May 2, 2026 · 8:00 am

Diagon Alley Book Nook from Carrera-Revell

The new line of Tiny Adventures book nooks from Carrera-Revell are wonderful. There are three to choose from: Harry Potter, Lord of the Rings and Game of Thrones.

Display your Tiny Adventures Diagon Alley book nook among your favorite books!

As a storyteller, I am always building worlds of one sort or another. And that way of thinking leads me to a fascination with miniatures and dioramas. You might say it’s a fascination I share with such luminaries as Orson Welles and Walt Disney. Welles used a lot of miniatures for Citizen Kane; and Disney’s love of dioramas would go on to inform his work in theme parks. I’ve been tinkering with all manner of tiny worlds for years now. So, when the folks at Carrera-Revell reached out to me and asked if I’d feature one of their new line of book nooks, I had to say yes. These are kits that you build up from numerous pieces. It is a fun pastime and rewards you with a charming book nook at the end. For Harry Potter fans, there are key beloved landmarks, one of which is Diagon Alley and that was my book nook.

Here are a few words from Harry Potter canon:

Diagon Alley was a cobblestoned wizarding alley and shopping area located in London, England behind a pub called the Leaky Cauldron. Inside the alley was an assortment of restaurants, shops, and other sights. All items on the Hogwarts supply list could be bought at Diagon Alley.

The alley was completely hidden from the Muggle world, which was right outside of its boundaries. It was very large in area and essentially the centre of wizarding London.[1][2] Consequently, the demand for space here was steep, and rent costed “loads of Galleons“.[4]

I highly encourage you to get your own Tiny Adventures kit, whether it is Harry Potter’s Diagon Alley, Lord of the Rings or Game of Thrones. The level of complexity hits a sweet spot with it offering a challenge as well as being an all-around relaxing activity. Just follow along and zone into it. This is suitable for ages 14 and up. You won’t build this in just a couple of hours, nor would you want to. It’s really meant as a chill thing to do on a lazy afternoon or two. Take it at your own pace. Find your own zen with one of these kits at Carrera-Revell.

And do keep in mind that this kit is meant to cast a wide net of enthusiasts. It is not meant to be the most elaborate and meticulous diorama, nor would you want it to be! It’s at just the right level of complexity to satisfy most tastes, especially those of us who like to occasionally take on a diorama project. There are numerous examples of highly detailed Diagon Alley dioramas and this kit gives you a taste of that experience. At the end of the day, it will look great on your bookshelf among some of your favorite books.

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April 28, 2026 · 9:00 pm

Treeboy by James Hilger comics review

Treeboy. James Hilger. Self-published. 38pp. $11.

Once I started, I couldn’t put down this comic. We live in a world where we are constantly putting down one thing in favor of the next thing, and then the next thing after that. Well, I was hooked, compelled to read on, and so I did. James Hilger brings a lot to the table, the kind of set of tools that will serve any cartoonist well: a lot of reading; a lot of observation; and a lot of wisdom. I’ve been reading a book on Chester Brown and his comics, with the delicate line and the morbid originality, kept coming to mind as I read Hilger’s graphic novella. It’s longer than your typical comic book at 38 pages and certainly far more substantial, encompassing an in-depth look at one person’s struggle for meaning. So, yeah, a bona fide graphic novella, one that kept me inspired and intrigued.

If you’re looking for a literary comic, this is it.

Based on his social media activity, I see that James Hilger is passionate about prose fiction and filmmaking along with comics. To my way of thinking, that’s a terrific creative trifecta, as each medium informs and helps shape the other in the creator’s pursuits. Clearly, Hilger has a very strong visual and verbal sense. He’s working off what some of the great cartoonists from the alternative scene of the last thirty or forty years have built, people like Daniel Clowes and Charles Burns,  but I don’t cringe at any of his work, thinking he’s just lifting from this or that comics artist. Hilger has allowed himself the time to digest and process and offers the reader his own refreshing take. Hilger dives in with his own anti-hero, one unsure lad named, Alvin Leif Limoncello. And, as bullies and insensitive clods are prone to do, they find a weak spot and take aim. Alvin, due to his quirky middle name, will henceforth be known as “Treeboy.”

