On deck for this week’s Round-Up column we’ve got a quartet of self-published minis from astonishingly literate cartoonist Cole Johnson, who has staked out his own unique metaphorical patch of turf quickly and is plowing it for all it’s worth. As is the case with John Porcellino, the deceptively minimalist style Johnson utilizes conveys a tremendous amount of information and, more importantly, feeling with as little fuss and muss as possible, consequently allowing his lean illustrations to pack more emotional “wallop” per line than he should, by all rights, be able to convey. Each of these books (three of which are in full color, and it’s gotta be said that Johnson is also a superb colorist) collects a series of thematically-similar short strips which seep into the consciousness of the reader with a heady mix of subtlety and inevitability, and reading all four at once, as I did, definitely has…

The Lord giveth, and the Lord taketh away : in this case of director Faith R. Johnson’s 2017 “found footage” direct-to-video horror, The Faith Community, he (or she) appears to do a bit of both.

On the “giveth” side of the ledger, we’re not saddled with anything too extraneous here, plot-wise, in Johnson and co-writer Robert A. Trezza’s script : college-age students Hannah (played by Janessa Floyd) and Andrew (Aidan Hart) are devout Christians determined to win over their skeptic friend (and wannabe-filmmaker, he’s the guy “documenting” the proceedings) Colin (Jeffrey Brabent) and, to that end, they’re taking him to a much-talked-about “Bible camp” in the woods to experience the wonder of “God’s Green Earth” or something. It’s a simple, punchy premise that does the job quickly and succinctly, and once they arrive, shit gets pretty interesting — at first.

A rather graphic, even brutal, stage-play rendition of the…

It’s always a little bit tricky doing an advance review of a film that hasn’t been released yet — yeah, okay, this isn’t my first time doing it, but it’s been awhile — but when a quick Google search lets you know that your appraisal will be the first posted anywhere? Then you’re playing with fire, at least to a certain extent. I mean, a lot’s going to hinge on what you have to say — hell, in a very real sense, the success or failure of the flick in question rests at least partially on your shoulders.

You’ve got some real freedom, though, too — no one can say other opinions influenced yours, no one can accuse you of being part of an “echo chamber,” no one can point out similarities between what you’ve written and what someone else has. Not that anyone’s ever said that about my stuff…

We’ve all been there — dead-end job, dead-end love life, dead-end existence. In his previous autobiographical minis, Chicago-based cartoonist Mike Freiheit has dwelt on these issues in exacting (and often hilarious) detail, but in his longest work to date, the impressive and ambitious graphic novel (parts of which were also previously issued as self-published mins) Monkey Chef, we learn what he did when he hit the proverbial wall after too many years in New York — and let’s just say that the “escape route” he chose was an unconventional one in the extreme, one that makes for fascinating memoir material.

In short : he takes on a gig as a cook at a primate sanctuary in South Africa, where he prepares and serves up  food for both the “residents” (monkeys) and staff (people, not that you needed me to tell you that). The stage is all set for a…

From the best anthology comic in a decade to the best ongoing mini, this week had plenty to offer yours truly. It’s late as I write this, I’m tired, but I’m also enthused to talk comics, so let’s do just that —

I’m not sure what it is about fourth issues of anthologies, but in much the same way that Kramers Ergot #4 threw down the gauntlet and shouted “this is where comics are now, and this is where comics are going — dare you to stop us!” way back in the halcyon days of 2008, editor Eric Reynolds has assembled the very best of the best of veteran and emerging contemporary cartoonists to make much the same declaration here in 2018 with Now #4, which marks not only the (temporary?) pinnacle of this Fantagraphics series to date, but also something of a high-water mark for the anthology format in…

All good things, as they say — and while Noah Van Sciver’s annual (or thereabouts) Fantagraphics-published Fante Bukowski series has been a very good thing indeed, by and large (we’ll get to its “big flaw” in due course), it’s usually a safe bet to wrap up a project before any kind of creative staleness sets in. To that end, then, when I heard that A Perfect Failure : Fante Bukowski Three would mark the final chapter of what what was now officially a trilogy, it sounded to me like the right thing to do — but now that the book has arrived (or, whoops, will arrive soon, this is an advance review, after all), has Van Sciver indeed checked out at the correct time?

Okay, fair enough, Noah himself isn’t “checking out” of cartooning (in point of fact, 2018 has been as busy a year as ever for him…