Archie Comics
Archie Comics

The Most Interesting Comics of the Week

Archie Comics
Archie Comics

Every Wednesday, I write about the most interesting new comics hitting comic shops, bookstores, digital, Kickstarter, and the web. Feel free to comment below if there's a comic you've read recently that you want to talk about or an upcoming comic that you'd like me to consider highlighting.


1. Seconds

By Bryan Lee O’Malley; colors by Nathan Fairbairn
Random House

Bryan Lee O’Malley’s highly anticipated follow up to Scott Pilgrim

Seconds by Bryan Lee O’Malley is arguably the most anticipated graphic novel of the year. It's his first since completing the Scott Pilgrim series in 2010, which made him one of the most popular and influential cartoonists of the 2000s. O'Malley's bold, manga-influenced style has been much imitated in the past decade. His unique storytelling style blends magical realism with common video game tropes which he uses to tell relatable stories about young people and their daily lives.

In Seconds we meet 29-year-old Katie. She is a successful chef with her own restaurant whose life gets turned upside down. She gets a second chance in the form of a magic mushroom that has the ability to correct her mistakes. Eventually she figures, why not just keep eating mushrooms and fixing every little mistake until her life is perfect?

O’Malley has always deftly written about characters his own age. He did it for college graduates in his debut book, Lost at Sea, and then 20-somethings throughout the six-volume Scott Pilgrim series. Now in his 30s, he looks to explore the doubts felt by someone who has made it out of their 20s with both success and failures to contemplate.

Image courtesy of Random House

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2. The Shadow Hero

By Gene Luen Yang and Sonny Liew
First Second Books

An origin story for the first Asian-American superhero

In 1944, a small publishing company called Rural Home hired Chinese-American artist Chu Hing to create their own superhero character. He came up with The Green Turtle — the first Asian American superhero. Through five issues of Blazing Comics, The Green Turtle fought the Japanese Imperial Army while exhibiting no apparent superpowers and was accompanied by a sidekick named Burma Boy and a goofy, turtle-like shadow.

In the back pages of the new graphic novel The Shadow Hero, writer Gene Luen Yang relays the history of this character and the forgotten artist who created him. According to rumors, the publishers decided against the The Green Turtle being Asian. Unwilling to give up on that, Hing always drew him with his back turned or face hidden so as never to reveal his features. The colorists were told to make his skin pink, presumably to assure readers that he was Caucasian, but they seemed to overcompensate for this and made him VERY pink.

Yang and artist Sonny Liew reimagine this lost character — now in the public domain — and attempt to explain all his aforementioned weird traits. In doing so they have created a wonderful comic about the Chinese immigrant experience told as a superhero origin story.

Hank Chu, the young man who will become The Green Turtle, is the son of a Chinese grocer whose wife becomes obsessed with American superheroes after one of them saves her life. Becoming a costumed hero seems like the ultimate form of assimilation to her and she attempts to stage “accidents” in hopes they will give her son superpowers. Hank is at first reluctant and thinks his mom is crazy, but when tragedy befalls the family, he suddenly has the motivation required for a true superhero origin.

Yang, who came on the scene with the graphic novel American Born Chinese and has continued to produce award-winning work like last year’s Boxers & Saints, is proving himself to be one of the best and most important comic creators of our time. He truly gets why these kinds of stories are inspiring and weaves a wonderful tale full of action, laughs, and heartbreak. It's probably the best superhero comic you will read this year.

Image courtesy of First Second

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3. Life With Archie #36

By Paul Kupperberg, Fernando Ruiz, Pat Kennedy, Tim Kennedy, Jack Morelli, Rosario Peña, Gary Martin, Bob Smith, and Jim Amash
Archie Comics

Yes, Archie dies in this issue. Yes, he's still alive in every other Archie comic.

In issue #36 of Life With Archie, Archie Andrews — one of the most popular comic book characters of all time — sacrifices his life to save his friend Kevin Keller from an assassin’s bullet. Keller, the first openly gay character in Archie Comics, has been elected to the US Senate, running on a gun control platform, and becomes the target of an assassin.

Killing off comic book characters for sales and publicity is a common event these days and somehow makes news each and every time. In recent years we’ve seen Spider-man, Batman, and the Human Torch “die” only to return a few months later. We’re about to go through the same thing this summer when Marvel "kills off" Wolverine. It’s not often we see this tactic used in non-superhero comics where the death can not be easily undone by plot devices like time travel, mystic ritual, or alien technology.

