During the half century from 1850 to 1898, the Chinese population in the Philippines increased drastically from 5000 to perhaps 100,000, and penetrated every part of the archipelago. Liberalized Spanish immigration laws and their own superior business methods enabled the Chinese to profit from the development of an export crop economy, which involved the exchange of Philippine raw products for foreign manufactured goods, and caused a shift in the emphasis of Chinese enterprise - from small-scale retailing to a virtual monopoly of raw material collection and import distribution. Their increased economic power gave impetus to an anti-Chinese campaign in the latter years of the century, and the Philippine Chinese, for the first time, developed community institutions to resist assimilation and turned to China for aid.

    He covers all the important things: dating, working, eating, fighting gorillas, the impossible physics of toothpaste, the family history of a sock drawer, and so much more.Basically, all the big life questions that you didn’t realise needed answering.

    It was discovered by a seven-year-old boy named Al Ledicker, and the story that followed is one that veteran underground cartoonist Kim Deitch (Boulevard) has chronicled for the last 20 years in a series of interrelated stories that have appeared in a variety of magazines. Collected for the first time, Shadowland offers a narrative which ranges from the late 19th century to (more or less) the present day. Delineated in Deitch's charming, uniquely retro style, Shadowland is a tumble down the rabbit hole of sexy Hollywood starlets, little green (actually, gray) aliens, flying pigs and performing elephants, incest, murder, and eternal youth.

    Through classic comics, blog entries, and a wealth of other wacky new material, experience Jon’s dating disasters, phone call faux pas, wardrobe malfunctions, and mirthful mishaps—and cheer the geek with a heart of gold as he finally finds true love with Liz, the veterinarian. (Who’d have thunk it?) So, rejoice, Jon fans, and enjoy the fun. The moment of goof has arrived!

    Dense with exclamation marks and lurid colors, R. Sikoryak's parodies remind us of the sensational excesses of the canon, or, if you prefer, of the economical expressiveness of classic comics from Batman to Garfield. In "Blond Eve," Dagwood and Blondie are ejected from the Garden of Eden into their archetypal suburban home; Oscar Wilde's Dorian Gray is reimagined as a foppish Little Nemo; and Camus's Stranger becomes a brooding, chain-smoking Golden Age Superman. Other source material includes Dante, Shakespeare, Dostoyevsky, bubblegum wrappers, superhero comics, kid cartoons, and more.Sikoryak's classics have appeared in landmark anthologies such as RAW and Drawn & Quarterly, all of which are collected in Masterpiece Comics, along with brilliant new graphic literary satires. His drawings have appeared on The Daily Show with Jon Stewart, as well as in The New Yorker, The Onion, Mad, and Nickelodeon Magazine.

    A semi-memoir covering a decade of the acclaimed cartoonists formative years (1935-1945), and including many reproductions of famous drawings and photos from the authors personal collection.

    Collecting issues 1-6 of The Tick in one volume, with a few supplemental materials.

    Sharing the same goofy, over-the-top comic mayhem that was Chaplin's trademark, and preceding the expressive, cartoony art style of MAD magazine legend Harvey Kurtzman, all of He Done Her Wrong's hilarious slapstick, tragic heartbreak, heroism and villainy, character development, high emotions and raucous thrills somehow manages to take place, astonishingly, without a single word of text, or conversation, or even a footnote.The story follows the convoluted misadventures of a naive frontiersman with superhuman strength exploited by a larcenous robber baron who eventually double crosses our hero and steals his girl. The pursuit leads to New York City where a sordid cast of cantankerous salesmen, officious government bureaucrats, bumbling hospital attendants, a lusty widow with a defensive Chihuahua and one angry barber wreak more havoc in our characters' lives than a hundred Little Rascals in a Marx Brothers film.Born in the Bronx in 1895, Gross would go on to spend his teenage years working as an office assistant at the Hearst publication The New York Evening Journal. He befriended the paper's renowned comic strip bullpen that included such early 20th century comics legends as Tad Dorgan, Cliff Sterrett, Harry Hershfield and Tom McNamara, who allowed Gross to cut his teeth drawing background and dialogue lettering jobs on their strips. He eventually won space on the paper's sports page for his first large daily strip titled Kinney B. Alive, making its debut in 1916. The strip only lasted for one week, but subsequent efforts such as Frenchie, White Feitlebaums in the South Seas, Count Screwloose of Toulouse and the best-selling books Hiawatta Wit No Udda Pomes and Nize Baby asserted more staying power. Gross' stylized cartooning won the public devotion of such noteworthy fans as President Calvin Coolidge and Supreme Court Justice Oliver Wendell Holmes. According to The Comics Journal, Gross's skillful work displays a "Fast-action style Furiously tangled line work A freewheeling onslaught of immensely droll squiggles apparently done at top speed Inspired slapdash like nothing else in the cartoon art of his time [Gross] was a master of graphic invention and a one-man comic riot."He Done Her Wrong is a classic comics work, legendary among aficionados, and arguably the 20th century's first graphic novel. Fantagraphics Books is proud to put this back into print in a facsimile edition, unabridged, with newly designed covers.

