• Now that Jon Adams is going to be in Mome I should start featuring his webcomic Truth Serum (and his new weekly strip Friendship Town for the San Francisco Chronicle when that starts showing up — via Robot 6)
• Our own Jason T. Miles came across this gallery of original vintage Comics Journal spot illustrations by Rik (a.k.a. Rick, a.k.a. Doc) Livingston, such as the swashbuckling robots from issue #49 above... and they're for sale at very reasonable prices
• Review: "The quality of [Gilbert] Hernandez's cartooning is unassailable. Part of the reason [High Soft Lisp] is so hard to quantify is his uncanny ability to shift focus on a moment's notice, effortlessly jumping from one character to another, suggesting whole thought processes and histories with just a handful of images." – Jason Michelitch, Comics Alliance
• Review: "The sort of horror Columbia presents in Pim & Francieworks even better without the trappings of recitation and the cause and effect on which they depend. This sort of dread-inducing fright functions without regard to the recognizable comforts of logic and the niceties of narration. This is visceral, elemental terror that generally festers below — or alongside invisibly — human reckoning. ... Frontwards, backways, sneak-a-peek sideways, it all packs a monumentally disturbing wallop." – Rich Kreiner, "Yearlong Best of the Year," The Comics Journal
• Plugs: The Gosh! Comics Blog highlights recent arrivals Penny Century by Jaime Hernandez ("This volume picks up right after Perla La Loca left off, beginning with the now out-of-print graphic novel Whoa Nellie! which is probably the best female wrestling comic in town") and It Was the War of the Trenches by Jacques Tardi ("Since only a fraction ofTrenches was ever available to us English-speaking folk it’s a nice to see the whole lot of it in one place.")
• Panel:The Comics Journal presents the first part (of three) of a never-before-published panel discussion between Charles Burns , Chip Kidd, Seth and Chris Ware, moderated by Jeet Heer, that occurred October 29, 2005 at the International Festival of Authors in Toronto, Canada
• Interview:The Daily Cross Hatch 's Brian Heater, who says "Released late last month, Fantagraphics’ massive collection, Newave, has already made a strong case for its place on 2010’s list of most essential reissues," talks to the book's editor Michael Dowers: "I’ve always been into art and stuff, so I thought that [minicomics] would be fun to do. I used to do paintings, I did a bunch of wood carving, I built a few stringed instruments. I was always doing things with my hands. It wasn’t until I discovered minicomics that it just all came together. I never dreamed that, 30 years later, I would be writing a book about this stuff."
Each bookplate is printed on acid-free cardstock and hand-signed by the author. Signature plates are limited in quantity and available only while supplies last and exclusively to individual consumers who purchase the associated books direct from Fantagraphics. We have many more books available with free bonus signed bookplates — click here for the full selection!
We are pleased to bring you "Diaflogue," a new semi-regular series of exclusive Q&As with Fantagraphics artists conducted by various members of our staff! Leading things off: Peter Bagge interviewed by Larry “The Love God” Reid, curator and events coordinator for Fantagraphics Bookstore & Gallery.
We’re anxiously awaiting the arrival of HATE ANNUAL #8. Can we expect the responsibilities of parenthood to have an effect on the maturity of Buddy and Lisa?
Yes — or an effect on their immaturity.
As a father yourself, how much of your child-rearing experience will we find reflected in Buddy?
Lots. The big difference, as always, is that I was the father of a 5-year-old 15 years ago, while Buddy is going through it now, so there are different references and cultural touchstones here and there. The gist is the same, though.
Having served as a stand-in for Leonard on a couple of blind “Stinky Dates” myself, it came as quite a blow when we lost the “Love God.” Any other big surprises in store? Might we see a return of Valerie, for instance?
Maybe down the road. The next issue of HATE ANNUAL will most likely involve Buddy and Lisa going back to Seattle to visit her parents – whom Buddy has never met!
In many ways the fictional story arc of HATE foreshadowed actual events in the social counterculture of “Generation X.” An army of young adults seemingly followed Buddy to Seattle in the early ‘90s, came of age here, then meandered back to their home towns. Many are beginning to cope with delinquent children of their own now. Where do you see the grunge generation headed?
Does anyone in their 40s still think of themselves as “grunge”? God help them if they do! Unless they’re in the Foo Fighters or something.
Tell us a bit about your new Vertigo graphic novel OTHER LIVES.
It’s about 4 different people, each of who have past or present virtual and/or fantasy lives. As the story unfolds, all of their real and fake lives intertwine, and havoc ensues. A fun read!
Any other notable projects on the horizon?
I’m slowly getting started on several: besides another eventual HATE ANNUAL, I also plan on getting back in the REASON Magazine fold. My next feature will be about volunteering for an arts project at a women’s prison. After that I may start a series of biographical profiles for them, dealing with various women writers from the past.