However, one device that Archie Comics has at their disposal is the fact that Life With Archie is a self-contained comic with a timeline that is separate from all other Archie comics. This is a series that takes place in an alternate future that shows us Archie’s life as an adult, married first to Veronica and then later to Betty. This will be the double-sized penultimate issue of the series with the final issue (#37) showing Archie's friends reflecting on his life and death.

It may seem a little odd to see an all-ages, light-hearted character like Archie killed off as a political statement, but, particularly since the introduction of Kevin Keller in 2010, Archie Comics have found some new life in their willingness to tackle topical and often controversial subject matter.

Here's a preview of the comic.

Images courtesy of Archie Comics

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4. Through The Woods

By Emily Carroll
Margaret K. McElderry Books

Believe it or not, this is the first book from critically-acclaimed cartoonist Emily Carroll

Emily Carroll is known to readers as a webcomic creator. Her beautifully drawn horror comics use the strengths of that medium with subtle animations and clever scrolling effects. Yet her true strengths as an artist and storyteller are by no means limited to a particular delivery mechanism. Her very first book, Through The Woods, proves this.

It’s hard to believe that a cartoonist as accomplished as Carroll hasn't published her own book until now. It's is even harder to believe that she has only been making comics for just the past four years. In that time she has released a number of haunting little webcomics (the most recent of which I talked about here) and various anthology contributions. Through the Woods is a collection of four brand new stories and one reprint of the 2010 webcomic His Face All Red which first brought Carroll to the comic world's attention.

You can read more about the book and see a number of preview pages on Zainab Akhtar’s excellent blog Comics & Cola.

Image courtesy of Margaret K. McElderry Books

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5. Zaya #1

By JD Morvan and Huang-Jia Wei 
Magnetic Press

A stunning sci-fi comic from a French writer and Chinese artist

Last week, Magnetic Press – a new publisher dedicated to bringing translated editions of European and Asian comics to English-language audiences – released the first issue of Zaya as a “digital-first” comic on Comixology. This release comes a month ahead of a 200-page hardcover collection of the entire three volume series that was first put out by French publisher Dargaud in 2012.

Zaya is written by French comics writer JD Morvan and illustrated by Chinese artist Huang Jia Wei. It's about a young woman who was once an assassin but quits to become a mother and an artist. When a biomechanics threat starts taking out other agents, Zaya must reluctantly return to the field.

Morvan has written a number of sci-fi comics over the years. Wei is a very young artist whose previous book was a comic he made while in art school. His work here is breathtaking in its intricacy and sense of explosive action.

You can preview and buy the first issue of Zaya here on Comixology.

Image courtesy of Magnetic Press

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When Superman Fought Xenophobia in a 1949 Comic
Comic: Hake's. Background: iStock.
Comic: Hake's. Background: iStock.

A vintage comic book-style illustration that shows Superman lecturing a group of students on the values of tolerance has circulated widely on social media. “And remember, boys and girls, your school—like our country—is made up of Americans of many different races, religions and national origins,” Superman says with a wag of his finger, “So… If YOU hear anybody talk against a schoolmate or anyone else because of his religion, race or national origin—don’t wait: tell him THAT KIND OF TALK IS UN-AMERICAN. Help keep your school All American!”

The illustration is authentic. It was drawn by Superman comic book artist Wayne Boring around 1949, and it was stamped on a protective schoolbook cover (one of which recently sold at auction for $805) and a poster. But the comic is more than a quaint piece of Americana; it’s a relic from a largely forgotten nationwide tolerance movement that swept the country for more than a decade. Powerful people in government also suspected Superman’s brand of patriotism was ... anti-American propaganda.

THE TOLERANCE MOVEMENT

During the 1940s, America basically underwent a nationwide sensitivity training program. Zoe Burkholder, a historian of education, writes in the Harvard Educational Review that a “forced tolerance” movement had begun frothing a decade earlier as educators feared that scientific racism—the pseudoscientific “Master Race” theories brewing in Germany—could waft overseas.

Educators deliberated how, and if, they should teach students to accept racial, cultural, and religious differences. After all, the ethnic makeup of America was quickly changing. The first wave of the Great Migration saw nearly 2 million African Americans move north and west to cities. While most classrooms remained segregated, even the whitest schools were increasingly mixed with the children of different immigrant groups.

