Reviews - Illustrated Fiction 17

Slam Bang is a must have for mini comic fans and collectors. At $9.95 it's a great value for a 150-page sampler from several dozen of today's indie comics scene creators. This edition's theme is music and all of the comics inside are centered around, or at least loosely connected, to music. In fact, there's even an anthology CD, with fifteen songs, tipped onto the inside back cover.

What I like best about Slam Bang is the diversity of the contributors. The storytelling approach and styles are varied, but many of the cartoonists inside have been at this for years and their work reflects their experience. Here's a list of the full contributors and a few sample panels from most:

Front cover by Charlene Chua
Inside front cover by Brad W. Foster
Content page by Allen Freeman

Wish You Were Here story by Adam Wilson, art by Luisa Russo (6 pages)

The Coconut Club by Dan Burke (2 pages)
Jimi Hendrix by Allen Freeman (2 pages)
Faith by Marjaz Bertoncelj (1 page)

Just a Fear by Anton Bogaty (4 pages)

Everything is Lovely: The Jazz Funeral of Harold Dejan by Brian Hagen (4 pages)

Sounds Damn Good story by Rob Schamberger, art by Charlene Chua (6 pages)

Brain Snapsis by Clint Basinger (5 pages)

Death & Rock N' Roll by David Branstetter (5 pages)
Rock N' Roll by Matjaz Bertoncelj (1 page)

Drum Solo story by C. William Cooke, art by George Hartman (3 pages)

Buddy and Hopkins by Jason Nocera (1 page)

Tune-Ectomy by Dan W. Taylor (3 pages)

Gaia Protector by Jim Pack (5 pages)

The Herbivores by James Stanton (6 pages)

An Idol by Agata Laguniak (4 pages)

One Year in Indiana by Kirt Dinse (8 pages)
An Interview with Brad W. Foster conducted by Allen Freeman with photos by Cindy Foster (5-1/2 pages)

Kevin Cool by Larry Blake (9 pages)
Jazz Deaths by Henry Covert (2 pages)
The Return of Stickman by Mark Monlux (1 page)

My Night with Gogol Bordello by Marianne Petit (3 pages)

Mighty Guy in ...Cause it's Only a Nothing Song by Tim Corrigan (9 pages)

Lessons by Tommy Reeves (7 pages)

Moment in Musical History by Neil Riehle (4 pages)

Untitled by Pat Aulisio (6 pages)

Noble Head Funnies by Edward Bolman and James (3 pages)
Last Kiss by John Lustig (1 page)
Buddy and Hopkins by Jason Nocera (1 page)
The Return of Stickman by Mark Monlux (1 page)

What Makes it Music by Matt Levin (6 pages)

The Music of Kusanno by Russell Merritt (9 pages)

Troubadourin' Dubya by Jim Siergey (1 page)

Devil's Rock story by Mario Mancuso, art by Alberto Pessoa (6 pages)
Inside back cover by Neil Riehle
Back cover by Allen Freeman

The issue also includes a few pages of ads for contributor websites, a phony letters page, and a couple of bio pages about the bands on the CD.

There's a lot of good artwork and storytelling inside Slam Bang #4; and the bonus CD simply ties a bow on the package. As a long time fan of Brad Foster's cartoons and illustrations it was a blast to read his interview. Slam Bang #4 is 150 b&w pages, plus full color covers. 6" x 9", perfect bound, commercially printed on good quality, bright, white paper. The cover is printed on heavy cover stock with a gloss coating. It's available for $9.95 from Fan-Atic Press.

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The Love Song of Kermit the Frog by Ed Choy Moorman

This digest-sized comic is a tribute to Jim Henson, Kermit, and the Muppets. The famous puppeteer and his creations had a huge impact on Moorman and this book collects several comics he created over the years when he returned to Kermit or another of Henson's characters. The centerpiece is a new story—the longest—called Scenes from the Life and Death of Jim Henson. It illustrates major events in his career and development, and the last few days of his life. Moorman cites several biographies as reference for readers that want to explore Henson's life in greater detail.

The second half of the book includes Halved Ping-Pong Ball and HIs Mother's Old Green Coat from 2008, a Kermit-related page from Sing into My Mouth from 2007, The Life of Dr. Bunsen Honeydew from 2005, and a poem, To Kermit Before he Writes "Being Green" from 2008.

