Longform

And, this being comics, we had to get a little nitpicky: We’re only dealing with comics first published by North American publishing houses, and we’re not including newspaper comic strips, webcomics, or reprints thereof. Some pages are notable for their written content — game-changing first appearances, brilliant narrative innovations, and so on. Some are significant because the artwork told a story in ways no one had thought to do before, and ended up being emulated — or, in some cases, outright aped. All are interesting on their own and integral parts of the tomes from which they were plucked. We conclude on what we think is a high note, with a few recent comics that have already made an impact and portend a richer and more diverse future. Strung together, these pages are a megacomic of their own, documenting the evolution of an art form in constant flux. You can click on the title of each page to open a window with a full-sized version. Gods’ Man (1929) Writer, penciler, and inker: Lynd Ward Stranger holding paper. Photo: Cape & Smith We could “Um, actually” our way through candidates for “First Comic Book Ever” until we’re blue in the face. But it’s inarguable that one of the leading pioneers of modern longform graphic storytelling was Flemish illustrator Frans Masereel. Right after World War I, he created a series of “pictorial narratives” without words — you may have spotted his most famous, Passionate Journey (1919), in the gift shop at your local art museum. Chicago-born art student Lynd Ward discovered Masereel’s work while studying printmaking in Leipzig, Germany, and was inspired to use the oldest print medium — woodblocks pressed into ink — to create something very modern: the first stand-alone graphic narrative by an American, or as he called it, a “novel in woodcuts.” Gods’ Man (1929) tells the story of a struggling artist who makes a supernatural bargain with a mysterious stranger (pictured here) for a magic brush that comes at a terrible cost. The book, composed of one woodcut illustration on each of the volume’s 139 pages, was a surprise success, and Ward produced five more graphic novels (though use of that term was decades away) before settling into a career as an illustrator and fine artist. His work was a huge inspiration to future cartoonists, including Art Spiegelman, whose Maus was heavily influenced by Ward’s woodcut style. Spiegelman later edited Library of America’s excellent boxed set of Ward’s silent novels.