The Eighth is a very impressive new comic book (now on Indiegogo) by Adam Lawson (writer/director of the YouTube Original series Escape The Night, and the gaming shows Tabletop and Spellslingers) and Lawson’s longtime collaborator, Jorin Evers. First, this is the premise: an epic adventure featuring twoteenagers, David Wells and Emma Adachi, who unlock a piece of ancient Sumerian armor, but mismanage its power and end up committing murder. Before they know it, they find themselves on a terrifying journey to change or destroy the world with no going back. Now, the goal of the current Indiegogo campaign is to collect all the issues of the comic book into a glorious 200-page glossy trade paperback. As Adam Lawson puts it:
For almost two years, Jorin and I have slaved away on the pages completing five of the eight issues and given away all of our free time. With your contributions, we can take this across the finish and deliver into your hands, in stunning glossy print, the 200-page story of David, the 8th and his misfit friends.
David & Emma
Taking a close look at the first issue in this series, I see a well-paced story that got my attention right from the start. Writer/creator Adam Lawson and artist Jorin Evers deliver a gritty story playing with teenage wasteland tropes that ring very true. David is the math whiz who is being raised by his mother and aunt. Emma is a teen who ran away from her foster family and lives in the same house with David. Things look pretty dire and bleak. But there’s something about both David and Emma that leaves the reader wondering. There’s that touch of strange that means everything. Infused with just the right doses of horror, science fiction, and dark fantasy, this all adds up to a most unique and compelling story.
Out to save the world.
It will be up to David to see if he can rise to the challenge. As they say in scientific circles, the cat in the box is both alive and dead up until the box is opened. David makes the choice to open the box and find out. All along the way, the reader gets deeper into the action and more involved with the characters in unexpected ways. For instance, aloof and quiet Emma has got quite a steamy crush on David. The art by Jorin Evers brings it all to life with vivid energy. Lawson and Evers nicely set it up and then, bang, the reader is rewarded with a new twist on the superhero mythos. That twist is definitely there with just the right set of circumstances. Like any good thriller, it all comes down to being careful for what you wish for. But what’s the fun in being so careful, right? That’s the devil’s bargain that David and Emma will have to deal with. The promo material already alludes to a cosmic connection with Sumerian antiquity. Well, without spoiling anything, Lawson and Evers bring you a superhero story for a new generation, full of ugly truth and full of righteous fury. The Eighth truly feels like something new, a fresh take on superheroes, and that’s saying a lot.
THE EIGHTH has got just what you’re looking for in a story that’s not afraid to blast through the page. Check out the Indiegogo campaign right here. And you really need to check out the animated book trailer, only available by visiting the Indiegogo campaign.
A worthwhile comics anthology requires a lot of focus and dedication. One comics anthology series that has set a high standard is Not My Small Diary, edited by Delaine Derry Green. For Issue 20, Green chose the theme of music and the affect it has on our lives. This is a theme that is tailor-made for indie cartoonists since they already spend quite a lot of time creating auto-bio comics while listening to music. I should know. I am one of them and I salute the efforts of my fellow cartoonists included in this collection. If there is one thing we all seem to have an opinion on, and cuts deep, it’s music. We all operate under this illusion that we somehow own our all-time favorite bands, since they seem to speak directly to us. Nothing could be further from the truth but the power of music is unmistakable. With that in mind, let’s take a closer look at Issue 20.
In Delaine Derry Green’s introduction she states that this edition includes 54 artists and writers. But one cartoonist, who had submitted work to every issue since the very start in 1996 was now gone. “We lost Mark Campos in 2018,” states Green, “and I know he would have loved the theme of this issue. This issue is dedicated to him!” Two cartoonists in this issue grapple with the loss. David Lasky presents an exploration of his feelings as he mourns the death of his friend and connects it to a better appreciation of the work of an older and wiser George Harrison. Noel Franklin presents a behind-the-scenes look at her relationship with Campos and their mutual admiration for the dark beauty in the work of Kristin Hersh. Each tribute approaches the subject from very different and idiosyncratic perspectives. In Noel Franklin’s piece, there’s a moment when Lasky introduces her to Campos. Reading these two comics back-to-back, a reader can get a sense of the peculiar and the perennial within the creative mist and fog.
