The world of commerce and frivolous necessity has been replaced by a world of survival and responsibility. An epidemic of apocalyptic proportions has swept the globe, causing the dead to rise and feed on the living. In a matter of months society has crumbled: no government, no grocery stores, no mail delivery, no cable TV. In a world ruled by the dead, the survivors are forced to finally start living.

    He's just like any other boy, except for a few small differences: he only has one eye, his hair is an antenna that senses paranormal activity, his geta sandals are jet-powered, and he can blend into his surroundings like a chameleon. Oh, and he's a three-hundred-and-fifty-year-old yokai (spirit monster). With all the offbeat humor of an Addams Family story, Kitaro is a lighthearted romp in which the bad guys always get what's coming to them. Kitaro is bestselling manga-ka Shigeru Mizuki's most famous creation. The Kitaro series was inspired by a kamishibai, or storycard theater, entitled Kitaro of the Graveyard. Mizuki began work on his interpretation of Kitaro in 1959. Originally the series was intended for boys, but once it was picked up by the influential Shonen magazine it quickly became a cultural landmark for young and old alike. Kitaro inspired half a dozen TV shows, plus numerous video games and films, and his cultural importance cannot be overstated. Presented to North American audiences for the first time in this lavish format, Mizuki's photo-realist landscapes and cartoony characters blend the eerie with the comic.

    The Dungeon is attacked by a swarm of flying venomous toads so large it almost succumbs as the perpetrators look to get free rein inside! In the second story, Herbert is sent on a mission to… clear out the septic tank where a whole beautiful ecology has evolved.

    "The Innocents," which includes two narrative tracks in different drawing styles, is a contemplative, beautifully drawn graphic novelette about these three characters' meeting. Future issues will focus on other members of this group of friends, a bit like Jaime Hernandez's "Locas" stories, with supporting characters stepping into the spotlight as former "lead" characters become part of the background...

    (His very first—rejected—comics story dealt with the subject, as does his most recent work, the two-volume Putain de Guerre.) But It Was the War of the Trenches is Tardi’s defining, masterful statement on the subject, a graphic novel that can stand shoulder to shoulder with Erich Maria Remarque’s All Quiet on the Western Front and Ernest Hemingway’s A Farewell to Arms.Tardi is not interested in the national politics, the strategies, or the battles. Like Remarque, he focuses on the day to day of the grunts in the trenches, and, with icy, controlled fury and disgust, with sardonic yet deeply sympathetic narration, he brings that existence alive as no one has before or since. Yet he also delves deeply into the underlying causes of the war, the madness, the cynical political exploitation of patriotism. And in a final, heartbreaking coda, Tardi grimly itemizes the ghastly human cost of the war, and lays out the future 20th century conflicts, all of which seem to spring from this global burst of insanity.Trenches features some of Tardi’s most stunning artwork. Rendered in an inhabitually lush illustrative style, inspired both by abundant photographic documentation and classic American war comics, augmented by a sophisticated, gorgeous use of Craftint tones, trenches is somehow simultaneously atypical and a perfect encapsulation of Tardi’s mature style. It is the indisputable centerpiece of Tardi’s oeuvre.It Was the War of the Trenches has been an object of fascination for North American publishers: RAW published a chapter in the early 1980s, and Drawn and Quarterly magazine serialized a few more in the 1990s. But only a small fraction of Trenches has ever been made available to the English speaking public (in now out of print publications); the Fantagraphics edition, the third in an ongoing collection of the works of this great master, finally remedies this situation.

    Dracula has haunted the Marvel Age of Comics for years - now, see his modern misdeeds from Night One! When the Prince of Darkness rises, longtime enemies are ready for a fight - and so is one of his own descendants! Undead armies, time travel, deathbed voodoo, and more! Featuring the first appearance of multi-media marvel Blade: Vampire Hunter! Collects Tomb of Dracula #1-12.