World War I, that awful, gaping wound in the history of Europe, has long been an obsession of Jacques Tardi’s. (His very first — rejected — comics story dealt with the subject, as does his most recent work, the two-volume Putain de Guerre.) But It Was the War of the trenches is Tardi’s defining, masterful statement on the subject, a graphic novel that can stand shoulder to shoulder with Erich Maria Remarque’s All Quiet on the Western Front and Ernest Hemingway’s A Farewell to Arms.
Tardi is not interested in the national politics, the strategies, or the battles. Like Remarque, he focuses on the day to day of the grunts in the trenches, and, with icy, controlled fury and disgust, with sardonic yet deeply sympathetic narration, he brings that existence alive as no one has before or since. Yet he also delves deeply into the underlying causes of the war, the madness, the cynical political exploitation of patriotism. And in a final, heartbreaking coda, Tardi grimly itemizes the ghastly human cost of the war, and lays out the future 20th century conflicts, all of which seem to spring from this global burst of insanity.
Trenches features some of Tardi’s most stunning artwork. Rendered in an inhabitually lush illustrative style, inspired both by abundant photographic documentation and classic American war comics, augmented by a sophisticated, gorgeous use of Craftint tones, Trenches is somehow simultaneously atypical and a perfect encapsulation of Tardi’s mature style. It is the indisputable centerpiece of Tardi’s oeuvre.
It Was the War of the Trenches has been an object of fascination for North American publishers: RAW published a chapter in the early 1980s, and Drawn and Quarterly magazine serialized a few more in the 1990s. But only a small fraction of Trenches has ever been made available to the English speaking public (in now out of print publications); the Fantagraphics edition, the third in an ongoing collection of the works of this great master, finally remedies this situation.
“‘The war to end all wars’ has become a magisterial comic book to end all comic books. I seldom give blurbs, but this book is an essential classic. Among all of Jacques Tardi's towering achievements as a comics artist, nothing looms larger than this devastating crater of a work. It’s a compulsively readable wail of Existential despair, a kaleidoscope of war’s dehumanizing brutality and of Everyman’s suffering, as well as a deadpan masterpiece of the darkest black humor. The richly composed and obsessively researched drawings — perfectly poised between cartoon and illustration — march to the relentless beats of Tardi’s three horizontal panels per page to dig a hole deep inside your brain. This is one Hell of a book.” —Art Spiegelman
"Tardi’s depiction of the First World War is so impassioned and visceral that it can be compared to the work of the artists who actually served in the trenches." – Joe Sacco
In the rarefied realm of classic cartoon pin-up art, nobody did it better than Jack Cole. With his quirky line drawings and sensual watercolors, Cole, under Hugh Hefner's guiding hand, catapulted to stardom in the 1950s as Playboy's marquee cartoonist, a position he held until his untimely death at the age of 43.
Jack Cole has been justly celebrated as the creator of Plastic Man and an innovative comic book artist of the 1940s (especially in Art Spiegelman and Chip Kidd’s Jack Cole and Plastic Man: Forms Stretched to Their Limits). After finishing his 14-year run on Plastic Man, he found himself looking for something new. According to Cole, his savior was the Humorama line of down-market digest magazines. This girls and gags magazine circuit proved to be the perfect training ground to regain his footing and develop his craft at single panel “gag” cartoons. His ability to render the female form was already without peer. Though he signed his cartoons “Jake,” Cole’s exquisite line drawings and masterful use of ink-wash — a skill he carried over to Playboy — betrayed his pseudonym. In comparison to his contemporaries, however, Cole was probably Humorama’s least prolific artist. Though his images were frequently used for covers, Cole’s cartoons were few and far between, with scarcely a single drawing appearing every five issues.
Along with a foreword by editor Alex Chun, this volume (originally released in a now out-of-print hardcover edition that now fetches high prices on the secondhand market) collects the best of these hidden gems, including several shot from Cole’s stunning original art. Most of these drawings have not seen print elsewhere since their original publication.
"Cole's goddesses were estrogen soufflés who mesmerized the ineffectual saps who lusted after them." – Art Spiegelman
"Jack Cole was a masterful comic book artist who helped define the golden age of his art form." – Village Voice
Picking up right after Perla La Loca, the third volume of the definitive “Maggie” series repackaging, this compilation of stories from Jaime Hernandez’s solo comic Penny Century and his subsequent return to Love and Rockets (Volume II) charts the further lives of his beloved “Locas.”
But first... wrestling! Penny Century starts off with a blast with “Whoa, Nellie!,” a unique graphic novelette in which Maggie, who has settled in with her pro-wrestler aunt for a while, experiences that wild and woolly world first-hand.
Then it’s back to chills and spills with the old cast of Hopey, Ray Dominguez, and Izzy Ortiz — including Maggie’s romantic dream fantasia “The Race” and the definitive Ray story, “Everybody Loves Me, Baby.”
