Tag Archives: minicomics

Review: ‘The Best American Comics 2017,’ Editor, Ben Katchor; Series Editor, Bill Kartalopoulos

“The Best American Comics 2017”

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.

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Filed under Alt-Comics, Alterna Comics, Ben Katchor, Best American Comics, Bill Kartalopoulos, Comics, mini-comics, Minicomics

Review: ‘Grab Back Comics Anthology Volume 1: Acts of Love and Resistance’ Edited by Erma Blood

“Grab Back Comics Anthology Volume 1: Acts of Love and Resistance,” edited by Erma Blood

Minicomics will always retain the capacity to inspire and engage. A fine case in point is “Grab Back Comics Anthology Volume 1: Acts of Love and Resistance,” edited by Erma Blood, and available through Grab Back Comics. The disturbing and threatening rhetoric and related activity connected to Donald Trump and company have been responded to with numerous acts of love and resistance, including this collection of comics.

Dr. Allie Gray and Erika Rier

The first work in this collection is entitled, “Naming It,” story by Dr. Allie Gray and drawings by Erika Rier. In four exemplary pages, Gray and Rier express why it is never okay for a man to overpower a woman, never okay for someone to exploit someone else. In this case, Dr. Allie Gray, a young female professor, is just getting her bearings at an international conference when she is overwhelmed by a bear, a man in a position of power, a VIP scientist. This VIP bear forces himself upon Gray and manipulates Gray into a protracted relationship. A part of Gray is confused although she does her best to resist him. In retrospect, Gray concludes that the VIP bear was never confused. He wanted what he wanted and grabbed it. He was abusive. In the end, Gray has the power to name what she has experienced: abuse.

Nicole J. Georges

Nicole J. Georges shares a story about same sex predatory behavior in “I Had a Crush on My Rapist,” which further demonstrates the complexities and simple truths involved when we talk about sex. Georges recounts a situation where she was forced into sex by a pushy and aggressive friend. It left her questioning what happened, in a similar vein to Dr. Gray’s narrative. Georges, with her formidable storytelling skills, brings to light an area often shrouded in misplaced guilt. In the end, we come back to basics: no means no.

Erma Blood

Erma Blood shares a story about survival, “Did You Find Her?” Blood uses a minimal style to tell a powerful narrative about recalling abuse that took place at a very early stage in life, before Blood had learned to speak. This simple and direct story speaks volumes. The first page to this collection carries another subtitle, “Comics Stories About Sexual Assault, Rape Culture and Advocacy.” That further defines what is to be found on these pages. Blood’s work fits in perfectly, haunting but not heavy-handed.

Oana & Maria Heller

In an excerpt from a longer piece, “Interval of Trust,” Oana & Maria Heller tell the story of misplaced anger. Mara, the main character, has suffered abuse but she feels she has not been heard, not been provided an outlet for her pain. When a rude boy insults her, this triggers an avalanche of violence that she inflicts upon the boy. It is an intriguing piece that subverts expectations. The girl is not a traditionally sympathetic character. But, in spite of her actions, we can also see how vulnerable she is.

All the work here is quite compelling. This 87-page collection also features: Robin Elan, Rachel Masilamani, Tatiana Gill & Kathy Naughton, Mikko Galpin, Tess LeBlanc, Amy Camber, T.O. Walker, Anna Vo, and E.T. Russian. There is also a mini poster by Barry Deutsch and Ellen Forney. Cover and spot illustrations are by Gillian Rhodes.

For more information, and how to get your own copy, be sure to visit the Grab Back Comics website right here.

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Filed under Alt-Comics, Alternative Comics, Comics, Erma Blood, Grab Back Comics, Independent Comics, mini-comics, Minicomics

Interview: Matt MacFarland and DARK PANTS

Matt McFarland's DARK PANTS comics series

Matt McFarland’s DARK PANTS comics series

Matt MacFarland is an interesting artist working in various mediums including comics. He is one of those hybrid artists who make for the best cartoonists. I am impressed with his comics and that initial interest led to this interview. Matt is a kindred spirit. That has a lot to do with us being a couple of cartoonists in the same boat, navigating still unchartered waters, which can often get pretty choppy.

Silkscreen print adapted from DARK PANTS #1 by Matt McFarland and Maggie Lomeli

Silkscreen print adapted from DARK PANTS #1 by Matt McFarland and Maggie Lomeli

Interviews can be organic and creative things in their own right. Sometimes they require the right balance. As I mentioned to Matt, I have done more interviews than I care to count but I always strive for them to be fun and insightful. I’m always hopeful of what may result. In the case of a young cartoonist finding his way like Matt, who already demonstrates a seasoned approach to his work, it’s really good to gather up some observations from him and add to our general understanding of where we are headed with the comics medium.