A good work of auto-bio comics must make efficient use of its allotted space, even if it’s only one page. When a cartoonist lacks discipline, one page can feel too long. But, if a cartoonist is mindful of their content, then a series of pages can leave the reader wanting more. Three or four pages is typically as long as one can expect for an extended piece. M. Jacob Alvarez brings the reader in with his honest and concise observations of growing up with music for his 3-page work entitled, Record Player. Peter Conrad makes good use of four pages with Hacklebarney, which also features coming-of-age musings over music. Both Alvarez and Conrad don’t claim any cosmic connection to music. On the contrary, it was always something in the background for them until further notice. It’s a refreshing take to have indie cartoonists downplay a situation as opposed to the traditional life-changing narrative.
M. Jacob Alvarez
Not My Small Diary #20 includes the work of Colleen Frakes, Joe Decie, Andrew Goldfarb, Androo Robinson, Aaron Brassea, John Porcellino, Rob Kirby, MariNaomi, Julia Wertz, Jenny Zervakis, Jonathan Baylis, T.J. Kirsch, Simon Mackie, David Lasky, Noel Franklin, Misun Oh, Danny Noble, Fafá Jaepelt, Billy McKay, Chad Woody, Max Clotfelter, J.T. Yost, Ben Snakepit, J.M. Hunter, Jason Marcy, Steve Wallet, Jesse Reklaw, Ken Bausert/Steven Anderson, Michael Kraiger, George Erling, Joseph Cotsirilos, Aimee Hagerty Johnson, Jason Martin, Kevin Van Hyning, Pete Wentzell, Josh Medsker, Roberta Gregory, James Burns, Brad W. Foster, M. Jacob Alvarez, Tom Scarecrow, David St. Albans, Peter Conrad, Maddie Fix, Joel Orff, Dave Kiersh, Donna Barr, Sally-Anne Hickman, Missy Kulik, Jim Siergey, J Gonzalez-Blitz, Jennifer Hayden, and Carrie McNinch. Cover Artist is Ben Snakepit.
Not My Small Diary #20 is a 136-page book well worth the $6.50 price point. I really appreciate the guitar pick included with every copy. But I appreciate even more the index at the back of the book that references all the bands mentioned! Considered one of the best showcase zines around, this is the book to explore some of the best in indie comics. Visit Not Small Diary right here.
Comics Grinder continues to seek out and support the best in indie comics like this gem coming out of Cincinnati entitled, MeSseD, which is the nickname for the Metropolitan Sewer District! And, yes, if you sense a theme emerging here, you are correct. The main character is sewer worker Lilliput, a sort of tour guide to the weird, wild and wet world beneath our feet. Who exactly is Lilliput and what kind of misadventures does she get into? Let’s find out.
Issues of MeSseD
What wows me about this comic series is that creator/writer Jay B. Kalagayan, and lead artist Dylan Speeg, are not afraid to play with sci-fi tropes and just have some fun. Our main character, Lilliput, has one main responsibility and that’s to keep the effluent (sewage) flowing freely. But what fun is that? Well, it’s not exactly meant to be fun, is it? But it’s essential, right? You don’t want a day with the effluent NOT flowing, am I right? And it takes a lot to keep that flow going. There are all sorts of monsters out there, like the Clew worms, that need to be confronted and taken down. That’s where Lilliput comes in. Of course, she’s not perfect. For instance, she goes against regulations and keeps a pet rat. There’s much to love here.
Keep up with MeSseD by visiting the website right here.
BANG! published by Dark Horse Comics, writer Matt Kindt (MIND MGMT), artist Wilfredo Torres (JUPITER’S CIRCLE), colorist Nayoung Kim and letterer Nate Piekos. Issue 2 out on March 17, 2020.
Dark Horse is doing very well with its comic book series BANG! John Shaw, its main character, must be America’s favorite barefoot tough guy since Die Hard‘s John McClane. Yeah, there’s a real foot thing going on here so you can file this under “Comics with a Foot Theme.” John Shaw is credited with sensitive feet and described in the book like this: “He’s barefoot. They never hear him coming.” And he even has a pretty good plot to work with: he’s the guy staying one barefoot step ahead of the terrorists in order to stay alive and possibly save the fabric of reality. Matt Kindt has always been a creator who works best with offbeat stories and this looks to have checked all the boxes on weird compelling adventure.
The first printing of BANG! issue 1 sold out ahead of publication, following widespread press attention and endorsements from Keanu Reeves and some of the comic book industry’s most respected writers and artists. Issue 2 of BANG! is on sale from Dark Horse Comics on March 17, 2020.