In 1938, the New York City Board of Education began requiring students to learn about how multiple groups contributed to American history. When World War II erupted one year later, the demand for tolerance education spiked. The New York Times reported in 1939 that "Instances were cited of teachers in New York City and elsewhere being 'ridiculed, harassed and otherwise impeded' by pupils under the influence of, and stimulated by, Nazi doctrine." To nip foreign propaganda in the bud, schools across the country joined the tolerance movement. Military leaders encouraged it, too. They knew that American troops, many of them fresh out of school, would fight their best if they learned to set aside their differences.

Countless non-profit groups, many of them interreligious, led the charge. Burkholder writes that “Religious leaders, educators, and politicians stressed tolerance as a central tenet of democracy." They provided prejudice-fighting materials to schools, from teachers’ manuals to comic books to textbooks.

Outside of school, short pro-tolerance films played at the beginning of movies. People held tolerance rallies. The National Conference of Christians and Jews distributed 10 million “Badge of Tolerance” buttons. Groups such as the Council Against Intolerance in America distributed maps showing the breadth of diversity in America’s cultural landscape. Even Superboy stepped in, telling a bunch of his schoolmates that “No single land, race or nationality can claim this country as its own.” At the end, Superboy and his pals celebrate by eating Swedish meatballs.

The Superman comic that went viral was the handiwork of one tolerance organization: the Institute for American Democracy. Led by an Episcopalian priest, the Institute’s lineup of leaders resembled a walk-into-the-bar joke: Among its officers were a Catholic bishop, a rabbi presiding over the Synagogue Council of America, and labor movement honchos. The Institute’s goal was to “blanket the nation with poster, billboard, cartoon, and blotter advertising—expertly planned to ‘sell’ the American public a greater appreciation of the American Creed.”

And it did. Al Segal, a columnist for the Indiana-based Jewish Post, wrote in 1947 that the Institute was “hitting anti-Semitism and allied hates between the eyes in street cars, buses and newspapers all around the country.” In 1953, The New York Times called the Institute’s work “Do-Good advertising” that proved “mass media advertising can sell an idea, just as it can sell soap or chewing gum.”

ADL/Institute for American Democracy

ADL/Institute for American Democracy

ADL/Institute for American Democracy

Messages we can all agree on, right? Nope. This was the McCarthy era. Even the most pro-American advertisements couldn’t help being called un-American.

AN INTOLERABLE CONSPIRACY?

In 1948, California's Joint Fact-Finding Committee on Un-American Activities—a group of lawmakers charged with investigating disloyal and subversive citizens and groups—listed the Institute for American Democracy as a potential communist front. It claimed that the Institute had “numerous known Communists” on its governing body.

The committee complained that a truly American organization would speak explicitly against communism. Since the Institute didn’t scold communists, it was complicit with them. The committee further argued that the Institute, and other pro-tolerance organizations like it, had exaggerated America’s discrimination problems: “There is an attempt to spread the idea that forces of fascism are everywhere entrenched,” it stated.

A bigger problem was that the Institute was mostly subsidized by the Anti-Defamation League of B’nai B’rith, or ADL. The House Un-American Activities Committee was not a fan of the ADL.

The Anti-Defamation League formed in 1913 to combat prejudice against Jewish people. Between 1880 and World War I, approximately 2 million Jews had emigrated to America. By the early 20th century, restaurants, hotels, and clubs regularly barred Jews from entering their premises. Medical schools at Cornell and Yale placed limits on the number of Jewish students they would accept. (Yale’s medical school dean, Milton Winternitz—who was Jewish—reportedly told the school’s admissions officers, “Never admit more than five Jews, take only two Italian Catholics, and take no blacks at all.”) Even the U.S. military's medical advisory board casually stated that “the foreign born, especially the Jews, are more apt to malinger than the native born.”

By World War II, the ADL had joined the tolerance movement. It helped found and fund [PDF] organizations like the Institute for Democratic Education and the Institute for American Democracy, soaking citizens in calls for brotherhood. The groups aired radio shows telling the stories of famous Americans, such as George Washington Carver, and played them on more than 700 radio stations. It even lobbied the producers of the Superman radio show to insert democratic themes into its broadcasts. The group reached 63,000 schools, veterans groups, and private businesses.

