Today, cartoonist Richard Thompson announced that because of his ongoing struggle with Parkinson’s Disease, he’ll be ending his newspaper comic strip Cul de Sac on September 23rd.

It’s no exaggeration to call Cul de Sac the finest comic strip of this generation. Thompson began the strip in the Washington Post in 2004, but its distribution remained regional until 2007, when Universal executive Lee Salem fell in love with the strip (and with Thompson’s work on another Post feature, Richard’s Poor Almanac) and offered Thompson national syndication.

Cul de Sac focuses on the Otterloop family: father Peter, mother Madeleine, and especially their two kids, world-class neurotic Petey and pre-school troublemaker Alice. Like many other comic strips, Cul de Sac is a domestic comedy, but Thompson’s artistry elevates it into the canon of great comics, cheek-to-jowl with Charles Schulz’s Peanuts. Thompson’s skills are many: he has an uncanny ability to milk endless gags out of Petey and Alice’s diametrically opposed personalities, and he stuffs the Cul de Sac neighborhood with a joyous cast of supporting players. If you haven’t read the strip, names like Dill, Nara, Big Shirley, Beni, Viola, Miss Bliss, Ernesto, Mr. Danders, Andre and the Uh-Oh Baby mean nothing to you, but if you’re already a fan, I bet every single one of those names made you smile.

Perhaps the most remarkable aspect of Cul de Sac is Thompson’s art, a sublime hybrid of Schulz, Ronald Searle and Thompson’s own whimsy, expressed through jittery pen lines and bold, expressive lettering. In today’s newspapers, where comic strip are printed at the size of a postage stamp, Thompson still delivered his daily laugh and wry observation, and earned the praise of his peers: in 2011, he won the Reuben Award for Outstanding Cartoonist of the Year, the highest honor given by the National Cartoonists Society.

Richard is part of the Heroes family. He’s been to several HeroesCons, participating in panels about Cul de Sac, humor in comics, and other subjects. I became friends with Richard in 2008, when Ben Towle and I asked Richard (and Roger Langridge) to be on a panel where we’d collectively interview EC comics legend and Mad editor Al Feldstein. It turned out that Feldstein didn’t need our questions–without prompting from us, Al told one amazing story after another–but afterwards, Richard thanked me for the opportunity to meet Feldstein, I bought some original Cul de Sac art, and we became pals. It’s impossible to meet Richard and not become pals with him.

Me, Richard, Roger Langridge, Al Feldstein and Ben Towle, Heroes 2008. Photo by Mike Rhode.

Richard told his readers that he had Parkinson’s Disease in 2009, and in the years since has handled his increasing difficulties–with drawing, and with mobility in general–with heroic good humor. The last time I saw him in person, at last year’s Small Press Expo, he was frail and walking with a cane, but the first thing he said to me was a blue joke. His blog posts about his struggles with Parkinson’s are a study in grace under adversity. Read, for example, his farewell to Cul de Sac.

There are a couple of ways you can honor Richard and his strip. With Richard’s blessing, the tirelessly generous Chris Sparks has established Team Cul de Sac, a fundraising initiative (and division of the Michael J. Fox Foundation) that encourages the comics community to donate money to support Parkinson’s research. You can donate directly to Team Cul de Sac here. If you buy Chris’ lavish Team Cul de Sac art book (featuring contributions from Sergio Aragones, Evan Dorkin, Cathy Guisewite, Bill Watterson and literally dozens of other cartoonists), and/or Favorites, a home-grown zine of comics criticism I assembled last year, money will again funnel into Team Cul de Sac. Order these goodies here.

Most importantly: if you haven’t already, please read one of the Cul de Sac strip collections. A good place to start is The Cul de Sac Golden Treasury: A Keepsake Garland of Classics (2010), a fat sample of the first two years of the strip. It’s beautiful, charming–and, I think, a blast of Cartoon Nirvana, one for the Ages.

We lost one comics’ greatest creators this past Sunday. Joe Kubert not only touched the lives of those who saw his beautiful work on books like Sgt. Rock, Tarzan and Enemy Ace but one that will continue to shape young comic artists by founding the Kubert School in 1976. RIP and thank you Mr. Kubert for all you did in your amazing time with us. We extend our condolences to his family, friends, students and countless fans.

What follows are a few remembrances of the man and his work.

Andy Smith:

STAR SPANGLED WAR STORIES #148 (December 1969-January 1970).