Joe Hill, #1 New York Times Bestselling author, is the current go-to creator for a certain quirky brand of horror. Head over to DC Comics and you’ll find he’s been set up with his own fiefdom, Joe Hill Presents Hill House Comics. In there you’ll find such tasty treats as the series, Basketful of Heads. Over at IDW, Joe Hill offers up a five-part miniseries, Dying is Easy, which sets his sights on the often turbulent world of stand-up comedy. It might be fun for you as an audience member but it’s not so easy up on stage, even if you get some laughs. With art by Martin Simmonds, this is a comic that brings on the atmosphere and authenticity of what’s it like to struggle as a comedian. Bad enough that it’s a rough business but it can always gets worse.
On point art by Martin Simmonds.
Our story focuses on an ex-cop comedian who somehow gets in over his head when he finds himself thrust into a blood feud. In the capable of hands of Joe Hill and Martin Simmonds, this first issue sets the tone for what promises to be a satisfying crime thriller. If I was a betting man, which I am on occasion depending upon who is asking, I would place my bet on this comic. Give it a solid 10/10 rating.
Dying is Easy is published by IDW Publishing and is available as of Wednesday, December 11, 2019.
While they stock all kinds of comics, Orbital Comics in London has quite an impressive collection of small press comics. Will Humberstone, Orbital Comics indie comics expert, assisted me in tracking down some of the store’s best titles currently in stock. I include here all the titles that he suggested. While I was in the store, I was impressed with a very tidy and organized shop. I found an upbeat environment with first-rate customer service. By all means, while in London, do make sure to visit Orbital Comics! I begin with some photos of the shop. This includes staff members who worked on some of the titles reviewed here: Ryan Jenkyns on Forged #1, and Valentina Sannais on Starfall #1.
Ryan Jenkyns and Valentina Sannais
Small Press Reviews
Forged #1 by Michael Eckett and Ryan Jenkyns
Forged #1, written by Michael Eckett and illustrated by Ryan Jenkyns, is a sweet all-ages ongoing series that proves to be a rather nice showcase of talent. I can see big things ahead for this series mostly geared toward younger readers. A boy off on big adventures! Stay tuned.
Starfall #1 by Adam Blackhat and Valentina Sannais
Starfall #1, written by Adam Blackhat and illustrated by Valentina Sannais, is an action adventure story with quite a lot to unpack. It seems that we are picking up the story right in the middle of momentous events with characters dealing with a lot of issues. Oh, and they also happen to have superpowers! Much to enjoy here and we’re only getting started. Visit the webcomic here.
Barky and the Bootmaker by Jasmine Parker
Barky and the Bootmaker, by Jasmine Parker, raises the bar high as this is a professional illustrator so maybe it’s a little unfair for someone with finely-honed artistic chops to blast into the slower-paced world of indie comics–or is it? It’s debatable, I suppose, but I really truly favor those comics creators who do work hard at their craft, keep polishing it, and demand a high level of excellence in their work. And then you have to ask, When is a work too slick? Ah, now there’s the rub–when to know you’ve got just the right vibe in your comics! I guess you have to sniff it out. In this case, Ms. Parker does a fine job with a very silly story that will have the tikes rolling in the aisles.
The Blade of Arozone by J. Edward Scott
The Blade of Arozone, by J. Edward Scott, is one of those little books where maybe I’m just not connecting with it all the way even though I really want to. If you enjoy a bit of sword and sorcery, then this might work for you. I think the best thing going here is the artwork. There’s a lot of promise here. For such a short work, you need to wow your reader with something really tasty. Not too busy either. So, keep on truckin’ and really have fun. Maybe I’m not seeing quite enough fun in these opening pages while I do see that elsewhere from this artist online.
Stutter by Joe Stone
Stutter, by Joe Stone, almost lost me with the cover. But, once I leafed through it, I knew that here was a serious cartoonist that I would need to focus on and give him his due. I can see that care has been put into character development, composition and pacing. Yes, it is an autobiographical story about one man’s struggle with stuttering. It has a nice crisp clarity to it. The style is a confident clean line, a cartoony semi-realistic approach that a lot of cartoonists use today. Stone is among one of the better examples I’ve come across. It’s an impressive and sharp mini-comic.
Shivers in London, Part 1 by Niki S. Banados
Shivers in London, Part 1, by Niki S. Banados, is another all too brief work that leaves me wanting more. Again, lots of promise here just like in Mr. Scott’s The Blade of Arozone. The art does have a nice ethereal quality to it but I’d just have to see a lot more of it. If this is an opener meant to entice the reader, then I need more of a wow factor. That said, I’m intrigued and look forward to more.
