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In our latest collection of the Zippy the Pinhead daily comic strip, Zippy is visits his home town, Dingburg: the only city in the US inhabited entirely by pinheads (well, aside from Washington, DC. And some sections of Newark). Reader response to this new Dingburg "story thread" has been loud and approving, with many asking for directions to the fabled enclave, somewhere "17 miles west of Baltimore". Detailed maps will be provided on the new book's endpapers.Also in this issue: the revealing "Little Zippy" series, in which Zippy's magical and very weird childhood is laid bare. And, finally, Zippy and J. Edgar Hoover (remember him?) cavort in tutus and play with loaded guns.

What-?! Zippy hijacked!? And by marauding speech balloon appropriators, no less!? This shocking turn of events, and more, is chronicled in th latest collection of the Zippy the Pinhead daily comic strip, Zippy: Walk a Mile in My Muu-Muu. In the aforementioned storyline, all of the strip's dialogue is usurped by balloons taken directly from old comics like Beach Blanket Bingo, Rusty Riley, UFO Comics, Mutt and Jeff, and Steve Roper. Will Zippy get his voice back? And will he remember being abducted from a Kansas cow-lot by little gray aliens?

In this new Zippy collection, Zippy visits his doppelganger atop the Leaning Tower of Pizza, talks Republicanism with several symbolic elephants, imagines he's in a Deputy Dawg cartoon and deconstructs King Kong - and that's just between breakfast and lunch.

In Type "Z" Personality, Zippy's new collection of daily and Sunday strips, Zippy dabbles in haiku, visits the malls of Australia, talks to Albert Einstein, lampoons "Manga" and goes into a deep trance while bowling. And if all that wasn't enough, Zippy insults Dick Cheney while imagining he's the hood ornament on a 1931 Studebaker.

Comprising a full two and a half years' worth of dailies and full-color Sundays, The Dingburg Diaries is the third Zippy book featuring tales of "Dingburg, the City Inhabited Entirely by Pinheads"―Zippy's home town. There's even a long series of "Historical Dingburg" strips, chronicling the pinhead population through the years, from 1840, when Dingburg's "Town Fool" accidentally invented disco, to 1958 when Dingburg Beatniks flourished in the town's Bohemian neighborhood. Like, Yowl, man. God also has his own chapter (and verse). In the guise of a clip art "author ity figure," he dispenses unwanted advice and conditional love upon the citizens of Dingburg. His tendency to cross-dress reaches new heights when he appears in a performance of "Swine Lake," wearing a tutu. Sacrilegious, yet sensitive. There are large chunks of Mr. The Toad, Zerbina, Little Zippy and the rest of Griffith's cast of characters throughout this expanded collection.

Bill Griffith's Zippy the Pinhead is a pop culture icon. The surrealist-leaning character is one of the most recognizable figures on the newspaper pages, seen by tens of millions of people a day. Syndicated by King Features since 1986, Zippy is read in hundreds of daily newspapers across the country, while the Pinhead's trademark non-sequitur, "Are we having fun yet?," has become so often repeated it's inBartlett's Familiar Quotations. His likeness has been grafittied on the Berlin Wall and aped for Saturday Night Live's classic "Conehead" sketches. This new Zippy collection features approximately a year's worth of strips, from November 2003 through November 2004, including full-color Sundays. Follow Zippy as he weaves in and out of "Bushmiller Country" (the land formerly inhabited by Ernie Bushmiller's classic Nancy comic strip) and as if things weren't strange enough he suddenly begins spouting Japanese, French, Russian, Farsi, Hungarian, Greek, Finnish and Latin! Zippy meets aliens, revisits Levittown (his birthplace) with Griffy, confronts the evil "Ziggy" and frolics with advertising icons like Reddy Kilowatt, Mr. Bubble, Colonel Sanders and the long-forgotten Unifax Astroboy. Oh, yeah, and he takes a long, hot bath (without Mr. Bubble).

Anyone who watches the former U.S. Secretary of Labor and The Daily Show and CNBC commentator's videocasts, viewed on his Inequality Media website, has seen Reich's informal lectures on student debt, social security, and gerrymandering, which he accompanies by quickly drawing cartoons to illustrate his major points. Collected here, for the first time, are short essays, edited from his presentations, and Reich's clean-line, confident illustrations, created with a large sketchpad and magic marker. Economics in Wonderland clearly explains the consequences of the disastrous policies of global austerity with humor, insight, passion, and warmth, all of which are on vivid display in words and pictures.

This series is rated Adults Only
DISCLAIMER: graphic sexuality
While many cartoonists in the late '60s and early '70s were "turning on, tuning in, and dropping out," Jim Osborne was cut from a much darker cloth, delving into the extreme underbelling of American popular culture with unsettling comics about murder, conspiracy, and demons, both figurative and literal. This book collects all of Osborne's stories and illustrations from formative publications like Yellow Dog, Bijou Funnies, and National Lampoon, many republished here for the first time in decades.

