Der AV Club hat Fantagraphics besucht, den vielleicht besten Verlag für Comics überhaupt. Im Archiv möchte ich ein Jahr lang wohnen und der Sortiertisch… der Sortiertisch!
Fantagraphics is the less crazy house on the block; the house next door is owned by a hoarder who practices witchcraft and adorns her property with strange hand-painted signs. By comparison, that house full of comic-book nerds practically raises property values.
It certainly would for comics fans looking to relocate, because this unassuming house on Lake City Way is a haven for comics’ past, present, and future. Fantagraphics began in the mid-’70s with its critically minded Comics Journal, but it helped define alternative comics starting in the ’80s. The company’s identity further evolved in the ’90s, with ambitious Daniel Clowes stories like Ghost World drawing mainstream attention, and Bagge’s Hate becoming an underground hit around the same time as Seattle’s music scene, in which it partly took place. Like a reliable music label, the Fantagraphics name entailed a certain quality assurance for anyone interested in boundary-pushing comics.
Fantagraphics’ output ranged from Roberta Gregory’s raw, hilarious Naughty Bits to Chris Ware’s meticulous, heartbreaking Acme Novelty Library to Charles Burns’ haunting Black Hole. More recently, it has branched out into handsome historical collections, like the ongoing Complete Peanuts project, which reprints Charles Schulz’s brilliant comic in its entirety, and collections of E.C. Segar’s Popeye and George Herriman’s Krazy Kat.
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