Tag Archives: comic books

November 1, 2026 · 2:00 pm

The Children of Light by Jean Pleyers comics review

“You drive.”

The Children of Light. Jean Pleyers. New York Review Comics. 2026. 112pp. $29.95.

Here is a sci-fi comic so out there that even Moebius thought it was strange, albeit a “reasonable madness.” In fact, he was a fan of this blast from the past, originally published in the French version of Heavy Metal in the early 1980s. This odd and quirky tale of intergalactic misadventure, if we are to believe Jean Pleyers, the creator of this comic, is far more than science fiction, but bona fide fact. According to Pleyers, in the Afterword to this new edition of The Children of the Light, he was contacted by aliens and they dictated their story to him telepathically and he went on to turn that into a comic book. Okay. We have to suspend all sorts of disbelief to say the least. So, beings from some other world chose a cartoonist to confide in. Alright. I pick up the comic and start reading it up to the point when one alien, running late on an important errand, looks at his colleague joining him for a ride in the company car and says, “You drive.” Oh, really? I think we’ve just crossed an important line. We’re dealing with a highly advanced civilization and all the cars aren’t autonomous? Now, that’s a hard pill to swallow. Ah, I jest.

Overall, this is a hoot of a comic. It’s one of those full-blast rollicking stories fueled by everything from Buck Rogers to Star Wars. The end is near but the inhabitants of Zor have a plan. They’ve somehow managed to hollow out their moon and turn it into a massive spaceship which will transport all two billion Zors to a better world! Think of it, a cast of billions! And it feels like it too as it’s difficult, at times, to see the forest for the trees in this vintage curiosity as it runs at a true epic saga level. But that could be your cup of tea. There’s definitely a niche audience for this made up of diehard sci-fi fans and scholars of the genre. It brings to mind my recently being in Los Angeles and popping over to see another vintage curiosity, an early film by Akira Kurosawa. All the cinephiles were besides themselves as they admired what was, if we’re being honest, a very dry, outdated and stilted film. They pointed out such things as a favorite actor who took on various roles in Kurosawa’s films. And everyone happily compared notes after the showing. To some extent, this comic is the equivalent experience.

I’m a champion of all manner of vintage content. Part of being a vintage enthusiast is making a case for your latest crush. I can marvel over the delicate fine line artwork in this comic and all the details. It definitely has the look and feel of an architect’s meticulous vision. And the colors are eye-popping. And true believers will readily call up the name, Jack Kirby, whether or not it’s a true fit. But, seriously, this is seriously gorgeous work! And that’s one of the primary reasons for investing as much time as we do with science fiction comics.

But, seriously, this is seriously gorgeous work!

Just to say this is vintage Jean Pleyers is more than enough as his art is top notch. Known more for working in historical fiction, this sci-fi romp is really not to be missed. No doubt, this comic has its moments, some of which are rather spectacular. So, you will find some visual treats. And you get rewarded along the way with some wonderful extended scenes as when the Zor spaceship must momentarily make a side trip to Earth and interact with a few humans. A young couple, fresh out of bed and in each other’s arms, is teleported on board. An exploration of the couple’s thoughts, including their past lives, reveals a series of human calamities involving nuclear war. So much for the humans!

The actual narrative is, as I suggest, rather dry. Of course, if we are to believe Jean Pleyers, we can place the blame on the aliens for passing on to humanity a less than thrilling, and more methodical, story. I think Pleyers claiming to have been contacted by aliens and telepathically being handed the story for his comic book is priceless and actually ties the whole thing together. I’ll throw in another vintage curiosity, Barbarella, the pioneering French science fiction and erotica comic created by Jean-Claude Forest in 1962. This is another example of the actual content being less than ideal and yet having its own set of charms. As a kid, I stumbled upon a copy of Barbarella in my father’s secret stash. And, even as a boy, I could see this was a little clunky and primitive while also very intriguing. The Children of Light is not Barbarella but it’s sort of in the same cosmic ballpark. By all means, it’s a fun and weird ride and you’ll enjoy it.

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October 28, 2026 · 9:40 am

WESTRON #3 (of 4) comics review

Westron #3. w. McBee & Jankowski. a. Nieto & De Vincenzo. Fandom Limb Media. 32pp. On Kickstarter up to Nov 5, 2026.