The career of Jay Lynch, cartoonist, satirist, and counterculture archivist, spanned more than six decades and displayed his many graphic talents in a vast array of contexts and media. He contributed to the earliest counterculture press, drew and edited many underground comic books, designed confectionary novelties and promotional products, and in later years painted a myriad of private commissions for fans of his work. Included are Lynch's cartoon memoirs, Ink & Anguish, in collaboration with Ed Piskor (Hip-Hop Family Tree, X-Men: Grand Design), which were uncompleted at the time of his death. All his signature Nard 'n' Pat stories from Bijou Funnies are featured in this volume, as well as comics from Bogeyman, San Francisco Comic Book, Bizarre Sex, Teen-age Horizons of Shangri-la, a sampling of his Wacky Packages, Garbage Pail Kids and other Topps Chewing Gum premiums, and acrylic paintings. Lynch also narrates his life story throughout the book, from his dysfunctional childhood to the day he selected his coffin and head stone, in a half-century series of interviews and correspondence with comic historian Patrick Rosenkranz.

Eddie, accompanied by his big goofy dog, goes fishing in his goldfish bowl, saws the legs off a too-high table, and takes a bath with his clothes on! The bright colors, lively drawings, and sing-songy rhymes will delight young readers as they follow along Eddie's lighthearted mischief. Originally created by Israeli artist Aryeh Navon and Lea Golberg in the 1930s, Rutu Modan offers her own playful take on this classic character for a new, international generation of young readers.

The definitive Comics Journal interviews with the cartoonists behind Zap Comix, featuring: Supreme 1960s counterculture/underground artist Robert Crumb on how acid unleashed a flood of Zap characters from his unconscious; Marxist brawler Spain Rodriguez on how he made the transition from the Road Vultures biker gang to the exclusive Zap cartoonists' club; Yale alumnus Victor Moscoso and Christian surfer Rick Griffin on how their poster-art psychedelia formed the backdrop of the 1960s San Francisco music scene; Savage Id-choreographer S. Clay Wilson on how his dreams insist on being drawn; Painter and Juxtapoz-founder Robert Williams on how Zap #4 led to 150 news-dealer arrests; Fabulous, Furry, Freaky Gilbert Shelton on the importance of research; Church of the Subgenius founder Paul Mavrides on getting a contact high during the notorious Zap jam sessions; and much more. In these career-spanning interviews, the Zap contributors open up about how they came to create a seminal, living work of art.

A double serving of the stoner D&D epic.
In 2011's Dungeon Quest Book Two, we left our heroes, Millennium Boy, Steve, Lash and Nerdgirl, in the Temple of Bromedes as they began their initiation into the mysteries of Atlantis under the tutelage of the androgynous forest mystic, Bromedes. In this third book, our heroes complete their learning with Bromedes and are guided towards further quests in Rufford Park and beyond, to the Zuur Plateau. However, they are not yet clear of the hazards of Fireburg Forest. Resurfacing to the forest floor (after hitting the strongest weed in the universe, Orangutan Daydream), they must survive a perilous cliff path, discover moon shrines, battle wild Womraxes, endure knock-out gas, hypnagogic visions, nakedness and deprivation and, finally, embark on a desperate and courageous mission to rescue Nerdgirl from cruel Forest Bandits and retrieve their stolen equipment.
In this third book, by far the longest installment of the series so far, the reader is also introduced to the history and mysticism of The Romish Book of the Dead, a sexually avant-garde "little forest man" (who becomes the fifth member of the crew), Steve's newly discovered "battle warping'" abilities (which Millennium Boy dismisses as being amere "kundalini spasm"), weapons and armor upgrades and a whole new level of bizarre comedy, rousing adventure and ass-kicking action - all staged in front of fantastic backdrops replete with strange vegetation, ancient ruins and steampunk imagery.
Collects Dungeon Quest Book Three (2012) 1-14.

This exquisite and mostly silent graphic novel takes place in a fantasy cityscape loosely inspired by German Expressionist film. Cult of the Ibis tells a story of an occultist getaway-driver who, after escaping with the loot from a bank robbery gone wrong, orders a build-your-own homunculus kit and goes on the lam.

In expressive black-and-white lines with forays into bold Cubism, Fleener tells the story of Billie the Bee, who is too big, too fast, and has far too much personality to simply collect pollen. So, the Queen Bee (with ulterior motives) sends Billie out to patrol the woodlands and marshes of San Diego for danger. She encounters a heron on hallucinogens, dirty joke-telling turtles, and humans illegally releasing vermin that will unbalance the entire ecosystem. Mixing coming-of-age graphic fiction with facts about bees and the environment, Fleener's Billie the Bee is both a great reintroduction to a comics talent and ripped from the headlines.

