Five women stand in a police lineup; four of them are garishly dressed super-women — perfectly normal, because this is, after all, the cover of a comic book. A closer look, however, reveals a fifth woman who seems thoroughly out of place — mousy, in a bathrobe and curlers, smoking a cigarette. Surely she's here by mistake — or is she?
From this very first cover of the very first issue of Love and Rockets in 1982, Gilbert and Jaime Hernandez (along with their brother, Mario) have created artwork that has subverted, contradicted and celebrated the history of comics while making it their own.
For the first time, these iconic comic book covers from the original Love and Rockets comic book series (and the earliest trade paperbacks) have been restored and collected.
This is a gorgeous, oversized art book and the perfect gift for fans of the series that virtually defines alternative comics.
The 1939 creation of the Sub-Mariner for the first issue of Marvel Comics assures Bill Everett a place in history. Co-creating Daredevil, the Man Without Fear, for Marvel Comics in 1964 gave Everett a link to one of the most popular superheroes of the past 50 years. And producing over 400 additional pages of superhero-related work in the very early days of the Golden Age of Comics (1938-42) makes Bill Everett a legend.
Heroic Comics: The Bill Everett Archives Vol. 2 collects over 200 pages of never-before-reprinted work from such titles as Amazing Mystery Funnies (1938), Amazing-Man Comics (1939), Target Comics (1940), Heroic Comics (1940), and Blue Bolt Comics (1940). These titles feature an endless array of vintage Everett characters such Amazing-Man, Hydroman, Skyrocket Steele, The Chameleon and many more, all produced by Everett’s shop Funnies, Inc. for such clients as Centaur, Novelty Press, and Eastern Color. This book also features, reprinted for the first time, the rarest of Everett material, his romance work from the early 1950s for Eastern Color on titles such as New Heroic Comics (1950/51) and Personal Love (1953). All of the stories within display Everett’s brilliant cartooning and energetic storytelling growing by leaps and bounds.
Edited by best-selling author and comic-book historian Blake Bell (Strange and Stranger: The World of Steve Ditko), The Bill Everett Archives is a stunning companion to Bell’s 2010 critically acclaimed Everett biography and art book, Fire and Water: Bill Everett, The Sub-Mariner and the Birth of Marvel Comics. This volume follows the format of Bell’s Steve Ditko Archives series; never-before-reprinted, beautifully restored, full-color stories from one of comic books’ greatest visionaries and most accomplished artists. This book also includes an introduction about the man, his art, the history of the era, and his relationship with Marvel Comics.
An anachronistic parable for the convulsive elite — now in paperback.
What is The Squirrel Machine? • An immutably strange and haunting narrative that transcends known logics and presumptive dream-barriers; • A distillation of subconscious beauty and inspired madness; • A dangerous object for the incautious; • A revelation for the undernourished crypto-seeker; • The virgin caress of unconsummated apocalypse; • The unspeakable thing that you always knew.
It’s also the legendary obscurantist cartoonist Hans Rickheit’s most ambitious graphic novel to date. Exquisitely rendered, strange, and hauntingly beautiful, this evocative and enigmatic book will ensure the inquisitive reader a spleenful of cerebral serenity that will require vast quantities of mediocrity to banish from memory.
Set in a fictional 19th Century New England town, the narrative initially details the relationship and maturation of Edmund and William Torpor. But the two brothers quickly elicit the scorn and recrimination of an unamused public when they reveal their musical creations built from strange technologies and scavenged animal carcasses. Driven to seek a concealment for their aberrant activities, they make a startling discovery. Perhaps they will divine the mystery of the squirrel machine.
Janet Hamlin's first on-screen interview about her new book Sketching Guantanamo: Court Sketches of the Military Tribunals, 2006-2013 (coming in October) was aired on the Arabic news channel Al Arabiya this week. Filmed on location at Guantanamo after a full day of hearings, the video shows Janet in the compound, journalists photographing her drawings, and some nice views of the book including the striking shot below. It's a perfect introduction to Janet, her work, and the book.
Surrounded by the ornate, retro, proto-splatter horror graphics of Jack Davis and Graham Ingels and the slick, futuristic sci-fi stylings of Wally Wood and Al Williamson, EC Comics superstar Johnny Craig stood out in the 1950s with his elegant, crisp, contemporary graphic style. And nowhere did this style work more beautifully than in the dozens of superb crime and horror comics he wrote and drew for EC, mostly for the two comics he also edited, Crime SuspenStories and The Vault of Horror. (Craig was the only EC artist to habitually write his own material for the entire length of EC's run.)
