Rip M.D. is the debut graphic novel from The Angry Beavers creator Mitch Schauer, a creepy, fun-filled all-ages adventure introducing Ripley Plimpt, an eleven-year-old boy whose ordinary life is turned upside-down when he discovers that monsters are not only real, but are also in desperate need of his help to overcome their very real problems.
One foggy night, while searching for monsters in the cemetery behind his house, Ripley finds and rescues the tiniest of bats impaled on a thorn bush. What Ripley doesn’t realize is that he’s just saved the life, or “un-life,” of one of the world’s most dangerous night creatures — a vampire! Word spreads among all monsters of Rip’s heroic gallantry and kindness. Before long, legendary and mythical monsters from around the world are showing up on his doorstep proclaiming Rip as Rip M.D. — Monster Doctor!
Writing and illustrating the graphic novel, Emmy-Award winning and long time producer, writer and designer Schauer has teamed with comic book veteran Mike Vosburg who’s bringing his innovative, illustrative style to the artwork’s inking. Michael Lessa and Justin Yamaguchi are creating a whole new look for Rip M.D. with their beautiful color and special effects expertise.
Rip M.D. is the first collaboration between the independent animation studio Lincoln Butterfield, who’s producing the graphic novel, and Fantagraphics Books, who’s publishing it.
Of the myriad genres comic books ventured into during its golden age, none was as controversial as or came at a greater cost than horror; the public outrage it incited almost destroyed the entire industry. Yet before the watchdog groups and Congress could intercede, horror books were flying off the newsstands. During its peak period (1951-54) over fifty titles appeared each month. Apparently there was something perversely irresistible about these graphic excursions into our dark side, and Four Color Fear collects the finest of these into a single robust and affordable volume.
EC is the comic book company most fans associate with horror; its complete line has been reprinted numerous times, and deservedly so. But to the average reader there remain unseen quite a batch of genuinely disturbing, compulsive, imaginative, at times even touching, horror stories presented from a variety of visions and perspectives, many of which at their best can stand toe to toe with EC.
All of the better horror companies are represented: Ace, Ajax-Farrell, American Comics Group, Avon, Comic Media, Fawcett, Fiction House, Gilmor, Harvey, Quality, Standard, St. John, Story, Superior, Trojan, Youthful and Ziff-Davis. Artist perennials Jack Cole, Reed Crandall, George Evans, Frank Frazetta, Jack Katz, Al Williamson, Basil Wolverton, and Wallace Wood contribute both stories and covers, with many of the 32 full-sized covers created by specialists Bernard Baily, L.B. Cole, William Eckgren, and Matt Fox. (See below for a link to the full Table of Contents.)
Editors John Benson and Greg Sadowski have sifted through hundreds of rare books to cherry-pick the most compelling scripts and art, and they provide extensive background notes on the artists, writers, and companies involved in their creation. Digital restoration has been performed with subtlety and restraint, mainly to correct registration and printing errors, with every effort made to retain the flavor of the original comics, and to provide the reader the experience of finding in the attic a bound volume of the finest non-EC horror covers and stories of the pre-code era.
Download an EXCLUSIVE 26-page PDF excerpt (19.4 MB) featuring four complete stories: "The Corpse that Came to Dinner" by Reed Crandall & Mike Peppe; "The Maze Master" by Lou Cameron; "Swamp Monster" by Basil Wolverton; and "Discovery" by Manny Stallman & John Guinta. Also, click here to read the Introduction by John Benson and see the full Table of Contents with story titles and artist credits.
This book is available with a signed bookplate as a FREE premium! The bookplate has been uniquely designed for this book, and each bookplate is printed on acid-free cardstock and hand-signed by the author. (Click here for more books available with signed bookplates.) Please select your preference above before adding the item to your shopping cart. Note: Signature plates are VERY limited in quantity and available only WHILE SUPPLIES LAST.
