Tag Archives: independent comics

Small Press Expo Announces Programming Schedule for SPX 2017

Small Press Expo has announced the Programming Schedule for SPX 2017. SPX is continuing the festival’s established tradition of rich, thought provoking programming featuring leading comics artists and critics in conversation. As in previous years, the Programming Schedule features 22 sessions with two simultaneous tracks on both Saturday and Sunday, September 16 and 17.

Here are some highlights:

  • Tillie Walden discusses her new work, Spinning, focusing on her decade spent in competitive figure skating, with Small Press Expo executive director Warren Bernard.
  • Jillian Tamaki (Boundless) and Eleanor Davis (You And A Bike And The Road) are two of our generation’s greatest cartoonists. Both create beautiful imagery while telling incredibly poignant stories which are thoughtful and evocative. With moderator Jim Rugg.
  • Moderator L.Nichols will explore the recent movement in comics toward exploring genderfluidity within a science-fiction context, with an emphasis on technology and utopian ideals. Panelists Jeremy Sorese (Curveball), Carta Monir (Secure Connect), Kevin Czap (Futchi Perf) and Rio Aubry Taylor (Jetty) will each discuss how their own work fits into this bold new vision of comics,
  • Gene Luen Yang has distinguished himself as a prominent voice in youth-friendly literature through his books American Born Chinese and Boxers and Saints. He continues to inspire young readers by championing diversity as the recently appointed National Ambassador for Young People’s Literature. Join us for a very special conversation with Gene as we spotlight Reading Without Walls. Moderated by Johanna Draper Carlson.
  • Join moderator Jared Gardner, publisher Raighne Hogan and an array of 2dcloud artists as they celebrate and recount the history of this cutting-edge indy publisher and look toward its future.

Additionally, several panels will focus on the cartooning into today’s political climate:

  • Tom Spurgeon moderates political cartoonists Ann Telnaes, Matt Wuerker, Keith Knight and Ben Passmore as they explore the role and responsibility of being a political cartoonist in a time when the freedom of the press is under attack.
  • In a world that seems increasingly difficult to satirize, come see how cartoonists Tommi Musturi (Simply Samuel), Aaron Lange (Trim), Sabin Cauldron (Maleficium), and Katie Fricas (The New Yorker) use different comedic tools to address the absurd, the awful and the just plain ridiculous. Moderated by Heidi MacDonald.
  • Celebrants and detractors alike are chewing on the fact that Donald Trump was elected president. Shannon Wheeler and Robert Sikoryak will help you swallow. In their books Sh*t My President Says from Top Shelf and The Unquotable Trump from Drawn & Quarterly (respectively), these two cartoonists illustrate Trump’s words for comedic effect and insight.

The complete schedule with times and descriptions can be found online.


Books Debuting at Small Press Expo 2017

SPX will see over 170 different graphic novels and comics making their publishing debut at this year’s show to start off the fall book buying season. This year, SPX will be held September 16 and 17, 2017 at the North Bethesda Marriott Hotel & Conference Center. A complete list of debuts, including cover images and publishing information, can be found on the SPX web site.

Here are some highlights of the new releases to debut at SPX 2017:

Language Barrier shows real meaning behind emojis, the subtext of sexts, the financial cryptography of flats and pumps, and more are revealed in this witty and wonderfully drawn collection. Hannah K. Lee‘s first book from Koyama Press melds elegant typography, beautiful illustration and trenchant text to make an acerbic art book.

House of Women from Fantagraphics is Sophie Goldstein’s second solo graphic novel, following 2015’s The Oven (AdHouse Books), which appeared on many year-end “Best of” lists, including Publisher’s Weekly and Slate. In this graphic novel, science fiction meets psychosexual drama when four women try to bring “civilization” to the natives of a remote planet on the fringes of the known universe.

The penultimate issue of Jason Lutes long-running series from Drawn & Quarterly finds Silvia Braun and David Schwartz joining forces to sabotage a neighborhood National Socialist outpost, while Marthe Müller says her final farewells to the city where she has come of age. And as darkness manifests in the alleyways of the underclass and estates of the elite, Kurt Severing glimpses the worst of all possible futures.

Eternal Sunshine of the Spotless Behind is the 3rd collection of Keith Knight‘s nationally-syndicated comic strip the Knight Life. The hilarious new book follows the trials and tribulations of America’s foremost Gentleman Cartoonist and Star Wars Prequel-Denier, as he navigates family life, racism, giant spiders, and comic nerds.  Seen in such fine papers as the Washington Post, the San Francisco Chronicle, the San Diego Union Tribune and the Boston Herald.

