If you’ve read my Comics Journal column on Ted McKeever’s Eddy Current (and the outtakes here), you probably saw a brief detour I took to discuss the relationship between superheroes and cities. I’ve expanded that topic a little more on my twitter account. Check out this thread:
My Comics Journal column about Ted McKeever’s Eddy Current is live! See how Eddy fits into the 1985-87 Event. Also, I couldn’t help myself, but I go into a fun tangent on the portrayal of cities in superhero comics. Here’s a taste:
As required by superhero conventions, Eddy lives in a fictional city with a ridiculous name: Chad. The city resembles New York, especially the New York of the 80’s: grimy, with underfunded infrastructure, populated by lowlives and criminals, and loomed-over by gleaming towers of the ultra wealthy ruling elites. Chad is Metropolis and Gotham in one. This is where McKeever really shines. His keen eye really brings the city to life. He finds moments of stillness and quiet beauty in studied depictions of abandoned warehouses, gas stations, desolate alleys, and diners. Clean lines, attention to detail, exquisite framing. These moments make Eddy stand out from other comics of the Event.
After the cover concept was approved it was time to pencil… this was the most complicated drawing I’ve done in a long time… maybe since architecture school? Click on the image for full-sized glory.
A new interview, this time with the Bill Baker at Morton Report. We get into one of my favorite topics: architecture. Here’s a taste:
What prompted your decision to become a creator of comics, a builder of stories, if you will, rather than a creator of buildings?
I think there are a lot of similarities. As I mentioned, the part of architecture that really spoke to me was “paper architecture.” People like Lebbeus Woods, Le Corbusier, and Étienne-Louis Boullée used drawings to create buildings based on specific ideas. Some are real proposals, some are real but probably unbuildable, and some are completely impossible… they all work as concrete representations of ideas about humans, the world and the cosmos.
Chris Ware, among others, has proposed that comics are a way of thinking. He is also one of the few cartoonists that has taken that idea to its limits. That is analogous to architecture, I think. I also find it interesting that Chris Ware is very interested in architecture.
What do you get from creating comics, generally, and what did you get from creating Beta Testing the Apocalypse?
This is very difficult to answer. This is my medium and much of my creative output is bound up with it. At some point in your life, you grow into the medium that works the way you think. I think comics are that for me. But it works both ways, the more comics you make the more you think in those terms…
Read the rest here.
Another fun interview, this time with Nick Hanover at The Comics Bulletin. We meander around a variety of topics: music, science-fiction, architecture, Quest for Fire, and much more. Here’s an exchange about the genesis of “100,000 Miles,” the lead story from Beta Testing The Apocalypse, and the story that was ultimately the genesis of the book itself:
CB: There’s a lot of flexibility in terms of perspective in your writing, too. For instance, “100,000 Miles” is mostly written from the perspective of a car.
CB: It’s hard to describe to people, but that’s such a cool idea, it really worked. How do you get into the mind frame of something like that? How do you make yourself think like that? Because it worked perfectly, it had almost this semi-autistic bent, which made perfect sense to me for a vehicle.
TK: With that particular one, that story was based on the time I lived in DC. And I had this murderous commute, that was 45 minutes to an hour. I would just sit there in this commute and think about this stuff. It was kind of interesting, because you got to drive in the city, Washington D.C. itself, and then out into this corridor by Dulles International Airport, this sort of tech corridor that was out there. You’d drive through the suburbs and these communities and I wanted to create some kind of narrative about the city and its surroundings, just kind of an essay. So this journey in a car became the structure for that. The way it’s written, a lot of it is kind of not stolen, but influenced by a lot of architectural texts, and the way they write about these things. Some architects tend to be more imaginative than others and get metaphorical, or whatever. So that’s kind of the genesis for this thing.
It also has some process art, like this big splash page from “The New:”
Read the rest fo the interview here.
Le Corbusier visits the USSR in 1928.