Contibutors include Daniel Clowes, Gary Panter, Charles Burns, Art Spiegelman, Ben Katchor, Kim Deitch, Adrian Tomine, Joe Sacco, Seth, Joe Matt, Chester Brown, Kaz, and many others.

    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.

    It's ADVENTURE TIME! Join Finn the Human, Jake the Dog, and Princess Bubblegum for all-new adventures through The Land of Ooo.The totally algebraic adventures of Finn and Jake have come to the comic book page! The Lich, a super-lame, SUPER-SCARY skeleton dude, has returned to the the Land of Ooo, and he’s bent on total destruction! Luckily, Finn and Jake are on the case...but can they succeed against their most destructive foe yet? Featuring fan-favorite characters Marceline the Vampire Queen, Princess Bubblegum, Lumpy Space Princess and the Ice King!

    (He is the titular King.)King of the Flies is designed as a trilogy of albums, which will combine to form a single graphic novel of stunning intricacy and intensity. (Vol. 2, “The Beginning of All Things,” will be released by Fantagraphics in the Summer of 2010.)

    Unlike those works, Ripple is a highly realistic story in terms of subject matter and drawing style. Martin is a floundering painter desperately attempting to pursue his fine art inclinations rather than toil in the world of commercial art. He hires a homely model, Tina, to pose for a series of "erotic" paintings that he hopes will be his breakthrough into the gallery world. Over time, Martin and Tina's relationship evolves from a tenuous working relationship to a confused sexual one. Martin's initial repulsion for Tina slowly turns to attraction and eventually lust, causing him to re-evaluate his own notions of beauty and sexuality. Meanwhile, Tina's own motives behind working for Martin are slowly turned upside down as well, building the book towards its inevitably explosive end. Throughout it all, Ripple is a complex love story poked and prodded from all angles, from Martin and Tina's physical and emotional feelings toward each other, Martin's dishonesty to himself, Tina's self-loathing, and everything in between. Sad, funny, and often uncomfortably titillating, Ripple is a remarkably introspective graphic novel, rendered with kinetic realism in a pen technique that calls to mind a more controlled Edward Sorel and Jules Feiffer.

    Davis is one of the finest cartoonists of her generation, and has been producing comics since the mid-2000s. Happy represents the best stories she's drawn for such curatorial venues as Mome and No-Brow, as well as her own self-publishing and web efforts. Davis achieves a rare, subtle poignancy in her narratives that are at once compelling and elusive, pregnant with mystery and a deeply satisfying emotional resonance. Happy shows the full range of Davis's graphic skills -- sketchy drawing, polished pen and ink line work, and meticulously designed full color painted panels-- which are always in the service of a narrative that builds to a quietly devastating climax.

    Just see what their mothers have to say!"Dave is a nice, young man with a bright future ahead of him. I always knew he was a gifted boy who would go on to do great things. I hope he settles down with a nice, young woman and ****s the **** out of her."—Dave's mom"I don't know how to get computer pictures, so I'm glad Kris finally has a book out. I haven't read it yet, but I hope he gives me a quote on the back."—Kris's mom"I hope Robert's book does well so he can finally afford to move out. He plays his hip-hop music too loud."—Rob's momMatt's mom was unavailable for a quote due to being dead.

