Sloane Leong is one of those special cartoonists who immerse themselves deep into a world of their own. This sort of artist-warrior is without exception, both writer and artist. Leong, following this highly individual tradition, has worked up her skills (never complaining since it never seemed like work) and come out the other side with comics of a caliber that has led her today to launching PRISM STALKER, her new title with Image Comics.
For a comics critic who also both writes and draws comics, I am confident in sharing with you what sets Leong apart. Among the many independent cartoonists out there, just like any other artists, a number of them will take one detour or another. Some will feel most comfortable remaining within self-published cliques. Others may need to keep a project under wraps and work on it on their own terms. But, if the stars are in alignment, and the cartoonist is particularly driven, the transition can be made from bohemian poet to career path. In the ideal case, the work retains that same idiosyncratic vibe. The work retains its integrity. The artist retains their integrity.
What you see on the comics page, the merging of words and images, takes on an added significance when created by a cartoonist in the traditional role of artist-writer. You end up with a window into the subconscious mind. I would argue that you can feel a disconnect, perhaps subtle or maybe distracting, in a collaborative work. That is why you hear so much said on the importance of chemistry between writer and artist. But you don’t have that concern when you’re running the whole show. In the case of Leong, she has taken on the added roles of lettering and coloring. All of that adds up to a more personal perspective. And, by the way, it is no surprise that cartoonists at this level are attracted to and invest a lot of energy upon depicting dreams.
And then you add a passionate vision and you have the whole package. A look at Leong’s website shows us a person with a heart-felt desire to tell the stories of those who have been pushed to the margins. That is exactly what we see here: Vep, our main character is toiling away as a slave on a hive colony run by giant insects. Who doing what where? you may ask. It is a very dream-like sci-fi tale about very serious problems.
This is a story that casts a very wide net and succeeds by balancing all the details. Vep is a strong and compelling character who the reader is immediately drawn to. The setting is pretty outrageous and highly ambiguous and becomes a character in its own right. You could say this is a comic that is both character and atmosphere driven. It becomes a true meld of visual and literary delight. You feel that unique push-pull connection. You recognize trippy originality when you see it right down to that wildly eccentric title, PRISM STALKER!
Rating of 10/10
PRISM STALKER #1 is available as of March 7, 2018. For more details, visit Image Comics right here.
“Shake The Lake” is such an audacious work of comics with such an uninhibited and unflinching depiction of frenzied youth–it is truly a hell of a lot of fun and mesmerizing. These are a bunch of out-of-control kids, the sort you’ve seen in numerous teenploitation horror and summer movies. They all, at first, seem to lack any redeeming character but you get hooked into their little nefarious activities and you just can’t look away. But who ever heard of a graphic novel devoted to wakeboarding (think skateboarding on water)? Am I supposed to know about wakeboarding? That level of specificity is part of the subversive fun. You need to check out this wonderfully oddball badass series right here.
Cal in his element. It’s an endless summer, dude!
Of course, wakeboarding is important–especially for those in the wakeboarding scene, which all of these kids are totally into. And some people are fully aware of wakeboarding but to the other extreme like Zeke and Dalton, these two highly obnoxious park rangers hot on the trail of all fun-loving youth. Leave it to them and they will spoil everyone’s fun, particularly anything remotely hedonistic. Hey, it’s the summer and a bunch of young rebels are determined to make their mark. Cal is the lead instigator. He’s already 23, but it is still a life of beautiful teen summers for him and his fellow dreamers. If they could just stir things up at the ole marina, put on a wakeboarding festival to be remembered in their collective old age, then all this arrested development will have been worth it!
Party!
Brothers Zach and Machi Block’s script rings true. The Block brothers invest in their ragtag characters a level of integrity that lures you into wanting to know more about this subculture. The artwork by brother and sister team Diego and Andrea Lopez Mata are true to the Block vision bringing out all the crude and raw beauty of this motley crew of wakeboarding fanatics. If you go in not knowing a thing about wakeboarding, after reading this work, you’ll be glad to leave it to the experts and just enjoy the ride. Visit the “Shake The Lake” site right here.
Donny Cates is a master storyteller. It was a pleasure to interview him last year at Emerald City Comicon. I have been keeping up with BABYTEETH, his co-creation with artist Garry Brown. Issue 8 finds much of the action coming to a head. In the last couple of issues, our main characters have been coping with having been lured into a secret underground hamlet. This secret hamlet was created especially for 16-year-old Sadie’s immaculately conceived baby, Clark, aka the Final Son, the Antichrist. You know, his destiny is to open the gate between the Realm and the Other. Boy howdy, that’s pretty wild and wooly but that’s how Mr. Cates rolls.
