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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March 18, 2026 · 7:49 pm

A Comics Artist on a Mission: Alex Newton Interview

You can gain control of your own destiny if you just don’t give up and keep moving forward. This simple act of will power, even defiance in the face of all challenges, is what I see coming from a remarkable comics artist, Alex Newton. Well, Alex’s new book can speak for itself. We cover Artichoke Knight in great detail. It’s what I like to call “pure comics” in the sense that it consistently commands the reader’s attention making full use of comics devices.

Take a look at his artwork and you can’t deny it is tight and spot on. Read his work and you’ll see that there’s a thoughtful balance in plot choice, character exchanges, the whole fabric of the narrative. Alex speaks eloquently and with an easygoing confidence.

Among the topics we chat over is the interesting dynamic between the two main characters in Artichoke Knight: go-getter Cherry, a young woman with a passion to excel; and methodical Charlie, struggling to find his feet. In so many forms of media, there would be a subplot brewing that focused on a promise of romance. But not these two. They’re friends and making the most of that special bond, not an easy one to maintain in real life or in comics.

Another topic we cover is the time-honored storytelling trope of leaving one world and entering another. Alex readily embraces it, carrying forward in the tradition of the hero’s journey. Alex’s approach is done with relish and a healthy sense of wonder.

I recently reviewed Alex’s work and, after our interview, I am spurred to continue spreading word as best I can and keep Alex’s work on my radar. I’m sure, if you enjoy comics, that you will feel the same way.

By all means, dive into our conversation. I welcome your Views, Likes and Comments made directly to the YouTube channel.

I invite you to check out our conversation. It is available to view on YouTube as well as to listen to wherever you get your podcasts.

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March 17, 2026 · 10:40 am

Black Ties: In Gods We Trust by Bjorn Klein and Lucia Faccini comics review

Will blind faith secure party loyalty?

Black Ties: In Gods We Trust. w. Bjorn Klein. a. Lucia Faccini. Black Ties Press. 2026. 229pp. Advance review.

Review by Henry Chamberlain

Gods, like certain politicians, demand nothing less than blind loyalty. And, like certain politicians, will pursue whatever means necessary to stay in power. Because, once power is acquired, it can be very difficult for some people to give it up. Sound at all familiar? Well, as Rod Serling famously observed, sometimes it’s easier to present one’s political views in the form of a fable. Just prior to launching the much lauded television anthology series, The Twilight Zone, he quipped that he had found a way to avoid the wrath of the censors when writing political satire. Instead of lampooning a U.S. senator, he could replace that character with a robot or maybe a monster, in the guise of sci-fi horror. In this spirit, writer Bjorn Klein delivers the goods. Black Ties is a wickedly funny fable about gods scheming to stay in power.

The gods have a major public relations problem with humanity and it will take nothing short of infiltrating human life and altering human reality to win over a commanding number of true believers. One big component is deceiving humans into voluntarily giving up all manner of private information through a software app. If humans can deceive each other via technology, then so should gods.

The gods get it. They understand that humans can’t help but be good consumers so it stands to reason that gods just need to spike the consumer culture more in their favor, juice up the god brand. Oh, and then there’s curtailing free speech. If humans can manipulate the media in order to control the narrative, then so should gods. A free press is so over-rated, right? If humans can be fascists, well, then gods can too.

There’s a moment in the story that has Eldur, a god who has defected to the more promising party to stay in power, limping along a typical day at the office. He’s been tasked with helping out with marketing. All too often, he’s a befuddled mess but today he tries to be a little chipper. He takes a look at the colossal statue of Saint Barbie and the rolling numbers of new consumer true believers displayed on the ticker: over six billion and counting. That steady uptick, along with the beauty and majesty of the sculpture, seems to reassure him. An excellent depiction of the machinations at play.

