The acclaimed graphic novel anthology continues with Sublife, Volume 2. Creator John Pham enlarges the scope and expands the style of his series with an all-new collection of stories and strips.
“The Kid” is a self-contained short story set in an eerily familiar post-apocalyptic future. Bloodthirsty marauders roam the blasted desert. A nomad and his dog, scavenging the road for gas and supplies, stumble upon a sealed bomb shelter, the contents of which will test whatever humanity he has left, as the marauders pursue him to a violent, frenetic climax.
“Deep Space” continues the atmospheric science fiction serial begun in Volume 1. In this episode, Captain Ho, Commander Wallach, and their newly adopted space-faring companion Deek attempt to harness the power of an alien crystal with the hopes of finding a way back home. But will their best-laid plans survive Captain’s fragile mental state and impulse-prone behavior?
In “221 Sycamore St.,” teenage runaway Phineas accompanies his uncles on a training session with their dog Freya, but what they’re training Freya to do illustrates the disturbing lengths to which his uncles will take their racist ideology. This chapter builds and expands upon the characters and themes established in the first volume, showcasing a vision of Los Angeles that is sometimes dark and fractured, inhabited by a quirky cast of characters.
As if that were not enough, the artist includes various, stand-alone short strips including “Socko Sarkissian,” a single-page gem about baseball’s greatest fictional Armenian slugger, “St. Ambrose,” a fractured memoir about the author’s parochial school alma mater, and “Mort,” a story that answers the burning question, what happens when a jealous blogger encounters his nemesis?
Sublife Volume 2 is filled to the brim with a dizzying variety of stories and styles, all of which surprisingly coalesce into a unified reading experience thanks to their shared themes and motifs, much like Chris Ware’s annual ACME Novelty Library. Dogs, missed connections, ad hoc family units, desert landscapes are all elements that pop up and recur among the different stories. It makes each volume of Sublife eminently readable on its own, and proves why Pham is among the most compelling new voices in comics today.
Download an EXCLUSIVE 5-page PDF excerpt (1.25 MB) from "The Kid."
For centuries, cartoonists have used their pens to fight a war against war, translating images of violent conflict into symbols of protest. Noted comics historian Craig Yoe brings the greatest of these artists together in one place, presenting the ultimate collection of anti-war cartoons. Together, these cartoons provide a powerful testament to the old adage, “The pen is mightier than the sword,” and remind us that so often in the last couple of centuries, it was the editorial cartoonist who could say the things his fellow newspapermen and women only dreamed of, enlightening and rallying a nation against unjust aggression.
Readers of The Great Anti-War Cartoons will find stunning artwork in a variety of media and forms (pen-and-ink, wash, watercolor, woodcut — single images and sequential comic strips) from the hands of Francisco Goya to Art Young, from Robert Minor to Ron Cobb, and from Honoré Daumier to Robert Crumb, as well as page after page of provocative images from such titans as James Montgomery Flagg, C.D. Batchelor, Edmund Sullivan, Boardman Robinson, William Gropper, Maurice Becker, George Grosz, Gerald Scarfe, Bill Mauldin, Art Spiegelman and many more (see below for a complete list of contributors). The book also includes an Introduction by 2006 Nobel Peace Prize winner Dr. Muhammad Yunus and a Foreword by Library of Congress curator Sara W. Duke.
This book is neither ideological nor parochial: The cartoons range across the political spectrum from staunch conservative flag-wavers to radicals and hippies, and span two centuries and the entire globe (Australia, Russia, Poland, France...). But their message remains timeless and universal.
Download an EXCLUSIVE 10-page PDF excerpt (6 MB) of the entire first section, "Planet War."
Out of print for over a decade, The Prince Valiant Companion has become a Holy Grail for collectors of the series. Now, in anticipation of the seventy-fifth anniversary of comics’ longest-running adventure strip, and to celebrate our own just-launched reprinting of the strip’s classic earliest years, Fantagraphics is proud to present an expanded version of this hard-to-find collector’s item. Compiled by award-winning Foster biographer Brian M. Kane, The Definitive Prince Valiant Companion beautifully showcases the careers of artists Hal Foster, John Cullen Murphy, and Gary Gianni.
