“Oh, for gosh sakes!” Floyd Gottfredson’s classic 1930s Mickey Mouse is back for another round of thrills, chills, and epic quests — taking him from the depths of teeming jungles to the halls of spooky Blaggard Castle. Mickey’s classic Disney bad guys are here, too, with arch-enemy Pegleg Pete joined for this book by the mysterious “Bill Shakespeare” and hypnosis-happy Professors Ecks, Doublex, and Triplex!
Floyd Gottfredson, artist of Mickey Mouse from 1930-1975, made it the most popular cartoon-based comic of its time. Unafraid to tackle social satire and grown-up action-adventure, Gottfredson produced a Mouse for all ages — truly popular in a way that Mickey’s blander 1950s image could never be.
In this book you’ll relive Mickey’s fight with pirates on desolate Treasure Island; his quest with Goofy to catch ruthless counterfeiters; and his battles to save windy Horace Horsecollar from mad scientists, a robbery frame- up — and himself!
Lovingly restored from Disney’s original negatives and proof sheets, “Mickey Mouse: Trapped on Treasure Island” also includes more than 50 pages of fascinating supplementary features. You’ll enjoy rare behind-the-scenes art, vintage publicity material, and vivid commentary by a full team of seasoned Disney scholars.
Walt Disney often said that his studio’s success “all started with a mouse” — and today Mickey is among the world’s most recognizable icons in the world. Now it’s time to rediscover the wild, unforgettable personality behind the icon: Floyd Gottfredson’s Mickey Mouse.
Download and read a 19-page PDF excerpt (3.1 MB) which includes the full Table of Contents, David Gerstein's first chapter introduction, and 15 pages of strips!
The first two volumes of Mickey's thrilling adventures from the early 1930s, packaged in a beautiful and sturdy slipcase and priced cheaper than the individual volumes! A perfect gift and/or collector's item.
Geoff Boucher of the Los Angeles Times talks to Gary Groth about The Carl Barks Library — "There is in fact an emotional truth at the center of Barks' work; he even said that this was his primary goal, though I can’t dig up the quote at the moment, perhaps I’m thinking of when he told an interviewer that in his stories he was 'telling it like it is' and 'laying it on the line.' The comics critic Don Phelps once told me that it was Barks who made Donald Duck a citizen of the nation of comics characters, which I always remember as being a particularly eloquent way of saying that he invested Donald with such humanity." — and presents a 10-page preview from Donald Duck: Lost in the Andes.
What happened to Paul Nelson? In the '60s, he pioneered rock & roll criticism with a first-person style of writing that would later be popularized by the likes of Tom Wolfe and Norman Mailer as "New Journalism." As co-founding editor of The Little Sandy Review and managing editor of Sing Out!, he'd already established himself, to use his friend Bob Dylan's words, as "a folk-music scholar"; but when Dylan went electric in 1965, Nelson went with him.
During a five-year detour at Mercury Records in the early 1970s, Nelson signed the New York Dolls to their first recording contract, then settled back down to writing criticism at Rolling Stone as the last in a great tradition of record-review editors that included Jon Landau, Dave Marsh, and Greil Marcus. Famously championing the early careers of artists like Bruce Springsteen, Jackson Browne, Rod Stewart, Neil Young, and Warren Zevon, Nelson not only wrote about them but often befriended them. Never one to be pigeonholed, he was also one of punk rock's first stateside mainstream proponents, embracing The Sex Pistols and The Ramones.
But in 1982, he walked away from it all – Rolling Stone, his friends, and rock & roll. By the time he died in his New York City apartment in 2006 at the age of seventy – a week passing before anybody discovered his body – almost everything he'd written had been relegated to back issues of old music magazines.
How could a man whose writing had been so highly regarded have fallen so quickly from our collective memory?
