ICv2.com has an exclusive 6-page excerpt from the new Fletcher Hanks book You Shall Die by Your Own Evil Creation!, featuring an entire story starring everybody's favorite omnipotent vengeance-seeker... no, not God, silly: Stardust the Super Wizard! This is in addition to our 13-page excerpt which is available for download from this page. Feast your eyes on Fletcher's feverish fantasias!
The final issue of macabre master (and birthday boy!) Richard Sala's modern-day reimagining of the Snow White story told from the "Prince Charming" point of view, Delphine #4 brings our hero into an inevitable confrontation with unspeakable evil!
Italian artist Sergio Ponchione's series is becoming a cult hit in the U.S., and he returns with the eagerly-awaited Grotesque #3, containing the second half of the wildly surrealistic "Cryptic City" epic.
Both titles, part of our Ignatz Series of deluxe oversized comics, are now available for pre-order! They are scheduled to be in stock and ready to ship any day now and in stores approximately 4 weeks later (subject to change).
Don't miss the preview pages we've posted for each issue -- just click "View More Images" on each product detail page. Photo and video previews are still in the works -- watch this space.
You Shall Die by Your Own Evil Creation!, subtitled More Comics of Fletcher Hanks, is the follow-up to the surprise smash-hit volume I Shall Destroy All the Civilized Planets! and concludes the publishing of the complete comics work of Golden Age visionary Fletcher Hanks. Edited and with an introduction by Hanks maven Paul Karasik, this volume is nearly twice as big as the last one! This book is scheduled to be in stock and ready to ship any day now and in stores approximately 4 weeks later (subject to change).
On our product detail page we've got a free 13-page PDF preview with 2 complete stories starring Fantomah and Space Smith! Photo and video previews are still in the works -- watch this space. We've also adapted the striking cover image (designed by Jacob Covey) into a series of desktop wallpapers -- put a little Fantomah on your screen! Download the size matching your monitor resolution at the links below:
UPDATE! We've decided that (while supplies last) everyone who orders this book from us will get a FREE copy of our exclusive Color Me or Die!! Fletcher Hanks coloring book minicomic (with cover by Charles Burns), pictured below with the dashing Mr. Karasik!
We just discovered 11 copies of this 1992 issue of Pictopia squirreled away in our warehouse. Edited by Gary Groth and Robert Boyd and thought to be out of print for years, this anthology brings you some gorgeous Chris Ware color work (including a spectacular wraparound cover), a taste of Jacques Tardi, and work by such notables as James Sturm, David Collier and Doug Allen! 72 pages of the best of the early 1990s, at an early 1990s price! Hurry and get yours before they're all gone again.
This issue sports a magnificent wraparound cover by Chris Ware, to go along with his full-color "Quimby the Mouse" story inside. The color section is rounded out by Dave Collier's "Apples" and Doug Allen's "Cranky the Drunk." Continuing this issue is the three-part private-eye serial by Jacques (West Coast Blues, You Are There) Tardi and Patrick Manchette, "Griffu," the hard-as-nails story of a none-too-bright detective who stumbles onto a case a little larger than he can handle. This is one P.I. who really takes his lumps! And as always, Pictopia is proud to present the work of talented newcomers and regulars alike, including: "Amarillo" by Scott Gilbert; "Chums" by George Parsons; "Cocaine" by Howard Rigberg; "Neither Science Nor Fiction" by Garrett Izumi; "Gunned Down in Motown" by Rick Metcalf & Kent Myers; "I Was a New York Bitch" by Eben Dodd; and "21st Century Schizoid Man" by Nemoto. An unbeatable package!
72-page black & white/color 8.5" x 10.75" softcover • $7.95 Update: SOLD OUT
Scheduled to arrive in better comics shops across the land this week: The Comics Journal #298, featuring The Umbrella Academy's Gabriel Bá & Fábio Moon, Perry Bible Fellowship's Nicholas Gurewitch, and much more:
Also popping up on some unofficial lists: Tales Designed to Thrizzle Vol. 1 by Michael Kupperman. It's not on the official distribution list, though, so no promises.
As always, feast your eyes on our many previews and excerpts at the above links, and contact your local shop to confirm availability before busting open your piggy bank.
