These newspaper comics were stand-alone funny in their time and, almost always, topical and thought provoking. The world of these lovable characters carried the flavor of the times in which they were penned and offered commentary on many of the political happenings - greed, political faux pas, scandals, sloth, feminism, racism and the pitfalls of love and having a tender heart were all fair game for this artist.

    Bloom County ran from December 8th, 1980 to August 6th, 1989 and was published in an astounding 1200 newspapers on a daily basis. The huge popularity of Bloom County spawned a merchandizing bonanza, as well as two spin-off strips, Outland and Opus.The Bloom County Library Volume 1 highlights the first time the entire run of the immensely popular Bloom County strip has been collected in beautifully designed hard cover books with exceptional reproduction.The Library of American Comics is the world's #1 publisher of classic newspaper comic strips, with 14 Eisner Award nominations and three wins for best book. LOAC has become the gold standard for archival comic strip reprints...The research and articles provide insight and context, and most importantly the glorious reproduction of the material has preserved these strips for those who knew them and offers a new gateway to adventure for those discovering them for the first time." - ScoopWinner of the 2010 Eisner Award for Best Archival Collection/Project--Strips

    Always together—and sometimes with their fellow funny-page characters—the regular Pearls clan weighs in on everything from modern technology to current events to human nature. All the members of the skewed gang are here as Zebra engages in a never-ending war of neighborly hate with the Crocs. As always, Goat offers a voice of reason amid the ongoing chaos that Pastis creates, either from behind the pen or as a character within the strip itself. Includes all cartoons from the collections I Scream, You Scream, We All Scream Because Puns Suck and Floundering Fathers.

    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!

    Seuss was drawing biting cartoons for adults that expressed his fierce opposition to anti-Semitism and fascism. An editorial cartoonist from 1941 to 1943 for PM magazine, a left-wing daily New York newspaper, Dr. Seuss launched a battle against dictatorial rule abroad and America First (an isolationist organization that argued against U.S. entry into World War II) with more than 400 cartoons urging the United States to fight against Adolf Hitler and his cohorts in fascism, Benito Mussolini, Pierre Laval, and Japan (he never depicted General Tojo Hideki, the wartime prime minister, or Togo Shigenori, the foreign minister). Dr. Seuss Goes to War, by Richard H. Minear, includes 200 of these cartoons, demonstrating the active role Dr. Seuss played in shaping and reflecting how America responded to World War II as events unfolded.As one of America's leading historians of Japan during World War II, Minear also offers insightful commentary on the historical and political significance of this immense body of work that, until now, has not been seriously considered as part of Dr. Seuss's extraordinary legacy.Born to a German-American family in Springfield, Massachusetts, in 1904, Theodor Geisel began his cartooning career at Dartmouth College, where he contributed to the humor magazine. After a run-in with college authorities for bootlegging liquor, he had to use a pseudonym to get his work published, choosing his middle name, Seuss, and adding "Dr." several years later when he dropped out of graduate school at Oxford University in England. He had never planned on setting poison political pen to paper until he realized his deep hatred of Italian fascism. The first editorial cartoon he drew depicts the editor of the fascist paper Il Giornale d'Italia wearing a fez (part of Italy's fascist uniform) and banging away at a giant steam typewriter while a winged Mussolini holds up the free end of the banner of paper emerging from the roll. He submitted it to a friend at PM, an outspoken political magazine that was "against people who push other people around," and began his two-year career with the magazine before joining the U.S. Army as a documentary filmmaker in 1943.Dr. Seuss's first caricature of Hitler appears in the May 1941 cartoon, "The head eats, the rest gets milked," portraying the dictator as the proprietor of "Consolidated World Dairy," merging 11 conquered nations into one cow. Hitler went on to become one of the main caricatures in Seuss's work for the next two years, depicted alone, among his generals and other Germans, and with his allies Benito Mussolini and Pierre Laval. He is also drawn alongside "Japan," which Dr. Seuss portrays quite offensively, with slanted, bespectacled eyes and a sneering grin. While Dr. Seuss was outspoken against antiblack racism in the United States, he held a virulent disdain for the Japanese and rendered sinister and, at times, slanderous caricatures of their wartime actions even before the bombing of Pearl Harbor. But Dr. Seuss's aggression wasn't solely reserved for the fascists abroad. He was also loudly critical of America's initial apathy toward the war, skewering isolationists like America First advocate Charles Lindbergh, the Chicago Tribune's Colonel Robert McCormick, Eleanor Medill Patterson of the Washington Times-Herald, and Joseph Patterson of the New York Daily News, whom he considered as evil as Hitler. He encouraged Americans to buy war savings bonds and stamps and to do everything they could to ensure victory over fascism.Minear provides historical background in Dr. Seuss Goes to War that not only serves to contextualize these cartoons but also deftly explains the highly problematic anti-Japanese and anticommunist stances held by both Dr. Seuss and PM magazine, which contradicted the leftist sentiments to which they both eagerly adhered. As Minear notes, Dr. Seuss eventually softened his feelings toward communism as Russia and the United States were united on the Allied front, but his stereotypical portrayals of Japanese and Japanese-Americans grew increasingly and undeniably racist as the war raged on, reflecting the troubling public opinion of American citizens. Minear does not attempt to ignore or redeem Dr. Seuss's hypocrisy; rather, he shows how these cartoons evoke the mood and the issues of the era. After Dr. Seuss left PM magazine, he never drew another editorial cartoon, though we find in these cartoons the genesis of his later characters Yertle the dictating turtle and the Cat in the Hat, who bears a striking resemblance to Uncle Sam. Dr. Seuss Goes to War is an astonishing collection of work that many of his devoted fans have not been able to see until now. But this book is also a comprehensive, thoughtfully researched, and exciting history lesson of the Second World War, by a writer who loves Dr. Seuss as much as those who grow up with his books do.