Alright, well, originality is one thing. But I’m not suggesting to avoid climbing the same mountains. You just can’t help it, nor would you want to, really. I’m referring to a grand ole coming-of-age tale, with the earnest young person in search of meaning, who thinks meaning can be found in a soul mate. In this case, Hilger takes the traditional route of boy idolizes girl–and later learns from his miscalculations. Getting back to originality, Hilger has come up with a number of new wrinkles to the classic set-up, stuff that surely Clowes and Burns would approve of.

From what I can tell, Hilger is into pursuing his comics the old school way. Everything appears to be physically drawn, all analog, hand-drawn, including the lettering. Perhaps, as a writer, and I’m assuming he gravitated to drawing while focusing on writing, Hilger took up making comics in much the same way that aspiring cartoonists commonly pursued it in the past, just by setting down some paper and picking up a pen. There’s beauty in simplicity, a more direct approach, I think. If it turns out he uses an iPad and Procreate, hey, I still feel it’s all about the mindset. Looking over his work, I imagine someone excited about crafting a truly sound and coherent story and seriously finding the best ways to combine words and pictures. Comics are a lot of things but they’re not always simple. Often, it is a complex endeavor and it helps to come from a multi-discipline background.

A dream girl epiphany.

When Alvin, aka Treeboy, first sets his eyes on his dream girl, it seems to be the portal into another world he’d always been looking for. By the time he has this epiphany, already pushing thirty, he has all but given up on his ideals. But one fateful visit to a McDonald’s drive-thru sets him on a whole new course. If this beautiful and flawless maiden handing him his greasy purchase would connect with him, then all is not lost. There is suddenly hope in the world and that is exactly what Alvin intends to make his own. That is until things don’t go according to plan. Tragic stuff and Hilger knows how to spin that into wonderful storytelling.

Well, it is a pleasure to share with you an outstanding new comic on the scene. It is literally something new. It recently came out, available through comics festivals, and now set up with an online shop. I’m thrilled about Treeboy with its old soul heart and fresh new spirit. So, just to reiterate, this is a one-shot full story with a full-bodied beginning middle and end. It feels like something totally out of left field and that’s a good thing. As Hilger states on his social media: “Treeboy is an intensely personal journey through my growth rings–from acorn to firewood.” Alright then, that makes total sense!

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April 28, 2026 · 8:35 am

REAL LIFE COMIX: Only in New York Kickstarter Alert

REAL LIFE COMIX: Only in New York by Eli Schwab — Kickstarter https://www.kickstarter.com/projects/ghostagents/real-life-comix-only-in-new-york

Crunch Time!
Here is where we are as of today:
$15,939 pledged of $20,000 goal
262 backers
10days to go
A tour de force comics anthology about New York City is all in: All or nothing. This project will only be funded if it reaches its goal by Fri, May 8 2026 12:00 PM EDT.

Dean Haspiel and Eli Schwab, publisher of Cosmic Lion Prods @OAX 2026

Attention all of my fellow cartoonists, comics enthusiasts, lovers of great storytelling and lovers of New York City, we have a very special book campaign at Kickstarter and we’re nearing the nitty gritty time of getting this project over the finish line. Look at it this way, for all of you fellow backers and potential backers, if everyone pitches in just a bit more, this truly awesome book will be on its way!

Dean Haspiel.

From Comic Buzz:

Co-edited by veteran comix creators Dean Haspiel and Doug Latino, this vibrant collection brings together a wildly eclectic mix of legendary and emerging voices, including New Yorker cartoonists, MAD contributors, and American Splendor collaborators. Storytellers hail from across comix, comics, graphic novels, literature, art, film, and music, each offering their own take on the city that never sleeps–humorous, heartbreaking, surreal or unmistakably true–capturing the everyday chaos and accidental poetry of New York life.

“Being able to present a project like this is an amazing honor for an independent publisher like myself” says Cosmic Lion Publisher Eli Schwab. “Honoring NYC, a place that has meant so much to the history of my family and my career, and to do it with one of the greatest comic rosters ever. It’s unfathomable. It’s an honor and a privilege to work with Dean and Doug and it’s an honor to be able to help these stories get told. In NYC, there’s one around every corner!”

