This issue includes bonus stories by PopCap Games senior creative director Jeremy Vanhoozer!

    One of Jeremy's best friends and the drummer in the band, Pierce's audacious body art gives all of the outward signs of a fierce nonconformist kid living on the edge. But beneath the metal and tattoo ink lies the soul of the caring, loyal friend and animal lover within. Or as Jeremy describes him, "Face of silver, heart of gold."

    Originally published by Palliard Press.

    Cannon's internationally popular strip features a disturbing and sidesplitting cast of characters that includes latex-clad fathers, sadistic milkmen, vomiting robots, malformed neighbors, incontinent interdimensional beings, decomposing clowns, and dozens of other bizarre Red Meat denziens who will keep you laughing until it hurts. Pure Gold!

    Travel back to the wacky Fifties in this comic compilation of the best of MAD's early years! From the Cold War and Richard Nixon (the first time around) to Howdy Doody and Mickey Mouse, this one's got it all...and then some!

    Even after many years together, do you still need distance between you in order to miss each other--or can you occupy the same space and still feel disconnected? Dancing on the Volcano is an autobiographical story about the painful but recognizable sides of love. We all know that a long relationship has many stages, but never before has someone portrayed all those different facets of love as beautifully as Floor de Goede in the original graphic memoir.

    Records show that at his birth the Addams' lived on Summit Ave. They moved several times before taking up permanent residence in '20 on Elm St. & stayed there until '47. He attended public school in Westfield & was fond of visiting the Presbyterian Cemetery on Mountain Ave. When he was a youngster he was caught by the police for breaking into a house on Dudley Ave. On the 2nd floor of the garage behind the main house there's a chalk drawing of a skeleton which is believed to have been drawn by him. That house on Dudley & one on Elm is said to be the inspiration for the famous Addams Family house. At Westfield HS, he became the art editor for the Weather Vane & drew many cartoons. He graduated in '29 & attended Colgate University for a year. He switched to the University of Pennsylvania & then studied at Grand Central School of Art in NY City. His dream was to work for The New Yorker Magazine. He started submitting cartoons as early as '35, his 1st was entitled "I forgot my Skates." In '40 he submitted "Downhill Skier" & that got him an offer to come on board full time for NY's premiere magazine. He continued there until his death in '88, drawing over 1300 cartoons. On occasion, his work appeared in other publications such as Colliers & TV Guide. 1937 was the 1st year that an Addams Family cartoon appeared. It featured only Morticia & Lurch. They didn't look like we know them today. Morticia's hair was styled differently & Lurch looked more like Boris Karloff in OLD DARK HOUSE than the Frankenstein monster. As years went by, other members started appearing including Wednesday, Pugsley, Grandmama & Thing.

    This new hardcover edition reprints every single “Nuts” story from the Lampoon (rescuing over two dozen pages from oblivion) and reinstitutes the color in the “Christmas” and “Halloween” episodes, and for that matter the 3-D in the 3-D episode (“I wish to God I’d never seen all this space.”)If you don’t remember what it was like being a child, this book will bring it all back… for good or for ill!

    For over 40 years he contributed strips to The Village Voice, and has long been a regular contributor to the London Observer and Playboy. An animated cartoon based on his story Munro received an Academy Award in 1961. In the '60s, he branched into theater, writing several plays now regarded as classics: Little Murders; Knock, Knock; The White House Murder Case; Elliot Loves; and The Grown-Ups, to name a few. Originally conceived for the stage, his Carnal Knowledge became one of the landmark films of the '70s. He has written two prose novels, Harry the Rat with Women and Ackroyd, as well as a cartoon novel, Tantrum. In the 1990s, Feiffer embarked on yet another career, this time as a children's book author. He has over a half-dozen to his credit, including modern classics like The Man and the Ceiling.Passionella and Other Stories collects Feiffer's finest extended graphic narratives of the late '50s and early '60s. It opens in full-color with "Excalibur and Rose," the fable of a village comedian who embarks on a crusade in search of his serious side, which he finds in spades when he encounters his true love, the pathologically depressed Rose. The volume's centerpiece, "Passionella," a retelling of Cinderella set in modern Hollywood, concerns a chimney sweep whose fairy godmother transforms her into the "mysterious exotic bewitching temptress"and movie starPassionella. Other stories include "The Lonely Machine," an account of one man's attempt to find the perfect relationship through robot love, and "Harold Swerg," the predicament of the world's greatest athlete who'd rather stay at his mundane job than compete against others, despite his country's desperate pleas to enter the Olympics. Three more classic graphic tales and several entertaining one-act plays round out this handsomely designed hardcover edition.