The first volume of You’ll Never Know showed Carol’s initial, sometimes difficult attempts at grappling with her father Chuck’s traumatic World War II experiences by bringing them to light. As Book 2 begins, she is startled to discover that Chuck’s decision to suddenly, after 60 years, open up to her on the subject has motivations that go far beyond his desire to reveal his past — putting even more pressure on an already explosive relationship. In any event, Carol finally begins to delve into, and re-tell, Chuck’s horrific wartime experiences in Italy (which are worse than even she had imagined).
But back in the present, the cycle of family dysfunction continues as Carol’s own daughter runs into her own trouble, leading Carol into further exploration of her family’s buried traumas and sorrows — with an expanded reprinting of the out-of-print “The Hannah Story,” Tyler’s superb chronicle of the short life and accidental death of her older sister, a heart-rending story (named one of the “100 Best Comics of the 20th Century” in a Comics Journal survey) that in turn sheds light on her parents’ subsequent lives and patterns of behavior. Everything is connected, and the past is never just the past...
This book is available with a signed bookplate as a FREE premium! The bookplate has been uniquely designed for this book, and each bookplate is printed on acid-free cardstock and hand-signed by the author. (Click here for more books available with signed bookplates.) Please select your preference when adding the item to your shopping cart. Signature plates are VERY limited in quantity and available only WHILE SUPPLIES LAST.
Forty years ago, the legendary manga artist Moto Hagio reinvented the shōjo (girls' comics) genre with an ongoing series of whip-smart, psychologically complex, and tenderly poetic stories. Here, now, in English for the very first time, as the debut release in Fantagraphics Books' ambitious manga line of graphic novels, are ten of the very best of these tales.
The work in A Drunken Dream and Other Stories spans Hagio's entire career, from 1970's "Bianca" to 2007's "The Willow Tree," and includes the mind-bending, full-color title story; the famously heartbreaking "Iguana Girl"; and the haunting "The Child Who Comes Home" — as well as "Autumn Journey," "Girl on Porch With Puppy," the eerie conjoined-twins shocker "Hanshin: Half-God," "Angel Mimic," and one of the saddest of all romance stories, "Marié, Ten Years Later."
A Drunken Dream and Other Stories is supplemented with a feature-length interview with Hagio, where she discusses her art, her career, and her life with the same combination of wit, candor and warmth that radiates from every panel of her comics.
Even if you purchased the fifth pair of volumes of The Complete Peanuts (1975-1976 and 1977-1978) separately rather than in the two-volume set, you can still have this handsome, durable two-volume slipcase designed by Complete Peanuts series designer Seth. This item is exclusively available directly from Fantagraphics. (Books not included.)
Stephen Dixon is one of the most acclaimed authors of short stories in the history of American letters. His work, characterized by mordant humor and a frank attention to human sexuality, has earned him a Guggenheim Fellowship, the American Academy Institute of Arts and Letters Prize for Fiction, the O. Henry Award, and the Pushcart Prize. Fantagraphics Books is proud to present this incredible volume of short stories, a massive collection of vintage Dixon. Dixon’s finely chiseled sentences cut to the quick of people’s lives. None of these stories have been collected in any book; they have appeared in a wide variety of literary journals over almost 40 years and Dixon has entirely rewritten all of them. Dixon admirers will be cheered to learn that these stories comprise a wholly original work.
Centrally concerning himself with the American condition, Dixon explores in What Is All This? obsessions of body image, the increasingly polarized political landscape, sex — in all its incarnations — and the gloriously pointless minutiae of modern life, from bus rides to tying shoelaces. Using the canvas of his native New York he astutely captures the edgy madness that infects the city through the neuroses of his narrators with a style that owes as much to Neo-Realist cinema as it does to modern literature. What Is All This? is published in hardcover, designed by Fantagraphics’ award-winning Art Director Jacob Covey.
Stephen Dixon was born in 1936 in New York City. He graduated from the City College of New York in 1958 and is a former faculty member of Johns Hopkins University. He is also a two time National Book Award nominee — for his novels Frog and Interstate. He still hammers out his fiction on a vintage typewriter.
