His failed plan, a mere footnote in Jewish-American history, is the starting point for Ben Katchor's brilliantly imagined epic that unfolds on the streets of New York a few years later.A disgraced kosher slaughterer, an importer of religious articles and women's hosiery, a pilgrim peddling soil from the Holy Land, a latter-day Kabbalist, a man with plans to carbonate Lake Erie--these are just some of the characters who move through Katchor's universe, their lives interwoven in a common struggle to settle into the New World even as it erupts into a financial frenzy that could as easily leave them bankrupt as carry them into the future.

    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.

    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

    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.

    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.

    And someone will. Billy Butcher, Wee Hughie, Mother's Milk, The Frenchman and The Female are The Boys: A CIA backed team of very dangerous people, each one dedicated to the struggle against the most dangerous force on Earth-superpower. Some superheores have to be watched. Some have to be controlled. And some of them-sometimes-need to be taken out of the picture That's when you call in THE BOYS

    Like Girls and Boys, Big Ideas features many of her greatest cartoons, including her menacing "Poodle with a Mohawk". Line drawings throughout.

    Batman, Superman, Wonder Woman, and almost every other character from DC Comics must choose sides in what could be the final battle of them all.

    Two stories continue the heyday of Dungeon, in the first, Isis is to be married to the Keeper but she wants Herbert! Besides, the whole affair promises to ruin the Dungeon completely. In the second, besides the continued Keeper financial mishaps, Herbert wishes to make his comeback to his hometown where his name is mud. He disguises himself with a potion that makes him the mask of death . Only one problem: if he laughs, he becomes himself again!

    Skillfully drawn single panels explore a rich imagined world where actions have unexpected consequences and loneliness pervades, but not without a sense of the absurd. The stories read like vignettes that can span a day or decades, all drawn within a bordered page in intimate detail.Each story unfolds quickly and features characters that run the gamut: joke-writing sisters gone awry, a wandering sleepwalker, a pearl with curious properties, an elusive coughing neighbor, a wide-eyed girl of questionable appeal, even a storm drain. Whether animate or inanimate, sweet or monstrous, Lilli has the ability to infuse them all with pathos, humanity, and humor.

    When Tom gives them more than they bargained for, he and his family are thrust into the kind of white-hot media spotlight that attracts a lot of attention - and questions about Tom's past. ls he really an easygoing small town guy, or is there something more?

    It also includes in-depth notes and story analysis about the subtext of the story. Circle of Blood recounts the origins of the government operative known as Kabuki who works in Japan's near future, It's an exploration of the relationship between Japan's government and organized crime on a truly epic scale!

    He is just a man: fallible, vulnerable, and angry.In a Gotham City where friend and foe are indistinguishable, Bruce Wayne's path toward becoming the Dark Knight is riddled with more obstacles than ever before. Focused on punishing his parents’ true killers, and the corrupt police that allowed them to go free, Bruce Wayne's thirst for vengeance fuels his mad crusade and no one, not even Alfred, can stop him.In the tradition of the #1 New York Times bestselling Superman: Earth One, Volume 1, writer Geoff Johns and artist Gary Frank re-imagine a new mythology for the Dark Knight, where the familiar is no longer the expected in this long-awaited original graphic novel from DC Comics.

    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.)

    His spare approach with words and pictures focuses on the smallest of details, revealing a wealth of meaning and emotion in everyday events that most of us overlook in our daily hustle and bustle. Since 1989, he has released more than sixty-five issues of his self-published comic King-Cat Comics and Stories. This large collection focuses on the first fifty issues, with extensive endnotes and an index, along with selections of all the extra ephemera that makes an individual issue of King-Cat its own unique experience—essays, articles, stories, and letters from friends. Included are more than two hundred and fifty pages of comics, ranging from Porcellino's earliest scrawls to his later, perfectly minimalist delineations. The comics range through all of his concerns—family, family pets, the natural world, work, music, romance. This book presents an artist who always knew what he wanted to do. King-Cat Classics shows Porcellino's confidence and skill as it grows steadily through the past fifteen years.