Tag Archives: Publishing

Seattle Focus: Jason Lutes and BERLIN

Megan Kelso with Jason Lutes

Cartoonist Jason Lutes was in Seattle to talk about the new book that collects his comics series, Berlin. It took place at The Elliott Bay Book Company, November 8, 2018. This event included a conversation with cartoonist Megan Kelso. It was co-presented by Short Run.

Berlin is a monumental work in comics. Few cartoonists will come close to such an achievement–and it couldn’t have been created by a  nicer guy. What came across, over and over, during this talk is the fact that Lutes is very accessible and down to earth. That open approach plays into part of what makes his landmark work so special. It all began when teenager Jason Lutes wanted to make sense of a documentary about the holocaust he was suddenly exposed to in a high school history class. The teacher for that class was an alcoholic who made no effort to hide his struggles. He literally set up the movie for his class and left to get a drink. That abrupt and careless action ultimately triggered an in depth exploration of Weimar Germany through a creation of an expansive work in comics that would take 22 years to complete.

#ProtectMueller march in Seattle on 8 Nov. 2018

It was not lost on anyone during Lutes’s talk related to the dismantling of the German government of the 1920s that concerned citizens, just outside on the streets of Seattle, were protesting Trump’s own inroads into dismantling the U.S. government. Timing is everything. That Thursday night book talk directly coincided with protests across the country in support of protecting the Robert Mueller investigation after Trump installed a loyalist as acting Attorney General of the United States. Details are everything. If you follow the characters and the rich narrative of Berlin, you can’t help but get an eerie sense of having a mirror held up to the past and to the present.

Cartoonists holding each other’s works: Jason Lutes with David Lasky

Authenticity is everything. What is so appealing about comics by Jason Lutes is the solid storytelling. That involves a dynamic use of the comics medium: a crisp consistency in step with strategically placed visual elements that are pleasing to the eye and move the story forward. A quick example: I was standing in line to get my copy of Berlin signed and I made a point of poring over each page as I flipped my way through. Right around the midpoint, there is a page made up of wordless panels showing a mysterious figure in a row boat. He reaches the shore to find what looks like a vicious snake. He picks it up by its jaws and overpowers it. That same character reappears in the book as does the snake, both providing just the right doses of symbolism as well as pure entertainment. It’s important to note that, while Lutes referred to vast amounts of research and reading, he also fondly recalled the influence of key works in pop culture. Berlin Alexanderplatz, a novel about Weimar Germany, by Alfred Döblin, holds as much importance to Lutes as his viewing of the original Star Wars movie as a kid. Altogether, what you have in Berlin is an honest look from an individual processing and distilling at a meticulous level.

Cartoonists Revisit: Jason Lutes with Jennifer Daydreamer

For many in the audience that night, it was an opportunity to revisit a respected work and commiserate with a friend and colleague. Seattle is a lightning rod for countless creative people and that includes a high number of independent cartoonists. There’s a certain sensibility to the alt-comics artist with Jason Lutes being a prime example. As he discussed in his lecture, it was Seattle that he gravitated to in the 1990s. After attending the Rhode Island School of Design, Lutes moved to Seattle and worked for the comics publisher, Fantagraphics. He subsequently worked for the alt-weekly, The Stranger, just as it began publication in 1991. During this era, Lutes became part of a group of cartoonists that went on to form an integral part of the Seattle comix scene. That group included some members that were in attendance that night: Megan Kelso, David Lasky and Jennifer Daydreamer. It was a treat to have part of the gang together again on such a special occasion.

BERLIN by Jason Lutes

Berlin, the complete collection, is out now. It is a 580-page hardcover published by Drawn & Quarterly. Jason Lutes teaches comics at the Center for Cartoon Studies in Vermont.