The focus here is a cartoonist as a fine artist and that usually means someone who does the whole thing alone just as you would if you were a painter. Matt is in a very good place as someone who has a traditional art education. I say this because Matt’s ongoing series, DARK PANTS, seems to me a fine example of going through the rigors of art critiques. I sense that the recurring theme of those dark pants is a hard-won motif. It is through these mysterious pants that various displaced characters in Matt’s story find some clarity and, most significantly, a sexual awakening.

What you will find instructive here is listening to a particular breed of cartoonist describe how he goes about building his particular work. This is the work of an alternative comics/indie cartoonist. This type of cartoonist often does not care for superhero or genre comics. And, as I say, they usually work alone. Alternative cartoonists do not concern themselves so much with whether or not their comics are legitimate art. They already know they are creating art. The ones that have taken their work in comics past a certain point, they most certainly know since they are employing the same methodology used with other art mediums. This is the sort of work I do. This is the sort of work Matt does.

Check out our conversation right below:

And be sure to visit Matt McFarland and keep up with DARK PANTS right here.

You can find DARK PANTS at these fine establishments:

Los Angeles, CA
MELTDOWN COMICS! (Hollywood)
Bookshow (Highland Park)
Cool Cats Comics and Cards (Culver City)
Comics vs. Toys (Eagle Rock, CA)
Los Angeles County Store (Silver Lake)
Mega City One (Hollywood)
The Pop Hop (Highland Park)
Stories Books and Cafe (Echo Park)

Austin, TX
Farewell Books
Tribe Comics

Seattle, WA
Zanadu Comics

Pittsburgh, PA
Copacetic Comics

And you can pick up a print and t-shirt right here.

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Filed under Alternative Comics, Art, Comics, graphic novels, Independent Comics, Indie, Interviews, Los Angeles, Matt MacFarland, Meltdown Comics, Minicomics

Review: YEARBOOK HERO by Ami Komai

YEARBOOK HERO by Ami Komai

YEARBOOK HERO by Ami Komai

Ami Komai has so much fun satirizing the cool kids. Allisa and Matt end up hanging out a lot, although it’s fairly painful for both of them. Allisa needs Matt as a sounding board and pulls him out of his art supply store clerk job every chance she gets. Matt ends up being insulted by Allisa as she goes about venting. Matt, while essential to her routine, proves to be dull-witted at every turn. But they seem to look cool together as they take in the latest scene. That, and more, is what you can expect from Ami Komai’s first issue of the comic, “Yearbook Hero.”

Reading YEARBOOK HERO

Reading YEARBOOK HERO

In such a cool kid dynamic, it always comes down to every man for himself. Allisa keeps hanging out with Matt but, in the end, she really doesn’t care about anyone or anything as much as what impression she made with a total stranger. And that easily proves to her that nothing matters. Bravo. Wonderfully pithy stuff here. Komai is on the right track. And that is only the first story, “Dead Girl Water.” Komai writes and draws this comic which is in the tradition of Daniel Clowes and Adrian Tomine: off-kilter slice of life. Her style is more pared-down, lean, and does a great job of capturing perfectly deadpan hipster moments.

Panel excerpt from YEARBOOK HERO

Panel excerpt from YEARBOOK HERO

The second story, “NASA Space Universe,” features Jean Paul, a possibly dead hipster. We overhear his friends on a road trip. They stumble upon a notice that states Jean Paul is missing, complete with milk carton portrait. They split on the idea of his being dead or still alive. This story is left unresolved. To be continued. And we end with a two-pager, “Heavy Love in Holograms,” that is concise and poetic and sums up the frustrations of a young woman. All in all, this is an elegant heavy hitter of a comic. I can’t wait to read more of Ami Komai’s work. Visit Ami Komai right here.

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Filed under Comics, Comics Reviews, Hipsters, Los Angeles, Minicomics, Satire

Review: MELT-THOLOGY #15, a Meltdown Comix Jam

MELT-THOLOGY #15, a Meltdown Comix Jam

MELT-THOLOGY #15, a Meltdown Comix Jam

I love a good comix jam, either as a group, a pair, or solo. Each has its own dynamic. While the work could remain private, the comix jam is basically going on with the assumption that you are putting yourself out there. If I do a 24-hour comics jam all by myself, I do it with the incentive that I’m going to show it. When in a group, you have that added delicious tension of rivalry mixed with a sense of community. As a pair, it can be like a sexy game of chess, the back and forth motion exploding into an exquisite corpse.

