In 1947, the author's grandfather, Arsène, traveled across the ocean to a mysterious, dangerous jungle colony at the behest of his cousin. Together they would build something deemed impossible: a utopia of modernity, in the wilderness — but not before Arsène falls in love with his cousin's wife, Marieke. Whether delirious from love or a fever-inducing jungle virus, Arsène's loosening grip on reality is mirrored by the reader's uncertainty of what is imagined or real by Arsène. This first full-length graphic novel from the critically-acclaimed Olivier Schrauwen is an engrossing, sometimes funny, slightly surreal and often beautiful narrative.
"Gottfredson drew Mickey with a nosy snout and the bright eyes of an adrenalin junkie. The mouse’s diminutive size inspired Gottfredson to have the character attempt daredevil races, leaping stunts, and develop a flurry-fisted fighting style… This beautiful [series] gives the Great Rodent his humanity." – Ken Tucker, Entertainment Weekly
Disgusted and appalled with the today’s noisy and noisome world in which all is spectacle and surface sensation, Nick flees into the solitude of the desert. But even as he manages to recover some sort of spiritual balance thanks to an ascetic regimen of fasting and meditation, Nick is seduced by the most spectacular and mesmerizing spectacle of all time: The procession of the Queen of Saba.
In Vapor, the award-winning Spanish cartoonist Max (best known for his 2006 book Bardín the Superrealist) once again engages in delightful philosophical mind games, starring another wildly stylized and endearing protagonist — this time deploying a striking, crisp black and white graphic style perfectly suited for this desert-based fantasia.
"…[I]t looks great, and the new volumes of the Rosa library should prove perfect companion volumes for those in the Barks library, particularly for readers who find their appetites for these types of duck tales whetted by the Barks books. …Rosa’s Duck comics? They’re great ones." – J. Caleb Mozzocco, School Library Journal
"…Rosa is so sincere in his desire to revive Barks’s style of adventure and humor it shows in every panel, every detail of his work. He’s taking this seriously, folks, and its all there. …Good stuff, sez I." – Jerry Beck, Cartoon Research
"I love [Don Rosa’s] body of work. I’ve bought it multiple times. I’ll be happily buying it again when Fantagraphics reprints it this fall. Love, love, love." – Augie de Blieck Jr., Comic Book Resources
"Rosa’s comics may be the best comics ever done in the voice of another creator. They’re very funny, satisfying yarns, and this presentation—particularly the color—is super-handsome. This would have been my favorite book ever at eight years old, and I’m fond of it now." – Tom Spurgeon, The Comics Reporter
"All of these books are essential purchases for comics fans… These are the books that best show off how EC took genre stories seriously, striving to create comics that didn’t treat readers as naive or ignorant." – The Los Angeles Times
"…I am not only appreciative…but also very impressed. [The books] are spectacular packages of their featured artist and their stories." – Al Feldstein
"Jumpin' jacksnipes!" Duckburg's richest tycoon is on the hunt for legendary square eggs — and he's bringing Donald, Huey, Dewey, and Louie along! It’s our second complete, chronological book of Duck adventures by internationally celebrated fan favorite Don Rosa — following in the footsteps of Disney legend Carl Barks with his own distinctive style! Famed for his prizewinning Life and Times of Scrooge McDuck, Rosa wrote and drew two decades' worth of ripping Duck yarns and is among the world's most beloved modern cartoonists. Star stories in our second Rosa book include "Return to Plain Awful," Rosa’s sequel to Barks' "Lost in the Andes." Then, in "His Majesty McDuck," Scrooge beats the IRS by seceding from the Union... only to have his new country colonized by the Beagle Boys! Plus more! Presented with a rich archive of Rosa's cover art and behind-the-scenes factoids, these Duckburg epics are getting a definitive, comprehensive North American edition for the very first time — at a bargain price worthy of Scrooge himself!
