Along the way, she forges alliances and makes enemies as she goes from aviator to freedom fighter in a rebellion against a merciless warlord!

    by Evan Dorkin The first-ever collection from the acclaimed humor anthology Dork, "Who's Laughing Now?" features 112 pages of densely-packed comic book craziness from Dork #1-5, all wrapped up in a sweet little package co-designed by Dorkin and his partner-in-crime, Sarah Dyer!

    Mark Beyer was breathing delirious, heartbreaking, otherworldly life into it by means of Amy and Jordan. Obviously, you weren’t reading New York Press. But I sure was. Voraciously. Back in 1989, when I discovered that Beyer’s strips were appearing regularly in this new “alternative weekly” paper, I quickly became hooked, and a thought seized me: I had to clip and save them–they were exquisite poems of urban despair, dreamy and nightmarish. I was already a fan of Beyer’s talent based on his book Agony (Pantheon, 1988), but these new strips revealed, week by week, a whole new dimension to his work–an ingenious reinvention of panel-design that redefined what a comic strip could be. As with Peanuts, it helps to try and picture these in the context which they first appeared in order to appreciate just how profoundly they emerged from anything else on the newspaper page. Even the “outré” NYP ads and listings which often ran alongside them were hopelessly dull by comparison. One of its most impressive aspects was the way Form served the Content–no matter how eccentric the layout got, it somehow never confused the narrative. And what narrative: it was as if Candide had been transported to the East Village and split in two like an amoeba and holed up in a squat on Avenue C. Along with giant bugs from outer space. So I did clip and save them, and put them into an envelope, which was then placed in a shoebox with a lot of other envelopes (receipts, receipts!), which was shoved to the back of the closet of my sixth-floor walk-up studio apartment, which I moved out of three years later and in the process I unwittingly threw them all away. Which frankly is just the sort of thing that Amy and Jordan would do. Drat. “Oh well,” I thought, once I’d realized it, “at some point someone will collect and publish them, and I’ll get them back that way.” And that was that. Fast forward more than ten years, to the spring of 2002. During a panel of cartoonists I was chairing in Philadelphia, a member of the audience asked what Mark was working on and where he was. No one seemed to know. The discussion was transcribed and published in The Comics Journal that summer, and in the fall Mark contacted me with the best possible news: He’d read the panel transcript and wanted to publish again. And the Amy and Jordan strips had never been comprehensively collected. So now, as an editor, I was able to grant my own wish. Amy and Jordan ran from 1988 through early 1996. After that, Beyer put cartooning aside to pursue other projects. This book signals his return to the realm of comics, which he says he wants to start making again. We can only hope he does. For now, I’m just thankful I finally have my Amy and Jordan collection back. –Chip Kidd, NYC, 10/03

    Witnessing savage killings at the hands of the prison's sadistic and psychotic Warden, Sullivan decides that in order to survive he must match the brutality occurring in the prison.But as he fights to escape his fate, Sullivan is forced to question his sanity and confront his own horrific past. This Special Edition has a limited print run of 750 copies and includes the upcoming film's screenplay, a pencils to inks gallery, and a behind the scenes featurette on the making of the death row film set.

    Foreman on a deconstruction ship that specializes in demolishing belief outbreaks, Nul is prodded out of his complacency by a false murder charge, and sets off on a journey that takes him to the very brink of hope. A 232-page concoction of fiction and intrigue that delves into the bleak and bitter philosophical brew of Nihilist chic.

    Original.

    Connected by a series of gossipy teens, the modern lost souls of Beverly struggle with sexual anxieties that are just barely repressed and social insecurities that undermine every word they speak.A group of teenagers pick up trash on the side of the highway--flirting, preening, and ignoring a potentially violent loner in their midst. A college student brings her sort-of boyfriend to a disastrous house party with her high-school acquaintances. A young woman experiences a traumatic incident at the pizza shop where she works and the fallout reveals the racial tensions simmering below the surface. Again and again, the civilized façade of Drnaso's pitch-perfect surburban sprawl and pasty Midwestern protagonists cracks in the face of violence and quiet brutality.Drnaso's bleak social satire in Beverly reveals a brilliant command of the social milieu of twenty-first-century existence, echoing the black comic work of Todd Solondz, Sam Lipsyte, and Daniel Clowes. Precisely and hauntingly recounted, each chapter of Beverly reveals something new--and yet familiar--about the world in which we live.