Craig Fischer:

I read the story when I was a child, and found it unutterably sad. The “hero” was Baron Hans Von Hammer, a World War I German fighter pilot, and I was surprised that American comics could be published about an honorable German warrior. Von Hammer was noble, troubled, and–because of his reputation as an emotionless killing machine–isolated from his fellow aviators. In the story, however, Von Hammer befriends a hapless, wounded puppy he names Schatzi, taking the dog in his plane on bombing raids as a good luck charm. At the conclusion of the story, Schatzi barks to warn Von Hammer of the imminent attack of a UK Sopwith Camel, and in the process of dodging the British plane, Von Hammer tilts his own aircraft enough to spill Schatzi out of the cockpit. The little dog falls to his death. Von Hammer channels his grief into a murderous rampage.

The story is “Luck is a Puppy Named Schatzi!” from Star Spangled War Stories #148 (December 1969-January 1970), written by Robert Kanigher and drawn by Joe Kubert. On the occasion of Kubert’s passing, I’ve re-read “Luck” and discovered, predictably, that the story has less of an impact on me now. Because Kanigher yanks at our heartstrings so ferociously, the entire tale threatens to tip into self-parody. In fact, J. Caleb Mozzocco has posted a hilarious retelling of “Luck” on his Every Day is Like Wednesday blog, here.

Despite my misgivings with Kanigher’s script, I love Kubert’s art. His cartooning brings grace and ingenuity to perfect and imperfect scripts. Consider the moment in “Luck” when Schatzi tumbles out of Von Hammer’s plane.

On the most basic level, the verticality of the panel’s shape emphasizes Schatzi’s fall, and Kubert uses line width to establish the vast distance between Von Hammer in the air and the buildings and rivers on the ground. The shapes at the top of the panel, including Von Hammer and the plane firing behind him, are rendered with spot blacks and thick brush strokes, while the checkerboards on the earth below are delineated with slight, wispy pen lines. Between high and low is Schatzi, weightier–more present–than the ground, but descending into white space, swallowed up by the rapid fall. Von Hammer’s hand desperately reaches out to Schatzi; his index finger is bending at the first joint in an attempt to hook the dog into his grasp. (Like Ditko, Kubert is a master at drawing hands that express character emotion.) Kubert transmutes Kanigher’s scene into an example of graphic virtuosity. Kubert was this good all the time.

For Schatzi’s fall and for a thousand other moments: Thank you, Joe.

It recently dawned on me that I’ve written almost every Spotlight on New Releases column since July of 2010.  That’s almost a year and 1/2 of writing about new comics every week for readers of our Heroes Blog.  The biggest lesson I’ve gleaned from this experience is the idea that as a comics reader and critic it’s really important to maintain one’s joy and passion for our industry and hopefully encourage the same in our readers and customers.

Every week there are hundreds of books released, and there won’t always be something groundbreaking or revolutionary hitting the stands.  However, there are always books throughout a given month that entertain us or encourage us to think beyond the scope of our personal experience.  As readers it’s no crime to comment on things we wish were better in comics.  In fact, if you’ve been reading a title or following a character for a few decades, you have a lot invested in comics and should speak your mind.  Let’s remember that we all participate in a truly unique medium where on a weekly basis the opportunity still exists for us to be reminded of the inherent joy that exists within the pages of a comic book.  So with that thought, here are a few things about DC and Marvel comics in 2011 that I believe warrant reflection.

It would be wrong to talk about 2011 without first mentioning the DC reboot.  A gamble on many fronts, DC really took a chance when they decided to restart all of their titles.  The reality of the situation is that DC needed to do something different to try to increase their sales after years of turning in numbers behind Marvel.  They did garner lots of national media coverage for their event, and we did see many new faces excited about comics find their way into our store.  There have already been some concerns about how DC would be maintaining the quality and regularity of creative teams and storylines, but that’s to be expected.  Like it or not, the company did manage to refurbish some of their properties, and whether or not you agree with the strategy or enjoy some of the books, some really entertaining comics were produced.  In Geoff Johns and Jim Lee, Justice League brought two fan favorite creators to the biggest of books and did so with a wide-reaching effect. Brian Azzarello and Cliff Chiang’s Wonder Woman reminded many of us that this is a character who deserves to have talented creators working hard to tell her stories, and that when they do, good comics are inevitable.  Other books like Animal Man and Swamp Thing found a nice balance between horror and mainstream comics, and continue to build toward memorable stories.  The goal for everyone is to see DC do well, have strong creators on titles, and bring in new readership.  If this happens, everyone can benefit.