REAL LIFE COMIX: Only in New York by Eli Schwab — Kickstarter https://www.kickstarter.com/projects/ghostagents/real-life-comix-only-in-new-york

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April 26, 2026 · 8:35 am

The Roots of My Hair by Lou Lubie graphic novel review

The Roots of My Hair. Lou Lubie. Helvetiq. 2026. 220pp. $24.95.

This graphic novel grabbed my attention right from the start, provoking questions and alternatively answering them in a steady and impressive back and forth rhythm. Lou Lubie delves deeply into the subject of hair as someone fully committed and passionate to the task. I know hair is part of my identity. I’ve changed it up over the years, from super short to super long, only answering to myself. This I relate well with Lubie who has gone on a particularly challenging journey from as far back as she can remember, having to confront her own mother’s obsession with keeping her daughter’s naturally curly hair at bay. This is a story, among other things, about Lubie’s right to her own body, specifically her hair.

Just like my writing a review of a graphic novel takes work, building it up bit by bit, willing it into existence, so I am humbled by all the thoughtful details that go into this book, all seeming to effortlessly fit into place. Ah, now this is a work of integrity: honest, focused and purposeful. There is definitely no one definitive way to create a graphic novel. That’s the beauty of the art form which includes everything from the most raw and experimental to the highly polished. This work is in a more traditional graphic novel format with an educational component to it. This book has been acknowledged in Europe and won awards there. Now, available in English for the first time, it makes its way across the pond.

Our story follows Rose, the author’s alter ego, a mixed-race young woman, split between identifying as white or Black. Her family is from a remote area known as Réunion Island, located in the Indian Ocean, east of Madagascar. It was a French colony from 1642 until 1946. By the time her parents are born in the 1960s, and into the present, the region reverberates from its colonialist past, that established deeply entrenched social, racial and economic hierarchies. Rose grew up to aspire to the sleek flowing hair of the white minority, who were at the top of the social strata. Kinky hair was looked down upon as coming from the Black community, at the bottom of the strata. Rose’s mother struggles with the brainwashing of what had been accepted as social norms. Rose, herself, while ever defiant, must also face her own struggles to overcome a misguided, and outright racist, mindset once she tries to find her place at a liberal arts college in Paris. The fairy tale fantasy of a princess with flowing hair is very alluring and hard to fight off.

Throughout the book, Lubie provides various passages that inform the reader on pertinent information related to the unfolding narrative. It is accomplished very deftly, in a natural way that keeps to the flow and tone of the work. It begins gradually, with a casual analysis of Rose’s family’s hair types. Then we move along to a more formal look at hair types. Next thing you know, we’re covering genealogy, biology and history.

Lou Lubie has a very clean and lean drawing style that is direct and impactful. Lubie has something specific to say, avoids detours, and pursues a clear consistent path. Her mission is to remain focused and follow her story’s own specificity. The goal is to follow a young woman’s journey, from childhood to adulthood, as she must process what it means to be a fully realized person, sometimes having to be at odds with the majority. Lubie’s Rose is a fighter, up for a fight, even when success seems out of reach. In the end, it was never out of reach at all. What a satisfying and hard won touch of insight!

Lou Lubie has created a very inspiring work! It’s great to find a graphic novel that delivers on so many levels. Lubie even provides endnotes at the back of the book, something that more graphic novelists should consider. Again, there’s no right or wrong way to tackle a graphic novel. Some books are more spot on than others and this one is high on my list. It will be on yours too.

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April 22, 2026 · 10:30 pm

The Machine is Broken by Jared Sarnie graphic novel review

The Machine is Broken. Jared Sarnie. Fieldmouse Press. 2026. 30pp. $13.95. (release date: May 26, 2026) Available for pre-order at Fieldmouse and Asterism)

How to tackle a sensitive subject? Sometimes, you just have to dive in, honey. That’s the approach that Jared Sarnie has taken with his debut graphic novel about suicide. Sarnie appears to have come out of nowhere with this provocative work. Let’s dive in.

