Its subtle ironies and playful allusions never won a broad following, but the adventures of 5-year-old Barnaby Baxter and his fairy godfather Jackeen J. O'Malley was and is a critical favorite.Fantagraphics will introduce the wonders of Barnaby to a new generation of children and parents alike. Co-edited by Johnson biographer Philip Nel (Dr. Seuss: American Icon) and Fantagraphics Associate Publisher Eric Reynolds, with art direction by graphic novelist Daniel Clowes (Ghost World), this five-volume Barnaby series will collect the entirety of the original newspaper strips from 1942-1952. The first volume will collect all the strips from 1942 and 1943.Barnaby revolved around a precocious five-year-old named Barnaby Baxter and his fairly godfather Jackeen J. O'Malley. Yet O'Malley, a cigar-chomping, bumbling con-artist and fast-talker, was not your typical protector. His grasp of magic was usually specious at best, limited to occasional flashes, often aided and abetted by his fellow members in The Elves, Leprechauns, Gnomes, and Little Men’s Chowder & Marching Society.Barnaby's deft balance of fantasy, political commentary, sophisticated wit, and elegantly spare images expanded our sense of what comic strips can do. With subtlety and economy, Barnaby proved that comics need not condescend to readers. Its small but influential readership took that message to heart.

    For many years, Ernie Bushmiller 's Nancy, with its odd-looking, squat heroine, nearly abstract art, and often super-corny gags, was perceived as the stodgiest, squarest comic strip in the world. Popular with newspaper readers, true but definitely not a strip embraced by comic-strip connoisseurs, like Krazy Kat, Dick Tracy or Terry and the Pirates. But then those connoisseurs took a closer look, and began to realize that Bushmiller 's art approached its own kind of cartoon perfection, and those corny gags often achieved a striking zen quality. In its own way, it turned out Nancy was in fact the most iconic comic strip of all. (The American Heritage Dictionary actually uses a Nancy strip to illustrate its entry on comic strip. ) Charter members of the Nancy revival include Art Spiegelman, who published Mark Newgarden 's famous Love 's Savage Fury (featuring Nancy and Bazooka Joe) in an early issue of RAW; Fletcher Hanks anthologist Paul Karasik; Zippy the Pinhead creator Bill Griffith; underground publisher Denis Kitchen, who released several volumes of Nancy collections in the 1980s; Understanding Comics Scott McCloud, who created the Five-Card Nancy card game; Joe Brainard, who produced an entire Nancy book of paintings in 2008; and Andy Warhol, who produced a painting based on Nancy. Beginning in the Winter of 2011, fans will be dancing with joy as Fantagraphics unveils an ongoing Nancy reprint project. Each volume contain a whopping full four years of daily Nancy strips (a Sunday Nancy project looms in the future), collected in a fat, square (what else, for the squarest strip in the world?) package designed by Jacob (Popeye, Beasts , Willie and Joe) Covey. This first volume will collect every daily strip from 1943 to 1946. (Fantagraphics will eventually release Nancy 's first five years, 1938-1942, but given the scarcity of archival material for these years we are giving ourselves some extra time to collate it all.) This first Nancy volume will feature an introduction by another stellar Bushmiller fan, Daniel Clowes (from whose collection most of the strips in this volume were scanned), a biography of the artist, and much more.

    He was the most popular cartoonist of his day, his sense of humor coming straight out of Mark Twain, who also balanced exaggerated tall tales and a perfect ear for everyday speech with dark themes that undercut his laugh-out-loud stories. The series will consist of six volumes released annual through 2011.In this first volume, covering 1928-1930, Popeye's initial courtship of Olive Oyl takes center stage while Olive's brother Castor Oyl discovers the mysterious Whiffle Hen. Also, the entire cast meets the Sea Hag for the first time in their pursuit of the "Mystery House" (Popeye's first extended daily narrative), and Castor Oyl attempts to turn Popeye into a boxing champion in a series of hilarious Sunday strips. These strips are masterpieces of comic invention. Popeye's omnipotence pre-figures the rise of superheroes in the 1930s and 1940s, though Popeye is a much more sympathetic character, and his very name announces his vibrant personality. His mangled English pulsated with the vital spirit of immigrant America, its rhythm poetic in its own vulgar way: "I yam what I yam and tha's all I yam."2007 Eisner Award nominee: Best Archival Collection/Project: Strips; and Best Publication Design (Jacob Covey); 2007 Harvey Award nominee: Best Domestic Reprint Project; Special Award for Excellence in Presentation; Winner: HOW Magazine Design Merit Awards: Covers

    (Among other things, three major cast members—Schroeder, Lucy, and Linus—initially show up as infants and only "grow" into their final "mature" selves as the months go by. Even Snoopy debuts as a puppy!) Thus The Complete Peanuts offers a unique chance to see a master of the art form refine his skills and solidify his universe, day by day, week by week, month by month.This volume is rounded out with Garrison Keillor's introduction, a biographical essay by David Michaelis (Schulz and Peanuts) and an in-depth interview with Schulz conducted in 1987 by Gary Groth and Rick Marschall, all wrapped in a gorgeous design by award-winning cartoonist Seth.

