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.
Five years before Steve Ditko began work on his now legendary co-creations for Marvel Comics, the Amazing Spider-Man and Doctor Strange, he was pro- ducing some of his best work in near anonymity for Charlton Comics. Like its predecessors, Impossible Tales: The Steve Ditko Archives Vol. 4 features over 200 meticulously restored full-color pages of Ditko in his early prime — stories that have never seen a proper reprinting until now, thrilling stories of suspense, mystery, haunted houses, and unsuspecting victims all delineated in Ditko’s wildly idiosyncratic, masterful style.
This fourth volume ranks as the best in the Steve Ditko Archives series to date thanks in large part to the inspiration Ditko took from comics derived from the classic host-narrated radio shows, which gave an extra oomph to his creepy yarns. Moreover, comics such as This Magazine Is Haunted and Tales of the Mysterious Traveler bore witness to a veritable explosion in Ditko’s ingenuity in terms of manipulating the traditional comic-book page layout. This new level of excellence also manifested itself in his work on other books, such as Mysteries of Unexplored Worlds, Out of This World, Strange Suspense Stories, and Unusual Tales, all of which are amply represented in this volume.
Only a few months after the devastating attack on Pearl Harbor and the same year that Albert Camus offered the world his bleak vision of man’s existence by introducing his philosophical dictum of The Absurd, Virgil Partch burst onto the scene with his own twist on the phrase. Partch was a cartoonist who offered comic counterpoint to the grim headlines and a unique perspective on human nature in the pages of the nation’s most popular magazines.
Known to millions by his jazzy signature, VIP, this comic genius ushered in a new era of the gag cartoon — zany, sometimes surreal, always hilarious — that inspired a generation of fellow cartoonists starting in the 1940s and '50s. His madcap style of humor was reflected in the cutting-edge comedic sensibilities of Burns & Allen, Jack Benny, Ernie Kovacs, Bob & Ray, Stan Freberg, and Jean Shepherd, and would position Partch as one of the most prolific "gag-men" of his day. VIP contributed to an astonishing array of magazines, wrote gags for other cartoonists, illustrated books, album covers, and advertisements, and adorned merchandise including, appropriately, cocktail glasses.
VIP: The Mad World of Virgil Partch is the first time Partch's life and career has been treated in full, collecting amazing artwork from the entire range of his inspired career — reprinted from original art, primary-source publications, and collectors' and family archives — and featuring his own writings. VIP's place in the world of cartooning and humor can finally be fully appreciated in this beautiful coffee-table volume.
A boxed set of the nineteenth and twentieth volumes of The Complete Peanuts, designed by the award-winning graphic novelist, Seth. Shipping shrinkwrapped, with volumes 1987-1988 and 1989-1990 packed in a sturdy custom box designed especially for this set, it's the perfect gift book item. (For more information on the contents of each volume, see the individual product listings linked above.)
"The Complete Peanuts has framed Charles Schulz’s enduring masterpiece about as well any lifelong fan could’ve hoped." – "The Best Comics of the '00s: The Archives," The A.V. Club
"Charles Schulz was an American treasure — an artist, philosopher, and keen observer of human life." – Bill Clinton
Volume 8 of the collected works of underground comix legend Robert Crumb brings the series up to 1972. This was an era when fame and fortune were weighing heavily on Crumb, and his reactions to his celebrity produced some of his best and most fascinating strips! This volume includes several classic works, including the solo titles Home Grown (which includes the infamous 22-page sex story "Whiteman Meets Bigfoot"); Big Ass Comics #2 (which includes the controversial "Anal Antics" and "And Now a Word to All You Feminist Women" — not politically correct); Mr. Natural #2 (featuring the continuing adventures of one of Crumb's best-loved characters); and finally Crumb's scathing reaction to the Bakshi/Krantz Fritz the Cat movie and fame in general, People's Comics. This masterpiece includes "The Confessions of R. Crumb," "The R. Crumb $uck$e$$ Story," and "Fritz the Cat, 'Superstar'", wherein Fritz, now a burned-out, overstimulated, callous celebrity, gets his final, fatal comeuppance in the form of an ice pick (long before Fatal Attraction)! Add into the volume the usual slew of Crumb rarities — from The Whole Earth Catalog, Thrilling Murder, Bijou, Surfer Magazine, and Nostalgia Press — as well as another extensive color section, and an introduction by Crumb's missus, Aline Kominsky-Crumb — and you've got a collection that any Crumb fan must have. This volume contains material that sets the tone for the rest of Crumb's career — the retreat from the hurly-burly modern world, the ruralism, the nostalgia, the introspection... and let's not forget the wild weird Crumb sexuality! A must!
1993 Harvey Award Winner, Best Domestic Reprint Project
Fantagraphics is proud to announce the release of the first volume of another great, under-appreciated, quintessentially American cartoonist.
"Black as sin and decay and perversion" is how National Lampoon editor Tony Hendra described the work of Charles Rodrigues. By all accounts, this small, politically conservative, devout Catholic, was a good-natured dumpling of a man. But inside lurked an untapped vein of savage wit that only the National Lampoon saw fit to unleash. Given carte blanche by its young editors, Rodrigues produced a 20-year tsunami of hilarious self-contained comic strips, themed gag spreads, and serials that boggled the mind and challenged all sense of decency and propriety.
In this first-ever collection of his comics, readers are treated to the misadventures of conjoined twins The Aesop Brothers; Sam deGroot, a private detective in an iron lung (whose life actually gets worse when he is sprung from his enclosure); Deirdre Callahan, a girl so hideous that to look upon her causes madness and suicide; and the heartwarming (in relative terms) titular tale of Ray and Joe, the saga of a man and his dead best friend. Also included are his brilliant "biographies" of Marilyn Monroe, Abbie Hoffman, Eugene O'Neill, and others.
Rodrigues rendered his cast of grotesqueries and naïfs in a ragged, unpretty line within dense panels and pages, that perfectly reflects his uniquely bizarre, riotous and repellent world.
Charles Rodrigues may be gone and, if not forgotten, insufficiently remembered, and this collection will rectify at least one of those tragedies.