The Love & Rockets library continues with this special volume.
To a very great extent, Love & Rockets is synonymous with Hoppers' Maggie & Hopey and Palomar's Luba & Carmen & Heraclio & Tonantzin... but there was always more to L&R than that. Amor y Cohetes finally collects together in one convenient package all the non-Maggie and non-Palomar stories by all three Hernandez Brothers from that classic first, 50-issue Love and Rockets series - a dizzying array of styles and approaches that re-confirms these groundbreaking cartoonists' place in the history of comics.
The book leads off with Gilbert's original 40-page sci-fi epic "BEM" from 1981's very first issue of Love & Rockets, featuring a very different Luba and a much looser, Heavy Metal and Marvel Comics-inspired way of storytelling.
Other stories include Jaime's charming "Rocky and Fumble" series starring a planet-hopping girl and her robot; stunning one-shots such as Gilbert's Frida Kahlo biography "Frida" and his shocking autobiographical fantasia "My Love Book"; Mario's genre thrillers which take place "Somewhere in California"; Gilbert's brutally dystopian "Errata Stigmata" stories; the playful "Hernandez Satyricon," with Gilbert drawing Jaime's characters, and "War Paint," with Jaime trying out Palomar; Gilbert's light-hearted "Music for Monsters" starring Bang and Inez; and even a fantastical "non-continuity" Maggie and Hopey story "Easter Hunt" by Jaime that didn't fit into the other books.
Amor y Cohetes, the seventh (and concluding, for now) volume in the new "Complete Love & Rockets" series of compact, affordable paperbacks, shows a very different side of Los Bros Hernandez.

In the first half of The Complete Life and Times of Scrooge McDuck, Don Rosa told the tale of how Uncle Scrooge earned his fortune, from his shoe-shining boyhood in Scotland to becoming the richest duck in the world. But Rosa was just getting warmed up! In Volume 2, he still has more secrets to tell from Scrooge's legendary life - including a rollicking Yukon adventure involving Glittering Goldie (that might just break your heart!) - in this special collection featuring "in-between" untold tales.

Guy Colwell's Inner City Romance tread new territory for underground comix, filled with stories about prison, black culture, ghetto life, the sex trade, and radical activism. It portrayed the unpleasant realities of life in the inner city, where opportunities were limited and being on the lowest end of the economic ladder meant that one's vision of the American dream was more about survival than lifestyle choices. Readers wondered who Colwell was, whether he was black or white, and how he knew so much about prison. Two years at McNeil Island federal prison for draft refusal provided a personal education for him, as well as his involvement with the San Francisco Good Times underground newspaper, where he became a close observer of the White Panthers, the Symbionese Liberation Army, and anti-war demonstrations. Inner City Romance details Colwell's life on the mean streets. Every issue of Inner City Romance is included in this collection, as well as many of the highly detailed paintings he created at the same time. Colwell recounts in an accompanying text piece, his personal journey to artistic maturity forged by radicalism and frustration.
"This 1972 underground comic was one of the first to engage the racial divide boiling over during the peace and love era. Colwell's series is a brutal comedown. His characters, fucked up on drugs and gorging themselves on sex, debate

Digital omnibus collecting Doll.
Doll is celebrated cartoonist Guy Colwell's (Inner City Romance) darkly satirical take on patriarchal ownership, dehumanization, and sexual objectification. When an artist crafts a lifelike sex doll for a disfigured, middle-aged virgin, it soon takes a lurid life of its own. Like an erotic Frankenstein's monster, the mannequin brings out the basest instincts in each person it crosses paths with.

Once a thriving working class neighborhood on Chicago's south side, the "Bottomyards" is now the definition of urban blight. When an aspiring fashion designer named Darla and her image-obsessed friend, Cynthia, descend upon the neighborhood in search of cheap rent, they soon discover something far more seductive and sinister lurking behind the walls of their new home. Like a cross between Jordan Peele's Get Out and John Carpenter's The Thing, Daniels and Passmore's BTTM FDRS (pronounced "bottomfeeders") offers a vision of horror that is gross and gory in all the right ways. At turns funny, scary, and thought provoking, it unflinchingly confronts the monsters―both metaphoric and real―that are displacing cultures in urban neighborhoods today.

Set in a dystopian future, alternating between current time and flashbacks, between an urban environment and a natural landscape, Dörfler is as much about space and time as it is about the characters who inhabit the two landscapes. Strange inter-dimensional creatures live in the ancient lands of the Northern Mountains, where electronic and engine powered machinery is rendered inoperable. The city is a police state where the military subjects its citizens to experiments that turn memory and identity into malleable, political tools. While one woman wreaks havoc against the totalitarian state in revenge for what they'd done to her, two lovers wander through the Northern Mountains trying to distinguish between real and false memories. The towering landscapes, reflected in the very dimensions of the book itself, play an important role in the story-dizzying skyscrapers of rock formations and trees in contrast to the desolate, vertiginous cityscape that looks like a decaying version of Fritz Lang's Metropolis. A bold and sure to be talked-about debut graphic novel.