SPURGEON: What is the appeal, having all of those options open to you? Is it a sense of telling different kinds of stories with different sets of tools?įINGERMAN: Oh, definitely. At least until I got tired of doing that and then I'd want to move onto something else. If I could put out a prose novel one year and a graphic novel the following and keep doing that, then maybe for good measure do a couple more of those illustrated novellas? I think that would be great. I kept saying, "Is this a business or is this a hobby?" Not from my point of view, but. SPURGEON: The old joke is, "Comics has a business?"įINGERMAN: Exactly. Although I think that mainly had to do with a lot of the feelings I had about the business of comics more than the creation of comics. For a while there I was actually beginning to hate comics. I think if I did nothing but comics, I would end up hating comics. I get restless - I don't know if "restless" is the right word, but maybe it is the right word. Is this kind of mix the ideal for you?īOB FINGERMAN: I think that actually is the ideal, yeah. You have a book due next year from Tor that's straight-up prose. You have an illustrated prose work with Fantagraphics.
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TOM SPURGEON: You currently have the comic book series with IDW that I assume will eventually become a book. It was fun to talk to Bob not at a convention at 4 PM on a Sunday, or at a party while heading in separate directions. Next year will see the release of Fingerman's Pariah from Tor Books. The second is an illustrated book called Connective Tissue, from Fantagraphics, and he's not kidding about the "illustrated" part of that phrase - it's stuffed with visuals. The first is a comic book series from IDW called From The Ashes, a post-apocalyptic satire starring Fingerman and his wife Michele, and a bunch of comics one may assume will eventually be collected by the surging, San Diego-based publisher. He also moved into writing prose, which surprised me for the reasons we discuss in what follows.įingerman has two major projects out right now. That was a long time ago, particularly in funnybook terms, and Fingerman has stayed busy making himself a "known quantity," as he terms it. It was a bad time to make the first of what would be several career-defining works. My first memory of him is as the cartoonist behind Minimum Wage, an autobiographically-informed work of fiction that came along just as the entire industry became determined to set itself on fire and jump off a building. I've known Bob Fingerman for about as long as I've been working in or near comics, although never as well as I'd like to.
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