It was originally titled Sick Sick Sick, but Feiffer changed the name to, simply, Feiffer, because he got tired of explaining that the title referred to the society he was commenting on, not the nature of his humor, which, he insisted, was not sick.Politically, the '50s was dominated by the insipid Presidency of Dwight D. Eisenhower; the backwash of Joe McCarthy; and the Cold War, which was in full swing. Culturally, the Beats were revolutionizing literature, Marlon Brando was changing the face of acting, and Elvis Presley was altering the public's perception of pop music. The post-war suburban bliss of the country was being challenged by sociologists and economists in books like The Lonely Crowd, The Other America, and The Afflulent Society. The civil rights movement was gaining momentum. Camelot was just around the corner, and would be shattered by the assassinations of JFK, RFK, and MLK. The Vietnam War would polarize the country. It was into this scrambled political-cultural climate that Jules Feiffer flung himself full throttle for the next ten years.His strip tackled just about every issue, private and public, that affected the sentient American: relationships, sexuality, love, family, parents, children, psychoanalysis, neuroses, presidents, politicians, media, race, class, labor, religion, foreign policy, war, and one or two other existential questions. It was the first time that the American public had been subjected to a weekly dose of comics that so uncompromisingly and wittily confronted individuals' private fears and society's public transgressions. Explainers is the first of four volumes collecting Feiffer's entire run of weekly strips from The Village Voice. This edition contains approximately 500 strips originally published between 1956 and 1966 in a brick-like landscape hardcover format.

    Enjoy these hilarious stories about stupid criminals, their hilarious attempts at crime, and bizarre mistakes they made that prevented them from getting away with their crimes.

    The 100 Best Yo Mama Jokes.

    When the story begins, Fujio and Mitsuo are dreaming of training in martial arts overseas and becoming famous. When they accidentally kill their overbearing boss, they decide to cover up the evidence and bury him at a man-made garbage mountain known as DARK FUJI. Unfortunately for them, the tons of rotting garbage have been contaminated with industrial waste... Which, naturally, transforms the bodies of the dead into ravenous, flesh-eating zombies. Fuji and Mitsuo try their best to survive in this horrific new landscape, but the hapless pair become separated after an idiotic mistake involving potato chips and a stray dog. Skip to a few years later. Post-apocalyptic Tokyo has become a feudalistic society, in which the rich have enslaved the lower classes, who toil in the walled city for protection against the zombies. To alleviate boredom, the rich have created gladiator death matches, pitting zombies against slaves. Fuji and Mitsuo meet up under strange circumstances in the ring of one of these death matches. All hell breaks loose when the two are reunited, and the sanctuary city of the rich comes under fire from a revolutionary pig farmer and a motorcycle gang of roving bandits. Tokyo Zombie was originally serialized in the cutting-edge manga magazine AX from 1998 to 1999. Many years before the film Shaun of the Dead introduced Western audiences to the zombie comedy genre, Hanakuma's send up of Romero zombie films and post-apocalyptic survival story was already a cult classic in Japan. Now English-speaking audiences will have the chance to check out the genre-mashing tale that started it all. Hanakuma's "heta uma" (Literally "Bad, but Good") drawing style punctuates the gory but hilarious depiction of a Tokyo overrun with zombies. This is mixed with a dynamic and authentic depiction of actual martial arts, sourced from Hanakuma's own years of training and competing as a professional martial artist. In addition to the success of the cult manga, Tokyo Zombie was also adapted into a hit film directed by Sakichi Sato and starring cult film stars Tadanobu Asano (Ichi the Killer) and Sho Aikawa (Dead or Alive), with a cameo from famed horror manga artist Kazuo Umezu.

