• Review: "Walt Disney's Mickey Mouse: Race To Death Valley by Floyd Gottfredson will be warmly received by comics aficionados but should also intrigue Disney animation buffs who aren't necessarily plugged into comic strip history. Editors David Gerstein and Gary Groth have not only scoured the planet for the best surviving artwork on Gottfredson's first epic continuity, which ran in newspapers from April to September of 1930; they've provided background essays (by a raft of experts), vintage press materials and artwork to put it into the context of Walt Disney's burgeoning career, and Mickey Mouse's budding stardom.... I have a feeling that this book, crafted with such obvious care, will earn Gottfredson a new legion of admirers." – Leonard Maltin
• Review: "Popeye hawking newspapers? Donald Duck selling gasoline? You'll find them and a whole cavalcade of comic strip characters in Drawing Power: A Compendium of Cartoon Advertising, edited by Rick Marschall and Warren Bernard. In a hundred-plus pages you are treated to a sampling of cartoon print ads from the 1890s to 1940s. There are short informative blurbs about the cartoonists (some of whom were featured in ads themselves) and the history behind the ads. A great treat for fans of comic strips, Americana, and ephemera." – The Christian Science Monitor "Top Picks"
• Review: "Not long ago a very interesting book was released which aims precisely to investigate and chronicle the parallel paths of comics and advertising from 1870 until 1940 entitled Drawing Power: A Compendium of Cartoon Advertising. Fantagraphics Books offers a hearty volume... which is our guide with text and images to the 'commercial' roots of the comic strip and the amazing work that resulted from comics creators who worked in advertising.... Drawing Power: A Compendium of Cartoon Advertising is a book that will surely pique the interest of those involved in the communication sector, but also all who are drawn to pop culture. An excellent edition from Fantagraphics..." – Lida Tsene, Comicdom (translated from Greek)
• Review: "Richard Sala’s The Hidden is yet another undead saga, though it’s more ambitious than most.... As the backstory deepens, Sala ties The Hidden to older literary traditions, weaving in pieces of folktales and the legend of Frankenstein. Because Sala has had a career-long fascination with B-movies, gothic illustrations, and general ghoulishness, this plot is right in his wheelhouse. But The Hidden isn’t just an entertaining riff on well-worn horror concepts. Taking his cues from Mary Shelley, Sala explores human vanity and arrogance as a way of showing how everything can go so wrong so fast." – Noel Murray, The A.V. Club
• Review: "...Mome 22 concludes the run of one of alt-comics' longest-running and most essential anthologies. Like Weirdo before it, Mome bridged the gap between veteran cartoonists and the new breed... Here’s hoping that as with Zap, Raw, Arcade, and so many that have gone before, another anthology will rise to take Mome’s place. And soon." – Noel Murray, The A.V. Club
• Review: "...Shimura Takako is a master at portraying subtle events in a slice of life story about adolescence that never feels didactic.... One of the things I like about Wandering Son is the way many of the events in the book are simultaneously safe and filled with dramatic tension.... Like the storyline, Shimura’s art is simple but nuanced.... As you’d expect from Fantagraphics, the production quality for Wandering Son is excellent. I hope that more manga is on the horizon from them. While I’ll happily read more cheaply produced manga, it is nice to have a variety of options. Carefully curated manga like Wandering Son is a treat." – Anna Neatrour, Manga Report
• Review: "Jason’s deadpan, anthropomorphic characters make his books must-reads for me.... I'd give [Isle of 100,000 Graves] to my daughter... and my wife... in hopes that, after laughing at the Hangman’s Academy’s students, teachers, and administrators, they’ll agree to dress up in multi-colored hoods and carry instruments of torture next Halloween." – Gene Ambaum, The Unshelved Book Club