Lucia Faccini‘s artwork is delightfully droll understatement that compliments and elevates the story. Faccini strikes the right balance with depicting  the supernatural world of gods and the mundane, sometimes sinister, world of humans. After all, gods want the same things that humans want–both at massively grand scales–to the point it’s difficult to tell them apart. Our existential crisis went into overdrive after the atomic bomb. Both power hungry gods and humans are pretty scary and dangerous. The creative team of Klein and Faccini stay on course with wicked humor, thoughtful pacing and a healthy sense of dread. Satire, at the end of the day, can be quite amusing while also sounding an alarm. This book delivers on both counts.

So, I hope this advance review has intrigued you. The book is expected to launch as early as next month. As with any project, whether from a small or big publisher, it is best to check in for updates. I’m confident about how Black Ties will be received as it makes its way into the world. I think it’s a shining example of what’s possible from new voices through self-published work. We’ve reached the point when any work has a viable chance at finding readers, regardless of where it is published. At this early stage, reviewers play an important role in spreading the word. So, if you’re a reviewer, or a reader, I highly recommend that you seek this book out.

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March 9, 2026 · 6:05 pm

ARTICHOKE KNIGHT by Alex Newton comics review

Artichoke Knight. Alex Newton. Alex Newton publications. 227pp. £23.00 for Volume 1.

Review by Henry Chamberlain

Sometimes, a comic, by its energy, spirit and style, just grabs you and you know you’ve found a winner. Such is the case with Artichoke Knight by Alex Newton. Let me tell you, this comics artist loves what he does. It is so apparent from every page. I believe this holds true for all of his work since I clearly see an overriding style here. Newton just keeps going; he has a relentless drive to share his vision. With that in mind, I say that Mr. Newton must continue and you must buy his work.

Page after page of fun, inventive and original work.

The book we are looking at collects all the single issues thus far, which appears to be a dozen. Newton manages to completely avoid any continuity of style issues; the whole thing runs quite smoothly, easily passing the flip-through pages test. What instantly catches my eye is Newton’s confident use of wordless passages. If you don’t speak English or, if for some unfortunate reason, reading is just not your thing, there are quite a number of amazing text-free pages. Newton has a career in illustration just waiting for him. Anyway, he’s doing just fine. Clearly, creating comics is his passion. His lettering is outstanding. His color choices are spot on. His light-line style is right on the money.

What a scene!

The story is delightfully straightforward. A couple of friends, Charlie and Cherry, engage in an annual competition. Cherry always wins and has gotten a bit complacent. This could be Charlie’s big year to win big. The plot gets a little more involved as the competition is some sort of “cookery-combat.” Okay, sounds very intriguing–and original. All sorts of opportunities for fun visuals. There’s a road trip to get to this event. The couple are cute and energetic. A hint of romance is in the air. A competitive spirit is also in the bargain. This is a great set-up and Newton makes it pure comics nirvana. Yes, I say this: Artichoke Night is pure comics nirvana!

When pigs fly.

As you can see, Newton delivers page after page with work that is a lot of fun to view. I can see him going into animation if he chose to. Again, it’s all about the comics, that we’ve established. But branching out into related things is definitely an option. At least offering prints, which Newton does. Just go visit his website. However you look at it, Newton is a born storyteller. He writes. He draws. He lays it all out. Talk about auteur creators! This guy is doing it.

And away we go!

Hats off to this book being self-published too. While there are some perks to getting picked up by a publisher (and there are wonderful things to that) there is no getting around the fact that holding onto your intellectual property and getting to call all the shots is very appealing. You’re going to do most, if not all, of the marketing whether or not you have a publisher. If you can stay determined, self-publishing done right is truly the gold standard. Just ask Jeff Smith.

There’s a moment in the story when Charlie is slouched over on his couch trying to take stock of his life. We’ve all been there many times over. And it hits him. He’s been attempting to hang in there all this time. Why not level up? Too often, in various circles, we’re encouraged to just get along and embrace just being a participant. Phone in your effort. Mediocrity is more than okay; it’s the standard; and it’s celebrated. Excellence is not supposed to exist. I say to this killjoy of a concept, that there is such a thing as reaching for the stars! Some people, if they so choose, do get there–and we all benefit when that happens. Ah, you only live once. So, why not do better? You’ll regret the drip, drip, drip of conformity.