Our focus is a young woman named Lux. She has decided to kill herself. She goes to Zurich which is supposed to have the world’s first fully legal “suicide pod.” Who knew? Lux is bringing along her mom and, rather begrudgingly, her sister. Even if you’re familiar with how suicide has been treated in various media, recently and even throughout the ages, it retains its own particular sense of shock. How successful a work ends up being depends, in large part, on how you work with that sense of shock. We aren’t actually cheering, Lux on, are we? Sarnie leans hard on the provocative throwing in every dark comedy trope he can get his hands on in this over-the-top narrative that careens around in a very free-wheeling, sometimes confusing, sometimes glib, conversational style. The work goes in and out, this way and that way, sometimes comics, sometimes pop art, sometimes an ad promoting itself as the author’s debut graphic novel. At one point, Sarnie states that Alison Bechdel would be rolling in her grave only to then state that, no, Alison Bechdel is certainly not dead. So, quite a fun house effect.

No doubt, this is packed with energy and often has a special quality to it, offering interesting bits and visual treats. What inspired Sarnie to create his first graphic novel about a young woman seeking to end her life would be an interesting question. Often, the question reverts back as to what makes any creator believe they are the person to tell such a story. It’s a very significant question and one that anyone in crisis can make note of. Take this dark comedy for what it is, no more, no less. And then this begs the question: What exactly is this dark comedy? Well, as I suggest: it’s something packed with energy offering some interesting bits and visual treats. It’s an ambitious undertaking and perhaps thirty pages is a good start. Sarnie needs to ask himself why he chose to undertake this work in the first place and then go from there.

Sarnie presents the reader with a portrait of today’s troubled youth as he sees it with Lux as a stand-in. She is dealing with conflicting emotions, and she finds solace a little too often in fast food, especially McDonald’s. But life keeps letting her down. She can’t even rely on some soft serve ice cream from McD’s because, drum roll please, the machine in broken. And then she kisses a girl and that seems to help.

So, sure, I want to see more in the future from Sarnie and I hope my criticism proves constructive. Overall, Sarnie is on the right track and where things fall short is just part of the process. Making really good comics is not a sprint but a marathon. I don’t think anyone wants to leave the bar set at simply checking off boxes to whatever the zeitgeist seems to demand. That way of thinking will never create anything of lasting value.

Big shout out to Emil Ferris!

And, as for cartoonists rolling in their graves, who aren’t really dead, I’ve gotta say, big shout out to Emil Ferris as Sarnie clearly is feelin’ an influence there. And that’s okay, no doubt. I think Sarnie is having a good time as he basically is pushing this and that button, seeing how everything works in the world of comics. Yes, Jared Sarnie, there’s a lot you can do with this amazing comics medium. I look forward to seeing more.

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April 19, 2026 · 4:50 pm

HELP! by Ethan Llewellyn and Francis Todd comics review

HELP! by Ethan Llewellyn and Francis Todd. 2025. Self-Published. 32pp. £10.00.

Sometimes the obvious choice alludes you. I kept thinking I would probably like this comic and, once I dived into some Instagram posts, I was hooked. Ethan Llewellyn and Francis Todd have created something genuinely fun. They go through a distillation process–not just a simple smash and grab. It’s not cool, or highly ironic, to basically trace over someone else’s work and these guys don’t do that. The creative team of Llewellyn and Todd are honest lads who are equally inspired by the legacy of comix and enjoy creating their own inventive and original work.

From “Nice Tits” by Ethan Llewellyn.

If you haven’t already, I encourage you to check out their work on Instagram, for starters. That’s their creative laboratory where stuff has a chance to brew and take hold. The book they have available collects a certain batch of what they’ve been up to on social media and other places. I believe getting a copy of HELP! is a great way to not only support rising talent but an excellent way to keep these guys on your radar. Their latest stuff indicates that they keep getting better and are in it for the long haul. Once a set of characters and whatnot has gotten a chance to settle in, it just keeps moving forward. That’s what’s happening here: the gags get sharper, the art gets sharper and we’re all happy.

From “Skid the Cat” by Ethan Llewellyn.

UK cartoonists Ethan Llewellyn (creator of NAFF) and Francis Todd (Caribou) are the talents behind this anthology showcase drawing inspiration from 80s-2000s North American alternative comics and the UK scene. This comic debuted at London’s prestigious Gosh! Comics late last year. It alternates between Llewellyn channeling Daniel Clowes and Todd channeling Jesse Moynihan. This is a more vulgar version of Clowes; and a more subdued version of Moynihan. You have stuff like Llewyn’s ongoing gag about his alter ego attempting to befriend a heroin junkie. And you’ve got dreamy stuff from Todd about creatures from distant lands and other esoteric content. If I’m in an impatient mood, I could say that I feel like these two lads are creating bits that are more in a developmental stage than being outright compelling.  But the funny thing about these sort of anthologies is that they’re true workhorses ready to take a beating, waiting for the reader to reconsider.