• Review: "Chun fills his collections with the best cartoons – the ones that can still delight readers, and Covey uses his lively and inventive design sense to make these old cartoons fresh and vital. With The Pin-Up Art of Humorama, Chun and Covey will once again make you believe that the art of Humorama is still alive and kicking – although the line ceased to exist decades ago. [Grade:] A" – Leroy Douresseaux, I Reads You
• Review: "This Fantagraphics edition collects the first two French albums of Les Aventures Extraordinaires d’Adèle Blanc-Sec (Pterror Over Paris and The Eiffel Tower Demon) in a large format hardback edition, and it’s beautifully presented. First released in 1976, Jacques Tardi’s story has a timeless quality, set in an alternative, steam-punk universe, shortly before World War I.... Tardi’s art recreates the scenery beautifully, with stunning backdrops bringing the architecture and beauty of Paris to life. ...[A] compelling and enjoyable mystery story with an alternative Victorian feel." – Grovel
• Review: "Comic fanboys have read Sgt. Rock or The Howling Commandos which are realistic in many ways, but there was a time when a comic mag got down right truthful. I’m speaking of Blazing Combat #1-4 (1965-66, Warren) and recently Fantagraphics collected the run in both hardcover and softcover. Blazing Combat was an anthology comic that showed the very dark and very real side of war. A loose followup to the EC Comics War genre books, it showed US G.I.’s dying in terrible ways, commanders giving orders with little regard for consequences and the militaristic definition of collateral damage. Jim Warren let it all hang out when it came to editing Archie Goodwin’s writing... Of course Goodwin is a genius and I’m usually more of a word-man when it comes to comics, but this time it’s the art that captured my attention. It’s a who’s-who of monster talent..." – Chris Marshall, Collected Comics Library
• Review: "Fred [the Clown] is a figure of innocence, a lovelorn sad sack who keeps getting hit by custard pies — and, even harder, by life — over and over again, but keeps standing back up to go on. Langridge mostly tells his story in short wordless comics stories... in his usual style, a crisp modern interpretation of the classic '20s animation look... They're slapsticky stories of a sad clown, using the accouterments of vaudeville and early Hollywood, that nonetheless feel entirely new and fresh and funny. I don't know how Langridge does it, but he does it very very well." – Andrew Wheeler, The Antick Musings of G.B.H. Hornswoggler, Gent.
• Plug: "You must buy @DaveMcKean's NSFW book 'CELLULOID' at your local comics or book store. Or in a plain brown wrapper..." – Neil Gaiman
• Preview/Plug:Comicsphere re-formats and re-presents one of our previews of Johnny Ryan's Prison Pit Book 3 to their readers, with Josh West saying "This is set to be 120 pages of ‘once you see it, it can’t ever be unseen’ scenarios and, honestly, Comicsphere couldn’t be more excited! Unbelievably unpredictable, violent, satirical and likely to entertain more than anything else on the shelves through September, the Prison Pit makes Hell look like nothing more than a relaxing Sunday morning stroll through a (really hot) meadow."
• Interview:Comic Book Resources' Tim Callahan has a wide-ranging conversation with Johnny Ryan about Prison Pit and other topics: "I guess I have this fascination with stories where the 'hero' is not a hero at all. He's a loser or an idiot or a scumbag, but somehow the author makes us give a shit about him or her.... I think this is a strain that also runs through my work. It's about bad people, doing bad things, but I try and trick people into caring about or liking these people."
• Preview/Plug:Comicsphere gives the same treatment as above to our excerpt of Jacques Tardi & Jean-Patrick Manchette's Like a Sniper Lining Up His Shot, with Josh West saying "...Jacques Tardi returns to the world of guns, crime, betrayal and bloodshed with this stunning, grisly, and remarkably faithful interpretation of Manchette’s last completed crime thriller."
"Athos in America – Jason returns to The Last Musketeer and includes other Jasony stories like 'The Brain That Wouldn’t Virginia Woolf.'"