A hint of romance.

Getting back to Newton and Artichoke Knight, it’s just a matter now of staying the course, going to comics conventions, engaging in various grassroots marketing and always believing in yourself. I’m sure that Newton is a true believer. We are so lucky to have him around.

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March 8, 2026 · 5:05 pm

Front Lines: a Lifetime of Drawing Resistance book review

Front Lines: A Lifetime of Drawing Resistance. Susan Simensky Bietila. Oakland:PM Press. 213pp. $21.95.

Review by Paul Buhle

A nineteenth century reviewer, now long forgotten, wrote about a new work: “This is no book, THIS IS A LIFE!”

And so we can say for Front Lines. Actually, it is a lovely book, both charming and moving. Bietila’s art can be called “comics” and has been for a long time—she is a contributor to WOBBLIES!, the centenary collection about the IWW that I brought together, with a host of others, in 2005—or it could be called strategic and tactical art.  Or it needs a new definition suited to the political artist!

The adjectives grow difficult for another, all-important reason. Susan Simensky Bietila narrates us through her own life and work. She is one of the bravest, most talented at responding artistically to social movements around her nearly all of her life, and one of the most honest about her tribulations.

She describes growing up in New York as a daughter of Jewish refugees,  arriving back in 1914. She instinctively took a job at an interracial kids’ camp in the Catskills, the summer before entering college. Already, she overcame her parents’ resistance and went on a chartered bus to DC to protest the HUAC hearings on the antiwar movement in 1966. When she packed up later in the summer to attend the SDS convention in Clear Lake, Iowa (I was there, too, although we did not meet), it was her first real time away from home for more than a night.

“Topping tyrants 101,”  pp.17-24, is a strip or story about her youthful political rebellion and the trouble that it caused in her family. It appeared in a 2007 issue of World War 3 Illustrated. By the time that it appeared, she had long since become a struggle-hardened political veteran.

She traveled to Amsterdam to meet with the Provos, and on to San Francisco with the paper called The Movement before moving back to New York, doing collage covers for the Guardian and, after it had been taken over by women, the tabloid known as The Rat. By the time she drew her second extended comic story— only six pages, but what a rich six pages!—she could recount the struggles of New York feminists at a Bridal Fare, and again at McSorleys, a famous tavern, until then “Men Only.”

This reviewer takes special interest and sympathy in her life as a nurse because of my mother’s life as an ill-treated nurse denied work for her union sympathies. Trained in New York, our protagonist went off to Baltimore to improve the conditions of poor mothers. There, having discarded a first husband for straying (she is nothing but candid), she met her second, and lifetime love match: Paul Bietila, a draft-resisting anti-war activist and Finnish-American from Northern Michigan. In movement after movement, especially after shifting her base to Milwaukee where her husband entered graduate school, she made posters, constructed objects for guerilla theater, and set herself for a further lifetime of work.

She had already become a school nurse in Milwaukee when she recorded, artistically, the story she was living, the defense of the nearby river and wetlands from the plan for a giant shopping center. Local Democrats pretended to protect the river and land, then did the exact opposite, the usual story. Nature and the good people lost, and yet the struggle goes on, most notably, in Northern Wisconsin where this effort has always coincided with a defense of Native American rights and lands, in a large but thinly-populated zone of historic natural resource exploitation.

Thus the cover of the book, “No Mine on Wisconsin’s Wolf River.” This is the story of the rare victory over mining/corporate interests. The struggle to defeat the Crandon Mine brought together a remarkable coalition of indigenous peoples, environmentalists, young and old social activists and feminist groups. By 2023, a celebration of twenty years holding strong in victory, the nearby Chippewa and Potawatomie gatherings included many of our artist’s creations or photographs of those heroes gone.

