Michael DeForge was born in 1987 and grew up in Ottawa, Ontario. After a few years of experimenting with short strips and zines, he created Lose #1, his first full-length comic, which won Best Emerging Talent at the Doug Wright Awards. He has since published a handful of comic books, which have received industry praise and two Eisner Award nominations. His illustrations have been published in The New York Times and Bloomberg View; his comics have appeared in Believer, Maisonneuve, Cold Heat, and the Adventure Time comic book series.
The debut graphic novel from a dazzling newcomer with a singular, idiosyncratic style
In the few short years since he began his pamphlet-size comic book series Lose, Michael DeForge has announced himself as an important new voice in alternative comics. His brash, confident, undulating artwork sent a shock wave through the comics world for its unique, fully formed aesthetic. With his debut Drawn & Quarterly title, Ant Colony, DeForge confirms his place as a mover and shaker in the world of graphic novels.
From its opening pages, Ant Colony immerses the reader in a world that is darkly existential, with false prophets, unjust wars, and corrupt police officers, as it follows the denizens of a black ant colony under attack from the nearby red ants. On the surface, it’s the story of this war, the destruction of a civilization, and the ants’ all too familiar desire to rebuild. Underneath, though, Ant Colony plumbs the deepest human concerns—loneliness, faith, love, apathy, and more. All of this is done with humor and sensitivity, exposing a world where spiders can wreak unimaginable amounts of havoc with a single gnash of their jaws.
DeForge’s striking visual sensibility—stark lines, dramatic color choices, and brilliant use of page and panel space—stands out in this volume.
“Michael DeForge’s magnum opus . . . tackles . . . sex, war, parenthood, family, labor, love, the Other, death—with . . . brio and ease.” —The Comics Journal
“[DeForge] has a portfolio . . . few could match. He’s a skilled draftsman yet his style is simple . . . allowing the purity of his narratives to shine through.” —It’s Nice That