• Plugs:Graphic Novel Reporter includes almost everything we have coming out over the next 3 months in their "Great Graphic Novels of Fall 2011" roundup, particularly the Adult Fiction and Nonfiction categories (though we feel we should point out that Alexander Theroux's Estonia is neither fiction nor a graphic novel)
• Plug: "We’re over halfway done, and have moved into the last 20 years of the strip with the release of The Complete Peanuts: 1981 to 1982. Can you believe how fast time is flying? Kudos to Fantagraphics for maintaining the incredibly high standard of quality and presentation they established at the outset, with this entry featuring an introduction from cartoonist Lynn Johnston. More!" – Ken Plume, FRED
• Interview:Newsarama's Albert Ching talks to Michael Kupperman about his new book Mark Twain's Autobiography 1910-2010: "One other character I frequently think of when doing Twain — writing that book, or doing him in Thrizzle — is Dave Thomas from SCTV doing Walter Cronkite. Which in some ways is very similar — this kind of roguish, semi-self-befuddled character, roaming around having adventures."
• Interview:The Daily Cross Hatch's Brian Heater begins a multi-part chat with Drew Friedman: "Basically when Monte Beauchamp who edits those books invited me to do a book, I thought about what I like to draw the most. I like to draw comedians and old Jews. So I put those two together and started working on them between assignments over a year. I just got pleasure in drawing them. I could put aside any annoying assignment I had and just get down to drawing those old Jewish faces. That’s what it came down to."
• Interview:Washington City Paper's Mike Rhode had a little pre-SPX Q&A with Noah Van Sciver: "I'm excited to stop by the Fantagraphics table and say hello to those guys and see what's new." Well shucks!
• Lore: "’71 was a weird year for me. I never had quite so many women coming and going, as I did that year in the apartment I shared with Gary. But I was still drinking too much and just overdoing it in general, hedonistically speaking. I was getting very little good work done (gosh, I wonder why?) and was generally pretty miserable." – Kim Deitch's epic memoir-in-music "Mad About Music: My Life in Records" at TCJ.com forges into the 1970s
• Staff picks: Our own Ambassador of Awesome (and funniest Flogger) Janice Headley is the guest contributor to this week's Robot 6 "What Are You Reading?" column
We were very fortunate to have directors David P. Moore and Audry Mandelbaum in attendance, and you can check out an interview David did with Dan Morrill of ComicsForge.com below (or on YouTube)! It's a great look around at our bookstore & gallery, and there's even a lo-fi preview of Tony's interview at the end:
Come visit the Fantagraphics Bookstore and get hooked on comix yourself! We're open daily from 11:30 to 8:00 PM, and open on Sundays until 5:00 PM. You can find us at 1201 S. Vale Street (at Airport Way S.) in the Georgetown neighborhood of Seattle.
This interview was conducted by Fantagraphics intern Sam Chattin. Thanks to Sam and Kevin!
Ganges 4 hits stores in October, or get your mitts on an early copy at SPX, September 10th & 11th in Betheseda, Maryland! Kevin will be signing at the Fantagraphics table from 1:00-3:00 PM on Saturday, and 3:00-4:30 PM on Sunday. -- janice
NOTE: THERE ARE SOME SPOILERS IN THIS INTERVIEW [esp. #8]. READ THE COMIC FIRST IF YOU DON’T WANT SOME STUFF RUINED FOR YOU. -- Kevin H.
SAM CHATTIN: Your stories are marked by this deep comprehension of the various sciences (everything from zoology to physics). Why do you choose to include those expository elements in your stories (which often take up multiple pages)?
KEVIN HUIZENGA: That’s nice of you to say, but I feel like my knowledge of these subjects is still pretty superficial. Laying out things and looking at things is more interesting to me than dramatic storytelling. That’s not a value judgment; it’s how my brain is wired. Other writers I know can effortlessly think up dramatic situations —characters who want things and have conflicts — but my story ideas tend to be more like “what is chlorophyll?” or “walking around/oxytocin” or “terrifying TV commercial,” which are the kinds of things that reveal how solitary and lonely a life I live. I’m terrified that if I really indulged myself and my instincts I would just make comics that are diagrams of how things fit together, like complicated diagrams or giant flowcharts, and become a completely hopeless case.
CHATTIN: The often anti-climatic endings and rambling narratives add a sense of realism to your stories. It feels as though we’re peeping at not only the life but also the working mind of some stranger. What made you go this particular route?
