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I've been a Duncan Fegredo fan ever since his American comics debut on DC's 1991 Kid Eternity series. The original Kid Eternity was (at best) a book featuring a forgettable, tertiary Golden Age hero. However, the '90s makeover it received from Duncan and writer Grant Morrison was extraordinary, and KE ended up being a precursor to what we now call the Vertigo line.
One of the things over the years that's kept me locked in on Fegredo's art is simply watching it evolve (as it should be with any artist). He wore some heavy duty influences on his young sleeves when he first broke into comics, but his stuff quickly crystallized into something singular and all his own.
The Rhino tale is a charming, little riff on Daniel Keyes' "Flowers for Algernon" — one of my favorite short stories as a kid. On it, Duncan teams up with his then-frequent collaborator, writer Peter Milligan, for some "romper suit" fun.
And let's not forget his cover work. Fegredo absolutely crushed it covering for books like Lucifer, Books of Magick, Shade the Changing Man and various Star Wars titles.
Having spent the last four years exclusively telling Hellboy stories over at Dark Horse Comics, we caught up with Duncan as he was finishing up "The Fury", his final run on the series. Mike Mignola, the book's well known creator, will be back to take over art chores on the new arc.
So, what's next for Duncan Fegredo you ask? Listen in and see, folks. But also covered in our chat with him are his opinions on formal art training for comics, how he and Milligan began their working relationship, and those early days at DC/Vertigo.
We also find out how he feels about working traditionally vs. digitally, bad coloring jobs, and Intersections, his experimental artbook mash-up with fellow artist and pal, Sean Phillips.
**This episode is cheerfully dedicated to our friend, John Robinson, at Graham Crackers Comics. Graham Crackers has been our sponsor for almost two years now, and John's always been super supportive.