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Filed under Alt-Comics, Alternative Comics, Berlin, Comics, Comix, David Lasky, Donald Trump, Drawn and Quarterly, Elliot Bay Book Company, Germany, graphic novels, Independent Comics, Indie, Jennifer Daydreamer, Nazi Germany, Nazis, Seattle, Trump, Weimar Germany

Comics Review: FAB4 MANIA by Carol Tyler

FAB4 MANIA by Carol Tyler

Graphic novels that explore a particular passion can prove to be the most relatable for a wide audience. Consider the new graphic memoir by cartoonist Carol Tyler (Soldier’s Heart). Her new book is entitled, Fab4 Mania, published by Fantagrahics Books. Who doesn’t love the Beatles? Tyler’s book looks back at the Fab Four from her own point of view. The full title of this work is Fab4 Mania: A Beatles Obsession and the Concert of a Lifetime and therein lies our premise and plot.

Tyler’s experience is essentially the same thing that happened to countless young people, circa 1965, up to a point. Where it diverges is exceptional. One big distinction is that this kid got to go to a famous ’65 Beatles concert in Chicago. The greater distinction is that the reader is following Tyler’s journey full of personal recollections and idiosyncratic appeal. This is an 8th grade girl revealing her innermost thoughts. It all adds up to a wonderful coming-of-age read.

If you enjoy young adult themes, this book is definitely for you. Filled with over a hundred warm and inviting drawings in full color, this is a true tale that will sweep the reader away with its authentic flavor. Tyler has meticulously recreated the diary that she kept throughout that pivotal Beatles year of 1965 to create a treasure trove of insights and humor.

For more details, visit Fantagrpahics right here.

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Filed under Carol Tyler, Comics, Fantagraphics, Fantagraphics Books, Graphic Novel Reviews, graphic novels, The Beatles

Comics Review: ANDROMEDA by Zé Burnay

ANDROMEDA by Zé Burnay

Cartoonists are instructed and encouraged by their mentors to construct comics that not only fill the page but interact with one page to the next. Few artists heed that sage advice so well as Zé Burnay. You can clearly see that he is playing off what’s going on one page onto another page. The forms, the compositions, the very structure, is interconnected from one panel to the next, from one page to the next. Every bit building  into a beautiful fever dream byway of the dazzling tattoo parlor with a detour through an enchanted forest and a side trip into a magical castle. Zé Burnay knows comics and how to turn them into psychedelic entertainment. So, I’m telling you right now, the book to get is Andromeda by this groovy dude, Zé Burnay, an up and coming and most excellent illustrator and cartoonist from Sintra, Portugal.

Visual delights throughout.

I swear to God, my next major tattoo is going to be a three-headed snake by Zé Burnay! This is an artist who spends the required amount of time immersed in the stuff that dreams are made of. That’s good for him–and good for us. Andromeda collects three works that all share the same main character, a Christ-like figure who is wandering and searching. In the process, he comes across numerous symbolic creatures and numerous classic tropes. He battles an eagle, a lion, a bull, and so on. I begin to lose count but that’s okay. He enters an old Victorian mansion and becomes acquainted with its strange inhabitants. Every scene quickly becomes ethereal and hallucinatory. It’s a virtual Cornucopia of visual delights. Burnay keeps the fireworks going from one page to the next.

The energy from one page resonates onto the next.

A comic from a true visionary is something very special and Zé Burnay delivers a marvelous book with Andromeda. It is a wondrous visual feast inextricably linked to a haunting narrative. Burnay was born in 1991 in Portugal and grew up fascinated by the woods and castles of Sintra and its unique and mysterious aura. Clearly, that inspiration can be found on every page of his work. Burnay states on his website that his love of drawing was kindled from “inheriting my father’s extensive collection of Franco/ Belgian comics and by spending time on my Grandfather’s antique shop.” All of this has added up quite nicely. He goes on to say, “In between working on my own comics, I draw comics for other people, design logos, posters and cover art for numerous bands.” Burnay is definitely on the right course!

A very cohesive and richly structured work.