Marvel Comics had a bit of an unusual year.  DC clearly grabbed the most headlines for their reboot, but Marvel always seems to have a longterm plan, and certainly has multiple film properties to capitalize upon.  Like DC they offered up several new #1 issues with the goal of reaching new readership.  In some cases, as with Mark Waid, Paolo Rivera, and Marcos Martin’s Daredevil #1, Marvel found a solid creative team who managed to tell some great stories by steering the character away from his typical grim and gritty fare, and back toward some of his more swashbuckling roots.  No, this isn’t a reinvention of the wheel, but it is a good, fun comic that more and more readers are starting to enjoy.

Marvel probably grabbed their biggest headlines with their controversial decision to kill of the Ultimate version of Peter Parker/Spider-man.  Regardless of what you think of this decision, the idea that they then introduced a new Spider-man who might reach a wider range of readers is an exciting prospect.  If comics can’t reach a new, young readership base then the industry will continue to change in increasingly dramatic ways over the next decade.  The effort to gain new readers is also a reason for this year’s breaking of the X-men into two separate schools of thought.  With a lineup in Uncanny X-men consisting of darker, more villainous characters like Magneto, Namor, Emma Frost, and a Juggernaut-powered Colossus, and a younger, more lively bunch of mutants being headmastered by Wolverine in Wolverine and the X-men, Marvel has offered up two distinct X books for readers with very different sensibilities.  The latter has also given us some of the year’s most entertaining superhero comics, and has offered writer Jason Aaron an opportunity to explore a different kind of book than he has previously written.  By the same token, with Uncanny X-force Marvel has maintained and grown a steadfast audience for a mutant-centric book that doesn’t quite read or look like X-titles of the past.

Whatever you might take away from comics in 2011, it’s worth noting that like with almost anything in art there can be strong, entertaining possibilities if you look hard enough.  If you find a comic that moves you or offers up great escapism, support it by buying it and encouraging your friends to give it a try.  If you’re unhappy with a book you might have read for a long time, don’t be afraid to put it down for awhile and look for something new.  There are plenty of  books well worth your time and money.  The important thing to me is that we all do our best to try to be positive about our industry, encourage new readership, and support writers and artists who are focused on producing quality comics.

This is really just the tip of the iceberg.  Both companies had plenty more worth mentioning this year, and we’d like to hear from you about what you think.  What DC or Marvel books really impressed you this year?  What book did you buyon a whim and then proceed to pick up every month thereafter?  What are some things in 2012 that you’d like to see, or might be looking forward to?

Check out our sweet HeroesCon Variant cover for Avengers X-Sanction #1! It was announced this week that 2012’s big Marvel event will be Avengers vs X-Men (I loved that Marc Silvestri mini-series when I was a kid!) and this is where it starts! You can get yours at the store next Wednesday!

We’ve also created a listing on our eBay store for pre-sales.

Heroes Aren’t Hard to Find and Marvel Comics are offering a HeroesCon 2012 variant cover of this book that kicks off 2012’s Avengers VS X-Men Crossover!

This book is extremely limited and by ordering today you ensure you will have a copy of this book when it comes out next week.

All orders will ship Wednesday, December 14 when this book hits stands!

Heroes Aren’t Hard To Find is seeking to raise $10,000 for the Comic Book Legal Defense Fund by sponsoring its Fall Comics Grab Bag! Debuting this weekend at New York Comic-Con, the CBLDF Fall Comics Grab Bag includes 10 comics for a $20 donation, with rare and signed comics guaranteed in every bag!

We have contributed a vast array of rare comics from the Silver, Bronze, and Modern Age to support the Fund. Comics guaranteed to be included in the Fall Comics Grab Bag include Avengers #57 (1st Appearance of the Vision), X-Men #46, X-Men #48, Batman #185, Luke Cage #1, Nick Fury: Agent of Shield #3, Sub-Mariner #5, and dozens more. Signed comics were contributed directly from their artists, including Amanda Conner, Garth Ennis, Neil Gaiman, Jim Lee, Frank Miller, Jill Thompson, Gail Simone, and many more!

