Six beautifully produced prints depicting the rise and fall of Camelot in lush, detailed illustrations by a master of cartoon classicism. Printed with utmost quality and care on creamy, textured paper and housed in a sturdy folio, this is truly a deluxe collectors item. Out of print and lost in our warehouse for years, now available again at an affordable reduced price. Plate One of each set is signed and numbered by the artist. Originally produced in 1983 in an edition of 1500; these are the final 50 copies.
This item is available with two different cover designs. Please indicate your preference when ordering.
THE ACCLAIMED 2008 DEBUT, BACK IN PRINT IN A 2010 SOFTCOVER!
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.
2009 Ignatz Award Nominee: Outstanding Anthology or Collection
Download an EXCLUSIVE 16-page PDF excerpt containing the first two stories (2.2 MB).
FREE Desktop Wallpaper Downloads! Just click on the size that matches your monitor resolution and the image will open in a new window; if you're on a PC, right-click the image and select "Set As Background"; if you're on a Mac, control+click and select "Set As Desktop Background." (We don't know what the procedure is for iPhones, but if you have one, you probably do, right?) More wallpapers...
THE LEGENDARY ANTI-WAR COMIC COLLECTED FOR THE FIRST TIME IN ITS ENTIRETY, NOW IN A 2010 SOFTCOVER EDITION.
Written by Archie Goodwin and drawn by such luminaries as Frank Frazetta, Wally Wood, John Severin, Alex Toth, Al Williamson, Russ Heath, Reed Crandall, and Gene Colan, Blazing Combat was originally published by independent comics publisher James Warren in 1965 and ’66. Following in the tradition of Harvey Kurtzman’s Two-Fisted Tales and Frontline Combat, Goodwin’s stories reflected the human realities and personal costs of war rather than exploiting the clichés of the traditional men’s adventure genre. They were among the best comics stories about war ever published.
Blazing Combat ended after its fourth issue when military post exchanges refused to sell the title due to their perception that it was an anti-war comic. Their hostility was fueled by the depiction of the then-current Vietnam War, especially a story entitled “Landscape,” which follows the thoughts of a simple Vietnamese peasant rice-farmer who pays the ultimate price simply for living where he does — and which was considered anti-war agitprop by the more hawkish members of the business community.
Writer Archie Goodwin and the original publisher James Warren discuss the death of Blazing Combat and market censorship as well as the creative gestation of the series in exclusive interviews.
Download an EXCLUSIVE 19-page PDF excerpt (3.4 MB) containing the first three stories. Also, click here to read Michael Catron's introduction to the book.
Did you ever wonder how to stop brooding if your ears are protruding? Or how to indulge yourself and snore without being a bore? Or for the masochists among you, how to sit on a tack? Or for the narcissists, how to contemplate the back of your pate? Or something as simple as how to get out of bed gracefully? Or something a bit more challenging like how to boot a fly off your snoot? Or, if you’re the violent type, what’s the best way to kick someone in the teeth? Or, for those striving for greater refinement, how to be particular and is perpendicular?
If these conundrums have perplexed and mystified you, the remedy is at hand: cartooning genius Basil Wolverton’s “Culture Corner,” an indispensable guide to demystifying life’s most worrisome and disconcerting social quandaries. With his fictional host, Croucher K. Conk, Q.O.C (Queer Old Coot), Wolverton would posit the problem and offer a uniquely Wolvertonian solution over seven or eight panels, each one a miniature masterpiece of scandalous visual humor.
Wolverton’s feature “Culture Corner” originally appeared every month in Fawcett’s Whiz Comics (featuring the adventures of Captain Marvel) from 1945 to 1952. Each episode would tackle a different subject from the practical to the pixilated — ”How to cross a busy street” to “How to tweak a beak.” Fantagraphics’ collection of the complete strips is the first time the little known feature has been reprinted since its original publication over 60 years ago! Revered by aficionados, it contains some of Wolverton’s most outrageous drawing and his trademarked lexicon of wacky wordplay.
The Fantagraphics edition also contains Wolverton’s original pencil versions of each strip, which have been carefully preserved over the years, and demonstrate a looser, more spontaneous interpretation of the finished strips.
