The Tao of Comics

By Stephanie Murg Comment

tao of pooh.jpgFor the full scoop on Comic-Con, which wrapped up yesterday in San Diego, we point you to the photo-rich coverage of our West coast sister blog, FishbowlLA, but for a quieter, more thoughtful peek into the world of comics, we turn to The New Yorker‘s Book Bench blog, where Rollo Romig chatted with the magazine’s resident comic-book expert (and Comic-Con veteran) Françoise Mouly. Earlier this year, Mouly launched Toon Books, “the first high-quality comics designed for children ages four and up.” Why comics?

It’s as simple as it gets: a guy or a woman with a pen in a room. You don’t need a two million dollar production budget; you don’t need a team. There’s something that moves me to tears about the fact that it’s the expression of somebody’s hand. It’s publishing a manuscript; it doesn’t even have to get set in type.

As for those who don’t take comics seriously, Mouly has a theory about that, too: “There is something about the fact that comics can be understood by the illiterate that makes highly literate people suspicious.”