The controversial cartoonist Rory Hayes was a self-taught dynamo of the underground comics revolution. Attracting equal parts derision and praise (the latter from the likes of R. Crumb and Bill Griffith), Hayes emerged as comics’ great primitive, drawing horror comics in a genuinely horrifying and hallucinatory manner (some have called him the Fletcher Hanks of the underground). He has influenced a generation of cartoonists, from RAW to Fort Thunder and back again.
This book, the first retrospective of Hayes’ career ever published, features the best of his underground comics output alongside paintings, covers, and artifacts rarely seen by human eyes — as well as astounding, previously unprinted comics from his teenage years and movie posters for his numerous homemade films. The Art and Comix of Rory Hayes also serves as a biography and critique with a memoir of growing up with Rory by his brother, the illustrator Geoffrey Hayes, and a career-spanning essay by Edwin Pouncey (a.k.a. Savage Pencil). Also included is a rare interview with Hayes himself.
The eagerly anticiwaited fourth volume of Thrizzle does something no comic magazine has ever done before... it helps your family organize its entire day! Every page is dedicated to a half-hour of an average 16-hour cycle, allowing it to compliment and entertain along the way. with Pagus, Twain and Einstein, The Scaredy Kids, and Jungle Princess!
Appearing in MOME 12: Cover art and debut story by European master Olivier Schrauwen, who contributes the hilarious "Hair Types." David B. is back with "The Drum Who Fell In Love," while MOME #11 cover boy Killoffer gives us "Dirty Family Laundry." Nate Neal deconstructs the genres of indie comix in "Reality Comics Quartet," while Dash Shaw delivers another full-color gem titled "Train." Tom Kaczynski presents a suite of strips detailing the history of noise, while newcomer Jon Vermilyea introduces the creepy funny "Breakfast Crew." Plus, more Killoffer, Ray Fenwick, Sophie Crumb, and the great Al Columbia. On top of all this, we have newcomers Derek Van Gieson and Sara Edward-Corbett, as well as an illustrated prose short story by Paul Hornschemeier. Our most dense issue yet!
A long time ago, a devious late-night pact altered the destiny of small community, its inhabitants forever cursed to live as mere clay in the hands of the capricious Mister O’Blique and the Wicked Barons. But is change finally afoot? Professor Hackensack journeys to the town in order to wrest from the Barons the secret of their power. He will be helped (or hindered) on this quest by Inspector Demifayce, Lady Puzzle, the Encephapolyp, the Taxmen and other players in the complex, not always human mosaic that forms the strange and twisted architecture of the Cryptic City. Find out why this surreal masterpiece from Sergio Ponchione was the sleeper hit of the 2008 Comic-Con!
WHERE IS DELPHINE?!? Where can she be, this lovely object of our nameless traveler’s affection — or, perhaps, obsession? Since stepping off the train into Delphine’s hometown — surrounded on all sides by a deep black forest — the traveler has found nothing but trouble. It seems the townsfolk aren’t satisfied with simply being unhelpful — they are openly hostile and may even, for reasons he can’t understand, want to kill him. Perhaps our poor prince charming was hoping for a fairy tale romance, in which case, although he did get the fairy tale, along with its witches and wicked stepmothers and haunted forests and evil spells, he may find that not all fairy tales end with "happily ever after." In this penultimate issue of the four-part series, our traveler makes a startling discovery and faces a new horror that drives him to the brink of absolute madness.
Abandoned Cars is Tim Lane’s first collection of graphic short stories, noir-ish narratives that are united by their exploration of the great American mythological drama by way of the desperate and haunted characters that populate its pages. Lane’s characters exist on the margins of society—alienated, floating in the void between hope and despair, confused but introspective. Some of them are experiencing the aftermath of an existential car crash—those surreal moments after a car accident, when time slows down and you’re trying to determine what just happened and how badly you’re hurt. Others have gone off the deep end, or were never anywhere but the deep end. Some are ridiculous, others dignified in their efforts to struggle to make sense of, and cope with, the absurdities, outrages, ghosts, and poisons in their lives.
The writing is straightforward, the stories mainstream but told in a pulpy idiom with an existential edge, often in the first person, reminiscent of David Goodis’s or Jim Thompson’s prose or of films like Pick-Up on South Street or Out of the Past. Visually, Lane’s drawing is in a realistic mode, reminiscent of Charles Burns, that heightens the tension in stories that veer between naturalism on the one hand and the comical, nightmarish, and hallucinatory on the other. Here, American culture is a thrift store and the characters are thrift store junkies living among the clutter. It’s an America depicted as a subdued and haunted Coney Island, made up of lost characters—boozing, brawling, haplessly shooting themselves in the face, and hopping freight trains in search of Elvis.
Abandoned Cars is an impressive debut of a major young American cartoonist.