The comic series will be 12 issues of ‘subversive, stand alone stories that are all part of a larger, twisted narrative.’
Hip Hop Family Tree creator Ed Piskor will debut his first creator-owned, shared universe in a new comic, Red Room, which debuts in May from Fantagraphics.
“Red Room is a cyberpunk, outlaw, splatterpunk comic that you can’t unsee once you feast your eyes on the mayhem,” said Piskor in a press release. “Think of Red Room as modern day E.C. Comics, infused with the dream of Black Mirror. These are subversive, stand alone stories that are all part of a larger, twisted narrative.”
Piskor has been sharing pages from the new project on his Patreon, where he decsribes it as “an outlaw, splatterpunk epic in the funnybook tradition of Faust, The Crow and other comics that make parents nervous.“
See what the Seattle publisher will release in the first eight months of 2021.
I keep saying things like, “Man, am I going to be happy when the dumpster fire known as 2020 is finally over,” to which my wife will respond, “Hey, 2021 may not be any better.”
But here’s the thing: what my wife doesn’t realize is that 2021 has the distinct advantage of having a new Barry Windsor-Smith graphic novel coming out, courtesy of Fantagraphics. So take that, 2020.
Windsor-Smith’s Monster isn’t the only graphic novel the publisher will release, of course. They recently dropped us a note highlighting 16 other titles they have planned through August, along with their full winter and summer catalogs.
Here’s a rundown of some of the highlights you can expect from the Seattle publisher next year:
The cartoonist, writer and teacher talks about his latest book, ‘Nobody Left,’ and much more.
Mr. Fish is a cartoonist, writer and teacher who’s had three books out this year. Nobody Left was a collection of interviews, essays, comics and artwork. He illustrated the book The Day the Rats Vetoed Congress, a political satire written by Ralph Nader. He also edited and drew much of Long Story Short, an anthology of artwork about great works of literature.
The three books are very different and cover a lot of intellectual and emotional ground and we were able to talk recently about politics and activism, the role of art and artists, and what satire really can be.
The artist of ‘The Cloven’ discusses his latest project, working with Garth Stein, the intersection of his art with his music, and more.
Matthew Southworth has been working in comics for years, pencilling and inking a long list of projects, but the odds are that most readers know him for Stumptown. He and writer Greg Rucka made two miniseries about the Portland private eye Dex Parios, and while never a bestseller, the book is beloved by its fans and the basis for the current television show on ABC.
Southworth’s new book is The Cloven, a collaboration with writer Garth Stein that was released by Fantagraphics this summer. The comic is about James “Tuck” Tucker, a genetically modified human who escapes from a research lab to live in the Pacific Northwest. And while the story sounds familiar, what Southworth and Stein do with the story is much less so. Southworth has always been an artist interested in mood and atmosphere, using pacing and color to play with the tone in different ways, and The Cloven is his most masterful work yet.
The author of ‘The Art of Racing in the Rain’ talks about ‘The Cloven,’ his graphic novel collaboration with artist Matthew Southworth.
Garth Stein is an author, playwright, filmmaker and former race car driver who most people probably know for his international bestseller The Art of Racing in the Rain. His latest project adds another descriptor to the list — graphic novel writer. Stein has teamed up with Stumptown artist Matthew Southworth for The Cloven, a three-part graphic novel series being published by Fantagraphics.
The Cloven is the story of a genetically modified human named Tuck, who is a cross between a human and a goat — a Cloven. While Tuck just wants is to live a normal life as a university student, it all goes to hell when he shows a girl his hooves. It’s a story of labs, family, loss and community, set in the streets of Seattle and the surrounding area, as Tuck searches for a place in the world. It’s also a beautiful graphic novel, showcasing the talent and skill of its creators.
Part one of the planned trilogy came out at the end of July, and Stein was kind enough to talk with me about it, working with Southworth and Fantagraphics, learning the language of comics and a whole lot more.
Mail Call is a roundup of the announcements we received from publishers in our mailboxes recently. Hit the links for more information.
Fantagraphics is holding a 40% off clearance sale on their website right now, which ends this Saturday. There’s a lot of good stuff to choose from, including volumes of the Mome anthology, Dungeon Quest, some Michael Kupperman books, Roger Langridge’s Fred the Clown and more.
Fantagraphics will publish the 360-page graphic novel next year.
Fantagraphics has announced that they will publish Barry Windsor-Smith’s long-in-the-making Monsters next January.
Monsters is a 360-page graphic novel that has been in development for 35 years. The publisher describes it as “part familial drama, part espionage thriller, part metaphysical journey — in sum, an intimate portrait of individuals and an epic political odyssey spanning two generations of American history.”
“After putting so much time and investing so much creative energy in this project,” Windsor-Smith said in the press release, “I’m pleased that it’s finally being published.”
The creator of the award-winning ‘The Dead Father’ discusses his latest work for Fantagraphics’ ‘Now’ anthology.
Sami Alwani is a Toronto-based cartoonist and illustrator who, by his own admission, works slowly, but in the past few years has produced a number of comics for Vice, Broken Pencil and other publications. He received a 2018 Doug Wright Award for his comic The Dead Father.
Alwani has a new comic in NOW #8, the current issue of the Fantagraphics anthology. The Misfortunes of Virtue isn’t just a good comic, but I would argue it’s Alwani’s best work to date. We spoke recently about life during lockdown, working slowly and where that title comes from.