    Mark Beyer was breathing delirious, heartbreaking, otherworldly life into it by means of Amy and Jordan. Obviously, you weren’t reading New York Press. But I sure was. Voraciously. Back in 1989, when I discovered that Beyer’s strips were appearing regularly in this new “alternative weekly” paper, I quickly became hooked, and a thought seized me: I had to clip and save them–they were exquisite poems of urban despair, dreamy and nightmarish. I was already a fan of Beyer’s talent based on his book Agony (Pantheon, 1988), but these new strips revealed, week by week, a whole new dimension to his work–an ingenious reinvention of panel-design that redefined what a comic strip could be. As with Peanuts, it helps to try and picture these in the context which they first appeared in order to appreciate just how profoundly they emerged from anything else on the newspaper page. Even the “outré” NYP ads and listings which often ran alongside them were hopelessly dull by comparison. One of its most impressive aspects was the way Form served the Content–no matter how eccentric the layout got, it somehow never confused the narrative. And what narrative: it was as if Candide had been transported to the East Village and split in two like an amoeba and holed up in a squat on Avenue C. Along with giant bugs from outer space. So I did clip and save them, and put them into an envelope, which was then placed in a shoebox with a lot of other envelopes (receipts, receipts!), which was shoved to the back of the closet of my sixth-floor walk-up studio apartment, which I moved out of three years later and in the process I unwittingly threw them all away. Which frankly is just the sort of thing that Amy and Jordan would do. Drat. “Oh well,” I thought, once I’d realized it, “at some point someone will collect and publish them, and I’ll get them back that way.” And that was that. Fast forward more than ten years, to the spring of 2002. During a panel of cartoonists I was chairing in Philadelphia, a member of the audience asked what Mark was working on and where he was. No one seemed to know. The discussion was transcribed and published in The Comics Journal that summer, and in the fall Mark contacted me with the best possible news: He’d read the panel transcript and wanted to publish again. And the Amy and Jordan strips had never been comprehensively collected. So now, as an editor, I was able to grant my own wish. Amy and Jordan ran from 1988 through early 1996. After that, Beyer put cartooning aside to pursue other projects. This book signals his return to the realm of comics, which he says he wants to start making again. We can only hope he does. For now, I’m just thankful I finally have my Amy and Jordan collection back. –Chip Kidd, NYC, 10/03

    The New Fighting Technique may have sprung from the crucible of cubicle culture----Rees created the strip while working a deathly boring temp job, harnessing the potential energy of his PowerPoint software, Internet connection, laser printer, and vast expanses of fallow hours into this Unstoppable ass-kicking phenomenon----but the result has less to do with clockwatching than with the explosive energy of freestyling gangsta rap, airborne Bruce Lee maneuvers, and a profane, deadpan sense of humor that just may establish David Rees as the Lenny Bruce of our times. As soon as Rees began faxing MNFTIU comics to friends, those friends were faxing it to friends who were faxing it to more friends. It was the birth of a genuine underground publishing sensation. Soon it was a regular serial, then there was merchandise, then a website that received 25 million hits last year.

    2. There will not be a X-men: Misfits #2Referenced:http://manga.about.com/b/2010/04/12/d...

      The strip’s bitter-sweet humour and child-like innocence helped to cement the Peanuts comic strip’s popularity and secure its reputation as a true, one-of-a-kind, timeless classic.

    Michael Allred's Harvey-award winning and critically acclaimed Madman returns in Madman Atomic Comics! Featuring the entire cast included in Madman Gargantua, as well as Madman and The Atomics on their genre-bending, space-faring adventure!Contains: Madman Atomic Comics #1-7

    Our devices might be more sophisticated, our software and apps might be more plentiful, but when it gets down to interactions between the worker bees and the clueless in-controls, discontent and sarcasm rule, as only Dilbert can proclaim.