• Review: "Barks, the artist, is a master cartoonist, drawing lively, expressive characters with a graceful sense of movement. His beautiful, detailed backgrounds plant the ducks in a fully realized world that adds weight to his storytelling.... But besides the entertaining plots, Barks’ appeal is in his characters. He gives his ducks many human frailties and while they usually try to do the right thing, they make mistakes, get angry, frustrated, and even fail. Fantagraphics Books... does its usual high quality work here as well. The design and layout of the book is a handy comic-book size hardcover with bright, colorful reproductions of the comics. Besides the comics, there are articles on Barks and analysis on each story... For both newcomers to Barks' work and diehard fans, [Walt Disney's Donald Duck: Lost in the Andes] is a book that any comic book reader would love to find under the Christmas tree." – Rich Clabaugh, The Christian Science Monitor
• Interview: At The Comics Reporter, Tom Spurgeon talks with Rich Tommaso about his coloring work on our Carl Barks Library series — "[Disney] said we didn't have to be so religious about it. They wanted to make sure the color for the ducks, the reds and blues and the yellows, that those were pretty much bang-on. But they agreed that there was a little bit of leeway. If something looked like a bad color choice, you could find something in the ballpark range of that color. So that's what I would do." — and about his own comics work
• Review: "All aspects of Kubert's career are touched on in this tome, which is loaded with beautiful colour reproductions of its subject's artwork and complemented by a lengthy and insightful critical commentary by comic book historian Bill Schelly. Over the course of the book's 224 pages, you can see quite clearly how Kubert's art evolved and how his storytelling skills developed, but also how his unique style, those striking touch and sinewy images that could have been rendered by no one else, has remained intact. As with Fantagraphics' previous coffee table comic art books, The Art of Joe Kubert makes you want to see more — all! — of the artist's work." – Miles Fielder, The List
• Review: "Frank Zappa once said 'most rock journalism is people who can’t write, interviewing people who can’t talk, for people who can’t read.' However true that might be, Paul Nelson was one who most definitely could write. And he interviewed people who could talk, and plenty of people read what he wrote. Kevin Avery certainly read what Nelson wrote, and has now written Everything Is an Afterthought, which is both a biography of Nelson and a collection of his work, including some pieces that have never been published.... Like the best critics, Nelson was primarily a fan of what he wrote about, subjects that struck a chord with him. And here’s a bio and a collection of his work written by a fan of his." – Robert O'Connor, Spike Magazine
• Plug: Proud contributor to our first Walt Kelly Pogo volume Mark Evanier talks up the book on his blog: "It's a wonderful book and though I am a Consulting Editor — I think that's my title — I can rave about it because I deserve very little credit for its wonderfulness. Any book that properly presents the work of Mr. Kelly is going to be, by definition, wonderful...and Carolyn Kelly (daughter of Walt, companion of mine) and Fantagraphics Books made sure it was properly presented."
Plug: "...Michael Kupperman's new book [Mark Twain's Autobiography 1910-2010]... has everything a boy could want, including Mark Twain on the track of the elusive yeti!... Albert Einstein is a major supporting player in the book (he and Twain open a detective agency, natch) and somehow it behooves me to remind everyone that in real life for really real, Einstein's granddaughter married a renowned bigfoot hunter. That is a fact you can look up on your computer!" – Jack Pendarvis
• Interview:Robot 6's Tim O'Shea talks with Shannon Wheeler, with a couple of revealing behind-the-scenes tidbits about Oil and Water in the second half: "Steve [Duin] understands a scene really well. When all the characters visited the bird cleaning facility there was a large storytelling arc with multiple subplots. I would have been afraid to juggle so many elements. I would have focused on the single note of the horror of the facility. Steve isn’t afraid to trust the reader to understand. I’m a lot less trusting of the reader. Steve showed me how to have more faith in the narrative."
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