In the World
I hope you are reading Lewis Trondheim’s comics blog “Les Petits riens” – while at first sight perhaps seeming slight, it marks an exhilarating departure for his drawing and, by extension, his taking in of the world around him. As always laconic, he says he started the daily strip journal to teach himself watercolour, and that’s actually as good a rationale as any: while in terms of narrative content it is a continuation of his Carnets de bord, he allows himself more time with these journal entries. Always having focused on clear and effective narration, it is wonderful to see him spending more time observing things and rendering them in his well-known vivacious line, enriched by his much less expected lush watercolouring.
There’s already a book out, collecting a lot of these strips – check out du9’s review of it here.
One of the discontents of art historical connoisseurship is how we, the practitioners, have been trained to hunt for the prototype of any given invention. We are so used to seeing precedents everywhere, even when dealing with some of the most original and inventive artists ever, that we sometimes forget how unpredictable art, and creativity, can be. If an earlier likeness of a given detail in a work of art can be identified, it seems the latter has to derive from it. This sometimes results in daring feats of historical contortionism on the part of scholars trying to establish how the artist can have seen and copied, or at least internalised, the prototype. As if coincidence is impossible and he could not have come up with it himself.
Because I think at least bits of it are worth a second look, this is just to follow up on the discussion about modernism, high and low in art, and how all of this pertains to comics that Comics Journal critic Noah Berlatsky and I, amongst others, have conducted 
One of the great originals of the American Silver Age, Arnold Drake, has passed away. Mark Evanier provides a both informative and touching 
Over on the 
My first exposure to the work of Mizuki Shigeru was indirect, in the form of Miike Takashi’s wonderful 2005 film Yôkai daisensô (eng. The Great Yôkai War), which I saw last year. Amongst the most impressive aspects of that thoroughly enjoyable movie was the often iconically simple and inventive character designs given to the host of yôkai appearing throughout. Yôkai is the common term for the multitude of spirits and demons of Japanese folklore and author and mangaka Mizuki is probably their most significant ambassador to the world of 20th-century popular culture. 
The most consistently readable, if also frustrating, new writer at the Comics Journal the last couple of years, Noah Berlatsky, has just put his first and best piece for the magazine, on the reception of Peanuts by today’s alt-cartoonists, 
It seems like everyone in the comics blogosphere by now knows about 