: 978-1-60699-603-4

Ships in: February 2013 (subject to change) — Pre-Order Now

The newly formatted, 600+ page Comics Journal proved a resounding success with 2011’s edition. 2012’s Volume 302 is sure to prove just as essential and exciting to comics readers worldwide.

This edition’s cover feature is a long, intimate interview-portrait with and of Maurice Sendak, the greatest and most successful children’s book author of the 20th — and 21st — century, the author of Where the Wild Things Are, In the Night Kitchen, Outside Over There, Higglety Piggelty Pop, and the illustrator of works by Herman Melville, Leo Tolstoy, and Randall Jarrell. In his longest published interview (and one of the last before his death in 2012), Sendak looks back over a career spanning over 60 years and talks to Gary Groth about art, life, and death (especially death), how his childhood, his parents, and his siblings affected his art and outlook, his search for meaning — and also, on the lighter side, about his love (and hate) of movies. And his unbridled comments on the political leadership of the previous decade have already garnered national media attention and controversy.

Sharing equal billing in this issue's flip-book format: Kim Thompson conducts a career-spanning interview with French graphic novel pioneer Jacques Tardi. The two explore the Eisner Award-winner’s genre-spanning oeuvre comprising historical fiction, action-adventure, crime-thriller, “icepunk” and more, focusing on Tardi's working methods (with step by step illustration), collaborations and other media (such as film and animation), and his fascination with World War I. Plus, Matthias Wivel examines Tardi's adaptation of Léo Malet's 120, Rue de la Gare.

Also in this issue, Art Spiegelman conducts a wide-ranging aesthetic colloquy on classic kids’ comics (Carl Barks’s Donald Duck, John Stanley’s Little Lulu, Sheldon Mayer’s Sugar and Spike, and many more) with a group of comics critics and historians. Bob Levin provides a revelatory investigation of the twisted history of the "Keep on Truckin’" litigation and a fascinating biographical portrait of R. Crumb’s lawyer, Albert Morse. Warren Bernard writes a ground-breaking historical investigation of the 1954 Senate Subcommittee Hearing on Juvenile Delinquency. R.C. Harvey looks at Bill Hume's Babysan and Donald Phelps examines Percy Crosby's Skippy. And a tribute to the late Dylan Williams from his peers and the artists he published.

Plus: “How to Draw Buz Sawyer” by renowned newspaper cartoonist Roy Crane (and a previously unpublished interview), a new comic by Joe Sacco and one by Lewis Trondheim in English for the first time, Tim Kreider on Chester Brown, Tom Crippen on Mort Weisinger and Superman, Rich Kreiner on "difficult comics," and a visual gallery of and commentary on proto-comics.

The Comics Journal has been for 37 years the world’s foremost critical magazine about comics. It is now more vital than ever, a gigantic print compendium of critiques, interviews, and comics.

Video & Photo Slideshow Preview (view in new window):

Behold, the new issue of The Comics Journal, an edition so awesome we made it a flip-book with TWO cover features: Gary Groth's newsmaking interview with the late Maurice Sendak on one side, and Kim Thompson's interview with Jacques Tardi on the other side. (To clarify, there aren't two separate covers; every copy has both covers and which one's the "front" depends on which way you turn it.) And there's a whooole lotta stuff in between. Look for excerpts to be posted on TCJ.com as the release date nears (early February being our current best guess). TCJ sets the agenda for intelligent comics conversation, so pre-order your copy today and don't get left behind.

FEEL IT!

Your must-read of the day: The Comics Reporter's Tom Spurgeon talks to our second-in-command Kim Thompson. This, from Kim's very first answer:

"...[I]t was more the one-two combination of [Carl] Barks's duck stories and the acquisition of the EC material that gave me a sort of 'holy shit' moment of realizing that if you take, say, the Comics Journal's Top 100 list of yore and go down it, Fantagraphics is now so dominant it becomes almost ridiculous. I think the current Fantagraphics list is unambiguously the greatest list of cartoonists ever to be assembled under one publishing roof, period. I'm open to rebuttal, but, y'know, c'mon."

Always modest, that Kim! The conversation covers general publishing matters and then gets into detail about our current slate of Eurocomics translations. I found it super-informative — and I work here!

We're off road and on safari and I'm disappointed by the scenery and lack of wildlife. Who knew safari would be a web-ready-low-res-jpg. Tim Root is at the helm of his beautiful van  and very-sludgy-slow-dirge-metal spills from the speakers, punctuated by off-tempo-crunchy-fat-dub-beats. Eric Reynolds is sitting to my left and is giving me shit for not paying attention to Africa (both politically and aesthetically). I'm trying to draw comix despite the bumpy ride and "exotic" locale. Three dimensional shapes made of crosshatching rise from the panels I'm drawing. Sitting across from me is Kim Thompson, chortling. Kim's finding endless laffs and curiosity from my magical crosshatch comix. "Whatcha doing Jason? Haw! That's silly! Har Har! Are you cross-eyed from all that cross-hatching? Heh heh!" With every pot-hole my .001 Rapidograph slips resulting in a loud-sputtering-snort-guffaw from Kim. Rather pissed, I scold Kim, telling him he should expand his view of comix and that what I'm attempting is similar to what Lars Von Trier (one of Kim's favorite filmmakers) has done with Dogme 95 and his film-obstructions experiments. Without warning, Jim Woodring's visage oozes from the van's dome-light and declares "The content and flatulent ass eats horse-meat and white-corn from The Field of Ignorance and Tranquility." Kim overflows with laughter pointing at me and alleging, "I did that!"