From “Clean Slate” by Todd Francis.

I think of all the pieces in this book, I was mostly intrigued with Llewllyn’s “Skid the Cat!” for its audacity and leaning hard into a vulgar itch he needed to scratch. Its very uninhibited approach is notable with its sense of danger and chaos. I also must admit that I enjoyed Todd’s “Clean Slate” about the mysterious outsider who must prove himself to a village within a castle.

What Llewllyn and Todd bring to the table is not only a lot of enthusiasm but a lot of honest hard-working talent. I think this debut issue is a terrific start. These lads are going places. I can see they have the confidence and persistence to keep getting better and keep moving forward. These guys will move mountains, I’m sure of it. This book is easily well worth the price of admission. Buy HELP! now before everyone else.

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April 12, 2026 · 1:40 pm

On being the Second Saturday Cartoonist at the Charles M. Schulz Museum

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April 8, 2026 · 1:20 pm

So Buttons #15 by Jonathan Baylis comics review

So Buttons #15. w. Jonathan Baylis. various artists. Alchemy Comics.  36pp. $10.

And so the saga continues. We’re up to Issue 15 in the life and times of one Jonathan Baylis: stories, anecdotes and observations he writes and then various talented comics artists illustrate. As was the case with the great comics trailblazer Harvey Pekar, who was known for relentlessly recounting all aspects of his life, drilling down to all manner of minutiae, so Baylis gives readers his take on things.

The stylings of Jonathan Baylis and Danny Hellman.

These comics are a nice snackable size, a nod to one of the go-to mini-comic formats, the folded copier paper size of 8.5 x 5.5. You can easily travel with it and maybe read it on the train, a bus station or airport. I had it with me in my bag so I sat down at a fairly nice waystation on my journey. I had remembered enjoying a quaint spot at the airport food court and chose to eat my food at an expansive space owned by another restaurant chain. I was not shooed away. Maybe it was because I ordered a beer from them. Or maybe they noticed I was reading So Buttons and knew to leave me alone.

The stylings of Jonathan Baylis and Kari Christian Krumpholz.

The waitress made the right choice to allow me to proceed unhindered. In fact, I was honored. I couldn’t help but notice other people would attempt to do just as I did, bring food from one fine establishment and sit down and use the long luxurious table from another establishment. The waitress would swoop down and reprimand these folks: “This is a restaurant. I’m sorry but you can’t eat here.” Perhaps, if these fine folk had been given a chance to order something, all would have been forgiven. Perhaps if these fine folk were reading So Buttons, like I was, they would have been given a friendly nod and welcomed. Alas, I was favored; they were not.

The stylings of Jonathan Baylis and Bhanu Pratap.

Well, I’ve gotta say that Baylis is groovin’ on what he’s doin’. Based upon my reading his last issue and what he says about his own writing process, involving lively free association and leaping from one subject to another, I think Harvey Pekar would be amused and proud. Put ‘er there friend, you’re a gritty authentic son of a gun.

The stylings of Jonathan Baylis and Noah Van Sciver.

One hightlight that is particularly spot on is the pairing of Baylis with noted humorist and cartoonist Noah Van Sciver. Given the subject of family dynamics, especially dissecting one’s father, this amounts to a dream team combination.

The stylings of Jonathan Baylis and Nathan Gelgud.

Another highlight that’s really on the money is the paring of Baylis with cinephile -activist-cartoonist Nathan Gelgud. The idea here is that film is too precious and vital to only be shared among a select few. Indeed. Power to the People!

