Fort Thunder was different. The Providence, RI group has achieved importance not just for the sum total of its considerable artists but for its collective impact and its value as a symbol of unfettered artistic expression. The key to understanding Fort Thunder is that it was not just a group of cartoonists who lived near each other, obsessed about comics and socialized. It was a group of artists, many of whom pursued comics among other kinds of media, who lived together and shared the same workspace. As an outgrowth of the Rhode Island School of Design [RISD] where nearly all of them attended (some even graduating), Fort Thunder provided a common setting for creation that imposed almost no economic imperative to conform to commercial standards or to change in an attempt to catch the next big wave. They were young, rents were cheap, and incidental money could be had by dipping into other more commercial areas of artistic enterprise such as silk-screening rock posters. Fort Thunder was also fairly isolated, both in terms of influences that breached its walls and how that work was released to the outside world. This allowed its artists to produce a significant body of work that most people have yet to see. It also fueled the group's lasting mystique. The urge - even seven years after discovering the group - is not to dig too deeply, so as not to uncover the grim and probably unromantic particulars.
Much more at Tom Spurgeon's
Comics Reporter.
I tend to bring up Brian Chippendale and Mat Brinkmann a lot. This is part of their story.
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