    Travel back to the wacky Fifties in this comic compilation of the best of MAD's early years! From the Cold War and Richard Nixon (the first time around) to Howdy Doody and Mickey Mouse, this one's got it all...and then some!

    This graphic fantasy novel is the second of its kind, following on from "Raw" volume 1.

    Cannon's internationally popular strip features a disturbing and sidesplitting cast of characters that includes latex-clad fathers, sadistic milkmen, vomiting robots, malformed neighbors, incontinent interdimensional beings, decomposing clowns, and dozens of other bizarre Red Meat denziens who will keep you laughing until it hurts. Pure Gold!

    He daydreams about the day when his band records its first monster hit single and he and his bandmates all pile into his van for their cross-country, sold-out concert tour. Between naps, study hall, and band practice, Jeremy still manages to find time to be the star of this hugely popular comic strip.Jeremy is a good kid. He is intelligent and kind, yet he still has the attitude that one would expect from a teenager. His unpredictable mood swings and monosyllabic answers to his parents’ mild-mannered questions often leave them baffled and bemused.Zits was created in 1997 by Pulitzer Prize– and Reuben Award–winning editorial cartoonist Jim Borgman and Reuben Award–winning cartoonist/writer Jerry Scott. The creators, who are parents themselves, have a keen insight into the many physical and emotional changes that teens go through during adolescence, and they have the gift of addressing these common dilemmas with compassion and humor.

    The Sunday pages will be reproduced in their original color, alongside the daily black-and-white strips. Volume One contains more than 800 consecutive strips, from the series' beginning in October 1934 through the end of 1936.

    D, Drawn and Quarterly), Bardín the Superrealist is a suite of stories, musings and gags that, much like Dan Clowes's Ice Haven, can be read individually or together as one overarching story.Heavily influenced by surrealists such as Luis Bunuel, and graphically by "clear-line" cartoonists from Herge (Tintin) to Chris Ware, Bardín the Superrealist begins when everyman Bardín finds himself suddenly transported (well, at least his upper half) to another dimension, where an "Andalusian Dog" (a reference to Bunuel's Un Chien Andalou) serves as his ill-tempered guide.In a series of vignettes, gags, illustrations, text pieces, and dream stories, ping-ponging back between the surrealist world and the "real" world, Bardín examines, questions, and defends his own beliefs, convictions and philosophies while tangling with the Dog and the Holy Trinity in a variety of guises (including a familiar-looking mouse with red shorts and white gloves).In other stories, he imagines himself in a painting by Brueghel the Elder, tries to deal with his onanism in a productive way, is enlightened, dodges his real "creator" Max in the street, has several horrific nightmares and marvelous hallucinations, and, in the book's climactic episode, "The Sound and the Fury," battles a bona fida dragon. Bardín the Superrealist is a playful, hilarious, thought-provoking (and beautifully illustrated) major work by one of the great European cartoonists.

