This original graphic novella is a funny and moving story of escalating humor and tension between two disaffected teens, Mike and Wolf, who take a spontaneous summer road trip after dropping acid. As the stark black and white of Forsman's cartooning indicates, however, this is not a psychedelic, Kandy-Kolored Tangerine-Flake Streamline Baby kind of trip. Instead of the escapism they crave from their fragile home lives, the LSD only heightens their sense of ennui, exacerbates their fears about the world they're about to enter as adults, and creates doubts about everything they think they know.
Though it's not entirely what they bargained for, will Mike and Wolf look back on their adventure as part of the "celebrated summer" of their never-to-be-recaptured youth, or a carelessly wasted part of the best years of their lives? Or both?
Veteran alternative cartoonist Jesse Reklaw, creator of the long-running weekly comic strip Slow Wave, delivers this tragicomic graphic memoir, his first long-form work. Presented as a series of comic novellas that together comprise a thoughtful, sometimes dark and often hilarious memoir about childhood, family, death, mental illness, sex and drug use, the entire book is told through cleverly inviting conceits like cat histories and card games.
The graphic novel is told in five parts: In "Thirteen Cats" (featured in The Best American Comics), Reklaw discovers coping mechanisms that mimic his family pets; "Toys I Love" relates the author's pre-pubescent brushes with deviant sexual activity, and the way innocence converges with real sexual trauma; "The Fred Robinson Story" tells the story of Reklaw's period stalking perfect strangers; "The Stacked Deck," in which hereditary influences towards criminal behavior, drug use and depression are explored via card games the author played with his family; and "Lessoned," a family history of mental illness.
In the fourth volume of Fantagraphics' Captain Easy series, our eponymous hero and his loyal sidekick Wash Tubbs answer a newspaper ad that they don’t know is years out of date, and wind up stranded in Guatemala with a busted landing gear and only five dollars to their name. Whoops! They need all their wits and ingenuity to get them out of this fix. Which they manage to do by the skin of their teeth, only to stumble onto a lost city in the jungle. Lost cities in the jungle are never good news, and so it is with our two boisterous heroes. Against all odds, they extricate themselves from this dastardly peril and head for home on a ship carrying tigers (Roy Crane loved to draw tigers). They’re out of danger, right? Wrong! What kind of a Captain Easy adventure would this be without our boys getting stranded on a desert island and encountering the beautiful but savage Wolf Girl (Crane loved to draw Wolf Girls!)?
Don’t miss the last volume of Fantagraphics' glorious reprint of Roy Crane's full color Captain Easy Sunday pages.
Black is the Color begins with a 17th century sailor abandoned at sea by his shipmates, and as it progresses he endures, and eventually succumbs to, both his lingering death sentence and the advances of a cruel and amorous mermaid. The narrative also explores the experiences of the loved ones he leaves behind, on his ship and at home on land, as well as of the mermaids who jadedly witness his destruction. At the heart of the story lie the dubious value of maintaining dignity to the detriment of intimacy, and the erotic potential of the worst case scenario.
Julia Gfrörer's delicate drawing style perfectly complements the period era of Black Is the Color, bringing the lyricism and romanticism of Gfrörer's prose to the fore. Black Is the Color is a book as seductive as the sirens it depicts.
A self-portrait through one hundred portraits, Artists Authors Thinkers Directors explores cartoonist Paul Hornschemeier's sketchbook renderings of those who shaped his (and many others') artistic views.
Culled from his drawing blog — The Daily Forlorn, one of Tumblr's featured illustration blogs — these portraits are as stylistically varied as the subjects they portray. A scrawled, single line drawing of Lenny Bruce shares space with a triangular Werner Heisenberg. A monochromatic, stippled Stanley Kubrick stares intently at a muppet-headed Frank Oz. Each turn of the page offers a new take on a familiar face.