Be sure to visit Zé Burnay at his website right here.

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Filed under Alt-Comics, Alternative Comics, Comics, Comix, mini comics, mini-comics, Self-Published, Zines

Seattle Focus: Short Run Comix & Arts Festival, Nov. 3, 2018

SHORT RUN 2018

Short Run Comix & Arts Festival is this Saturday, November 3, 2018 in Seattle, WA.

Short Run is a free all-ages event showcasing the best in new and local comics, zines, and more!

If you’re in Seattle, be sure to take in this wonderful event from 11am-6pm at Fisher Pavilion and The Vera Project at Seattle Center.

For more details, visit Short Run right here.

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Filed under Alternative Comics, Comics, Comix, mini-comics, Minicomics, Seattle, Short Run, Short Run Comix & Arts Festival

Interview: Bill Kartalopoulos on The Best American Comics

BEST AMERICAN COMICS 2018

Here is a discussion of what makes for the best comics within the United States with Bill Kartalopoulos, the series editor of the prestigious annual collection, The Best American Comics, published by Houghton Mifflin Harcourt. What does it take to be considered the best? Well, mind you, everyone has their own set of ideas but, essentially, it boils down to compelling work. One way or another, things add up. The work commands your attention and it checks off a number of boxes like being original, structurally sound, and maybe even groundbreaking.

One thing that makes this particular interview special is very good timing. I happen to have been in New York for a combination of business and pleasure. The latest collection of Best American Comics had just come out. In fact, I’d recently reviewed it here. So, one thing led to another. I asked Bill what he thought about getting together in person for an interview and so we did. For me, meeting Bill at Parsons The New School for Design was a nice treat. He teaches there on the subject of comics. Currently in his class, he’s covering Art Spiegelman’s landmark work, Maus. Bill was Associate Editor and Production Assistant on MetaMaus, Spiegelman’s 2011 book and multimedia DVD set examining the production of Maus.

Parsons The New School for Design

My goal in this interview was simply to have a pleasant, perhaps even lively, conversation. I am a fan of Best American Comics but I was setting that aside, so to speak, in order to go through a relatively objective set of questions. I wanted to dig around and see what we might uncover and Bill was certainly up for it. What I come away with  is the fact that this annual best-of collection has gone through a rigorous process. First, we have Mr. Kartalopoulos dutifully gathering up around 120 or so works that he deems worthy. Then, he hands them off to the guest editor. This year, that honor goes to cartoonist Phoebe Gloeckner. Finally, a shaking and mixing and final rinse. The editor, after paring down the final cut of titles, may end up adding some of her own, and will ultimately preside over a presentation all her own. Okay, lots going on. So, here we discuss all that and more.

“Yazar and Arkadaş” by Lale Westvind

HENRY CHAMBERLAIN: Bill, I thought we could take as our jumping off point the last work in this year’s Best American Comics. This is by Lale Westvind. It is quite a surreal sci-fi tale entitled, “Yazar and Arkadaş.” I think it would be good fun to linger over this loopy and wonderful work, an ideal example of what comics are all about. It kicks off with an urgent search for a book and, along the way, the main characters are compelled to continue their journey naked. What can you tell us?

BILL KARTALOPOULOS: Lale Westvind did the cover for this year’s Best American Comics. This piece was one that she published during the twelve month cycle that we cover for each volume. Our excerpt doesn’t contain the story in full but it gives the reader a good sense of it. The original work was published on a risograph. We attempted to evoke that same look and feel, including the pink paper used in the original.

CHAMBERLAIN: That unique look that you get from a risograph is part of what defines independent comics.

KARTALOPOULOS: I think a lot of Lale’s work speaks to science fiction. Although a lot of her work is very different, it does bring to mind Jack Kirby and how he played with mythology with his New Gods.  Something else that I think is really nice and speaks to the selection process is what happened when it came time for Phoebe to pick what to excerpt from Emil Ferris’s My Favorite Thing is Monsters. She chose a conversation that refers to Medusa. That moment would end up resonating at the end of the book, with the last work by Lale Westvind and her disembodied head of Medusa with the tendrils of hair acting as arms grabbing at things.

