Shimura Takako’s sensitive and charming series about two middle- schoolers wrestling with their gender identities continues.
Nitori Shuichi, the boy who wants to be a girl, and Takatsuki Yoshino, the girl who wants to be a boy, continue navigating the infatuations, jealousies, and embarrassments of preteen relationships during their first year of junior high.
Chiba-san won’t make up with Takatsuki-san, and no one can get over his or her crush. Takatsuki-san envies Chizuru-san’s boldness for showing up to school in a boy’s uniform, and begrudgingly shops for a bra. Nitori-kun and Mako (who also identifies as a girl) decide to record their voices to preserve them before they change. And: what’s up with the newbie teacher? There’s another gender-bending play in the works?!
Five women stand in a police lineup; four of them are garishly dressed super-women — perfectly normal, because this is, after all, the cover of a comic book. A closer look, however, reveals a fifth woman who seems thoroughly out of place — mousy, in a bathrobe and curlers, smoking a cigarette. Surely she's here by mistake — or is she?
From this very first cover of the very first issue of Love and Rockets in 1982, Gilbert and Jaime Hernandez (along with their brother, Mario) have created artwork that has subverted, contradicted and celebrated the history of comics while making it their own.
For the first time, these iconic comic book covers from the original Love and Rockets comic book series (and the earliest trade paperbacks) have been restored and collected.
This is a gorgeous, oversized art book and the perfect gift for fans of the series that virtually defines alternative comics.
Amazing Man! Skyrocket Steele! Hydroman! They're back from the very earilest days of the Golden Age of Comics in this beautiful collection from one of America's most dynamic, exuberant, and versatile comic book artists — the legendary Bill Everett, creator of Sub-Mariner and co-creator of Daredevil!
PLUS: An essential look at Everett's work in other genres, including his not-to-be-missed horror shockers!
Look inside — and marvel at over 200 pages of Bill Everett comics, covers, and artwork painstakingly restored in full color and unseen since their original publication.
"Everett's vivid, varied work ... emanated from a man who was a lot like his most famous creations: a destructive antihero, always a little angry at the puny humans around him." – The A.V. Club
"Heroic Tales is a wonderful anthology of material from several different eras of Everett's career. After an insightful introduction, editor Blake Bell presents 150 or so pages of comics... Bill Everett was a tremendous and thoroughly unique talent in comics art. Heroic Tales reminds us that Everett's career was long, but his talent was obvious. ...[T]his is a delightful book." – Jason Sacks, Comics Bulletin
"These publications rode the superhero wave initiated by the companies that would later become DC and Marvel, and while they didn’t withstand the test of time, they’re still a kick to read, buoyed by their no-nonsense action plots and by Everett’s propensity for drawing narrow figures poised to commit acts of violence." – Noel Murray, The A.V. Club
"What’s exciting for me about this book is watching Everett develop as an artist and storyteller and figure out the medium in relatively rapid fashion.... What you see here are the glimmers of an artist struggling to comprehend the potential of this relatively new medium [and] how he can push it to match his own interests." - Chris Mautner, Robot 6
The 1939 creation of the Sub-Mariner for the first issue of Marvel Comics assures Bill Everett a place in history. Co-creating Daredevil, the Man Without Fear, for Marvel Comics in 1964 gave Everett a link to one of the most popular superheroes of the past 50 years. And producing over 400 additional pages of superhero-related work in the very early days of the Golden Age of Comics (1938-42) makes Bill Everett a legend.
Heroic Comics: The Bill Everett Archives Vol. 2 collects over 200 pages of never-before-reprinted work from such titles as Amazing Mystery Funnies (1938), Amazing-Man Comics (1939), Target Comics (1940), Heroic Comics (1940), and Blue Bolt Comics (1940). These titles feature an endless array of vintage Everett characters such Amazing-Man, Hydroman, Skyrocket Steele, The Chameleon and many more, all produced by Everett’s shop Funnies, Inc. for such clients as Centaur, Novelty Press, and Eastern Color. This book also features, reprinted for the first time, the rarest of Everett material, his romance work from the early 1950s for Eastern Color on titles such as New Heroic Comics (1950/51) and Personal Love (1953). All of the stories within display Everett’s brilliant cartooning and energetic storytelling growing by leaps and bounds.
Edited by best-selling author and comic-book historian Blake Bell (Strange and Stranger: The World of Steve Ditko), The Bill Everett Archives is a stunning companion to Bell’s 2010 critically acclaimed Everett biography and art book, Fire and Water: Bill Everett, The Sub-Mariner and the Birth of Marvel Comics. This volume follows the format of Bell’s Steve Ditko Archives series; never-before-reprinted, beautifully restored, full-color stories from one of comic books’ greatest visionaries and most accomplished artists. This book also includes an introduction about the man, his art, the history of the era, and his relationship with Marvel Comics.