Cat Disco by Rebecca K. Jones
Cat Disco, by Rebecca K. Jones, is a work that has come to the party prepared to rock out. Now, fair warning, Ms. Jones is a seasoned illustrator so she has a lot more toys to play with and a lot more experience. I highly recommend this book to anyone looking for a fun read or anyone interested in becoming a better cartoonist. This story is told with sly wit and great confidence. It’s not easy to pull off but this is the sort of work that can carry the reader away. It’s a story about a house cat who decides to take a walk on the wild side and see what the street cats do at night–and then it goes on to deliver! You too will believe that cats love to disco! Bravo!
Heads by Ed Stockham
Heads, by Ed Stockham, seemed at first glance to be one of those classic twee mini-comics that tries one’s patience. However, years of mini-comic reading have taught me to not rush to judgment. Now, the art is very simple and raw but there’s a confidence running throughout that won me over. I think Mr. Stockham’s work, based on this little book plus what I see on his website, has just the right combination of a good sense of timing, artistic sensibility, and joie de vivre.
Seller on the Threshold by Claude T.C.
Seller on the Threshold, by Claude T.C., is a masterful little work by someone who spends a lot of time drawing and loves it. I see here a wacky sense of humor and the creative discipline to back it up. Is this the work of an inspired amateur who works at a professional level? Or is this the work of a professional who works at the level of an inspired amateur? You see what I mean, don’t you?! It’s polished, but not so slick that the life has been sucked out of it. This is the good stuff.
Some Short Stories by Knifeson Yu
Some Short Stories, by Knifeson Yu, is a collection of light vignettes where very, very little happens. This is an all too brief wisp of a sampler. But I like the wee bits of teaser found here. Seems like the work of an animator who is happy to just dabble in comics for now. We shall see.
Cindy and Biscuit: Sundays by Dan White
Cindy and Biscuit: Sundays, by Dan White, is another impressive work by a professional illustrator. This is A-game work. The story is a lot of silly fun, reminiscent of Calvin and Hobbes but very much its own thing. Cindy keeps seeing all sorts of amazing creatures and going off of all these larger-than-life adventures. Okay, maybe it’s a lot like Calvin Hobbes but it’s still very much its own thing! Five stars and lots of glitter!
Endswell by Peter Morey
Endswell, by Peter Morey, pay perhaps be the most ambitious work of the whole lot here in its own way. I mean, it has an ambiguous and quirky cover. You can only hazard a guess as to what it’s about. And, even once in, you don’t know for sure where it’s heading but you’re hooked. The opening pages have that ideal crisp and clear quality that is so crucial to bring the reader in. The characters are really saying things that are interesting and advancing the plot. You know the main character has got some problems and he’s taking part in some sort of therapy, whether he really wants to or not. All very intriguing. This gets an A-plus and whatever else I can say that is upbeat and supportive. Seriously, really good stuff!
Archie vs. Orbital by Joe Jinks and Will Humberstone
Archie vs. Orbital, art by Joe Jinks and script by Will Humberstone, is a fun little book that pits the Archie gang against the Orbital Comics staff! This is lighthearted fun as you might expect. That said, it is far more involved than you might expect too! The pacing is spot on and it has a tasty factor about it. Archie and the gang are not very nice in this comic. Think horror, scary horror. I recommend you pick it up.
Here is one more comic that I picked up at Short Run over the weekend. This title, Exit, by Miles MacDiarmid, got my attention because the creator chose to include Pres. William Howard Taft on the cover of his work just like I did for a book collection of my own work, A Night at the Sorrento and Other Stories. Taft! Taft! Taft! Was he a great American president? No, not great. But there’s something about him, right? Well, he figures in MacDiarmid’s comic in a similar way as it figures in mine, more of an absurd MacGuffin creature. So, a cartoonist with a offbeat and erudite sense of humor is a very good thing and so it goes with this book, Exit. I also see from MacDiarmid’s website that he does fine art. So do I. I think it’s an important distinction among cartoonists that I can relate to all too well. I think MacDiarmid is someone who loves to create work and is restless, always looking for something new to do. You can see that in this book. It’s just classic absurd fun, that’s really all you need to know. Seriously fun stuff!
