Over 100 of today’s best cartoonists pay tribute to comics’ greatest innovator, Winsor McCay, in one giant book. In this 144-page, 16" x 21" hardcover, many of the world’s finest creators have dreamed up new Little Nemo in Slumberland strips, following their own voices down paths lit by McCay.
Taking on the same giant, broadsheet newspaper-sized canvas as McCay, artists such as Michael Allred, Paul Pope, Yuko Shimizu, J.H. Williams III, Charles Vess, David Mack, J.G. Jones, Craig Thompson, Paolo Rivera, Carla Speed McNeil, Bill Sienkiewicz, P. Craig Russell, Ronald Wimberly, Denis Kitchen, Jill Thompson, Stephen R. Bissette, Gabriel Bá & Fábio Moon, Farel Dalrymple, John Cassaday, Peter Bagge, Cliff Chiang, and over a hundred more have all done some of the very best work of their illustrious careers.
This is a love song for Winsor McCay, Little Nemo, and the infinite possibility of comics.
144 pages, color, 16” x 21” hardcover
Advance debut at SPX: September 13, 2014 Wide release at LMCF: October 25, 2014
“It began at a low point. It was very difficult for me to get started
because I had absolutely no confidence in my writing. The comic strip is
all dialogue, which is a very different kind of writing.”
“I hate collaborating. I try to do it as little as possible.”
On the graphic novel:
“You’re intimately involved with the whole book. You’ve caressed every
surface of every page. If you write a regular book, it’s a
one-dimensional construct, a line of text that flows endlessly. But here
you have to handle every page.”
“I would make repetitive graphic marks in my diary as a kid. I was
afraid of lying, or writing untruths, so I would add these little notes
that said, “I think,” to qualify the sentences. It was a way of undoing
myself. Eventually it got too time consuming to write those words over
and over again, so I made them into a little symbol, and the symbol got
bigger and bigger, and I would go over it and over it until whole
entries in my journal were obscured. In a way I feel like this memoir is just an elaborated version of that, these crazy, repetitive marks on paper.”
On the culture of comics:
“I started working in the early eighties doing this lesbian comic strip.
Comics are a teenage boy-oriented industry, and back then it was much
more so; there was no question that my work was not going to be part of
that universe. So I entered the gay and lesbian literary world. That was
“The more fun, exciting part for me is the writing. I love the drawing,
but it’s work. It’s arduous, at least the sketching and layout.”
“I don’t even keep a sketchbook. I only draw when I have to.”
Read Alison Bechdel in conversation with Craig Thompson, the creator of Blankets here.