Some legislators, especially State Senator Jack B. Tenney, chairman of California’s Un-American Activities Committee, believed this was a nefarious facade. Tenney, who was once nominated as a candidate for Vice President of the Christian Nationalist Party (which advocated racial segregation) and who equated [PDF] McCarthyism with “Americanism,” had once visited an ADL office and returned convinced their anti-prejudice campaigns were a Trojan Horse designed to brainwash Americans with Zionist propaganda. He believed the ADL was a gestapo-like cabal with communist sympathies.

LIFE magazine minced no words when it called Tenney a “notorious anti-Semite.” But his paranoia didn’t stop there. He didn’t trust Shintoism and used similar “Trojan Horse” arguments to justify the internment of Japanese-Americans. He wasn’t keen on Italians either. During World War II, the Tenney committee’s misgivings would help force 10,000 Italian immigrants in California to relocate.

As for the Institute for American Democracy, their ties to the ADL convinced Tenney that their loyalties existed outside of the United States. For that reason alone, an organization with the sole mission of touting American values was suspected of ... lacking American values. 

Thankfully, that attitude didn’t last for long. In 1949, Tenney was on his way out of the fact-finding committee, which soon gave the Institute for American Democracy a clean bill of health, offering this mea culpa:

The committee’s 1948 report, under its general designation of Communist-front organizations, listed the Institute for American Democracy and the Institute for Democratic Education. The continuing investigation of these organizations reveals that both are sponsored by responsible individuals and groups of unquestioned loyalty. The programs … are in full keeping with the best American traditions and ideals and it is the design of the sponsoring individuals and groups to inculcate and preserve in the hearts and consciences of the American people love and loyalty for and to our country and the great principles of American liberty and democracy.

When you consider this historical context, the Superman comic becomes far more badass. The illustration appeared in 1949, one year after the Tenney Committee suggested the Institute for American Democracy was a communist front. Superman’s response? He steals the committee’s favorite accusation and slings it back in their direction: “That kind of talk is Un-American.”

As for Tenney, he’d later run for Senate in Los Angeles under the slogan “The Jews won’t take Jack Tenney,” a prediction that applied to Jewish people and, apparently, everybody else. Despite a plot to confuse voters by putting a mental patient who shared the same last name as his opponent on the ballot, Tenney still lost the Republican primary to 33-year-old Mildred Younger, a political activist who had never before held government office.

This piece originally ran in 2017.

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20 Things You Might Not Know About Garfield
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Everyone’s favorite lazy, lasagna-loving cat made his debut 40 years ago, but Garfield is still just as popular today. The comic strip spawned a TV show plus a number of video games, feature films, books, and, of course, holiday specials—not to mention one very memorable car window craze. We sat down with Garfield creator Jim Davis to nail down a solid list of 20 things you might not know about the wisecracking feline.

1. JIM DAVIS ORIGINALLY INTENDED TO FOCUS THE STRIP ON JON.


Courtesy of Jim Davis

“I ran some early ideas at a local paper,” Jim Davis tells Mental Floss, “to see how I felt about it and I called the strip Jon. It was about him, but he had this wise cat who, every time, came back zinging him. He always had the great payoff. At the time, I worked for T.K. Ryan—the cartoonist for Tumbleweeds—and I showed it to him and told him how every time I got to the punch line the cat zings him. And T.K. said, 'Well, what does that tell you, Jim?'" he laughs. “The strip must be about the cat. Go with it.”

2. JON WAS A CARTOONIST IN THE VERY FIRST COMIC STRIP, BUT IT WAS NEVER REALLY MENTIONED AGAIN.

“I didn’t want to tread on the fact that Jon’s a cartoonist because my biggest fear was getting a little too inside," Davis says. "That it would be a little too easy for me to write. I didn’t want to lose the readers just for my own enjoyment, or for a handful of peers. Also, I purposely gave him a job right off the top for the reason that The Adventures of Ozzie and Harriet never explained what Ozzie did for a living. Nobody ever knew because he was always in the house with Harriet and Ricky and David. Just hanging around. So I thought I would give Jon a job right off the top to avoid being asked what he does for a living in interviews.”

3. GARFIELD WAS NAMED AFTER DAVIS'S GRANDFATHER, JAMES A. GARFIELD DAVIS ...

... who was named after President James A. Garfield. That’s quite a connection. Now just imagine a fat, wisecracking, lasagna-eating cat as the President of the United States of America. (Sounds like a dead-ringer for William Howard Taft!)