In the afterword, Hornschemeier includes brief notes on each portrait and that creator's particular work or insight that spoke specifically to him. And in that specificity, much of what is universally affecting in each creator shines through.
Hornschemeier's graphic novels hop from one aesthetic to the next, varying the line and color quality to depict his narrative's mood. He plays with the language of comics. In these portraits we can clearly see him hard at experimentation, adding to his vocabulary.
BONUS: The first four pre-orders we get for this book will also receive So-So Heroes, Paul's portfolio of 30 colorful, witty postcards, for FREE courtesy of Chronicle Books! It's an oddball collection of misfits, monsters, and utterly curious characters, all involved in hilariously insignificant adventures. Each image is rich with Hornschemeier's signature wit and visual flair. Order now!
With the 1896 publication of Rose O’Neill’s comic strip The Old Subscriber Calls, in Truth Magazine, American women entered the field of comics, and they never left it.
But, you might not know that reading most of the comics histories out there. Trina Robbins has spent the last thirty years recording the accomplishments of a century of women cartoonists, and Pretty in Ink is her ultimate book, a revised, updated and rewritten history of women cartoonists, with more color illustrations than ever before, and with some startling new discoveries (such as a Native American woman cartoonist from the 1940s who was also a Corporal in the women's army, and the revelation that a cartoonist included in all of Robbins's previous histories was a man!)
In the pages of Pretty in Ink you’ll find new photos and correspondence from cartoonists Ethel Hays and Edwina Dumm, and the true story of Golden Age comic book star Lily Renee, as intriguing as the comics she drew. Although the comics profession was dominated by men, there were far more women working in the profession throughout the 20th century than other histories indicate, and they have flourished in the 21st. Robbins not only documents the increasing relevance of women throughout the 20th century, with mainstream creators such as Ramona Fradon and Dale Messick and alternative cartoonists such as Lynda Barry, Carol Tyler, and Phoebe Gloeckner, but the latest generation of women cartoonists — Megan Kelso, Cathy Malkasian, Linda Medley, and Lilli Carré, among many others. Robbins is the preeminent historian of women comic artists; forget her previous histories: Pretty in Ink is her most comprehensive volume to date.
Since their original publication, Peanuts Sundays have almost always been collected and reprinted in black and white, and generations of Peanuts fans have grown up enjoying this iteration of these strips. But many who read Peanuts in their original Sunday papers remain fond of the striking coloring, which makes for a surprisingly different reading experience.
It is for these fans (and for Peanuts fans in general who want to experience this alternate/original version) that we now present a series of larger, Sundays-only Peanuts reprints, which more closely duplicate that delightful, Sunday-morning reading experience and brings a splash of real color to Schulz's cast of colorful characters. Designed as a series of ten massive coffee-table quality books, each one containing a half-decade’s worth of Sunday strips, Peanuts Every Sunday will be a proud addition to any Peanuts fan's bookshelf.
As with most strips, Peanuts showed by far the quickest and richest development in its first decade, and Peanuts Every Sunday: 1952-1955, by compiling every strip from the first four years, offers a fascinating peek at Schulz's evolving creative process. Not only does the graphic side of the strips change drastically, from the strip's initial stiff, ultra-simple stylizations through a period of uncommonly lush, almost Pogo-ishly detailed drawings to something close to the final, elegant Peanuts style we’ve all come to know and love, but several main characters are gradually introduced — oddly enough, usually as infants who would then grow up to full, articulate Peanut-hood! — and then refined: Schroeder, Lucy, and Linus (Sally will make her very first appearance as a baby in our next volume.)
Following in the footsteps of Fantagraphics' acclaimed presentation of the Carl Barks material in Walt Disney's Donald Duck, Peanuts Every Sunday: 1952-1955 has been scrupulously re-colored to match the original syndicate coloring (including some unusual colors for Charlie Brown's trademark zig-zag shirt, before it was officially yellow), and is being printed using the same process of "mellowing" out of tones to avoid the sharp colors that sometimes mar reprints of syndicated strips — allowing readers once again to plunge back into Charles Schulz's marvelous world.
