Our final limited-edition deluxe Krazy hardcover (it's Volume 1, but the third to be published) collects the three Krazy & Ignatz softcover books which comprehensively compile the first nine years (1916 through 1924) of Krazy Kat Sunday strips, under hard covers. It's not a slipcase, it's a single hardcover book. The covers to the original three softcover books are NOT included, but literally everything else is, including nine years' worth of black-and-white masterpieces (and 10 color strips), plus all the bonuses (other rare strips, the entire Us Husbands). This is the one collectors have been waiting for, enabling you to complete your Krazy Sundays collection in three enormous, deluxe hardcover books designed by Chris Ware.
"The Krazy & Ignatz books have been a godsend to comics fans... Each book is bizarre, sweetly amusing, and blissfully continuity-free." – "The Best Comics of the '00s: The Archives," The A.V. Club
Krazy Kat, with its eternally beguiling love triangle of kat/dog/mouse, its fantastically inventive language, and its haunting, minimalist desert décor, has consistently been rated the best comic strip ever created, and Fantagraphics’ award-winning series one of the best classic comic-strip reprint series ever published.
With our 13th volume, Krazy & Ignatz 1922-1924, the decades-in-the- making project of publishing every single Krazy Kat Sunday created by Herriman comes to a close. (Next: The dailies!)
While the Krazy Kat Sundays were created and published in black and white until 1935 (and therefore the majority of strips in this book are black and white), Herriman’s publisher did briefly experiment with running the strip in color in 1924, and all 10 of these rare full-color strips are presented here. The book also includes more rare photographs of Herriman, a “DeBaffling” section explaining period references and in-jokes, and the usual surprise “goodies” each of these volumes springs on their readers.
Krazy & Ignatz 1922-1924 includes the entire runs of Herriman’s early strip “Little Tommy Tattles” and his very first daily strip “Mrs. Waitaminnit,” which haven’t been printed in over a century. Also featured is the entire run of Herriman’s hilarious mid-20’s domestic comedy Sunday strip Us Husbands. And for the 13th and final time, the cover is by Chris Ware.
When MAD became a surprise hit as a comic book in 1953 (after the early issues lost money!) other comics publishers were quick to jump onto the bandwagon, eventually bringing out a dozen imitations with titles like FLIP, WHACK, NUTS, CRAZY, WILD, RIOT, EH, UNSANE, BUGHOUSE, and GET LOST. The Sincerest Form of Parody collects the best and the funniest material from these comics, including parodies of movies (20,000 Leagues Under the Sea, From Here To Eternity), TV shows (What's My Line, The Late Show), comic strips (Little Orphan Annie, Rex Morgan), novels (I, the Jury), plays (Come Back, Little Sheba), advertisements (Rheingold Beer, Charles Atlas), classic literature ("The Lady or the Tiger"), and history (Pancho Villa). Some didn't even try for parody, but instead published odd, goofy, off-the-wall stories.
These earnest copiers of MAD realized that Will Elder's cluttered "chicken fat" art was a good part of MAD’s success, and these pages are densely packed with all sorts of outlandish and bizarre gags that make for hours of amusing reading. The "parody comics" are uniquely "'50s," catching the popular culture zeitgeist through a dual lens: not only reflecting fifties culture through parody but also being themselves typical examples of that culture (in a way that Harvey Kurtzman’s MAD was not).
This unprecedented volume collects over 30 of the best of these crazy, undisciplined stories, all reprinted from the original comics in full color. Editor John Benson (who wrote the annotations for the first complete MAD reprints, and interviewed MAD editor Harvey Kurtzman in depth several times over the years) also provides expert, profusely illustrated commentary and background, including comparisons of how different companies parodied the same subject.
Artists represented include Jack Davis, Will Elder, Norman Maurer, Carl Hubbell, William Overgard, Jack Kirby, Dick Ayers, Bill Everett, Al Hartley, Ross Andru & Mike Esposito, Hy Fleischman, Jay Disbrow, Howard Nostrand, and Bob Powell.
Casual comics readers are probably familiar with the later satirical magazines that continued to be published in the '60s and '70s, such as Cracked and Sick, but the comics collected in this volume were imitations of the MAD comic book, not the magazine, and virtually unknown among all but the most die-hard collectors. For the first time, Fantagraphics is collecting the best of these comics in a single, outrageously funny volume.
Download and read a 14-page PDF excerpt (6.1 MB) which includes the Table of Contents.
In recent years Scandinavia has become a hotbed of cartooning activity, from the internationally acclaimed funny-animal stylings of Norway’s Jason to the hilarious slacker romps of Sweden’s Martin Kellerman and Dane Nikoline Werdelin’s Eisner-Award-nominated urban slice-of-life stories. This anthology of comics — many of them created especially for this book — offers an intoxicating and compelling sampling of current works from these countries. Skaal!
