A deep space transport has been developed to take a small crew to an earth-like, habitable planet in a nearby system in an attempt to begin colonization/repopulation. The internet is now telepathic and referred to as the “innernet.” When the hub is revealed to be a human child, Melody McCabe is hired to develop the new nexus on the second International Space Station. Working within the structure of sci-fi, Nod Away moves back and forth between physical and psychological worlds, utilizing traditional and abstract storytelling styles to explore what consciousness could be, where it could possibly be located, and what function or point it might serve.

    This is a tale of guilt, ghosts, and guns . . . of how fortune brings misfortune as a grim and determined woman oversees the construction of a house twenty-four hours a day for twenty years, with the simple motto of keep busy building or get busy dying. Collects the six-issue miniseries.

    After guilt-tripping herself a ticket as the self-appointed “Keeper of the Family Archives,” it becomes clear that everyone’s brought more baggage than just their suitcases.

    Ott plunges into the darkness with five new graphic horror novelettes: "The Prophet," "The Wonder Pill," "La Lucha," "The Hotel," and the title story, each executed in his hallucinatory and hyper-detailed scratchboard style and running between 16 to 20 pages. The first story in the book introduces the other four: A little girl visits an amusement park. She looks fascinated, but finds everything too expensive. Finally, behind the rollercoaster she eyeballs a small booth with "CINEMA PANOPTICUM" written on it. Inside there are boxes with screens. Every box contains a movie; the title of each appears on each screen. Each costs only a dime, so the price is right for the little girl. She puts her money in the first box: "The Prophet" begins. In the film, a vagrant foresees the end of the world and tries to warn people, but nobody believes him. They will soon enough. In the second film, "The Wonderpill," a short-sighted man initially goes blind from some pills his doctor gave him, but soon the blindness wears off and he finds they accord quite a view. "La Lucha," the third story, introduces a Mexican wrestler who fights against death himself. In a typical Ott twist, he wins and loses at the same time. The final story, "The Hotel," depicts a traveler who goes to sleep in what seems to be an otherwise empty hotel. His awakening is the stuff of nightmares... Ott's O. Henry-esque plot twists will delight fans of classic horror like The Twilight Zone and Tales From the Crypt, or modern efforts like M. Night Shamalayan's films; his artwork will haunt you long after you've put the book down.

    The people who might be able to stop it from becoming a myth are an unruly bunch - a rapper turned film producer W-2, a screenwriter-turned-car thief Sonia, a mysterious astronaut coming back to Earth and a small boy hidden inside a bigger boy. Against them: crazed cultists, rogue National Security Agency operators, something large and terrible in the Ocean...and perhaps even time itself. No pressure.

    He embarks on a road trip to escape it all, and he soon discovers the only one he can count on completely is his faithful, recently adopted dog, who helps him see the light at the end of the tunnel. Illustrating the valuable lessons of friendship and loyalty, this is a heartwarming tale of two endearing characters and their shared adventure into the unknown.

    But when Ellie lands in an upscale rehab clinic where nothing is what it appears to be... she'll find another more dangerous romance, and find out how easily drugs and murder go hand-in-hand.MY HEROES HAVE ALWAYS BEEN JUNKIES is a seductive coming-of-age story, a pop and drug culture-fueled tale of a young girl seeking darkness — and what she finds there. This gorgeous, must-have hardback is the first original graphic novel from ED BRUBAKER and SEAN PHILLIPS, the bestselling creators of CRIMINAL, KILL OR BE KILLED, THE FADE OUT, FATALE, and INCOGNITO.

    What begins as a simple, distracted conversation between husband and wife, Glenn and Wendy Ganges—him reading a library book and her working on her computer—becomes an exploration of being and the passage of time. As they head to bed, Wendy exhausted by a fussy editor and Glenn energized by his reading and no small amount of caffeine, the story begins to fracture.The River at Night flashes back, first to satirize the dot-com boom of the late 1990s and then to examine the camaraderie of playing first-person shooter video games with work colleagues. Huizenga shifts focus to suggest ways to fall asleep as Glenn ponders what the passage of time feels like to geologists or productivity gurus. The story explores the simple pleasures of a marriage, like lying awake in bed next to a slumbering lover, along with the less cherished moments of disappointment or inadvertent betrayal of trust. Huizenga uses the cartoon medium like a symphony, establishing rhythms and introducing themes that he returns to, adding and subtracting events and thoughts, stretching and compressing time. A walk to the library becomes a meditation on how we understand time, as Huizenga shows the breadth of the comics medium in surprising ways. The River at Night is a modern formalist masterpiece as empathetic, inventive, and funny as anything ever written.

    Plus, a new cover by Bolland.

    But what seems like a straightforward job quickly turns into a series of increasingly surreal and bizarre adventures that put Yukie’s wits to the test! Cartoonist Kago, who is well known for combining a more traditional manga style with hyper realistic illustration technique, an experimental visual storytelling approach, and outrageously sexual and scatological subject matter, has single-handedly created his own genre: “fashionable paranoia."

    His brash, confident, undulating artwork sent a shock wave through the comics world for its unique, fully formed aesthetic.From its opening pages, Ant Colony immerses the reader in a world that is darkly existential, with false prophets, unjust wars, and corrupt police officers, as it follows the denizens of a black ant colony under attack from the nearby red ants. On the surface, it’s the story of this war, the destruction of a civilization, and the ants’ all too familiar desire to rebuild. Underneath, though, Ant Colony plumbs the deepest human concerns—loneliness, faith, love, apathy, and more. All of this is done with humor and sensitivity, exposing a world where spiders can wreak unimaginable amounts of havoc with a single gnash of their jaws.DeForge’s striking visual sensibility—stark lines, dramatic color choices, and brilliant use of page and panel space—stands out in this volume.

    Robot, and Tom Servo find themselves thrust into the 2-D world of public domain comics, with riffing as their only defense!From its humble beginnings on a tiny mid-west TV station in 1988, through its years as a mainstay on The Comedy Channel/Comedy Central and the SciFi Channel all through the '90s, to its spectacular resurrection on Netflix in 2017, Mystery Science Theater 3000 has had a transformative effect on television, comedy, and the way old, cheesy movies are viewed. Now creator Joel Hodgson has set his sights on the comics medium, and the four-color pamphlets will never be the same!

    He’s an average kid in an average town.He wants to win a Nobel Prize and save the world.He wants to go far away with his true love.He wants to find some porn.But Punpun’s life is about to unravel…

    But...it's funny? Also kind of a nightmare. But mostly funny? A funny science-FACTion nightmare about the end of everything, but how that's all kind of okay.

    With no memory or feedback from the team of scientists that sent him, he can't count on anything but his heart and a stranger's voice to guide him to his destiny. Collects issues #1–#5.