dc minx

Pencilled In

Nerfreaders reviews Re-Gifters


Rockgirl likes some drawings 🙂


..and Floppybootstomp read Liquid City and other things 🙂


My Faith in Frankie ver 1.4

The new edition of My Faith in Frankie is out today! It’s kinda the fourth incarnation, after the initial single issue mini series, the black and white trade edition (often described as Proto-Minx) and the Spanish edition from Norma.

It’s a bit of an odd beast, not quite a real trade (there are adverts like in normal single issues and the the cover material is thinner than with normal trades), and labelled “#1” for some reason… still it’s good to see the book collected in colour, and in english, after all this time 🙂

My Faith in Frankie

My Faith in Frankie will be re-released under the Vertigo Resurrected line in November!


My  road with Vertigo: on the behest of David Mazzuchelli, I sent my portfolio in to DC Vertigo near the end of my last year at RISD. They came back with a script for a pencil test, for a new story they had. I didn’t do a very good job of it, still much to raw for a proper series. That series was of course Fables, a most unfortunate boat to miss :p

Still, they came back with an offer of a mini-series written by the great Mike Carey, My Faith in Frankie, and it was exciting and scary at the same time – my first proper comic project, and there were endless scenes I couldn’t figure out how I would ever be able to pull off. (As it turned out they had to bring in Marc Hempel to rescue my dodgy inking :p)

The single issues got good reception, but maybe not the numbers that they might have, and when the time came for a trade edition, Vertigo decided to try for a black and white manga-sized book. It made no sense to me at the time (well lower costs aside), and the book was finally printed much darker then intended due to gamma levels not being set right during the colour-to-grayscale conversion. The book did go on to be sort of a prototype for the DC Minx series I think.

A colour edition was released in Spain by Norma, but that was printed on glossy paper, and the colours turned out a bit garish as a result. (The old paper-stock-effects-colour issue which affected Wonderland in the reverse.)

So it’s exciting to see a colour trade in english after all this time.

Vertigo never calls anymore though, I have no idea why :p

Here’s some old sketches of some of the MFIF characters in any case 🙂


Learnt last night that the DC Minx line got cancelled; there’re a whole bunch of blogs speculating about the why and how of it, of which these are a few:




Some of the reports argue that it was a placement issue, the books ending up in the comics/graphic novel section rather than the YA  or manga ones. That was certainly true here in Singapore, and maybe it was an unfortunate result of the hybrid nature of the line.

Personally of course the worry is that, whatever the marketing or placement issues, some of it comes down to the quality of the stories themselves, in this case the art – would Regifters have done better with better drawings? Or if it had been done in a different style?

There’ve certainly been some who thought that different creators might have fared better – getting more  YA authors involved for example, or having more female creators.

I’m sure though that Shelly must have thought all these things through, and my sense is that any set of decisions would have been criticised at some level – if they had gone with more YA authors, there might have been complaints about not making more use of actual comics creators who understood the craft better; if there were no male creators involved they might have been accused of a sort of reductive reasoning that you could only create comics for your own gender; and I’m pretty sure any name other than ‘Minx’ would have ended up with problematic connotations at some level or another; and so on and on.

Having said that, I think the debates over the reasons for the demise of the line  is interesting – leastwise in helping everyone figure out what exactly makes Manga and YA  fiction so successful in the first place. How much is down to marketing,  to the quality of the stories, to that ineffable thing that helps a Viz, TMNT or Harry Potter catch fire like its nobody else’s  business?

And maybe some of it really is a mystery – how on earth did [insert name of your most-hated movie/singer/band/book/comic] end up making millions whilst [that excellent movie etc you really liked] ended up sinking without a trace? As comics creators i guess all we can really do is try and tell the stories we think are worth telling and hope that the jungle of the marketplace out there somehow thinks they’re worth reading too.