Four Color Apocalypse 2018 Year In Review : Top Ten Special Mentions

And so we come to the most unusual of our year-end “Top 10” lists, this one looking at my ten favorite “special mentions” of 2018, and I suppose that some explanation is in order : simply put, a lot of great publications that came out of the comics world this year were, for lack of a better term (at least a better term than I can think of, you may fare better) “comics-adjacent,” in that they were by  cartoonists, but took the form of illustrated short stories, collections of drawings, etc. Also included in this category are publications about comics — ‘zines, scholarly works, and the like. Now then, with those ground rules in place —

10. Troubled Mankind Of The Modern South By Jeff Zenick (Self-Published) – One of the better pure illustrators working today, and one whose work consistently flies under the radar, Zenick’s collection of drawings based on mug shots found online of folks run afoul of the law below the Mason-Dixon line is his most conceptually “tight” offering to date, and captures the essential character of the desperation that leads to/ends in criminal activity far better than “mere” photographs ever could. A sobering, straight-forward look at the underbelly of society that most would rather pretend doesn’t exist.

9. Journal Of Smack (2018) By Andrea Lukic (Self-Published) – Lukic’s semi-regular journals are always fascinating, but her latest is like a “found object” from another time, place, and possibly even dimension, ostensibly telling an illustrated vampire story that circles back in on itself frequently — but what’s really going on here is something much deeper and more profound : preconceptions of what words and pictures can and even should do in juxtaposition are challenged head-on, shaken up, and re-arranged in new, unique, and even unsettling ways that are hard to explain, but undeniably powerful and instantly memorable.

8. Folrath #2 By Zak Sally (Self-Published) – The second installment in Sally’s ongoing prose memoir of his early-’90s “punk years” is no mere exercise in nostalgia for its own sake, but rather a gripping and evocative attempt to reconcile what one’s part even means — and how it never really leaves us, even when we think we’ve left it behind. The publication format here is also innovative and aesthetically pleasing, using riso printing and an “old-school” typeface to give the proceedings a wistful look that amplifies the tone of the writing.

7. But Is It — Comic Aht? Edited By Austin English (Domino Books) – Oh, hell yes ! The newsprint comics ‘zine had been in desperate need of a comeback for some time, and English is just the guy to resuscitate it. A thorough and comprehensive interview with the great Megan Kelso and an examination of the Mexican comics underground by Ines Estrada are the standout features to this critic, but the other reviews and articles are all tops, too. A true and obvious labor of love that you’re guaranteed, in turn, to love yourself.

6. Dog Nurse By Margot Ferrick (Perfectly Acceptable Press) – One of those rare “total packages” that has it all in terms of both form and content, Ferrick’s mysteriously heartwarming tale of a precocious but alienated child and her hired caretaker’s attempts to reach an understanding with her is lavishly illustrated, but equally lavishly presented between fastened hard covers on rich, French-fold pages. Well and truly stunning in every perspective.

5. Nocturne By Tara Booth (2dcloud) – Perhaps the closest thing on this list to a traditional “comics” narrative, Booth’s undeniably charming tale of a consequential evening in the life of a dominatrix, told by means of sequentially-arranged gouache paintings, is incredibly fluid, to be sure, but also far more conceptually dense than it may appear at first glance, incorporating themes of sexual identity, communal living, complex (and perhaps unhealthy) relationships with food, and body-image acceptance into a non-alienating, visually literate, wordless narrative. Some books leave a mark — this one casts a spell.

4. Accursed By Daria Tessler (Perfectly Acceptable Press) – One of the most gorgeous riso publications ever made, Tessler’s mind-bending visual interpretations of accompanying ancient Greek and Roman curses is a rich exploration of the timelessness of the urge for revenge rendered in a gorgeous and vibrant color palette that literally makes the already-“trippy” images achieve a kind of near-sentience as they draw you into a world unlike any other ever depicted. The die-cut cover with embossed ink and fold-out center spread will blow your mind if the contents haven’t already.

3. John, Dear By Laura Lannes (Retrofit/Big Planet) – A harrowing tale of emotional and psychological abuse manifesting itself outwardly in the form of physical deformation and mutation, Lannes has taken “body horror” to a whole new level by infusing it with social relevance — and her richly-black graphite renderings will not only take your breath away, but literally suck it right out of your body. I defy you to read this and not feel absolutely hollowed out afterwards.

2. The Woman Minotaur By Sara L. Jackson (Self-Published) – Sumptuous, beautiful, and horrifying all at once, Jackson’s painted short story revolving around themes of parental abandonment and alienation is as emotionally and psychologically charged as it is visually ambitious. A supremely self-assured work that establishes its own rules with fearlessness, integrity, and ingenuity, this is an entirely new form of artist-to-audience communication that goes right for the heart and twists it mercilessly.

1. Why Art? By Eleanor Davis (Fantagraphics) – Asking, and answering, its titular question by means more allegorical than expository, Davis’ deceptively “simple” illustrations and sparse, economic narrative shave off anything and everything superfluous and consequently “mainline” her story directly into readers’ metaphorical veins with an immediacy so nonchalantly assumed that its sheer power is immediately and automatically taken as a given.  A work of singular and undeniable genius — and that’s a word you will only catch me using when it’s not only warranted, but frankly inescapable. Davis makes her strongest argument yet for being the cartoonist laureate of our times.

So there you have it — ten great comics that weren’t exactly comics. Next up is our final list of the year, focusing on original graphic novels. That goes up tomorrow night, and may surprise you just as much for what isn’t included on it as what is. How’s that for a teaser?

4 thoughts on “Four Color Apocalypse 2018 Year In Review : Top Ten Special Mentions

  1. Pingback: 0/02/2019 Small Press & Indie Comics Galore: New Year’s Edition! — The Beat

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