Order this book together with The Number 73304-23-4153-6-96-8 for a great discounted price! Click here to order.

This omnibus collection of Thomas Ott’s short shock-ending horror stories — imagine E.C. Comics done with no words, and executed in an impossibly lush black-and-white scratchboard style — collects a dozen stories originally published in three (now out of print) thin European style “graphic albums” (Tales of Error, Greetings from Hellville and Dead End) during the 1980s and 1990s, plus 8 previously uncollected tales, including "The Breakdown" from Fantagraphics' Mome anthology and Ott's collaboration with French great David B., "La Fiancée du Lapin." The book also features an afterword by rocker Martin Eric Ain, a.k.a. Martin Erich Stricker (Hellhammer, Celtic Frost).

Presented in the same deluxe format as the now sold-out Cinema Panopticum and The Number 73304-23-4153-6-96-8, R.I.P. offers up twenty twisted tales of murder, suicide, oppression, terror, mutilation, crime, marital strife, and nuclear annihilation.

Download an EXCLUSIVE 19-page PDF excerpt (3.7 MB).

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"With Ott’s trademark scratchboard style affording the highest possible contrast, this is some of the most stunningly crafted work in comics today." – Ray Olson, Booklist

Praise for T. Ott:

"The wordless noir morality plays are both meticulous and unnerving." – The Times (London)

"Comics don’t come much cooler than the heavily stylish, moody stories-with-a-twist created by Thomas Ott." – The Comics Reporter

"Swiss cartoonist Ott employs neither dialogue nor captions in his stories; words appear rarely, usually as chapter titles or signs in the background. Appropriately, Ott uses the early silent cinema as a motif... In keeping with the silent movie motif, Ott uses black, white and grays, enveloping his realistically drawn characters and settings in an expressionistic mood. The characters initially display understated emotions, and their situations seem familiar. Ott’s storytelling moves at a slow but steady pace, making his protagonists’ extreme reactions more believable when they, and the readers, are caught in Ott’s imaginatively conceived, masterfully executed traps." – Publishers Weekly

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