With Paul Nelson's posthumous blessing, Kevin Avery spent four years researching and writing Everything Is an Afterthought: The Life and Writing of Paul Nelson. This unique anthology-biography compiles Nelson's best works (some of it previously unpublished) while also providing a vivid account of his private and public lives. Avery interviewed almost 100 of Paul Nelson's friends, family, and colleagues, including several of the artists about whom he'd written.
Bruce Springsteen says, "He is somebody who played a very essential part in that creative moment when I was there trying to establish what I was doing and what I wanted our band to be about."
This is a landmark work of cultural revival, a tribute to and collection by one of the unsung critical champions of popular art.
Download and read a 51-page PDF excerpt (3.7 MB) which includes the Table of Contents, Kevin Avery's Introduction, and excerpts from the biography and Paul Nelson's writings.
• Review: "Sala’s work is like a fusion of Hergé and Charles Addams, yielding a simple, cartoon-like style that makes his moments of gothic horror all the more disturbing. ...[The Hidden] is a beautifully pulpy and incredibly imaginative book that gives a fresh spin on a well-used set-up." – Publishers Weekly
• Review/Interview:SF Weekly's Casey Burchby, who says "Richard Sala's new full color graphic novel, The Hidden, fuses two classic horror tropes — the story of Frankenstein's monster, and the ever-popular zombie apocalypse — into a new form that is surprisingly free of cliché and enriched with a strange sensitivity, owing far more to the classic horror literature of the 19th and early 20th centuries than it does to more contemporary EC horror comics, slasher flicks, or Stephen King," talks to Sala, who says "...as I began to write the book, elements of it started to seem oddly autobiographical — on some kind of psychological level, that is — and I realized the story had become less about Frankenstein specifically and more about the act of creation and its consequences."
• Review: "This French artist's unabashedly campy tribute to Jules Verne's proto-steampunk adventure yarns [The Arctic Marauder] is all about the art — spectacularly composed black-and-white evocations of arctic landscapes and Victorian contraptions.... Tardi has drawn a tribute to a venerable genre that partakes of its wonders while poking gentle fun at its preposterous twists and turns. The result is pure fun." – Laura Miller, "The Best New Graphic Novels," Salon
• Review: "Ryan’s line work is at its best in some parts of this volume, showing the ability to continually come up with inventive weird visuals. The first half of the book is nothing but new forms of violence and strange creatures that become different strange creatures. Every page brings a new visual that you will never, ever be able to forget. The second half shows off more minimalist compositions, giving the book an interesting asymmetry. The only bad thing about Prison Pit Book 3 coming out is that it will be another year until Book 4 is released, especially with the cliffhanger that this volume ends on." – Chad Nevett, Comic Book Resources
• Review: "Johhny Ryan’s artwork on Prison Pit could be described as cartoonish, but to be honest it’s better described as looking like the insane doodling of a madman, as found etched upon the walls of his padded cell — I would not be surprised to find out that this book was ghost-written by Charles Manson!... Ryan draws gore like no one else, and his creature designs are the stuff of nightmares — one of the monsters in the latter part of the story makes Cthuhlu look like a character from a children’s story!... Prison Pit: Book 3 is a comic unlike anything you’ve ever read before — the plot is outlandish, and the artwork is violent, bloody, gory, and completely unapologetic in its brutality.... Rating: 10 out of 10" – Edward Kaye, Newsarama
• Commentary:Robot 6's Sean T. Collins comments on the must-read Comics Journal interview with Johnny Ryan: "I’ve spent years enjoying Ryan’s scabrously offensive humor comics like Angry Youth Comix and Blecky Yuckerella, as well as his extravagantly vicious action comic Prison Pit, and I’ve often wondered where his search-and-destroy ethos originated.... Thanks to Pearson and Ryan’s jawdroppingly candid conversation, I finally feel like I understand..., at least a little."