HUIZENGA: I wish I had a more interesting answer, but really it’s just as simple as writing in a way that seems least gross to me. I feel pretty good about how things turn out, for the most part, but at the same time there’s little voices saying “what are you doing?” and “you thought this was a good idea why?” But you have to ignore these voices and start another one and keep moving. Judging by the kinds of ideas I start out with, I maybe could be writing essays or poems, but I got mixed up in comics. I thought it would be a good idea to draw comics and build upon and around Glenn Ganges as a blank character, and now it’s too late. I’m only being half-serious here. Because there are limitations to writing prose without pictures that would be very frustrating to me. I want to see what things look like and I want to see things diagrammed. When I read pictureless prose I’m often imagining illustrations or emblems or diagrams of whatever I’m reading about, and part of me is frustrated that those don’t exist.
HUIZENGA: I write notes, I think about a story, I get irritable and crabby, I eventually start drawing it, etc. I don’t think I go very deep into my subconscious. I’d like to try doing that more in the future. It’s a way of thinking and trusting your gut that’s not my usual method, I guess. In this issue “the Wanderer” was improvised in an attempt to, I don’t know, go from panel to panel with a different kind of story logic than usual.
There’s an interview where Dan Clowes says (this is pre-Ice Haven days, I think) something about how he thought he’d get faster over time as his skills improved but that he found himself getting slower because he kept trying out complicated effects and tricks in each panel. That really fits my experience drawing this issue. It took me a long time. There was a lot of trying something, then changing my mind, then going back and forth, etc.
CHATTIN:How heavily do the misadventures of your characters (specifically Glenn Ganges) reflect your own personal experiences?
HUIZENGA: It’s not autobiographical. I take things from my life, like any writer does, and I try to make a new thing out of it that others can identify with and hopefully enjoy.
CHATTIN:How do you choose which experiences will work best in the comic medium?
HUIZENGA: You just sort of know. Or sometimes you think it won’t work, and the trick is in finding a way to make it work. The point isn’t really the ostensible subject, the point is figuring out how to package the ideas in an interesting form. It’s like a puzzle. I like puzzles when there’s no pressure, and no one cares about how you perform. I think that explains a lot about my career and my personality.
CHATTIN: Glenn Ganges’ latest adventure concerns a restless night. What is your preferred method for combating these moments of temporary insomnia?
HUIZENGA: A bowl of cereal (low sugar) and a book that is kind of boring and/or hard to read.
CHATTIN: How would describe the structure ofGanges #4?
HUIZENGA: An infinite grid of panels, only some of which you can see and read, but occasionally you catch a glimpse of it fading off into infinity, and also the grid contains itself nested within itself at different levels.
CHATTIN: Was it an aesthetic or symbolic choice — or neither — to break up the panels on the bottom of pages 10-13?
HUIZENGA: I’m not sure what you’re asking, but I probably wouldn’t want to answer anyhow, since this seems like the kind of thing where I’m being tempted into explaining the thinking behind a story. Obviously I have to do some of that in an interview, but I try to keep it to a minimum. As a reader I often want a writer to explain their thinking behind a short story or a poem, but at the same time I really don’t want to know, either. And the same thing holds for writers too, I think—they often want to know what readers think, but at the same time they don’t, really.
CHATTIN: How did you tackle, visually, working with so much moonlight and shadow inGanges #4?
HUIZENGA: Experimenting with tones and shadows in Photoshop, making a mess of it, and settling for the least gross-looking version of the panel. I wanted to try to draw Glenn walking around the house at night, and it took some experimentation to get something interesting that worked. I’m still not satisfied with it, but I think I know how to fix it for the collection.
CHATTIN: What are some of the challenges of depicting Death, who appears in your latest work?
HUIZENGA: It didn’t feel like it was a challenge at all. As I understand it, it’s been pretty well established that Death is a skeleton in a cloak with a scythe. I’d like to think that death appears in many of my comics so far.