    With an ever increasing fan base, an expanding number of publications who regularly feature his work, one of the most popular and most visited web-logs (www.thismodernworld.com), the time is now for The Great Big Book of Tomorrow. This massive collection of Tomorrow's greatest hits, unseen gems and obscurities, new material and color section is the so far definitive collection of one of the most popular 'underground' cartoonists ever--a delight to long-time fans and new readers alike.

    Brilliantly drawn and bitterly funny, these cartoons thoroughly demonstrate better living through plywood, reaffirm that what's good for business is good for America-even if Your Government in Action has taken to the streets-the Madonna is out of order and Yoga has been made silly. 122,000 copies in print.

    This freshly amusing strip is a darling among readers who enjoy pets with an attitude. This wry cartoon features Rob Wilco, a mild-mannered ad guy who's guardian to two rambunctious pets: Bucky, a temperamental cat who carries a boom box and goes on spending sprees, and Satchel, a gentle canine who tries to remain neutral even when he bears the brunt of Bucky's mischief. Together, this unlikely trio hangs out together, watching TV, cooking for friends, and attempting the occasional adventure outside. Anyone who has a pet or even knows one will find this Get Fuzzy collection, The Dog is Not a Toy, an astutely witty take on relationships between the species.

    His immediately recognizable style--featuring bulbous noses, wild sound effects, and the legendary "hinged feet"--was filled with broad and daring slapstick and routinely broke new ground. A surprisingly quiet man, Martin's work spoke volumes as he left an indelible mark on several generations, influencing the style of many illustrators while shaping the sense of humor of countless misguided youths. He was inducted into the Comic Book Hall of Fame in 2004. Says Gary Larson, creator of The Far Side: "Don Martin was the one who really stood out."Now, it is with great pride that Running Press, in collaboration with MAD, launches the MAD’s Greatest Artists: The Completely MAD Don Martin (MAD’s Greatest Artists Series). For the first time ever, here is the complete collection of every piece of art Don Martin published in MAD throughout his extraordinary thirty-year tenure (1957-1987). With all of Martin's strips, covers, posters, and stickers--presented in chronological order--it is nothing less than a masterpiece of comic genius. Complementing Martin's opus of published works are letters, sketches, and rare photos providing an in-depth look at the artist at work. Plus, scattered throughout are notes and original illustrations--commissioned for this volume--paying tribute to the artist and penned by MAD's most-notable personalities, including Al Jaffee, Mort Drucker, Jack Davis, Sergio Aragonés, and more. There are also notes by the likes of Jim Davis (Garfield) and a foreword by Gary Larson. A collector's item and object d'art in its own right, this deluxe two-volume slipcased edition will be the season's must-have gift book for the millions whose childhoods--and subsequent adulthoods--would not have been the same without MAD MAGAZINE and Don Martin.