 

Emil Ferris

 

Lale Westvind

CHAMBERLAIN: It happens every year. I recall us talking about interconnections between the selected works during our phone interview a few years back.

KARTALOPOULOS: It’s  not a heavy-handed thing.

CHAMBERLAIN: Oh, of course not.

KARTALOPOULOS: It’s something you can’t force. It’s natural and organic.

CHAMBERLAIN: I think of how iconic My Favorite Things is Monsters is for readers. To present it in this collection, the challenge was to find an interesting way to revisit. Maybe you could give us another look behind the scenes. What is the significance of having Gabrielle Bell’s piece as the opener?

Gabrielle Bell

KARTALOPOULOS: That’s an interesting question particularly with how it relates to the creation of this collection. Each new guest editor handles the job a bit differently. For example, Scott McCloud created categories and wrote short introductions for each. Jonatahn Lethem, the next year, aware of what McCloud had done, followed suit in his own idiosyncratic way.This year, with Phoebe Gloeckner, she decided to see what it might look like with  alphabetizing the titles–which is exactly what she ended up doing for the book!

CHAMBERLAIN: You can’t be any more fair than having the book alphabetized! That’s a good tip for aspiring cartoonists. Get a pseudonym that places you towards the front. I’m looking at Tara Booth’s work now. It’s a very raw and powerful style. And then you’ve got, after that, the very lean and clean work of J. D. Bryant. Some of the elements in Tara’s work are very challenging for the viewer. While, with Bryant, it’s very cool and detached. Maybe we can do a bit of comparing and contrasting with these two. 

Tara Booth

 

D. J. Bryant

KARTALOPOULOS: Sure, these are two very different ways of working.  I certainly hope that it demonstrates the wide variety of work on display in these pages. Tara Booth shares with the reader the more private aspects of life, things you wouldn’t typically share, like popping a zit. She works mostly, if not exclusively, in gouache for this piece. Bryant works in the tradition of alt-comics from the ’80s and ’90s. It’s a naturalistic style with pop appeal, very dense, with a surreal narrative that loops back on itself. The types of brushes and pens and inks he uses go back further to the ’30s and ’40s. Booth has a very different approach, wordless little moments. Both are extremely effective styles.

Geof Darrow

 

Max Clotfelter

CHAMBERLAIN: It does take a lot for a major comic book publisher to appear in Best American Comics, doesn’t it? It happens from time to time. This year we have a piece by Geof Darrow that appeared in Dark Horse Comics. I understand why that is. A lot of the work is market-driven and would seem out of context in Best American Comics. That said, I see a lot of interesting work coming out of Image Comics, for example. Is it a case of stepping back from the major comic book publishers in order to secure room for the independent cartoonists?

KARTALOPOULOS: We don’t really think about the scale of the publisher necessarily. We’re just looking for good work, something that is unique that expresses a personal vision, not necessarily an autobiographical vision. Dark Horse does publish a good amount of creator-owned work. This piece by Geof Darrow is very much an auteurial work: it is his vision; he is doing the work just the way he sees it. This is a personal vision regardless of the means of production. It is a personal vision as much as the work just before it, a self-published piece by Max Clotfelter.

CHAMBERLAIN: I agree. This brings us back to our theme of different approaches. One piece is technically crisp and another is stripped down. I want to ask you to share with us something about your intimate connection with comics. I know you spend quite a lot time on comics in various ways. Would you give us a window into your day or whatever you might like to share.