The victory had one key element of a possible coalition: rivers and lakes polluted by mining do not create conditions for fish that could or should be eaten. As late as thirty years ago, the KKK held rallies around Hurley, a former mining and lumbering town where, even today, the presence of more strip clubs per capita than anywhere else, testifies to the rough character of the town and region.  To win over the white population demands persistence and success in making the argument that the “social license to operate” (p.91) must outweigh pure profit. Bietila’s artworks contributed meaningfully to that end.

Thus the “Northwoods Tale,” pp. 92 to 101, a sustained, serious work of comic art, and an example for other artistic activists to study, not to copy in form and content but to study.

Bietila goes onward, from campaign to campaign. The most sustained piece, “Living in the Oil Blast Zone,” pp.137-46, uses her experiences meeting indigenous people, developing her art and her own experiments, to illuminate the ruthlessness of the railway corporations. Derailments, the catastrophic accidents, do not happen “accidentally.” They are the predictable result of smaller crews, aging equipment and the mad rush to expand profits. “Countless railroad bridges cross water” (p.144) and there we find the real crisis for surrounding populations, human and otherwise. A giant heron puppet used in dances inspired an equally giant sturgeon puppet, carrying messages that get across to wide populations.

Naturally, inevitably, Bietila played a vital role in the “Water Protectors” movement to defend the water of the Mackinac Straits in Michigan’s UP, the Upper Peninsula. In a way,she had always been preparing for this struggle,and in another way, preparing herself psychologically for defeat. We can remember Obama, facing a major decision on the new oil line, telling reporters he was going to see “how it plays out.”

Bietila is stoic while heroic. She tells us in the book’s Postscript that Paul Bietila died in his sixties, most likely from environmentally-based cancer. She carries his memory with her and still mourns. But she has two sons, a librarian and a regional organic farm hand. She proudly reflects that in Milwaukee, she has plenty of neighbors supporting the Palestinians as well as opposing ICE. She is home.

Paul Buhle

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March 2, 2026 · 10:41 am

Matt MacFarland and His Comics Universe interview

Welcome to the Matt MacFarland comics universe!

Matt MacFarland is quite a prolific and versatile comics artist. Over the course of the last decade, he has cultivated his own comics universe made up of various characters searching for answers, looking for love in all the wrong places, and simply seeking a connection. These comics can be bittersweet, mysterious or downright hilarious. Something for everyone.

Matt’s story is that of a fine artist who has chosen to focus his efforts within the comics medium. That means he comes equipped with certain methods and tools from other artistic disciplines that can help in creating interesting comics work. Another key ingredient is follow-through and Matt has plenty of that. In the end, any creative endeavor is a process and Matt MacFarland is having fun with it.

It’s all about process. You can get rusty if you go too long without creating work, even if it’s just a little bit of sketching. It all adds up. Quite literally, one thing will lead to another as you continue your creative journey. This is what got Matt moving along from one world to the next.

As we discuss in our conversation, there are all sorts of crossover activities within creative circles. One of the most essential is a sense of community. One key form in the world of comics is collaborating on an anthology. These days, one of the best on-going anthologies is Rust Belt Review. Here, you can find Matt MacFarland as a contributor. Volume 7 features his OK Cryptic cast of characters.

Another thing to keep in mind about artists and comics artists is that this is a crowd that likes to bend the rules, blur the lines and mix it up. This explains why Matt MacFarland will always be an artist, as well as a comics artist. Consider his latest addition to his cursed pants comics series, Dark Pants: individual ceramic panels with three-dimensional elements. Take a closer look at the sample above. I think it’s safe to say MacFarland is passionate about his work.

Again, I have to stress that Matt MacFarland offers something for everyone. He can delve into the dark recesses of the adult mind and feel just as compelled to share childhood memories. Be sure to check out his graphic novella, Cookies and Herb, published by Fieldmouse Press.

I hope you enjoy the interview. As always, your Views, Likes and Comments at the Comics Grinder YouTube Channel are greatly appreciated. You can find this interview simply by clicking the above video. You can always simply type in “Comic Grinder” and find this, and other interviews, wherever you get your podcasts. Be sure to keep up with Matt and find his work for sale at his website.

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