    Seuss was drawing biting cartoons for adults that expressed his fierce opposition to anti-Semitism and fascism. An editorial cartoonist from 1941 to 1943 for PM magazine, a left-wing daily New York newspaper, Dr. Seuss launched a battle against dictatorial rule abroad and America First (an isolationist organization that argued against U.S. entry into World War II) with more than 400 cartoons urging the United States to fight against Adolf Hitler and his cohorts in fascism, Benito Mussolini, Pierre Laval, and Japan (he never depicted General Tojo Hideki, the wartime prime minister, or Togo Shigenori, the foreign minister). Dr. Seuss Goes to War, by Richard H. Minear, includes 200 of these cartoons, demonstrating the active role Dr. Seuss played in shaping and reflecting how America responded to World War II as events unfolded.As one of America's leading historians of Japan during World War II, Minear also offers insightful commentary on the historical and political significance of this immense body of work that, until now, has not been seriously considered as part of Dr. Seuss's extraordinary legacy.Born to a German-American family in Springfield, Massachusetts, in 1904, Theodor Geisel began his cartooning career at Dartmouth College, where he contributed to the humor magazine. After a run-in with college authorities for bootlegging liquor, he had to use a pseudonym to get his work published, choosing his middle name, Seuss, and adding "Dr." several years later when he dropped out of graduate school at Oxford University in England. He had never planned on setting poison political pen to paper until he realized his deep hatred of Italian fascism. The first editorial cartoon he drew depicts the editor of the fascist paper Il Giornale d'Italia wearing a fez (part of Italy's fascist uniform) and banging away at a giant steam typewriter while a winged Mussolini holds up the free end of the banner of paper emerging from the roll. He submitted it to a friend at PM, an outspoken political magazine that was "against people who push other people around," and began his two-year career with the magazine before joining the U.S. Army as a documentary filmmaker in 1943.Dr. Seuss's first caricature of Hitler appears in the May 1941 cartoon, "The head eats, the rest gets milked," portraying the dictator as the proprietor of "Consolidated World Dairy," merging 11 conquered nations into one cow. Hitler went on to become one of the main caricatures in Seuss's work for the next two years, depicted alone, among his generals and other Germans, and with his allies Benito Mussolini and Pierre Laval. He is also drawn alongside "Japan," which Dr. Seuss portrays quite offensively, with slanted, bespectacled eyes and a sneering grin. While Dr. Seuss was outspoken against antiblack racism in the United States, he held a virulent disdain for the Japanese and rendered sinister and, at times, slanderous caricatures of their wartime actions even before the bombing of Pearl Harbor. But Dr. Seuss's aggression wasn't solely reserved for the fascists abroad. He was also loudly critical of America's initial apathy toward the war, skewering isolationists like America First advocate Charles Lindbergh, the Chicago Tribune's Colonel Robert McCormick, Eleanor Medill Patterson of the Washington Times-Herald, and Joseph Patterson of the New York Daily News, whom he considered as evil as Hitler. He encouraged Americans to buy war savings bonds and stamps and to do everything they could to ensure victory over fascism.Minear provides historical background in Dr. Seuss Goes to War that not only serves to contextualize these cartoons but also deftly explains the highly problematic anti-Japanese and anticommunist stances held by both Dr. Seuss and PM magazine, which contradicted the leftist sentiments to which they both eagerly adhered. As Minear notes, Dr. Seuss eventually softened his feelings toward communism as Russia and the United States were united on the Allied front, but his stereotypical portrayals of Japanese and Japanese-Americans grew increasingly and undeniably racist as the war raged on, reflecting the troubling public opinion of American citizens. Minear does not attempt to ignore or redeem Dr. Seuss's hypocrisy; rather, he shows how these cartoons evoke the mood and the issues of the era. After Dr. Seuss left PM magazine, he never drew another editorial cartoon, though we find in these cartoons the genesis of his later characters Yertle the dictating turtle and the Cat in the Hat, who bears a striking resemblance to Uncle Sam. Dr. Seuss Goes to War is an astonishing collection of work that many of his devoted fans have not been able to see until now. But this book is also a comprehensive, thoughtfully researched, and exciting history lesson of the Second World War, by a writer who loves Dr. Seuss as much as those who grow up with his books do.