Krent Able Entretien de Rat Devil

Daniel Merlin Goodbrey is one of the most important and prolific pioneers in digital comics. He started his experiments around 2000, and set to explore numerous forms and uses of online publishing, from simple webcomics to full-on interactivity, designed for computers or tablets. As a logical consequence of his long time questionning about forms and tools, he recently started a professional doctorate at University of Hertfordshire and is involved in the Electricomics project.
In spite of all this, he remains strangely unknown in France, even among the little community involved in digital comics practice or research. This conversation is an attempt to sort out this paradoxical situation.

Having learned the ropes alongside the great Harvey Pekar, Ed Piskor had since discovered what seems to be the projet of a lifetime: the chronicle in comic form, and in great detail, of the birth and the emergence of the hip hop culture.

The comic world strives to break codes, kill borders, abolish standards. In these words, Max Andersson is one of his most faithful representatives. Introduced in France through the Association, which since 1997 publishes the works of this crazy Sweden, the man takes us by the hand and explores through its course the mazes of his universe. Mason of the dream, of the absurd, it wanders on the plains of an unknown territory and yet strangely familiar. It appears simple, whole, raw. It is only to better set up the world as an immense virgin canvas and project its strangeness. Between low temperature, high music, seductive indigestions and bitter humor, travel in a country where music is not always played where you are expected it.

Not many cartoonists can boast being married to their art — sporting a full wedding dress to boost! But Simon Hanselmann is definitely one of a kind: revolving around a small cast of characters, his prolific work manages to be both utterly politically incorrect and deeply endearing. To quote Lou Reed: Take a walk on the wild side.

In Northern America, fans of alternative comic books naturally head toward Seattle (Fantagraphic’s home), or Montreal (for Drawn + Quarterly). Probably that no one would have the idea to pass by Washington DC, a city mostly known for its federal administration and international organisations. However, DC is also home of a comic chain called Big Planet, which a few years ago started to partner with a Philadelphia-based publisher, Retrofit Comics. This publishing house started with mini-comics that would come out every month. Slowly, it increased its catalogue and is now developing projects that are more and more ambitious, thanks among other things to Kickstarter campaigns. Today, it publishes artists who are well-know and recognised (James Kochalka), younger people with already a strong track-record (Eleanor Davis), and very promising new comers (Sam Alden).

In spite of the success of the luminous adventures of Hilda, Luke Pearson also has a dark side. With Everything we miss, the young British author did bring a more ominous look on his fantastical universe, thus oscillating between the optimism of childhood and the anxieties of adulthood.

Does Sammy Harkham really needs any introduction? Both noted cartoonist (from Poor Sailor to Crickets) and famed Kramers Ergot editor, he had nevertheless maintained a low profile these past years, following the release in 2012 of a polarizing KE8 and a personal anthology with an ominous title (Everything Together)… that is, until 2015 came around, and became the stage for something of a re-invention.

With his fragile little stories, Simon Moreton follows in the steps of John Porcellino, sharing his attachement to self-publishing. After releasing the tenth and final issue of his ‘zine SMOO last year, it seemed a good opportunity to discuss his evolution so far, as well as his new project, Minor Leagues.