Featuring murderous husbands and wives, executioners, thieving surgeons, vengeful sword-swallowers, time bombs, private dicks, vampires, werewolves, and ghouls, the 23 stories in this book comprise a perfect encapsulation of the very best and darkest kind of noir and horror writing, stunningly executed (in more than one sense of the word) by one of the great cartoonists of his (or any) era. And all in seven or eight pages per story!
Fall Guy For Murder and Other Stories is once again, as are the other EC Comics Library releases, supplemented with several fascinating essays and informative historical notes on the stories.
Al Feldstein is best known as the main writer/editor of the EC comics line during the first half of the 1950s — and then the editor of Mad Magazine for the first three decades of its existence.
But what many don’t know or remember is that Feldstein was also an accomplished and distinctive cartoonist, whose comics (which he both wrote and drew, a relative rarity in those days) adorned the pages of many of those selfsame EC comics. His powerfully composed, meticulously inked pages, often featuring grotesque creatures or scenes of ghastly destruction (and some of the greatest stiffly handsome/beautiful specimens of 1950s humanity ever put to paper), were a vital part of the allure of these classic comics.
Feldstein's contributions to the first year and a half of EC’s two SF titles, Weird Science and Weird Fantasy — comprising 16 classic O. Henry-style shock-ending stories with such evocative, vintage title as "'Things' From Outer Space." "The Flying Saucer Invasion," "Spawn of Venus," "Destruction of the Earth," and "Am I Man or Machine?" — are collected in their integrity in this volume, along with a handful of bonus stories drawn by a few of Feldstein's oft-overlooked collaborators, including Graham Ingels, George Roussos, George Olesen, Max Elkan and Sid Check. This volume also boasts a new interview with Feldstein about his years at EC, focusing in particular in his work on these science fiction titles that were the company’s pride and joy (and were killed a few years later by the Comics Code).
LOCAL 638 RECORDS AND FANTAGRAPHICS TEAM UP TO PRESENT DANNY BLAND'S NOVEL IN CASE WE DIE; AUDIOBOOK READ BY AIMEE MANN, DUFF McKAGAN, MARC MARON, MIKE McCREADY, MARK ARM, MARK LANEGAN, MORE!BLAND ANNOUNCES BOOK TOUR!<-p>
Fantagraphics Books and Local 638 Records are proud to announce the September 2013 release of In Case We Die, the first novel by Danny Bland, in hardcover and audiobook. Bland, a 25-year veteran of Seattle’s music scene (The Dwarves, Cat Butt, Best Kissers In the World) brings his own experience to the depiction of a harrowing tour through Seattle's darkest underground. Both love story and horror story, In Case We Die is a semi-autobiographical and visceral story of crime, addiction, redemption and revenge.
In Case We Die‘s audiobook is read by an incredible team of legendary artists,
musicians, actors and comedians, all of whom have lent their support and donated their talent and time. Readers include Duff McKagan (Guns & Roses), Mike McCready (Pearl Jam), Mark Lanegan (Screaming Trees, Queens of the Stone Age), Steve Earle, Aimee Mann, Mark Arm (Mudhoney), Marc Maron (WTF With Marc Maron) and many others . A portion of the proceeds will benefit MusiCares, a stellar non-profit that assists musicians and music business workers to obtain medical care and human services.
The audiobook is over seven hours in length.
Available digitally and also CD format (1 disc - mp3 for car stereos).
BOOK TOUR – more dates TBA
* surprise guests from the audiobook will read with Danny in select cities
August 31 – Bumbershoot – “Fantagraphics Follies” – Seattle, WA
September 9 – Powell’s Books – Portland, OR
September 11 – Booksmith – San Francisco, CA
September 14 – Book Soup – Los Angeles, CA with Dave Alvin, Wayne Kramer, Lew Temple
September 18 – Changing Hands – Tempe, AZ
September 21 – The Regulator – Durham, NC
September 24 – Atomic Books – Baltimore, MD
September 25 – The Random Tea Room – Philadelphia, PA
September 26 – Manitobas – NYC – 7pm
September 30 – Barnes & Noble – Peabody, MA with Damien Echols
October 1 – Bookcourt – Brooklyn, NY 7pm
October 2 – Quimby’s – Chicago, IL
October 14 – Elliott Bay Books – Seattle, WA
“Our anti-hero is floating in a tiny lifeboat made of heroin, graveyard shifts & rock music. His companions are two fabulous women; a bombshell who robs banks & a beautifully pale rock violinist who can barely dodge suicide. ICWD is much funnier & more satisfying than any other junkie rock’n'roll tragedy.” – John Doe (X)
“Bland is a brutally funny and bravely honest writer. A perfect guide through the bloodshot streets and desperate bedrooms of the underground wilderness.” – Dave Alvin (Blasters)
“In Case We Die is a poetic and elegant journey … straight to the gutter.” – Wayne Kramer (MC5)
“A great piece of work — full of filth and heart.” – Steve Earle
“A suitably Peckinpah finale. Bravo. It has been like a traveling dream state and sometimes familiar look into the abyss.” – Greg Dulli (Afghan Whigs)
“I am a believer in what Bland has to say. He writes with eloquence, candor, darkness, and humor….the good stuff!” – Duff McKagan (Guns ‘N’ Roses)
Danny Bland is one of the most interesting people I’ve ever known. Beneath a crusty, punk rock exterior lies one of the biggest hearts I’ve ever seen. This book? It’s the literary version of Danny Bland.” – Damien Echols (West Memphis Three)
Inspired by a real-life incident — getting his tie caught in a moving Moviola editing machine — Gene Deitch, cartoonist, animator, memoirist, renaissance man, created Nudnik, his Everyman character, a cross between Candide and Godot.