Hate Annual #8 features a whopping new 20 page Buddy Bradley story where Lisa (everyone’s favorite psycho!) makes her first foray into show biz and gets way more than she bargained for! This issue of P. Bagge’s annual Hate also features strips compiled from his Discover Magazine gig: 5 biographies of scientists you’ve never heard of! — other than maybe Walter Reed, who’s well known only for that hell of a hospital named after him, and not for the handy yet forgotten fact that he discovered how malaria is spread... All that and many other odds and ends from hither and tither (see below for details). Why love when you can Hate!
Loosely based on a teenager’s diary from the 1980s found in a gas-station bathroom, Unlovable is the remarkable story of Tammy Pierce, as filtered through the pen of Los Angeles artist Esther Pearl Watson. This second and concluding volume picks up where the first volume left off (winter break) and finishes Tammy’s tragicomic sophomore year of high school in 1985.
Tammy has built a devoted following over the last several years in the pages of Bust magazine, where Unlovable continues to be serialized on the magazine’s back page, and this beautifully produced, dayglo-orange and sparkly pink hardcover presents over 400 pages of her sometimes ordinary, sometimes humiliating, often poignant and always hilarious exploits. Her hopes, dreams, agonies and defeats are brought to vivid, comedic life by Watson’s lovingly grotesque drawings, filled with all the ’80s essentials — too much mascara, leg warmers with heels and huge hair, etc. — as well as timeless teen concerns like acne, dandruff, and the opposite sex (or same sex, in some cases).
Unlovable is about the rawness of trying to figure out who you are in a very public and humiliating way. Unlovable addresses these mysteries of adolescence through Tammy’s naiveté; girls and women in particular will find much that resonates, but men will also relate to Unlovable’s universal humor and wide cast of characters.
In the epic saga that is Unlovable, Tammy finds herself dealing with: tampons, teasing, crushes, The Smiths, tube socks, facial hair, lice, celibacy, fantasy dream proms, gym showers, skid marks, a secret admirer, prank calls, backstabbers, winter ball, barfing, narcs, breakdancing, hot wheels, glamour shots, roller coasters, Halloween costumes, boogers, boys, boy crazy feelings, biker babes, and even some butt cracks. Tammy’s life isn’t pretty, but it is endlessly charming and hilarious.
Almost Silent packages four original Jason graphic novels — three of them out of print since mid-2008 — into one compact, hardcover omnibus collection. (As the title indicates, this volume favors Jason’s pantomime works.)
“You Can’t Get There from Here,” the longest story of the book (and the only one to be printed in color — well, a color), tells the tale of a love triangle involving Frankenstein, Frankenstein’s Monster, and The Monster’s Bride: Jason cleverly alternates between totally silent sequences involving the three characters and scenes in which Frankenstein’s hunchbacked assistant discusses the day’s events with a fellow hunchbacked assistant to another mad scientist. (You didn’t know they had a union?)
“Tell Me Something” is a brisk (271 panels), near-totally-silent (just a few intertitles) graphic novelette about love lost and found again, told with a tricky mixture of forward- and back-flashing narrative. “Meow, Baby” is a collection of Jason’s short stories and gags, and finally, “The Living and the Dead” is a hilariously deadpan (and gory) take on the traditional Romero-style zombie thriller.
All of these yarns star Jason’s patented cast of tight-lipped (or -beaked) bird-, dog-, cat- and wolf-people, and show off his compassion and wry wit. Almost Silent is a perfect starting point for a new reader wanting to know what the fuss is all about, and a handsome, handy, inexpensive collection for the committed Jason fan.
Download an EXCLUSIVE 27-page PDF excerpt (840 KB) with 6 pages from each section (plus spacer pages separating the sections).
The multiple Harvey and Eisner Award nominee returns for its fifth year. With this issue, the series has now featured over 2000 pages of comics in its four and half years of existence (2109, to be exact), which may be a record for an English-language alternative comics anthology. This issue's cover is by Nate Neal, who delivers "The Neurotic Nexus of Creation," a 15-page explication of the creative process. MOME 18 also includes the first new comic in several years by Dave Cooper, as well as the MOME debuts of Tim Lane, Ivan Brun, Joe Daly, and Jon Adams. Also returning are MOME stalwarts Lilli Carré, Ben Jones, Frank Santoro, Jon Vermilyea, Nicolas Mahler, Ted Stearn, Renée French, Conor O'Keefe, Derek Van Gieson, and T. Edward Bak.
Download an EXCLUSIVE 15-page PDF excerpt (5.9 MB) with a page from every artist in the issue.
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
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