I must say, even after getting this deep into the series, I still don’t do so well with any images of little Clark chugging down a bottle of blood. That’s what every growing Antichrist needs if he’s going to bring about the End Times. Formula sure as heck (hell!) just won’t cut it. The little guy goes ballistic when he’s served anything other than Type O Negative, straight from mama. If you even try to pass off, say, Type A Positive, he will shriek so loudly that he could bring down a jetliner.
Clark’s grandmother explains it all to you.
Now, you may be wondering if this comic is more character-driven or more demon-driven. And, rest assured, it is split down the middle. Plenty of demons here including a weird little raccoon-like critter who strayed out of the Red Realm. And there are others like Dancy, a reject in the Antichrist tryouts. But, overall, readers have a lot to invest in with Sadie, her heroic dad, her badass sis, and her estranged mom, who happens to run The Way program overseeing End Times operations. Then there’s this crusty ole rogue agent who blasted his way out of his assignment to work for the Silhouette syndicate. That plot point could prove to be a MacGuffin but it sure is a colorful and action-packed one.
As for this current issue, I am satisfied as the whole shooting match is moved forward with solid new revelations (as in Book of Revelation?) on Sadie’s family history and some new teasing out of End Times machinations. The whole pulpy/classic B-movie horror feel to this comics is addictive. The pacing is pitch perfect. You buckle in for a roller coaster ride and you get it.
I not only look forward to future issues but I know I’ll enjoy taking in the collected trades. This comic earns a rating of 10/10.
Overall, BABYTEETH is a whole lot of fun. You can compare this a bit to the Netflix smash hit, “Stranger Things,” inasmuch as it is a compelling mashup of family themes and some very loopy supernatural elements. You can binge read (and subscribe to) the series at comiXology right here.
BABYTEETH #8 is published by AfterShock Comics and available as of February 14, 2018. I really like what I see coming out of AfterShock. For instance, since we’re on the subject of blood, a new title, BETROTHED, follows a romance between a teenage zombie and a teenage human. Looks quite intriguing. That one kicks off on March 14, 2018–just one month away. For more details, visit AfterShock Comics right here.
“Garden Salad” is a mini-comic that exceeds expectations and enters the realm of a model of excellence: the story is engaging; the art has a dazzling and quite intoxicating quality; the whole work is delightfully original. Tristan Wright is new to me but I’m so glad that I stumbled upon his work! Honestly, the solid craftsmanship and originality immediately won me over.
Creating something with a real spark and kick to it is never easy. What Wright accomplishes with this work involves a lot of groundwork and revisions. I suspect that he enjoys every bit of it as there is an effortless and joyful vibe throughout these pages.
Nice day for some sveedle!
Our story is a deceptively simple one: an old man is gathering items from his garden for his mid-day feast. Like many stories that have the reader see things from an unconventional vantage point, events focus more on what the old man is foraging: vegetables, for sure, but not good ole veggies exclusively. How about a veggie goblin? In our tale, we see quite a bit of this little critter and then we come to find out that the old man is all too aware of this bewildering force of nature. He even has a name for them. These critters are known as “sveedle.” Sounds like something out of a Stephen King novel! Yum, sveedle, them’s good eatin’ goblins!
Running after the garden goblin!
Yessir, these here goblins are pretty hideous and intense little beings. With a wedge of leaves upon their heads and bulbous jiggly bodies, they resemble what they eat: veggies, but also worms and other creepy crawlies. The big hint here is that these ghastly little monsters are violent–and potentially dangerous to humans. But the old man seems to be up to the challenge. In fact, the old man is relatively hideous and dangerous in his own right, surely a formidable match for any veggie goblin.
Wright’s intricate and detailed drawing style keep the reader glued to each page. This is a masterfully crafted tale with a philosophical bent; a wonderfully ambiguous tale of veggies and goblins. Let’s go ahead and bring out a nice shiny star and give this one a 10/10.
“Garden Salad” is a 32-page black and white comic book written and drawn by Tristan Wright. For more details, and how to purchase, go right here.