Acclaimed cartoonist Shannon Wheeler (The New YorkerGod Is Disappointed in YouToo Much Coffee Man) transforms Donald Trump’s most revealing tweets into razor-sharp cartoons, offering a subversive and illuminating insight into the mind of the most divisive political figure of our time. Whether you love him or hate him, this take on Trump will help you come to grips with the man and his ideas thanks to Wheeler’s signature mix of slapstick and sophistication.

Laura Terry‘s adorable woodland creatures return in Adorable Empire Vol. 2.  In their second adventure, they fend for themselves on the mean streets of Manhattan. Will they survive? Can they make it on their own? Will they be taken to the underworld by an army of giant roaches? The only thing for certain is that there will be destruction and it will be chockfull of cuteness.

Small Press Expo (SPX) is the preeminent showcase for the exhibition of independent comics, graphic novels, and alternative political cartoons. SPX is a registered 501(c)3 nonprofit that brings together more than 650 artists and publishers to meet their readers, booksellers, and distributors each year. Graphic novels, mini comics, and alternative comics will all be on display and for sale by their authors and illustrators. The expo includes a series of panel discussions and interviews with this year’s guests.

The Ignatz Award is a festival prize held every year at SPX recognizing outstanding achievement in comics and cartooning, with the winners chosen by attendees at the show.

As in previous years, profits from the SPX will go to support the SPX Graphic Novel Gift Program, which funds graphic novel purchases for public and academic libraries, as well as the Comic Book Legal Defense Fund (CBLDF), which protects the First Amendment rights of comic book readers and professionals.

Small Press Expo Celebrates 10 Years of Koyama Press

Koyama Press has been making comics and art books for a decade, and Small Press Expo is helping to celebrate their anniversary year with them with an incredible slate of comics, programming and a number of other celebration surprises. Koyama Press guests will include Connor Willumsen, Noel Freibert, Eleanor Davis, Sophia Foster-Dimino and more.

Founded in 2007, Koyama Press is a Toronto-based small press. Our mandate is to promote and support a wide range of emerging and established artists. Projects include comics, graphic novels, art books, and zines. We are known for our alternative edge and diverse range of titles that include a myriad of genres from autobiography to photography, from horror to humour, and more.Small Press Expo is proud to present the following programs highlighting the 10 years of Koyama Press:

Small Press Expo is proud to present the following programs highlighting the 10 years of Koyama Press:Kick Ass Annie-


Kick Ass Annie-versary: Koyama Press Turns 10
Annie Koyama has championed the work of emerging cartoonists for 10 years. As a leading publisher of underground comix, her roster features the work of many of today’s top names in the indie comics scene, including Michael DeForge, Aidan Koch, Alex Schubert, Daryl Seitchik, and many more. Join KP alumni, new and old, in a very special panel spotlighting one our favorite curators of small press cartoonists and their work. Moderated by Rob Clough of High-Low.

Koyama & DeForge: Lose, Everybody Wins
For nearly a decade, Annie Koyama (Koyama Press) and Michael DeForge (Sticks Angelica, Folk Hero) have been wowing readers with their strange and darkly humorous, ongoing anthology series, Lose. Join us for a special conversation with a celebrated, master cartoonist and an award winning publisher as we take an insightful look at one of small press publishing’s greatest partnerships. Moderated by Ryan Sands of Youth in Decline.Full lineup as well as times and locations to be announced in the coming weeks.

Full lineup as well as times and locations to be announced in the coming weeks.


Additionally, Koyama Press will be debuting its Fall 2017 releases at Small Press Expo, including Sophia Foster-Dimino‘s Sex Fantasy, GGs I’m Not Here, and Patrick Kyle‘s Everywhere Disappeared.

Sophia Foster-Dimino’s Sex Fantasy began as a loose, ephemeral zine that was produced in limited editions. These small comics in both size and length are esoteric and immensely personal. Covering a span of four years, the comics collected here build a relationship that is deeper than their elegantly drawn surfaces.In GG’s I’m Not Here, a young, second-generation woman wanders through her city and memories encountering the world through a camera’s lens; her independence pulled by the gravity of familial responsibility. She drifts until she encounters what could possibly be her potential self.

