It’s interesting that somebody might decide suddenly that we [cartoonists] have a social significance or not.
The assumption that comic books are for children, greasy-haired science fiction geeks, or middle-aged Japanese businessmen with a penchant for mildly paedophilic pop-eyed porn, is dead.
Comics writers: if you want comics and graphic novels to be treated as literature, at the very least you must make sure that your writing is free of simple errors.
Tintin certainly has evolved since the days of his politically incorrect misadventures, and so too has America.
Webcomics have already eclipsed newspaper comics creatively, because of all the restraints put on newspaper comics.
The horrific murder of the editor, cartoonists and other staff of the irreverent satirical weekly Charlie Hebdo, along with two policemen, by terrorists in Paris was in my view a strategic strike, aiming at polarizing the French and European public.
American comics are more creative than ever, and the ideas developed there find many types of homes: some are perfect just as comics and some move to other media.
‘Comics readers can be really parochial’ would be the mean way of putting it, but the fact is, comics are such a complex set of subtle visual and verbal codes that it’s easy to get thrown off by quirks in each continent’s approach to the medium, the same way that manga rubs a lot of…