Edited by Eric Reynolds. Published by Fantagraphics.
Softcover, 120 pages, Colour and B&W, 2021.
The tenth issue of the Eisner Award-nominated anthology series includes new work by fan favorites, new discoveries, and rare gems, such as cult cartoonist Richard Sala's unpublished juvenilia. It's an entire comic book store under one cover — at a price that can't be beat!
As Now hits its landmark tenth issue, what better time to bring back the cover artist who launched the series? Painter and cartoonist Rebecca Morgan (Instagram: @rebeccamorgan10) returns with one of her signature depictions of the underbelly of America. Meanwhile, the issue also features new work by a number of familiar names, such as Steven Weissman (Instagram: @wei_ss_man), Tim Lane (timlaneillustration.com), and Walt Holcombe (Twitter: @WaltHolcombe). Young Frances creator Hartley Lin (popehats.ca / Instagram: @hartley._.lin) contributes his first piece to the magazine, as does Italian cartoonist Silvia Rocchi (silviarocchi.com) and American cartoonist M.S. Harkness (msharkness.com / Instagram: @m.s.harkness / Twitter: @msharkness) — with a piece about competitive weightlifting during the COVID-19 pandemic!
Along with other surprises, Now #10 includes one other special feature: a tribute to the late cartoonist Richard Sala (1954-2020), a cartoonist who built his long career contributing to various anthologies of the 1980s, including the legendary Raw magazine. We are pleased to present nine previously unpublished pages of comics by Sala, all created as an art student in the 1970s and presaging a prolific and brilliant oeuvre to come. Also: comics by Nick Thorburn (Instagram & Twitter: @NickfromIslands), Jacob Weinstein (jacob-weinstein.com), Joakim Drescher (Instagram: @joakimdrescher), and Julia Gfrörer (thorazos.net / Instagram & Twitter: @thorazos).
"Editor Eric Reynolds has assembled a group of cartoonists who are fiercely confident in their unique approaches to comic book storytelling." — The A.V. Club
"Now graphically encapsulates series editor Reynolds's subversive yet tactically balanced approach to the craft of editing." — Los Angeles Review of Books