E.S. Glenn | Through the Shattered Lens

Toward the tail end of last year, a nice-looking squarebound anthology arrived my way courtesy of its editor, Chad (In Amsterdan) Bilyeu, and to say its contents lived up to its impressive presentation is putting it mildly — probably far too mildly, at that. Co-published by Bilyeu’s own Bistro Books imprint in association with De Stichting Openbare Bibliotheek Amsterdam (who lists one Gabriel Ercicia as the project’s “Executive Producer”), Megillah #1 eschews a central theme in favor of a central idea – giving six artists eight pages each to do with as they see fit. Did I mention already the results are impressive? I believe I did.

Underneath the appealingly disturbing cover by EKS Graphics/Iva Spasojevic we find stories that well and truly run the gamut from memoir to slapstick superhero revisionism to surreal caper to just plain old surreal, each distinct in its “stand-alone” nature, yet all combining to form a makeshift tapestry that, to drag things back to the cover, “stitches together” in a kind of haphazardly fluid fashion. Aside from the length of each contribution, they don’t have a hell of a lot of similarities other than being good, but in the end, that’s what an anthology — in this critic’s humble (I hope) estimation — should do : provide an expansive view of what’s happening in the various corners of the indie comics world and let the chips fall where they may. As a primer of sorts, then, this is about as polished as they come, and anyone new to “the scene” is sure to discover a couple of artists (at least) whose work they feel sufficiently compelled to track down more of.

“Ah,” you say, “but what about us grizzled veterans?” Never fear, our particular needs and whims are catered to, as well — I mean, who’s going to say no to new, exclusive work from favorites like James The Stanton, E.S. Glenn, and even the legendary Bernie Mireault? And while fellow contributors Eryc Why, Maia Matches, and Larie Cook are not, as yet, “household names” for many of us, they *all* demonstrate the chops to make a solid case that one day they will be. Yes, of course, some stories are better than others, that’s to be expected, but I kid you not in the least when I state for the record that I don’t consider there to be so much as a single, solitary “clunker” in the bunch.

If unique auteur visions are your bag, this package offers six of them, all at various points along the curve in terms of their tethering to consensus reality — what they unquestionably have in common, though, is that they’re all exceptionally well-drawn, make the most of the book’s top-quality production values (the coloring on each and every strip will impress the shit out of you), and understand how to make the most of the unique opportunities afforded by the short-form comics story. There’s some wild stuff on offer, sure, you’ve probably already figured that much out, but each is narratively-based and formally recognizable as a discrete entities unto itself — what Bilyeu has done that further sets this apart from other anthologies, though, is that he’s arranged them in a de facto “running order” that ensures for smooth transition from one to the next even when their themes don’t necessarily logically “mesh” in any concrete way. All of which is me saying read this thing cover to cover without skipping around — you’ll be glad you did.

According to the definition provided on the inside front cover, a Megillah is a “long, involved story or account,” and while some of these strips do pack a lot into a comparatively tight space, I’d be lying if I said any of them felt “long” because, well, they aren’t. What they most assuredly are, though, is involving in the extreme, to the point where you won’t be ready for some to end. That’s okay, though, right? I mean, it’s preferable to any of them over-staying their welcome, that’s for sure. And besides, you can always go back and re-read any or all as you see fit — as I’ve done myself. Twice so far. With more to come, I’m sure.

Count me as a true believer, then — and a firm one, at that — in what Bilyeu is doing here, and I’m curious (as well as anxious) to see where this project goes next. I’d love to see a rotating cast of returnee artists with newcomers mixed in, but hey — it ain’t my show. I’m more than happy to trust our tour guide. And you should be more than happy to take this inaugural trip. Bring on number two, please!

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Megillah #1 is available for a well-spent $12 from any number of places, but for North American readers I’ll direct you to our friends at Birdcage Bottom Books, where you can find it by clicking on https://birdcagebottombooks.com/collections/comic-books/products/megillah?variant=41235668664496

Also, this review is “brought to you” by my Patreon site, where I serve up exclusive thrice-weekly rants and ramblings on the world of comics, films, television, literature, and politics for as little as a dollar a month. Subscribing is the best way to support my continuing work, so I’d be very appreciative if you’d take a moment to give it a look by directing your kind attention to https://www.patreon.com/fourcolorapocalypse

And so it begins : with the end of the year breathing down our necks, it’s time to take stock of the best (by my estimation, at any rate) comics of 2021, broken down, as usual, into six different categories so as to avoid the goofy shit you find elsewhere — like, say, a 12-page mini having to “compete” against a 400-page graphic novel, or a book of reprinted material being judged by the same standard as all-new stuff. My goal is to get three lists done this week, then do three more next week, beginning with the TOP TEN SINGLE-ISSUE COMICS, which means stand-alone “floppy” comics or minis, or single issues of ongoing series which were one-offs — any series (limited or ongoing) which saw two or more issues released in 2021 will be eligible in the TOP TEN COMICS SERIES category. Sound good? Let’s do this :

10. God Bless The Machine By Connor McCann (Strangers Fanzine) – An acid-trip science fiction conceptual free-for-all that takes dead aim at vapid celebrity worship and global media consolidation while never forgetting to be a ton of fun along the way, McCann’s comic is equal parts timely as hell and decades ahead of its time. If you miss the days when comics were insane, fun and insanely fun, I’ve got good news : they’re back.