    This book celebrates this vibrant artistic underground by gathering together a collection of excellent stories that can be enjoyed by all.No Straight Lines showcases major names such as Alison Bechdel (whose book Fun Home was named Time Magazine's 2006 Book of the Year), Howard Cruse (whose groundbreaking Stuck Rubber Baby is now back in print), and Ralf Koenig (one of Europe's most popular cartoonists), as well as high-profile, cross-over creators who have dabbled in LGBT cartooning, like legendary NYC artist David Wojnarowicz and media darling and advice columnist Dan Savage. No Straight Lines also spotlights many talented creators who never made it out of the queer comics ghetto, but produced amazing work that deserves wider attention.Until recently, queer cartooning existed in a parallel universe to the rest of comics, appearing only in gay newspapers and gay bookstores and not in comic book stores, mainstream bookstores or newspapers. The insular nature of the world of queer cartooning, however, created a fascinating artistic scene. LGBT comics have been an uncensored, internal conversation within the queer community, and thus provide a unique window into the hopes, fears, and fantasies of queer people for the last four decades.These comics have forged their aesthetics from the influences of underground comix, gay erotic art, punk zines, and the biting commentaries of drag queens, bull dykes, and other marginalized queers. They have analyzed their own communities, and their relationship with the broader society. They are smart, funny, and profound. No Straight Lines will be heralded by people interested in comics history, and people invested in LGBT culture will embrace it as a unique and invaluable collection.

    The people who roamed Early Earth were much like us: curious, emotional, funny, ambitious, and vulnerable. In this series of illustrated and linked tales, Isabel Greenberg chronicles the explorations of a young man as he paddles from his home in the North Pole to the South Pole. There, he meets his true love, but their romance is ill-fated. Early Earth's unusual and finicky polarity means the lovers can never touch.      As intricate and richly imagined as the work of Chris Ware, and leavened with a dry wit that rivals Kate Beaton's in Hark! A Vagrant, Isabel Greenberg's debut will be a welcome addition to the thriving graphic novel genre.

    A selection from Creature Comforts.

    Kuper’s electric drawings—which merge American cartooning with German expressionism—bring Kafka’s prose to vivid life, reviving the original story’s humor and poignancy in a way that will surprise and delight readers of Kafka and graphic novels alike. “A brilliant illustrated adaptation of Franz Kafka’s famous story. It’s a real pleasure to read and one in which everyone will recognize the existential drama and uncanny wit of the original text."—Susan Bernstein, associate professor of comparative literature and German studies, Brown University

    When the parents announce their divorce, the family comes together at their beach house for a week. Dennis, the eldest son, is having marriage troubles of his own, and searches for clues, trap doors, and secret tunnels. Claire, the middle child, is a single mother with a troubled 16-year-old daughter, Jill. The youngest child, Peter, is a hack filmmaker suffering from paralyzing insecurities who establishes an unorthodox romance with a mysterious day care counselor at the beach.

    Then, the wordless “” tells two tales at once: one about a skinny guy trying to steal enough money to save his ill mother, and the other about a fat guy murderously trying to woo his true love. The reason we follow these two parallel stories becomes obvious only on the very last page, in Jason’s inimitable genre-mashing style.“Early Film Noir” can best be described as The Postman Always Rings Twice meets Groundhog Day. But starring cavemen. And finally, “You Are Here” features alien kidnappings, space travel, and the pain and confusion of family ties, culminating in an enigmatic finale that rivals Jason’s greatest twists.Funny, poignant, and wry, Low Moon shows one of the world’s most acclaimed graphic novelists at the absolute peak of his powers.

    As this cartoon silhouette of a mouse ignominiously suffers at every turn, the spaces between the panels create despair and a Beckett-like rhythm of hope deceived and deferred (but never quite extinguished), buoying Quimby from page to page.Like Ware's first book, Jimmy Corrigan, Quimby is saturated with Ware's genius, including consistently amazing graphics, insanely perfectionist production values, cut-out-and-assemble paper projects, and the formal complexity of his narratives that have earned him the reputation as one of the most prodigious artists of his generation.

    An unmissable must for Tank Girl fans of all hairstyles Dark and nasty, We Hate Tank Girl is a bonanza of stories, posters, prose, and extras, featuring tales from Tank Girl's past, present, and future, including the long-awaited Cut 'n' Dress Booga, and the never-before-seen bonus story, "Small Unit." Collects Tank Girl One-Shots: Dark Nuggets, Dirty Helmets, and Hairy Heroes.