The wraparound cover (shown folded flat) features a drawing of the first Kermit from 1955 and his final world-famous version.

Besides being an entertaining and heartfelt tribute to Henson, the book also serves as a short account of Moorman's development as storyteller and cartoonist tracing his progress from 2005 to the present.

The Love Song of Kermit the Frog is 20 b&w pages, including the cover which is printed on green paper (what else?). 5.5" x 8.5", with saddle-stitch binding, it's published by Moorman's Bar Bones Press. It's available for $2 from Ed Choy Moorman and the Poopsheet Shop. (You can read the whole Life and Death story online at Moorman's site.)

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Proto Murk
by Zeke Clough

I was unfamiliar with Zeke Clough's work until I got my hands on a copy of his latest zine. Clough's artwork is influenced by comic art, but a better classification for it is outsider art. The work is amazing. I couldn't help thinking of Basil Woverton or
Jeff Gaither because it's human nature to compare the unfamiliar with the familiar—but make no mistake—Clough's work is unique.

I loved Proto Murk. The bizarre, twisted images are organic, ghastly, fanciful, at times sexual, and strangely beautiful. Clough's craftsmanship is impeccable. The images are rendered with such detail and careful crosshatching they seem real. Yet the subject matter is mostly surreal with only snippets drawn from reality—or at least the traditional view of fantasy.

The production on the zine is as wonderful as its content. The color is rich and saturated, but slightly muted. It's painted across the heavy weight paper producing an elusive, almost waxy texture that adds an extra sensory element to the images. The book is trimmed to 5-1/2" by almost 8" and the color images on every page bleed off the edges. The artisan-feel of the zine suggests a handmade piece, but the trim is crisp with every page perfectly aligned, suggesting a more commercial approach to finnishing.

Proto Murk is 16 pages with saddle stitch binding. It's available in the US for $8 from the Poopsheet Shop and in the UK for £4 from the artist. Be sure to check out Zeke Clough's website. It's loaded with artwork and even a few comic pages drawn from his unique vision.

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The Deformitory
by Sophia Wiedeman

The Deformitory is cast with magical characters and settings filled with charm and appeal. But their inner peace with their world seems just out of reach. Each one is on a lifelong journey in search of an elusive truth. They exist in the same world but their quests seem forever apart. Like ships in the night their lives pass each other nearly intersecting, but even those that reach out can't quite seem to connect. If only they could share themselves they might find a clue to their pursuit—or at least some respite.

There are moments set in the modern world, but most of The Deformitory takes place in an imaginary world with mythological characters and settings. Unlike traditional fairy tales, it's multithreaded. Time and space shift as several stories unfold. There is no clear resolution for the young man bewitched by the unicorn, the mutants in the Deformitory, the Heart Monster, or the ugliest mermaid. Wiedeman takes her characters to the edge of knowing but none seem to grasp their lives from a larger perspective. That, is left to the reader.

The story is largely visual, with a minimum of dialog and no narration whatsoever. The pages are filled with tiny panels of richly crosshatched detail and shading. Weideman's artwork is crisp and charming, and holds surprising depth, just like her story. If you're looking for a mini comic that stretches the medium and you enjoy discovering new talent, get The Deformitory. With the cachet of a Xeric Foundation Grant, you know it's bound to be memorable.

The Deformitory is 52 b&w pages plus a color cover. 5" x 7-1/4" with saddle stitch binding. It's available for $6 now from Sophia Wiedeman and will be available in comic shops this fall. Check out her website, Sophia Draws, for more samples of her comics and illustrations. and for her blog.

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Apartment 307
edited by Josh Blair

I don't think anyone's ever exclaimed in an email, "Hey look, we both exchange electronic transcriptions over the exact same worldwide web!" Even if they did, the web is so immediate, the incident would be forgotten in a nanosecond. But traditional mail is different. When you see an address for an actual physical place, you notice things. That's why Noah Van Sciver was struck when he realized he and Josh Blair both lived in an apartment with the number 307. A few months later the situation progressed from freaky coincidence to karmic kismet when Blair realized Pete Borrebach also lived in 307. Holy shit! Now, they had to do something!

What they did was produce Apartment 307, a new comic featuring real and imaginary musings about each of their lives in their own private three-o-ones. Come inside.

The first 307 is editor and publisher Blair's. His tale reads like it was ghost-written by Scott McCloud. It's filled with charts and iconography about 307 logistics. It's really quite re-inventive and provides a funny, comprehensive report on life at the top (or at least near the top of Blair's four-story building in Syracuse).

