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This is Part One of a three-part deep dive with comics legend Diana Schutz, whose editorial fingerprints are all over modern comics history. From her influential years at Dark Horse to her early work during the Comico era and beyond...
We start at the beginning: Diana’s first exposure to comics through Supergirl and her love for the clean, expressive style of 1960s comic art. That passion never faded, it evolved. She walks us through the meticulous process of restoring a classic Lois Lane cover, explaining how comics restoration has grown into a serious craft and industry of its own.
From there, we explore her current work translating a graphic novel by Brazilian artist Ricardo Leite for a new high-end comics art publisher, and she breaks down the real art of translatio. Why cultural nuance matters, and why having the right English-language voice is essential to preserving tone and intent.
We also rewind to the early ’80s, when Diana launched The Telegraph Wire, a 32-page bi-monthly comics magazine that began as a retailer newsletter and became a proving ground for her editorial skills. She talks about learning graphic design on the fly, selling ads, interviewing creators, and building something from scratch in a pre-internet comics landscape. It’s a vivid look at a smaller, more intimate industry, one where relationships mattered and information wasn’t instantly searchable.
Along the way, Diana reflects on working at Comics & Comix, getting recruited by Kim Thompson to write for Amazing Heroes, connecting with Matt Wagner, and navigating an industry that had very few women in visible roles at the time. She shares memories of mentors like Trina Robbins, editors like Maggie Thompson and contemproraries like Karen Berger, and even her wild experience serving as Tom Baker’s minder at a Chicago Doctor Who convention, complete with behind-the-scenes fandom chaos. This first chapter of our conversation is about origins, craft, and survival in a young comics industry that was still figuring itself out. And it sets the stage for much more to come.
We start at the beginning: Diana’s first exposure to comics through Supergirl and her love for the clean, expressive style of 1960s comic art. That passion never faded, it evolved. She walks us through the meticulous process of restoring a classic Lois Lane cover, explaining how comics restoration has grown into a serious craft and industry of its own.
From there, we explore her current work translating a graphic novel by Brazilian artist Ricardo Leite for a new high-end comics art publisher, and she breaks down the real art of translatio. Why cultural nuance matters, and why having the right English-language voice is essential to preserving tone and intent.
We also rewind to the early ’80s, when Diana launched The Telegraph Wire, a 32-page bi-monthly comics magazine that began as a retailer newsletter and became a proving ground for her editorial skills. She talks about learning graphic design on the fly, selling ads, interviewing creators, and building something from scratch in a pre-internet comics landscape. It’s a vivid look at a smaller, more intimate industry, one where relationships mattered and information wasn’t instantly searchable.
Along the way, Diana reflects on working at Comics & Comix, getting recruited by Kim Thompson to write for Amazing Heroes, connecting with Matt Wagner, and navigating an industry that had very few women in visible roles at the time. She shares memories of mentors like Trina Robbins, editors like Maggie Thompson and contemproraries like Karen Berger, and even her wild experience serving as Tom Baker’s minder at a Chicago Doctor Who convention, complete with behind-the-scenes fandom chaos. This first chapter of our conversation is about origins, craft, and survival in a young comics industry that was still figuring itself out. And it sets the stage for much more to come.
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