Comic Strips Archives - Robot 6 @ Comic Book Resources
Over the past few years, Mike Maihack’s adorable Batgirl/Supergirl comic strips have become a holiday tradition. Today, the creator of Cow & Buffalo and Cleopatra in Space is back with a new Christmas edition, in which the eternally cheerful Maid of Might wants to go caroling in Gotham. Which is apparently a lot like trick-or-treating …
“I feel like every Batgirl/Supergirl comic I’ve drawn so far has led up to this one right here,” the cartoonist writes. “Anyhow, Merry Christmas, everyone! I hope everyone is okay if this is the last of these for a while. 2015 is going be a busy, busy year for me.”
Years before his breakthrough works such as Why I Hate Saturn, Kyle Baker was an intern at Marvel. And although he was admittedly a poor fit for superhero comics, his editors saw something in the artist and gave him an outlet in It’s Genetic, a series of one-panel comics for the company’s promotional magazine Marvel Age.
Although Baker would go on to do different things, these early illustrations demonstrate how Baker — to say nothing of Marvel — wasn’t afraid to poke fun at one of the company’s biggest properties. Take this for instance:
Fantagraphics is bringing one of the pillars of South American comics to the United States for the first time.
In August 2015, Fantagraphics will publish an English adaptation of the first storyline of El Eternauta, aka The Eternonaut. Created in the late 1950s by writer and revolutionary Héctor Germán Oesterheld alongside artist Francisco Solano López, The Eternonaut is a rollicking sci-fi tale about a group of people living in the midst of an alien invasion. The story is post-apocalyptic, but veers into the weird with mutated animals, insects and even humans that the group fights just as much as the alien invaders. Midway through the story, the group is split apart due to a malfunctioning time-travel device on one of the alien’s ship, stranding some of the heroes in time and sending them on a new quest to find each other.
With its glacial pacing, signature earnestness and freakishly out-of-scale wildlife, Mark Trail is a fairly easy target for mockery, but the 68-year-old comic strip does have its fans.
Cartoonist James Allen, who worked as Jack Elrod’s assistant for nearly a decade, thought he had a pretty good idea of what those fans wanted: the occasional window into Mark’s family life (with a giant dog or goldfish, perhaps?). So after he taking over the daily strip in April, he set the khaki-clad adventurer on a course to spend a little time with long-neglected wife Cherry and son Rusty. Boy, was that so not what fans wanted.
After receiving several letters from “annoyed” readers, the Sun Journal of Lewiston, Maine, contacted Allen, who explained:
Following news of an expanded partnership with Marvel for its Artist’s Edition line, IDW Publishing has announced it will release deluxe hardcover editions of the Amazing Spider-Man comic strip through its Library of American Comics imprint.
The strip debuted in January 1977 with a storyline by Stan Lee and John Romita Sr. that pitted wall-crawler against Doctor Doom, and it’s continued daily ever since. For much of its run, the comic has been produced by Larry Lieber, who was joined in more recent years by Paul Ryan, Alex Saviuk and Joe Sinnott.
When you curl up with a collection of Bill Watterson’s beloved comic strip, you likely give no thought to the actual costs of the path of destruction cut by Calvin and Hobbes during their nearly decade-long free-for-all. But a certain Matt J. Michel has.
The editor of Proceedings of the Natural Institute of Science (ahem, PNIS), “a part-serious, part-satirical journal publishing science-related articles,” Michel addressed the issue with all the seriousness — or at least part-seriousness — he could muster. Sitting down with the four-volume Complete Calvin and Hobbes, he scoured each of the 3,150 strips, attaching a price to each piece of damaged property explicitly depicted or attributed to the eternal 6-year-old.
Sixty-four years ago today, the beloved and influential Peanuts debuted in nine newspapers with a four-panel strip that set the tone for the future of “good ol’ Charlie Brown,” introduced through the words of Shermy, who admits his hatred for him.
Things didn’t get any better for the round-headed boy in the second installment, in which Patty (no, not Peppermint Patty) punches him in the eye. Snoopy doesn’t arrive until the third, but Schulz ensured the faithful companion wouldn’t make life much cheerier for Charlie Brown over the course of the 17,894 strips that followed.