Borrebach (who actually lives in a 307), partners with (artist?) Nick Marino to deliver a crisp comedy with the inside story of life in a Miami apartment complex.

The book concludes with a rambling comic by Van Sciver who reflects with self-depreciating humor about living with a roommate and the art womb that his little bedroom in 307 has become.

Apartment 307 is 16 b&w pages, plus a cover printed on ivory stock. 5-½" x 8-½" with saddle-stitch binding. It's available for $3 (postage paid) from Candy or Medicine. Other relevant websites include Pete Borrebach and Nick Marino's AudioShocker and Noah Van Sciver who publishes Blammo!.

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Sunward by Jason Viola

Rhino Dave is in trouble. He's sunward. Dave and everything he touches is inexplicably, and seemingly irreversibly drawn to the Sun. First it's his shoes and then his pants. They fly up into the sky, into space, until they incinerate somewhere on the way to Sol.

Sunward is a whimsical fable with an ominous pall lurking in the background. Dave's friends, Felonious Monk and Sebastian try to help, but the solution may be as baffling as the problem. It's a delightful mystery. The original and intriguing setup and its exploration through the middle are wonderful. I only wish the ending had been as clever as the rest.

Viola's cartooning, storytelling, and writing are top notch. When you consider the story is 40 pages, this handmade mini comic is even more impressive.

Sunward is 40 b&w pages, plus cover. The cover is a heavy sheet of yellow paper with a full color panel affixed to the front. It's 5-½" x 8-½", with saddle-stitch binding. Sunward is available for $4 from the Herman the Manatee store. Get it.

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Ghost Comics edited by Ed Choy Moorman

Published as a fund raiser for RS Eden, this new anthology from Bare Bones Press was funded through a grant from the Xeric Foundation. Besides its intriguing title, the first thing that strikes you about Ghost Comics is the package. The beautiful title typography by Micah Lidberg, cover artwork by Allegra Lockstadt, graphic design, and top-notch printing and paper specs make for a very professional-looking production.

The volume's twenty-nine contributors include many big-name small press cartoonists, making it an excellent sampler of what's being done in today's indie comics scene. The ghost theme is the book's unifying factor, but sometimes its only seeming connection is ethereal. Here's a brief summary of each entry:

The Witness by Hob is a wordless, cosmic journey across evolution where those that came before never really pass away. (10 pages)

Great Ghosts by Jeffrey Brown is a funny slice-of-life comic about connections. (1 page)

Dear Dave by Ed Choy Moorman is a tribute to memories of his cousin. (3 pages)

In What Did You See? Aidan Koch experiments with storytelling and provides a ghostly impression of the final farewell. (7 pages)

Dorm-Ant Spirits by Corinne Mucha was one of my favorites from the collection. It's filled with gags and puns all centered around truth-or-fiction encounters with ghosts at college. (8 pages)

Maris Wicks describes her series of comic strip adventures in The Ghosts of 104 Prospect Street as stories inspired and informed by her childhood home. (3 pages)

Colin and Claire: House Hunting by Mike Lowery assesses property values at a spendy neighborhood haunt. (2 pages)

Sean Lynch navigates readers down a crooked path as three young boys search for the treasured truth or its ominous deception. All the while, the Japanese heavenly evil spirit, Amanojaku waits to influence the outcome. (22 pages)

Sarah Morean offers a few quips about a meeting with psychic Donna O'Dea. (1 page)

Madeline Queripel provides a counter-tutorial on dispersing a loved one's ashen remains. (5 pages)

I Can't Deal by Toby Jones is an hilarious, dark collection of comic strips in which an apathetic boyfriend tries to comfort his girlfriend during her mother's illness and death. (3 pages)

Jillian Schroeder explores a parallel universe from the other side. (8 pages)

Zak Sally's full page gag cartoon is short, but masterfully rendered. (1 page)

Another favorite, Unlearning Curve by Lucy Knisley finds the cartoonist swept backward in time during a trip to her old high school haunts. (5 pages)

In a more experimental bent, Homesick by Abby Mullen also explores the sweet and sour spirits of the past. (4 pages)

At Grandma's by Eileen Shaughnessy recalls strange sounds in a darkened, unfamiliar house. (1 page)

