By which we mean: orderly, neat, contained and, moreover, beardless.Or at least it is until one famous day, when Dave, bald but for a single hair, finds himself assailed by a terrifying, unstoppable... monster*!Where did it come from? How should the islanders deal with it? And what, most importantly, are they going to do with Dave?The first book from a new leading light of UK comics, The Gigantic Beard That Was Evil is an off-beat fable worthy of Roald Dahl. It is about life, death and the meaning of beards.(*We mean a gigantic beard, basically.)

    Toland’s story is both deeply personal and epic in scope, as his search for identity plays out against the brutal fight over segregation, an unplanned pregnancy and small-town bigotry, aided by an unforgettable supporting cast.

    The taste of cherries, the cool shade, the smell of the river... That was how we lived, in a vale among the hills—sheltered from storms, ignorant of the world, as though on an island, peaceful and untroubled.And then...And then everything changed.Can you ever escape your fate?Three shadows stand outside the house—and Louis and Lise know why the spectral figures are there. The shadows have come for Louis and Lise’s son, and nothing anyone can do will stop them. Louis cannot let his son die without trying to prevent it, so the family embarks on a journey to the ends of the earth, fleeing death.Poignant and suspenseful, Three Shadows is a haunting story of love and grief, told in moving text and sweeping black and white artwork by Cyril Pedrosa.

    In his award-winning work on Y THE LAST MAN and EX MACHINA (one of Entertainment Weekly’s 2005 Ten Best Fiction titles), writer Brian K. Vaughan has displayed an understanding of both the cost of survival and the political nuances of the modern world. Now, in this provocative graphic novel, Vaughan examines life on the streets of war-torn Iraq. In the spring of 2003, a pride of lions escaped from the Baghdad zoo during an American bombing raid. Lost and confused, hungry but finally free, the four lions roamed the decimated streets of Baghdad in a desperate struggle for their lives. In documenting the plight of the lions, PRIDE OF BAGHDAD raises questions about the true meaning of liberation – can it be given or is it earned only through self-determination and sacrifice? And in the end, is it truly better to die free than to live life in captivity? Based on a true story, VAUGHAN and artist NIKO HENRICHON (Barnum!) have created a unique and heartbreaking window into the nature of life during wartime, illuminating this struggle as only the graphic novel can.

    Karen Reyes tries to solve the murder of her enigmatic upstairs neighbor, Anka Silverberg, a holocaust survivor, while the interconnected stories of those around her unfold. When Karen’s investigation takes us back to Anka’s life in Nazi Germany, the reader discovers how the personal, the political, the past, and the present converge. Full-color illustrations throughout.

    As in his Pulitzer Prize-winning Maus, cartoonist Spiegelman presents a highly personalized, political, and confessional diary of his experience of September 11 and its aftermath. In 10 large-scale pages of original, hard-hitting material (composed from September 11, 2001 to August 31, 2003), two essays, and 10 old comic strip reproductions from the early 20th century, Spiegelman expresses his feelings of dislocation, grief, anxiety, and outrage over the horror of the attacks—and the subsequent "hijacking" of the event by the Bush administration to serve what he believes is a misguided and immoral political agenda. Readers who agree with Spiegelman's point of view will marvel at the brilliance of his images and the wit and accuracy of his commentary. Others, no doubt, will be jolted by his candor and, perhaps, be challenged to reexamine their position.The central image in the sequence of original broadsides, which returns as a leitmotif in each strip, is Spiegelman's Impressionistic "vision of disintegration," of the North Tower, its "glowing bones...just before it vaporized." (As downtown New Yorkers, Spiegelman and his family experienced the event firsthand.) But the images and styles in the book are as fragmentary and ever-shifting as Spiegelman's reflections and reactions. The author's closing comment that "The towers have come to loom far larger than life...but they seem to get smaller every day" reflects a larger and more chilling irony that permeates In the Shadow of No Towers. Despite the ephemeral nature of the comic strip form, the old comics at the back of the book have outlasted the seemingly indestructible towers. In the same way, Spiegelman's heartfelt impressions have immortalized the towers that, imponderably, have now vanished. —Silvana Tropea

    Peter, her husband, was a fanatical Serbian nationalist who had been forced to leave his country at the end of World War II and migrate to Canada. But even there he continued his activities, joining a terrorist group that planned to set off bombs at the homes of Tito sympathisers and at Yugoslav missions in Canada and the USA. Then in 1977, while his family were still in Yugoslavia, a telegram arrived to say that a bomb had gone off prematurely and Peter and two of his comrades had been killed.Nina Bunjevac tells her family’s story in superb black-and-white artwork. Fatherland will be recognised as a masterpiece of non-fiction comics, worthy to stand beside Persepolis and Palestine.

    J-kun, a dog person, was coerced into adopting two cats by his fiancee A-ko: Muu, a Norwegian cat, and Yon who has an accursed face. Much to the chagrin of J, the cats do not immediately love him. The difference between fear and comedy is paper thin. Here's a cat comedy from a horror manga author.