4. GARFIELD IS SET IN DAVIS'S HOMETOWN OF MUNCIE, INDIANA, BUT THAT'S ALSO MOSTLY LEFT UNSAID.


Courtesy of Jim Davis

“I would like for readers in Sydney, Australia to think that Garfield lives next door,” Davis says. “Dealing with eating and sleeping, being a cat, Garfield is very universal. By virtue of being a cat, really, he’s not really male or female or any particular race or nationality, young or old. It gives me a lot more latitude for the humor for the situations.” The farm that Davis grew up on reportedly had 25 cats, several of which he based the Garfield character on.

5. DAVIS MAINTAINS COMPLETE CONTROL OVER GARFIELD'S FINAL PRODUCT, BUT HE NO LONGER DRAWS THE DAILY COMIC STRIP.

“I’m sitting here working on the writing right now,” he says. “I see gags and I work with assistants on the strip and stuff like that. We do roughs and it all filters through me so that it has one voice. We all get together occasionally in the same room and draw and work on shapes of fingers and gestures and expressions and things like that so that if any one of us draws it, you can’t tell which one did it.”

6. HE REGRETS AT LEAST ONE LICENSED GARFIELD ITEM.

According to Slate, Garfield merchandise brings in $750 million to $1 billion annually. Davis’s creation has been adapted and licensed more times than anyone could probably count, and of all of those items, there's one that Davis isn't thrilled with. “A few years ago there was a Zombie Garfield,” he says. “It was really gnarly and I thought, 'Oh, this will be fun.' So I did it and it sold okay. It was really interesting. But then I looked at it later and I go, ‘It did nothing for the character’s advancement.’ I figured I just did it because it was cool and everybody was doing it at the time. I just didn’t have a warm, fuzzy feeling after doing it. But those T-shirts go away," he laughs.

7. GARFIELD HOLDS THE GUINNESS WORLD RECORD FOR BEING THE WORLD'S MOST WIDELY SYNDICATED COMIC STRIP.

Garfield is syndicated in more than 2500 newspapers and journals. The cat also has more than 16 million fans on Facebook. That’s one seriously popular feline.

8. GARFIELD'S CHARACTER DESIGN HAS CHANGED MANY TIMES OVER THE YEARS.

There's one constant, though: The fat cat has always been—and will always be—fat. “If he lost weight, that would effectively end Garfield as we know it,” Davis says. “Garfield sends a healthy message in that he’s not perfect. He knows that and he’s cool with that. He’s happy with himself. If everybody were, there would probably be fewer disorders of all natures. He’s not perfect. In fact, he’s the imperfection in all of us underneath. I think that makes him probably easier to identify with than a slim, athletic character in the comics.”

9. DAVIS REALLY ENJOYED SCARING KIDS WITH GARFIELD'S HALLOWEEN ADVENTURE.

"It was such a challenge to try to think of something that could be scary, but fortunately we got to work with animation—we could marry scary sounds with scary music and scary images, and set the stage for a scary experience," Davis says. "Even down to the use of the actor’s voice. C. Lindsay Workman [who voices the old man that tells Garfield and Odie about the vengeful ghost pirates] was just a great character actor. I think we took our time to build to a scary scene where the ghost pirates invaded the house to look for the buried treasure. We tried to throw as many elements together as possible to create a situation where, at least for a few minutes, it could create a scary situation for the young viewers."

10. CREATING THE GHOST PIRATES IN THE HALLOWEEN TV SPECIAL WAS MUCH MORE DIFFICULT THAN YOU MIGHT THINK.

“We did it in our own art department (here at Paws, Inc.) because we wanted to make it just right,” the Garfield creator told us. “It was done with a white, chalky pencil on a rough texture so that everything would be really grainy. Back then, we animated on real film, so in order to get that glow we did what’s called a double burn. We exposed the film twice to overexpose the ghosts, and that gave it that eerie glow. We were totally in control of the process and the results turned out very well.”

11. IN 2011, A FULL-LENGTH STAGE MUSICAL CALLED GARFIELD LIVE WAS STAGED IN MUNCIE.

The musical was supposed to start touring the United States in September 2010, but was delayed until January 2011, when it premiered in Muncie. Davis wrote Garfield Live, while Michael Dansicker and Bill Meade handled the music and lyrics.

