He begins by returning us to the dying days of Balkan conflict and introduces us to his own fixer; a man looking to squeeze the last bit of profit from Bosnia before the reconstruction begins. Thanks to a complex relationship with the fixer Joe discovers the crimes of opportunistic warlords and gangsters who run the countryside in times of war. But the west is interested in a different spin on the stories coming out of Bosnia. Almost ten years later, Joe meets up with his fixer and sees how the new Bosnian government has "dealt" with these criminals and Joe ponders who is holding the reins of power these days...

    By addressing the horror of the Holocaust through cartoons, the author captures the everyday reality of fear and is able to explore the guilt, relief and extraordinary sensation of survival - and how the children of survivors are in their own way affected by the trials of their parents. A contemporary classic of immeasurable significance.

    My father works at a factory, my mother at a dairy. Social problems are at their height. Empty stores are our daily bread.I’m scared of spiders and the world of adults doesn’t seem like a walk in the park.”Told from a young girl’s perspective, Marzena Sowa’s memoir of a childhood shaped by politics feels remarkably fresh and immediate. Structured as a series of vignettes that build on one another, MARZI is a compelling and powerful coming-of-age story that portrays the harsh realities of life behind the Iron Curtain while maintaining the everyday wonders and curiosity of childhood. With open and engaging art by Sylvain Savoia, MARZI is a moving and resonant story of an ordinary girl in turbulent, changing times.

    In early 2001 cartoonist Guy Delisle became one of the few Westerners to be allowed access to the fortress-like country. While living in the nation's capital for two months on a work visa for a French film animation company, Delisle observed what he was allowed to see of the culture and lives of the few North Koreans he encountered; his findings form the basis of this graphic novel.Guy Delisle was born in Quebec City in 1966 and has spent the last decade living and working in the South of France with his wife and son. Delisle has spent ten years, mostly in Europe, working in animation, an experience that taught him about movement and drawing. He is now currently focusing on his cartooning. Delisle has written and drawn six graphic novels, including "Pyongyang," his first graphic novel in English.

    This graphic novel/photo-journal is a record of one reporter’s arduous and dangerous journey through Afghanistan, accompanying the Doctors Without Borders. Didier Lefevre’s photography, paired with the art of Emmanuel Guibert, tells the powerful story of a mission undertaken by men and women dedicated to mending the wounds of war.

    After twenty years, when the killer was finally captured with the help of DNA technology, Jensen and fellow detectives spent 188 days interviewing Gary Ridgway in an effort to learn his most closely held secrets--an epic confrontation with evil that proved as disturbing and surreal as can be imagined. Written by Jensen's own son, acclaimed entertainment journalist Jeff Jensen, Green River Killer: A True Detective Story is bound to become a well-recognized member of the crime-genre graphic novel family, including titles like Darwyn Cooke’s The Hunter and Alan Moore’s From Hell.

    The next morning, he said goodbye to his 7½-months-pregnant wife, Alissa, and headed out the door.In an instant, Alissa's world was thrown into chaos. Forced to deal with unimaginable challenges, Alissa suddenly found herself cast into the role of 9/11 widow, tossed into a storm of bureaucracy, politics, patriotism, mourning, consolation, and, soon enough, motherhood.Beautifully and thoughtfully illustrated, American Widow is the affecting account of one woman's journey through shock, pain, birth, and rebirth in the aftermath of a great tragedy. It is also the story of a young couple's love affair: how a Colombian immigrant and a strong-minded New Yorker met, fell in love, and struggled to fulfill their dreams. Above all, American Widow is a tribute to the resilience of the human heart and the very personal story of how one woman endured a very public tragedy.

    Joining the trio is a childhood friend and former Marine whose past service in Iraq adds an unexpected and sometimes unwelcome viewpoint, both to the people they come across and perhaps even themselves.As the crew works their way through Turkey, Iraq, and Syria, Glidden observes the reporters as they ask civilians, refugees, and officials, “Who are you?” Everyone has a story to tell: the Iranian blogger, the United Nations refugee administrator, a taxi driver, the Iraqi refugee deported from the US, the Iraqis seeking refuge in Syria, and even the American Marine.Glidden (How to Understand Israel in 60 Days or Less) records all that she encounters with a sympathetic and searching eye. Painted in her trademark soft, muted watercolors and written with a self-effacing humor, Rolling Blackouts cements Glidden’s place as one of today’s most original nonfiction voices.

    The city of Beirut is cut in two, separated by bricks and sandbags and threatened by snipers and shelling. East Beirut is for Christians, and West Beirut is for Muslims. When Zeina's parents don't return one afternoon from a visit to the other half of the city and the bombing grows ever closer, the neighbors in her apartment house create a world indoors for Zeina and her brother where it's comfy and safe, where they can share cooking lessons and games and gossip. Together they try to make it through a dramatic day in the one place they hoped they would always be safe--home.

    While trying to understand his dissatisfaction with the present, Seth discovers the life and work of Kalo, a forgotten New Yorker cartoonist from the 1940s. But his obsession blinds him to the needs of his lover and the quiet desperation of his family. Wry self-reflection and moody colours characterize Seth's style in this tale about learning lessons from nostalgia. His playful and sophisticated experiment with memoir provoked a furious debate among cartoon historians and archivists about the existence of Kalo, and prompted a Details feature about Seth's "hoax".