STOP! Instead of clicking "Add to Cart" below, call in your order to our toll-free customer service line at 1-800-657-1100 and you will get FREE standard shipping within the U.S. on your order of this plus any other books and comics by Peter Bagge! Offer only valid for phone orders, NOT for web orders, within the U.S., through July 31, 2009. What are you waiting for?? Call now, and don't forget to mention this offer to our friendly operators!
Fans of Peter Bagge’s generation-defining, satirical fiction may not realize this, but the cartoonist doubles as an opinionated cuss, and has been contributing provocative (but still hilarious) comic-strip opinion pieces to Reason magazine for the last several years... finally collected in this volume.
Although a libertarian by inclination (hence the Reason gig), Bagge (who lives in the fuzzy-headed, liberal capital of the Northwest, Seattle) is hardly dogmatic, and many of the pieces undermine traditional party lines in favor of a rather personal, rational and informed take on hot-button issues that will force partisan Democrats and Republicans alike to rethink them. And of course, Bagge’s well-researched comic strip “essays” crackle with the same energy and wit that propelled him into the collective Gen X consciousness with his comic book series Hate.
Favorite topics include the erosion of our civil liberties (whether the post-9/11 Bush administration's gradual erosion of the Bill of Rights, the insanity of the war on drugs, or nanny-state meddling), ongoing boondoggles of the American public (for professional sports stadiums or ineffective public transportation systems), the Iraq war (Bagge is vociferously against it), so-called art and so-called entertainment, the homeless, the mall-ification of America, politicians both in general and in particular (including the 2008 presidential race and a revelatory one-on-one with Republican not-so-hopeful Ron Paul that soured Bagge on the candidate forever), the conservative/religious war on sex and drugs, and whether citizens should be allowed to own bazookas. Each piece features the voluble Bagge himself front and center as the puzzled, indignant, or deeply conflicted everyman-on-the-street trying to make sense of this 21st Century.
And of course, every panel is delineated in Bagge’s glorious, laugh-out-loud stretchy 4-color cartoon style, making even his disquisitions on some very serious topics go down as smoothly as Buddy Bradley’s latest escapade.
HAROLD FOSTER’S LEGENDARY MEDIEVAL EPIC, FINALLY IN ITS DEFINITIVE EDITION
Universally acclaimed as the most stunningly gorgeous adventure comic strip of all time, Prince Valiant ran for 35 years under the virtuoso pen of its creator, Hal Foster. (Such was its popularity that today, decades after Foster’s death, it continues to run under different hands.)
The giant Sunday-funnies pages (Valiant ran only on Sundays) gave Foster a huge canvas upon which he was able to limn epic swordfights, stunning scenes of pomp and pageantry, and some of the most beautiful human beings — male and female — ever to appear in comics. And he matched his nonpareil visual sense with the narrative instincts of a born storyteller, propelling his daring young hero from one crisis to another with barely a panel to catch one’s breath.
Prince Valiant has previously been widely available only in re-colored, somewhat degraded editions (now out of print and fetching collectors’ prices). Thanks to advances in production technology and newly available original proof sheets, this new series from the industry leader in quality strip classics is the first to feature superb restored artwork that captures every delicate line and chromatic nuance of Foster’s original masterpiece. Comic strip aficionados will be ecstatic, and younger readers who enjoy a classic adventure yarn will be bowled over.
Volume One is rounded out with a rare, in-depth classic Foster interview previously available only in a long out-of-print issue of The Comics Journal, as well as an informative Afterword detailing the production and restoration of this edition, which you can read in its entirety right here on our website.
A third collection of amusing nightmares from the demonic wand of Jim Flora
Jim Flora (1914-1998), long admired for boisterous 1940s and '50s record cover illustrations and a later series of best-selling children's books, has been rediscovered in recent years as an alchemist of bizarre and politely disturbing imagery. The Sweetly Diabolic Art of Jim Flora burnishes the reputation of one of the great overlooked paintbox fantasists of the twentieth century.
