Gahan Wilson is probably best known for his macabre Playboy cartoons, filled with charming monsters, goofy mad scientists, and melting victims, and his cutting-edge work in the National Lampoon, but he's also one of the most versatile cartoonists alive whose work has appeared in a wide range of media venues. Gahan Wilson Sunday Comics is Wilson's assault from within: His little-known syndicated strip that appeared in America’s newspapers between 1974 and 1976.
Readers must have been startled to find Wilson's freaks, geeks, and weirdos nestled among family, funny-animal, and soap opera offerings. (The term "zombie strip" — a strip that has long outlived its original creator — takes on a whole new meaning in Wilson's hands.) While each strip, at first glance, appears to be a standard, color Sunday strip (albeit without panel borders), each Sunday Comic is a collection of one-panel gag cartoons, delineated in Wilson's brilliantly controlled wiggly-but-sophisticated pen line. The last gag cartoon on each Sunday is part of a recurring series, either "Future Funnies" or "The Creep." Some Sundays are a freewheeling mélange of board meetings, monsters, and cavemen (with cameos by Wilson's Kid character from Nuts, his gimlet-eyed view of childhood, collected in 2011 by Fantagraphics), while others riff on a topic or subject (clocks, plants, wallpaper, etc.). As is his wont, Wilson mines the blackest of black comedy in the banal horror of human nature.
Gahan Wilson Sunday Comics collects, for the first time, each and every one of these strips, luxuriating across a 12" x 6" landscape format, with Fantagraphics' trademark high production values, innovative design, and succinct historical commentary.
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TEotFW follows James and Alyssa, two teenagers living a seemingly typical teen experience as they face the fear of coming adulthood. Forsman tells their story through each character's perspective, jumping between points of view with each chapter. But quickly, this somewhat familiar teenage experience takes a more nihilistic turn as James's character exhibits a rapidly forming sociopathy that threatens both of their futures. He harbors violent fantasies and begins to act on them, while Alyssa remains as willfully ignorant for as long as she can, blinded by young love.
Forsman's story highlights the disdain, fear and existential search that many teenagers fear, but through a road trip drama that owes as much to Badlands as The Catcher in the Rye. Forsman’s inviting, Charles Schulz-influenced style lends a deadpan quality that underscores the narrative's tension. The End of the Fucking World is certain to be one of the most talked-about graphic novels of 2013.
Forsman is arguably the most acclaimed talent to come out of the Center for Cartoon Studies, a school founded in 2004 by graphic novelist James Sturm and educator Michelle Ollie in White River Junction, VT. Forsman graduated in 2008 and is a two-time Ignatz Award-winner for his self-published minicomic, Snake Oil. The End of the Fucking World is his first graphic novel.
In Fantagraphics' ceaseless effort to rediscover every world-class cartoonist in the history of the medium, we turn your attention to a neglected part of the art form — sports cartooning — and to its greatest practitioner — Willard Mullin.
The years 1930-1970 were the Golden Age of both American sports and American comic strips, when giants strode their respective fields — Babe Ruth, Lou Gehrig, and Hank Aaron in one, George (Krazy Kat) Herriman, Milton (Steve Canyon) Caniff, Walt (Pogo) Kelly in the other — and Mullin was there, straddling both fields, recording every major player and event in the mid-20th-century history of baseball. Mullin was to baseball players what Bill Mauldin was to soldiers: advocate and critic, investing them with personality, humanity, dignity, and poignancy; Mauldin had Willie & Joe and Mullin had the Brooklyn Bum, his affectionate 1939 character representing the bedraggled figure of the Brooklyn Dodgers.
Willard Mullin's Golden Age of Baseball: Drawings 1934-1972 collects for the first time Mullin's best drawings devoted to baseball — depictions of players like Joe DiMaggio, Ted Williams, Yogi Berra, and Sandy Koufax, legendary managers like Casey Stengel and George Steinbrenner, and events like Lou Gehrig's emotional retirement speech on July 4, 1939, for which Mullin not only drew a portrait but composed a poem (which he often incorporated into his cartoons). Mullin's fluid line and delicate but vigorous brushwork are shown to beautiful effect, with many drawings reproduced from original art.
See why millions of baseball fans from the '30s to the '70s looked forward to Mullin's cartoons in their daily paper. Mullin was voted "Sports Cartoonist of the Century" upon his retirement by his peers, and his legacy has been summed up by New Yorker cartoonist Bob Staake, who wrote, "Mullin defined the modern sports cartoon by combining representative portraiture, cartoonish doodlery, and editorial commentary — part news account, part personal observation, his cartoons celebrated sport for its entertainment, cultural, and artistic value."
Queer cartooning encompasses some of the best and most interesting comics of the last four decades, with creators tackling complex issues of identity and a changing society with intelligence, humor, and imagination. This book celebrates this vibrant artistic underground by gathering together a collection of excellent stories that can be enjoyed by all.
No Straight Lines showcases major names such as Alison Bechdel (whose book Fun Home was named Time Magazine’s 2006 Book of the Year), Howard Cruse (whose groundbreaking Stuck Rubber Baby is now back in print), and Ralf Koenig (one of Europe’s most popular cartoonists), as well as high-profile, crossover creators who have flirted with the world of LGBTQ comics, like legendary NYC artist David Wojnarowicz and media darling and advice columnist Dan Savage. No Straight Lines also spotlights many talented creators who never made it out of the queer comics ghetto, but produced amazing work that deserves wider attention.
