How they survived. What they lost--and how you keep on living, despite it all.Jessica Bab Bonde has, based on survivor's stories, written an important book. Peter Bergting's art makes the book accessible, despite its difficult subject.Using first-person point of view allows the stories to get under your skin as survivors describe their persecutions in the Ghetto, the de-humanization and the starvation in the concentration camps, and the industrial-scale mass murder taking place in the extermination camps.When right-wing extremism and antisemitism are being evoked once again, it's the alarm-bell needed to remind us never to forget the horrors of the Holocaust.

    The story of a small girl and her one-day friendship with a strange boy while on vacation with her family in Hawaii. Their lives are forever changed as they explore the island and themselves.Bookended by full-color biographical excerpts from the life of Japanese filmmaker Akira Kurosawa, the central story's themes reflect those of the filmmaker and is told through black and white half-toned, fully-painted artwork. The Barefoot Serpent is offered as a 128-page hardcover graphic novel, in the same size and format as the Little Golden Books of old.This is definitely Scott's most unique and ambitious graphic novel to date.

    A Drifting Life is his monumental memoir eleven years in the making, beginning with his experiences as a child in Osaka, growing up as part of a country burdened by the shadows of World War II.Spanning fifteen years from August 1945 to June 1960, Tatsumi’s stand-in protagonist, Hiroshi, faces his father’s financial burdens and his parents’ failing marriage, his jealous brother’s deteriorating health, and the innumerable pitfalls that await him in the competitive manga market of mid-twentieth-century Japan. He dreams of following in the considerable footsteps of his idol, the manga artist Osamu Tezuka (Astro Boy, Apollo’s Song, Ode to Kirihito, Buddha)—with whom Tatsumi eventually became a peer and, at times, a stylistic rival. As with his short-story collection, A Drifting Life is designed by Adrian Tomine.

    With her father off fighting for the Hungarian army and the German troops quickly approaching, Katin and her mother are forced to flee to the countryside after faking their deaths. Leaving behind all of their belongings and loved ones, andunable to tell anyone of their whereabouts, they disguise themselves as a Russian servant and illegitimate child, while literally staying a few steps ahead of the German soldiers.We Are on Our Own is a woman's attempt to rebuild her earliest childhood trauma in order to come to an understanding of her lifelong questioning of faith. Katin's faith is shaken as she wonders how God could create and tolerate such a wretched world, a world of fear and hiding, bargaining and theft, betrayal and abuse. The complex and horrific experiences on the run are difficult for a child to understand, and as a child, Katin saw them with the simple longing, sadness, andcuriosity she felt when her dog ran away or a stranger made her mother cry. Katin's ensuing lifelong struggle with faith is depicted throughout the book in beautiful full-color sequences.We Are on Our Own is the first full-length graphic novel by Katin, at the age of sixty-three.

    

    Chapters are peppered with ballpoint pen riots, cowboy wars, and really bad Victorian practical jokes. Structured around the different locations in our home and daily life—the kitchen, the bathroom, the office, and the grocery store—award-nominated illustrator Andy Warner traces the often surprising and sometimes complex histories behind the items we often take for granted. Readers learn how Velcro was created after a Swiss engineer took his dog for a walk; how a naval engineer invented the Slinky; a German housewife, the coffee filter; and a radical feminist and anti-capitalist, the game Monopoly. This is both a book of histories and a book about histories. It explores how lies become legends, trade routes spring up, and empires rise and fall—all from the perspective of your toothbrush or toilet.

    They meet during the Depression -- she working as a chambermaid, he as a milkman -- and we follow them as they encounter, and cope with, World War II, the advent of radio and t.v., telephones and cars, the atomic bomb, the moon landing. Briggs's portrayal of his parents as they succeed, or fail, in coming to terms with their rapidly shifting world is irresistably engaging -- full of sympathy and affection, yet clear-eyed and unsentimental.The book's strip-cartoon format is deceptively simple; it possesses a wealth of detail and an emotional depth that are remarkable in such a short volume. Briggs's marvelous illustrations and succinct, true-to-life dialogue create a real sense of time and place, of what it was like to experience such enormous changes. Almost as much a social history as it is a personal account, Ethel & Ernest is a moving tribute to ordinary people living in an extraordinary time.

