When I was starting out as an illustrator, I stumbled into two art director jobs, first at the innovative New York Herald Tribuneand then at The New York Times. Working with great journalists gave me the startling idea that a comic strip could have no better subject matter than real life. This led me to create my popular comic strip “Stan Mack’s Real Life Funnies,” which ran in The Village Voice and reported on the rowdy New York city of the '70s and ‘80s. Back then, I was alone in combining real-life stories with comics; today many artist-writers use the comic strip format to tell complex and multilayered true stories of the human experience.
I met Kevin Sacco when he was an advertising storyboard artist. Kevin knew how to sell the story of an ad simply and dramatically in a series of graphic panels with an economy of words. In Sevenoaks, I see the same brain at work. His book is based on his life: a ‘60s-era New York City high school kid sent to an elite private school outside London. Sacco’s distinctive elongated and restrained figures, beautifully drawn geometric and airy cityscapes, and genial pace can lull one into a sense of calm, so that his moments of high and even magical drama slice more deeply into the emotions. One might be surprised to discover an unexpected tear.
In the summer of 1966, aspiring artist Kevin Sacco learns that his family is moving from New York City to London-and that he will be attending
Sevenoaks, a traditional boarding school in the English countryside.
At first considered a "Yank" outsider with limited academic or sports acumen, Sacco gradually comes to experience and understand this life of rugby, cold showers, new friendships and discipline. Letters between Sacco and his best friend in New York serve to compare his cloistered life at Sevenoaks to the life that he would be living back home: a life touched by drugs, anti-war sentiments and…
As a kid, I was obsessed with the fantastical, especially when it came to books. I was constantly trying to find my own door to Narnia to go off on an incredible adventure. While I never found a door that led to another world, I found that books offered me a similar experience…and all from the comfort of my fave places to read. Magic is still something I’m enthralled with and love exploring in books I read as well as the ones I write. And these are some of my favorite magical graphic novels.
If, like me, you’re a fan of Studio Ghibli films like Spirited Away or Ponyo, then this graphic novel is for you. It not only tackles a story revolving around growing up with magic but it adds in many other things that many of us have struggled with such as family expectations, living up to your potential, and more. Of course, everything feels a little more exciting when magic is added to the mix, but those themes that exist in the real world ground this story and allow for a strong connection to Sophie, our young protagonist.
Perfect for fans of Studio Ghibli and The Tea Dragon Society, this is a magically heartwarming graphic novel about self-acceptance and friendship.
Sophie is a young witch whose mother and grandmother pressure her to attend the Royal Magic Academy—the best magic school in the realm—even though her magic is shaky at best. To train for her entrance exams, Sophie is sent to relatives she’s never met.
Cousin Sage and Great-Aunt Lan seem more interested in giving Sophie chores than in teaching her magic. Frustrated, Sophie attempts magic on her own, but the spell goes wrong, and she accidentally entangles her…
Environmental storytelling in comics is something that I’ve always admired and want to be better at. As a cartoonist I’m always thinking of better ways to tell visual stories, because it’s fun.
Olivia Stephens is one of the most skilled cartoonists of our generation. I was lucky enough to blurb Artie: Artie and the Wolf Moon, like all of Stephens’ work, is heartbreaking and heart-mending, gorgeously and lovingly rendered with a voice and eye for the gentle and powerful ways characters interact with one another…“ Like the best graphic novels set in the Pacific Northwest, Artie’s story could not be told without dense forests that hold both danger and sanctuary.
“A heartfelt, magical family drama you can really sink your teeth into.” ―Nilah Magruder, M.F.K.
After sneaking out against her mother's wishes, Artie Irvin spots a massive wolf―then watches it don a bathrobe and transform into her mom. Thrilled to discover she comes from a line of werewolves, Artie asks her mom to share everything―including the story of Artie's late father. Her mom reluctantly agrees. And to help Artie figure out her own wolflike abilities, her mom recruits some old family friends.
Artie thrives in her new community and even develops a crush on her new friend Maya. But as…
Gorgeous to behold,
this graphic novel opens from the seeming-ending, because it was originally
written in Arabic, which is read from right to left.