• (Not a) Review (Per Se): "This isn't a formal review, per se, but instead a few gut-reaction thoughts on the remarkable new issue of Love & Rockets: New Stories (#4). I've never bothered to do this before in a review, but the nature of this issue demands that I note that there are spoilers below." – Rob Clough, High-Low
• Review (Audio): The Extra Sequential podcast discusses "the whacky and funny Fantagraphics collection of Carl Barks’ much loved 1940s Donald Duck stories," Walt Disney's Donald Duck: Lost in the Andes: "We tell you why creator Carl Barks is loved for his storytelling prowess and surprisingly funny and absurd humour in his Donald, Scrooge, etc. tales..."
• Interview:Comic Book Resources' Tim O'Shea has a funny and informative Q&A with Michael Kupperman: "Actually I’ve been hearing from [Twain] a lot. I thought that one meeting would be it, but since then he keeps reappearing, asking for help dealing with today’s publishing industry. He’s written a new novel called Prairie Rumpus, which I feel is dated in its use of slang and locale. Meanwhile I’ve got a lot of interest in my novel The Fart Vampires, a lotta heat building up."
• Commentary: At About.com Manga, Deb Aoki reports on our publishing announcement regarding Moto Hagio's The Heart of Thomas (note that the "The" was initially left off our announcement by mistake), calling it a "very exciting development" and saying "Fans of A Drunken Dream and Other Stories will also be glad to hear that Matt Thorn, the translator of this critically acclaimed book will also be handling the editing/translation duties on this title as well."
After establishing the world of the prickly heroine with the first two episodes of this classic series (combined in Fantagraphics’ The Extraordinary Adventures of Adèle Blanc-Sec Volume 1), Jacques Tardi plunges us back into Belle-Époque Paris for another double dosage of heroic derring-do, evil and crazy malefactors, mad actresses (yes, "Clara Benhardt" makes a return appearance) and monsters!
In “The Mad Scientist” the science that brought us revived dinosaurs now results in a pithecanthrope stalking the streets of the City of Light, climaxing in an amazing car chase involving a foe from the previous volume. Will the perpetually inept Inspector Caponi just make things worse? Probably. Then in the second episode, “Mummies on Parade,” the mummy glimpsed in Adèle’s apartment in previous episodes comes alive! The volume concludes with the sudden startling (and delightful) incursion of some characters familiar to Tardi fans, and a shocking climax that leaves the future of both Adèle and this series in doubt as World War I erupts. (It’s the only story in the entire series not to feature an “in our next episode” teaser.)
The Extraordinary Adventure of Adèle Blanc-Sec Volume 2 is the lucky seventh book in Fantagraphics’ acclaimed series of Tardi reprints, showcasing the rich variety of graphic novels from one of France’s greatest living cartoonists.
Download an EXCLUSIVE 12-page PDF excerpt (2.1 MB) with the beginning pages of each story.
As this fourth volume begins, Prince Valiant, haunted by the lovely Aleta, seeks Merlin’s wise counsel. This brief episode segues into one of Hal Foster’s patented epics, “The Long Voyage to Thule,” which ran for seven straight months and featured Valiant’s return to his birthplace and reunion with his father. Of course, Foster’s astonishingly detailed and evocative depictions of Val’s home- land contribute greatly to this sprawling epic.
After a series of shorter adventures including “The Seductress,” “The Call of the Sea,” and “The Jealous Cripple,” Val finally decides he can stand it no more and sets out to find his long-lost love. Long-time fans know that his quest will eventually be successful, but Foster throws so many obstacles in the way of true love that the saga “The Winning of Aleta” would end up stretching a full year and a half, well into the next volume.
This volume also features the debut of Foster’s charming "The Mediæval Castle" strip, and an introductory essay by Foster scholar Brian M. Kane.
With stunning art reproduced directly from pristine printer’s proofs, Fantagraphics has introduced a new generation to Foster’s masterpiece, while providing long-time fans with the ultimate, definitive version of the strip.
Download and read a 12-page PDF excerpt which includes Brian Kane's Foreword and 9 strips (6.6 MB). Also, read editor Kim Thompson's Afterword from Vol. 1, detailing the production and restoration of these new editions, right here on our website.