Pages from Lady Beaver & Steve Waldinger (L) and Meesimo (R)

Pages from Lady Beaver & Steve Waldinger (L) and Meesimo (R)

I’ve been looking over a recent issue of a groovy comix jam anthology, MELT-THOLOGY, that comes out monthly by Meltdown Comics. Here you will find a bit of everything: loopy stuff like the work of Austin James with his vulvic form sampling various phallic forms; or quirky domestic observation like the work of Joan Varitek with her hurried mom desperately trying to keep up with her baby’s progress through pics stored on a smartphone.

"Spider Bouncer" by Mike Levine & Evan Lewis

“Spider Bouncer” by Mike Levine & Evan Lewis

Basically, with this format, each participant gets one page and that can be used for a one-panel gag, an illustration, or a multi-panel. A one-panel gag can be the most daunting as the odds are against success. Matt Elkins does a good job with a cyclops wearing one eyeglass and being called a “two-eyes” by some callous fools. Cory Fuller‘s illustration of two kids hanging out has a nice fun vibe. And “Spider Bouncer,” by Mike Levine and Evan Lewis, is a tight, well-paced, and spot on multi-panel.

If you’re a local cartoonist, you’ll definitely want to check this out and give it a try. It is held on the third Tuesday of each month. For more details, visit our friends at Meltdown Comics right here.

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Filed under Art, Comics, Comix Jams, Meltdown Comics, Minicomics, Zines

Review: DARK PANTS #1 and #2

I find artist Matt MacFarland quite the kindred spirit as he makes comics coming from a fine arts background. Think of it this way, most of us out there love a David Lynch movie because it has all those extra layers of ambiguity. Well, that’s Lynch’s fine arts background at play. Some of us cartoonists began as painters and/or hybrid artists working in various forms of expression: writing, drawing, film, acting, photography, and so on. When you take all that activity and bring it into comics, it can result in some mind-blowing art like MacFarland’s ongoing comics series, “Dark Pants.”

Reading DARK PANTS at Canter's Deli

Reading DARK PANTS at Canter’s Deli

What sets apart one alternative comic from another is this fine art sensibility. You don’t necessarily have to go to art school for it–but it helps. Imagine that, art school actually does have value! I kid you not. It is what you make of it. Here’s another comparison. Try to achieve the comedic chops of Tina Fey without ever joining an improv comedy troupe. It ain’t gonna happen. You need to flex comedic muscles you don’t even know you have–and you need to be around like-minded people in order to really stretch yourself. In time, with the help of others, you’ll realize how much you suck and what you need to do to improve. And so we find ourselves with this comic which unabashedly displays its motif, those dark pants.

Issues 1 and 2 of DARK PANTS

Issues 1 and 2 of DARK PANTS

Like Cinderella slipping her bare feet into glass slippers and transmogrifying into a regal beauty, there is something enthralling about a story of transformation. This is certainly not lost on MacFarland as he has one hard luck character after another in his series find a break from their routine when they happen upon a mysterious pair of tight black jeans. In the first issue of this comic, Diego, a drab little guy, becomes a hot lover when he buys these jeans at a thrift store and puts them on. But he soon finds that his newfound sex appeal is far more than he bargained for. By our second issue, the jeans have found their way into the hands of Milena, a lonely virgin who writes a sex column for her college paper. Once those jeans are on, she too is over her head.

Diego's story set on Miracle Mile, 1992

Diego’s story set on Miracle Mile, 1992

It’s interesting that both Diego and Milena were already struggling with their lives before they crossed paths with the sexy jeans. It just stands to reason that these jeans were just as likely to wreck, instead of enhance, their existence. But, who knows, maybe the right sort of loser, like the sort portrayed by Don Knotts or Jerry Lewis, would make the most of a cosmic makeover. So far, MacFarland’s characters are doomed, with or without sex, and that’s just as well for this humorous noir. This is a rare treat. I love MacFarland’s wit and vision.

Milena's story set in Glendale, 2002

Milena’s story set in Glendale, 2002

MacFarland has a very accessible style which goes well with his less commercial, and darker, vision. That said, the darker stuff is not always the less marketable. Overall, I see MacFarland’s work as assured with a refreshing approach and zest. It is a cartoony style that makes me think of ironic cartoonists from the ’90s like Ward Sutton and Michael Dugan. It is a sturdy yet elastic style that makes you think you could poke at the characters and reshape them a bit. With that in mind, it is a style that lends itself well to laughs and/or drifting in and out of reality. Our next victim of the traveling tight dark pants will be a kid named Philip in the upcoming third issue. I look forward to how things develop there.