“We’re extremely grateful to Shelton and the HeroesCon team for supporting the CBLDF with this fundraiser,” says CBLDF Executive Director Charles Brownstein. “On top of being a great fundraiser, this grab bag is a little taste of what HeroesCon is like, with a fun diversity of great comics from across the decades, autographs from incredible creators, and a pile of great stories you want to take home and read. We’re glad to reward our donors with this cool new item.”

HeroesCon 2012 30th Anniversary show will be June 22 – 24.  A coupon for $10 off a 3-day pass to the show is available in the CBLDF Fall Comics Grab Bag and can be redeemed at Heroes Aren’t Hard To Find’s NYCC booth, #1369.

Get your CBLDF Fall Comics Grab Bag and check out the huge range of donation incentives available from the CBLDF’s Booth #1158 at New York Comic-Con! See you there!

As part of our recent trip to this year’s Small Press Expo in Maryland, I had an opportunity to pick up an advanced copy of Craig Thompson’s eight years in the making new book, Habibi.  Thompson has had something of a meteoric rise to fame, with an acclaimed first book Goodbye, Chunky Rice, and his next book Blankets becoming a nationwide phenomenon and Eisner Award winner.  Blankets was a rare comic, a 500+ page original graphic novel memoir that went on to sell thousands of copies and inadvertently become a gateway comic for countless new readers.  Thompson followed Blankets with Carnet De Voyage, a much shorter work that was more travel journal than distinct narrative.  It has been known that Thompson’s newest book Habibi was being worked on for the better part of a decade.  Fans and critics alike have been curious about what kind of book Habibi will be, and whether or not it could live up to the subsequent hype created by the success of Blankets.  Once we got back from Maryland I took it upon myself to read Habibi and post some thoughts about it here on the Heroes blog in hopes of giving you all some idea about what you might expect from this massive book.

The first and most obvious aspect of Habibi is that it represents Thompson’s continued interest in creating long form graphic novels as opposed to serializing longer stories in the same way that creators like Adrian Tomine or Chris Ware typically might.  Thompson admits that there are positives and negatives to this publishing ideology, but the fact that he now has two 500+ page original graphic novels in his catalog is indeed an impressive feat, especially when you remember he’s only in his mid thirties.  These hefty works demand a great investment from readers, but if you see that a creator has put so much time and energy into a work, the book seems to offer a substantial potential for gravity, depth, and hopefully a high degree of entertainment.

While large comics do signify the creator’s dedication to story and craft, they don’t necessarily mean they are always good, entertaining comics.  How does Habibi stand on its own merit?  Habibi is quite an accomplishment because, if anything, it clearly shows how much Thompson wanted to grow and progress in his art after Blankets.  It might’ve been tempting to churn out a follow up to that story and tell another autobiographical story, but Thompson went to an entirely different well for Habibi.  It’s a Middle Eastern story that owes as much to Islamic history, poetry, art, and symbology as Blankets did to Thompson’s own Christian upbringing. Thompson isn’t Muslim, and didn’t necessarily grow up with an understanding or appreciation for cultures outside of his own, but his attention to detail is beyond meticulous.  Every pattern and example of calligraphy, though based on existing examples of Islamic art and history, was painstakingly reproduced by Thompson’s brush.  The fine adornments, chapter fronts, and panel frames weren’t cut and pasted from a computer, but drawn by hand.  To me this exemplifies that Thompson not only wanted to push himself as a cartoonist, but wanted to be very respectful to the traditions and forms that inspired this book.

Beyond Thompson’s clear motivation to make Habibi an accurate and appropriate Middle Eastern tale, it’s worth noting that there are several entertaining chase scenes and action sequences in the book.  I’ve heard from some who didn’t like Blankets that they thought it was too emotional, and not necessarily a story that demanded a visual interpretation.  Habibi reminds us that Thompson is acutely aware that comics are a visual medium, and that he understands and enjoys crafting pages filled not just with fine adornment, but with fluid movement.  The characters of Zam and Dodola are often in life-threatening situations, and that sense of danger is clearly evident, especially in the way Thompson depicts their faces and body language.  While Blankets was very much about individuals growing up in a strict fundamentalist environment, Habibi deals with characters maturing and changing amid a place of relegated status where their lives are often threatened.  For that reason the stakes seem dramatically higher in Habibi, and thus considerably more heavy in their global sense of relevance.