The Point by Allison Cole is a charming lesson in dispelling your own personal demons. (4 pages)

The Architecturons by Kevin Cannon was probably my favorite comic in the book. It's an over-the-top morality play with a nod to the Transformers. Cannon's cartooning is absolutely top notch. (4 pages)

Evan Palmer's The Trials of Sir Goodknight is also beautifully drawn. The good knight's queen keeps him busy with quests while she readies herself for what's next. (14 pages)

Ghost by Tuesday Bassen tries to lighten haunting memories. (1 page)

Like the title, With Grape Tomatoes Comes Great Responsibility, Jessica McLeod's contribution is loaded with clever quips. (6 pages)

In Milo by Sarah Louise Wahrhaftig, the cartoonist takes a wicked idea to extremes. (1 pages)

Jenny Tondera experiments with storytelling and gallows humor in her haunting pictographs. (10 pages)

John Hankiewicz takes readers on cryptic journey inside the Highway Church of Christ. (6 pages)

Mind-Mapping by Will Dinski presents a clerk with a photographic memory who is haunted by details he literally can't forget. (8 pages)

Mark Scott translates a Moslem prayer into a graphic narrative of abstract figures and spirits.(1 page)

Monica Anderson provides the collection's only pictureless entry. Her hand-lettered prose recounts the haunting memory of an abusive, alcoholic uncle. (3 pages)

Warren Craghead III pushes the boundaries of comics with a striking series of softly rendered images. Letters flow around them to form words and messages. It's about ghosts, but more than that, it feels ghostly.(14 pages)

Ghost Eyes by John Porcellino evokes feelings of deep introspection. (1 page)

The end pages include thanks to Moorman's supporters, a short bio of each contributor, and a page on The RS Eden Story. Ghost Comics offers a great collection of indie cartoonists. If you're a fan of anthologies, this one should be on your short list.

Ghost Comics is 176 b&w pages, plus color cover. 6" x 9", commercially printed and perfect bound in Canada. Assistant Editor, Abby Mullen. Graphic Design, Jenny Tondera. It's available for $10 from Bare Bones Press and select bookshops.

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It's A Fanzine #50 edited by Gene Kehoe

It's A Fanzine (IAF) is published "whenever we can manage to get the darn thing out." (Maybe that's why—even after fifty issues—I only heard about this zine recently.) As Kehoe states in his introduction, "This zine is by and for fans! Fans having fun with their love of comics in a whole variety of ways." That's exactly the reading experience it delivered.

This 72-page giant celebrates its fiftieth milestone with a tribute to—what else—the comics of the fifties. Here's a rundown of the contents:

A 1959 Lesson from Steve Ditko—Gene Kehoe explores a five-page story from Strange Worlds #5 called I Couldn't Stop the Runaway Comet.

Historama—John Wells' fascinating trivia column loaded with facts and industry truthiness.

Captain Marvel vs. Thor—isn't idle pontification. Instead, John G. Pierce provides the facts of the two idols' first and second encounters.

The Ultra-Kooky Chronology of Steel Sterling and The Monster Master—traces the herky-jerky path to print of an MLJ/Archie/Radio Comics' Steel Sterling story produced during the silver age superhero boom.

Great Moments in Super History—Gary D. Robinson compares an episode (Panic In the Sky) of television's The Adventures of Superman to the comic version of the same story (The Menace from the Stars).

Grumpy Old Fans Appreciation Room—If you're a Silver Age curmudgeon more interested in the good old days than what's on today's spinner rack, Rob Imes' GOFAR column attempts to cull the keepers from the creepers in today's packed marketplace.

Who Knew?—Gene Kehoe's fountain of free-flowing facts, backstories, and trivia that share nothing in common other than a single comical thread.

Scribbly and the Red Tornado—reprints the final appearance of Sheldon Mayer's popular filler comic from All American Comics.

Fifties' First Issue Face-Off—pits two debut issues from the burgeoning horror and science fiction genres of the fifties against each other. Gene Kehoe compares Avon's Eerie #1 to EC's Crypt of Terror #17 (which, due to title and content changes, is essentially Tales From the Crypt #1).

Comic Strip Circus—is another column of interesting trivia by John Wells. This one is centered on newspaper comic strips like Out Our Way, The Gumps, Steve Canyon, Mickey Mouse, Prince Valiant, Alley Oop, and plenty more.

