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Matt Seneca

Charles Forsman On Minicomics & Being Compared To Charles Schulz For His Work On ‘TEOTFW’ [Interview]

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Charles Forsman’s recently concluded 16-part miniseries The End of the F**king World (or TEOTFW in Fantagraphics’s upcoming bookstore-friendly collection) is a rare bird, especially in today’s near-completely Balkanized comic book market; a genuine crowd pleaser.  I’ve worked in comic book shops since before I started high school, and what pains me the most consistently about the otherwise delightful years I’ve put in is how little comics communicates with itself.  The way so many comic book readers retrace their footsteps every Wednesday to the same superhero comics they bought last week, or the same mini comics they bought last week, or the same “indie” comics, or whatever is most familiar.  As a fan of comics the medium more than any one set of stylistic gestures, I always just wish that everyone would reach across the aisles and try a little bit of everything.  Of course, the reading public is hardly to blame for walking around in the blinders clapped on by an industry more comfortable with rehashing the stories that played five years ago or cannibalizing the signifiers of so-called “nerd culture” than creating books that honestly appeal to a wide group of people.

For the past year and change, though, TEOTFW did exactly what I wish every comic had the ability to do: grabbed anyone who took a look and forced them into a deeply compelling story much easier to stay inside of than leave.

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Duet On ‘Solo’, Part Twelve: Brendan McCarthy

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Published between 2004 and 2006, Solo was a DC Comics anthology series with an innovative twist: each issue was created from the ground up by a single cartoonist and collaborators of his own choosing. Edited by DC's head art

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Duet On ‘Solo’, Part Six: Jordi Bernet

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Published between 2004 and 2006, Solo was a DC Comics anthology series with an innovative twist: each issue was created from the ground up by a single cartoonist and collaborators of his own choosing. Edited by DC's head art

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The Uncommon Excellence of ‘Untold Tales Of The Punisher Max’ #2 [Review]

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It's always a pleasure when a comic like this one comes along, and it's been a while, too. With the two big superhero comics publishers doubling down on their attempts to transform the ramshackle issue-by-issue chronicles of costumed mystery men and their bizarre adventures into slick franchise-ready "IP," it's becoming harder and harder to invest oneself as a reader in the Marvel and DC universes if you aren't interested in following along with the books' overarching master narrative. I know I'm not

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Guido Crepax’s ‘Valentina’: The High Water Mark of Pornographic Comics

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There's a fundamental problem underlying all erotic work done in the comics medium, one even more difficult to get past than the lack of audible sound and visible motion bedeviling the action-oriented material that dominates the form's American market. How does o

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Report from the Brooklyn Comics + Graphics Festival 2011 and a Look at ‘Kramers Ergot 8′

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I took a plane from Hollywood across the country to the third annual Brooklyn Comics and Graphics Festival. One weekend. A lot of hassle, a lot of money, a lot of time that could be spent doing much more responsible things. I didn't even h

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