1. I saw “Under The Skin” last night. It’s a completely amazing film, one of the best I’ve seen in a long time. BUT. When you see it, you should just know that I did this way before it did.

  2. Art + Commerce

  3. So. I have been working all winter long on the second issue of 200 DEAF BOYS. It’s loooong -should top out at 72 pages or thereabouts - and I for one think it’s the best comic I’ve made yet. I’m getting at least somewhat close to the end of penciling it, after which the inking and gray tones should be a snap. A reprint of issue 1 will drop the same day as issue 2 does. So keep the faith, and I’ll be at you with some new comics pretty soon.

    (Above are some panels from the mighty but dissolute Sir Lancelot’s road to spiritual attainment. More soon!)

  4. George Stevens - greatest filmmaker of all time


  5. somefog:

    image[“A Call to Prayer,” by Matt Seneca. Published online, drawn August 2012].

    The fourth and final part of my interview with Matt Seneca is here. Also, if you haven’t read em yet:

    • Part I of this interview, along with my introduction to it, can be found [here].
    • Part II can be found [

    Here’s the fourth and final part of my interview with the great George Elkind. I hope you guys have enjoyed reading these, especially in a day and age when long form, “Comics Journal style” interviews with cartoonists sadly seem to be going the way of the dinosaur. George is absolutely a writer to watch, and everyone who’s been reading this thing should keep their eyes glued to Some Fog. I really appreciated this valuable opportunity to dig deep into what I’m doing with my comics and why; hopefully you guys got some of that value from it too! For my thoughts on MINOTAUR and “the future of comics”, read on……


  6. somefog:


    [“EMMA FROST WHITE QUEEN XXX,” by Matt Seneca, previously published online September 14th, 2012.]

    [My interview with Matt Seneca continues—some notes:

    [Part I of this interview, along with my introduction to it, can be found [here]. Part II runs [here], and Part III runs…

    …and here’s part 3! This time: Catholicism, the LA lowdown in TRAP 2, and a li’l Ryan Gosling.


  7. somefog:

    image[From 200 Deaf Boys, pt. 1, by Matt Seneca. Published by Very Fine Comix, March 2013.

    [Part I of this interview, along with my introduction to it, can be found [here]. Part II runs below].


    GE: Okay, we’re both people who value figure-drawing a lot as the basis…

    This is part 2 of my interview with the one and only George Elkind. Here we talk about the reasons my drawing style looks the way it does, and delve deep into MY DATE WITH ANNE HATHAWAY and tease some upcoming plot lines for 200 DEAF BOYS, issue 2 of which will be my next comic book release. READ ON……


  8. somefog:


    [From My Date With Anne Hathaway, by Matt Seneca. Very Fine Comix, May 2013.]

    I first got to know Matt Seneca by name some years back, when he was building up a reputation as one of comics’ strongest critics. His work at the time was characterized by a certain bristling intensity, a…

    This is part one of an interview I did with George Elkind, to my mind the most exciting comics critic out there at the moment. It delves deeper than I’ve ever gone into what’s going on with my comics, and I think it isn’t actually far off from laying out my whole artistic philosophy. I really enjoyed talking with George, and I really hope that anyone who is interested in my artistic or critical work will read this interview, and keep checking back on Some Fog for the rest of it, which will run in a few parts over the course of this week. Enjoy!!

  9. Galahad and Lancelot

    as seen in 200 DEAF BOYS no. 2

    Those notes on the side of the page are as close to “writing my comics” as I get. Bronson Canyon is the wilderness right above Hollywood where they shot every medieval movie before like 1970. I had to remind myself that they wore codpieces back then so they didn’t get their nuts squashed into oblivion everyday. Here’s Magritte.

    I used a bit of Frank Santoro grid mapping on this page, mainly because I wanted it structured around the sign of the cross, but also because he made a good case for it being a part of Prince Valiant, which I’m trying with all my might to rip off in this Galahad segment of my book.


  10. theorangewontpeel:


    Minotaur | Matt Seneca

    I, probably like other interested parties, felt his comics were easy to overlook, and so I disregarded them, hoping he’d turn around, instead, to type out another swift essay on color theory. I’m not so sure now.

