• List:Only the Cinema's Ed Howard concludes counting down The Best Comics of the Decade: the top 20 includes "The Lute String" (available in Mome Vols. 9 & 10) by Jim Woodring at #16 ("It's moving, funny, and as with all of Woodring's work it demands a close reading"), Alias the Cat (originally The Stuff of Dreams) by Kim Deitch at #14 ("It's funny, goofy, exciting and far-ranging in its imaginative nonsense accumulations, and throughout it all Deitch's fond sense of nostalgia for a world that never quite was lends emotional heft to the story's elaborate twists and turns"), Dash Shaw's Bottomless Belly Button and Mome stories (collected in The Unclothed Man in the 35th Century A.D.) at #13 ("Dash Shaw is an utterly brilliant young cartoonist who has, in a few short years, advanced from the academic experiments of his earlier work... into a formalist genius whose skills encompass both a natural gift for color and a feel for subtle, indirect characterization"), Safe Area Gorazde by Joe Sacco at #7 ("Joe Sacco is a unique figure in modern comics: there is no one else who combines sheer cartooning chops with a newspaper reporter's sensibility and instincts in quite the same way. ... Safe Area Gorazde [is] an especially powerful document of the effects of war"), the comics of Kevin Huizenga at #4 ("Kevin Huizenga is the best young artist in comics. It's as simple as that. With his recent Fantagraphics series Ganges (part of the Ignatz line of high-quality pamphlets) Huizenga has matured into one of comics' finest formalists"), Jimbo in Purgatory by Gary Panter at #2 ("The denseness of Panter's references and cross-references makes the experience of reading this book a truly overwhelming experience; every line, every image, spirals into multiple other references and ideas, pulling in the whole wide expanse of world culture as a stomping ground for Jimbo's wanderings through the Purgatory of modern existence towards enlightenment"), and the Love and Rockets Vol. II work of Jaime Hernandez (as collected in Ghost of Hoppers and The Education of Hopey Glass) in the #1 slot ("There is no greater all-around artist in modern comics than Jaime Hernandez, and his recent work builds on his past successes so that his oeuvre as a whole is shaping up to be one of literature's best sustained stories about aging and the shifting of relationships over the course of a life").
• Review: "The best argument that the underground tradition is still alive is Hotwire Comics, edited by Glen Head (one of the most underrated cartoonists around, incidentally). Hotwire Comics is a visual assault, abrasive, confrontational, willing to poke and prod the audience: a real live wire that can shock. Everything a good underground comic book should be." – Jeet Heer, Comics Comics
• Review: "Strange Suspense is a handsome book generally, with a fun front cover and a nice, sturdy, feel. As far as my eye can tell the work is reproduced well; admittedly, I have one of the worst eyes in comics for that sort of thing. It's nice to have a bunch of comics from this time period, particularly the grittier pre-Code or Fear of Code-Like Crackdown work. There are some truly repulsive pieces of throwaway pulp in this book's pages, and Ditko was more than up to the task of illustrating them." – Tom Spurgeon, The Comics Reporter
• Review: "Mother, Come Home is a subtle, dark story about death and madness and fantasy, tied together by symbols and the voice of an older Thomas looking back on his childhood. It's not bleak, though; Thomas survives his traumatic childhood, and perhaps Hornschmeier's lesson is that we all can, if we try — if we step outside our rituals and fantasies and reach out to each other, we can make it through." – Andrew Wheeler, The Antick Musings of G.B.H. Hornswoggler, Gent. (via ¡Journalista!)
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