Spotlight—Greg Robertson broke away from comics in his regular IAF column to speak out against smoking. His brother, Kim, had just passed away from smoking-related causes at the age of 54. Ironically, during the time between the column's submission and the issue's publishing date, the author himself passed away. Editor Kehoe provides a heart-felt farewell.

EC: The Old Pulpit—Gene Kehoe takes a look at a rare EC picto-fiction title: Confessions Illustrated #1.

Don't Quote Me on That—a collection of gaffes the writer or interviewee would likely prefer retracted.

Creator Cameos—Stan Lee's brief in-panel moments from Homer, the Happy Ghost and Mille the Model.

The Sapient Saga of Speed Carter, Spaceman!—Gary Cooper's hilarious analysis of Spaceman is so much fun it almost makes you want to search out the old issues. Then again, you just know this article is more entertaining than the stories themselves.

The Charlton Giants—Gene Kehoe provides a fascinating backstory of the second-tier publisher's bold plan to gain marketshare, and the reception it received.

Meet Chester Gould—reprints a couple of profiles about the cartoonist from Harvey's Dick Tracy comics circa 1950.

Not Fade Away—reprints an interview with many of fandom's earliest founders: Jerry Bails, Howard Keltner, Biljo White, and Rick Weingroff from Larry Henderson's Hero #4 (June 1964). It's like a podcast on paper, only without all the dead air time.

The Title, Numbering, and Editorial History of The Comic Reader—Gene Kehoe does a wonderful service by recording the history of this classic newszine. Good thing, without a program nobody would ever figure this out!

A Comics Fanzine Index—An impressive start (A through C) of every comic book or strip fanzine from the beginning to 1971. Even with 1971 as a cut off date this is a daunting challenge. Collaboration is imperative, so send your data, recollections, and help to Editor Kehoe if you collect or remember any of this stuff. (Next issue D through H.)

Showcasing the Early Jimmy Olsen—John G. Pierce fondly reflects on the early creative team and stories of Superman's pal.

My Brother Must Die—reprints a rare Stan Lee/Carmine Infantino story from Men's Adventures #21 published by Atlas/Marvel in 1953.

Silver Age Collecting—focuses on irritants, idiosyncrasies, and idiocies like double-covers, missing staples, and other production quality control anomalies.

Classic Page From the Golden Age—presents a page from Mr. Justice from Blue Ribbon Comics #16 from MLJ. circa 1941.

Bagels and LOCs—a two-page letters column.

Mr. Oswald—reprints a page of Russ Johnson's rare comic strip from the pages of the trade publication, The Hardware Retailer.

Hopefully, this notated contents list provides clear picture of this zine. It is very much a fan's zine about comics. The labor-of-love aspect is strongly in place, but the editorial direction and writing quality are well above many of the fan's zines to which IAF owes its roots. I should add, it's nicely illustrated, mostly with panels and covers from the comics discussed, but there are a few illos, by Mike Leuszler, LMS, and Kurt Schaffenberger (back cover), too.

It's a Fanzine #50 is 72 page pages, including the cover. 7" x 8.5", with saddle-stitch binding. It's available directly for $5 (postage paid) from:
Gene Kehoe
2265 Byron Ave
Waterloo, IA 50702

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Arcade of Cruelty
by Joseph Patrick Larkin

According to the Arcade of Cruelty, its author is dead.

It's a clever premise. If the accolades that elude an artist in life are finally given voice when he's gone, why not pretend and help the whole process along? Thus, the Arcade of Cruelty was conceived. It examines the life of Larkin post-humorously tracing his artistic development from birth through his childhood and on to adulthood where he attended art school and began self-publishing limited edition zines—and now, a tome.

The book opens with a warning (Foreword), a tribute (2 Beautiful 4 this World), and an obituary of sorts (The Life and Death of Joseph Patrick Larkin)—ghost written under various pseudonyms by the author.

Larkin's elementary and junior high school years are belittled through various class pictures and yearbook pages. Every page includes hand-scrawled insults, edits, and word balloons added to former classmates' and teachers' photographs.

Larkin's snarky, toilet humor is based on the idea that being offensive and insulting becomes unbearably funny when taken to unbearable extremes. It's risky business and its success is based largely on the reader. Some will find it hilarious. Others will find it an impressive effort, but sophomoric.

The book devotes a chapter to several of his zines: Everything Else Is a Pale Ghost, The Slippery Slope, and the abandoned The Unbearable Lightness of Being Raped.