In addition to updating the original version’s story synopsis section with over thirty years of material, The Definitive Prince Valiant Companion also contains rare and new articles. Included in this volume is a never before reprinted newspaper feature from 1949, Foster’s final interview conducted by Arn Saba, an extensive interview with John Cullen Murphy, and a new interview with the current Prince Valiant creative team of Gary Gianni and Mark Schultz. The Companion also contains a new, in-depth article by Kane on Foster’s artistic influences, as well as a Foreword by comics historian Brian Walker, and an Introduction by Pulitzer Prize-winning author Ray Bradbury.
A special feature of the Companion is a sixteen-page color section of carefully selected strips from the entire run of the comic. Showcasing this section are eight pages by Foster, scanned and digitally restored from original color engraver’s proofs that had been carefully stored and preserved for over forty years. For the first time ever, collectors will be able to see Prince Valiant as Foster intended it to be seen, with all of his fine inked line work intact. Rounding out this section are four John Cullen Murphy pages from the Murphy family’s collection of proofs, and four Gary Gianni pages that were selected by the artist and digitally recolored under his supervision.
Proceeds from the sale of The Definitive Prince Valiant Companion will go to The Friends of Hal Foster Society to aid in the creation of the Prince Valiant statue in Foster’s birthplace of Halifax, Nova Scotia.
Download an EXCLUSIVE 9-page PDF excerpt containing Brian Kane's new essay "Of Mead, Whiskey, and Brandywine: The Artistic Bloodline of Prince Valiant" (7.2 MB).
Conceptual Realism: In the Service of the Hypothetical is a catalog accompanying Robert Williams’ Fall 2009 solo exhibition of new work at New York City’s prestigious Tony Shafrazi Gallery; the show will continue on in 2010 to galleries in Los Angeles, Las Vegas, and elsewhere. (See photos of the NYC opening reception and exhibit at the Arrested Motion blog.) The book features approximately 25 new paintings, complete with essays on each piece by the artist, insights into the process behind each painting (including sketches, underpaintings, etc.), photos of sculptures in progress, and other surprises, including an introduction by painter, tattoo artist and international tattoo cultural advocate Don Ed Hardy.
The alternative art movement of the late 20th Century found its most congealing participant in one of America’s most opprobrious and maligned underground artists, the painter, Robert Williams. It was Williams who brought the term “lowbrow” into the fine arts lexicon, with his groundbreaking 1979 book, The Lowbrow Art of Robt. Williams. It was from this point that the seminal elements of West Coast Outlaw culture slowly started to aggregate.
Williams pursued a career as a fine arts painter years before joining the art studio of Ed “Big Daddy” Roth in the mid-1960s. And in this position as the famous custom car builder’s art director, he moved into the rebellious, anti-war circles of early underground comix. In 1968, Williams linked up with the infamous San Francisco group that piloted the flagship of the miscreant cartoon world, Zap Comix. Along with Robert Crumb, Gilbert Shelton, S. Clay Wilson, Spain Rodriguez, Victor Moscoso and Rick Griffin, Williams learned to function as an artist outside the walls of conventional art.
Known as the “artist’s artist,” in early punk rock art shows held in after-hours clubs, Williams soon pioneered the first break-away art movement in California since the Eucalyptus School’s estrangement from Impressionism in the late 1920s. His bold use of underground cartoon figuration, paired with harshly contrasted psychedelic colors set a style that was an easily recognizable hallmark throughout the 1980s and 1990s. Williams’ new paintings, on display in Conceptual Realism, take the viewer into the world of subjective theory — a mock realm of violated graphic physics, and the next logical step into abstract thought.