In GG’s I’m Not Here, a young, second-generation woman wanders through her city and memories encountering the world through a camera’s lens; her independence pulled by the gravity of familial responsibility. She drifts until she encounters what could possibly be her potential self.A keen observer of the absurd, Patrick Kyle’s stories in Everywhere Disappeared defamiliarize the machinations of life, work and art with droll dialogue and his angular, humanely geometric drawing and sci-fi settings that recall set design more than satellite images. Kyle’s figures may be foreign, his settings strange, but his stories resonate deeply.

A keen observer of the absurd, Patrick Kyle’s stories in Everywhere Disappeared defamiliarize the machinations of life, work and art with droll dialogue and his angular, humanely geometric drawing and sci-fi settings that recall set design more than satellite images. Kyle’s figures may be foreign, his settings strange, but his stories resonate deeply.

Underrated: Comic Book Contributors – Colourists

This week’s Underrated originally ran on Ramblings Of A Comics Fan in October 2015

This is a column that focuses on something or some things from the comic book sphere of influence that may not get the credit and recognition it deserves. Whether that’s a list of comic book movies, ongoing comics, or a set of stories featuring a certain character. The columns may take the form of a bullet pointed list, or a slightly longer thinkpiece – there’s really no formula for this other than whether the things being covered are Underrated in some way. This week:  Colourists.

When it comes to the names attached to comics usually you know who the writer and artist is, whether that’s because of previews, or even just general talk around the Internets water cooler or your local comic shop. Recently I’ve noticed that  there are some very good comic book contributors that don’t get the same level of attention as those who write or draw the comics, such as the colourists.

A few things before we start; firstly, there is no way I’ll ever be able to list every talented colourist out there. Just no way. Secondly, if you take nothing else from this post, at least be aware of just how much colourists add to a comic. Thirdly this post will only contain a select few examples of some great colouring work from comics released within the not too distant past, or stories that should be easy to find in trade format. It is not meant to be an exhaustive, or complete, list of great colourists, and there will only be a select few examples here (and even then, only covers).

Because, frankly, if I tried to do that I would miss too many.

Sometimes a colourist can make an already great comic book into something that’s truly a work of art, where the same rai11ccomic in black and white would feel incomplete, hampering the enjoyment of the reader. As an example of this, take a look at the work of Clayton Crane: Rai #10 and #11 from Valiant. Although Rai may not be your cup of tea story wise – an android samurai from the year 4001, but you cannot deny that the artwork of Clayton Crane is something special here. He does full duties here, but it’s the colouring that really helps this comic stand above the others. The story in the two issues I mentioned takes place between a utopia and a barren planet, and just look at the way the colours allow you to tell which is which without even thinking about it.

ztcThe thing is, colourists are almost always unappreciated, but if it weren’t for their contributions to a comic some scenes would be borderline unintelligible.Zachariah Thorn‘s Robert Reichert is an example of this. The opening scene from Indigo Comics first publication has a brilliant dreamlike quality to it that would fall completely flat if not for the way the colouring brings out the detail (if you want to check it out, you can read it for free at their website.

There are occasions where the colourist will capture the feel of the comic so well that it’sbatman-44-cover almost uncanny. Lee Loughbridge did just that in DC‘s Batman #44. In what was probably the best comic featuring Batman released this year (certainly that I have read), the art was provided by guest artist Jock, and as talented as Jock is, it’s the colours that really make his artwork shine elevating the comic to the next level (although credit should also go to letterer Deron Bennett, too, but that’s another post for another day). Batman #44 is an example of the creative team firing on all cylinders, so it can be easy to overlook  the at times minimalist colouring work.

And that brings us to another point.

Colourists are often overlooked because their work can be so integral to a comic that you often don’t even notice how great it is. Now I’m not intending to say anything negative about black and white comics here, some of the best comics I’ve read are black and white, but there’s a difference between an intentionally black and white comic and one that’s missing the colour (Maus is an excellent example of a black and white comic that would probably not work quite as well if it had colours added). In a time when adult colouring books are seeing a stratospheric rise in popularity as people use them as a relaxaton method, maybe it’s time we stop taking the work of a comic book colourist for granted.

There we have it – an all too brief homage to an underrated art form that can sometimes make, or break, a comic. Are there other contributors to comic that are also underrated and under-appreciated?


For that reason expect a second or third part to this post in the future. In the meantime, Underrated will probably return next week to highlight more comic book related stuff  that either gets ignored despite it’s high quality, or maybe isn’t quite as bad as we tend to think it is.

Until next time!