Penny Century also features two major “flashback” stories: “Bay of Threes” finally reveals the full back story behind Beatriz “Penny Century” Garcia, Maggie’s long-time, bleached-blonde bombshell friend (who gives this volume its name and can be seen as a super-villainess in the first two issues of Love and Rockets: New Stories), while “Home School” is one of Hernandez’s popular looks at his characters’ lives from when they were little kids, drawn in an adorable simplified Dennis the Menace type style. This volume also includes the Maggie & Hopey Color Fun one-shot, reproduced here in glorious black and white.
While supplies last this book is available with a signed bookplate (pictured below) as a FREE premium!
“Five six. Hundred twenty-eight pounds. Forty-three twenty-two thirty-six. High soft lisp. Genius level I.Q.” That’s how motivational speaker Mark Herrera sums up Rosalba “Fritz” Martinez, bombshell, former punkette, former psychiatrist, “Z” movie star — in this supremely sexy, constantly surprising graphic novel.
And Herrera should know, being only one of many to fall under Fritz’s “lithping” spell — others including slobbish rocker Scott “The Hog” and high school nerd turned obsessive bodybuilder Enrique Escobar (and that’s just her husbands).
Hernandez has taken this suite of stories (including the 48-page graphic novelette “High Soft Lisp”), originally serialized in Luba's Comics and Stories and the second volume of Love and Rockets, and fleshed them out with a dozen brand new pages, creating an original and inventive (and very steamy) volume that, through its connections to his main character Luba (Fritz is Luba’s half sister, and characters from the Luba stories pop up here), works both as a standalone graphic novel and a further exploration of Hernandez’s rich world.
Good grief, Charlie Brown, we're halfway there! That’s right! With this volume, The Complete Peanuts reaches the halfway point of Charles M. Schulz’s astounding half-century run on the greatest comic strip of all time.
These years are especially fecund in terms of new canine characters, as Snoopy is joined by his wandering brother Spike (from Needles), his beloved sister Belle (from Kansas City), and... did you know he had a nephew? In other beagle news, Snoopy breaks his foot and spends six weeks in a cast, deals with his friend Woodstock’s case of the “the vapors,” and gets involved in a heated love triangle with Linus over the girl “Truffles.”
The Complete Peanuts 1975-1976 features several other long stories, including a rare “double track” sequence with two parallel narratives: Peppermint Patty and Snoopy travel to participate in the Powderpuff Derby, while Charlie Brown finally gets to meet his idol Joe Shlabotnik. And Peppermint Patty switches to a private school, but commits the mistake of allowing Snoopy to pick it for her; only after graduation does she realize something’s not quite right!
Plus: A burglary at Peppermint Patty’s house is exacerbated by waterbed problems... Marcie acquires an unwanted suitor... Charlie Brown and Peppermint Patty become desk partners... The talking school building collapses... Lots of tennis jokes... and gags starring Schroeder, Lucy, Franklin, Rerun, Sally, and that vicious cat next door. It’s another two years of Peanuts at its finest! Featuring an introduction by comedian Robert Smigel (Triumph the Insult Comic Dog, Saturday Night Live).
"The Complete Peanuts has framed Charles Schulz’s enduring masterpiece about as well any lifelong fan could’ve hoped." – "The Best Comics of the '00s: The Archives", The A.V. Club
Download an EXCLUSIVE 14-page PDF excerpt (1 MB) containing all the strips from January, 1975!
Sand & Fury is a story of blood, of sex, of death — of sound and retribution. It opens as a girl by the side of a desert road accepts a ride from a stranger. How could she know that behind that wheel sits the angel of death?
Of course, even the angel of death once had a life. During that life, death was a successful business woman, with a great career and an even greater future. It’s true she could be a little cavalier with her innate gifts; she had, after all, broken the heart of everyone who had ever loved her.
And then, one day, the monster entered the woman’s life and changed everything forever.
Inspired by the work of filmmakers like David Lynch and Dario Argento and cartoonists like Richard Sala and Charles Burns, a spiritual cousin to Roman Polanski’s Repulsion and The Tenant, Sand & Fury is at once an homage to those classic horror sources and a contemporary romantic thriller, drawn in a stark, chiseled, expressionistic line that evokes modern attitudes and classic terror at the unknown and unknowable.
Download an EXCLUSIVE PDF excerpt containing the first 10 pages of the story (1.9 MB).
"In Sand & Fury, Ho Che Anderson has done what I would have previously regarded as impossible. He’s found the illegitimate child of Faulkner and Lovecraft buried alive in a paranoiac’s terrified vision of the desert of the American Southwest... in a grave uncovered by the shriek of his own degenerate perversion of a banshee, for fuck’s sake." – Howard Chaykin
"Anderson’s blocky figures and Expressionistic use of caricature are augmented by processed period photography, an approach that calls to mind the minimalist abstractions of Frank Miller. The characters are frequently depicted in high-contrast shadow, wherein features become flattened and skin colour is often difficult to determine. The resulting aesthetic is striking and symbolic." — The Guardian
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