    Minotaur serves as Matt Seneca’s 7th release, one…

    Very happy to see this thoughtful piece of writing by Alec Berry on my MINOTAUR comic. So much comic book criticism is either like “it’s good, buy it” or “it’s bad, don’t” that it’s super refreshing to just see someone really digging into the substance of what a book is. Especially when it is my book! Gotta say one thing here though. I am not, nor have I ever made any remote attempt to assume the title of “the bad boy of comics”. Alan Moore, or (darker) Shia LaBoeuf, or (even darker) Justiniano are better candidates. I’m just a young dude with opinions.
  11. St. Francis of Assisi

    as seen in 200 DEAF BOYS no. 2, coming soon-ish

  12. Queen Isabel


  13. dashshaw:



    (incomplete, in no particular order)






    I’ve been depressed about comics all this month, but this lifted my spirits.  I feel like the comics industry had a shitty year, and the comics internet felt stupid all year round, but look: still a lot of cartoonists making things. Making comics still feels vital. I want to add a couple: Georgia Webber’s “Dumb”. I love books that put me into an unexpected, unusual perspective. I’d never thought about what it’d be like to lose my voice, and this comic did a great job taking me there. Also, Joe Kessler’s “Windowpane 2" and Matt Seneca’s "Minotaur”. These comics are very different from each other, but they’re both more visually literate than word literate, and have drawings that I like but maybe aren’t to many people’s tastes. My fear for comics is that as everything moves to preorders (or online orders), comics will become more conservative — books go to the people who already know that they’re going to like them — it’s what they ordered off the menu. Part of what publishers and retail stores (and festivals) do is bring people things that the public might not like, but they do it anyway! Ha ha ha. Like a waiter bringing someone something unexpected, and just putting it in front of them. They didn’t ask for it. That’s difficult to do online, or in a preorder model. Anyway, I believe in them and I hope comics will have a place for them to continue to grow and make new and unusual things. Also I hope Gary Groth doesn’t die in 2014.


    Cosign this being a gloomy-feeling year for comics, and the thing about the comics internet is true times a million… but hey! Dash Shaw is the cartoonist whose work galvanized me to start making my own comics, so reading such nice praise is immensely gratifying.

  14. NUCLEAR BOUQUET: 10^2013

    The best comics of the year are these ones. I really like that only one is published by a “comic book company” that has new releases on the walls every Wednesday, and only one is published by a “graphic novel company” that gets into Barnes and Noble. Comics are my favorite when they’re just somebody with a vision bringing their dreams into reality, one set of hands from pencils to printing. In a collapsing industry that never was an industry to begin with, that’s the model that’s ultimately going to survive. 

    J-1138, by Antoine Cosse. When people ask what your favorite genre of movies is, do you say “foreign films”? Me too. A peerless example of that black-and-white-art-movie-in-a-language-you-don’t-speak ambiance, Cosse’s album length book is remarkable for just how luxuriously cerebral it makes a story about robot celebrities evading government assassins feel.  Imagine Bela Tarr drunk enough to get talked into doing Blade Runner and you’re getting there. Gorgeous, wavery ink-washed art too!  

    Dry County, by Rich Tommaso. “Afterwards, I made myself a roast beef on pumpernickel with a side of potato salad, some BBQ chips and a kosher dill pickle. I cracked open a Miller High Life (the first of five that evening)." Is it weird if that was my favorite line from a comic this year? Maybe I was just hungry, but I don’t think so: in an other-comics market that’s swung 180 degrees away from quieter slice of life stuff, Tommaso is a revelation, pitching his beautifully observed suspense stories as nothing more than unusual events in the lives of painstakingly drawn characters. Everything his Recoil Graphic Novels line put out this year was fantastic; Dry County, with its low-rent Miami setting and compulsively readable romance subplot, was only the first among equals. 

    Big Busty Psychic Celeb Votes Satan, by Ben Urkowitz. It’s as weird as that title, and as the modern celebrity culture it parodies (or maybe glorifies?). I dunno, it’s a super well drawn comic (if you want a dictionary definition for “fluid linework”, check here) about how Kim Kardashian is the most powerful person in the world, and if that’s not yer bag you aren’t my bag, so there. 

