At last, a girl-centered comic book that actually appeals to girls (and even their parents)! Co-created by comics living legends Peter Bagge (Hate) and Gilbert Hernandez (Love and Rockets) on writer and artist duties respectively*, Yeah! is a unique masterpiece of all-ages fun. Originally published as a nine-issue comic book series from 1999-2000 by DC’s Wildstorm imprint, this all-ages gem (approved by the Comics Code Authority, no less!) is collected here for the very first time.
Krazy (vocals and guitars), Honey (drums) and WooWoo (keyboards) are the members of the pop band Yeah! They’ve achieved intergalactic superstardom on every planet but their own (Earth), where they live in anonymity and suffer indignities in their home of suburban New Jersey. The girls struggle with bad gigs (struggling to win $200 amateur-night contests despite playing to packed crowds of adoring fans on Uranus), aliens who have crushes on them, and rival boy band The Snobs.
* Fans of Peter Bagge's artwork, don't fret: he breaks out the ol' pencil for a 4-page backup story starring The Snobs (inked by Fantagraphics' own Eric Reynolds). And Love and Rockets fans take note: this comic features perhaps the longest-ever collaboration with Gilbert and his brother Jaime, who inks a whole chapter!
"Reading YEAH! is a bit like reading my life story, as told in an alternate universe. The story is about a kick-ass all-girl band that are truly like a family. They have gigs, adventures, boyfriends and pets, and a manager that is flawed but lovable. Not so dissimilar to the Go-Go's! Of course, YEAH! get to be HUGE rock stars on every other planet but Earth, which is something I dearly would have loved in my career!" — Jane Wiedlin
Download a 25-page PDF excerpt (1.9 MB) including an intro to the book by Peter Bagge and the entire first issue!
Johnny Ryan’s transgressive masterpiece Prison Pit has been the talk of altcomics circles since its debut in the summer of 2009. But before Prison Pit, Ryan garnered a considerable following via his one-man humor anthology (which doubled as a one-man War Against Political Correctness), Angry Youth Comix. Take a Joke collects many of the best stories from this inimitable series as well as many strips created for the wildly-popular Vice magazine, to which Ryan has contributed for years.
Unlike Ryan’s previous collections, which focused on very short stories, Take a Joke spotlights several of the artist’s longest humor pieces to date, notably: “Graveyard Goofs,” in which Ryan’s hapless antiheroes Sinus O’Gynus and Loady McGee exhume the corpse of the recently-deceased Santa Claus as part of a Top Secret experiment, fantasize an orgy with a collection of anthropomorphic condiment bottles (resulting in an unwanted pregnancy), and end up in Hell; “Boobs Pooter’s Jokepocalypse,” starring a coprophiliac version of Godzilla who destroys the world with hilarious jokes and crazy pranks; and “The World’s Funniest Joke,” a 24-page masterpiece that makes The Aristocrats look like a Nora Ephron film.
All this plus Cheesburg Chase, Omletta DuPont, "The Day The New Yorker Came to Town," and a handy index to help you find things like "ass angels," "s'mores crucifix" and "Yeti-tit earmuffs."
Download an EXCLUSIVE 14-page PDF excerpt (1.9 MB) including the Table of Contents.
One of the very first autobiographical graphic novels to come from France, Lewis Trondheim’s Approximate Continuum Comics set the standard for the honest, often hilarious chronicling of a cartoonist’s life. Trondheim’s typically graceful, confident cartooning shows him wrestling with his own demons (sometimes, in dream sequences, literally) and an often malevolent world, while trying to maintain his rising career as one of Europe’s most beloved cartoonists.
Approximate Continuum finally brings American readers the first portion of the “Trondheim autobio trilogy” that also comprises the Eisner-nominated “At Loose Ends” meditation serialized in Mome and the “Little Nothings” series of short slice-of-life stories.
This volume contains the first three chapters serialized in The Nimrod comic book (praised as "A rewarding, pleasurable and entertaining read from a fine talent... well worth the cover price" by The Comics Reporter), the last three (never-before-translated) chapters, and a hilarious “rebuttal” section in which Trondheim’s family and cartoonist friends (including Epileptic creator David B. and Trondheim’s mom) dispute (or ruefully agree with) Trondheim’s depictions.
Taking Punk to the Masses: From Nowhere to Nevermind visually documents the explosion of Grunge, the Seattle Sound, within the context of the underground punk subculture that was developing throughout the U.S. in the late 1970s and 1980s. This musical journey is represented entirely through the collection of Experience Music Project, Seattle’s museum of music and popular culture, pulling from a permanent archive of over 800 filmed oral history interviews and 140,000 artifacts – instruments, costumes, posters, records and other ephemera – dedicated to the pursuit of rock ’n’ roll.
Featuring over 100 key artifacts from EMP’s collection, Taking Punk to the Masses illustrates the evolution of punk rock from underground subculture to mainstream embrace. These artifacts are put into context by the stories of those that lived it: Mudhoney’s Mark Arm, Devo’s Mark Mothersbaugh, Hüsker Dü’s Grant Hart, Beat Happening’s Calvin Johnson, X’s Exene Cervenka, Sub Pop founders Bruce Pavitt and Jonathan Poneman, Black Flag’s Henry Rollins, Screaming Trees’ Mark Lanegan, Blondie’s Chris Stein, Nirvana’s Krist Novoselic, Dinosaur Jr’s J Mascis, Soundgarden’s Kim Thayil, and nearly 100 others.