Until recently, queer cartooning existed in a parallel universe to the rest of comics, appearing only in gay newspapers and gay bookstores and not in comic book stores, mainstream bookstores or newspapers. The insular nature of the world of queer cartooning, however, created a fascinating artistic scene. LGBT comics have been an uncensored, internal conversation within the queer community, and thus provide a unique window into the hopes, fears, and fantasies of queer people for the last four decades.
These comics have forged their aesthetics from the influences of underground comix, gay erotic art, punk zines, and the biting commentaries of drag queens, bull dykes, and other marginalized queers. They have analyzed their own communities, and their relationship with the broader society. They are smart, funny, and profound. No Straight Lines will be heralded by people interested in comics history, and people invested in LGBT culture will embrace it as a unique and invaluable collection.
A detective is walking down the street. It is raining. He sees a "Lost Cat" poster. A minute later he sees the cat from the photo. He picks it up and goes back to the poster. He calls the number. A woman answers. He turns up at her place and gives her the cat. She invites him in from the rain for a cup of coffee. They talk and find out they have a lot in common: both are divorced and living alone.
Some days later he invites her out for a dinner. She accepts. He shows up at the agreed time. She doesn't. He calls her home and knocks on her door. No answer. He asks the neighbors. They haven't seen her. She has disappeared. He makes some phone calls and investigates, but can't find her. He gets a new client and has to start working on a new case. In his head he continues their conversation...
Lost Cat, the new graphic novel by Jason, is both a playful take on the classic detective story, and a story about how difficult it is to find a sister spirit, someone you feel a real connection to — and what do you do if you lose that person?
When Al Columbia is not drawing chilling comics or making home-made flame throwers (they can shoot as far as fifteen feet!), he's with his band cooking up something cool. The music video "Black Bikini" was filmed on location at 'Plum Island.' Columbia has about eight songs ready for his new album called Journey to Death Island, which will be out from Psychopop Records in the near distant future. Give it a listen, maybe even a shimmy and shake.
Read Ghost World and other Clowes classics in a whole new way! Ken Parille and a passel of great comics thinkers provide critical and contextual insight into the artist and his hugely influential work. News of this book prompted The Comics Reporter's Tom Spurgeon to comment, "Ken Parille's stuff is routinely pretty great... Count me in." It's a must for all Clowes fans and serious comics readers.
This is a story about a girl, born at the beginning of the 20th century. She grows up in a small river town in upstate New York. One day the mysterious Charles Varnay, an eccentric who dresses in the style of an 18th century dandy, comes to town, his sole companion a remarkably intelligent dog named Rousseau. Varnay wants to star Katherine in a movie serial he plans to make, called The Goddess of Enlightenment.
Katherine is rather put off when she discovers that he expects her to appear nude in this film. But even more strange is the film’s subject matter: It has to do with seven metal urns that Varnay claims are actual recordings of the voice of Jesus Christ which, he says, contain an urgent message that the modern world needs to hear!
Varnay also claims that his dog, Rousseau, is the product of experiments he has been making in advanced selective breeding. He’s eager to continue these experiments with human subjects; Katherine realizes that he’s expecting her to be a part of this, and it worries her...
The Amazing, Enlightening and Absolutely True Adventures of Katherine Whaley is a full-length graphic novel created in a striking "widescreen" landscape format that allows Deitch to give full rein to his astonishing graphics.
Eye of the Majestic Creature Vol. 2 is the second book collecting Leslie Stein's loose, funny and charming autobiographical narratives that combine idiosyncratic fantasy and stark reality. Larrybear, our hero, has moved from the countryside to the city, where she finds work as a shop girl. Quotes from Theodore Dreiser's Sister Carrie are sprinkled throughout the story to add humor and poignancy. Stein then takes us back to a childhood in the '80s filled with odd experiences including joining a rock band with older people, sitting in on her mother's AA groups, and the mystery of the disappearing gumballs. Finally, a fun story in which Larrybear and her new friend Poppin the Flower go on a strange trip to see his father. Let us not forget that Marshmallow, Ping-Ping and Mimolette, Larry's walking and talking instruments, have adventures all their own.
Stein's gorgeous cartooning, highlighted by incredibly detailed stippling, and her dry sense of humor combine to make one of the most unique and immersive narrative experiences in comics.
Written by black, gay science-fiction writer, professor, and theorist Samuel R. Delany, and drawn by artist/martial arts instructor Mia Wolff, Bread & Wine is a graphic autobiography that flashes back to the unlikely story of how Delany befriended Dennis, and how they became an enduring couple — Delany, a professor at Philadelphia’s Temple University, Dennis, an intelligent man living on the streets.
For casual readers and fans, Bread & Wine is a moving, sexually charged love story, with visuals informed by Wolff's professional physical pursuits. Her black-and-white pen-and-ink work not only expressionistically represents the characters' "body language" and the bustling New York setting, but is also filled with impish art references and visual puns. The scholarly potential for the book, based on the poem "Bread and Wine" by the German lyric poet Friedrich Holderlin, not only encompasses queer, African-American, and graphic novel studies, but also exploration in the literary and paraliterary academic fields.
This edition includes an introduction by Watchmen writer Alan Moore, commentary by the book’s protagonists, Delany and Dennis, and a new interview with Delany and Wolff.