Exit by Miles MacDiarmid
What goes on in Exit? How about What doesn’t go on in Exit? There’s a state of frenzy running throughout these pages where you fell anything is possible. You don’t get that with any work in comics. It’s hard to do and too many cartoonists sink down to something very predictable and easy. It is those rare artist-cartoonists who dig deeper and live and breathe their comics than have the potential to reach the level of, say, Simon Hanselmann. And that reminds me that I want to do a proper review of Simon’s latest book, even if it is rather late. I hope to do a proper interview with him too. We should both be dressed in drag for it too. And, no, I am NOT digressing. Simon’s work comes to mind because I see a similar energy in MacDiarmid’s work. The next big step would be to keep going, stay consistent, keep pushing and things will continue to come together as they already are!
Exit is published by the arts collective, Freak Comics. Everything there looks fresh and delicious so go check them out right here.
Such a Lovely Little War: Saigon 1961-63 by Marcelino Truong
Here is one family’s unique experience with the Vietnam War byway of the diplomatic corps: Such a Lovely Little War, written and drawn by Marcelino Truong, published by Arsenal Pulp Press. As a cartoonist and writer, I’m attracted to the more idiosyncratic works in comics and this led me to the work of Marcelino Truong.
A family terrorized.
These deeply personal comics resonate the most with me. Add to it the fact that the author is dealing with being bi-racial, and feeling out of place, and that gets my genuine attention. Truong’s mother, Yvette, is French and his father, Khánh, is Vietnamese. It is circa 1961 and the family has left Washington, D.C, the home they’ve known. Khánh, as cultural attaché at the Vietnamese embassy, has been called back to Saigon where he will become the personal interpreter to the new president of South Vietnam, Ngo Dinh Diem . Thus, our narrative unfolds. It’s quite a perspective, one that is up close and encased in a bubble, in step with the cheeky title to this graphic memoir.
One boy’s adventure is another boy’s horror.
Truong’s story is triggered by a need to come clean with as many facts as possible. The Vietnam War is many things. One boy’s adventure is another boy’s horror. A boy safely tucked within the circles of affairs of state will witness one thing. A boy who is part of a family in the killing fields will witness another thing. Obviously, little Marco and his brother Domi have got a lot to learn if they’re thrilled to see napalm bombs on the wings of a plane upon their family’s arrival in Vietnam. Of course, Marco and his family are in for an education. Truong goes to great lengths to lay out as many pertinent details as possible, the sort of details that can get lost in, well, the fog of war. This is a story of relative safety, even at the most privileged levels, slipping away. It’s up to everyone to know when to jump before reaching that boiling point.
One family’s experience of the Vietnam War.
Truong’s work is another exquisite example of the auteur cartoonist. As I’ve said many times, it is the auteur cartoonist who meets the full definition of a cartoonist: the creator who does it all: the writing, drawing, and even coloring when applicable. These are the three main roles, along with editing and layout, that are often taken up by a creative team. It’s fascinating to study work where you have one creator basically calling all the shots. It can result in a work that weaves together script and art to an uncanny level. It is a tradition favored in indie circles in the States and even more ingrained in Europe. You can even take this auteur profile one step further and say it involves creating work by hand, as opposed to digital, as much as possible. A lot of artist-cartoonists, with Truong being a leading example, prefer to engage with their comics within a painter-cartoonist mindset. You’ll find here in Truong’s art that you can break it down into a series of watercolors, a complex network of watercolors. Truong does an exceptional job of modulating his use of color. This is a delicate balance, a shifting between duo-tone to full color, whatever fits best. It all adds up and enhances the immersive quality of Truong’s exceptional memoir.
Siagon Calling: London 1963-75 by Marcelino Truong
And there is a sequel. If you’re inspired to pursue further, then you will want to read Saigon Calling: London 1963-75. The irony is as front and center on the cover as it could be as you have the main characters strolling down a crosswalk, ala Beatles, with a napalm blast in the background.
Both Such a Lovely War and Saigon Calling are published by Arsenal Pulp Press. And be sure to visit Marcelino Truong at his website right here.
No one does the dance with death, and life, on the page as well as French cartoonist Blutch. He has influenced a generation of cartoonists, including such big names as Paul Pope and Craig Thompson. You can see it in how they create in ink, how they attack the page. But neither Pope nor Thompson can really match the master. The way Blutch brings his pages to life is more mysterious, even dangerous, truly like a tightrope walker without a net. It’s not only ink, for Blutch. It’s one’s own life’s blood. Blutch is well known in France in sort of similar fashion to, say, Robert Crumb is known in the United States. By that, I mean that Blutch has a reputation for artful and provocative work. When the reissue of Peplum first came out a while ago, I was deep in the process of a lot of things, including a big move and so I do a revisit of this book now, Blutch’s first book translated into English. It began as a serialized comic in the magazine, A Suivre, and established Blutch as a serious artist back in 1996, at the age of 28. And it is the book that New York Review Books chose as part of their entry into publishing reprints of classic work in graphic novels.