"Not your standard spookshow, but rather a surreal, grotesque Victorian creep-out, Hans Rickheit's 2009 Squirrel Machine introduces us to the world of William and Edward Topor, brothers with a penchant for exploring the otherworldly bowels of their disturbing, maze-like mansion, when not making musical instruments and other devices out of animal parts. Rickheit's detailed black and white illustrations provide the unforgettable backdrop to his ultimately tragic and gruesome tale." – Rue Morgue
"This carefully constructed tale... strikes me as being one of the few original works of art that I’ve seen published in North America over the last two decades, on a par with the better work of Dan Clowes or Charles Burns. ... This is not a tale for the squeamish nor is it a tale for the literal-minded; it is very much a bravura performance in the tradition of Surrealism, or Fantastic Art, or even Symbolism... In short, strongly recommended!" – Mahendra Singh
"[The Squirrel Machine is a] darkly disturbing, brilliantly drawn story... B&W pen and ink drawings elucidate complex machines and Victorian-era architecture in baroque detail, while surrealist imaginings take turns for the truly repugnant. Sexual perversion, putrefaction and serial-killer style artworks are all ornately portrayed, as are the buildings, shops, horse-drawn carriages and crumbling mansions of a 19th-century small town. The story, while told primarily in pictures, includes a stilted and formal dialogue that only adds to the perversity. ... Though not for the faint of heart, this obscure tale will offer rich rewards to the right kind of reader, one who appreciates grotesque horror, angry mobs and the creative explosion of a repressed Victorian sexuality." – Publishers Weekly
"...[T]he velvety ease of the narrative and the facile blend of sexual, familial and natural intimacies on display suggest one of those steps forward with which the comics medium has been blessed over and over again this past decade. One falls through The Squirrel Machine as much as reads it, and the collection of feelings it imparts is as much due to the clarity of its narrative as it is the horror show that occasionally surges toward the reader from some deep place in Rickheit's mind, righteous and angry and wet." - Tom Spurgeon, The Comics Reporter
An anachronistic parable for the convulsive elite — now in paperback.
What is The Squirrel Machine? • An immutably strange and haunting narrative that transcends known logics and presumptive dream-barriers; • A distillation of subconscious beauty and inspired madness; • A dangerous object for the incautious; • A revelation for the undernourished crypto-seeker; • The virgin caress of unconsummated apocalypse; • The unspeakable thing that you always knew.
It’s also the legendary obscurantist cartoonist Hans Rickheit’s most ambitious graphic novel to date. Exquisitely rendered, strange, and hauntingly beautiful, this evocative and enigmatic book will ensure the inquisitive reader a spleenful of cerebral serenity that will require vast quantities of mediocrity to banish from memory.
Set in a fictional 19th Century New England town, the narrative initially details the relationship and maturation of Edmund and William Torpor. But the two brothers quickly elicit the scorn and recrimination of an unamused public when they reveal their musical creations built from strange technologies and scavenged animal carcasses. Driven to seek a concealment for their aberrant activities, they make a startling discovery. Perhaps they will divine the mystery of the squirrel machine.
Set in a fictional 19th century New England town, The Squirrel Machine initially chronicles the relationship and maturation of Edmund and William Torpor. But the two brothers quickly elicit the scorn and recrimination of an unamused public when they reveal their musical creations built from strange technologies and scavenged animal carcasses. Driven to seek a concealment for their aberrant vocation, they make a startling discovery. Perhaps they will divine the mystery of the squirrel machine.
The Squirrel Machine is the legendary obscurantist cartoonist Hans Rickheit’s most ambitious graphic novel to date. Exquisitely rendered, strange, and hauntingly beautiful, this evocative and enigmatic book will ensure the inquisitive reader a spleenful of cerebral serenity that will require vast quantities of mediocrity to banish from memory.
“Music releases my inhibitions. Gradually, I’m listening to music and my spirit gets free and I work without thinking. Which is how you really create—without thinking. Music — jazz in particular — helps me flow. I can swing a little bit — try this, try that.” – Jim Flora, interview, 1990
Since the publication of The Mischievous Art of Jim Flora in 2004, the once-overlooked illustrator (1914–1998) has gained recognition as one of the foremost pioneers of a raucous, cartoonish style of commercial art that defines the mid-century aesthetic. Two follow-up volumes of Floriana, The Curiously Sinister Art of Jim Flora (2007) and The Sweetly Diabolic Art of Jim Flora (2009), captured the artist’s devilish and largely unseen fine-art works. Each volume reflected recurring themes: architecture, cats and dogs, science, maritime, children’s literature, cars, trains, and penchants for mischief and visual violence.
But one of Flora’s sustaining loves was music. His 1940s and ’50s Columbia and RCA Victor record covers in which legendary musicians were routinely afflicted with mutant skin tints and bonus limbs are classics of caricature. Flora was art director for Columbia from 1943 to 1945 and remained with the company until 1950. During this period — and during the 1950s as a freelancer — he produced an enormous amount of promotional ephemera, including new release monthlies, trade booklets, ads, and point-of-sale novelties. Music was Flora’s lifelong passion, which he expressed in rhythmic design tinged with a wicked sense of the absurd.
The Mischievous Art of Jim Flora, long out of print, featured Flora’s known album covers at the time of publication (no complete discography ever existed). In the intervening nine years, more covers have surfaced, as well as rough drafts and unpublished designs.
Flora co-archivists Irwin Chusid and Barbara Economon have compiled a complete collection of Flora covers (including recent discoveries) and unpublished sketches in one volume, augmented by music images not included in previous volumes. The High Fidelity Art of Jim Flora is the definitive anthology of the maestro’s visual compositions, reflecting jazz, classical, and Latin music. Regarding his jam-packed canvases, Flora once said he “couldn’t stand a static space.” There’s nothing static about the images in The High Fidelity Art of Jim Flora: they wail, dance, bounce, and swing from the chandeliers. Flora had a knack for grooving with a paintbrush, making art to which you can tap your toes and snap your fingers.
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