    Should he fulfill his long-cherished dream of joining an otaku club? Saki Kasukabe also faces a dilemma. Can she ever turn her boyfriend, anime fanboy Kousaka, into a normal guy? Kanji triumphs where Saki fails, when both Kanji and Kousaka sign up for Genshiken: The Society for the Study of Modern Visual Culture.Undeterred, Saki chases Makoto through various activities of the club, from cos-play and comic conventions to video gaming and collecting anime figures - all thew while discovering more than she ever wanted to know about the humorous world of the Japanese otaku!

    and how it formed him!This book opens with Portrait of the Artist as a Young %@&*!, creating vignettes of the people, events, and comics that shaped Art Spiegelman. It traces the artist's evolution from a MAD-comics obsessed boy in Rego Park, Queens, to a neurotic adult examining the effect of his parents' memories of Auschwitz on his own son.The second part presents a facsimile of Breakdowns, the long-sought after collection of the artist's comics of the 1970s, the book that triggers these memories. Breakdowns established the mode of formally sophisticated comics that transformed the medium, and includes the prototype of Maus, cubist experiments, an essay on humor, and the definitive genre-twisting pulp story Ace Hole-Midget Detective.Pulling all this together is an illustrated essay that looks back at the sixties as the artist pushes sixty, and explains the obsessions that brought these works into being. Poignant, funny, complex, and innovative, Breakdowns alters the terms of what can be accomplished in a memoir.

    

    Along the way, readers join the author in discovering: • The scary side of fishing; • Why it’s wrong when board games become blood sports; • The unexpected connection between cooking classes and true romance; • How the author's cat convinced him to take up yoga (and why that was a terrible idea); • Golfing for the ball challenged; • The thrill of jumping out of an airplane without risking your life; • The eternal appeal of Elly May Clampett; and, • How to do nothing without feeling guilty about it.

    His immediately recognizable style--featuring bulbous noses, wild sound effects, and the legendary "hinged feet"--was filled with broad and daring slapstick and routinely broke new ground. A surprisingly quiet man, Martin's work spoke volumes as he left an indelible mark on several generations, influencing the style of many illustrators while shaping the sense of humor of countless misguided youths. He was inducted into the Comic Book Hall of Fame in 2004. Says Gary Larson, creator of The Far Side: "Don Martin was the one who really stood out."Now, it is with great pride that Running Press, in collaboration with MAD, launches the MAD’s Greatest Artists: The Completely MAD Don Martin (MAD’s Greatest Artists Series). For the first time ever, here is the complete collection of every piece of art Don Martin published in MAD throughout his extraordinary thirty-year tenure (1957-1987). With all of Martin's strips, covers, posters, and stickers--presented in chronological order--it is nothing less than a masterpiece of comic genius. Complementing Martin's opus of published works are letters, sketches, and rare photos providing an in-depth look at the artist at work. Plus, scattered throughout are notes and original illustrations--commissioned for this volume--paying tribute to the artist and penned by MAD's most-notable personalities, including Al Jaffee, Mort Drucker, Jack Davis, Sergio Aragonés, and more. There are also notes by the likes of Jim Davis (Garfield) and a foreword by Gary Larson. A collector's item and object d'art in its own right, this deluxe two-volume slipcased edition will be the season's must-have gift book for the millions whose childhoods--and subsequent adulthoods--would not have been the same without MAD MAGAZINE and Don Martin.

    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.

    A middle-aged couple lives on the third floor. And on the fourth are two young lovers, Claire and Louis. A building like so many others, where people cross on the stairs, are good neighbours and each have their own story - romantic or painful. As with some mangas, the stories concern everyday life but, in this case they occur closer to home. Everything is treated with such graciousness that we comprehend almost immediately that which is only a suggestion.' - Jean David Moran'

    Here is the plan. The plan is illustrated. The plan is quite complicated. But not too complicated. I think you will be thrilled by it. I am certain you will be thrilled by it.No need to read massive volumes or use the internetJUST READ THISONLY THIS

    Long before the dawn of Man, savage dinosaurs roamed the Earth. Now, only one remains -- the smallest and wildest of them all Gon marches across the wilderness defending the friendly and furry from the mean and hungry. Told entirely without words, the stories highlight the amazingly detailed art and visual storytelling genius of creator Masashi Tanaka. Note: The new CMX edition now reprints this material in right-to-left order, as it appeared in the original Japanese editions.

    Matt's biggest target for ridicule, however, is himself.Wearing his neuroses and fetishes on his sleeve, he knows he is a jerk and does nothing to hide it. This humiliating honesty has made Matt a comedic genius who has been hilariously and shamelessly chronicling his pathetic existence for close to twenty years.