The star of 12 Paramount-produced animated shorts that ran in theatres as an opening to the main movie in 1964 and 1965, Nudnik was one of Deitch's most creatively personal and commercially successful creations in a long career of innovative and successful work, including the award-winning animated versions of Jules Feiffer’s Munro and Maurice Sendak's Where the Wild Things Are.
Nudnik is the well-intentioned, kind, cheerful, but bumbling naïf, inspired by and reflecting such archetypal characters as Jackie Gleason's Poor Soul, Charlie Chaplin's Tramp, and Charles Schulz's Charlie Brown. He never gets a break, can't do anything right, but somehow muddles through, dignity more or less intact.
Nudnik Revealed! finally collects all of Deitch's original drawings, sketches, model sheets, storyboards, and color "set-ups" that he drew during the Nudnik production season of '64-'65, all reproduced from original art, showcasing his lively pencil line and his slick, authoritative pen and ink work. Deitch, a born storyteller and one of the great raconteurs of comics and animation, accompanies the copious examples of art with a running commentary — by turns, funny, spirited, and chock full of historical insights.
Since the 2004 publication of The Mischievous Art of Jim Flora, the once-forgotten illustrator has gained recognition as one of the foremost pioneers of a raucous, cartoonish style of commercial art that defines the Mid-Century aesthetic. Two follow-up volumes, The Curiously Sinister Art... (2007) and The Sweetly Diabolic Art... (2009), captured Flora's largely unseen fine art works, spotlighting a variety of themes such as architecture, cats and dogs, science, cars, trains — and the occasional swerve toward gratuitous violence.
But one of Flora's sustaining loves was music. His 1940s Columbia and 1950s RCA Victor record covers, in which legendary musicians were routinely afflicted with mutant skin tints and bonus limbs, are considered classics of outlandish post-Cubist caricature. During this period Flora also produced an enormous amount of promotional ephemera, including new release monthlies, trade booklets, ads, and point-of-sale novelties.
The now out-of-print Mischievous Art featured Flora’s known album covers. (No complete discography existed.) Since that book’s publication, more covers have been found, as well as rough drafts and unused designs. So Flora co-archivists/authors Irwin Chusid and Barbara Economon have compiled a complete collection of Flora covers (including recent discoveries) and unpublished sketches in one volume, augmented by music images not included in previous volumes. The High Fidelity Art of Jim Flora is the definitive anthology of the maestro's visual compositions, reflecting jazz, classical, and Latin music.
Regarding his jam-packed canvases Flora once said he "couldn't stand a static space." There’s nothing static about the images in The High Fidelity Art: they wail, dance, bounce, and swing from the chandeliers. Flora had a knack for grooving with a paintbrush, making art to which you can tap your toes and snap your fingers.
You might think that birth of Prince Valiant's son Arn at the end of the previous volume would have slowed down Val's adventuring, but you would be wrong. After the baby has been christened, Valiant and Gawain are dispatched to investigate reports of black magic in Wales, ending up in pitched battle at the aptly-named Castle Illwynde. Then it's off to Scotland to battle the Picts, and then home yet again for Val to visit his growing boy.
Valiant now enters the 1950s: The Thule winter is hard and bleak, and a prince who has designs on Aleta must be dealt with. Then it's another epic-length story, "The Missionaries," in which Val and several of his fellow knights and crew travel to Rome on a quest for teachers who might bring Christianity to Thule. The story also features an escape through the Alps, far too many red-headed girls, and a tragic, life-changing event for the young squire Geoffrey (a.k.a. "Arf"). And Foster charmingly ends the book with "The Prince Arn Story," a three-week sequence narrated by the toddler.
Prince Valiant Volume 7, once again shot from stunningly crisp and colorful original printer's proofs from Foster's original collection, also features the usual wealth of supplements, including another brace of rarely-seen Foster art, and an introduction by the recently-anointed artist of the ongoing Prince Valiant strip, Thomas Yeates.