9. Birth Of The Bat By Josh Simmons (The Mansion Press) – Simmons’ latest “Bootleg Batman” comic continues his trend of de facto deconstruction by taking the character of the Caped Crusader to its logical extremes — which is to say, well past the point of disturbing absurdity. Where some are content to merely mine the so-called “Bat mythos” for all its worth, Simmons strip mines it — and yet always seems to have more to say on the subject.

8. Epoxy #6 By John Pham (Self-Published) – Another sumptuous riso-printed feast for the eyes from the modern master of hand-printed comics. Who can say no to more “J+K” hijinks, another installment of “Deep Space,” and fold-outs and inserts galore? I know I sure can’t. Long may this series continue.

7. BUM : Unsmooth #2 By E.S. Glenn (Floating World Comics) – Glenn blows the doors wide open with this formally experimental, genre-hopping tour de force that plays with convention in the best way possible : by utilizing it for the artists’ own ends. Shifting styles as frequently as it shifts tone and perspective, this is one of those comics that leaves you with more questions than answers while all the time making its own kind of highly-specialized “sense” along the way. Ambitious, multi-layered, and metatextual, this is auteur work of the highest order.

6. The Future Is An Open Mouth By Dustin Holland (Self-Published) – Speaking of auteur comics, Holland produces nothing but, and this represents probably the most successful synthesis of his idiosyncratic creative vision with the always-nebulous concept of reader “accessibility.” Which is to say, it’s fucking ecstatically weird, but you’re never lost within its hermetic “universe.” Like all the best art, its borderline-impossible to define what makes Holland’s work so special, you just know that it is.

5. Dear Mother & Other Stories By Bhanu Pratap (Strangers Fanzine) – Arguably the year’s most disturbing work both conceptually and visually, Pratap’s full-length debut challenges notions of identity, bodily autonomy, and intrinsic need on levels both macro and micro. If you don’t think there can be beauty in nihilism, think again, but be warned : the more you do think about this comic, the more sleep you’ll lose.

**4. *Burg Land 1 – Sleemore Gank* By Alexander Laird (Self-Published) –** The most imaginative sci-fi comic to come down the pike in a hell of a long time, Laird’s loosely-paced but tightly-plotted opening salvo of what promises to be a sprawling sci-fi opus is breathtaking on *every* level, creatively and technically, rivaling the riso production values of even the esteemed (and aforementioned) Mr. Pham. Sure, this comic is a clinic on the art of so-called “world building,” but it’s got more than enough heart to match its brains, and *that* makes all the difference.

3. Speshal Comics, Edited By Floyd Tangeman (Dead Crow) – Essentially a “bonus issue” of Tangeman’s groundbreaking Tinfoil Comix, and showcasing the work of many of the same cartoonists who have appeared in that anthology, the strips in this one all honor the late Bay Area artist/tagger Evan “Spesh” Larsen, and while I admit I never knew the guy, this comic sure makes me wish that I had. This is no mere “tribute” publication, however — rather it’s a celebration and examination of an artist, his ethos, and his body of work as seen from multiple points of view, and well and truly runs the stylistic and tonal gamut. “Spesh” himself may be gone, but this comic is a monumental legacy in and of itself.

2. Scat Hog Volume One By Cooper Whittlesey (Self-Published) – Every year it seems a comic comes from out of left field and knocks me for a wallop. This year, that dubious “honor” belonged to this collection of Whittlesey’s straight-from-the-id strips, scrawled with all the energy and urgency of self-exorcism and not so much released into the world as it was thrust upon it. Still, in my defense, nothing can really prepare anybody for this torrential onslaught of unleashed artistic imperative. Shock and awe, baby — emphasis on the latter.

**1. *Crashpad* By Gary Panter (Fantagraphics) –** A bit of a cheat here in that this is an oversized hardcover book *as well as* a “floppy” single issue, but if anything is worth bending the rules for it’s this, Panter’s love letter to the underground. And while it holds true to many of the precepts of its artistic progenitors, it never takes the easy way out by wallowing in nostalgia — instead, Panter takes inspiration from the past to do what he does best : show us a way *forward*. Far out? Sure. But don’t be surprised if this one takes you on a journey *inside*, as well.

Okay, that’s one down, five to go — next up we’ll be looking at the TOP TEN COMICS SERIES. Until then, a reminder that my Patreon is updated three times a week with whatever is on my mind on the subjects of comics, films, television, literature, and politics. Depending on who you are, your support either is or would be greatly appreciated. https://www.patreon.com/fourcolorapocalypse