Writer Wilfrid Lupano and artist Paul Cauuet offer up the intricately plotted Old Geezers graphic novel series. You can easily jump into the latest Book 3, “The One Who Got Away,” and enjoy a tale involving family, mystery, and more than a touch of whimsy. It is also a grand ole tale of comeuppance. Could that be for the Old Geezers themselves? Ah, time will tell since this is very much a story about how time can heal some wounds while allowing others to fester.
Antoine and Milsey trying to get along.
If you enjoy quirky humor, especially the sort led by a group of offbeat seniors, then this is the book for you. The Old Geezers are: Antoine, a buttoned-down patrician; Milsey, a old seaman who misses the sea; and Pierrot, a boisterous activist who is lively beyond his years. These guys have chosen different paths but, in the end, each seeks out the other. The one person who helps keep them on track is Sophie, Antoine’s granddaughter. Sophie must look after these guys and, in no small way, look after her little hamlet of Dourdouille. After all, there are sinister forces at play lurking in the shadows.
Pierrot, Fifi, and Baba take a stand!
The most sinister villain in this tale is Garan-Servier Pharmaceuticals. It holds sway over the growth or decline of Dourdouille. And, as Pierrot has found out, Garan-Servier is lobbying the European Union countries to ease up on restrictions on its pesticides. This, in turn, kills millions of bees, wreaking havoc on biodiversity and the environment. The relationship between the pesticide lobby and the EU is an inconvenient truth that, in reality, is all too real. It’s great to see this issue in a graphic novel that both entertains and informs. Readers won’t forget ole Pierrot, in his bee costume, speaking truth to power.
The weight of the world on Sophie’s shoulders.
Paul Cauuet’s light and warm style makes all the characters all the more accessible and compliments Wilfred Lupano’s script. This is a very character-driven tale that is masterfully crafted by this remarkable team. The color by Cauuet and GOM has a uplifting quality to it that rounds out and adds to the story’s pacing. There are a number of twists and turns here and Lupano and Cauuet give themselves the time to explore and to develop. Like a favorite TV show, you can delight in this episodic storytelling. You will want to go back to the previous books as well as await more to come.
“The Old Geezers: Book 3: The One Who Got Away,” is presented by Europe Comics and is available in English thru izneo digital comics right here.
The MNT is making a monthly comics newsletter and I’m excited to tell you about it. This is a special place to keep up with the comics industry put together by some of the leading talent in comics journalism. For as little as a one dollar pledge on Patreon, you can read this highly informative and entertaining monthly magazine along with monthly news reports.
As a happy warrior myself, both as a comics creator and freelance writer, I am thrilled to see this particular comics vision realized. The MNT is made up of folks I’ve kept up with over the years. It’s smart of them to band together in this unique format. The team: News co-editor Christian Hoffer is a writer and editor who can currently be found writing extensively at ComicBook.com. News co-editor Vernieda Vergara is a freelance writer and manga critic. Her work can be found at Book Riot and Women Write About Comics. Features co-editor Steve Morris has written for a number of websites, including CBR, ComicsAlliance, and is a former Managing Editor for The Beat. Features co-editor Megan Purdy is a freelance writer and editor, and the publisher of Women Write About Comics and Bleating Heart Press. The Process editor and social media manager Kirsten Thompson is a freelance writer and editor who has contributed to The Frisky, Teen Vogue, Femsplain, Women Write About Comics on topics such as feminism, pop culture, and LGBTQIA issues.
The MNT kicked off its first issue in February, 2017. That first issue included: guest essayist Rosie Knight on her experiences within the direct market pointing out the distribution system’s pros and failings; Steve Morris interviews retailer Ariell Johnson about her first year in the industry and her plans for Amalgam Comics and Coffeehouse; Megan Purdy reviews Adam Rapp and Mike Cavallaro’s Decelerate Blue; analysis on Donald Trump’s unexpected impact on comics; analysis on Marvel and DC’s recent changes in price and digital strategy; and a tribute to the career of John Watkiss.
The MNT team has created a highly consistent publication. And that is saying quite a lot. This is a seasoned group of committed comics journalists who dig deep and know how to deliver professional and compelling content. Each monthly edition features news, interviews, reviews, and guest essays written by some of the best critics and creators in the business. The MNT mid-month News Report delivers breaking news and bite-sized features. Your Patreon subscription goes directly into the pockets of MNT guest essays and staff, ensuring that the MNT can continue to break news and offer critical industry commentary. I’ve become hooked and consider the MNT a reliable source for superior comics commentary and journalism. You will too. Go visit them and see for yourself right here.