KARTALOPOULOS: I teach at Parsons about comics so at least once a week I’m teaching. Then I’m either preparing for a class or grading papers. I just finished reading for Best American Comics 2019. Each book has a time lag. For example, the current volume covers work created from September 2016 to August 2017. It goes from Autumn to Autumn. Then it takes a full year to create a volume. I’m at a place right now where I’m about to hand off work to our next guest editor. At the same time, I’m working on a book on North American comics for Princeton University Press. It’s pretty far along but I still have a number of chapters to complete.

CHAMBERLAIN: How do you gauge the reception that the book gets. With each year, do you sense that you’ve got a locked-in audience?

KARTALOPOULOS: The print run is somewhere around 20,000 copies so that’s a lot of copies out in the world. One thing that I think is very helpful is that the series tends to fairly automatically enter libraries. I think this series has a pretty useful life as an entry point into comics for many readers. We put as much information as we can about the sources of each title. We have bios and websites. So, for example, if there’s a self-contained work among the selections, maybe readers will seek out that creator and read more. In this way, we can make a quite impact well beyond the initial release of a volume.

CHAMBERLAIN: You’re talking about a quiet impact. You’re not exactly thinking in terms of setting a standard–or maybe you are, to some degree?

KARTALOPOULOS: I think we’re seeking out good comics. I’m putting together a larger pool of material, over a hundred pieces, for the guest editor. I select work worth considering…really give the guest editor a lot of options. Really select pieces that are meaningful to them. I try to give them a broad palette. The guest editor is applying their own sense of critical judgement of what they consider a good comic. If you look at the series from multiple volumes, you’ll see a consistency, a pretty high level of quality.

A mark of success for the series is how each guest editor leaves their personal mark.  This year’s volume, edited by Phoebe Gloeckner, feels different to me to the volume edited by Ben Katchor, which feels different to me to the volume edited by Roz Chast, and so on. There’s consistency, a high level of quality, and each guest editor brings in their own point of view.

CHAMBERLAIN: That’s a wonderful place to end. Thanks for your time, Bill.

KARTALOPOULOS: Thank you.

*****

We had a really good, insightful, and fun conversation. You can listen to the interview by just clicking the video link below:

You can visit Bill Kartalopoulos right here.

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Filed under Alt-Comics, Art, Best American Comics, Bill Kartalopoulos, Comics, Comix, Independent Comics, Interviews, mini-comics, Minicomics

Massachusetts Independent Comics Expo (MICE) this weekend 10/20-21

MICE 2018

The Massachusetts Independent Comics Expo (MICE) is this weekend October 20-21, 2018 in Cambridge, MA.

The Massachusetts Independent Comics Expo is a free weekend event showcasing the best in new and local comics!

For more details, visit MICE right here.

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Filed under Comic Arts Festivals, Comics, Jim Woodring, MICE

New York Focus: Airbnb: Photographing NYC with Pro Photographer Abdiel Colberg

Here are some of the photos that I took with pro photographer Abdiel Colberg.
He is a very kind, patient, and thoughtful person. Such a talented artist who was so generous with his knowledge. Here are some photos I took under his guidance. Check out his website right here. And check out the Airbnb course right here.

Be ready to walk around and take some great photos!

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Filed under New York City, Photography, Travel

Open Letter to Media: Help Seattle and Win Pulitzer!

Live from New York: a Seattle punchline!

Commentary by Jennifer Daydreamer

On October 6th, 2018, during the Weekend Edition of Saturday Night Live, Michael Che riffed on our City: “Starbucks baristas in Seattle are saying that they are being forced to dispose of hypodermic needles left behind in the stores everyday by drug users. Meanwhile, over at 7-11, they’re using them as stirrers.”

Not a great joke but point well taken.

SNL is our modern day court jester. It’s live and communal and mirrors our society in a humorous manner. In another era, it was the court jester who gave the King the very bad news that nobody else dared to deliver.

The news SNL delivers is that baristas across the U.S. are not in contact with hypodermic needles en masse. It’s a Seattle phenomenon. Not a general big city problem. Not even a New York problem. A Seattle problem.

