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Joe Kubert is one of the great comic book artists. His career literally traverses the history of comics, beginning in 1938 when he became a professional at age 12, to today as one of the greatest draftsmen working in the field. Kubert is known and respected as much for his sinewy, passionate drawing as he is for his consummate storytelling skills. Over his 70-year career in comics, he has worked as an artist, an editor, a publisher, an entrepreneur, and a cartooning auteur. The Art of Joe Kubert is a deluxe, full-color book that honors this legendary creator with beautifully reproduced artwork from every phase of his career as well as critical commentary by the book's editor, comics historian and Kubert biographer Bill Schelly.

Cochlea & Eustachia appear to be twin human girls, but this has yet to be confirmed. Their actions seem to be motivated less by curiosity than boredom and an inclination towards purposeless destruction.

It begins in the year 1900, with the scream of a newborn. It ends, 100 pages later, in the year 2000, with the death-rattle of a 100-year-old man. The infant and the old man are both Julio, and Gilbert Hernandez's Julio's Day (originally serialized in Love and Rockets Vol. II but never completed until now) is his latest graphic novel, a masterpiece of elliptical, emotional storytelling that traces one life -- indeed, one century in a human life -- through a series of carefully crafted, consistently surprising and enthralling vignettes. There is hope and joy, there is bullying and grief, there is war (so much war -- this is after all the 20th century), there is love, there is heartbreak. This is very much a singular, standalone story that will help cement Hernandez's position as one of the strongest and most original cartoonists of this, or any other, century. Introduction by novelist Brian Evenson. "A haunting performance and about as perfect a literary work as I've read in years. Hernandez accomplishes in 100 pages what most novelists only dream of -- rendering the closeted, phlegmatic Julio in all his confounding complexity and in the process creating an unflinching biography of a community, a country and a century. A masterpiece." -- Junot Díaz

Northwestern Spain, observed with the eye of an artist, chronicling both the good (people, conversations) and the bad (blisters, bedbugs) he encountered on his journey. Full of quiet incidents, odd encounters, small triumphs, and the occasional setback, On the Camino is the first implicitly autobiographical long-form work by a master cartoonist.

Treasury of Mini Comics Vol. 2 is a historical survey and collection of several decades’ worth of some of the best that DIY comics has to offer, from some of the medium’s most talented independent creators. Previously only seen in limited-run pamphlets, these comics are startling, visionary, hilarious, profane, and profound.

The Treasury of Mini Comics charts the evolution of the art of mini comics over four decades of deliberate cartoon rebellion. This volume will reproduce some of the best mini comics ever produced by some of the most creative DIY creators in the world (many of whom, of course, have gone on to become familiar names among contemporary comics connoisseurs): Leonard Rifas, Justin Green, Gary Arlington, Mark Connery, Jim Siergey, Larry Rippee, Richard Krauss, Bob Vojtko, Par Holman & Clark Dissmeyer, Matt Feazell, Matt Howarth, Steve Willis, Ronald Russell Roach, Edd Vick, Bruce Chrislip, Brad Johnson, Tim Corrigan, Macedonio Garcia, David Miller, Colin Upton, Robert Pasternak, David Lee Ingersoll, Roberta Gregory, John Porcellino, Dylan Williams, Eric Reynolds, Molly Keily, Blair Wilson, Jim Blanchard, Chris Cilla, David Lasky & Jim Woodring, Marc Bell, Ron Rege Jr., Leela Corman, David Heatley, Laura Wady, Fiona Smyth, Karl Wills, Onsmith, Travis Millard, Mark Campos, Nate Beaty, Peter Thompson, Carrie McNinch, Mark Todd, Esther Pearl Watson, Andy Singer, Noah Van Sciver, Kelly Froh, Aaron Norhanian, Max Clotfelter, and Marc J. Palm. In a do-it-yourself world, anything goes…boundaries are crossed, envelopes pushed, wounds opened. From the silliest fart or boob jokes to the most deeply felt “EMO” style poetry, mini comics creators have been uninhibited in their efforts to strive for something fresh, raw, and vital.

Sometimes getting together with friends and family for Thanksgiving isn't all that it's cracked up to be, as Snoopy learns when his brother Spike invites him to spend Thanksgiving in the desert, and things don't quite work out as planned. At least it's a change of pace for Snoopy, who spends most Thanksgivings with the ol' supper dish (and one lonely one at the malt shoppe as Joe Cool). It's also a tense time of year to be a bird who's afraid of being mistaken for a turkey and roasted, and Woodstock copes with his anxieties in various ways, including by donning a disguise with Snoopy's help. Meanwhile, Peppermint Patty, Marcie, and Franklin all get sick over their Thanksgiving vacation. Snoopy's Thanksgiving is the perfect gift book for anyone whose idea of the holiday is more Charlie Brown than Norman Rockwell.