You know how some comics get you right away? This is one of them. In fact, I’ll say THE FURTHER ADVENTURES OF NICK WILSON has provided me with just the spark I need–and inspired me to start my Best of 2018 list. This is for everyone who regularly follows comics as well as anyone who enjoys sly humor.
The aches and pains of post-superhero life.
Amid all the stories out there that are deconstructing the superhero genre, what I find here already is a good dose of that X factor: Nick Wilson, our down-and-out ex-superhero, is a guy we can relate to and we want to like. Nick has not only lost his superpowers but he has lost something even more precious, his zest for life. Thus, our story: maybe he makes a comeback; or maybe he has an epiphany.
It is important to note the impressive writing talent here. The story is by writer/producer Eddie Gorodetsky. His credits include Desert Bus, Mom, Two and a Half Men, Dharma & Greg, The Fresh Prince of Bel Air, Mike & Molly, Saturday Night Live, SCTV Network 90, and Late Night with David Letterman. And this comic is written by Marc Andreyko, a comic book writer and screenwriter, known for his work on books such as Manhunter for DC Comics, and Torso, a creator-owned true crime series he wrote with Brian Michael Bendis. I sense from this first issue a real love for spinning the mundane foibles of life into compelling entertainment. Yes, indeed, funny stuff can be made of Nick Wilson, the former superstar, who has let himself become a low rent loser.
Despite Nick’s determined slide into mediocrity, there are signs that he seeks redemption. Even lower on the food chain, a permanent bottom feeder, is Nick’s so-called manager. Nick instinctively despises him. While all too prone to lying on the couch with his bong, there seems to be a flicker of hope. Ironically, Nick seems to be a bit more introspective now that all the fame and glory is behind him.
Sounds interesting, no? It’s not easy to really make a superhero character interesting but it works here, both with the writing and the art. Steve Sadowski’s art is masterfully natural, smooth, and funny. And that’s saying a lot. It takes a special skill, and sensitivity, to genuinely convey humor in a superhero comic book, even an ironic anti-superhero comic book. Oh, sure, there are many fine examples but there are only so many of them–and this is one of them. So, definitely, go take a look. We’ll go ahead and give this the highest rating. 10/10.
THE FURTHER ADVENTURES OF NICK WILSON #1 is available as of January 17, 2018. For more details, visit Image Comics right here.
Look in the About section to his website and M. Jacob Alvarez says of himself: “M. Jacob Alvarez is a cartoonist, comedian, and chemical engineer (seriously dude, silly drawings and conspiracy theory jokes don’t pay many bills…)” How true! Well, being a chemical engineer is an astonishingly good place to be if you want to create a graphic novel. Less to worry about or more room to worry about other things–since there’s always something. How about if you’re young and vulnerable? That is exactly the subject matter Alvarez tackles in his new graphic novel, “Chinatown Bus.” It is a heart-felt exploration of hipsterdom–and Alvarez’s irreverence serves him well here.
There’s a certain time in your life when you will not only tolerate, but even revel, in drinking cheap beer from a Solo plastic cup, sold to you at a premium price since you’re in a chic nightclub (which ain’t so chic). There you are under a low ceiling packed in a little sweatbox with a bunch of other scenesters pretending to like a really bad band. So intense! The aim of Alvarez’s 84-page graphic novel is not so much to satirize. More like to bear witness. While not an autobio comic, Alvarez admits in his forward to being very familiar with the struggles of his young characters.
“Chinatown Bus” by M. Jacob Alvarez
Alvarez has a wonderfully energetic and cartoony style that is accessible and inspires empathy with his characters. Lyn is a guy from Philly taking the Chinatown Bus to New York City. He is in a long distance relationship and is sort of feeling stuck. All it takes is a text miscommunication from Kelly, his girlfriend, and Lyn is ready to call it quits. To his credit, Lyn is certain that Kelly has just dumped him. There is a cute passenger he’s been eying and so he decides to confide in her. Jane, flattered to have Lyn open up to her, invites him to hang out with her.
Panel from “Chinatown Bus”
It turns out that Kelly did not really dump Lyn, at least not outright. Alvarez really enjoys setting things up and then lighting the fuse. A fine example is once all three of these characters meet. Jane ends up knocking Kelly out cold. Lyn explodes and unleashes his fury upon Jane. He chastises her. Turn the page and Jane is full-on outraged for being called a drama queen. Three more pages, and we see Lyn’s steady descent, completely alone and deflated.