Seattle has a drug crisis and a homeless crisis resulting in a patently predictable Civics 101 crisis: when you allow lawlessness, criminals take advantage and hurt people and property.

What dangers have been happening? Well, in the past month, a Wallingford condominium under construction was burned down by drug addicts. In the SoDo area, a woman was mauled by a homeless pit bull and other dogs. Recently, I saw addicts threatening customers in a business, one man was particularly violent, and gave witness to the police.

As well-meaning as the local news outlets have been, the facts reported have been conflicting. We could use an outsider, a very thorough and ambitious investigative reporter(s) to get to the crux of it. I’m not kidding when I say I see Pulitzer Prize worthy material because there’s a lot to uncover. Hopefully, an expose can help keep everyone, including the homeless, safer.

Shawn Telford describes a harrowing and out of control homeless crisis.

This video of Seattle native Shawn Telford describes how homeless encampment and car prowl problems turned his life upside down. All because the homeless issue is out of control. This is just one of so many compelling stories. There’s a new story each day. Some stories manage to get on people’s radars for a while, like the hypodermic needles in Starbucks.

We got a joke coming out of a big network studio in New York City. We’re going to need far more than just a joke to get people’s attention and make serious progress. The City of Seattle government is not responding in a serious and competent manner. We need outside resources to examine what is going on. Seattle seriously needs help. We need a TIME magazine cover story, not an SNL gag.

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Filed under Homeless, Journalism, Seattle

New York City Focus: Airbnb Drawing Session with Ben Ponté

Here I am drawing Grand Central Terminal.

You can’t deny someone what they love because love will find a way. So it is with me and drawing. I’ve always loved drawing. I draw very well, if I do say so myself, and I don’t have to make excuses for it, thank you very much. You wouldn’t begrudge a ballerina for dancing very well or a professional singer for singing very well. I think you know what I mean. I think I know my way around words too but that’s another story. It’s not about conceit. No, it’s simply talking about how someone is built. This is what they know.

What I’m getting at is that I took a drawing work shop recently. The photos here of my efforts during the session. The truth is that any artist, no matter how good, can always make good use a creative workout. That’s why life drawing sessions are so popular: most of the people aren’t trying to learn the basics. No, they’re having a creative workout. So, I was beyond pleased to discover this drawing session offered through Airbnb during my stay in New York City.

Chrysler Building

Wow, you just can’t go wrong and, let me come back to this, your skill level is NOT the important thing. Say, you went to do a yoga session. It’s like that. Everyone moves at their own pace. Funny I should mention yoga as the instructor for this Airbnb experience, Ben Ponté, is both an artist and a yoga instructor. Well, it makes total sense to me.

With all that said, I had a blast. And maybe, at my relatively high skill level, I was tapping deeper into our shared activity than one could expect from a novice. Again, it doesn’t matter. First, I’ve spent a lifetime developing my art. If someone walks in and is trying out something they are new or unfamiliar with, they are simply going to need to take things one step at time.

New York Public Library

Look, I’ve been hitting the gym regularly since the start of this year and it has become very apparent to me that I’m at a beginner level to say the least. I’m more into recovery exercises from years of being a coach potato. Well, maybe not a total coach potato. But, there you go, we all have our stuff to work out.

The moral to this story is pretty straightforward. Be passionate about life and go out there and tackle new things but know your limits. If you have to take small steps, then so be it. Before you know it, you’ll reach a master level. It’s good for the soul and just plain fun to reach a certain skill level. I have my faults but I can always come back to the drawing board in more ways than one. And, at an actual drawing board, I feel right at home.

Bryant Park

I found a moral but the big point also is that I sense everyone had a good time under the leadership of our very upbeat and accessible instructor. Yes, I can’t praise Ben’s course more than to state right here that it really got me thinking and got me motivated. I’m telling you, it’s a creative workout–and we all need that. Everyone can lay down a mark and express themselves. That is one of the big secrets, I suppose, to drawing. It’s all about process. The only way you’ll get it is by actually doing it. The same thing with going to a gym: the only way you’ll get results is by actually working out at the gym.