CHATTIN: I found the connection with Earth’s calendar and Glenn’s calendar amusing. What kind of thought process goes into making these connections?
HUIZENGA: I don’t think it gives anything away to say that Ganges is largely about time, and different ways representing and thinking about it. The Earth’s calendar thing is a pretty common illustration in popular geology books and natural histories, and since Glenn is reading Basin and Range in the story, it was an obvious way to go.
Yesterday's and today's Online Commentary & Diversions:
• Review: "Sala consistently introduces red-cheeked, innocent characters and then puts them through the meat-grinder, and in The Hidden he plays with mad science. ...Sala’s novel features plenty of 'tell,' because if it’s one thing mad scientists enjoy, it’s expository dialogue. There are gorgeous single-panel pages filled with huge dialogue balloons, and it’s to the author and illustrator’s credit that it’s always a hoot; Sala is a professional when it comes to tongue-in-cheek visuals (the friendly looking characters with spilled intestines) and storytelling.... Its ending is... abrupt..., but it leaves ample room for a welcome continuation. The lushly colored package is vintage Fantagraphics, of course." – Alex Carr, Omnivoracious (Amazon.com)
• Review: "Relaunching in a book-sized format, Comics Journal #301 came out from Fantagraphics this summer, and has already gone through a second printing. The magazine is dense, with over three hundred pages, containing enough essays, interviews, reviews, and art pages to easily fill 2-4 of the old issues.... Where else in comics journalism are you going to find a viewpoint of comics encompassing enough to put so many different realms of the artform under the same microscope and give it all due consideration? The drastic shift in format indicates a willingness of Fantagraphics to take risks with its flagship publication." – Greg Baldino, Bleeding Cool
• Review: "...[T]his gentle, inviting series about two transgendered elementary school students... has truly captured my attention.... Wandering Son feels at times more like a series of character sketches that all connect together than a narrative-driven book, but it’s a structure that makes me that much more intrigued... Takako’s art is beautiful here, delicate line drawings that fit well with her story.... Last but not least, props need to go to Fantagraphics for a great physical design of the book.... This isn’t quite like anything else on the market right now, and I’m thrilled to see Fantagraphics exposing it to a wider audience." – Greg McElhatton, Read About Comics
• Interview: The normally Love and Rockets-focused Love & Maggie blog steps out of their usual purview to hit up Gary Groth for more information about our forthcoming series Jack Jackson's American History (starting next year with Los Tejanos/Lost Cause) — if you're at all interested in these books, definitely check this out
• Lore: "Before resuming I should say this: Drug taking, by myself and others, really peaks in this chapter. It isn’t something I’m proud of or a thing I endorse. But it is the way it all happened." So begins the ninth installment of Kim Deitch's epic memoir-in-music "Mad About Music: My Life in Records" at TCJ.com
And there appears to be a new (I think) installment of "Crumb on Others" where the man holds forth his candid opinions on various prominent figures in comics and popular culture, from his underground contemporaries to Charles Schulz, from Walt Disney to Walt Kelly, from The Beatles to Bettie Page. Must read!
• Review: "After far too long a hiatus the new incarnation of The Comics Journal is available and as inspired as ever. The Journal is the paramount English-language publication dedicated to the Art of graphic narrative, covering comics, cartooning and related fields domestic and global; interviewing creators, disseminating the facts and even advertising the best and most challenging product. They’ve done it competently, passionately and proudly for decades. You won’t always agree with the opinions expressed — editorial or from the many and various insiders and cognoscenti who have been featured — but you’d be an idiot to ignore or dismiss them if you care at all about the industry or the medium.... This is a superb uber-magazine for comics lovers: it won’t ever tell you where and when to buy but it will certainly make you wonder why you do or don’t." – Win Wiacek, Now Read This!