Give me a reason to create art!
This is really the sort of work in comics that appeals to me the most: work created by someone who is masterfully pushing the limits of the art form. Peplum is ambitious in scope and highly inventive and original in execution. Having become bored with conventional comics tropes, Blutch needed to pursue comics more as would a painter, filmmaker or novelist. He chose the ancient Roman fable, The Satyricon, as his jumping off point. As this is a satire of Nero’s court, Blutch essentially wished to associate himself with satire on a grand scale. He marries that refined ambition with a low brow reference. Peplum refers to the peplum film genre, the sword-and-sandal Italian B-movie epics of the ’50s and ’60s. With all that in place, Blutch can work as a painter, having created the wash upon which he can structure his canvas.
PEPLUM by Blutch
A good deal of this comic is wordless, so much the better to study Blutch’s work. Often, what you find is a hungry artist feasting upon creating work. He’s set himself up a glorious excuse to paint, as many a painter will tell you. Blutch proves with this early work that he is fully capable of evoking the mystery and energy found in the best work of comics or any other art form. Our story is set shortly after the assassination of Julius Caesar and the focus ends up on the sole survivor of an expedition en route back to Rome. He is a slave who takes on the identity of a nobleman, Publius Cimber. During their ill-fated journey, Cimber’s group had discovered a beautiful regal-like woman encased in a block of ice. What this supernatural entity might mean or be is beyond anyone’s wildest guess. Cimber only knows he must return to Rome with her–and he might be in love with her. Ah, this is a story only Blutch could tell!
You always need a really good MacGuffin.
Is the lady in ice that Cimber covets nothing more than a MacGuffin, an elaborate plot device? Sure, the reader senses that this is probably the case early on but no matter. It’s the journey that counts for everything. Poor Cimber is well over his head. He isn’t even really Cimber! He has pledged his heart over to the enigmatic frozen maiden but, aside from that, he’s a bit of a loose cannon and a tortured Hamlet. Cimber is a bit of all of us, climbing and grasping for something, not always sure of what he wants. Cimber makes for a perfectly fine present day hero even if his life and struggles take place in ancient Rome. What we find in Peplum are the first significant signs of what was ahead for Blutch as an artist. That same wry energy is found in other work such as the celebrated Mitchum, also from around 1996, and So Long, Silver Screen, from 2011. In Mitchum, among the players is none other than Hollywood legend Robert Mitchum who is there to stand on a young woman’s hair during a pivotal scene. Yet another perfectly surreal Blutch moment! And speaking of Mitchum, New York Review Books will be releasing an English translation of this most dazzling book, set to be released April 7, 2020. It will have an English translation by none other than cartoonist and comics scholar Matt Madden. Below, I present to you the cover to the original French version, published by Cornélius.
Among board games, I was always intrigued with the idea of Clue but never played it. I did see the 1985 John Landis movie version and remember being entertained. Clue, which was first released in 1949, always struck me as strange and erudite, compared to the far more popular Monopoly, first released in 1935. Now, cartoonist auteur Dash Shaw has created a 3-part Clue comic book series. All in all, I think Clue: Candlestick, published by IDW and available on comiXology, falls neatly into place with other works by Dash Shaw. It doesn’t matter if Shaw is a fan of the game. What matters is that Clue is an opportunity to do something interesting with comics.
You can tell from these examples that Shaw is having fun interpreting the game as an artist. That said, he also seems to get into the spirit of the game too. He turns Clue into part of his world and the reader, in turn, gets immersed in this hybrid of art and popular board game.
Dash Shaw does a wonderful job with playing with storytelling elements while also keeping the Clue narrative in play. It’s a fun balancing act; and similar, on some levels, to how pop artists related to consumer culture. It helps the creative process if artists remain as open as possible with their subjects. Of course, it depends upon the project, but there is much to gain by remaining flexible. And, as for Clue, who doesn’t like a good mystery?
The third and final installment of Clue: Candlestick is available as of July 17th. You can find it at IDW and comiXology.