"Stephen Dixon is one of the great secret masters — too secret. I return again and again to his stories for writerly inspiration, moral support and comic relief at moments of personal misery, and, several times, in a spirit of outright plagiaristic necessity: borrowing a jumpstart from a few lines of Dixon has been a real problem-solver in my own short fiction. Please read him, you." – Jonathan Lethem
“Dixon is one of the few writers whose new work I will put everything aside to read, which is to say he is in the company of Alice Munro, Lorrie Moore, and Lydia Davis…. Put aside whatever you’re reading, and read him.” — J. Robert Lennon
“Startling candor, humor, and concern; every utterance promptly qualified; rigorous narrative economy combined with near-manic obsessiveness. Eembrace [Dixon] and you will be held by a princely storyteller.“ — John Barth
“There is no better chronicler of our antic and anxious age than Stephen Dixon.” —Daniel Handler (aka Lemony Snicket)
“Dixon’s stories, strengthened by their unity, almost have a novel’s ability to develop character, to suggest a life outside the confines of the plot.” — Boston Globe
“Mr. Dixon wields a stubbornly plain-spoken style; he loves all sorts of tricky narrative effects. And he loves even more the tribulations of the fantasizing mind, ticklish in their comedy, alarming in their immediacy.” — The New York Times
“Some writers are able, in a mere 200 pages or so, to rewire your circuitry in a way that makes you unfit for your own life. Stephen Dixon is such a writer, and he can do it in a short story as well.” — Susan Salter Reynolds, Los Angeles Times
Norman Pettingill is a true underground cartoonist, known and admired by a small coterie of cartooning connoisseurs, but completely unknown in the wider world.
Norman Pettingill was an avid trapper and fisherman from Northern Wisconsin, and a self-taught artist. In 1947, at the age of 51, he created hundreds of pen-and-ink drawings and marketed many of them as postcards, printing and distributing them himself. His cartoon drawings were relatively huge and his postcards, therefore, had to be uniquely over-sized at 7” x 10”. He combined a gift for the fine detail and verisimilitude of illustration with the visual exaggeration and outrageous wit of cartooning.
By merging his fascination with nature and backwoods culture with his wild sense of humor, he depicted an out-of-control hillbilly wonderland of talking grizzlies, dancing morons, nightclubs, giant mosquitoes, tumble-down shacks, pipe smoking grannies, flying skunk fur, google-eyed drunks, hilarious hunting mishaps and moonshine soaked fishermen! Pettingill’s world is reminiscent of Al Capp’s Li’l Abner comic strip, but Pettingill’s hillbilly heaven is made grittier and more tangible by his obsessive penwork and the attention he gives to each teetering outhouse, every overflowing spittoon and each wiry hair growing out of a mountain man’s warty face. He reveled in exposing the commercialization of outdoor activities, debunking the romance of a woodsman’s life, and demythologizing the expertise of the outdoors-man. His landscapes and drawings of wild animals could be breathtakingly wondrous, and even his most grotesque depictions of hillbillies were fused with a love and respect for the rituals of a primitive life in the boondocks.
This book is the first published retrospective of Pettingill’s work, containing over a hundred of the artist’s best and rarely seen drawings, printed in an oversized format under a unique cover printed on plywood.
It's a collection of the last 15 years' worth of Drew Friedman's illustrations, caricatures and portraits lampooning the rich, the famous, the infamous, and the never-will-be-famous.
And — promise! — no "Friends."
Too Soon? gathers Friedman's best, most strident and scathing work from some of the most popular publications including Time, Newsweek, The New Yorker, The New York Times, Rolling Stone, Entertainment Weekly, The New Republic, The Weekly Standard, Blab! and more — yes, even Field & Stream.
Too Soon? casts its net over the entirety of the forced-smiling-celebrity/politico congregation, political animals on one side of the aisle, showbiz beasts on the other... and the sad, innocent victims of their crimes that languish in the middle.
Too Soon? is naturally replete with liver spots, wrinkles, burst capillaries, blood, sweat and tears. No one is spared, no matter which side of the aisle he or she inhabits.
Too Soon? is Friedman's first book of artwork produced in HI-DEF, so be prepared. Drew Friedman's work is always brutally honest, WARTS & ALL.