12. DAVIS LOVED THE CASTING OF BILL MURRAY AS THE VOICE OF GARFIELD IN 2004'S GARFIELD: THE MOVIE.


Muncie Magazine

“It was because of Bill Murray’s attitude [that he was cast],” Davis tells us. “It wasn’t really so much his voice. It was the fact that he embodies the attitude that Garfield has always displayed in the strip. Lorenzo [Music] obviously wasn’t a choice since he passed away years ago, and when the producers said, ‘Bill Murray would like to do the voice,’ I thought, ‘Oh, cool.’ My biggest concern about doing a CGI Garfield with live action was that people wouldn’t buy into the fact that this was our Garfield—the Garfield we’d known all these years. But I thought that as soon as they heard Bill Murray’s voice they’d get it. There will be that emotional tag going with his voice. That will establish the fact that, ‘Yes, this character has attitude.’”

13. THERE'S A GREAT LINK BETWEEN GARFIELD VOICE ACTOR LORENZO MUSIC AND BILL MURRAY.

Lorenzo Music provided the voice of Garfield in all of the cat’s TV specials from 1982 to 1991, as well as during the 1988 to 1994 run of Garfield and Friends. Music also provided the voice of Peter Venkman in The Real Ghostbusters. Murray, of course, played Venkman in the Ghostbusters films and would, in 2004, provide the voice of Garfield in Garfield: The Movie. “I didn’t know about the relationship with Ghostbusters until years later."

14. THE MACY'S PARADE ONCE CITED SHAMU THE WHALE AS THE PARADE'S LARGEST BALLOON, BUT DAVIS SAYS GARFIELD WAS LARGER.

“In the Macy’s Thanksgiving Day Parade, they had published that their biggest balloon ever, by volume of gas, was Shamu the Whale with over 18,000 cubic feet," Davis says. "The fact is that the Garfield balloon was filled with 18,907 cubic feet of helium. So we just confirmed that the Garfield balloon, in fact, was the largest one by volume of gas.”

15. THERE ARE ONLY THREE COUNTRIES IN THE WORLD WHERE GARFIELD IS NOT NAMED GARFIELD.

“In Sweden, Garfield is known as Gustav,” the Garfield creator says. “There are only three countries in the whole world where he’s not Garfield and they’re all in the Nordics.” The other two are Norway and Finland.

16. THE STUCK ON YOU GARFIELD PLUSH WITH SUCTION CUPS WAS THE RESULT OF A MISUNDERSTANDING.


Amazon

In the 1990s, it wasn't unusual to see a number of cars with little Garfield plushes stuck to the windows with suction cups. But that wasn't the original design—or the intended use. “I designed the first Stuck on You doll with Velcro on the paws, thinking that people would stick it on curtains,” Davis says. “It came back as a mistake with suction cups. They didn’t understand the directions. So I stuck it on a window and said, 'If it’s still there in two days, we’ll approve this.' Well, they were good suction cups and we released it like that. It never occurred to me that people would put them on cars.”

17. THE GARFIELD COMIC STRIP BOOKS HAVE BEEN HUGE HITS.

“The 11 Garfield comic strip books have all been number one on the New York Times Bestseller List,” Davis says. “At one time there were seven on the list simultaneously. At that point, they changed the way the list was done because other publishing houses were complaining that their authors couldn’t get on the list because of Garfield. Garfield at Large (1980) was number one for two solid years. Over 100 weeks.” The title of every compilation book is a reference to either food or Garfield’s weight.

18. STEVEN SPIELBERG AND STEPHEN KING ARE AMONG THE MANY CELEBRITIES WHO OWN ORIGINAL GARFIELD STRIPS.

They both contacted Davis personally for the strips; the cartoonist happily obliged.

19. DESPITE GARFIELD BEING INSANELY POPULAR FOR DECADES, DAVIS IS STILL MOSTLY ANONYMOUS.


Muncie Magazine

“Being a cartoonist, you really enjoy a lot of anonymity,” he says. “You take a half-dozen of the biggest cartoonists and walk them down any street, nobody would notice them. They only know their characters. So I just hide behind Garfield. The only time anyone knows the name or spots me is if I’m out on book tour and I’m meant to do publicity. We don’t suffer any of the kind of attention problems that I think people do on TV or in movies. It’s not a big deal. I’m sitting here in the countryside of East Central Indiana, so it’s pretty quiet.”

20. DAVIS'S FATHER'S FAVORITE COMIC STRIP WASN'T GARFIELD.

Davis's father and namesake, who passed away in 2016, liked Garfield but preferred another comic strip: Beetle Bailey. “Nobody else knew that until today,” Davis tells us.

This article originally appeared in 2014.

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