Page from “Chinatown Bus”
Any reader will enjoy a gritty urban tale about young people trying to find themselves. These characters definitely have their flaws and are prone to hide behind caustic remarks but Alvarez presents it all with a human touch that will resonate with the reader. This is a great example of a cartoonist’s debut graphic novel. Alvarez has successfully followed through on a specific theme and vision.
“Chinatown Bus” is available at multiple comics shops including Philadelphia, Chicago, San Francisco, and Columbus, Ohio. For more details, visit M. Jacob Alvarez right here.
“Colonial Comics” is a trilogy of anthology comics, published by Fulcrum. The first part to the series sets the tone and covers the period known for the Puritans and Plymouth Rock; the iconic Native American guide Squanto; John Winthrop; Cotton Mather; and the Salem witch trials. Editor Jason Rodriguez is highly sensitive to what, for him, amounts to confronting a lot of New England factoids fed to him in childhood. A lot of cartoonists in and around the East Coast can relate to that view and it is this regional zest for fresh insight that powers this series. This is just the sort of book to spark conversation, excite readers of all ages interested in American history, and add a little spice to holiday gift-giving.
“Garden in the Wilderness”
Some fine examples include “Garden in the Wilderness,” story by Matt Boehm and art by Ellen T. Crenshaw. This comics follows the struggles of free thinker Roger Williams to create his own colony of Providence Plantations. He learns the detailed art of persistence despite his outspoken nature. Boehm and Crenshaw work well together in stitching together some very compelling scenes. In the case of Williams, it was a case of political maneuvering. This is in stark contrast to the fate of another free thinker, Anne Hutchinson, who was banished from her home for her strong opinions.
“The Missing Cheese”
Among a number of unusual tales, perhaps the most offbeat is “The Missing Cheese,” story and art by Sarah Winifred Searle. Here we follow the bumpy journey of Mary Huntris who must live down a youthful folly of petty theft. Later, once she is an established member of the community, circa 1675, she must deal with a thief after her own property: a boy who steals her prized packets of home-made cheese. As a woman, she is instantly blamed for setting up the child. If not for her husband defending her, Mary Huntris would have been arrested.
“The Press’s Widow: Elizabeth Glover”
What each story in this series has in common is that, in one form or another, it is addressing how those without power were mistreated, abused, and exploited–which included anyone who was not a white male. And, if not outright hurt, then the disenfranchised could expect less in life. Another moving tale in this book is “The Press’s Widow: Elizabeth Glover,” story by Erika Swyler, art by Noel Tuazon, and lettering by Jason Hanley. Here we follow the journey of Goody Glover. She inherits a printing press that will ultimately lead to publication of a number of celebrated works. But she can only stand by as the men in her life oversee its operation.
“Troublesome Sows”
Another engaging comic is “Troublesome Sows,” story by Virginia DeJohn Anderson and art by Michael Sgier. This comic features the struggle endured by Native Americans as settlers from the New World steadily encroached upon their lands and livelihood. In this case, the settlers have let loose their livestock to a free-range buffet of all the Native American crops. In this wordless comic, we follow the frustrated victims of sows run amok. Finally, in a familiar trail of tears, the Native Americans find no other solution but to abandon their lands.
This book, and the rest of this series, is highly recommended for any reader. “Colonial Comics: New England, 1620 – 1750” is a 208-page trade paperback, in full color, published by Fulcrum Publishing. For more details, be sure to visit the Colonial Comics website right here.
Comics can be discussed in any number of ways. You can try to include everything from comic strips to superhero comics to the latest graphic novels. What the annual anthology Best American Comics does is focus on comics that rise to the level of art that are already coming from some sort of artistic background: boutique publishers, arthouse anthologies, cultural websites, self-published work, and any other art outlets including galleries. The Best American series began with a short stories yearly anthology in 1915. The addition of an annual focusing on comics began in 2006. This was perfect timing as consensus in varied circles had reached a fever pitch that American comics had reached the level of art. And so, here we are with another long look at the comics medium with The Best American Comics 2017.