Demo-Graphics: The State of Indie/Small Press Comics

Earlier this week I brought you demographic reports based off of Facebook data for Marvel, and DC. Up next is independent/small press comics! Basically, everyone not the “big two.”

For this report I looked at comic book publisher likes that are not the big two or part of the big two. For this report, Vertigo, Zuda, Icon, are not included though they share similar comics as to other in this report. For this report, terms like IDW Publishing, BOOM! Studios, Fantagraphics were included. Manga was left out of this as well.

You can check out the stats for 2014 as well as those for 2015, and 2016.

Facebook Population: Over 4,200,000 in the United States

The indie/small press population has dropped about 2.6 million individuals. The previous year gained 2.4 million. With explosive growth for both DC and Marvel it’s interesting to see this drop and especially drop that much.

In 2014 and 2015 Spanish speakers accounted for 12.50%. In 2016 the percentage increased to 16.18%. 2017 sees the percent drop to 14.76%.

Gender and Age

In 2014 men accounted for 57.50% of the population and women 40.63%. A year later, that shifted with men accounting for 59.09% and women 40.91%. 2016 saw women account for 51.47% and men 48.53%.

It looks like women have mainly dropped interest accounting for 40.48% in 2017 while men increased to 59.52%. Men decreased about 800,000 while women decreased 1.8 million.

With men being a majority again things have shifted once again. Women are a majority age 17 and under but it looks like the 20s and 30s is where there’s the greatest loss in women.

Relationship Status

With a smaller populate, every demographic took a dive, though there’s a larger percentage that are “unspecified,” a trend we’ve seen elsewhere. “Single” also saw an increase in percentage.


With such a change in gender breakdowns, there’s absolutely shifts here.

Gender Interest

“Men interested in men” and “men interested in men and women” both remained steady since last year as far as percentage. Women is where things dropped but that’s expected due to the overall population decrease.


Compared to last year all ethnicities decreased in overall population but precentage is mixed. African Americans and Asian Americans both increased as a percentage while Hispanics dropped. Interestingly, English-dominant Hispanics increased slightly in percentage.


And not shockingly populations dropped here too. Generation X and Millennials saw a slight increase in percentage while Baby Boomers saw a loss.

Join us tomorrow when we look at comicdom as a whole!

Review: Rum Row #1

rum row 1.jpg“Jules Verne meets The Untouchables, in a prohibition themed aerial crime adventure. To avoid dry laws rum runners and patrons alike take to the sky. Dirigibles and hot air balloons now serve as speakeasies and black markets for alcohol. Sky gangs and the police battle it out for rights to the sky.”

I don’t care who you are, that description is fucking awesome. Written by Andrew Maxwell, the man behind Aldous Sparkthis is another comic with a setting that immediately stoked my curiosity. Now this next sentence is pretty irrelevant to everybody,  but I was just about to unplug for the night and read a book before heading to bed (The Name Of The Wind by Patrick Rothfuss if you’re curious), but before I did that I wanted to have a quick look at the cover of Rum Row. As I said my curiosity was piqued by the blurb I had already read

Out of habit I checked the following page, and if my curiosity was piqued before, then it was distilled into a fine whiskey once I’d laid eyes upon the second page (I’m aware the analogy may not make sense. No, I don’t care).

The second page contains the comic’s credits, which are set up like an old broadsheet newspaper, and it does more to set the scene and tone of the comic than I’ve ever seen a credits page do before. The story centers around the raid of a speakeasy in the Prohibition era of American history, and because I don’t want to reveal too much of it here I won’t go into details, but it’s a really enjoyable comic and one that’s well worth the price of admission.

Artistically this is a great looking book, with every aspect feeling right for the period (even if an aspect may be more in the lines of a fantasy/steampunk style addition rather than historical).

The comic can be read as a standalone story, although the ending is open enough to allow for the story to continue effortlessly (indeed, there has been a Kickstarter launched for the second issue, which you can find here). Check out the first issue on ComiXology. It’s $2, and well worth the price.

Story: Andrew Maxwell Art: Michele Bandini Colours: Derek Dow 
Story: 8.0 Art: 8.0 Overall: 8.0 Recommendation: Buy

Graphic Policy was provided with a FREE copy for review.