    Fear, corruption and treachery abound in this political satire set in the aftermath of Stalin's death in the Soviet Union in 1953. When the leader of the Soviet Union, Joseph Stalin, has a stroke—the political gears begin to turn, plunging the super-state into darkness, uncertainty and near civil war. The struggle for supreme power will determine the fate of the nation and of the world. And it all really happened.

    We learn from the out-set that a strange plague has descended upon the area's teenagers, transmitted by sexual contact. The disease is manifested in any number of ways—from the hideously grotesque to the subtle (and concealable)—but once you've got it, that's it. There's no turning back. As we inhabit the heads of several key characters—some kids who have it, some who don't, some who are about to get it—what unfolds isn't the expected battle to fight the plague, or bring heightened awareness to it, or even to treat it. What we become witness to instead is a fascinating and eerie portrait of the nature of high school alienation itself—the savagery, the cruelty, the relentless anxiety and ennui, the longing for escape. And then the murders start. As hypnotically beautiful as it is horrifying, Black Hole transcends its genre by deftly exploring a specific American cultural moment in flux and the kids who are caught in it—back when it wasn't exactly cool to be a hippie anymore, but Bowie was still just a little too weird. To say nothing of sprouting horns and molting your skin…

    The first issue, #0, was released in October 1994 by Fantagraphics Books, and a second issue, #1, was released the following January. A third issue (#2) was announced in the pages of other Fantagraphics publications and solicited in Previews but was never published. "I Was Killing When Killing Wasn't Cool", a color short story with a markedly different art style originally intended for issue #2, appeared instead in the anthology Zero Zero. In a 2010 interview, Columbia recalled that the unfinished issue "looked so different that it just didn’t look right, it didn’t look consistent, and it didn’t feel right to keep putting out that same comic book, to try to tell a story where the style is mutating."[1] The series' title is taken from a passage in the William S. Burroughs book Exterminator! (in the chapter "Short Trip Home"). The passage in question is quoted briefly in a story from issue #0, also titled "The Biologic Show".Each issue of The Biologic Show contains several short stories and illustrated poems. Many of the pieces deal with disturbing subject matter such as mutilation, incest, and the occult. Issue #0 introduces three of Columbia's recurring characters: the hapless, Koko the Clown-like Seymour Sunshine in the opening story "No Tomorrow If I Must Return", and the sibling duo Pim and Francie in "Tar Frogs". (Both "Tar Frogs" and the aforementioned "The Biologic Show" had originally appeared in the British comics magazine Deadline but were partially redrawn for Columbia's solo book.) Issue #1 is dominated by the 16-page Pim and Francie story "Peloria: Part One", intended as the start of an ongoing serial. It includes another character, Knishkebibble the Monkey-Boy, who reappears in Columbia's later work. Upon the demise of The Biologic Show Fantagraphics announced that Peloria would be released as a stand-alone graphic novel,[2] but this plan was also abandoned.

    Join princess Aurora and her friends as they journey to civilization's heart of darkness in a bleak allegory about surviving the human experience.  The sweet faces and bright leaves of Kerascoët’s delicate watercolors serve to highlight the evil that dwells beneath Vehlmann's story as pettiness, greed, and jealousy take over. Beautiful Darkness is a harrowing look behind the routine politeness and meaningless kindness of civilized society.

    After being run out of Boneville, the three Bone cousins, Fone Bone, Phoney Bone and Smiley Bone are separated and lost in a vast uncharted desert. One by one they find their way into a deep forested valley filled with wonderful and terrifying creatures. It will be the longest -- but funniest -- year of their lives.

    Her simple, unadorned drawing style, heavy narration, and biting wit chronicle transient roommates who communicate only through Post-it notes; aspiring artists who sublet tiny rooms in leaky, greasy broken-down border-house loft apartments crawling with bugs, cats, and bad art. Bell tackles a string of forgettable, unrelated jobs--including nude modeling, artist's assistant, art teacher, and jewelry maker--that only serve to bolster her despair, boredom, and discomfort in her own skin.Bell's self-scrutiny leads her to dream sequences that allow her to rise above her banal actuality and hyperawareness. She fantasizes about her vision of a perfect world as she becomes the accomplished artist and world traveler she longs to be. Bell's daily comics allow her to escape the harsh, judgmental gaze of the world and the monotony of daily life. Her unpolished art speaks to a desire to record all the messy details while the pain and confusion are still fresh.Coming of age amid the zine revolution, cartoonist Gabrielle Bell has been creating her comics to much acclaim, even winning an Ignatz Award for the self-published serialization of Lucky.

    "When dark forces conspire to corrupt the fabric of reality, Eddie's immortal soul is shattered and strewn across the cosmos - his unbound essence corrupting countless worlds! Now, a weakened, primal Eddie must journey across space and time to battle the twisted legions of The Beast, seek out the lost shards of his soul, and bring order to the realms!" The first official Iron Maiden comic series, based on the band's hit mobile role playing game - Iron Maiden: Legacy of The Beast - where players battle as Eddie across the many worlds of Iron Maiden's discography, from the ancient sands of Powerslave to the far future of the Final Frontier.