• List: Joe McCabe of FEARnet names "Five Horror Graphic Novels You Need to Read," including:
"The black-and-white scratchboard art of German comics creator Thomas Ott is without peer among today's comics artists. That Ott can also tell one helluva fun horror short story is almost icing on the cake.... This omnibus volume [R.I.P.: Best of 1985-2004] collects his three out-of-print albums... I've never read a Thomas Ott tale that was anything less than fantastic. Highly recommended."
"...[Richard Sala] has carved his own niche as perhaps the most twisted but brilliant cartoonist working in comics today.... Labyrinthine in its complexity and endlessly imaginative in its designs and characterizations, [The Chuckling Whatsit] tells the story of Broom, an unemployed writer who gets mixed up in a murder plot and the Ghoul Appreciation Society Headquarters (GASH), whose membership boasts more creepy eccentrics than the collected works of Edward Gorey."
• Review/Interview: After reviewing Yeah!, Vice's Nick Gazin asked writer Peter Bagge about some things that troubled him about the comic:
[Gazin:] The main feeling that the comic left me with was a crushing sense of hopelessness. With the exception of the cover art, the girls usually seem unhappy.
[Bagge:] Why?!? Well, I gave them troubled backstories, but they sure have a lot of fun at the same time.
[Gazin:] I guess I feel like Krazy, Honey, and Woo Woo don't usually look like they're having fun. They look troubled, upset, or angry in almost every panel. They go to other planets, but they usually don't enjoy it. Even when Woo Woo gets to date her rockstar crush, Hobo Cappiletto, she's too racked with guilt to be able to enjoy it. It seems like they're only having fun on the front and back cover.
[Bagge:] Good point! I guess I simply enjoy their misery. I'm a monster!
• Opinion: Help put Yeah! in perspective by reading Peter Bagge's essay "Raiding Hannah's Stash: An Appreciation of Late '90s Bubblegum Music" at Scram magazine
• Interview: At Comic Book Resources, Shaun Manning talks to Jason and Fabien Vehlmann about collaborating on their new graphic novel Isle of 100,000 Graves. Says Vehlmann: "I love his incredible and unusual style, and I didn't want to change it totally... So even if I created the entire story and the characters of Isle of 100,000 Graves, I also did kind of a 'forger-job,' trying to write as if I was Jason but also bringing my own private topics (death, childhood, etc...), which was a very exciting challenge." Manning says of the book, "Displaying all of the keen wit, sharp twists and disarming sincerity readers have come to love in books like Werewolves of Montpellier, I Killed Adolf Hitler and others, Isle of 100,000 Graves teams the artist known as Jason with writer Fabien Vehlmann for a wholly original adventure tale that pushes both creators in an intriguing new direction."
• Plug: "Get ready, because if you like comics in which monsters and barbarian wrestlers beat the living shit out of each other (and who doesn’t?), [Prison Pit Book Three] is probably going to be the best book you’ve read since Prison Pit Book Two." – Ben Spencer, Nerd City
• Profile: At the ABC News website, the AP's Matt Moore talks to Robert Crumb during his recent visit to New York City for his Society of Illustrators exhibit opening: "'It was never intended for that purpose, so it's always odd to see it on a wall, or under glass; it was intended for printing and books. It wasn't made as a wall hanging piece,' Crumb said in an interview with The Associated Press. 'For me, the printed copy is the magic moment. When I see it in print — that was the whole purpose of it.'" (AP Photo/Richard Drew)
• Interview: At Previews, a must-read chat with Gary Groth about our classic strip reprints: "The only criterion is that it’s great cartooning. We wouldn’t waste our time devoting this much time and energy to anything less. Our mission has been to publish the best cartooning — not only in comic strips, but in every 'branch' of the cartooning art — that we can."