Jenni Rope [Finland] tells a minimalist tale of heartbreak in “The Island”; Peter Kielland’s [Denmark] Mr. Pig has an eventful day; Joanna Rubin Drang- er [Sweden] is “Always Prepared to Die for My Child”; Crumb-esque satirist Christopher Nielsen [Norway] boils down all of life to an eternal journey up the “Escalator”; Tommi Musturi [Finland] provides two full-color Jim Woodring-esque romps featuring his “Samuel” character; Johan F. Krarup [Denmark] visits a compulsive comics collector in “Nostalgia”; plus Bendik Kaltenborn’s [Norway] “The Great Underneath,” a dazzling wordless piece from Mardøn Smet [Denmark], the legendary Swedish cartoonist Joakim Pirinen’s ultra-virtuoso “My Life,” Drawn & Quarterly-published Amanda Vähämäki’s [Finland] pencil-smudged stylings, and much more.
"Gary Panter speaks at MOCAD on March 2, 2012 as part of 'Joshua White and Gary Panter’s Light Show' on view February 10-April 29, 2012.
"Prolific comic artist and punk art prankster, Gary Panter, has influenced multiple generations of artists. He has created iconic designs for albums by The Screamers, The Residents, and Red Hot Chili Peppers; been involved with seminal LA punk zine/label Slash; created the Jimbo comic, which frequently appeared in Art Spiegelman's RAW magazine; and, most popularly, designed groundbreaking sets for Pee-wee Herman's children's show Pee-wee's Playhouse in the 1980s."
A funny thing happened on the way to comic-strip immortality.
For many years, Ernie Bushmiller’s Nancy, with its odd-looking, squat heroine, nearly abstract art, and often super-corny gags, was perceived as the stodgiest, squarest comic strip in the world. Popular with newspaper read- ers, true — but definitely not a strip embraced by comic-strip connoisseurs, like Krazy Kat, Dick Tracy or Terry and the Pirates.
But then those connoisseurs took a closer look, and began to realize that Bushmiller’s art approached its own kind of cartoon perfection, and those corny gags often achieved a striking zen quality. In its own way, it turned out Nancy was in fact the most iconic comic strip of all. (The American Heritage Dictionary actually uses a Nancy strip to illustrate its entry on “comic strip.”)
Charter members of the Nancy revival include Art Spiegelman, who published Mark Newgarden’s famous “Love’s Savage Fury” (featuring Nancy and Bazooka Joe) in an early issue of RAW; Fletcher Hanks anthologist Paul Karasik; Zippy the Pinhead creator Bill Griffith; underground publisher Denis Kitchen, who released several volumes of Nancy collections in the 1980s; Understanding Comics’ Scott McCloud, who created the “Five-Card Nancy” card game; Joe Brainard, who produced an entire Nancy Book of paintings in 2008; and Andy Warhol, who produced a painting based on Nancy.
Beginning in the Winter of 2011, fans will be dancing with joy as Fantagraphics unveils an ongoing Nancy reprint project. Each volume will contain a whopping full three years of daily Nancy strips (a Sunday Nancy project looms in the future), collected in a fat, square (what else, for the “squarest” strip in the world?) package designed by Jacob (Popeye, Beasts!, Willie and Joe) Covey.
This first volume will collect every daily strip from 1943 to 1945. (Fantagraphics will eventually release Nancy’s first five years, 1938-1942, but given the scarcity of archival material for these years we are giving ourselves some extra time to collate it all.)
This first Nancy volume will feature an introduction by another stellar Bushmiller fan, Daniel Clowes (from whose collection most of the strips in this volume were scanned), a biography of the artist, and much more.
344-page black & white 8.5" x 7" hardcover • $28.99 ISBN: 978-1-60699-523-5
Ships in: March 2012 (subject to change)
As Peanuts reaches the mid-1980s, Charles Schulz is still creating and playing with new characters, and in this volume Snoopy’s deadpan, droopy-mustached brother Spike takes center stage: Surrounded by coyotes in the desert where he lives and who are attacking him with rubber bands, he sends a frantic message to Snoopy who launches an expedition to save him. Then, he makes the long trek back to Snoopy’s neck of the woods accompanied by his only friend (a cactus, of course)… and throughout the rest of the book, pops up in hilarious, Waiting for Godot-style vignettes set in his native Needles.
In romantic news, the Peppermint Patty-Marcie-Charlie Brown love triangle of overlapping unrequited love heats up (well, kind of), while Linus continues to vociferously deny that he is Sally’s “Sweet Babboo”; of course, Lucy’s unsuccessful pursuit of Schroeder remains unabated. Also, a romance blossoms between two of Snoopy’s “Beagle Scout” birds. (We will pass over Spike’s brief attraction to one of the coyotes.)
In what is probably his most baroque and hilarious baseball-involved humiliation yet, Charlie Brown agrees to join Peppermint Patty’s team the “Pelicans” only to discover that he’s wanted not as a player but as a mascot… Linus gives up his security blanket and forms a support group for other kids who are trying to do the same… and Peppermint Patty manages to be held back in school (leaving a “Snoring Ghost” to take her place in the rest of the class that has advanced) and yet get to go on a European trip with her dad, sending back periodic dispatches from the road. All this plus appearances from Franklin, Rerun, and the rest of the gang in these strips from a period of Peanuts that’s far less well-known than the endlessly-collected 1960s and 1970s eras…
Download and read a 17-page PDF excerpt (3.1 MB) with all the strips from January 1983.
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