You’ll have to pardon my rambling, if it comes across that way. I just felt like jotting all this down. I’m still in New York City as I write this. And I’m still right in the middle of a thousand and one things related to being in New York City! Ah, the city that never sleeps!

Alright, I had better find a way to wrap up. Well, I highly recommend Airbnb for so many reasons. For the purpose of this post: try out the Airbnb experiences! And, when in New York City, get your Airbnb creative drawing workout from Ben Ponté! Vist Ben right here. Check out his Airbnb session, “Sketch Your Way Around New York” right here.

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Filed under Airbnb, Comics, Drawing, Travel, Travelogue

Review: THE BEST AMERICAN COMICS 2018

THE BEST AMERICAN COMICS 2018

The Best American Comics 2018, with series editor Bill Kartalopoulos, and editor Phoebe Gloeckner, is another impressive collection of comics that are offered to the reader as among the best of the last year. Think of it as a comics art festival all in one book. Don’t expect much in the way of mainstream comics: no big publishers, let alone superheroes. What you will find a great deal of is a treasure trove of activity on the fringes.

While comics can be created in a myriad of ways, some patterns hold true. The most distinctive common trait is that work in the alt-comics scene is usually the work of one original voice that knows the work best and is compelled to shout it from the mountain tops with little or not additional assistance. Here are some examples for this year’s BAC anthology:

Kevin Hooyman

Kevin Hooyman fits more into the heroic mold of the hermit cartoonist. There are any number of glorious examples of this type of commitment. It leads to some of the most idiosyncratic, and compelling, work around. People can take sides and claim this is the only kind of comics that really matter. The truth is that including Hooyman’s work in this alt-comics anthology helps to set the tone and continue to build on what is possible in this medium.

Richie Pope

Richie Pope is an excellent example of an indie-pro hybrid. It happens and more often that you might think: a rebel/eccentric who, when he is assigned a client, will naturally keep to deadlines and go to meetings. Consider Pope’s work to have that extra professional snap and polish.

Lale Westvind

Lale Westvind is another hybrid. This time: cartoonist-animator. This is always an intriguing combination of skill sets. Westvind can bring to bear her rigorous animation background in the service of art comics–giving it that added lift.

Tara Booth

Tara Booth is another example of a cartoonist identifying as an outsider and challenging the reader, whether mainstream or not. That said, she’s also a masterful artist with a deceptively simple style.

Max Clotfelter

Max Clotfelter is high on the list of cartoonists who aim to provoke. He is a guerilla artist who defies the general reader’s expectations. It’s an ethos rooted in punk and DIY: the more raw and simple the better. A more raw approach is something cartoonists like Art Spiegelman advocated and yet, as underground cartoonists progressed in what became actual art careers, refinement was never far behind raw. So, the balancing between the raw and the cooked will go on.

Geof Darrow

Geof Darrow is another independent cartoonist who is also at home with big publishers like Dark Horse Comics from which Darrow’s piece in the book originally appeared. Darrow is a shining example that technical skill and masterful creation within the traditional structures of comics is something to celebrate and not distance one’s self from in favor of seeking out the most experimental of creators.

Bill Kartalopoulos has much to be proud of in all his efforts to support and to better understand the ever-shifting world of contemporary comics as an art form. He makes choices as to what may end up in the book. Then an esteemed guest editor makes the final calls. After that, well, it’s up to the selected creators to take it from there. Some may find themselves relatively rising and some may find themselves relatively coming up short. And others may just slip out the back door and never be heard from again.

The Best American Comics 2018 is a 416-page hardcover, in b&W & color, published by Houghton Mifflin Harcourt. Visit HMH right here.

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Filed under Anthologies, Best American Comics, Bill Kartalopoulos, Comics, Phoebe Gloeckner