Simon Hanselmann’s previous two Megg & Mogg books have both been New York Times best-sellers, and One More Year continues to cement Hanselmann as one his generation’s defining graphic novelists. Megg the witch, Mogg the cat, and their friends Owl and Werewolf Jones are imbued with far more pathos and depth than seems plausible. One More Year continues to give more substance to the characters and personalities of its protagonists in ways that never fail to surprise, delight, and horrify.

EC artist Johnny Craig's graphic style is eerily crisp and contemporary. This collection of 25 Craig favorites includes such shockers as "Horror House!," "Werewolf Concerto," "Terror on the Moors," and the title story, "Voodoo Vengeance" ― along with seven Craig crime classics, including Craig's own personal favorite, "The Sewer!"

When Jack Davis took up his pen for EC Comics, he made his innocent victims more eye-poppingly terrified, his ax-murderers more gleefully gruesome, and his vampires and werewolves more bloodthirsty and feral than any other artist. These horror and suspense tales ― from the pages of Vault of Horror,Haunt of Fear, Crime SuspenStories, and Shock SuspenStories ― offer everything a horror fan could ask for: re-animated bodies and body parts, a ghoul who stores bodies like a squirrel stores nuts, a vampire who moonlights at (where else?) a blood bank, greedy business partners, corrupt politicians, jealous lovers, revenge from beyond the grave, and a healthy complement of vampires, werewolves, and assorted grotesqueries. All leavened with the cackling, pun-laced humor of scripter Al Feldstein and illuminated as only the virtuoso brushwork of Jack Davis can present them.

Toth's influence on the art of comic books is incalculable. As his generation was the first to grow up with the new 10-cent full-color pamphlets, he came to the medium with a fresh eye, and enough talent and discipline to graphically strip it down its to its bare essentials. His efforts reached fruition at Standard Comics, creating an entire school of imitators and establishing Toth as the "comic book artist's artist." Setting the Standard collects this highly influential body of work in one substantial volume. Toth began his professional career at fifteen in 1945 for Heroic Comics, but quickly advanced to superhero work for DC. Responding to the endless criticism of editor Sheldon Mayer and production chief Sol Harrison, the young artist strove toward a technique free of "showoff surface tricks, clutter, and distracting picture elements." Simply put, he learned "how to tell a story, to the exclusion of all else." After falling out with DC in 1952, Toth moved west. He freelanced almost exclusively for Standard over the next two years, contributing classic work for its crime, horror, science fiction, and war titles. But perhaps most revelatory to the reader will be the romance collaborations with writer Kim Ammodt, Toth's personal favorites. "I came to prefer them for the quieter, more credible, natural human equations they dealt with ― emotions, subtleties of gesture, expression, attitude."

Bernard Krigstein began his career as an unremarkable journeyman cartoonist during the 1940s and finished it as a respected fine artist and illustrator ― but comics historians know him for his explosively creative 1950s, during which he applied all the craft, intelligence and ambition of a burgeoning “serious” artist to his comics work, with results that remain stunning to this day. Krigstein’s legend rests mostly on the 30 or so stories he created for the EC Comics, but dozens of stories drawn for other, lesser publishers such as Rae Herman, Hillman, and Atlas (which would become Marvel) showcase his skills and radical reinterpretation of the comics page, in particular his groundbreaking slicing and dicing of time lapses through a series of narrow, nearly animated panels. Greg Sadowski, who has previously written and designed a Harvey Award-winning biography of Krigstein, has assembled the very best of Krigstein’s comics work, starting with his earliest creative rumblings, through his glory days at EC, to his final, even more brilliantly radical stories for Atlas Comics ― running through every genre popular at the time, be it horror, science fiction, war, western, or romance (but no super-heroes).

Since their original publication, Peanuts Sundays have almost always been collected and reprinted in black and white. But many who read Peanuts in their original Sunday papers remain fond of the striking coloring, which makes for a surprisingly different reading experience.The late 1960s strips in our latest volume depict Schulz at his philosophical and illustrative peak in one gorgeous, full-color coffee table book.