Despite mainly being in
black and white, it draws the reader in, more easily than blue Will Smith, to
ask deeply philosophical questions – what do people want, and why? – which turns
personal – what do I want, and why? – in the back of the mind, while the brain
engages with sympathetic characters Aziza, Nour, and Shokry, who fight against
corruption, depression, dragons, and the patriarchy, one wish at a time.
A brilliantly original debut graphic novel that imagines a fantastical alternate Cairo where wishes really do come true. Shubeik Lubeik—a fairy tale rhyme that means “your wish is my command” in Arabic—is the story of three people who are navigating a world where wishes are literally for sale.
“The mythic qualities of Mohamed’s world bring our own world into sharper focus . . . Mohamed’s humor often feels like a protest, as do the thick and assertive lines of her drawings . . . The effect is gritty, brazen, and full of spunk.”—The New Yorker
Diving headfirst into the enigmatic realm of eromanga and hentai, this book offers a captivating exploration of a genre often relegated to the shadows. Beyond the censorship laws and far from the mainstream gaze, eromanga and hentai have forged their own distinct visual language, a world rich with peculiarities such as the nipple after image, cross-section views and erotic onomatopoeias, not to mention the infamous ahegao expression.
Though somewhat academic in nature, this book is a fascinating journey into the heart of a comic subculture that has thrived beyond the gaze of polite society.
While manga is now a well known entity in the global publishing scene, the medium's international success has its roots in the realm of eros. Japanese media critic Kimi Rito dives into the history of manga's erotic world a genre known internationally simply as - hentai.
What are the origins of hentai? How has it evolved from the days of ukiyo-e to today's modern comics and animation. Who are the people making hentai? And who are the people reading these works? And what is the medium ultimately trying to express beyond sexuality? Rito looks at the content from a number…
This is a hefty graphic novel, but it never feels like too much. It’s a snapshot of a time and place, three college girls visiting New York City for five days, and there’s not an overload of plot, but it still flows along sweetly.
It’s printed in tri-tone, and there are pages that simply evoke the sights and sounds (and even smells) of New York. The characters are presented simply, but their complexities are brought to life through their interactions with each other and their surroundings.
I went in with zero knowledge of who these kids were and came out feeling as though I knew them personally. It brought back memories of kicking around a city, at once aimless and with purpose, where nothing much changes, but everything’s different.
Spring Break, 2009: Five days, three friends, and one big city. Roaming marks a triumphant return to the graphic novel and a deft foray into new adult fiction for Caldecott Medal authors Jillian Tamaki and Mariko Tamaki. Over the course of a much-anticipated trip to New York, an unexpected fling blossoms between casual acquaintances and throws a long-term friendship off-balance. Emotional tensions vibrate wildly against the resplendently illustrated backdrop of the city, capturing a spontaneous queer romance in all of its fledgling glory. Slick attention to the details of a bustling, intimidating metropolis are softened with a palette of muted…
I had been an exhibiting painter and an editorial cartoonist for years, but never a graphic book artist. Not until A Revolution in Three Acts. I was fortunate to have great guidance: my buddy David Hajdu (Positively Fourth Street, Lush Life, The Ten Cent Plague) wrote the words, did the research, and created the blueprint of every page and panel. My job was to lock myself up in my studio and draw, draw, draw. I think David and I did justice to three amazing figures of the American stage who dealt with the shifting societal forces of race, femininity, and gender: Bert Williams, Eva Tanguay, and Julian Eltinge.
This is the backstory of Spiegelman’s two-volume masterpiece.
What was the impetus for MAUS?
How did comic creatures find their way into a Holocaust narrative? What were the reactions to such a unique
merging of cartoons and historical horror? How has Spiegelman dealt with the
book’s tremendous reception?
The book answers these questions with many interviews,
photos, explanations, and reflections. Even agent and publisher rejection
letters are included.
NATIONAL JEWISH BOOK AWARD WINNER • Visually and emotionally rich, MetaMaus is as groundbreaking as the masterpiece whose creation it reveals.
