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Volume 2 includes an insert from a comic Kaczynski drew at age twenty-three—ten years before the volume’s publication date. In this stream-of-consciousness memoir, which he claims “contain[s] all the elements of my future (now) comics,” he remembers blackouts in his native communist Poland with a wistful nostalgia. This short segment, drawn sketchily by pen, and in styles both cartoonish and hyper-realistic, describes how he would draw by candlelight during blackouts. Upon immigration to the U.S., he became an “electric kid,” for whom television was a drug. It was only when he finally snapped out of his obsession with screens that he noticed things he had never seen before. For Kaczynski, a return to drawing, darkness, and candlelight also becomes a return to mystery and creativity. To be “uncivilized” is, oxymoronically, a way to return to the creative and artistic roots of human civilization.

One theme that many artists return to is that of physicality and print culture. (Kinko’s gets its own line in the index.) Several interviewees speculate that the increase in serious attention given to comics is the result of the virtualization of so much of today’s media, so that a heavy, thick-papered book cuts against the grain of contemporary culture and compensates for a lost connection to physical objects. While McCloud is bullish on web comics and dismisses the paper attachment as a “fetish,” most of the other artists relate their unwillingness to imagine their work independent of paper. This inevitably leads to a culture of nostalgia, visible in the work of Barry and Ware (and if we draw farther afield, artists like Ben Katchor or Seth). And while Tomine laments that “there’s almost a cultural stereotype of the nostalgic cartoonist guy, and you don’t want to play into it too much,” he must know he is doing a poor job of it during his interview, where he defends his decision, unique amongst the interviewees, to put out his work as separate issues initially available only at comic book stores. Clowes, by contrast, regrets publishing his great work

Dylan Horrocks is a cartoonist best known for his graphic novel Hicksville and his scripts for the Batgirl comic book series. His works are published by the University of Auckland student magazine Craccum, Australia’s Fox Comics, the current affairs magazine New Zealand Listener from 1995 to 1997, the Canadian publishers Black Eye Comics and Drawn and Quarterly, and the American publishers Vertigo and Fantagraphics Books. He currently serialises new work online at Hicksville Comics.

Austin Milne has wanted to be a cartoonist since deciding being a dragonologist wasn’t realistic. When he was 12 he tried writing a comic strip about his life but decided to stop because he was too close to the subject matter, instead he made comics about an anthropomorphic emu. Now aged 23, he has had a few comics and is working on a graphic novel about 12-year olds.

It would be to draw a daily newspaper comic strip, like a really big one in a broadsheet newspaper. And while I’m dreaming I would like it to be full page and in colour, and l would like to be editor of an 8 page comics section in the newspaper and commision and pay New Zealand cartoonists to make strips for it. and it would be paid for by big business sponsoring it, but as part of the deal the businesses would have to ditch identical corporate branding and have each of their stores designed by a cartoonist complete with strange cartoon mascots. And then the newspaper would just become all comics, and it would save newspapers and it would save New Zealand towns from looking boring and it would save comic strips and then it would take off all over the world and become more popular than music.

I have a 3-day-a-week job as a graphic designer for the government, and I often use my cartooning and illustration skills there. The other two days of the week I am either working on my Woman cartoon strip, due every second Thursday, or else I am drawing comics for a backyard bird rescue book I am working on with my friend, Jo Emeney.

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