“Generous Bosom Part 2,” by Conor Stechschulte
When you focus solely on alt-comics (alternative as opposed to mainstream) as representing all the best American comics, that creates an interesting challenge. But, all in all, it ends up being very helpful in sorting out where comics are headed as an art form. It is essential to avoid pitfalls: giving a pass to work that is weak from being self-indulgent, ill-conceived, poorly crafted, or heavy-handed. But we’re looking for the best, right? Comics cannot be held by the hand and protected. It is made of stronger stuff. To try to shield its creators from the harsh realities of life only hurts the very thing you may think, it your position of authority, you are helping. You wouldn’t provide a painter with free room and board and simply expect masterpieces in return, right? That’s not how life works. Anyway, the best work will win out in the end and the best work has got to have some kind of “wow factor.” This collection has plenty of that.
From “Frieze, No. 181,” by Gary Panter
First, be sure to read the introductions by series editor Bill Kartalopoulos and guest editor Ben Katchor, a master cartoonist. To be fair, this is a very dry nutshell of what they have to say but, basically: Kartalopoulos advocates for artist-cartoonists to not hold back at all since their odds of fame and fortune are nil; Katchor, in a series of hilarious satirical pieces, reveals a sensitivity to the marginalized role of cartoonists. To be egalitarian and invite everyone to try their hand at creating comics does, as I suggest, create interesting challenges. Another example: you would not assemble an annual collection of the best American illustration and really spend too much time considering nonprofessionals–nor would you concern yourself over the status of a person in the illustration profession. So, what makes the artist-cartoonist (plus those who aspire to be) so special? You could say that is what makes this book so special since it devotes itself, as well as logic and space can accommodate, to the current state of independent American comics.
From “Communications Workers of America,” by Dan Zettwoch
We begin with a piece by Gary Panter. Here is someone who, by all rights, openly defies any professional standards to the comics profession. Panter’s work is messy: from the clumsy depiction of figures and composition down to the often hard to read hand-drawn lettering. A lot of people do not like a “clumsy” work. However, a lot of people who attempt such a style, don’t nearly come close to the spark and originality in Panter’s work. In “Frieze, No. 181,” Panter has his characters prattle about the current state of art. It’s funny, unique, and totally Panter. In comparison, the next work in this collection is by Dan Zettwoch. Now, here you have a cartoonist who has mastered all those aspects of traditional cartooning: crisp and dynamic depiction of figures and composition right down to intricate highly-polished/professional-grade use of hand-drawn lettering. In his case, if he tried to be too casual and expressive, his creations might become too hard to follow. So, there you have two examples of contemporary indie comics, among a myriad of possibilities.
From “John Wilcock, New York Years, 1954-1971,” by Ethan Persoff and Scott Marshall
If I were to point to only one item in this collection, I would be satisfied with the excerpt from “John Wilcock, New York Years, 1954-1971,” by Ethan Persoff and Scott Marshall. I believe this satisfies the desire of Kartalopoulos to highlight work that pushes boundaries; and it also satisfies a similar inclination in Katchor, to seek out offbeat and unusual work. I find this excerpt especially timely as it focuses on the origins of The Village Voice, which recently had to give up its print edition. In this piece, we follow the misadventures of writer John Wilcock, who actually succeeds by not only skill and talent but by a formidable force of will. He finds himself at the right time and place as one of the founders of the Voice, first published in October of 1955. Wilcock manages to hold his own with tough guy co-founder Norman Mailer. And, among the dazzling people he gets to interview is none other than Marilyn Monroe. This is a very lively work of comics. You can follow it as a webcomic right here.
From “Test of Loyalty,” by Sam Alden
There is definitely something to be said for being completely inclusive about the act of creating comics. We have already reached the point where you can just as easily consider taking a cooking class, or a yoga workshop, or a comics-making workshop. Hey, you can also include improv comedy in that self-improvement list. Do comedians feel that their profession is somehow diminished by having so many amateurs getting into (or attempting to get into) the same game? Nope. Same goes for a whole bunch of other people: writers, actors, and various other artists. Fortunately, you can’t learn some of the basics of becoming a doctor on a lazy Sunday afternoon. The point is that the standards for comics are there and some people will do comics for a certain time while others will be compelled to delve deeper. What a book like Best American Comics does is provide both the practitioner and the reader with a wonderful roadmap and source of inspiration–and, by the way, entertainment and enrichment.
“The Best American Comics 2017,” editor Ben Katchor; series editor, Bill Kartalopoulos, is a 400-page hardcover, available as of October 3rd, published by Houghton Mifflin Harcourt.