    Copra, by Michel Fiffe. Basically, Fiffe took all the advances that “intelligent” comics made since Dark Knight and Watchmen as the superhero stuff sat stale, and injected every last one of them into capes-and-cowls over 12 visionary, monthly (!!) issues. If you want a primer on what comics are formally capable of right now, there’s no better destination. And if you want dudes getting their fucking faces smashed in by giant robots, same goes. 

    Aerosol, by CF. The most trip-tarded comic of the year always deserves a top 10 spot. This year, it’s what might be the best release yet from the best American cartoonist out there right now, a truly inspired story about how death is really just initiation into a sport that culminates in being “sprayed out of an interdimensional proboscis”. It’s hilarious and weird and deep, but it’s also the most elegant expression yet of CF’s skill at turning the frightening unknown into something beatific. 

    Blonde Cobra, by Jonny Negron. This one covers so much space in only a few pages: the lyricism of John Cassavetes movies, the horrifying ugliness that lurks beneath the dating scene, and dudes getting their asses beat by a badass avenger-chick straight out of the best ’70s exploitation movies, plus. Comics this acrobatic and far-reaching are worth their weight in gold, and Jonny’s art continues to mix beauty and grotesquerie in unmatched fashion. 

    World Map Room, by Yuichi Yokoyama. The master of emotionless storytelling adds emotion to his formula - like, a single grain of sand’s worth - and by leaving it as unexplained and enigmatic as everything else in his comics, brings more beauty out of that little speck than most cartoonists could cram in ten thousand word balloons. The Yokoyama comic for people who like to read about motherfuckers straight pulling out the heat. Also contains the best drawing of a plane flying over a skyscraper in comic book history. 

    Jupiter’s Legacy, by Mark Millar and Frank Quitely. This is my platonic ideal of superhero comics. A little exploitation movie, a little crackpot CNN-comments-thread contemporary politics, a little torture-porn violence, a little mystery, and a lot of celebrities partying. Millar and Quitely are playing the same riff we’ve all heard a million times (what if superheroes were like actually real bro?), but the power and authority with which they’re telling this story make Jupiter’s Legacy the first time it’s felt like something that could actually happen. Unmissable. 

    Epoxy 4, by John Pham. The best production value of the year by leaps and bounds. If you have a risograph and you didn’t make this comic, you’re second place by a long shot. It’s so much more than a beautiful object, though. In two stories printed at two vastly different sizes, Pham gives us the two far ends of how comics can work: hilarious and sugar-high, with readymade characters and gross gags; and glacially paced and enigmatic, with drawings that nearly crack under their own weight. Both halves of this comic are astonishing on their own. Together they’re mind blowing, and the fact that the same dude made both of them is about as inspiring as it gets. 

    And Finally!

    Arsene Schrauwen Part Two, by Olivier Schrauwen. For the second year running, Schrauwen’s epic biography of his colonialist grandfather tops the list. This book takes on some huge topics - love, racism, inertia, imagination, man’s attempts to rebuild the world he’s been given - but it’s also completely hilarious, and never gives its concrete characters up in favor of abstract conceptualizing. Every page in this comic is a construction of great delicacy, with motifs running through and drawing to crescendoes before giving way to new ones, while always remaining as readable as the simplest sequential art. Arsene Schrauwen is an arrow pointed forward, a story with a great novel’s depth and nuance and great visual art’s overwhelming appeal to the senses. It is a reminder that comics, in the hands of a talented enough practitioner, can be the greatest art of all. 

    Honorable mentions: Frontier, Fury Max, Panorama Island, SF #3. Get those ones too, they’re great!! And as ever, the comics I made are my favorite comics of the year, because they’re doing everything I wish this medium would do all the time. Buy ‘em? You better.


    I’m selling 10 original drawings over at my big cartel site.  The ones you see above, and more!  One of a kind, suitable for framing, gifts, all that jazz.  They won’t last long, get ‘em while they’re hot!