Too Soon? is in fact not TOO SOON — it's about time.
Praise for Drew Friedman:
"I'm grateful to Drew Friedman for every new piece of his vast, riveting panorama of the jacked-up, hellbent American spectacle: comic and horrific, loving and appalled, obsessive and devil-may-care, brilliant and vulgar, familiar and uncanny. He's our William Hogarth and Thomas Rowlandson and George Grosz all wrapped into one." – Kurt Andersen, host of NPR's "Studio 360"
"I would like Drew Friedman to draw me, but I’m scared of what he’d uncover, what he’d reveal about my inner nature that I’d rather not see. Because that’s what he does—he’s not a mere caricaturist, he’s a ridiculously talented artist who’s practically an x-ray machine. One that makes you laugh your balls off.” – Chip Kidd, author of The Cheese Monkeys
"Friedman's liver-spots-'n'-wrinkles style of cartoon realism is completely mesmerizing..." – Entertainment Weekly
"The Thomas Nast of our time." – Slate
"Friedman distorts the images we've grown comfortable with, skewering the way we've let addicts and half-wits become our national idols..." – The Onion
"Friedman remains the finest, most excruciatingly mordant, somehow most humane caricaturist going". – Booklist
"Of low artistic quality." – Rush Limbaugh, big fat idiot.
2009's Prison Pit was an unadulterated smash hit upon its release at the 2009 Comic-Con International, and the balls-to-the-wall series returns with more action and mayhem like only Johnny Ryan can deliver — again starring CF, the shirtless outer space barbarian antihero who remains damned to the Prison Pit (a vast wasteland beneath the crust of a barren planet, populated by the worst of the worst, where violence is the only law and evil creatures roam free). In this second volume, CF tries to get revenge against the evil behemoth that took his arm, and then winds up playing an unwilling participant in an elaborate escape attempt from the Pit.
Prison Pit blends Ryan’s fascination with WWE wrestling, grindhouse cinema, first person action video games, Gary Panter’s “Jimbo” comics, and Kentaro Miura’s “Berserk” Manga into a brutal and often hilarious showcase of violence like no other comic book ever created.
As the 1970s wind down, the last two recurring Peanuts characters have fallen into place: Snoopy’s brother Spike and the youngest Van Pelt sibling, Rerun. But that doesn’t mean Schulz’s creativity has diminished; in fact, this volume features an amazing profusion of hilariously distinctive new one- (or two-) shot characters!
For instance, in an epic five-week sequence, when Charlie Brown is found guilty by the EPA of biting the Kite-Eating tree, he goes on the lam and ends up coaching the “Goose Eggs,” a group of diminutive baseball players, Austin, Ruby, Leland, and — did you know there was a second Black Peanuts character, aside from Franklin? — Milo.
Also: a tennis-playing Snoopy ends up reluctantly teamed with the extreme Type “A” athlete Molly Volley... who then reappears later in the book, now facing off against her nemesis, “Crybaby” Boobie. (Honest!) Add in Sally’s new camp friend Eudora, the thuggish “caddymaster” who shoots down Peppermint Patty and Marcie’s new vocation, an entire hockey team, and a surprise repeat appearance by Linus’s sweetheart “Truffles” (creating a love triangle with Sally), all in addition to the usual cast of beloved characters (including the talking schoolhouse and the doghouse-jigsawing cat, who gets hold of Linus’s blanket in this one), and you’ve got a veritable crowd of characters.
It’s another two years of the greatest comic strip of all time, full of laughs and surprises.
Download an EXCLUSIVE 15-page PDF excerpt (688 KB) containing all the strips from January, 1977!
A boxed set of the thirteenth and fourteenth volumes of The Complete Peanuts, designed by the award-winning graphic novelist, Seth. Shipping shrinkwrapped, with volumes 1975-1976 and 1977-1978 packed in a sturdy custom box designed especially for this set, it's the perfect gift book item. (For more information on the contents of each volume, see the individual product listings linked above.)
"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
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