Batman, Superman, Wonder Woman, and almost every other character from DC Comics must choose sides in what could be the final battle of them all.

    Earth can move incredible distances in his improbable Distance Mover, a wondrous vehicle that reflects the fantastic world it traverses. He, and his young art-star protégée Mendel, explore culture-rich crystalline cities, challenge the mighty Council of the Misters, try to overcome the all-conquering Ooze, and much more!Patrick Kyle lives and works in Toronto, Ontario. He is the co-founder and editor of Wowee Zonk, a contemporary comic book anthology featuring up-and-coming international artists. He has been previously nominated for Doug Wright and Ignatz awards for his comic book series Black Mass and Distance Mover.

    Though it was found in 2002, Brofoss didn’t learn of the discovery until some segments were published.Soft City is both a creation of its time and timeless: the almost hallucinatory story of a society tight in the grip of an omnipresent corporation, one that employs them, feeds them, informs them, entertains them–but which may or may not be what it seems. It conveys the political sentiments of its time in a simple, pure line offering only meager spots of color.This pictorial novel describes the standardized daily life in an Orwellian, dystopian city. With compassion, feeling for the absurd and a sometimes satirical view, Pushwagner perceives the life of a family in a top-down organized city.

    With a combination of sparse line work and visual codes borrowed from animation and film, the quiet, melancholy lives of a young couple struggling to make ends meet are beautifully captured in this poetic masterpiece. Uninvolved with the political movements of the time, Ichiro and Sachiko hope for something better, but they’re no revolutionaries; their spare time is spent drinking, smoking, daydreaming, and sleeping—together and at times with others. While Ichiro attempts to make a living from his comics, Sachiko’s parents are eager to arrange a marriage for her, but Ichiro doesn’t seem interested. Both in their relationship and at work, Ichiro and Sachiko are unable to say the things they need to say, and like any couple, at times say things to each other that they do not mean, ultimately communicating as much with their body language and what remains unsaid as with words. Red Colored Elegy is informed as much by underground Japanese comics of the time as it is by the French nouvelle vague, and its cultural referents range from James Dean to Ken Takakura. Its influence in Japan was so great that Morio Agata, a prominent Japanese folk musician and singer/songwriter, debuted with a love song written and named after it.

    Millions followed Tintin from the wilds of the Congo to the streets of Prague, Moscow, New York, and more. Lavishly illustrated with photographs, original plates, and ephemera, Tintin: The Art of Hergé offers fresh insight into the story behind this iconic character, with unprecedented access to original sources from the Hergé Museum in Belgium. Offering a new and nuanced look into the world of Tintin, journalist Michel Daubert explains how the artist Georges Remi became the world-famous Hergé. The book also includes profiles on the beloved characters, selections from Hergé’s earliest work, and chapters that trace the development of a rough sketch into a masterpiece. With its dynamic narrative and visual treasures, Tintin underscores the artist’s varied inspirations, revealing how Hergé’s creations have become modern classics. Praise for Tintin: The Art of Hergé: Working with the Hergé Museum in Belgium, journalist Michel Daubert has produced Tintin: The Art of Hergé, a rich collection of photographs, early works, character profiles, and more that trace the life and artistic development of Tintin creator Georges Remi, aka Hergé.” —Publishers Weekly

    A sweet and yet unsettling story about love, loss and friendship, illustrated in the gorgeously detailed and soft-textured signature style that is Renee French's trademark. Definitely Renee's most ambitious and magnificent work to date, packaged beautifully in a deluxe hardcover format. For adults and children alike.

    this wasn't quite what Jennie had in mind after graduating with a shiny degree in Sequential Art(though it may have been what was in everyone else's). As life overwhelmed her and her drawing hand withered away, Jennie made a promise to herself to stay in practice by drawing a new comic every single day.This first volume is a compilation of those comics. From dating and clubbing to trying to make it as an artist, follow along as Jennie chronicles her daily struggles, sorrows, joys and WTFs in life.

    The film is scratched and blurry, but she can make out a couple making love. When the film burns out, a door is revealed which leads to a misty town square... and a series of fantastical sexual encounters.But the plot doesn’t really matter. Celluloid is a rare instance (especially among Anglo-Saxons) of a top-flight cartoonist working within erotic — even pornographic, to embrace the word — parameters, with the intent of creating a genuine work of art.As the artist says: “There are so many comics about violence. I’m not entertained or amused by violence, and I’d rather not have it in my life. Sex, on the other hand, is something the vast majority of us enjoy, yet it rarely seems to be the subject of comics. Pornography is usually bland, repetitive and ugly, and, at most, ‘does the job’. I always wanted to make a book that is pornographic, but is also, I hope, beautiful, and mysterious, and engages the mind.”Bringing to bear the astonishing range of illustrative and storytelling skills that have served him so well on his collaborations with Neil Gaiman and such solo projects as the (recently re-released) epic graphic novel Cages, Dave McKean forges into new territory with this unique work of erotica.

    The strip follows the richly imaginative adventures of Calvin and his trusty tiger, Hobbes. Whether a poignant look at serious family issues or a round of time-travel (with the aid of a well-labeled cardboard box), Calvin and Hobbes will astound and delight you.Beginning with the day Hobbes sprang into Calvin's tuna fish trap, the first two Calvin and Hobbes collections, Calvin and Hobbes and Something Under The Bed Is Drooling, are brought together in this treasury. Including black-and-white dailies and color Sundays, The Essential Calvin and Hobbes also features an original full-color 16-page story.

    Bonus features include lost strips, sketches, and a behind-the-scenes interview by "Wondermark"'s David Malki. Also includes an introduction by Diablo Cody.

    

    The first four were self-xeroxed efforts, and led to a prestigious Xeric Grant in 1996, enabling her to publish a more professionally packaged fifth issue. This volume presents the best of these five comic books, as well as other short strips, to a larger audience for the first time. Abel's stories are peppered with hipsters, fashion, and trendy locales - all of which have contributed to her considerable appeal - but don't let the generational trappings fool you. Her intuitive ear for dialogue and characterization have made Artbabe a hit amongst people of all ages, especially women. TP, 120pg, b&w

    But even as Agent Graves continues to approach and manipulate his "clients," questions about the ghoulish agent start to arise as people from his past begin to appear, revealing interesting information about their former acquaintance. In the end though, these facts only lead to different questions as the mystery behind Agent Graves' motives deepens.Collecting 100 BULLETS #6-14

    With Brian Blomerth’s Bicycle Day, the artist has produced his most ambitious work to date: a historical account of the events of April 19, 1943, when Swiss chemist Albert Hofmann ingested an experimental dose of a new compound known as lysergic acid diethylamide and embarked on the world’s first acid trip. Featuring an introduction from renowned ethnopharmacologist, Dennis McKenna, Brian Blomerth’s Bicycle Day combines an extraordinary true story told in journalistic detail with the artist’s gritty, timelessly Technicolor comix style that is a testament to mind expansion, and a stunningly original visual history.

    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