To learn more, and to purchase comics, visit Matt MacFarlnd right here.

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Filed under Alternative Comics, Comics, Humor, Independent Comics, Indie, Matt MacFarland, Minicomics, Noir

Short Run 2015: Debut of GEORGE’S RUN #1

First issue of George's Run to debut at Short Run

First issue of George’s Run to debut at Short Run

For all of us in the comics community, whether creators or fans, it is time once again for the Short Run Comix & Arts Festival. There’s a nice write-up about it in the local alt-weekly, The Stranger, that you can check out here. Among a splendid array of comics that you will have a chance to choose from, I humbly add something I am working on. This is the first installment to a full-length work. It’s called, “George’s Run,” and it’s about the life and times of science fiction writer George Clayton Johnson. I am still in the process of weaving the narrative but this is a perfect time to share some of what I’ve put together thus far. If you happen to go to Short Run, you’ll have a chance to buy a copy of this 24-page comic. You can find me at the Short Run tables under the name, Comics Grinder Press.

Short Run Comix & Arts Festival takes place this Halloween: Saturday, October 31, in Fisher Pavilion at Seattle Center from 11 am to 6 pm.

For more details, be sure to visit our friends at Short Run right here.

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Filed under Alternative Comics, Comic Arts Festivals, Comics, Comix, George Clayton Johnson, Independent Comics, Indie, mini-comics, Minicomics, Sci-Fi, science fiction, Seattle, Self-Published, Short Run

Review: BASELINE BLVD by Emi Gennis

Emi-Gennis-Baseline-Blvd-2015

Emis Gennis is a cartoonist who I see as someone who likes to get down to business and create good comics. I admire that. Her work is clean and professional while also maintaining an organic energy to it. For her latest work, “Baseline Blvd,” she employs a precise and bold use of pencil to take us on quite a journey.

Gennis has a keen interest in sordid tales, as I’ve seen from her past work. For this one, we follow the emotional turmoil from an abusive relationship and the end results. We view this from various vantage points, often very quiet and nondescript.

A woman carries flowers in her car on a trip to find some resolution. We don’t know very much about her or any other details than are necessary. It’s as if the flotsam and jetsam of the urban sprawl the young woman sees on her way to her destination tries to compete for our attention. Faceless everyday detritus. A crow devouring roadside carrion.

Gennis is a born storyteller. “Baseline Blvd” shows us a cartoonist well on her way. This new comic just debuted at the Vancouver Comic Arts Festival. For more details on work in general, visit Emi Gennis right here.

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Filed under Alternative Comics, Carrion Press, Comics, Emi Gennis, Independent Comics, Indie, mini-comics, Minicomics, Self-Published, Vancouver Comic Arts Festival

Review: ‘Trepanation: Elective Surgery You Need Like A Hole in the Head’

Emi-Gennis-Trepanation

Trepanation, the controversial elective surgery, is not for everyone, to say the least. However, “Trepanation: Elective Surgery You Need Like A Hole in the Head,” the minicomic by Emi Gennis, is for everyone to enjoy. This latest work, which originally appeared on The Nib, is now available in print.

So what on earth is trepanation? It is the creation of a hole in the skull believed to relieve pressure and return you to the blissful state you were supposedly in as an infant. You will find this to be both hilarious and informative, and how often does that happen? Not often enough. Emi Gennis continues to work with some of the most downright strange content that any cartoonist has dared to tackle.

Visit Emi Gennis, learn about her work, and check out where you can get her comics right here.

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Filed under Comics, Emi Gennis, Minicomics

Comic Arts Los Angeles (CALA) Debuts a Comic Arts Festival

Comic Arts Los Angeles at Think Tank Gallery

Comic Arts Los Angeles at Think Tank Gallery

Comic Arts Los Angeles (CALA), a new comic arts festival in Los Angeles, took place this last Saturday, December 6, in a walk-up art gallery, Think Tank Gallery. This is the first major comic arts festival of its kind in the second largest city in the United States, taking its place alongside such notable comic arts festivals as MoCCA Comic Arts Festival in New York City, Small Press Expo in Bethesda, Maryland, and Short Run in Seattle, Washington.

