In 2011’s Dungeon Quest Book Two, we left our heroes, Millennium Boy, Steve, Lash and Nerdgirl, in the Temple of Bromedes as they began their initiation into the mysteries of Atlantis under the tutelage of the androgynous forest mystic, Bromedes. In this third book, our heroes complete their learning with Bromedes and are guided towards further quests in Rufford Park and beyond, to the Zuur Plateau. However, they are not yet clear of the hazards of Fireburg Forest. Resurfacing to the forest floor (after hitting the strongest weed in the universe, “Orangutan Daydream”), they must survive a perilous cliff path, discover moon shrines, battle wild Womraxes, endure knock-out gas, hypnagogic visions, nakedness and deprivation and, finally, embark on a desperate and courageous mission to rescue Nerdgirl from cruel Forest Bandits and retrieve their stolen equipment.
In this third book, by far the longest installment of the series so far (288 pages!), the reader is also introduced to the history and mysticism of The Romish Book of the Dead, a sexually avant-garde “little forest man” (who becomes the fifth member of the crew), Steve’s newly discovered “battle warping” abilities (which Millennium Boy dismisses as being a mere “kundalini spasm”), weapons and armor upgrades and a whole new level of bizarre comedy, rousing adventure and ass-kicking action — all staged in front of fantastic backdrops replete with strange vegetation, ancient ruins and steampunk imagery.
Wouldn't you like to see a full-length steampunk animated feature designed by Jacques Tardi? Yeah, so would we. Here's a teaser trailer for just such a thing currently in development, from the studio that brought you PERSEPOLIS, called LE MONDE TRUQUÉ (co-written by Tardi's COCKROACH KILLER writer Benjamin Legrand, for good measure). In English, yet. Enjoy!
One of the greatest visual storytellers in the history of comics. That was Mort Meskin, famed Golden Age artist whose name belongs in the first rank of comics storytellers: Will Eisner, Jack Kirby, Steve Ditko.
See for yourself why Meskin earned the admiration and respect of his peers (as well as contemporary critics and historians) for his atmospherically charged work, his masterful use of form and composition to convey mood and action, his noirish use of light and shadow to create suspense.
This, the first-ever collection of Meskin’s comics, surveys his work from the 1930s, 1940s, and 1950s. Here, in just under 200 pages, you’ll discover the artist’s amazing ability to stamp his own fresh visual imprimatur across a wide variety of genres: superheroes (The Black Terror, The Fighting Yank, a never-before published Golden Lad), adventure (the origin of Sheena, Queen of the Jungle), science fiction (Tom Corbett, Space Cadet) — plus horror, kid gangs, crime, Western — even romance!
Rescued from the fading obscurity of old, yellowing comic books, this deluxe volume meticulously reproduces his work from the best available sources. At last, Mort Meskin steps into the spotlight and — OUT OF THE SHADOWS!
Praise for Mort Meskin:
“Deserves to be treasured by all comics fans and studied by all artists of the medium” – Rich Clabaugh, Christian Science Monitor
Graphic novelist Josh Simmons (House) returns with a harrowing and genre-bending collection of modern horror short stories that could curl the toes of a corpse in a state of rigor mortis. Simmons’ disturbing, uncomfortable and even confrontational stories often work on multiple levels: straight, uncompromising horror; blackly humorous, satirical riffs on the genre; or as vicious assaults against the political correctness that rules so much of our popular culture. His artwork excels in conveying a feeling of dread and claustrophobia, and the stories herein all share an unmistakably and uncompromising commitment to exploring the crossroads of abomination and hilarity.
The Furry Trap contains 11 short stories, varying in length from one to 30 pages, as well as a number of “extras” that will flesh out the reader’s experience. From the title creatures in “Night of the Jibblers,” to the witches and ogres of “Cockbone,” to the Godzilla-sized, centaur-bodied depiction of the title character in “Jesus Christ,” to the disarmingly cute yet terrifying demons of “Demonwood,” to the depraved, caped crusading antihero in “Mark of the Bat,” Simmons is a master of creating terrifying beasties that inspire and inflict nightmarish horrors, usually taken to unforgettable extremes.
