Twenty-five years later, Richard McGuire comes back to “Here”, a story like no other, initially published in the pages of RAW in 1989. In this twenty-five-year-span, the initial six pages have grown to become three hundred, without losing any of its singularity or its evocative power.

Those past two years have seen his first full-fledged graphic novel Goliath and the first collection of his Guardian cartoons You’re all just jealous of my jetpack — indeed, Tom Gauld has been particularly busy, and yet still manages to remain incredibly funny. And very, very British.

Without a doubt, the works of Tagame Gengoroh hold a very special place among the huge manga production: gay, openly pornographic and SM, they regularly feature musculary, manly figures, with no resemblance to the androgynous ephebes that are the standard fare in yaoi books. Welcome to this terra incognita.

For close to a quarter century, John Porcellino emerged with King Cat Comics as a central figure on the self-published field of comics, sticking to an approach that is both personal and fragile. With his unmistakable line and his stories dealing with the simple things in life, he has built along the years a unique and fascinating body of art.

One of the few artists who evolves with similar ease in both the world of comics and that of contemporary art, Canadian cartoonist Marc Bell has brought to life a very unique (and often overwhelming) universe — one animated by a very special sense of humor. Some of which might have creeped in the following interview. Be warned.

Since his debut thirty years ago, Jaime Hernandez (along with his brother Beto) hasn’t stopped influencing numerous generations of comic book writers, utterly seduced by the charms of those Locas in the pages of Love and Rockets. With The Love Bunglers (published in 2011) ou Browntown (2012), there is absolutely no doubt that he remains today as masterful and essential as ever.

«Comic Art Lab Hits US for First Time in Minneapolis» — the story on KTSP’s news (the local ABC affiliate) kicks off with a bang, delivered with with typical American poise and confidence. Two years after what had been its last edition in the Royal Saltworks in Arc-et-Senans (France), Pierre, Feuille, Ciseaux, laboratoire de bande […]

The Japanese manga production can often appear as extremely standardized, following the lead of the publishing powerhouses’ weekly and monthly magazines. Among what has undeniably become an industry, Matsumoto Taiyou emerges as a singular case: for a quarter of a century, he has been creating a highly personal and uniquely recognizable body of work, of which Sunny, his latest series, might well be the most intimate accomplishment.