Somehow amid all the danger, Thompson maintains the thread of Habibi’s love story.  Blankets also had a love story, but while its focus was on young people still discovering their identities, Habibi’s love story exists between two very scarred individuals who allow themselves to know love in spite of their tremendous personal struggles.  While we see the characters age from young children to adulthood and witness their individual tragedies, we see them come to terms with their respective scars and still accept love in spite of their pasts.  The characters truly seem to need each other in order to fully realize their own true selves, and that necessity doesn’t come across as contrived or forced.  This feels like a story that could have already or may yet happen.

Habibi gives us plenty of evidence that Thompson has matured in his storytelling and his cartooning.  There is perhaps no better example of that than by simply noting that Habibi is a comic of layers, where symbolism and parallels exist amid the characters and scenes, but are also made more resonant by their reflection of Middle Eastern numerology, spirituality, and philosophy.  Blankets was in part about Thompson’s struggle to accept his fundamentalist upbringing and find his own voice amid that belief system.  Habibi is set in an equally fundamentalist culture, but here faith and the hope it brings act as a buoy for the characters.  Faith is something that the characters have even when everything else is against them.  The characters’ understanding and use of their faith is exemplified by the numerous inclusions of Islamic symbology, and while they give us a better sense of the characters’ identities, they are also a smart method Thompson uses to incorporate themes and symbology he wanted to illustrate in this story.

As with any creator who has a huge commercial and critical success, all their subsequent works will inevitably be measured against that previous work.  It wasn’t hard for me to read Habibi as its own story, but it is hard for me to talk about it now that I’ve read it without noting that this was made by the same guy who created Blankets.  While the stories have some similarities between them, Habibi stands out as a much denser, detailed, adult story reflective of an older, wiser cartoonist at work.  There certainly are some darker, more mature elements to Habibi, but they aren’t included gratuitously.  Thompson carefully researched Middle Eastern history, art, literature, and spirituality, and with Habibi adds his own mark to those centuries old stories.  Regardless of how you react to Habibi, I doubt anyone who reads this book can experience it without at least respecting the continually refining craftsmanship of Craig Thompson as a writer, cartoonist, and storyteller.

HeroesCon 2011 is less than a month away!  As part of our continuing series spotlighting some of our guests at this year’s show, today we’re proud to feature an interview with Chris Pitzer of AdHouse Books.  Pitzer is by no means a stranger to HeroesCon, and has been a staple of Indie Island for years.  With AdHouse continuing to gain respect and attention within the industry, we thought it would be fun to talk with Pitzer about his acclaimed publishing house, and to see what you might find at the AdHouse booth this HeroesCon.

Seth Peagler (SP): Chris, thanks for being a part of this interview. AdHouse has really done some great things in recent years, but to start out I’d like to ask you about what led you to start your own homegrown publishing house in the first place?

Chris Pitzer (CP): Sure thing Seth! Well, I love book design. I also love comics. So, after having done a stint at Eclipse back in the day, I started to freelance a little bit here and there within the comic field. Eventually I was made aware of a creator (Joel Priddy) and his book (Pulpatoon Pilgrimage) and we both happened to be living in Richmond, VA at the time. So, we met, and I told Joel that I’d be more than happy to help him get his work published. Knowing a few of the indy publishers at the time, I sent them his proposal and waited on a response. When a response never came, I decided to take the “knowledge” I had gained by that point, and start AdHouse. That was nine years ago!!!

SP: I would imagine that you have lots of creators who want to publish their work at AdHouse. How exactly do you decide what books and creators you want to work with and publish?

CP: I know I sound like a broken record with this answer, but I have to love it. Jeff (Alternative Comics) Mason told me that once, and it has really stuck with me. Besides loving it, I like to see an attention to detail. I like a creator who can get out there and help sell their work. I like something new, something borrowed, something blue… So, really, it’s just a matter of hitting me with the right project at the right time. This being our ninth year celebration, we’ve beenproducing work full tilt!

SP: Can you talk a bit about AdDistro? I recently bought some fantastic books from you that were published by Nobrow. Is AdDistro just another way for AdHouse to turn readers on to comics and creators they might not typically encounter?

CP: Exactly. I initially found Nobrow via the Drawn.CA website. I was curious, so I ordered a few of their publications. The only problem is that they were based in the UK. So, it wasn’t really a “problem” but I thought it might be a hurdle for some customers. So, after getting their wonderful work, I came up with the idea to help bring it to the states. Around the same time, I stumbled upon Koyama Press out of Canada. And then a retailer friend made me aware of Malachi Ward’s self-published work. So, those three were my initial offering of AdDistro. I can’t say this will be around forever, but it is fun to bring to shows and see people get excited about it. I know I still do.