Harken back to those thrilling days of yesteryear when the advent of rental videos astonished the movie-going consumer who could only feed his addiction by going to the theater or watching chopped up movies in between commercials on TV. Like vinyl, here is the revenge of another analog cast-off: the VHS is once again insinuating itself into American culture, and this book celebrates the anarchic design art of those early VHS boxes.
Portable Grindhouse: The Lost Art of the VHS Box is a feast for exploitation cognoscenti, reprinting some of the most louche, decadent, minimo-pervo artwork to ever grace a VHS box, featuring such movies as From Beyond, Penitentiary II, Beast of the Yellow Night, Cop Killers, Bay of Blood, Escape from Death Row, and Cocaine Wars. Readers will be agog at the plethora of supertrash movie titles, and then move on to rediscover the anarchic box designs. Throughout, editor and cultural historian Jacques Boyreau succinctly narrates the household-piercing story of VHS: “On par with the jukebox, disco, and neon, VHS reformatted the world’s product-intake and boosted a libertarian aesthetic that conquered TV in the same way TV conquered comic books in the 1950s, and allowed us to hold movies in our hands. Posters in the lobby could advertise, even fetishize a movie; credit sequences could identify the participants, but somehow, VHS box-art ‘became’ the iconic equivalent of the movie.”
Portable Grindhouse is published in a VHS “format,” slyly packaged inside a facsimile VHS box, and contains almost a hundred reproductions of VHS art with commentary.
Download an EXCLUSIVE PDF excerpt (3.6 MB) featuring seven 2-page spreads from the book.
Now available for preview and pre-order: the new 3rd volume of our anything-goes, eyeball-poking, laff-inducing, psyche-jolting comics anthology Hotwire Comics, brought to you by editor (and cover artist) Glenn Head. This edition features contributions from two dozen creators including Michael Kupperman, Mary Fleener, R. Sikoryak (with some brand-new "Masterpiece Comics"), Onsmith, Mats!?, Stephane Blanquet and many more! Download an exclusive 15-page PDF excerpt containing a page each from a sampling of contributors right here (16.5 MB). This book is scheduled to be in stock and ready to ship later this month and in stores shortly thereafter (subject to change).
View a photo & video slideshow preview of the book embedded here. Click here if it is not visible, and/or to view it larger in a new window (recommended).
These items are scheduled to be in stock and ready to ship later this month and in stores (excluding the slipcase by itself, which is only available directly from us) shortly thereafter (subject to change).
View photo & video slideshow previews of the book and the box set embedded here. Click the preceding links if they are not visible, and/or to view them larger in a new window (recommended).
Now available for preview and pre-order: the 17th volume of our quarterly anthology Mome, featuring the conclusion of Paul Hornschemeier's "Life with Mr. Dangerous," a sci-fi tale written by Tom Kaczynski and drawn by Dash Shaw, and new stories and artwork from Olivier Schrauwen, Derek Van Gieson, Renee French, Ted Stearn, Kurt Wolfgang, Laura Park, Rick Froberg, Sara Edward-Corbett and T. Edward Bak. Download an exclusive 11-page PDF excerpt containing a page from each contributor right here. This book is scheduled to be in stock and ready to ship in about two weeks and in stores roughly the same time (subject to change).
View a photo & video slideshow preview of the book embedded here. Click here if it is not visible, and/or to view it larger in a new window (recommended).
OVER ONE THOUSAND CARTOONS SPANNING 50 YEARS OF A LEGENDARY CAREER
Fifty-one, to be exact, but let’s not quibble. Gahan Wilson is among the most popular, widely-read, and beloved cartoonists in the history of the medium, whose career spans the 2nd half of the 20th century, and all of the 21st. His work has been seen by millions — no, hundreds of millions — in the pages of Playboy, The New Yorker, Punch, The National Lampoon, and many other magazines; there is no telling, really, how many readers he has corrupted or comforted. He is revered for his playfully sinister take on childhood, adulthood, men, women, and monsters. His brand of humor makes you laugh until you cry. And it’s about time that a collection of his cartoons was published that did justice to his vast body of work.
