lynn emmert via fantagraphics.com

I swear I’m gonna have thoughts about the end of the Egyptian Theater and other things soon. But there’s only one story for me for today.

Kim Thompson, co-owner and co-publisher of Fantagraphics Books and The Comics Journal, died Wednesday morning, less than four months after being diagnosed with lung cancer.

The Danish-born Thompson grew up loving both European and American comics, from crude superhero fare to slick French graphic albums. He came to the U.S. at age 21 and immediately became friends with Gary Groth, who’d started The Comics Journal with Mike Catron as a teenager. When Catron moved on to DC Comics, Thompson became Groth’s partner at the Journal. By the early 1980s, they’d branched out from reviewing comics into publishing their own.

By 1989 they moved their already substantial operation from the L.A. suburbs to Seattle.

I came to know, and work for, them soon after that.

In the office, Thompson played the “good cop” role. Where Groth was a demanding taskmaster and a hard-nosed boss (at least back then), Thompson was more easygoing and soft-spoken. He still had the same painstaking care as Groth for putting out the best comics and books possible, and for getting the most production value out of an in-house design shop run (at that time) on bobby pins and baling wire (and top talent, such as the late graphics ace Dale Yarger).

Thompson could also hold his own in making deals with comics creators, distributors, and retailers, and with the mainstream media. He famously told the Village Voice, “[L]et’s face it. If you’re a shop that has any claim to carrying alternative comics and you’re not carrying [Daniel Clowes’s] Eightball or [Chris Ware’s] Acme Novelty Library, that’s stupid.”

Eventually, Thompson got to make his books’ physical aspects as slick and professional as the content of the art within them, expanding from magazines and trade paperbacks into hardcovers and slipcase box sets.

Groth and Thompson’s books won awards in and out of the comics/graphic-novel niche. With recognition came clout, the kind of clout that got them the reprint rights to Peanuts, Donald Duck, and many other classics.

Their original publications, from Daniel Clowes’s Ghost World to Joe Sacco’s Safe Area Gorazde, continually redefined the range of stories and moods the medium could convey. Comics were more than (as the tired cliché went) “not just for kids anymore.” They were a true art form; and, thanks partly to Fantagraphics and its stable of creators, the “mainstream” audience began to recognize this.

As the book trade roiled at the “disrupting” influence of e-books and chain bookstores’ rise and fall, Fantagraphics continued to grow. Its beautiful hardcover packaging helped readers to see its titles as art works in themselves, things people wanted to own as physical, tangible objects.

Thompson’s legacy, besides the many great cartoonists whose work he helped assemble, promote, and nurture, could be this packaging.

In it, he showed the rest of the (print) book industry how to stay in demand.