    Not only does this volume reprint the first two years of the strip in which King’s friendly and nostalgic imagination took shape but each book in the series features an eighty-page color introduction by Jeet Heer of Canada’s National Post. Each introduction will also feature never-before-seen archival photos and ephemera from the personal collection of King’s granddaughter. Walt & Skeezix is not just a collection of a classic comic strip—it is the story of a great American cartoonist. Few cartoon strips have this kind of longevity and quality; Gasoline Alley has been with us since 1919 and is a gentle mirror held up to ordinary American life in the early twentieth century. It started as a mild satire on the post-WWI “craze” for cars, but it wasn’t long before it developed into a quirky family story attracting an audience of more than thirty million readers in four hundred–plus newspapers. Gasoline Alley, an affectionate portrait of modern living, is remembered for being the first strip to set itself in contemporary American history. The characters of Gasoline Alley grow up, go to war, and have grandchildren. The strip always reflects the kind, sweet pace of life.

    Then Bill Watterson came along and reminded a new generation of what older readers and comic strip aficionados knew: A well-written and beautifully drawn strip is an intricate, powerful form of communication. And with Calvin and Hobbes, we had fun—just like readers of Krazy Kat and Pogo did. Opening the newspaper each day was an adventure. The heights of Watterson's creative imagination took us places we had never been. We miss that.This book was published in conjunction with the first exhibition of original Calvin and Hobbes Sunday pages at The Ohio State University Cartoon Research Library. Although the work was created for reproduction, not for gallery display, was a pleasure to see the cartoonist's carefully placed lines and exquisite brush strokes. In an attempt to share this experience with those who were unable to visit the exhibition, all of the original Sunday pages displayed are reproduced in color in this book so that every detail, such as sketch lines, corrections, and registration marks, are visible. On the opposite page the same comic strip is printed in full color. Because Watterson was unusually intentional and creative in his use of color, this juxtaposition provides Calvin and Hobbes readers the opportunity to consider the impact of color on its narrative and content.When I first contacted Bill Watterson about the possibility of exhibiting his original work, I used the term "retrospective." He replied that we might be able to do an exhibit, but that calling it a retrospective made him uncomfortable. He felt that a longer time was needed to put Calvin and Hobbes in the historical perspective implied by that term. Nonetheless, this show is a "look back" at the comic strip as we revisit favorites that we remember. Calvin and Hobbes: Sunday Pages 1985-1995 is particularly interesting because each work that is included was selected by Bill Watterson. His comments about the thirty-six Sunday pages he chose are part of this volume. In addition, he reflects on Calvin and Hobbes from the perspective of six years, and his essay provides insights into his life as a syndicated cartoonist.Reprint books of Calvin and Hobbes are nice to have, but the opportunity to see the original work and read Bill Watterson's thoughts about it is a privilege. He generously shared not only the art, but also his time and his thoughts. When I first reviewed the works included in the exhibit, I knew that everyone who visited it would begin with laughter and end with tears.On behalf of all who enjoyed Calvin and Hobbes, thank you, Bill Watterson.--Lucy Shelton Caswell, Professor and Curator The Ohio State University Cartoon Research Library, June 2001

    All Rights Reserved.The Far Side and the Larson signature are registered trademarks of FarWorks, Inc.The Far Side Gallery is an anthology of Gary Larson's The Far Side comic strips, which were printed from 1982–1984.

    An anthology of cartoons from the syndicated comic strip, "Bloom County" encompasses highlights from the five-year span of the strip.

    As a consequence of this accident, he developed phenomenal physical strength. But what actually happened? How did Obelix make that life-altering plunge?Here is the full story of what took place on that incredible day.

    He weighed five pounds, six ounces at birth—that's big for a kitten!—and right from the start showed a passion for Italian food. The restaurant owner, forced to choose between Garfield and closing his doors for lack of pasta, sold Garfield to a pet store. Garfield thought he was a goner until Jon Arbuckle walked in the door. The rest is history.

    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.

    The human drama, the psychological insight -- Eisner captures the soul of the city and its troubled inhabitants with pen and ink. The comics medium was altered forever with the publication of this seminal work.

    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.

    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.

    Each volume in this series reprints two full years of Sunday strips, or 104 full-page, black-and-white Sunday strips (Herriman did not incorporate color into the strip until 1935). Krazy Kat is a love story, focusing on the relationship of its three main characters. Krazy Kat adored Ignatz Mouse. Ignatz Mouse hated Krazy Kat, the expression of which was in throwing bricks at Krazy's head. Offisa Pup loved Krazy and sought to protect "her" (Herriman always maintained that Krazy was genderless), mostly by throwing Ignatz in jail. Each of the characters was ignorant of the other's true motivations. This simple structure allowed Herriman to build entire worlds of meaning into the actions, building thematic depth that led critics like Gilbert Seldes and E. E. Cummings to recognize Herriman's genius almost immediately. Each of Fantagraphics' Krazy Ignatz volumes is designed by Chris Ware, creator of the wildly successful ACME Novelty Library series. This beautiful volume includes material never collected before.