• Interview: At Robot 6, Chris Mautner talks to Wilfred Santiago about 21: The Story of Roberto Clemente: "I was trying not to make it … biographies to me have a static feel to them. I was trying to avoid [that] and I feel like cartooning helps you in expressing the story and what you’re trying to convey thtorugh the story. It was difficult too because I wanted it to be cartoony and realistic at the same time. I wanted it to be fun. What’s important was that it was exciting; that it could almost speak. That you could read the book in a very sort of sharp-paced way but you could also take the time and read through it at your leisure."
• Interview: Matthew Baker of Vanderbilt University's Nashville Review has an epic chat with Anders Nilsen: "Really I feel like comics is just the most useful category to drop me into. I don’t feel like I’m wedded to comics as a medium. I draw, and I usually sort of tell stories, but I do make standalone drawings and paintings, and I do make stuff that is probably closer to poetry than comics. I’ve made books before that aren’t really comics — just a series of pictures, or diagrams, or whatever."
• Review: "Stunning and evocative and rendered in a cacophony of swirling miasmic lines, this fearsome modern parable is a fierce interrogation of faith and destiny which asks uncompromising and uncomfortable questions about the price of Grace and the value of belief. [...] Emotive, shocking and utterly compelling, Stigmata is a grotesque and beautiful metaphysical rollercoaster with existential angst and blind faith gripping each other’s philosophical throats and squeezing really hard. No rational reader or mature comics fan can afford to miss this dark shining delight." – Win Wiacek, Now Read This!
• Review: "This book beautifully captures the phantasmagoric flow of images that occurs in dreams. Mattotti's art is incredible. There are panels that are so intricate that I wonder how he had the time to draw so many of them. At 32 mostly wordless pages it's a very short book, but the imagery, like the panels of a child throwing a toy at a giant, or the panels showing a huge black bird carrying off a rabbit in a rainstorm, will stay with you long after you finish reading. If you like the intense, emotional, sometimes dreamlike artwork Mattotti did for Stigmata, you will love Chimera." – Jon Anderson, The Beguiling
[Editor/Marketeer's Note: You can get Chimera for half price when you order Stigmata!]
Spurgeon's comments on the book: "Santiago brings the same playful complexity to the story of the Puerto Rican baseball slugger and humanitarian that he's put on thrilling display in previous comics. Many of the pages are to die-for gorgeous, and Santiago routinely finds compelling visual solutions to communicating the physicality and grace of a player whose heyday was long enough ago we have more stories than film to go by. The insights into the man's personal life are perhaps even more engagingly portrayed. As biography, 21 is admirably restrained and leaves a lot to the reader's interpretation of what they're seeing on the page. It is a book bristling with intelligence that will bear re-reading in the same way that Roberto Clemente continues to invite our regard and admiration for his accomplishments on and off the field."
From Wilfred: "To an extent, that's Clemente. Clemente didn't waste much time. Everything was urgent to him. The pace of the book tried to capture that sort of non-pause, that sort of way of going forward without slowing down. He does have what you just said -- exuberance -- and that's such an important part of his life. So you approach it the same way. When you think about it, that's exactly the way he died, too. He could have slowed down."
• Plug: "A shooting star that brightened the game in the '70s, Roberto Clemente broke cultural divides and game records and grasps on just what a baseball athlete could accomplish inside a long-storied sport. Writer and cartoonist Wilfred Santiago brings a graphic novel  that details the bio of a beloved player still, decades after his abrupt death." – Mark Ruffin, Examiner.com
• Plug: "In his comics, the Swiss illustrator [Thomas Ott], 44, usually begins with a pencil drawing, then copies it with tracing paper. Then transfers the image to black paper and scrapes with the aid of a stylus. Too much work? Yes, but the technique, known as scratchboard, impresses. Check out... a small sample of the new album [R.I.P.: Best of 1985-2004] — a selection of nearly 20 years of work by the author — and dare to disagree. The images are disturbing, but beautiful." – Telio Navega, O Globo (translated from Portuguese)