The individual stories in The Furry Trap stand on their own as mini-masterpieces of skin-crawling terror, but collectively complement each other in a way that only heightens the anxiety and dread pouring from page to page. Just remember: You’ve been warned.
Fully half of this latest volume of Hal Foster’s epic masterpiece — again scanned from superb syndicate proofs — is devoted to the remaining chapters of “The Winning of Aleta,” a 20-month (!) epic in which Valiant obsessively pursues his bride to be. Not surprisingly this is followed by a sequence called “Matrimony,” which ends with a newly wed queen adjusting to the luxurious, exciting court life at Camelot.
But Val’s marriage does not signal an end to his adventures, quite the contrary. In “War in the Forest” Val is sent out to spy on encroaching Saxons — unknowingly aided by Aleta, who, disguised as a small knight (and dubbed “Sir Puny”) helps prevent disaster. But the 1946 strips end with Val and Aleta unable to return to Camelot and the displaced couple journeying to Thule…
Half the strips in this volume also include the delightful “The Medieval Castle,” Foster’s chronicle of two young boys growing up during the time of the First Crusade — but by the end of the 1945 strips this series has ended and the Valiant portion resume its full-page glory.
This volume also features a Foreword by P. Craig Russell, a gallery of Hal Foster's commercial illustration work and an essay titled "Aleta: Water Nymph of the Misty Isles" by Brian M. Kane.
With stunning art reproduced directly from pristine printer’s proofs, Fantagraphics has introduced a new generation to Foster’s masterpiece, while providing long-time fans with the ultimate, definitive version of the strip.
Read editor Kim Thompson's Afterword from Vol. 1, detailing the production and restoration of these new editions, right here on our website.
From our Marschall Books imprint comes this magnificent collection of Mr. Twee Deedle, Johnny Gruelle’s masterpiece, unjustly forgotten by history and never before reprinted since its first appearance in America’s newspapers from 1911 to 1914.
The title character in the Sunday color page, Mr. Twee Deedle, is a magical wood sprite who befriends the strip’s two human children, Dickie and Dolly. Gruelle depicted a charming, fantastical child’s world, filled with light whimsy and outlandish surrealism. The artwork is among the most stunning ever to grace an American newspaper page, and Gruelle’s painterly color makes every page look like it was created on a canvas.
Gruelle’s creation was the winning entry out of 1500 submissions to succeed Little Nemo, which the New York Herald was losing at the time to the rival Hearst papers. With such import, the Herald added a $2000 prize, a long contract, and arguably the most care devoted to the reproduction of any color newspaper comic strip before or since.
Yet the wood sprite and his fanciful world have been strangely overlooked, partly because Gruelle created Raggedy Ann immediately after the strip’s run, eclipsing not only Mr. Twee Deedle but almost everything else the cartoonist ever did.
Mr. Twee Deedle stands as a bizarre time-warp: at a time when most children's literature and kids' comic strips were somewhat violent or starkly moralistic (the Brothers Grimm; The Katzenjammer Kids; and even Little Nemo itself, which often depicted nightmares, fears, and dangers), Twee Deedle was sensitive and whimsical. Instead of stark moralizing, it presented gentle lessons. It reads today like a work for the 21st century… indeed for all times, all ages.
Mr. Twee Deedle is edited and includes an introduction by comics historian Rick Marschall. The volume presents the first year of the forgotten masterpiece and selected episodes from later years, as well as special drawings, promotional material, and related artwork.
This book spotlights over 100 comic strips, comic books, and graphic novels to feature black characters from all over the world over the last century, and the result is a fascinating journey to, if not enlightenment, then at least away from the horrendous caricatures of yore.
The book begins with the habitually appalling images of blacks as ignorant “coons” in the earliest syndicated strips (Happy Hooligan, Moon Mullins, and The Katzenjammer Kids); continues with the almost-quaint colonialist images of the often-suppressed Tintin album Tintin in the Congo and such ambiguous figures as Mandrake the Magician’s “noble savage” assistant Lothar in the ’30s (not to mention Torchy Brown, the first syndicated black character), moving on to such oddities as the offensive Ebony character in Will Eisner’s otherwise classic The Spirit from the ’40s and ’50s.