There was a heavy pounding at the front door. The rain had been relentless and I had assumed that heavy winds had come knocking. But then the pounding returned with even greater ferocity. I could see a heavy figure in the security camera but I disregarded caution and opened the door. In an instance, a package was thrust into my hands. I let out a sigh. Another comics submission! Sure enough, it was from Fandom Limb Media. They wanted me to know about a new title they’ve been working on, Westron. Shawn McBee and Maciej Jankowski have written quite the mystery thriller, with generous helpings of occult fantasy. Art by Nicolas Nieto and Matias De Vincenzo vividly brings it all to life. Well, I surprised myself as I found I could not put down the title once I dug in.

Art by Nicolas Nieto.

This comic has the perfect mix of spooky and quirky and follows in the tradition of so many great offbeat comics. The story grabs the reader right from the start and never lets go. You get all the fun horror and mystery tropes all mashed up into something compelling. It even has a cabin in the woods. Hell yeah! Hey, it even has two cabins in the woods! There are parallel stories running throughout, one set in its present day (2011) and another set twenty years earlier. Thus, the two cabins. All of this is wrapped around some very strange and supernatural forces at play. And it seems that the only person who can even try to make sense of it is one lone gumshoe detective, Westron.

Art by Matias De Vincenzo.

Westron is a very well-structured comic with a lot of moving parts moving fast. The story is deceptively simple and straightforward. A couple of teen sisters (Astrid, 19 and Natalia, only 14) decide to go out for the night but only one returns. The other has had her throat slashed. And it sure looks like the little sister did it. But that’s not possible, is it? Enter Inspector Westron.

From Westron #1. Art by Nicolas Nieto.

Now, Westron is an amalgamation of all your favorite sleuths, all done up into a refreshing new version. Think of all of them from Sherlock Holmes to Columbo. I do hope some of my readers are familiar with Columbo. Tell me that I’m right to assume this. Well, I have to. This detective TV show has made such a huge impact on the pop culture scene, and still does in endless reruns. Anyway, Westron is nothing like Columbo! And yet he is in some aspects. The point is that he’s a master of deduction, a razor-sharp professional with his own set of weaknesses and limitations. There. That should pique your interest. Every main character of this type, in order to be successful to the story, must be an all-too-human character struggling with his own demons. And that Westron does here. You see, the murder mystery he’s trying to solve in the present eerily mirrors the murder of his childhood friend, another young woman who died a ghastly death! And it’s going to take all of Westron’s mad skills to solve the current case and somehow find some resolution to the old case that haunts his very existence. Well, this issue makes some solid inroads towards all of that.

I have to hand it to the entire creative team for delivering something that crackles with excitement and has taken the time to reach a certain level of excellence. The good stuff is worth all the extra work. I can see it in the writing and in the artwork. It is something that really appeals to any age. I want to say that older readers will appreciate it the most but, hey, younger readers hunger for this too. It’s intelligent while also being downright entertaining. You see this in the great pulp fiction of yesteryear, classic comics, European comics for sure, you know it when you see it. And here’s a latest example. As I mentioned, you’ve got here a dual narrative at play: a murder for long ago; and a recent murder with a brilliant but tortured detective in charge of solving something that could be beyond solving. Pretty gnarly stuff if you ask me. At the moment, Issue Three is wrapping up a Kickstarter campaign and I encourage you to join in and help support this truly worthwhile comic. Just stop by anytime before the afternoon of November 5th.

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July 12, 2026 · 10:14 pm

Daniel McCloskey interview: On Comics and CLOUD TOWN

Friends in Stormy Weather Part 2!

Daniel McCloskey is a happy warrior in comics, making things happen on his terms, for many years. Readers gravitate to the off-the-wall antics his young characters get into, a mix of gritty realism and supernatural mayhem. In a nutshell, the Cloud Town universe revolves around two best friends whose relationship is tested when one of them gains the ability to pilot giant robots defending their town from interdimensional monsters. Who knew? Easy peasy, right? This kind of outrageous and uninhibited storytelling is what keeps winning over new fans to Daniel McCloskey and the Cloud Town universe. And now for the cool part, there’s a new Cloud Town: Friends in Stormy Weather book on its way.

Excerpt from Cloud Town.

In this interview, comics veteran Daniel McCloskey shares his insights on the world of publishing from the vantage point of being part of a big publisher as well as in charge of his own independent work. It’s a balancing act, but it’s also the best of both worlds as it all takes on a life of its own and leads to his work finding readers from a wide array of venues. One thing is for sure, it all adds up to a lot of activity along the whole process, from creating the work to marketing the work. It leads to such a wide and varied readership. As McCloskey points on: “I’ve been told I’m about half indie and about half manga, so it’s hard to pin down my readership.”