       The Caped Crusader has been the all-abiding icon of justice and authority for generations. But in this surprising original graphic novel, we see Batman in a new light—as the savior who helps a discouraged man recover from a brutal attack that left him unable to face the world. In the 1990s, legendary writer Paul Dini had a flourishing career writing the hugely popular Batman: The Animated Series and Tiny Toon Adventures. Walking home one evening, he was jumped and viciously beaten within an inch of his life. His recovery process was arduous, hampered by the imagined antics of the villains he was writing for television including the Joker, Harley Quinn and the Penguin. But despite how bleak his circumstances were, or perhaps because of it, Dini also always imagined the Batman at his side, chivvying him along during his darkest moments. A gripping graphic memoir of one writer’s traumatic experience and his deep connection with his creative material, DARK NIGHT: A TRUE BATMAN STORY is an original graphic novel that will resonate profoundly with fans. Art by the incredible and talented Eduardo Risso (100 BULLETS, TRANSMETROPOLITAN).

    Peter, her husband, was a fanatical Serbian nationalist who had been forced to leave his country at the end of World War II and migrate to Canada. But even there he continued his activities, joining a terrorist group that planned to set off bombs at the homes of Tito sympathisers and at Yugoslav missions in Canada and the USA. Then in 1977, while his family were still in Yugoslavia, a telegram arrived to say that a bomb had gone off prematurely and Peter and two of his comrades had been killed.Nina Bunjevac tells her family’s story in superb black-and-white artwork. Fatherland will be recognised as a masterpiece of non-fiction comics, worthy to stand beside Persepolis and Palestine.

    His beloved tar has been broken. But no matter what tar he tries, none of them sound right. Brokenhearted, Nasser Ali Khan decides that life is no longer worth living. He takes to his bed, renouncing the world and all of its pleasures. This is the story of the eight days he spends preparing to surrender his soul.

    Extraordinary." —Variety One night in Beirut in September 1982, while Israeli soldiers secured the area, Christian militia members entered the refugee camps of Sabra and Shatila and began to massacre hundreds, if not thousands, of Palestinians. Ari Folman was one of those Israeli soldiers, but for more than twenty years he remembered nothing of that night or of the weeks leading up to it. Then came a friend's disturbing dream, and with it Folman's need to excavate the truth of the war in Lebanon and answer the crucial question: what was he doing during the hours of slaughter? Challenging the collective amnesia of friends and fellow soldiers, Folman painfully, candidly pieces together the war and his place in it. Gradually, the blankness of his mind is filled in by scenes of combat and patrol, misery and carnage, as well as dreams and hallucinations. Soldiers are haunted by inexplicable nightmares and flashbacks - snapping, growling dogs with teeth bared and eyes glowing orange; a recurring image of three young men rising naked out of the sea to drift into the Beirut battlefield. Tanks crush cars and buildings with lethal indifference; snipers pick off men on donkeys, men in cars, men drinking coffee; a soldier waltzes through a storm of bullets; rock songs fill the air, and then yellow flares. The recollections accumulate until Ari Folman arrives at Sabra and Shatila and his investigation reaches its terrible end. The result is a gripping reconstruction, a probing inquiry into the unreliable quality of memory, and, above all, a powerful denunciation of the senselessness of all wars. Profoundly original in form and approach, Waltz with Bashir will take its place as one of the great works of wartime testimony.

    We're in the most extreme and utter region of the human mind. A dim, subconscious underworld. A radiant abyss where men meet themselves. Hell, Netley. We're in Hell." Having proved himself peerless in the arena of reinterpreting superheroes, Alan Moore turned his ever-incisive eye to the squalid, enigmatic world of Jack the Ripper and the Whitechapel murders of 1888. Weighing in at 576 pages, From Hell is certainly the most epic of Moore's works and remarkably and is possibly his finest effort yet in a career punctuated by such glorious highlights as Watchmen and V for Vendetta. Going beyond the myriad existing theories, which range from the sublime to the ridiculous, Moore presents an ingenious take on the slaughter. His Ripper's brutal activities are the epicentre of a conspiracy involving the very heart of the British Establishment, including the Freemasons and The Royal Family. A popular claim, which is transformed through Moore's exquisite and thoroughly gripping vision, of the Ripper crimes being the womb from which the 20th century, so enmeshed in the celebrity culture of violence, received its shocking, visceral birth. Bolstered by meticulous research that encompasses a wide spectrum of Ripper studies and myths and coupled with his ability to evoke sympathies in such monstrous characters, Moore has created perhaps the finest examination of the Ripper legacy, observing far beyond society's obsessive need to expose Evil's visage. Ultimately, as Moore observes, Jack's identity and his actions are inconsequential to the manner in which society embraced the Fear: "It's about us. It's about our minds and how they dance. Jack mirrors our hysterias. Faceless, he is the receptacle for each new social panic." Eddie Campbell's stunning black and white artwork, replete with a scratchy, dirty sheen, is perfectly matched to the often-unshakeable intensity of Moore's writing. Between them, each murder is rendered in horrifying detail, providing the book's most unnerving scenes, made more so in uncomfortable, yet lyrical moments as when the villain embraces an eviscerated corpse, craving understanding; pleading that they "are wed in legend, inextricable within eternity". Though technically a comic, the term hardly begins to describe From Hell's inimitable grandeur and finesse, as it takes the medium to fresh heights of ingenuity and craftsmanship. Moore and Campbell's autopsy on the emaciated corpse of the Ripper myth has divulged a deeply disturbing yet undeniably captivating masterpiece. —Danny Graydon