    After attending a seminar hosted in a hotel conference room by a mysterious group called the Soul Plumbers, Edgar Wiggins, disgraced former seminary school student, discovers what he thinks is the secret to delivering souls from the thrall of Satan. But after stealing the blueprints and building the machine himself, out of whatever he can afford from his salary as a gas station attendant, Edgar misses the demon and instead pulls out an inter-dimensional alien with dire consequences for all of mankind.

    It started like a Hollywood thriller, secretly transporting from England $25 million in British gold bullion, delivered to the ship in unguarded bread trucks, a pre-war “Neutrality Patrol” that was really an unofficial hostile search for the far bigger and more powerful German battleship Prinz Eugen, and sneaking through the Panama Canal at night with the ship’s name and hull number covered for secrecy. Now, with the ship bulging with an unusual load of fuel and supplies, in the company of a large fleet quietly passing under San Francisco’s Golden Gate Bridge, the crew was about to learn of their latest (but not last) and most improbable adventure yet as the captain made an announcement that would change the war and their lives forever, “We are going to Tokyo!”. Over three years, scores of battles and hundreds of thousands of ocean miles later, the Nashville and her crew had earned 10 Battle Stars, served from the North Atlantic to the South Pacific, from the Aleutians to the Yangtze River, as McArthur’s flagship and suffered heavy casualties from a devastating kamikaze attack. Tokyo Rose reported her sunk, repeatedly. Earlier, with goodwill trips that included France, England, Scandinavia, Bermuda and Rio de Janeiro, the new, sleek Nashville built a pre-war reputation as a “glamour ship”. But with war came the secret missions, capturing the second and third Japanese POWs of the war, having a torpedo pass just under the stern, being strafed and bombed by Japanese planes, losing a third of the crew in a single devastating Kamikaze attack, swimming in shark infested waters protected by marines with machine guns, enjoying the beauty of Sydney and her people, planning a suicide mission to destroy the Japanese fishing fleet, and bombarding Japanese troops and airfields across the Pacific. The Nashville crew served their ship and country well. They came from Baltimore row-houses, New York walk-ups, San Francisco flats, Kansas wheat farms, Colorado cattle ranches, Louisiana bayous and Maine fishing towns. Many had never traveled more than 25 miles from home and had never seen the ocean until they joined the service. They were part Irish, part Italian, part Polish and All-American. Battered, burnt and bombed, they made the USS Nashville their home and lived and died as eternal shipmates. Historical narrative enriched with the personal stories of the crew, this is the story of a ship and crew of ordinary men who did extraordinary things.

    A minority group in America is harassed for its ties to a foreign country. A worldwide conflict tests our resolve in combat abroad and our commitment to justice, equality, and liberty at home…Within months after Pearl Harbor, 110,000 Japanese Americans were forcibly “evacuated” from the West Coast, losing their jobs, their property, and their homes. In less than a year, they were “relocated” and incarcerated in desolate camps throughout the West, Southwest, and South. Yet, incredibly, thousands of young men from the camps joined the Army, to defend the country that had denied them their rights. This is the dramatic story of the segregated Japanese American 100th Battalion/442d Regimental Combat Team—and what they did to affirm their full citizenship. As Gen. Jacob L. Devers put it, in World War II the soldiers of the 100th/442d had “more than earned the right to be called just Americans, not Japanese Americans."During the fall of 1944, the combat team made headlines when it rescued the “lost battalion” of the 36th “Texas” Division. At the same time, with the 1944 elections looming, the Roosevelt Administration was debating whether to close the camps. And while the soldiers of the 100th/442d were sacrificing their lives in Europe, the Supreme Court was deciding the infamous Korematsu and Endo cases, which challenged the notion that “military necessity” justified the “relocation.”Through interviews with surviving veterans, archival research, maps, and photos, Robert Asahina has reconstructed these fateful events of October-November 1944. From breathless battle scenes, masterfully handled in all their detail; to the unbreakable bonds of friendship in the field; to heart- wrenching stories of loss and discrimination on the mainland and in Hawaii, Just Americans tells the story of what Gen. George C. Marshall called the “most decorated unit in American military history for its size and length of service.” It is also the story of soldiers in combat who were fighting a greater battle at home—a struggle that continues for minority groups today—over what it means to be an American.

