This volume presents the work of Edward Gorey, the American artist and writer perhaps best known for his witty opening credits for PBS's Myster! series and for such books as Amphigorey, The Doubtful Guest and The Unstrung Heart.

    Reveals the complete story behind the virtual British band, from childhood to Gorillaz inception, through albums, tours, videos, influences, breakdowns, and break-ups.

    This book by one of Wired magazine's art directors traverses the graphic world through a collection of pie charts, bar graphs, timelines, scatter plots, and more. Super Graphic offers readers a unique look at the intricate and sometimes contradictory storylines that weave their way through comic books, and shares advice for navigating the pages of some of the most popular, longest-running, and best-loved comics and graphic novels out there. From a colorful breakdown of the DC Comics reader demographic to a witty Venn diagram of superhero comic tropes and a Chris Ware sadness scale, this book charts the most arbitrary and monumental characters, moments, and equipment of the wide world of comics.

    Foreman on a deconstruction ship that specializes in demolishing belief outbreaks, Nul is prodded out of his complacency by a false murder charge, and sets off on a journey that takes him to the very brink of hope. A 232-page concoction of fiction and intrigue that delves into the bleak and bitter philosophical brew of Nihilist chic.

    over the last four years. This modern renaissance of comics has produced a library of substantial works, whose subjects are not confined to superheroes or fantasy but are as varied and sophisticated as the best films and literature.Graphic Novels presents an accessible, entertaining, and highly illustrated guide to the diversity of contemporary comics in book form. Featuring striking graphics and explanatory extracts from a wide range of graphic novels, the book examines the specific language of the comics medium; the history and pioneers of the form; recent masterpieces from Art Spiegelman's Maus to Chris Ware's Jimmy Corrigan; the impact of Japanese manga and European albums translated into English; how artists have overcome prejudices towards the genre; and the ambitious range of themes and issues artists are addressing, including childhood, war and survival, politics, the future, sexuality, and the supernatural.

    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.

    met his inept and geeky roommate, Mike Doonesbury. Over the months that followed, they were joined by campus radical “Megaphone Mark,” Boopsie, Zonker, and on and on. Fourteen thousand strips later, the world of Doonesbury has become a unique and remarkable creation, sustained by a vast and intricately woven web of relationships among 40 major characters, spanning three generations. While chronicling his characters’ entanglements and intimacies, G. B. Trudeau developed a keen satirical commentary that has ambitiously and relentlessly carved out an indelible record of four decades of American social and political history. The comic strip, like jazz and rock and roll, is an American form, and Trudeau has expanded it boldly and fearlessly, taking it into new realms. An epic unfolding, the Doonesbury saga constantly entices readers to keep up with its ever-evolving cast and endlessly inventive story lines. Trudeau remains fully engaged in the creation of his far-from-complete magnum opus. This massive yet elegant anniversary volume marks the strip’s fourth decade by examining in depth the characters and relationships that have given Doonesbury such vitality and resilience, and allowed it to constantly reinvigorate itself. The book opens with an in-depth introductory essay by G. B. Trudeau in which he surveys his sprawling creation as only he could, followed by brief word-and-picture portraits of all the principle players. The collection’s core consists of more than 1,800 beautifully displayed strips—dailies and Sundays—that chart key adventures and cast connections over the last four decades. Dropped in throughout this rolling narrative are 20 detailed essays in which Trudeau contemplates individual characters or bonded groups of characters, including portraits of ur-folk such as Duke and Honey, Zonker, Joanie, and Rev. Sloan, as well as those who have joined the cast more recently, such as Zipper, Alex, and Toggle. The centerpiece of the volume is a four-page foldout diagram that maps in great and annotated colorful detail the mind-boggling matrix of character relationships. A feast of storytelling and a clarifying overview, this celebratory tome offers a unique way to experience one of the greatest comic strips ever.Created by the team that brought you The Complete Far Side and The Complete Calvin and Hobbes, this massive-yet-elegant celebratory anthology marks Doonesbury's 40th anniversary by examining in depth the characters that have given the strip such vitality. On October 26, 1970, college jock B.D. met his inept and geeky roommate, Mike. Fourteen thousand strips later, the world of Doonesbury has grown uniquely vast, sustained by an intricately woven web of relationships--over 40 major characters spanning three generations. This book opens with an in-depth essay in which G. B. Trudeau surveys his sprawling creation as only he could. The volume's 1,800 beautifully displayed strips chronicle the key adventures and path crossings of the ever-evolving cast, from ur-characters such as Zonker, Joanie, Duke, and Honey, to relative newcomers such as Zipper, Alex, and Toggle. Dropped in throughout are 18 detailed essays in which Trudeau contemplates individual characters and groups of characters.The book's literal centerpiece is a four-page foldout that maps in annotated detail the mind-boggling matrix of relationships. A feast of storytelling and a clarifying overview, 40: A Doonesbury Retrospective offers a unique way to experience one of the greatest comic strips ever.