Why is Eric kicking out the back window of Tim's van? "We've got company!!" yells Eric.

Eric, Olivier Schrauwen and myself are sitting with our legs dangling from the van's back window as a charging Audi approaches. The Audi is stuffed with spitting camels garbed in saris. The camels are keeping pace with us as they start cocking their Kalashnikov rifles.  

Jason: "What the fuck are we going to do!" Eric: "I don't know but I'm not happy about this and I'm not going to stand for it!" Eric tries to stand up. "Fucking camels! I'm not partial to their kind and I'll be damned if this will be the end of me!!"

Sparkly tears are streaming down Olivier's face. His tense cheeks frame the biggest-most-genuine-smile I've ever seen. Cheesy-retro-computer-generated-rotateey-things undulate around Olivier's eyes. He lovingly looks at the aggressive camels and starts barking. At this point I'm uncertain as to whether or not Olivier Schrauwen is Jesus Christ. With each bark the camels disintegrate. Eric sits down. The camels are almost gone. 

My crosshatched comic is now a finished book and as I ruefully hand a copy to Kim and point out that he's paid for the printing and distribution. Kim giggles as he flips through my book, "It's good work, Jason. My mother loves it." 

And then I woke up.

We're still reeling from the amazing weekend Fantagraphics had at the 2011 Small Press Expo earlier this month! Kim's awesome wife has some photos she's gonna share with us later, but in the meantime, here's some photos, thanks to our friends at the SPX Facebook page!

Here's our fearless leader Kim Thompson accepting Jaime Hernandez's "Outstanding Story" Ignatz for "Browntown" from Love and Rockets: New Stories #3!

And here's Mome newcomer Joseph Lambert accepting either the award for "Outstanding Cartoonist" or "Oustanding Collection" for I Will Bite You!

Presiding over the evening's events is SPX Executive Director, Warren Bernard... also, the editor of our collection Drawing Power: An Exhibition of Cartoon Advertising!

Jim Woodring signs a copy of the fancy brand-new edition of The Frank Book. (You can pre-order a copy here, and get a signed bookplate, while supplies last, by the way!)

Here's Johnny Ryan, on panel.

And here's Diane Noomin and Paul Hornschemeier, signing at the Fantagraphics table!

Check out even more pics at the SPX Facebook page. And thank you so much to our artists, the organizers of SPX, and everyone who came by our table and bought books!

Ah yes, I remember that. 1976 or 1977. My family had just moved from Munich, Germany to Montpellier, France, and my Mother, my brother, and I were cooling our heels in our usual summer vacation spot of Copenhagen, Denmark while my Father was setting up our new Montpellier digs. (That would be the same Montpellier that currently serves as home base for Lewis Trondheim and Jason.) WIth ample time on his hands, my Father, who was (and is) an avid photographer, had just discovered the age-old trick of photographing someone multiple times in front of a black backdrop to create the illusion of multiple iterations of the same person (no, kids, there was no Photoshop then), and had sent us some hilarious fumetti of himself in various goofy disguises interacting with himself.

Around the same time, future Marvel Editor-in-Chief Mark Gruenwald (whom I knew well through correspondence) — at the time still a fan, of course — had self-published his TREATISE ON REALITY, one of the central tenets of which was that the Marvel and DC universes contained an infinite amount of "realities" each of which was created by an individual human decision (a kind of sci-fi version of chaos theory in which the butterfly does AND doesn't flap its wings). So in one reality Peter Parker decided not to go to that science exhibit and didn't get bitten by that spider, or Bruce Wayne's parents didn't duck down that dark alleyway, etc. Those reality-creating "decision points" he dubbed "nexuses" (or "nexi"?). Somehow in my geeky mind this combined with the technique my father had been playing around with and the whole family got together (note my Mother's credit for "flying cucumber" effect) and created this illustration of what would happen if, as I was reading Mark's treatise, I found myself having to decide among continuing to read it, going for a snack, or going to bed (the trifecta of choices pretty much anyone faces when reading late at night).

Everyone got a kick out of it (including Dean Mullaney, who was very much the "nexus" of that group) and I've been lugging around that set of Xeroxes for three and a half decades — until some wisenheimer in the Fantagraphics offices found it in a box and slapped it up on Flog.

Tom Spurgeon's recollection on his comicsreporter.com blog that this ties into a group of round-robin fan correspondents that included Rob Rodi and Jo Duffy (also Ralph Macchio — the future Marvel editor, not the Karate Kid star) is on the nose.

I don't even want to think about how many of this blog's readers weren't even born when I did this.

Rest in peace Mark Gruenwald, a good guy who died far too young. Hopefully there are thousands of other alternate realities where he's still happily editing Marvel comics.