Daniel provides a lot of encouragement to everyone who creates work or aspires to do something creative. And, as he emphasizes: don’t get in your way, and don’t get caught up in thinking you need to do everything perfectly! Often, a well-drawn hand is a well-drawn hand and you don’t need to go back and try to keep making it better.

Hop on board the Kickstarter campaign, running through July, to help boost it into the world here. And check out our conversation below at the Comics Grinder YouTube channel. Your views, Likes and Comments are always welcome and really helps keep the lights on:

Friends in Stormy Weather Part 2!

Perfect is the Enemy of the Strange!

Go to the Kickstarter campaign, now thru all of July, right here.

A few words from Daniel McCloskey:

I believe life’s about discovery, and that discoveries are best made by exploring the strange. That’s why in life and comics, I gravitate toward the edges–the edges of my abilities, my understanding, and my imagination. It’s why Kirkus Reviews called my graphic novel, Cloud Town, “weirdly and unexpectedly wonderful,” and Comics Grinder recently called my work, “controlled chaos that wins me over.” If you’re looking for a story that can still surprise you, I’ve been working on one.

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June 10, 2026 · 8:00 pm

Junction Jones and the Corduroy Conspiracy graphic novel review

Junction Jones and the Corduroy Conspiracy. w. T.C. Pescatore. a. Locogonzales. Markosia. 2026. 220pp. $32.99
Science fiction and noir share a lot in common. For fans of either, or both, genres, it’s easy to roll with a story about a Phillip Marlowe type of detective in outer space. This is such a story and then some. Think of a very offbeat Blade Runner main character in an urban dystopia set in the distant future: Junction Jones, pudgy and bumbling; and his sidekick, Mr. Nibs, a very contentious talking cat. The idea here is that Jones is an escaped bio-engineered laborer who, during his routine scavenging in the multi-dimensional Junction City, stumbles upon the remains of an Earthling that could be the tip of the iceberg to some vast conspiracy. Lots of laser blasts ensue as this odd couple private investigator team must fend off various villainous forces. The art is gorgeous, the writing is crisp, and there’s a lot of fun multimedia narrative twists. This will surely satisfy any reader.
The creative team of Pescatore and Locogonzales come up with their own distinctive stamp on the cyberpunk landscape. They have plenty of tropes to play with in a story where the journey is more important than the outcome. After all, some of our most entertaining stories have this sort of set-up: the clues take on a life of their own, even become more significant than solving the case. This is such a story as it is swimming in clues, coming in all directions: going from the basement of hoarder grandparents, filled with mountains of nothing hiding everything; to the frantic dispatches of blogs in overdrive, also filled with nothing and hiding everything. It’s a world within a world within a world.

Panel excerpt from Junction Jones.

How deep down the rabbit hole do you want to go? Pescatore and Locogonzales know how to dig, dig, dig and invite you to dive in. The deeper and darker the better. Junction Jones was first introduced as single issues with the first issue out in 2023 from Scout Comics and then you add the time it took to create it. I see a page dated 2020. So, all in all, a very noble and ambitious effort this one is. It sort of reminds me of  The Winter Men, written by Brett Lewis and illustrated by John Paul Leon, running from 2005 to 2008, published by Wildstorm, another long, expansive and highly eccentric work that became legendary for its content as well as the circuitous path it took to get out into the world. But, once out, ah, it’s so nice to be out. People like me will keep singing its praises regarding its irreverent style and attitude. And so now I add Junction Jones to that short list of fun and weird comics that speak to me and will speak to you.

Page excerpt from Junction Jones.

If you’re in the mood to order something completely different from the menu, then Junction Jones is at your service. Think of it as a cerebral guilty pleasure or one of those really strange but cool movies you might find on a VHS tape in a thrift store. Perhaps something like Buckaroo Banzai. If you’re a Jeff Goldblum fan, you must see it. I’m just suggesting this stuff is potent, best read in bed with the lights out and a lone reading lamp for only one hour before bedtime. Think of it as the comic book that David Lynch always meant to create.

Page excerpt from Junction Jones.

And so it goes. Our pudgy fellow with his talking cat get into a whole lot of trouble and who can say if either one of them is any better for it all. But self-improvement is hardly the goal here. Anyway, I can clearly see this is a work of great passion, many years in the making, working at a different level of reality than you and me, which is saying a lot.

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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 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 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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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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