136-page black & white/color 8.5" x 11" softcover • $19.99 ISBN: 978-1-60699-684-3
New 2013 printing! Ships in Ocbober 2013 (subject to change) — Pre-Order Now
The 17th volume of the comprehensive and multiple award-winning Complete Crumb Comics series — nominated for both 2003 Harvey and Eisner Awards — completes the 1980s and leads into the 1990s. This was a creatively fertile period for Crumb, who had given up the editorial reins of his own legendary Weirdo magazine, allowing him to get back to the proverbial drawing board. Included are Crumb's contributions to Weirdo from this period, as well as work from Whole Earth Review, Zap Comix, Premiere magazine, as well as many other rare gems. Featured are classics including "Cave Wimp" — the story of the first nerd — and "A Short History of America," amongst other Crumb classics. This volume, as with all volumes, includes a new introduction by Crumb as well as a new cover. The Complete Crumb series leaves no stone unturned, publishing everything from Crumb's most well-known comics to little-seen commercial art and rarely-if-ever seen treasures from private collections and the artist's archives.
Robert Crumb enters the '70s with this, the sixth volume in Fantagraphics Books' all-inclusive reprint series. This includes a couple of genuine rarities (some of them so obscure they didn't even make the Crumb Checklist), as well as all of Crumb's work from Big Ass #1, Zap #4 (including the legendary, much-busted, X-rated "Joe Blow" teen incest strip), the remarkably offensive Snatch #3 and Jiz #1, the classic Despair, and the second issue of Motor City — classics all. The volume also includes a 16-page color section (with rare covers from the first three Gothic Blimp Works), a sumptuous cover by Crumb, and an insightful intro by the Man himself (no, not Stan Lee). Absolutely indispensible, and now back in print!
Fantagraphics’ 2010 Newave! The Underground Mini Comix of the 1980s was such an unexpected hit that it inspired this first of a two-volume set chronicling the art of the mini-comic from the late 1960s to present — The Treasury of Mini Comics.
The Treasury of Mini Comics charts the evolution of the art of mini comics over four decades of deliberate cartoon rebellion. This volume reproduces some of the best mini comics ever produced by some of the most creative DIY creators in the world (many of whom, of course, have gone on to become familiar names among contemporary comics connoisseurs): Leonard Rifas, Justin Green, Gary Arlington, Jim Siergey, Larry Rippee, Richard Krauss, Bob Vojtko, Par Holman & Clark Dissmeyer, Matt Feazell, Matt Howarth, Steve Willis, Ronald Russell Roach, Edd Vick, Bruce Chrislip, Brad Johnson, Tim Corrigan, Macedonio Garcia, David Miller, Colin Upton, Robert Pasternak, David Lee Ingersoll, Roberta Gregory, John Porcellino, Dylan Williams, Eric Reynolds, Molly Keily, Blair Wilson, Jim Blanchard, Chris Cilla, David Lasky & Jim Woodring, Marc Bell, Ron Regé Jr., Leela Corman, David Heatley, Laura Wady, Fiona Smyth, Karl Wills, Onsmith, Travis Millard, Mark Campos, Nate Beaty, Peter Thompson, Carrie McNinch, Mark Todd, Esther Pearl Watson, Andy Singer, Noah Van Sciver, Kelly Froh, Aaron Norhanian, Max Clotfelter, and Marc J. Palm.
In a do-it-yourself world, anything goes... boundaries are crossed, envelopes pushed, wounds opened. From the silliest fart or boob jokes to the most deeply felt “EMO” style poetry, mini comics creators have been uninhibited in their efforts to strive for something fresh, raw, and vital. The Treasury of Mini Comics is just as groundbreaking as Newave! was disseminating this creative work to a wider and appreciative public.
Fans of Peter Bagge’s generation-defining, satirical fiction may not realize this, but the cartoonist doubles as an opinionated cuss, and has been contributing provocative (but still hilarious) comic-strip opinion pieces to Reason magazine for the last several years... collected in this volume.
Although a libertarian by inclination (hence the Reason gig), Bagge (who lives in the fuzzy-headed, liberal capital of the Northwest, Seattle) is hardly dogmatic, and many of the pieces undermine traditional party lines in favor of a rather personal, rational and informed take on hot-button issues that will force partisan Democrats and Republicans alike to rethink them. And of course, Bagge’s well-researched comic strip “essays” crackle with the same energy and wit that propelled him into the collective Gen X consciousness with his comic book series Hate.
Favorite topics include the erosion of our civil liberties (whether the post-9/11 Bush administration's gradual erosion of the Bill of Rights, the insanity of the war on drugs, or nanny-state meddling), ongoing boondoggles of the American public (for professional sports stadiums or ineffective public transportation systems), the Iraq war (Bagge is vociferously against it), so-called art and so-called entertainment, the homeless, the mall-ification of America, politicians both in general and in particular (including the 2008 presidential race and a revelatory one-on-one with Republican not-so-hopeful Ron Paul that soured Bagge on the candidate forever), the conservative/religious war on sex and drugs, and whether citizens should be allowed to own bazookas. Each piece features the voluble Bagge himself front and center as the puzzled, indignant, or deeply conflicted everyman-on-the-street trying to make sense of this 21st Century.
And of course, every panel is delineated in Bagge’s glorious, laugh-out-loud stretchy 4-color cartoon style, making even his disquisitions on some very serious topics go down as smoothly as Buddy Bradley’s latest escapade.
BONUS: This new edition of the sold-out Everybody Is Stupid features an extra 32 pages of never-before-collected comics, including an epic biography of eccentric libertarian (and Ayn Rand contemporary) Isabel Mary Paterson.
In this volume of the acclaimed series about transgendered kids exploring their unfolding identities, we’ve reached a big event; the junior high school entrance ceremony.
The boys wear black uniforms with stand-up collars based on mid-19th century European military uniforms and the girls wear navy blazers, tan skirts, and red ribbon neckties. Enter our heroes; Nitori-kun is forced to wear a boy’s uniform while Takatsuki-san has to wear a girl's! Yet one girl — Sarashia Chizuru — draws stares, whispers, and pointed fingers, because this long-haired beauty is wearing a boy’s uniform. Both Nitori-kun and Takatsuki-san are awed by the girl's courage, but Takatsuki-san is particularly vexed by their own faintheartedness. They envy more than a few other students who experience such liberty in wearing either uniform and ponder what it ultimately means about themselves.
Envy and jealousy are prominent themes in Volume 5: Chiba-san is jealous of Takatsuki-san, for whom Nitori-kun still carries a torch. Maho envies Anna-chan's professionalism as a model. And Chii-chan’s loyal sidekick, Shiri Momoko, is intensely jealous of anyone in whom Chii-chan shows the slightest interest. And so our protagonists set off on the journey to adolescence....
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.
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