Who are we?

The Comics Journal is a magazine that covers the comics medium from an arts-first perspective. We are owned and operated by Fantagraphics Books, a leading publisher of alternative comic books (such as ACME Novelty Library and Eightball), collections and new work from underground comix pioneers (R. Crumb, Spain Rodriguez), and classic comic strip reprint volumes (Little Orphan Annie, Pogo).

Fantagraphics was founded in 1976 by Mike Catron and Gary Groth with the express purpose of publishing this magazine. The current co-owners are Groth and Kim Thompson, who joined the company soon after its founding. Groth is the longtime editor of The Comics Journal and its most recognizable editorial voice; Thompson has served in several capacities with the magazine, including editorial and production positions.

The Comics Journal is one of the nation's most respected single-arts magazines, providing its readers with an eclectic mix of industry news, professional interviews and reviews of current work on a monthly basis. Due to its reputation as the American magazine with an interest in comics as an art form, the Journal has subscribers worldwide, and in this country serves as an important window into the world of comics for several general arts and news magazines.

Despite a contentious relationship with the rest of the North American comics industry, due in no small part to its investigative news stories and uncompromising review section, the Journal has won several industry awards, most notably multiple wins in the Eisner and Harvey ceremonies.

"Comics From An Arts-First Perspective?"

Yes. Comics have been a vital art form since their modern inception, generally traced back to the newspaper strips of the mid-1890s. Like most art forms, the best-known comics are those which have become popular entertainments: superhero comic books, family-oriented strips, and editorial cartoons. Unlike most art forms, there is little attention paid to the best the art form has to offer, particularly those comics which are fulfilling reading material for adults.

But there are comics of quality for all audiences. Even the popular forms boast stellar works: strips ranging from the immaculately-drawn classic Little Nemo in Slumberland to the sharply-written Peanuts and Calvin and Hobbes; superhero comics like those from imaginative artists like CC Beck (the artist behind Captain Marvel) to Jack Kirby (the primary visual talent for Marvel comic books in their '60s heyday); and editorial cartoons from the likes of respected political and social critics such as Herblock and Pat Oliphant.

In addition, there are quality comics in less-explored corners: the well-drawn and sharply-realized genre works of 1950s EC comics, including the father of the majority of modern American satire: Mad Magazine; the underground comix of the late 1960s and early 1970s, including work by the great American counter-culture artist R. Crumb; alternative newspaper weekly strips like Lynda Barry's Ernie Pook's Comeek and Ben Katchor's Julius Knipl; the rich vein of New Yorker-style single panel comics, such as those drawn by Charles Addams and Sam Gross; artists who draw a great deal of their effectiveness from the comics form, like the caricaturist Al Hirschfeld or the fantasist Edward Gorey; and the American alternative comic book scene of the last 15-20 years, featuring works such as Love and Rockets, from L.A.-based artists Gilbert and Jaime Hernandez and the deeply imaginative Yummy Fur by Canadian Chester Brown. There are literally hundreds more, either under the noses or just out of view of the mainstream of world culture, including healthy traditions of adult comics in Europe and a commuter-driven industry of comics for all ages and tastes based in Japan.

Comics are the great hidden cultural treasure of the 20th century, and The Comics Journal is dedicated to taking them seriously -- from monitoring their industries to serious criticism of the best works -- in the hope that the medium will continue to grow and secure for itself the widest possible consideration of its best works.

Reviews

The Journal appreciates any and all submissions of comics and comics-related materials ranging from mini-comics to limited edition hardback books, particularly regular issues of ongoing serial comics titles. We hope that you will see fit to add us to your complimentary copy list.

Comics should go to:

Reviews
The Comics Journal
7563 Lake City Way NE
Seattle WA, 98115

Those wishing to send comics directly to a specific reviewer may or may not get their books to that reviewer by sending it to our office with that reviewer's name on the package -- and not at all if the package is not separately and adequately stamped. While we understand the desire of seeing your work reviewed by a writer whose work you enjoy or insight you desire, it is really beyond our manpower capabilities to consistently forward packages out of this office. We are also vigilant editors on the prowl for critical missteps from talented but overly-flattered contributors.

Previews of books are always appreciated and may aid in placing subsequent material with writers. Please follow the same procedure as above.

A quick note about our process in selecting books for review. Beyond those books which are reviewed in the office, the editorial staff relies heavily on the interests and passions of the contributors in deciding what is reviewed.

Subscription and Ordering Information

Much as we prefer you to buy the magazine every month in comics shops -- because we support local comics retailers, and because we value the advertising we receive from being displayed there before the magazine goes home with you -- our subscription offer is a great value.

All site contents are © 2002