Yeah. I recently went to the Museum of the Moving Image to see the Jim Henson exhibit here in New York. I like museums a lot. I like visiting them, more to see how they present information than the information inside. That is usually the most interesting part. What do you choose to leave in? What do you leave out? I think the idea of public history is really interesting. What people know about and what they don’t. What is part of the story publicly? Who do you make a statue of and where do you put it and why?
The bulk of my research is online, although I have quite a few books of my own. You learn how to Google the right things, I guess, either a phrase that you think will work or any kind of key words that will bring you to an essay someone wrote or to Google Books. Archive.org has all kinds of books as well. You can find a lot of university syllabi. You can find so much. Go to the Victoria and Albert Museum website. They have all kinds of costuming stuff there. I needed to find a flintlock pistol recently for a strip about pirates, and there was this person’s website. He has one for sale and has pictures of it from all angles for some collector. It was great. The Internet is pretty wonderful for that kind of thing.
How do you make a comic appeal to both someone who has never heard of the figure you are lampooning and someone who is that figure’s biggest fan?
You try and present figures as plainly as you can, I suppose. That’s why my comics got bigger than just a six-panel comic about one subject. It became six smaller comics about one subject or something like that because there is too much information to put in. Maybe the first couple might have a bit more exposition in them so that by the time you get to the bottom, you are familiar with the characters even if you don’t know them from a book or from studying them. If I did a breakdown, you could see that maybe one comic especially will hit it big with someone who doesn’t really know much about it. It might be a sight gag or something, a face or a gesture, and then one will really hopefully pay some kind of tribute to somebody who knows a bit more about it. It would still be funny but it would have a more knowledgeable joke that goes over some people’s heads, and that would be fine.
Is there someone you really want to make a comic about but haven’t figured out the hook?
Yeah. I have been reading a lot about Catherine the Great lately. But she is so larger-than-life; it is difficult to take in all of that information. In some ways, you think it would make it easier, because she is somebody that everybody knows. But she is liked by some people, disliked by others. She had some good qualities and some bad qualities. What do you pick? What do you go with? If I made, say, six comics, what would they be, from a life this large?
What has been the most surprising response from readers?
Emotional responses, definitely. I think that one of the most emotional responses was in doing one about Rosalind Franklin, the DNA research scientist whose work was stolen by James Watson and Francis Crick and put in their Nobel Prize-winning book. That was just a huge deal in the beginnings of DNA research. They didn’t give her credit for her photographs that they took of the double helix. They won Nobel Prizes, and she died. It is so tragic and awful and people really responded to it, because she is just representative of so many people you read about and you can’t believe were overlooked. The joke is respectful to her. It is not the most hilarious comic. But it does give Watson and Crick kind of a villainous role, and her sort of the noble heroine role. It is nice to see people really respond to history that way. It is nice to touch a nerve.
I especially like when you use Nancy Drew covers as springboards for comic strips. How did you get started with that?
I started with Edward Gorey covers. I was trying to think of a comic idea one day, and I was going nowhere. I was so frustrated, and someone on Twitter was like, check out all these Gorey covers, a collection on a website. I looked at them and thought you really could extrapolate from this theme that is on the cover and make a comic about it. So I did, and they went over really well. I started to look for some other book covers that had an action scene on the front that were available in a set. I read all of the Nancy Drew books in two weeks when I was 10 because I was in the hospital and that is the only thing that they had. I read the heck out of those books and probably remember them in a weird haze of a two-week megathon Nancy Drew reading while being sick. Perhaps that weird memory turned Nancy into kind of a weirdo in my comic.