    The story follows Marcus, a young expat artist from Paestum who works as an assistant to Flavius, a seemingly well-regarded painter. Aside from mixing paint, Marcus is entangled in the older artist's romantic deceptions, while stuck figuring out his own. Nicole Rudick wrote of this work in "The Comics Journal": "Santoro's drawings are wonderful; his reduction of figures to tone and line and shape recall illusionistic Roman frescoes and the drawings of Giacometti and Emile Bernard, but endowed with comic-strip dynamism. But if Pompeii were just a series of clever sight lines and intriguing artwork, it would not be as satisfying [ ] the story's physical structure is married to its themes, and to be aware of one is to be more appreciative of the other."

    It marked the birth of the modern graphic novel and the beginning of an era when serious cartoonists could be liberated from their stultifying comic-book format.More than a quarter-century after the initial publication of A Contract With God, and in the last few months of his life, Eisner chose to combine the three fictional works he had set on Dropsie Avenue, the mythical street of his youth in Depression-era New York City.As the dramas unfold in A Contract With God, the first book in this new trilogy, it is at 55 Dropsie Avenue where Frimme Hersh, the pious Jew, first loses his beloved daughter, then breaks his contract with his maker, and ends up as a slumlord; it is on Dropsie Avenue where a street singer, befriended by an aging diva, is so beholden to the bottle that he fails to grasp his chance for stardom; and it is there that a scheming little girl named Rosie poisons a depraved super’s dog before doing in the super as well.In the second book, A Life Force, declared by R. Crumb to be "a masterpiece," Eisner re-creates himself in his protagonist, Jacob Shtarkah, whose existential search reflected Eisner’s own lifelong struggle. Chronicling not only the Crash of 1929 and the Great Depression but also the rise of Nazism and the spread of left-wing politics, Eisner combined the miniaturist sensibility of Henry Roth with the grand social themes of novelists such as Dos Passos and Steinbeck.Finally, in Dropsie Avenue: The Neighborhood, Eisner graphically traces the social trajectory of this mythic avenue over four centuries, creating a sweeping panorama of the city and its waves of new residents—the Dutch, English, Irish, Jews, African Americans, and Puerto Ricans—whose faces changed yet whose lives presented an unending "story of life, death, and resurrection."The Contract With God Trilogy is a mesmerizing, fictional chronicle of a universal American experience and Eisner’' most poignant and enduring literary legacy.

    Now our new Black Hammer finds herself trapped in a gritty world filled with punk rock detectives, emo gods, anthropomorphic humans, absurdist heroes, and many more weirdoes, in a mad world in which there is no escape!* Winner of the Eisner Award for Best New Series!

    Now, he takes the role of the eminent icon of caffeine culture in his new book; Too Much Coffee Man's Parade of Tirade. Fill your cup with dark satire and drink deep from these thoughtful, award-winning comics. Witness TMCM's secret origin! Marvel as our hero battles corporate oppression! Experience the anxiety of the author as he claws his way to the top! Gawk at Joel as he throws up on his girlfriend's door step! And revel in Too Much Coffee Man's wisdom; If you can't be happy naturally, be unnaturally happy.This book collects eight Too Much Coffee Man comic books and many newspaper strips, as well as new material. It's a complete book. All the characters are motivated. All the cliffhangers are resolved. All the plot threads are tied up. And all the jokes have punchlines.

    But Marv doesn't care. There's an angel in the room. She says her name is Goldie. A few hours later, Goldie's dead without a mark on her perfect body, and the cops are coming before anyone but Marv could know she's been killed. Somebody paid good money for this frame . . . With a new look generating more excitement than ever before, this third edition is the perfect way to attract a whole new generation of readers to Frank Miller's masterpiece!

    There're plenty of gangs in Los Angeles: north of downtown it's the

    He shares the story of his master’s murder and asks them to avenge this death and kill the one responsible, the man known as ... Shredder!

    Along the way he meets an old hermit who lives in a treehouse with his loyal dog, a young woman who fights for what she believes and a giant wolf-dragon who threatens their survival.