Our debut publication! Buy it now at our store, or read about the method behind our madness here.
Family, loneliness, ghosts and murder in this impressive debut graphic novel.
A classic science-fiction tale gets a new, comics adaptation.
It's the end of the world as we know it, and I feel drunk.
Reviews of the better offerings from the spinner racks.
22 October 2011
It seems like the story could really take place anywhere, so why did you choose to set it in Scandinavia?
The story begins with an epigram from T.S. Eliot’s “The Wasteland” — did you draw inspiration from his work, or any other literary influences?
Your art has progressively become more confident as Hemlock develops. How much of a learning experience has making the comic been?
You mentioned that you’re still at university just now. What are you studying?
That’s probably a very apt description of what a cartoonist is! Are comics where you see your focus remaining in the future?
I think that's becoming a more and more important aspect of publishing these days, but you weaseled out of the question! To put it another way, then, who are some current cartoonists that you think deserve more attention?
Was it intimidating sharing a space with the likes of Roger Langridge, Carol Swain and Rian Hughes?
I know you've contributed to other anthologies, like Paper Science. Do you find that this allows you to experiment more with your comics?
Are there any of those contributions that you're particularly proud of?
I know that you’re a regular at the London MCM Expo. Have you found the British small-press scene to be quite supportive?
Yes, but the same can be said of graphic design communities, mainstream comics, indie comics, any art in general. I don’t notice it too much though because I have a hard time taking praise as well! I’m too busy looking at the flaws in my work — art school and Hemlock have turned me into a massive perfectionist. I’m never happy with my drawings for long, but I suppose that’s useful in that it helps me to keep trying to improve.
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Story and art © 2011 Iain Laurie
21 October 2011
09 October 2011
[T]o signify, through the shedding of an incongruous and artificial clothing, nakedness as a natural vesture of woman, which amounts in the end to regaining a perfectly chaste state of the flesh.
[T]he dance, consisting of ritual gestures which have been seen a thousand times, acts on movements as cosmetic, it hides nudity, and smothers the spectacle under a glaze of superfluous yet essential gestures...haughtily taking refuge in the sureness of their technique: their science clothes them like a garment.
Secret Acres, $20, ISBN: 978-0979960994
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Craig Thompson presents HABIBI