    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!

    He was the most popular cartoonist of his day, his sense of humor coming straight out of Mark Twain, who also balanced exaggerated tall tales and a perfect ear for everyday speech with dark themes that undercut his laugh-out-loud stories. The series will consist of six volumes released annual through 2011.In this first volume, covering 1928-1930, Popeye's initial courtship of Olive Oyl takes center stage while Olive's brother Castor Oyl discovers the mysterious Whiffle Hen. Also, the entire cast meets the Sea Hag for the first time in their pursuit of the "Mystery House" (Popeye's first extended daily narrative), and Castor Oyl attempts to turn Popeye into a boxing champion in a series of hilarious Sunday strips. These strips are masterpieces of comic invention. Popeye's omnipotence pre-figures the rise of superheroes in the 1930s and 1940s, though Popeye is a much more sympathetic character, and his very name announces his vibrant personality. His mangled English pulsated with the vital spirit of immigrant America, its rhythm poetic in its own vulgar way: "I yam what I yam and tha's all I yam."2007 Eisner Award nominee: Best Archival Collection/Project: Strips; and Best Publication Design (Jacob Covey); 2007 Harvey Award nominee: Best Domestic Reprint Project; Special Award for Excellence in Presentation; Winner: HOW Magazine Design Merit Awards: Covers

    (Among other things, three major cast members—Schroeder, Lucy, and Linus—initially show up as infants and only "grow" into their final "mature" selves as the months go by. Even Snoopy debuts as a puppy!) Thus The Complete Peanuts offers a unique chance to see a master of the art form refine his skills and solidify his universe, day by day, week by week, month by month.This volume is rounded out with Garrison Keillor's introduction, a biographical essay by David Michaelis (Schulz and Peanuts) and an in-depth interview with Schulz conducted in 1987 by Gary Groth and Rick Marschall, all wrapped in a gorgeous design by award-winning cartoonist Seth.

    Dilbert has managed to keep up with technology like iPads and Twitter over the years, as well as advanced systems like the Disaster Preparedness Plan that has its followers eating the crumbs from their keyboards. It doesn’t get any more sophisticated than that.   It’s an office code violation to be this good after so many years, but Dilbert keeps doing what he does best: passive-aggressively out-witting his superiors and exercising conflict avoidance. And he is so good. No wonder office drones and workforce automatons alike can’t resist the cold embrace of Dilbert’s workplace.

    At the core of much of the strip's wild humor is 10-year-old Jason. He tortures his parents and two teenage siblings Peter and Paige out of their minds with his computer and his pet iguana, Quincy. In this treasury, parents Roger and Andrea again have their hands full. In one strip, Jason boldly bursts into their bedroom in the middle of the night to announce that it's "2 A.M. and the lights still work." In another, Jason surprises his mom with a new beep for her computer known simply as "Defcon One." Jason also holds his own with his older siblings, spelling "My Sister Is Ugly" with the carved faces of 14 pumpkins. FoxTrot continues to demonstrate its timelessness with its always fresh, irreverent, and zany brand of family humor. FoxTrot: Assembled with Care captures the humorous side of the trials and tribulations that come with daily family life like no other strip today.Universal Press Syndicate newspaper feature:*FoxTrotAuthor's web site: www.foxtrot.com/