Review: Plague #2

plague 2 coverIn Plague, the bubonic plague that ravages Europe in the 1370s is actually a biological weapon created by the Catholic Church to kill off the magical creatures of the world: fairies, trolls, sprites, etc.  One man, Warbishop Jean de Moray, has made it his personal mission to spread the plague, but an unlikely trio rises up to oppose him: Twylyth Tegg, the brash new King of the Fey, Danann Atreyu, a refugee fairy who still harbors hope for the goodness in humankind, and Robb Aubert, a country friar who can’t believe his church is behind this horrible disease.

The above description is actually from the solicitation of the first issue, but I included it here to give you a general sense of the comic’s direction. I quite enjoyed the first issue, and due to a sorting snafu on my end, I only read it a few days ago so it’s still pretty fresh in my mind – which is good  because this issue picks up right where the first one left off.

Zach Brunner remains consistent throughout the series; his art certainly has a unique flavour to it that blends well with the alternate history take on the origins of the Black Plague. With Brunner handling full duties here, he shines brightest during the scene that is shown on the cover above. Just like the first issue, the art is once again the highlight of the comic, but unlike the previous issue the quality gap feels a little more pronounced.

The promise shown in the first issue hasn’t materialized quite yet, held back by dialogue that doesn’t have a natural feel about it, with the same thing often being said in a slightly different way which has a knock on effect to the pacing of the issue which suffers a little as a result. Of course, you may feel differently, and if you do then I hope you feel I’m being overly harsh; Plague has a really awesome concept behind it, but as yet the comic isn’t quite as good as I wanted it to be.

That being said, when reading Plague #2 you’ll notice narration text boxes throughout the pages which lend a nice throwback feel to the comic’s story telling, and also reminded me of how much I enjoy a well placed narration box which is something that works well in this issue.

I wanted to enjoy this comic more than I did, so while it didn’t quite leave me desperate for more, I’m still not done with the series yet; the aforementioned promise still feels as though it’s lurking just behind the next tree.

Story: Dennis MaGee Fallon, Jason Palmatier
Art: Zach Brunner Letters: Dave Sharpe
Story: 6.0 Art: 7.75 Overall: 7.0 Recommendation: Read

Graphic Policy was provided with a FREE copy for review

Review: Plague #1

Plague Cover w logoIn Plague, the bubonic plague that ravages Europe in the 1370s is actually a biological weapon created by the Catholic Church to kill off the magical creatures of the world: fairies, trolls, sprites, etc.  One man, Warbishop Jean de Moray, has made it his personal mission to spread the plague, but an unlikely trio rises up to oppose him: Twylyth Tegg, the brash new King of the Fey, Danann Atreyu, a refugee fairy who still harbors hope for the goodness in humankind, and Robb Aubert, a country friar who can’t believe his church is behind this horrible disease.

Being the horrible human being that I am, I realized that I hadn’t read or reviewed this comic when I found it buried among my “read” folder. Somehow it had gotten lumped in with months worth of comics that hadn’t been filed away into their digital homes. That being said, I finally read the comic, and I wish I had done so sooner.

Plague #1 starts with a brilliantly illustrated sequence that has Twylyth Tegg moving from the real world to  Tir Na Nog to see the old King of the Fey’s last few moments. The art doesn’t falter in quality from those early pages, and in some places carries the comic’s story when it seems to falter a little – more on that later. The art has a wonderfully muddy and grimy feel to it, which both suits the time period, and the backdrop of the black death incredibly well.

While I’m very fond of the higher concept of the story, tying the black death in with the supernatural world, the comic felt as though it struggled at times to keep up the early promise shown as the seemingly inevitable convergence of the central characters felt a little less polished than the earlier pages. That said, I did quite enjoy the comic, and I’m looking forward to the second issue (which actually arrived in my inbox about ten minutes ago, so expect a review soon). Despite my criticism, I do understand the need to pull the characters into a central location to set up for the rest of the story, and as such I’m a lot less irked by said criticism than it probably sounds because I’d rather the set up be concluded within the first issue, and for the most part it is.

Despite some flaws, this is a solid first issue that has me wanting to read the next chapter; at the end of the day, that’s all I want in a comic.

Story: Denis Magee Fallon, Jason Palmatier
Art: Zack Bruner Letter: Dave Sharpe
Story: 7.0 Art: 7.75 Overall: 7.5 Recommendation: Read

Graphic Policy was provided with a FREE copy for review

Review: Black Suit Of Death: Ides Of March & Issue #1

BSOD ides of marchBlack Suit Of Death… When I opened the prelude comic, Ides Of March, I had no idea what it was about, and while that probably won’t be the case for you if you keep reading, it was a rare treat for me to go into a comic utterly blind.