The three original comic strips from Bill Watterson’s surprise guest stint last month on Pearls Before Swine will be displayed this week at Comic-Con International before they’re sold at auction Aug. 8, with proceeds benefiting The Michael J. Fox Foundation for Parkinson’s Research.
The collaboration, which came at the suggestion of the Calvin and Hobbes creator, marked Watterson’s return to the comics page after a 19-year absence. Pastis teased readers that the week’s storyline would “contain a mind-blowing surprise,” but didn’t reveal what it was. Nevertheless, some fans quickly uncovered clues that some of the strips were ghost-drawn by Watterson.
The original Wonder Woman comic strip will be collected for the first time in August in IDW Publishing’s 196-page hardcover Wonder Woman: The Complete Newspaper Strip 1943-1944.
It’s part of the March 2013 partnership with DC Entertainment and the Library of American Comics that includes the Superman and Batman comic strip collections. Unlike the other two superheroes, who had lengthy tenures in newspapers (even if the Caped Crusader’s was broken up into three major runs), Wonder Woman’s was short-lived, lasting only from May 1, 1943 to Dec. 1, 1944.
To answer a question that many people have been speculating on: Yes, Bill Watterson did contribute to Pearls Before Swine this week.
The creator of the comic strip, Stephan Pastis, confirmed on his blog what many people have been speculating — the Calvin & Hobbes creator did indeed return to the comic strip page and teamed with Pastis on three strips this week.
Comparing the experience to searching for Bigfoot, Pastis describes how the collaboration came about. It started with a comic strip tribute to Watterson (see above) and Washington Post cartoonist Nick Galifianakis, who worked with Watterson on The Art of Richard Thompson, giving Pastis Watterson’s email address. Pastis didn’t think he’d get a response.
On Monday, cartoonist Stephan Pastis kicked off a new Pearls Before Swine arc by teasing that this week’s strips “will contain a mind-blowing surprise.” That tantalizing tweet, coupled with artwork in a decidedly different style and a couple of potential dialogues, led some readers to speculate that parts of the storyline are drawn by none other than Calvin and Hobbes creator Bill Watterson.
At The Daily Cartoonist, Alan Gardner lays out some of the evidence, both for and against, and rounds up some of the Twitter chatter on the subject. He acknowledges, “I’m not fully convinced that it is Bill.”
“See Something, Say Something,” the biweekly comic by David Rees and Michael Kupperman, was missing Sunday from The New York Times’ Week in Review because, Kupperman says, editors deemed its subject matter “too sensitive.”
The strip, titled “Testosterone Entitlement Theatre Presents the Man Babies in ‘Hashtag Harassment,'” addresses specifically critics of the recent “#YesAllWomen” Twitter hashtag, and more broadly male entitlement.
Derf Backderf, creator of the acclaimed memoir My Friend Dahmer, has ended his weekly comic strip The City after 24 years.
“I’m ending the strip so I can concentrate full-time on graphic novels,” he announced today on his blog. “It’s all good. I’m not slinking away from a failed endeavor as a washed-up has-been. I’m leaving it behind in a blaze of glory, as a newly minted, internationally-best-selling comix creator. The past couple years have been the best of my career. After 30 years of toil as a (at best) cult favorite to suddenly find success? I’m loving every fucking minute of it! I simply no longer have the time, nor, quite frankly, the desire, to devote to The City. Typically, it takes almost two full workdays to write and draw one strip. That’s time better devoted to other projects.”
While minicomics are a fixture of conventions, and increasingly the Eisner Awards, it seems doubtful we’ll encounter microcomics in artists alley anytime soon. Still, cartoonist Claudia Puhlfürst‘s “Juana Knits the Planet” is leading the charge.
The 12-panel comic strip has been etched onto a single human hair using a focused ion beam, ” a very sharp and high-speed jet of matter is produced and directed towards the hair to etch it — similar to a fine laser beam.”
For two months this winter many of us were swept up in HBO’s True Detective and the serpentine search by detectives Rust Cohle and Marty Hart not only for a serial killer but also for the meaning of life and the nature of good and evil. And while not everyone was satisfied with the ending, most of us remain enthralled with the writing of Nic Pizzolatto and the existential nihilism of Matthew McConaughey’s character.
And now we can experience both again, in a decidedly different form, with Time Is A Flat Circus, which combines dialogue from the crime drama with panels from the long-running comic The Family Circus. It’s as terrific as you imagine.