    THE BIG BOOK OF DEATH looks the Grim Reaper in the face and laughs, with tales of outmoded methods of execution, capital punishment, visits to famous cemeteries, body disposal, weird deaths and stupid murders and more.

    We are only just discovering the reality of our avian adversaries, with their reptilian brains, their appetites for mayhem and the fact that they fly mostly to spite us. To ignore the information found within this volume may be at the peril of your very life.

    A cardinal has roommate problems. A hummingbird is eager to join a social network. A bush baby teeters on the edge (You wanna throw down?!) Here for the first time are the innermost thoughts of our furry and feathered friends, who—it is finally revealed—humorously share the same anxieties, frustrations, and preoccupations as we do. Whether it's a raccoon fretting about his judgmental friends, a buffalo impatiently waiting for his dumplings, or a sloth contemplating a career in stand-up comedy, each colorfully illustrated critter captures a moment of modern flux—and together they create an irresistibly funny portrait of a kingdom both wild and amusingly familiar.

    The brilliant and uproarious #15 bestseller (i.e., a runaway phenomenon in its own right-no, seriously) - a lavish compendium of handy reference tables, fascinating trivia, and sage wisdom - all of it completely unresearched, completely undocumented and (presumably) completely untrue, fabricated by the illuminating, prodigious imagination of John Hodgman, certifiable genius.

    It is a celebration of the surreal world of one of Britain's finest contemporary artists.

    Originally published by Palliard Press.

    Now noted cartoonist Gahan Wison tackles this subject with uncanny expertise and insight. Inside are freaks of the past, such as the cyclops; well known freaks of recent eras, such as the Elephant Man; and potential future freaks created through genetic manipulation. Graphic novel format. Mature readers.

    She is perhapsas well known for her tantalizing brand of Southern Gothic humor as she is for her Catholicism. That these tendencies should be so happily married in her fiction is no longer a surprise. The real surprise is learning that this much beloved icon of American literature did not set out to be a fiction writer, but a cartoonist. This seems to be the last well-kept secret of her creative life. Flannery O'Connor: The Cartoons, the first book devoted to the author's work in the visual arts, emphasizes O'Connor's most prolific period as a cartoonist, drawing for her high school and college publications in the early 1940s. While many of these images lampoon student life and the impact of World War II on the home front, something much more is happening. Her cartoons are a creative threshing floor for experimenting and trying out techniques that are deployed later with such great success in her fiction. O'Connor learns how to set up and carry a joke visually, how to write a good one-liner and set it off against a background of complex visual narration. She develops and asserts her taste for a stock set of character types, attitudes, situations, exaggerations, and grotesques, and she learns how to present them not to distort the truth, but to expose her vision of it.She worked in both pen & ink and linoleum cuts, and her rough-hewn technique combined with her acidic observations to form a visual precursor to her prose. Fantagraphics is honored to bring the early cartoons of this American literary treasure to a 21st century readership.