So first impressions of Black Suit Of Death Ides Of March was that it was a darkly funny splash of at times gloriously over the top science fiction horror. I’ll admit that when the deaths started happening I was taken by surprise, but I quickly fell for the over the top schlockey horror that has been described as very Bruce Campbellesque – a description that’s very fitting. As a prelude to the first issue this introduces you to the Black Suit of Death, and gives you a pretty decent understanding of what the suit is capable of, and why it was created. It’s also got some darkly humourous moments peppered within its pages, often in the little conversations the background characters are having.

Written by Benjamin J. Kreger and Ed Ellsworth  the comics focuses on population control via some questionable methods; the dark subject matter which is complemented by the deep shadows and moody atmosphere of Stephano Cardoselli (pencils and inks) and Craig Gilliland‘s (colours) artwork as they brig the story to life with a great use of shadows, sepia toned reds and once the violence starts some vibrant blue and green hues the balance the on panel dismembering. The prelude serves as a great taste of the what’s to come, thematically, and it’s really quite good.

It is also quite unlike the first issue.

BSOD 1Black Suit of Death #1 takes a drastically different direction than the prelude issue as it takes place roughly ten thousand years or so after Ides Of March. We spend the majority of it following Edd Grimes as his life spirals ever downward. The art team is different this issue, with Dexter Wee providing pencils and inks and Bryan Arfal Magnaye on board for the colouring. The switch does change the aesthetic of the comic, although with the shift in the story’s focus I think that the shift is actually for the better as there’s less of the Sci-Fi horror twist to the art that worked so well in the prelude issue, but wouldn’t fit quite as well with this issue.

Despite losing the horror tinged aspects of the prelude, the first issue doesn’t shy away from darker subject matter; it’s just handled in a much different way. Edd’s daily struggle with his depression and suicidal thoughts are a central part of his journey throughout the issue, and while I’ve never suffered with what he’s going through, the way that Kreger an Ellsworth handle the subject seems to be done in a respectful and tactful way.

I didn’t know what to expect when I started reading the Warrior Innkeeper Creative published series, and came out the other end having read two chapters of the same story that effortlessly cross genres, art styles and tens of thousands of years. In addition to the story itself, each comic also features a single page short comic and a multi-page text only short story. These additions certainly sweeten the pot as it were when you’re thinking about picking the issues up.

Black Suit Of Death may sound like a cheesy name, but the concept and execution will exceed your expectations.

Prelude Issue
Writers: Benjamin J. Kreger and Ed Ellsworth
Pencils & Inks: Stephano Cardoselli Colours: Craig Gilliland
Story: 8 Art: 8.5 Overall: 8.5 Recommendation: Buy
First issue
Writers: Benjamin J. Kreger and Ed Ellsworth
Pencils & Inks: Dexter Wee Colours: Bryan Arfal Magnae
Story: 9 Art: 8.5 Overall: 9 Recommendation: Buy

Warrior Innkeeper Creative provided Graphic Policy with a FREE copy for review.

Anders Nilsen’s New Graphic Novel “Tongues” Retells the Greek Myth of Prometheus

Set in a version of modern Central Asia, Anders Nilsen‘s Tongues is a retelling of the Greek myth of Prometheus. It follows the captive god’s friendship with the eagle who carries out his daily sentence of torture, and chronicles his pursuit of revenge on the god that has imprisoned him. Prometheus’ story is entwined with that of an East African orphan on an errand of murder, and a young man with a teddy bear strapped to his back, wandering aimlessly into catastrophe (readers may recognize this character from Nilsen’s Dogs and Water). The story is set against the backdrop of tensions between rival groups in an oil-rich wilderness.

Tongues is loosely based on a trilogy by the ancient Greek playwright Aeschylus, of which two plays are lost and only dimly reconstructed by historians. Key to the story of Tongues is Prometheus’ role as creator and protector of humanity. In flashbacks and in Prometheus’ conversations with the eagle and others, the book will touch on humanity’s deep evolutionary past and its complicated prospects for a future. Tongues is both adventure story and meditation on human nature.

Tongues will be serialized in large-format, full-color comics and self-published over the next few years by the artist himself, making it his most ambitious work to date. Issue one will be available for pre-order May 25th, 2017, and will ship August 1, 2017.

Upon the series’ completion collected editions will be published in the U.S. by Pantheon Books and in the U.K. by Jonathan Cape.

« Older Entries