SP: You’ve recently had great success with both Afrodisiac and Duncan the Wonder Dog, the latter of which just won the LA Festival of the Book Graphic Novel prize. What books or projects are you excited about AdHouse being involved with in the coming year?

CP: All of them! But to bring you and your readers up to speed, here’s what we have planned… Even the Giants by Jesse Jacobs will be appearing in stores in around two weeks. We also decided to help bring Stuart Immonen’s Centifolia V2 to life. It, and the first volume, will be available by the end of May via AdHouse and finer comic shops. June is Welcome to Oddville! by Jay Stephens which I was very excited to help publish. July is Forming by Jesse Moynihan which I am VERY excited to read. You see, I’m just helping Nobrow bring it to stores in the US, so I haven’t actually read the whole thing. Just a bit on his site. I don’t want to spoil the experience for myself. August is Blue Collar / White Collar by Sterling Hundley. This is in the vein of the James Jean or Paul Pope books. More of an art book with some essays. Very nice stuff. September is the Do It Yourself Doodler by David Jablow. It’s a weird little art book that has been quite the internet sensation. And September is Pope Hats #2! Whew!

SP: You’ve been an anchor of Indie Island throughout the years and every year you’ve always got some interesting books and people with you at your booth. What are some things fans can expect to find at the AdHouse booth this HeroesCon?

CP: We’re bringing Lamar Abrams (REMAKE SPECIAL)

back down South with us this year. We both enjoy the food! Jim Rugg (AFRODISIAC) will be making an appearance. And, I just got an email from Fred Chao (JOHNNY HIRO) that he’ll be roaming the show. So expect those great people and books as well as all our other publications! And be sure to check out the fine AdDistro items! It’s all for the love of comics!

With HeroesCon ’11 just around the corner we’re happy to continue to shine a spotlight on several of the creators who will be appearing.  Today we’re featuring an interview with John Arcudi, a veteran writer who has worked on everything from Superman (in Wednesday Comics) and Doom Patrol, to Gen13 and the cult favorite Major Bummer.  He’s also been a mainstay at Dark Horse Comics for years working on titles like The Mask, Aliens, Predator, RoboCop, and for the past several years as the co-writer of the popular Hellboy spinoffs B.P.R.D. and Witchfinder. Make sure to stop by and say hello to John and welcome him to his first ever HeroesCon appearance!

Seth Peagler (SP):  John, we’ve been fortunate to have several of your Dark Horse cohorts appear at HeroesCon over the years, so it’s nice to have you be in Charlotte with us this year.  Many of our attendees probably know you best from your work on B.P.R.D., but you’ve written everything from mainstream superhero titles to original graphic novels like A God Somewhere.  I’m curious how your writing approach differs between superhero books and titles of other genres.  Is there a difference at all, or do you structure your writing the same way regardless of the genre?

John Arcudi (JA): Thanks for having me, and I sure hope many attendees know me.  We’ll see.  As for my writingapproach, that’s an interesting question.  I’m always trying to tell the best stories I can, but there’s no getting around that I look at different work in different lights.  The way I write superheroes, for the most part, is pretty badly.  Never really got the feel for them, hence the creation of Major Bummer, my and Doug Mahnke’s super-satire.  It was more personal so I felt I could pour a lot more stuff into it.  Same thing for A god Somewhere.  In both cases, there’s no existing continuity to adhere to.  They’re my characters and my stories, and I’m more confident that I actually know what I’m doing.

(SP): Particularly with writers I’m always curious about their educational background.  Did you study English and screenwriting?  Was comics writing something you naturally found yourself working toward?

(JA): English major, but was never working towards writing comics.  Never.  It was a kind of accident, actually, but as soon as I started it turned out I worked well in the medium, so it’s lucky I ended up doing this instead of being a mechanic.

(SP): OnB.P.R.D. you’re working with one of our industry’s giants Mike Mignola to develop and flesh out his universe, but you’re still able to bring your own ideas and elements to it.  What’s the creative process like between you and Mignola?  Are plots collaboratively developed with you handling the scripting duties?