• Plug: "...I heartily recommend Dave McKean’s new 'erotic graphic novel' Celluloid. Mixing paint, photography, ink, and charcoal — and eschewing dialogue altogether — McKean creates a comic book version of one of Radley Metzger’s erotic art films, in which lustful impulses lead otherwise civilized people on a dark, surreal journey." – Noel Murray, in a thought-provoking essay on erotica in comics and beyond at The A.V. Club
• Review: "Popular culture historian Rick Marschall and biographer/researcher Warren Bernard have compiled here [in Drawing Power] a captivating potted history of the rise of the art of commercial cartooning in an increasingly advertising-aware America (…and make a strong argument that one could not have thrived without the other) whilst providing a glorious panoply of staggeringly evocative, nostalgic and enduring picture-poems which shaped the habits of a nation.... Stuffed with astounding images, fascinating lost ephemera and mouth-watering photos of toys and trinkets no fan could resist, this colossal collection is a beautiful piece of cartoon Americana that will delight and tantalise all who read it… and the best is yet to come." – Win Wiacek, Now Read This!
• Interview: Writer Peter Bebergal talks with Jim Woodring at his Too Much to Dream website: "It’s ridiculous to sit in meditation and try to stop thoughts from arising (chitta vritti narodaha) and then get up, sit at the drawing board and try to whip the mind up to think as wildly as possible. It’s downright crazy to try to subdue the ego for an hour and then inflame it for the working day and then try to subdue it again at the end of the day."
• Review: "...Shimura Takako tells this story in such a gentle, unobtrusive way, one might believe that this story flows naturally – as if it simply spun itself from nature and is the way it is supposed to be. I think Matt Thorn’s tidy translation, which goes down the mental gullet with such smoothness, is a big reason for how readable this is. Wandering Son is not flashy or aggressive, nor does it pander or try to be hip and stylish. Takako draws the reader in so quietly that some may be surprised to find themselves on a journey of discovery and exploration with these characters. It’s like seeing preadolescence for the first time or seeing it again through fresh eyes and a new perspective.... If only more comic books were so evocative and so clear in their storytelling like Wandering Son, an ideal comic book. Ages 8 to 80 will like Wandering Son. [Grade] A" – Leroy Douresseaux, I Reads You
• Review: "Of the three books collected in this volume [What I Did], Hey, Wait... is a really evocative portrait of how childhood experiences can affect one throughout his entire life, and The Iron Wagon (which adapts an early-twentieth-century Norwegian novel) is a pretty good murder mystery that makes good use of Jason's deadpan style, but it's the middle entry, Sshhhh!, that really sticks with me, immediately jumping to the top of my favorites among the cartoonist's works.... It's sad, wonderful, exhilarating work, a great example of how amazing Jason is at what he does, and how nobody else can do it like him." – Matthew J. Brady, Warren Peace Sings the Blues
• Review: "The plot often takes a sharp turn towards the absurd and downright crazy, but eventually the story always comes back to our heroine. Adele Blanc-Sec takes no crap... It’s really nice to see such a strong female character at the centre of all this mayhem, and her character really pulls the book together.... Tardi’s artwork is great to look at; his panels are vibrant and full of life. In his hands Paris 1911 is a busy metropolitan city still hanging on to its 18th century spirit and facade.... The first volume ofThe Extraordinary Adventures of Adele Blanc-Sec left me with more questions than answers, and volume 2’s release date of November seems all to far away! I look forward to reading more of Adele Blanc-Sec’s adventures." – Will Pond, Good Comic Books
• Review: "Glenn Ganges — the protagonist of the first volume of the series Ganges — is a dreamer, an eccentric, a loving husband, but first and foremost a restless man. Meaningless details do not give rest to him, he makes a mountain out of a molehill, and his fantasies replace the reality. Five stories under one cover are the five pieces of a day in the life of Ganges.... I’d like to meet this Ganges." – Ray Garraty, Endless Falls Up
This interview was conducted by Fantagraphics intern Rolando A. López. Thanks to Rolando and Jaime! And,Esperanza will be in stores this week! -- janice
In his 1989 The Comics Journal interview (#126), Jaime Hernandez said: “I hope [Love and Rockets is] still fresh 20-50 years from now. I hope it doesn’t lose anything in the long run. Even if I’m writing about contemporary things . . . I hope people can look back at it as a piece of history instead of a gimmick.”