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April 1, 2026 · 7:25 pm

NOWHERE by Jon Claytor graphic novel review

Nowhere. Jon Claytor. Goose Lane. 2026. 448pp. $29.95.
Jon Claytor‘s graphic novel reminds me of Dash Shaw’s debut graphic novel, Bottomless Belly Button, also about the dynamics of family dysfunction; also having a large page count; and also drawn in a nontraditional loose and spare style. There are certainly no set rules to how you can go about creating a graphic novel but, like any art form, a raw and unfinished look is what it is. In general, graphic novels tend to have a more polished and finished construction. So, if you’re going to go for it and lean into a more sketchy approach, be ready to deliver. There are certain comics artists who have managed this quite nicely, like the great Jules Feiffer. But even his spontaneous style takes a lot of work to achieve.
When you have a new wave come in, like Dash Shaw, the purists might bristle at the shock of the new. It can take some getting used to. And so it is with what one can dash off on an iPad these days. I’m actually not against quick and dirty drawing. I tend to favor it. In fact, I’ve gone back and forth over the years with wanting to stay true to my instincts to dive in along with my need to refine and edit. One memory that stays with me is, many years ago, when I was showing around an early mini-comic to some cartoonists and editors at a comics festival. One editor suggested I check out the work of Blutch, a legendary cartoonist with a lively brush. And one cartoonist asked if he could read my whole book and to check back with him later. Much later, I finally got a response. He dashed off a note on my comic: “Don’t rush!” The thing is, sometimes you want to rush, you just can’t help it!
So, with all that said, I have to hand it to Jon Claytor, he has managed to jump into the fray, and offer up a credible addition to the growing trend of pared-down digital comics. Claytor’s background is in a form of graphic recording. He has documented numerous workshops and discussions, specifically on youth at risk, and the results are wonderfully vivid and crisp, similar in spirit to what he does here in this quirky coming-of-age graphic novel. Nowhere is basically about teenage growing pains and everything related to it. Claytor’s background and his inventive energy serve the story well. Claytor’s approach is spot on and a lot of fun. Some stories, especially long episodic pieces like this one, really can make good use of a more spare and quick drawing style. There are a number of good reasons to pursue this route not the least of which is that is makes practical good sense. Sometimes you just need the most efficient way to tell a story; and sometimes a story functions well with a limited means to an end.
I see this story has a lot of vampires, space aliens and zombies running around in a stifling small town that our hero, twelve-year-old Joel, is struggling with. Joel has had to move around too much and it has added to his anxiety. His latest home, the strange small town of Beauséjour is not going to make it easy for him. It’s populated with all kinds of monsters, or so it seems. Lucky for Joel, there’s one bright spot. He makes a friend of Charlie, a girl his own age. As menacing as all the monsters might be, it’s Joel’s parents’ dreadful lack of direction that is really scary. Overall, this is a refreshingly honest look at the obstacles young people must overcome, whether from monsters or from wayward parents. This is an easygoing and accessible work, full of all your favorite horror tropes and plenty of food for thought. I conclude that Claytor uses just the right tools to tell his highly unusual and highly relatable tale.

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March 26, 2026 · 1:00 am

CREASED COMICS by Brad Neely comics review

Creased Comics. Brad Neely. New York Review Comics. 2026. 200pp. $24.95.

You might look through this book and wonder, Who is this guy? But keep looking and I’m confident you’ll conclude that Brad Neely is the real thing. Sure, some of the pages seem to be dripping with a cocky swagger. Or is it more of a wistful cry in the dark? Couldn’t it be both–and more?

Some people will either love or hate some of this stuff depending upon where they’re coming from: the lovers will love the raw sensibility; the haters will hate that very same raw sensibility. You can’t please everyone. Don’t even try. Maybe that’s how Brad ended up writing for South Park.

Sometimes you just need a naked guy on a hippo and call it a day. I’d love to be a naked guy on a hippo. Call it art. Call it whatever you like. This is work that may seem easy but there’s a special skill at play, especially to be able to create the work time and time again at a high level of consistency. The more you read through the book, I think you’ll agree that each page has something worthwhile to offer.

I think some of the best pieces in this book don’t use any text at all. The best ones bring to mind the work of Marcel Dzama, another artist who gravitates to more obscure and absurd themes. In fact, Dzama and Neely are of the same generation. This book you can consider as early work, spanning from when Neely was 19 up to age 34, a very fertile period in any artist’s life. Neely has forged his own path that includes a good bit of comedy bits, many you can find on Adult Swim.

Overall, this is a very enjoyable collection. I think it all goes to show that you can still be yourself, go for broke pursuing a relentless vision, and come out a success with just a few broken bones. It won’t be easy, but worth it, to walk that tightrope that all great artists must walk, of making something compelling while also making it look as easy as pie.

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