He's a hero, of sorts, who manages to come out on top through a combination of luck, trickery, and genuine magical skill. The Original Sins collection is a loosely connected series of tales of John's early years where Constantine was at his best and at his worst, all at the same time.Collects Hellblazer #1-9.

    In sections like "Grooming and Habitat Maintenance," "Mating Habits," and others, these brightly colored, adorable comics find the humor in the awkwardness of simply existing. Like the work of Sarah Andersen, Gemma Correll, and Allie Brosh, Loryn Brantz’s Jellybean Comics are accessible and funny; lighthearted takes on the author's everyday experiences and struggles being a woman.

    And now, in the continuing chaos, the world and most of its inhabitants have brandished their swords and, in various fashions, have charged onto the battlefield.If Forming hailed the birth of civilization and mapped out the genesis of life, mass, time, and space, then Forming II is the raging war that ensues in the Universe's years of adolescence.Epic confrontations between gods and mutants, philosophical reflections, hilarious dialogue, and powerful artwork make for an impressive sequel of galactic proportions. Forming II is as funny, sophisticated, and mind-blowingly beautiful as the first part of Jesse Moynihan's unique trilogy.Jesse Moynihan is a long-time native of West Philadelphia's music/art scene. His previous comics include the Xeric Award-winning comic The Backwards Folding Mirror and Follow Me. He is currently part of the creative team behind cult Cartoon Network show Adventure Time, where he creates storyboards and assists with character design.

    His medium of expression, the wordless “novel in woodcuts,” was his alone in the United States, and he quickly brought it from bold iconic infancy to a still unrivalled richness of drama, characterization, imagery, and technique.In this, the first of two volumes collecting all his woodcut novels, The Library of America brings together Ward’s earliest books, published when the artist was still in his twenties. Gods’ Man (1929), the audaciously ambitious work that made Ward’s reputation, is a modern morality play, an allegory of the deadly bargain a striving young artist often makes with life. Madman’s Drum (1930), a multigenerational saga worthy of Faulkner, traces the legacy of violence haunting a family whose stock in trade is human souls. Wild Pilgrimage (1932), perhaps the most accomplished of these early books, is a study in the brutalization of an American factory worker whose heart can still respond to beauty but whose mind is twisted in rage against the system and its shackles.The images reproduced in this volume are taken from prints pulled from the original woodblocks or first-generation electrotypes. Ward’s novels are presented, for the first time since the 1930s, in the format that the artist intended, one image per right-hand page, and are followed by five essays in which he discusses the technical challenges of his craft. Art Spiegelman contributes an introductory essay, “Reading Pictures,” that defines Ward’s towering achievement in that most demanding of graphic-story forms, the wordless novel in woodcuts.