And there's a clipbook chapter filled with photographs of underwear models and celebrities that Larkin referred to when engaged in solitary sexual fulfillment.

His artwork is featured in several chapters. Comic Strips includes mostly cartoony head shots surrounded by blocks of typewritten text pasted next to his drawings. The artwork is very simple, but appealing. Only a few pages include multi-panel comic strips. Other chapters present selections from his sketchbooks, monotype prints, and collages.

Excerpts from Always Never Forgetting, an unpublished book of cartoons about September 11th, is probably the book's longest chapter. For me, this section includes Larkin's best cartoons and gags, including his parodies of Chris Ware, Jeffrey Brown, James Kochalka, Johnny Ryan, Sam Henderson, Art Spiegelman, and Bill Keane.

The book closes with a self-administered interview, a one-page script of a play, and a few miscellaneous closing remarks.

The Arcade of Cruelty is aptly titled. It follows its cynical, sarcastic view of the world to extreme lengths. Larkin must've shot his wad funding this beautifully designed and lavishly produced, perfect bound softcover. The 264-page volume is available for $18 (postage paid) from Also-Ran. Adults only.

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Small Press Extra
Annual #1
edited by Tim Goebel &
Sam Gafford

I first heard good things about Small Press Extra (SPE) after the publication ended, so I was delighted to learn the title had been resurrected just in time for this year's SPACE. It was a fun read, filled with a great collection of articles about different aspects of small press comics. The short list of contributors consists of folks who've been involved in small press publishing for decades. They really know the territory and its history.

One of the toughest areas to pull off in print these days is news. The web is so much more immediate, by the time an article reaches readers through print, it's usually old news. Unfortunately, that's the case with most of the news items inside SPE. A better use of space is commentary. I'd heard the news about Diamond's new minimums long before I read the news item in SPE, but it was interesting to read the three page commentary about its impact on small press publishers and titles like From the Tomb and Fearless Dawn. I'd love to see a follow-up about the impact of Diamond's new minimums on smaller distributors like Haven and Tony Shelton.

The lead feature is an interview with long-time self-publisher Larry Johnson. It centers on the Twentieth Anniversary of his most famous character Madame Boogala, who has been featured in small press comics since 1987. The interview is filled with covers and artwork from her many adventures. Information on Johnson's long running comic zine Tales of Fantasy and his paintings is available on his website.

In Webcomics: The New Frontier SPE reports on webcomics and the first Webcomics Weekend in Easthampton, MA with Meredith Gran, Scott Kurtz, Paul Southworth, Bill Barnes, and many other creators and fans.

Next up SPE interviews Matt Levin artist and publisher of Music Comics and Walking Man Comics Presents. Matt continues to produce his long-running series which are listed at the Small Press Syndicate. And you can read his blog posts on his page at the Small Press Group social network.

Bob Corby, founder and director of SPACE, shares his memories and photos of the first and second years of the famous small press convention. It's followed by Allen Freeman's look back on the 2004 edition, with over a dozen photographs of some of small presses' leading creators.

Jim Main's small press reviews include his ruminations on Comic Effect #47, Comet Tales #20, Ditkomania #70, Monster World #10, and Candy of Medicine #6. Main also takes us back to the early 70s with a fond look at Morpheus #1 published by the Minnesota Comics & Fantasy Association.

Sam Gafford reviews Valerie D'Orazio's Memoirs of an Occasional Superheroine, which is available direct from her popular blogsite.

Gafford closes out the issue with a one-pager about SPE's return and a request for small press news and letters of comment about the issue or about the world of small press publishing in general. He can be reached through his email.

I'm thrilled to see SPE back in print and I hope to see many more issues. It's fun to frequent the websites of small press groups like UFO, SPA, or Poopsheet, but there's just something special about reading a printed zine dedicated to the community of small press creators and publishers.

Small Press Extra Annual #1 is 36 b&w pages, plus color cover. 8.5" x 11", handmade with saddle-stitch binding. Front and back covers by Allen Freeman. It's available for $5 from the TruFan Publications shop.

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More MF.com Reviews

Slam Bang #4 edited by Allen Freeman

The Love Song of Kermit the Frog by Ed Choy Moorman

Proto Murk by Zeke Clough

The Deformitory by Sophia Wiedeman

Apartment 307 edited by Josh Blair