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.
He's faster than a speeding arrow... more powerful than the Sheriff of Nottingham... able to leap high taxes in a single bound! He's Mickey Mouse! He's back in color — and traveling back in time: battling evil medievals in our second book of Floyd Gottfredson's Sunday classics. Donald Duck, Goofy, and mischievous Morty and Ferdie are invited along too... if they dare!
Standout stories in this volume include "The Robin Hood Adventure," in which Mickey joins the Merry Men: swordfighting, jousting, and risking his life to rob the rich! Then Mickey faces Gold Rush gun-slingers as the "Sheriff of Nugget Gulch" — and outwits the ever-sneaky Mortimer Mouse in "Mickey's Rival!"
Restored from Studio art sources and enhanced with a meticulous recreation of the strips' original color, Robin Hood Rides Again also includes more than 30 pages of swashbuckling extra features. You'll enjoy coveted non-Mouse Disney comics by Gottfredson; rare behind-the-scenes art; and commentary by a Round Table of Mickey scholars.
Two volumes of Mickey's thrilling adventures, comprising Floyd Gottfredson's complete full-color run of Sunday Mickey strips, packaged in a beautiful and sturdy slipcase and priced cheaper than the individual volumes! A perfect gift and/or collector's item.
Scrooge McDuck is now such a fixture in the Disney universe that few remember Carl Barks had been writing and drawing Donald Duck stories for half a decade before he cooked up the miserly multiplujillionaire — for what he thought would be a one-time Christmas yarn involving Donald, the nephews, Scrooge in a bearskin, and (inevitably) a couple of real bears. "Christmas on Bear Mountain" is one of Barks's funniest holiday stories and a true landmark in comics history, and offers a fascinating look at a rough-edged, genuinely nasty character whom Barks would soon soften...
Scrooge aside, there’s plenty of other fun to be had in this volume. In "Volcano Valley" Donald and the Nephews end up stuck in Volcania, a south-of-the-border country inhabited by sombrero-wearing, siesta-addicted Volcanians. Other long-form adventures include the self-explanatory "Adventure Down Under," as well as one of Barks's most atmospheric thrillers, the West Indies-based "Ghost of the Grotto," which includes a lovely night-time sequence drawn in Barks's trademark silhouettes and a giant-octopus-vs.-hot-chili-peppers throwdown that climaxes in an explosive splash panel.
The book is rounded off with seven of Barks's hilarious 10-pagers, and as with the previous volumes, Walt Disney's Donald Duck: Christmas on Bear Mountain has been scanned from crisp vintage art and meticulously colored to match the original printing's warm, simple hues, and features abundant critical and historical notes penned by some of duckdom's finest experts.
For readers who are looking for something really special and enormously fun to give to their loved ones in this holiday season, we present, in one package, two of the best Christmas comics stories you’ll ever read: "Christmas on Bear Mountain" featuring the introduction of Uncle Scrooge (the World’s Richest Duck), and "A Christmas for Shacktown," in which Scrooge loses his entire fortune even as Donald Duck and his nephews try to bring some Christmas cheer to the suffering children of Shacktown.
But that's only the beginning! In these twin volumes, you'll find page after page after page of intrepid quests, daring adventures, and breathtaking escapes. Readers of all ages will be spellbound by these timeless classics — with their engaging plots, clever humor, and heartwarming themes. In all, these two books provide nearly 400 pages of full-color comics!
A double dose of Disney's Donald Duck! A thoughtful, memorable, can’t-miss special Christmas item — at a very special price — handsomely presented in an inviting gift box set that will delight readers of any age.
Marvel Comics is home to such legendary super-heroes as Spider-Man, Hulk, Thor, Captain America, and Iron Man, all of whom have spun box office gold in the 21st century. But Marvel Comics has a secret history hidden in the shadows of these well-known franchises.
The Secret History of Marvel Comics digs back to the 1930s when Marvel Comics wasn’t just a comic-book producing company. Marvel Comics owner Martin Goodman had tentacles into a publishing world that might have made that era’s conservative American parents lynch him on his front porch. Marvel was but a small part of Goodman’s publishing empire, which had begun years before he published his first comic book. Goodman mostly published lurid and sensationalistic story books (known as “pulps”) and magazines, featuring sexually-charged detective and romance short fiction, and celebrity gossip scandal sheets. And artists like Jack Kirby, who was producing Captain America for eight-year-olds, were simultaneously dipping their toes in both ponds.
The Secret History of Marvel Comics tells this parallel story of 1930s/40s Marvel Comics sharing offices with those Goodman publications not quite fit for children. The book also features a comprehensive display of the artwork produced for Goodman’s other enterprises by Marvel Comics artists such as Jack Kirby and Joe Simon, Alex Schomburg, Bill Everett, Al Jaffee, and Dan DeCarlo, plus the very best pulp artists in the field, including Norman Saunders, John Walter Scott, Hans Wesso, L.F. Bjorklund, and Marvel Comics #1 cover artist Frank R. Paul. Goodman’s magazines also featured cover stories on celebrities such as Jackie Gleason, Elizabeth Taylor, Liberace, and Sophia Loren, as well as contributions from famous literary and social figures such as Isaac Asimov, Theodore Sturgeon, and L. Ron Hubbard.
These rare pieces of comic art, pulp and magazine history will open the door to Marvel Comics’ unseen history.