Tracing a lineage from “Louie Louie” to the rise of Grunge with Nirvana, Soundgarden, Pearl Jam, Alice in Chains and Mudhoney, Taking Punk to the Masses is the first visual history of one of America’s most vibrant music scenes, as told by its participants and seen through the surviving artifacts.
Over the past 15 years, Experience Music Project has amassed over 800 filmed oral history interviews with musicians, producers, club owners, fans, and others associated with every genre of music. These interviews, along with the museum’s massive artifact collection, form the basis for every exhibition. The exhibition Nirvana: Taking Punk to the Masses includes footage from over 100 interviews. A selection of those interviews are included in a DVD, exclusive to the Taking Punk to the Masses book.
Head to Diamond Comics Distributors' Previews website for an 8-page excerpt from Jacques Tardi's The Arctic Marauder (embedded in one of those nifty Issuu flip-through thingies — full-screen viewing is recommended).
Eye of the Majestic Creature is a collection of semi-autobiographical and fantasy-based comics that combine dry humor, psychedelia, and emotion to show the viewpoint of one person’s world internally and externally. The story follows a young girl, Larrybear, and her talking acoustic guitar Marshmallow on their adventures through the countryside, Chicago, San Francisco and New York. While Larrybear struggles to connect with strangers, her friends, and her family to various degrees of success, her growing population of anthropomorphic friends have adventures of their own.
Larrybear is in a constant struggle between the desire to connect with those around her and to be left to her own devices. You get a glimpse of her past life when she visits her home town of Chicago, trying to relate to old friends who have not matured since high school, as well as her family (which includes her Hippopotamus father and his harem of ex-wives, two brothers, and Salsa-dancing mom). In the present, she moves to New York to find work for a time, resulting in many hilarious and drunken adventures with her new coworkers at a cell phone decorating shop, and her old friend Boris, who shares with her his P.G. Wodehouse books, as well as his “Incredible Hulk” weed. Drawn in shades of gray using the near-deceased practice of stippling, Stein’s imagery draws you into her world for a complete and engrossing experience.
“Leslie Stein’s comics inhabit a charming and semi-autobiographical (in the most ‘semi’ sense of the word) yet surreal, insular world where her best friend and closest confidant is an acoustic guitar. What’s not to relate to?” — Peter Bagge
“Early in the 20th Century, a beautiful cartoonist, Marcel Duchamp, pretended to be a marginally attractive woman and spent considerable time watching dust accumulate. Early in the 21st Century a beautiful cartoonist, Leslie Stein, pretended to be a funky dweeb and spent considerable time counting sand. Catch my drift?” — Gary Panter
"It is astonishing how well Shimura brings things to a slow boil, until the story is bubbling with emotion. You really feel the pain that Shuichi is going through as he deals with the fact that he is, well, you know, a she. There is a real sensitivity to this work that I found extremely appealing. Shimura really captures the awkwardness of it all... The whole book is adorable. This is a great, all ages take on a very difficult to express subject. Shimura’s art has so much life to it and expresses so much emotion that it is just amazing to read."
After the first printing, released in Fall 2010, sold out in a matter of months, we went back to press with a brand-new cover design for the 2nd printing!
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.
First released in 2000, Safe Area Gorazde confirmed Sacco as one of the pre-eminent journalists of his time, and earned him a 2001 Guggenheim Fellowship. Now for its 10th anniversary, Fantagraphics is releasing an expanded hardcover edition which, much like 2007’s Palestine: The Special Edition, supplements the original work with page after page of special features, listed below.
In the wake of his acclaimed Palestine, Joe Sacco spent four months in Bosnia in 1995-1996, immersing himself in the human side of life during wartime, researching stories rarely found in conventional news coverage. The book focuses on the Muslim enclave of Gorazde, which was besieged by Bosnian Serbs during the war; Sacco spent four weeks in Gorazde, entering before the Muslims trapped inside had access to the outside world, electricity or running water.
Features of this special deluxe edition include:
• A lengthy illustrated essay by Joe Sacco on how the project came together.
• A side-by-side comparison of Sacco's reference photos and the final comics panels drawn from them.
• A "Where Are they Now?" update on Gorazde's most colorful characters.
• A long interview with Sacco on Safe Area Gorazde from The Comics Journal.
• Plus of course the complete Safe Area Gorazde including Christopher Hitchens's introduction from the first edition.
2001 Eisner Award WINNER: Best Graphic Album - New
"Of the myriad of books that have appeared about Bosnia, few have told the truth more bravely than Sacco's. He is an immense talent." – The New York Times Book Review
"Harrowing and bleakly humorous, Sacco's account of life during the Balkan conflict is a timeless portrait of ordinary people caught in desperate circumstances. It's also a work of genius in an unlikely genre: journalism in comic book form." – Utne Reader
"Sacco's detailed, personal reporting captures his subject matter more convincingly than photographs or Christiane Amanpour." – Time
"Graphic in every sense of the term, Sacco’s account of everyday life in a city under siege puts one of the twentieth century’s least understood catastrophes in perspective; it’s the best argument around for comics as a journalistic medium." – GQ
Free Bonus: This book is available with an exclusive signed bookplate (pictured above) at no extra charge! See product description for details.