We then continue into the often earnest attempts at ’60s integration in such strips as Peanuts (and comic books such as the Fantastic Four), as well as the first wave of “black strips” like Wee Pals, juxtaposed with the shocking satire of underground comics such as R. Crumb’s incendiary Angefood McSpade. Also investigated is the increased use of blacks in super-hero comic books as well as syndicated strips. Black Images in the Comics wraps up from the ’80s to now, with the increased visibility of blacks, often in works actually produced by blacks, all the way to the South African strip Madam & Eve, Aaron McGruder’s pointed daily The Boondocks, and more — including over a dozen new entries added to the out-of-print hardcover edition.
Each strip, comic, or graphic novel is spotlighted via a compact but instructive 200-word essay and a representative illustration. The book is augmented by a context-setting introduction, an extensive source list and bibliography, and a foreword by Charles R. Johnson, the recipient of a MacArthur Foundation fellowship and winner of the National Book Award for his 1990 novel Middle Passage.
Stephen Dixon is one of the most acclaimed authors of short stories in the history of American letters. His work, characterized by mordant humor and a frank attention to human sexuality, has earned him a Guggenheim Fellowship, the American Academy Institute of Arts and Letters Prize for Fiction, the O. Henry Award, and the Pushcart Prize. Fantagraphics Books is proud to re-present his 2010 hardcover collection of short stories, What Is All This?, in paperback form.
Dixon’s finely chiseled sentences cut to the quick of people’s lives. None of these stories have been collected in any book; they have appeared in a wide variety of literary journals over almost 40 years and Dixon has entirely rewritten all of them. Dixon admirers will be cheered to learn that these stories comprise a wholly original work.
Centrally concerning himself with the American condition, Dixon explores in What Is All This? obsessions of body image, the increasingly polarized political landscape, sex — in all its incarnations — and the gloriously pointless minutiae of modern life, from bus rides to tying shoelaces. Using the canvas of his native New York he astutely captures the edgy madness that infects the city through the neuroses of his narrators with a style that owes as much to Neo-Realist cinema as it does to modern literature. What Is All This? is designed by Fantagraphics’ award-winning Art Director Jacob Covey, whose hardcover design was honored as one the industry’s 50 best books/covers of the year by AIGA.
Stephen Dixon was born in 1936 in New York City. He graduated from the City College of New York in 1958 and is a former faculty member of Johns Hopkins University. He is also a two time National Book Award nominee — for his novels Frog and Interstate. He still hammers out his fiction on a vintage typewriter.
Easily the funniest super-hero comic to come down the pike since Harvey Kurtzman and Wally Wood’s “Superduperman!,” Angelman is Austrian cartoonist Nicolas Mahler’s sardonic take on super-heroes, their fans, the businessmen behind them, the current media obsession with them, not to mention fancy-ass “Ultimate” collections of dopey super-hero comics.
Created by Korporate Comics in a flash of money-grubbing cynicism appalling even by their standards, Angelman’s powers (which include empathy and the ability to be a good listener) prove less than adequate to deal with the sinister threat of the insane plastic-surgeon villain Gender Bender — or for that matter with the fickleness of fashion, the rapacious super-heroine Lady Dentata, the increasingly desperate re-boot attempts by Korporate Comics, his oddly twin-like wife, a disastrously bad movie adaptation that single-handedly brings the vogue for super-hero movies to a screeching halt… all delineated in Mahler’s trademarked ultra-minimalism (albeit this time in spectacular color), and with his drier-than-dry wit.
Includes a special checklist/price list of Angelman comics, a gallery, and extensive historical and explanatory footnotes by the author, this book will occupy a place of pride on the bookshelf of any comic book geek — or anyone who just likes hilarious comics.
"Angelman is funny, original, beautifully drawn, with a touching story. Great comics in a minimalist style never before seen." – Tony Millionaire
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