Readers have followed the lives of Maggie, Hopey, and the gang for almost 30 years now, and Love and Rockets is still going strong. Today, Jaime Hernandez is one of the most revered names in the world of comic books and beyond; cartoonists Alison Bechdel, Zak Sally, Simpsons creator Matt Groening, filmmaker Darren Aronofsky and writer Junot Díaz have all cited his influence. Hernandez’s work, simply put, is part of the comics canon.
Esperanza, the fifth volume in the Complete Love and Rockets, collects the stories from Love and Rockets Vol. II. Here, readers see Maggie struggle with the ghosts of her past, find Hopey settling down, and meet some new faces, which cause trouble in the already troublesome lives of the Locas. In this Q&A, Jaime Hernandez talks about growing along with his characters, his storytelling techniques and his elusive muse.
Rolando A. López: Esperanza, Hopey’s full first name, means “Hope” in Spanish. Why did you choose this as the collection’s title?
Jaime Hernandez: Actually, Kim Thompson came up with it. I couldn’t think of a better title so I happily agreed to it.
López: It seems to me these stories would be really rewarding to someone who’s read the Locas saga since it began. How do you take into account readers who have been following the series when you’re crafting your comics? Conversely, what storytelling techniques do you use to help acclimate new readers to new Locas stories?
Hernandez: I try to tell these stories in a way that a new reader can jump in and not feel overwhelmed and intimidated by the continuity that has built up for 30 years. It’s not always easy. [As for the fans,] I can only hope they’ll stay with me even if we’ve been at it this long.
López: Elliptical storytelling — how did you develop it and why did you develop it and what does it allow you to do?
Hernandez: It happened naturally. The storytelling was more of a learning process for me than the art was in the early L&Rs. I was trying whatever worked. Soon I started to visualize the story like a movie, with cinematic jump cuts and things like that, and came to realize I could cut a lot of corners and fit in more story. That also taught me how to let the character’s body language and expressions tell the story instead of letting the words do it. Finally, it taught me that leaving out actual “story” involves the reader more by letting them fill it in themselves.
López: How do you structure your stories?
Hernandez: It’s different most of the time. If the characters write the story, which they most often do, it’s sort of waiting to see what will turn out. If an idea writes the story, it’s more tightly structured: making sure there’s a beginning, middle and end.
López: You have a very intuitive approach to storytelling — you listen for your muse and almost “transcribe” what she says. Do you ever have “fights” with your muse?
Hernandez: Every time. That way it will flow naturally but still connect with the reader. Muse doesn’t always translate on its own.
López: How do you calibrate your artistic process?
Hernandez: I trust my instincts. I have to.
López: How did this process play out in the writing of the first half of the book (the “Maggie” stories)?
Hernandez: I don’t remember. It was quite a few years ago. The usual, I suppose. If I’m doing Maggie, she’s always gonna tell me where to go. Yeesh! Listen to me! “And then a UFO came down and ...”
López: One new character is Vivian, a femme fatale: she destroys everything she touches, and in turn, everyone that touches her either lives to regret it, or dies. How did you come to create her?
Hernandez: I wanted to create a character with no boundaries: someone who basically has nothing to lose. A character like that is the funnest and easiest to write because they can be put into any situation and it works. Making her very sexy only lets her character get deeper into trouble.
López: Why did you decide to put her in Maggie’s life?
Hernandez: It wasn’t planned, but I discovered they worked really well together because Maggie is the opposite of Viv. With Maggie’s nagging conscience, I can only take her so far. Dragging her into Viv’s world gives her (and me) a lot more to work with.
López: Sometimes I think of Vivian as being a darker counterpart to Penny Century; they’re both desirable and somewhat volatile. Is this an apt comparison?
Hernandez: In a way, but I understand Viv’s demons more than I do Penny’s and hopefully that makes them feel a little different from each other. I know why Viv is crazy but I don’t know why Penny is crazy and I prefer it that way. Both give me a lot to work with in different ways.