(JA): B.P.R.D. is a strange animal.  Mike and I do sometimes collaborate on plots, and sometimes we don’t.  It just depends on what the mini-series is about — but as for the large, over-arcing plot — which is to say, where the series is heading, yes, we did and do collaborate on that.   I’m also very fortunate that for being as big a name as Mike is, he still lets me do what I do, lets me run with an idea, and takes my ideas seriously.  He seems to trust me, which is another reason the B.P.R.D. books work so well, or at least why I’m happy working on them, which one would hope translates to good reading.

(SP): Earlier this year longtime B.P.R.D. artist (and HeroesCon regular) Guy Davis announced he was departing the book.  After working on this title for so long with Guy, I’d imagine the two of you and Mike had developed a kind of instinctive working relationship with each other.  How have you and Mignola handled the transition over to new artist Tyler Crook?  Are you finding elements in his style that are informing your storytelling or that might influence future storylines?

(JA): Sure, it’s been weird, and I do already miss Guy.  He’s so talented, but he’s also a sweetheart, and you’re right; we all got into a groove with him.  That said, Tyler is really an incredible artist.  There’s going to be an adjustment period, obviously, but once we all get used to each other, Tyler’s going to do a great job.  He’s already finished one issue and it’s beautiful.  If he can handle all of our idiosyncrasies, then he’ll kick ass.  And I expect that I will play to his strengths, so sure, my stories — or how I tell them —  will turn out to be a little different.

(SP): Having been a mainstay at Dark Horse for years, I’m curious as to whether or not you’ll be bringing some of your popular characters like The Mask back in the new Dark Horse Presents title?

(JA): Right now we’re negotiating to get an old character back in DHP, but I can’t say much more about it than that.

(SP): I mentioned your original graphic novel A god Somewhere, are there any other creator owned books that you’re developing at the moment?

(JA): I’m working on a Graphic novel involving that self-same character that I can’t talk about (regrettably).  I also have a large OGN I’m developing and am just looking for a publisher.  It’ll be more along the lines of A god Somewhere.  Got a lot of hopes for that one.  Also, while it’s not a new book, Major Bummer is creator owned in every sense of the word and Dark Horse will be publishing the complete collection of that series in October of this year with some extras from both me and Doug Mahnke tossed in.

(SP): Thanks to John Arcudi for taking the time to talk with me.  Make sure to stop by and welcome him to HeroesCon this summer.  Stay tuned to the Heroes blog for HeroesCon news and guest spotlights, and remember, we still have tickets available, so pick them up while you can!

We’d like to make a brief mention of this week’s Casanova: Gula #2. Not only will you get a story from the always entertaining team of Matt Fraction and Fabio Moon, but there’s a six page interview in the back of the book between Fraction and series letterer Dustin Harbin.  Most of you probably remember that both Fraction and Harbin spent time working for Heroes, and both made great contributions to the store and HeroesCon.  The interview kind of reads like a behind the scenes of our store, and is very typical of the way Matt and Dharb behaved in their Heroes days.  Be forewarned, we promote this interview with an expletive advisory, as the conversation is uncensored.  If you don’t mind salty language, check out this interview with two of our favorite alums!  Here’s a brief excerpt from our old friend Dharbin, in which he sheds some light on the life of comics retailing:

DH: If there’s anything working in a comics shop– and one of the great shops of North America at that– has taught me, it’s that you have to be bananas to run a comics shop.  Shelton (Drum) certainly is– I’ve worked with that dude through some highs and lows, whoa Nellie, and he is nothing if not slavishly devoted to comics.  I think most people who run comics shops, good or bad, have that hell-or-high-water approach to things.  In Shelton’s case, it makes his shop one of the best in the country, and HeroesCon one of the best-regarded comics conventions around.

Saturday is the first ever International Read Comics in Public Day! And from the response it has been getting this will be the first of many. Brian Heater and Sarah Morean of The Daily Cross Hatch are the brains behind this event which, through no coincidence, is the same day as Jack Kirby‘s birthday. They are organizing it as a way to bring attention to comics as a legitimate form of literature and to encourage comic readership.

They are doing a heck of a job promoting it using their blog and social networking sites, like Facebook. They even have downloadable posters on their website. The story is getting coverage from all over.  NPR ran a story, as did The Beat.  I especially like how they are reaching out to libraries and not just comic book stores.

If you want to participate just read a comic outdoors and have a friend take a picture of you then send it to [email protected]. And if you tweet about the event don’t forget to use the approved hashtag: #readcomicsinpublic.

What comic will you read in public?