Like its two predecessors (The Mischievous Art of Jim Flora and The Curiously Sinister Art of Jim Flora), this anthology celebrates a visionary whose work is steeped in vari-hued paradox. Flora's figures are fun while threatening; playful yet dangerous; humorous but deadly. His helter-skelter arabesques are clustered with strangely contorted critters of no identifiable species, juxtaposed amid toothpick towers and trombones twisted into stevedore knots. Down his streets lurch demonic mutants sporting fried-egg eyes, dagger noses, and bonus limbs. Yet, despite the raucous energy projected in these hyperactive mosaics, a typical Flora freak circus often projects harmony and balance — an ordered chaos.
Like the first two volumes of Floriana, The Sweetly Diabolic Art of Jim Flora features paintings, drawings, and sketches from the 1940s through the 1990s — many never previously published or exhibited; more artifacts from the artist's 1940s tenure in the Columbia Records art department; and vintage newspaper and magazine illustrations.
This collection also heralds the first publication of an early, abandoned book for youngsters, "The X-Ray Eye of Wallingford Hume," which Flora drafted in 1943. Equally fascinating are original roughs, overlays, and concept images for his 1950s and '60s published kid-lit. In a curious inversion from art to objet d'art, these partial illustrations — intended to be layered for a printer's composite — are impressive, in their curious minimalism, as stand-alone masterpieces.
A gallery of 1940s pen and pencil sketches invokes a catacomb of nightmarish apparitions and inscrutable petroglyphs. Sweetly Diabolic also collects for the first time between covers a sideshow of science widgetry from a short-lived, now-obscure mid-1950s monthly, Research & Engineering, for which Flora served as art director. Chronicles of Flora's career, personal vignettes, and mementos from the family archives augment the images.
Although a lot of his work appears cartoonish, Flora didn't draw comics. He always projected a veneer of sophistication that elevated his images to the level of fine art, even when grinding out topical illustrations for newsstand weeklies. Flora deftly merged the well mannered with the maniacal — eyeball jazz that bops and bounces in unfathomable meters.
BONUS! Download an EXCLUSIVE 14-page PDF excerpt (2.7 MB) comprising the heavily illustrated Introduction, "The Flora Aura."
"The real war," said Walt Whitman, "will never get in the books." During World War II, the closest most Americans ever came to the "real war" was through the cartoons of Bill Mauldin, the most beloved enlisted man in the U.S. Army.
Here, for the first time, Fantagraphics Books brings together Mauldin's complete works from 1940 through the end of the war. This collection of over 600 cartoons, most never before reprinted, is more than the record of a great artist: it is an essential chronicle of America's citizen-soldiers from peace through war to victory.
Bill Mauldin knew war because he was in it. He had created his characters, Willie and Joe, at age 18, before Pearl Harbor, while training with the 45th Infantry Division and cartooning part-time for the camp newspaper. His brilliant send-ups of officers were pure infantry, and the men loved it.
After wading ashore with his division on the first of its four beach invasions in July 1943, Mauldin and his men changed — and Mauldin's cartoons changed accordingly. Months of miserable weather, bad food, and tedium interrupted by the terror of intense bombing and artillery fire took its toll. By the year's end, virtually every man in Mauldin's original rifle company was killed, wounded, or captured.
The wrinkles in Willie and Joe's uniforms deepened, the bristle on their faces grew, and the eyes — "too old for those young bodies," as Mauldin put it — betrayed a weariness that would remain the entire war. With their heavy brush lines, detailed battlescapes, and pidgin of army slang and slum dialect, Mauldin's cartoons and captions recreated on paper the fully realized world of the American combat soldier. Their dark, often insubordinate humor sparked controversy among army brass and incensed General George S. Patton, Jr.
This is the first of several volumes publishing the best of Bill Mauldin's single panel strips from 1940 to 1991 (when he stopped drawing). His Willie & Joe cartoons are presented in a deluxe, beautifully designed two-volume slipcased edition of over 600 pages. The series is edited by Todd DePastino, whose Mauldin scholarship is on full display in a biography of the artist released in February 2008 from W.W. Norton. Willie & Joe contains an introduction and running commentary by DePastino, providing context for the drawings, pertinent biographical details of Mauldin's life, and occasional background on specific cartoons (such as the ones that made Patton howl).