    The phrase "super hero" had yet to be coined when ACTION COMICS #1 hit newsstands in 1938, but once Superman entered the scene, effortlessly lifting a car above his head on that first iconic cover, the character paved the way for each of the hundreds (if not thousands) of super-powered heroes written since. SUPERMAN: A CELEBRATION OF 75 YEARS gathers a range of stories featuring the first and greatest super hero, highlighting the many roles the Man of Steel has played over the decades. In these celebrated stories, Superman is in turns the Herculean champion, the lonely alien survivor, the super-powered Boy Scout and the soul-searching leader. Over the course of seventy-five years, watch as the character grows from a simple strongman to the beloved international symbol he is today!This Volume Collects:("Superman, Champion of the Oppressed") / ("War in San Monte") -- ACTION COMICS #1-2 (1938) Writer: Jerry Siegel, Artist: Joe Shuster"How Superman Would End the War" -- Look Magazine (1940) Writer: Jerry Siegel, Artist: Joe Shuster"Man or Superman?" -- SUPERMAN #17 (1942) Writer: Jerry Siegel, Penciller: Joe Shuster, Inker: Joe Sikela"The Origin of Superman" -- SUPERMAN #53 (1948) Writer: Bill Finger, Penciller: Wayne Boring, Inker: Stan Kaye"The Mightiest Team in the World" -- SUPERMAN #76 (1952) Writer: Edmond Hamilton, Penciller: Curt Swan, Inker: John Fishchetti"The Super-Duel in Space" -- ACTION COMICS #242 (1958) Writer: Otto Binder, Artist: Al Plastino "The Girl From Superman's Past" -- SUPERMAN #129 (1959) Writer: Bill Finger, Penciller: Wayne Boring, Inker: Stan Kaye"Superman's Return to Krypton" -- SUPERMAN #141 (1960) Writer: Jerry Siegel, Penciller: Wayne Boring, Inker: Stan Kaye"The Death of Superman" -- SUPERMAN #149 (1961) Writer: Jerry Siegel, Penciller: Curt Swan, Inker: George Klein"Must There Be a Superman?" -- SUPERMAN #247 (1972) Writer: Eliot S. Maggin, Penciller: Curt Swan, Inker: Murphy Anderson "Rebirth" -- ACTION COMICS #544 (1983) Writer: Marv Wolfman, Artist: Gil Kane"The Living Legends of Superman" (excerpt) -- SUPERMAN #400 (1985) Writer: Elliot S. Maggin, Artist: Frank Miller"For the Man Who Has Everything" -- SUPERMAN ANNUAL #11 (1985)Writer: Alan Moore, Artist: Dave Gibbons"The Name Game" -- SUPERMAN #11 (1987)  Writer/Penciller: John Byrne, Inker: Karl Kesel"Doomsday" -- SUPERMAN #75 (1993)  Writer/Penciller: Dan Jurgens, Inker: Brett Breeding"What's So Funny About Truth Justice and the American Way?" -- ACTION COMICS #775 (2001)  Writer: Joe Kelly, Pencillers: Doug Mahnke, Lee BermejoInkers: Tom Nguyen, Dexter Vines, Jim Royal, Jose Marzan, Jr., Wade Von Grawbadger, Wayne Faucher"Question of Confidence" -- Mythology: The DC Comics Art of Alex Ross (2003)  Writer: Chip Kidd, Artist: Alex Ross"The Incident" -- ACTION COMICS #900 (2011)  Writer: David S. Goyer, Artist: Miguel Sepulveda"The Boy Who Stole Superman's Cape" -- ACTION COMICS #0 (2012)   Writer: Grant Morrison, Artist: Ben Oliver

    Here, he takes up his pen for an edgy new FIVE-PART SERIES about a highly unconventional angel named Karmen and the young woman she takes under her wing when a case of heartbreak strikes hard. Packed with surprises and metaphysics, this gorgeously drawn series deploys tenderness and humor as it dives deep into topics that matter.

    Three delectable murders, culled from the pages of Victorian papers of the era, are presented in Geary’s inimitable style, tongue firmly in cheek!

    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.

    The lines between character and actor are blurring under the verisimilitude of the Vegas strip, the desert sun and the impossibly shiny surface of Bradley’s shades.

    6-up. Here's a collection that will have graphic novel fans and die-hard Bradbury readers scrambling for the shelves. Some of the best artists in the business have adapted the author's short stories for the comics page. Each adaptation is accompanied by a preface by Bradbury, offering insight into the inspiration for the story, and each artist is paired with a story that suits his artwork perfectly. Among the best are "Come into My Cellar," from Dave Gibbons (of Watchmen fame), a Tales from the Crypt -like story of invaders from outer space, complete with a cliff-hanger ending and retro artwork, and "The Golden Apples of the Sun," adapted by P. Craig Russell (Sandman), an interstellar exploration of the uninhabitable star. A wonderful showcase of graphic novel artists and a great introduction for readers new to Bradbury's dark fantasy world. -Carlos Orellana

    Specifically designed to be readable by children aged 7 +, with vocabulary and sentence structures that match their ability, these stories are entertaining, and the fun, action-packed illustrations are a great way to initiate reluctant readers, in particular boys, to the pleasure of sitting down and reading a book, plunging into an imaginary universe and be taken away by a story. The stories are classics of Western culture that children should be familiar with. The first two in the series, Robin Hood and King Arthur, will be followed by Dracula, Dr Jekyll and Mr Hyde, and other retellings of classic literature with eye-catching illustrations and vibrant dialogue. Also a great addition to libraries' catalogues.