Located in a part of the city tucked near Gallery Row and the Arts District, the actual site is amid a dazzling display of predominantly Mexican businesses, both storefront and street vendors. One banner atop the entrance and staff for the event lead you in. And so you climb the stairs and you are instantly transported to a world of indie comics. As Jen Wang, one of the founders of CALA, said in a panel discussion at the event, “When it comes to breaking into comics, you just make them and you’ve broken in.” In that spirit, you come to this event which is a mix of creators relatively new to breaking into comics along with many seasoned indie veterans attached to various publishers.

CALA-Think-Tank-Gallery

When it come to breaking into comics, while it may seem simple enough, there are a myriad of approaches, motivations, and sensibilities. I can tell you from my vantage point, as someone who has broken in, that there is and there is not a typical cartoonist profile. Referring back to this panel from the show, the last panel of the day in fact, Wang led a discussion on how to sustain a life in comics. Among the comments made, Ron Regé Jr. spoke to the fact that he never ever expected to make a dime off of his comics. And that pretty much says it all in one fell swoop because there are always cartoonists ready to make money from their work right along with others who don’t focus on demographics and the like.

Comic Arts Los Angeles

Comic Arts Los Angeles

A comic arts festival like CALA focuses on the more unusual and offbeat type of comics that are more prone to taking risks with the market. You will see table after table of minicomics and professionally bound books on a multitude of subjects and themes. There are no superhero comics, per se. In this context, a superhero theme is possible but most likely in a ironic tone. The overriding theme is personal and artistic. Of course, major publishers of comic books are hip to what the alternative comics crowd are up to and will collaborate with them from time to time. For some years now, major publishers have been publishing the best that emerges from self-published cartoonists. So, in a sense, the indie cartoonists are akin to stand-up comedians who may get picked up by a network. However, it’s complicated. Some cartoonists try to capitalize on trends, others follow their own muse. Ultimately, it’s quality work that wins out and transcends all these issues.

Ellen T. Crenshaw and "Colonial Comics: New England, 1620 – 1750"

Ellen T. Crenshaw and “Colonial Comics: New England, 1620 – 1750”

I was speaking with cartoonist Ellen T. Crenshaw who is a fitting example of a professional cartoonist/illustrator with an independent sensibility. Take a look at her work and you see an engaging style. She was pleased to see a great turn-out for CALA. In her experience with the Boston comics scene, it can be very rough for the first year of a comic arts festival. But CALA came out strong right out of the gate. Taking a closer look at Crenshaw’s work, it’s a successful combination of a clean and polished approach married to offbeat content. I picked up a hilarious and sweet minicomic of hers, “The Woodsman and the Bear,” that follows a bear who has fallen in love with a lumberjack. That will give you some indication of her vision. For something more challenging, there’s “Colonial Comics: New England, 1620-1750,” published by Fulcrum Publishing, that provides stories about Colonial America that you won’t find in the history books.

Farel Dalrymple and "The Wrenchies"

Farel Dalrymple and “The Wrenchies”

You could sense the energy in the crowds. I spoke with a number of friends in the comics community and everyone was all smiles. It’s just a matter of diving in and checking out various tables. Each creator is there in support of their most recent work along with their other titles. For instance, there was Farel Dalrymple in support of his graphic novel, “The Wrenchies,” published by First Second Books.

MariNaomi and "Dragon's Breath"

MariNaomi and “Dragon’s Breath and Other True Stories”

MariNaomi was there in support of “Dragon’s Breath and Other True Stories,” published jointly by 2D Cloud and Uncivilized Books.

Yumi Sakugawa

Yumi Sakugawa and “Bird Girl and Fox Girl”

Another favorite is certainly Yumi Sakugawa and she was there in support of “Your Illustrated Guide To Becoming One With The Universe,” published by Adams Media and “Bird Girl and Fox Girl,” published by Sparkplug Books.

Rounding out my coverage of CALA, I spoke with Jen Wang, one of the organizers and the illustrator of one of my favorite recent graphic novels, “In Real Life,” published by First Second Books. She was definitely excited about how well CALA was doing.

And, just to top it all off, I spoke with cartoonist and renowned comics historian Scott McCloud and got his take on the event. He was quite pleased to say the least.

Think Tank Gallery proved to be a great venue for CALA. With about 70 creators, the space afforded enough room to mix and mingle. Around the corner, there were panel discussions throughout the event. In the end, the reader, the potential buyer of said comix, indie comics, alternative comics, had much to choose from in a delightful setting. We all look forward to this being the start of a new comics tradition in LA.

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Filed under Alternative Comics, CALA, Comic Arts Festivals, Comic Arts Los Angeles, Comics, Independent Comics, Indie, Jen Wang, Los Angeles, Minicomics, Scott McCloud, Short Run