    Sometimes a thief, sometimes a vigilante, sometimes neither, and sometimes both, the mercurial Catwoman gleefully defies classification. Her relentless independence across comic books, television, and film set her apart from the rest of the superhero world. When female characters were limited to little more than romantic roles, Catwoman used her feminine wiles to manipulate Batman and escape justice at every turn. When male villains dominated Gotham on the small screen, Catwoman entered the mix and outshone them all. When female-led comics were few and far between, Catwoman headlined her own series for over twenty years. True to her nature, Catwoman stole the show everywhere she appeared, regardless of the medium. But her unique path had its downsides as well. Her existence on the periphery of the superhero world made her expendable, and she was prone to lengthy absences. Her villainous origins also made her susceptible to sexualized and degrading depictions from her primarily male creators in ways that most conventional heroines didn't face. For good and ill, Catwoman serves as a stark counterpart to the typical evolution of the history of women in comics, and in popular culture generally. The standard tropes rarely applied to Catwoman; instead, her adventures have charted an inimitably varied journey of empowerment and exploitation. Exploring the many incarnations of this cultural icon offers a new perspective on the superhero genre and showcases the fierce resiliency that has made Catwoman a fan favorite for decades.

    Berlin is one of the high-water marks of the medium: rich in its well-researched historical detail, compassionate in its character studies, and as timely as ever in its depiction of a society slowly awakening to the stranglehold of fascism.Berlin is an intricate look at the fall of the Weimar Republic through the eyes of its citizens—Marthe Müller, a young woman escaping the memory of a brother killed in World War I, Kurt Severing, an idealistic journalist losing faith in the printed word as fascism and extremism take hold; the Brauns, a family torn apart by poverty and politics. Lutes weaves these characters’ lives into the larger fabric of a city slowly ripping apart.The city itself is the central protagonist in this historical fiction. Lavish salons, crumbling sidewalks, dusty attics, and train stations: all these places come alive in Lutes’ masterful hand. Weimar Berlin was the world’s metropolis, where intellectualism, creativity, and sensuous liberal values thrived, and Lutes maps its tragic, inevitable decline. Devastatingly relevant and beautifully told, Berlin is one of the great epics of the comics medium.

    Hamilton is going to deliver. Laurell K. Hamilton, Dabel Brothers Productions, and Marvel are coming together to give readers a look into Anita Blake's past. Written by Laurell K. Hamilton herself, along with Jonathon Green, this July will see the release of part one of a two issue limited series that takes place almost a year before the events currently being chronicled in Guilty Pleasures. You will get to see the first time Anita and Jean-Claude meet, Anita's first time inside Guilty Pleasures, her first serial killer case, and a very early encounter with Edward. Prepare to be thrilled by this original story produced especially for comics.

    And for the last of the line of Eld there may be no way out. Meanwhile, on Mid-World, Alain and Cuthbert desperately struggle to protect Roland's unconscious form, and themselves, against a pack of ravening wolves.

    and familiar murders. They think they've seen the worst monsters in America, but as they pull up to the maximum security asylum where one Aldo Sax speaks in strange tongues, Agents Brears and Lamper may be beginning to suspect that they're about to see something so much worse. But they cannot begin to imagine the creeping insanity that has already begun to pull them under....