In the pages of MetaMaus, Art Spiegelman re-enters the Pulitzer prize–winning Maus, the modern classic that has altered how we see literature, comics, and the Holocaust ever since it was first published twenty-five years ago.
He probes the questions that Maus most often evokes—Why the Holocaust? Why mice? Why comics?—and gives us a new and essential work about the creative process.
Compelling and intimate, MetaMaus is poised to become a classic in its own right.
I started drawing comics in the first grade and have never stopped. My syndicated comic strip, Cow & Boy, ran for eight years, and now I write and draw the middle-grade fantasy series Quest Kids. I am so fortunate to have cobbled together my love of comics into a career and to have been inspired by so many talented people along the way. Below is a collection of some of the best.
My newspaper comic strip had just finished its run, and I was looking for my next big thing. That’s when I came across Diary of a Wimpy Kid.
The drawings were simple and hilarious, and the clever writing didn’t seem to be just for kids. Greg Heffley has this flawed prickly everyman edge which makes him easy to identify with. But as good as this book and series are, I was more impressed with the new way Jeff Kinney had found to sneak comics into chapter books.
The launch of an exciting and innovatively illustrated new series narrated by an unforgettable kid every family can relate to
It's a new school year, and Greg Heffley finds himself thrust into middle school, where undersized weaklings share the hallways with kids who are taller, meaner, and already shaving. The hazards of growing up before you're ready are uniquely revealed through words and drawings as Greg records them in his diary.
In book one of this debut series, Greg is happy to have Rowley, his sidekick, along for the ride. But when Rowley's star…
I always used to want to sleep with a nightlight. Then one night my dad said, “what does it matter, if when you close your eyes it’s dark anyway?” That’s when I realized, he was completely right. I'd been vulnerable to monsters this whole time and since none of them had tried to snack on me yet, then that must mean some were friendly… right? The only way to be sure was to learn more about them. So, I did. Here's a list of some of my favorite middle grade books featuring monsters. Because the only thing better than a book about a monster, is a book about kiddos that they scare or befriend.
There is nothing more fun than a rag-tag group of kids living in a tree house and battling monsters, zombies, and whatever else bleeds into their dimension.
Max Brallier does an amazing job of tapping into a middle grader’s pituitary. What he squeezes out is a thrilling and hilarious roller-coaster of an adventure. Just writing this makes me want to take the ride all over again. And I didn’t even mention the art yet either.
Douglas Holgate draws monsters so cool, that they are often drool inducing. Seriously. Do a Google search if you don’t believe me.
'Terrifyingly fun! Max Brallier's The Last Kids on Earth delivers big thrills and even bigger laughs.' Jeff Kinney, author of Diary of a Wimpy Kid.
SOON TO BE A MAJOR NETFLIX SERIES!
'Forty-two days ago I was an ordinary kid, living an uneventful life. But now it's TOTAL MONSTER ZOMBIE CHAOS and I'm battling beasts on a daily basis. Crazy, right? But I know exactly how to make it through the zombie apocalypse.'
Meet Jack Sullivan, self-described as a late-blooming, slow-developing 13-year-old who has so far survived the zombie apocalypse by hiding out in his treehouse. Overnight Jack's life has…
As an author and illustrator, I much prefer to present my writing with visuals. It’s how I write, by “seeing the story” in my mind. I have written and illustrated many graphic novels and comics on my own and as a part of a team. The art in comic books can be so much work it is often broken into stages: penciled art, then inked, and then colored. These graphic novels are some of the best magical stories for kids that I’ve ever read, and as someone who reads all the time, that’s saying a lot.
Coraline and her very preoccupied parents move into their new house. They seem to have very little time for her. While exploring the house, she finds a little door that takes her to another house. One that is exactly the same but different. Her “other” parents are doting on her, and aside from the fact that they have terrifying buttons for eyes, they seem to love and need her around.
This is the graphic novel version of the creepy story that captivated so many kids by Neil Gaiman and the first visualization of the story before it was animated. I have always loved this version illustrated by P. Craig Russell.
When Coraline moves to a new house she is fascinated by the fact that their house is in fact only half a house. Divided into flats years before, the other flat, it soon becomes clear to Coraline, is not quite as cosy and safe as her own.