The lore of the early days of hip hop has become the stuff of myth, so what better way to document this fascinating, epic true story than in another great American mythological medium — the comic book? From exciting young talent and self-proclaimed hip hop nerd Ed Piskor, acclaimed for his hacker graphic novel Wizzywig, comes this explosively entertaining, encyclopedic history of the formative years of the music genre that changed global culture.
Originally serialized on the hugely popular website Boing Boing, Hip Hop Family Tree is now collected in a single volume cleverly presented and packaged in a style mimicking the Marvel comics of the same era. Piskor's exuberant yet controlled cartooning takes you from the parks and rec rooms of the South Bronx to the night clubs, recording studios, and radio stations where the scene started to boom, capturing the flavor of late-1970s New York City in panels bursting with obsessively authentic detail. With a painstaking, vigorous and engaging Ken Burns-meets-Stan Lee approach, the battles and rivalries, the technical innovations, the triumphs and failures are all thoroughly researched and lovingly depicted.
Piskor captures the vivid personalities and magnetic performances of old-school pioneers and early stars like DJ Kool Herc, Grandmaster Flash and the Furious Five, the Funky 4 + 1, Afrika Bambaataa, Kurtis Blow, The Sugarhill Gang, and three kids who would later become RUN-DMC, plus the charismatic players behind the scenes like Russell Simmons, Sylvia Robinson and then-punker Rick Rubin. Piskor also traces graffiti master Fab 5 Freddy's rise in the art world, and Debbie Harry, Keith Haring, The Clash, and other luminaries make cameos as the music and culture begin to penetrate downtown Manhattan and the mainstream at large.
Like the acclaimed hip hop documentaries Style Wars and Scratch, Hip Hop Family Tree is an exciting and essential cultural chronicle and a must for hip hop fans, pop-culture addicts, and anyone who wants to know how it went down back in the day.
The Comics Journal Library series is the most comprehensive series of lavishly illustrated interviews conducted with cartoonists ever published. To celebrate our republication of the legendary EC line, we proudly present the first of a two-volume set of interviews with the artists and writers (and publisher!) who made EC great. Included in the first volume: career-spanning conversations with EC legends Will Elder, John Severin, Harvey Kurtzman, and Al Feldstein, as well as short interviews with EC short-timers Frank Frazetta and Joe Kubert. Also: EC Publisher William Gaines on his infamous Senate subcommittee testimony, and probing conversations between Silver Age cartoonist Gil Kane and Harvey Kurtzman, as well as contemporary alternative cartoonist Sam Henderson and MAD great Al Jaffee.
Part of what made EC the best publisher in the history of mainstream comics was some of the most beautiful drawing ever published in comic books, and every interview is profusely illustrated by pertinent examples of the work under discussion. The EC artists were renowned for their attention to detail, and the reproduction here takes full advantage of the oversized art book format.
A woman comes to the U.S. from Latin America to escape her shady past, only to fall into a new shady life. After a go at the adult entertainment business, Maria marries a drug lord and her dangerous past is nothing compared to her new life in America. The drug lord's son, Gorgo, secretly falls in love with her and he watches over her like a guardian angel. Danger and corruption (and of course sex) drive the first half of this love story.
Long-time Love and Rockets readers will find the storyline familiar... and that’s because, in an Adaptation-style meta twist, Maria M. is actually the B-movie film adaptation of the life story of Luba's mother Maria, as previously seen in its "real" version in the classic graphic novel Poison River (available in the Beyond Palomar collection) — starring Maria's own daughter playing her own mother.
Confused? Don't be! Maria M. works perfectly on its own terms as the kind of violent, sexy pulp tale that Gilbert Hernandez has proven so adept at these past several years, and the "source material" for the story just provides an extra layer of delight for the cognoscenti.