It’s in this volume (featuring another two years' worth of Pogo strips) that we meet one of Walt Kelly's boldest political caricatures. Folks across America had little trouble equating the insidious wildcat Simple J. Malarkey with the ascendant anti-Communist senator, Joseph McCarthy. The subject was sensitive enough that by the following year a Providence, Rhode Island newspaper threatened to drop the strip if Malarkey's face were to appear in it again. Kelly’s response? He had Malarkey appear again but put a bag over the character's head for his next appearance. Ergo, his face did not appear. (Typical of Kelly's layers of verbal wit, the character Malarkey was hiding from was a "Rhode Island Red" hen, referencing both the source of his need to conceal Malarkey and the underlying political controversy.) The entirety of these sequences can be found in this book.
But the Malarkey storyline is only a tiny portion of those rich, eventful two years, which include such classic sequences as con-man Seminole Sam's attempts to corner the market on water (which Porkypine's Uncle Baldwin tries to one-up by cornering the market on dirt); a return engagement of Pup Dog and Houn'dog's blank-eyed Little Orphan Annie parody "Li'l Arf and Nonny"; Churchy La Femme going in drag to deliver a love poem he wrote, Cyrano style, on Deacon Mushrat’s behalf to Sis Boombah (the aforementioned hen); P.T. Bridgeport's return to the swamp in search of new talent; and of course two rousing choruses of "Deck Us All With Boston Charlie."
In addition to presenting all of 1953 and 1954's daily strips complete and in order for the first time anywhere (many of them once again scanned from original syndicate proofs, for their crispest and most detailed appearance ever), Pogo Volume 3: "Evidence to the Contrary" also contains all 104 Sunday strips from these two years, presented in lush full color for the first time since their original appearance in Sunday sections 60 years ago — plus the usual in-depth "Swamp Talk" historical annotations by R.C. Harvey, spectacular samples of Kelly's work scanned from original art, and a whole lot more!
"The Late Child and Other Animals shares the features that made Marguerite Van Cook and James Romberger’s collaboration with David Wojnarowicz such a success: the lush color, the creative visual mapping of a psychic landscape. The hallmarks of this remarkable writer-artist team are intensified in this loose, often lovely, personal coming-of-age narrative, haunted by a dark undercurrent, that focuses on Van Cook and her mother." – Hillary Chute, author of Outside the Box: Interviews with Contemporary Cartoonists
"The stories in The Late Child and Other Animals are beautiful haunts, the stories that were never told and have returned, fully alive and tense with implication. The stories are the intersection of a national history and the exquisitely drawn inner life of the late child herself, Marguerite. The world Van Cook and Romberger recreate is unsafe, unfolding, and shot through with joy." – Amy Benson, author of The Sparkling-Eyed Boy
"Overwhelming, my first encounter with a graphic gathering of stories: I devoured them all in a huge gulp, from the detailed delights of fields and flowers to the fearsome tale of man and girl. Everything feels so very alive in these pages, words and colors and line!" – Mary Ann Caws, author of The Surrealist Look: An Erotics of Encounter, Surprised in Translation, and The Modern Art Cookbook
"Spanish cartoonist Max uses some of the most cherished pieces of high art as the catalyst for his character Bardin’s funny and thoroughly humane adventures… Max takes what can be impenetrable and uses some fine cartooning to make it accessible and enjoyable." – Publishers Weekly
"If you glimpse traces of Magritte, Goya, and Zap Comix in Max’s exuberant panels, then you're really enjoying yourself." – Booklist
"Wild, illogical, surreal, and utterly charming… sometimes read like a mad cross between Peanuts, Jimmy Corrigan, Salvador Dalí, and the Rarebit Fiend, but beautifully executed in Max’s underground/ligne claire style… an important new body of work from a major cartoonist." – Indy Magazine
"Max skillfully portrays dream logic in the language of comics… What makes this a great comic is its light touch and comic timing." – Sequart
"I think this is the closest you can get to a natural high while only reading a book (although a glass of wine helped)… one of the very few really surrealist comics around." – Wim Lockefeer