When Gahan Wilson walked into Hugh Hefner’s office in 1957, he sat down as Hefner was on the phone, gently rejecting a submission to his new gentlemen’s magazine: “I think it’s very well-written and I liked it very much,” Hefner reportedly said, “but it’s anti-sin. And I’m afraid we’re pro-sin.” Wilson knew, at that moment, that he had found a kindred spirit and a potential home for his cartoons. And indeed he had; Wilson appeared in every issue of Playboy from the December 1957 issue to today. It has been one of the most fruitful, successful, and long-lived relationships between a contributor and a magazine, ever.
Gahan Wilson: 50 Years of Playboy Cartoons features not only every cartoon Wilson drew for Playboy, but all his prose fiction that has appeared in that magazine as well, from his first story in the June, 1962 issue, “Horror Trio,” to such classics as “Dracula Country” (September 1978). It also includes the text-and-art features he drew for Playboy, such as his look at Madame Tussaud’s Wax Museum, his take on our country’s “pathology of violence,” and his appreciation of “transplant surgery.”
Wilson’s notoriously black sense of comedy is on display throughout the book, leaving no sacred cow unturned (an image curiously absent in the book), ridiculing everything from state sponsored executions to the sober precincts of the nouveau rich, from teenage dating to police line-ups, with scalding and hilarious satirical jabs. Although Wilson is known as an artist who relishes the creepy side of modern life, this three-volume set truly demonstrates the depth and breadth of his range — from illustrating private angst we never knew we had (when you eat a steak, just whom are you eating?) to the ironic and deadpan take on horrifying public issues (ecological disaster, nuclear destruction anyone?).
Gahan Wilson has been peeling back the troubling layers of modern life with his incongruously playful and unnerving cartoons, assailing our deepest fears and our most inane follies. This three-volume set is a testament to one of the funniest — and wickedly disturbing — cartoonists alive.
PREVIEWS! Download an EXCLUSIVE 25-page PDF excerpt containing all of Wilson's strips from 1958-1959, including a series of strips spoofing Sherlock Holmes (8 MB). Read Neil Gaiman's Introduction right here. And read designer Jacob Covey's production notes, with copious photos, on Flog! The Fantagraphics Blog.
942-page full-color 8" x 10" three-volume hardcover set with slipcase • $125.00 ISBN: 978-1-60699-298-2 Bonus signed silkscreen print included with the first 50 orders! Add to Cart • More Info & Previews
Limited Collectors Edition with signed letterpress print and box set of facsimile holiday cards • $175.00 ISBN: 978-1-60699-334-7 Add to Cart • More Info & Previews
With this fourth volume of our beloved series, Segar’s Popeye reaches one of its highest peaks in “Plunder Island,” the glorious, epic-length Sunday-continuity adventure that ran for eight months and pitted the intrepid sailorman against the malevolent Sea Hag and her terrifying, grotesque sidekick the Goon — helped, and sometimes hindered by, the easily corruptible J. Wellington Wimpy. “Plunder Island” is presented here for the first time in its complete, full-color, uncut glory!
Meanwhile, in the “dailies” section of Popeye Volume 4, Popeye visits “Poodleburg” and gets involved in a quest for both “Romance and Riches.” Other stories include “Unifruit” (featuring the return of King Blozo), the western epic “Black Valley” (with the unforgettable sight of Popeye in drag), “The Pool of Youth” (featuring the return of the Sea Hag... and her sister!); and the beginning of the extended six-month-long yarn “Popeye’s Ark”!
Comics historian Richard Marschall rounds off this volume with a long article on Segar’s storytelling skills and narrative strategies, focusing in particular on the “Plunder Island” sequence. Rediscover an American treasure in this handsomely designed series to be enjoyed by comic fans of all ages.
Download an EXCLUSIVE 15-page PDF excerpt (6.4 MB) with 5 pages of Sundays and 10 pages of dailies!