Yes, it's another issue packed with swell contemporary comics, as MOME continues to deliver. The unquestioned highlight of this issue is the first new extended comics work by Jim Woodring in several years: Part I (of 2) of the 45 page piece, "The Lute String." (This issue provides the first 25 pages and the next issue will provide the 20-page conclusion.) There's no one like Woodring, and "The Lute String" proves that he still has the magic touch. He's joined here by team-MOME: the relative newcomers Ray Fenwick, Tim Hensley, Al Columbia, Eleanor Davis, Joe Kimball and Tom Kaczynski, along with the stalwart veterans Gabrielle Bell, Kurt Wolfgang, Paul Hornschemeier and Sophie Crumb.
This issue is a mix of oldtimers and newcomers: rugged MOME veterans, Andrice Arp, Paul Hornschemeier, Ray Fenwick, and Tim Hensley deliver a basket full of tales, each in their own inimitable manner, and, in Hensley's case, his last (at least for the time being) as his triptych concludes the long running (since MOME #5) saga of Wally Gropius; medium-term MOMErs, Dash Shaw, Sara Edward-Corbett, Conor O'Keefe, Robert Goodin and Nathan Neal each provide readers with memorable reads, with Neal turning in his strongest narrative yet; and Gilbert Shelton and Pic conclude their tale of rock 'n' roll at the world's edge. And then we have the newcomers: T. Edward Bak debuts here with the first chapter of his work in progress, Steller, as do Noah Van Scriver and noted Spanish cartoonist, Max, whose contribution is a nice, neat 16-page mini-comic that is precisely positioned (and presumably removable – although it's readable while in place) after the last page. All in all, another fine issue.