Michael Kupperman's super hilarious surreal comics. Tales designed to thrizzle are about evil girls and their owls. They are about Jesus' half-brother Pagus, Dick Crazy, scary snakes, delicious bacon, Private Eye Johnny Silhouette, Murder She Didn't Write, the Mannister, portraits where the eyes move, Pablo Picasso, sex blimps (and their logical inverse, sex holes), the hot boy band Boybank, soccer joust, Underpants-On-His-Head Man, Hercules the Public Domain Superhero, Cousin Granpa, Mister Bossman, Mark Twain, and more. The stories in Tales Designed to Thrizzle made their debut in 2009 on the Cartoon Network's Adult Swim program as Snake 'N' Bacon.
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Tales Designed to Thrizzle Vol. 01 (2009)
English | CBR | 162 pages | HD | 213.91 MB
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Tales Designed to Thrizzle Vol. 02 (2012)
English | CBR | 180 pages | HD | 211.70 MB

This series is rated Adults Only
DISCLAIMER: graphic sexuality
Forney has for several years been illustrating the Seattle alt-weekly The Stranger's "Lustlab" classified ads by interpreting the most interesting, outrageous, or idiosyncratic ad in that week's paper, that is awarded the appellation "Lustlab Ad of the Week." "Lustlab" is the category encompassing the kinkiest personal ads in the paper, and every week the page attracts Seattle's finest lovers, kinksters, perverts, and the perv-curious, and each week, Forney chooses one ad, edits the text, and creates a comic combining that text and imagery. She uses her brushwork in many different styles―bold and graphic, fine and detailed, cartoony, or elegant, depending on the tone of the ad. She uses a variety of resource materials for inspiration, from early erotic photography to Tom of Finland to Wacky Packages-style send-ups of consumer products to original designs. Exhibitionists, voyeurs, threesomes, moresomes, tops, bottoms, switches, rope-lovers, spankers, spankees, bi-curious men, bi-curious women, lesbians with prison fantasies, masturbation clubs - Forney illustrates them all in her bemused, affectionate, witty, and elegant style.

In a future world ruled by dueling megacorporations, where drinking the wrong brand of coffee can irrevocably alter the course of your life, an errant space ship crashes near the bustling metropolis. After discovering some very unusual cargo from the ship, company scientists quickly develop a plan to destroy the competition once and for all. Tapping a nameless office worker to infiltrate the enemy, things go awry almost immediately, resulting in consequences great and small. With a keen eye for the absurd and unsettling, this wordless debut pokes fun at sci-fi tropes as it infuses the proceedings with sharp observation and pointed social commentary. Relying on a limited palette dominated by pink, blue, and grey paired with clean, bold outlines ensures readers have no problems deciphering the multilayered story. Varela skillfully uses clearly delineated, sequential panels of varied sizes and shapes to enhance key elements of the story and employs some clever visuals to add interest. Sophisticated but easily accessible, this visually engaging story will find wide readership. - Booklist

I Love Led Zeppelin is a long-awaited collection of strips by the Harvey and Eisner Award-nominated cartoonist Ellen Forney. This book includes full-page comics published in prestigious weeklies such as the L.A. Weekly and Seattle's The Stranger, as well as the leading feminist magazine Bust, and the Oxford American. Her strips are characterized by bold, sensual brushstrokes and striking images of powerful, butt-kicking women.

Sex, Rock & Optical Illusions is Victor Moscoso's first major, career-spanning retrospective, from his earliest poster work in 1966 to his most recent graphic experimentation. Optical Illusions contains his best posters that advertised bands playing in San Francisco's famous dance ballrooms of the time―the Avalon, the Matrix, and the Fillmoreas well as many of his Zap Comix contributions, and his solo comix work, many in Moscoso's signature color. This wide-ranging career retrospective―Moscoso's famous technique employing "vibrating colors" that he pioneered in his posters is impeccably reproduced with as much fidelity to the original as modern printing can achieve, his black-and-white and full color comix work is collected here for the first time is an intense, vibrant, and revelatory experience.

Fletcher Hanks was the first great comic book auteur: he wrote, penciled, inked, and lettered all of his own stories. He completed approximately 50 stories between 1939-1941, all unified by a unique artistic vision. Whether it’s the superhero Stardust doling out ice cold slabs of poetic justice, or the jungle protectress Fantomah tearing evildoers from limb to ragged limb, contemporary readers are stunned by the pop surrealism and outright violent mayhem of Hanks’ work. Originally featured in two paperback volumes, this deluxe hardcover collects―for the first time―all of Hanks’ previously published material, plus several gems newly discovered for this volume, making this the very first complete collection of the works of Fletcher Hanks.

Set against the tumultuous political backdrop of late ’60s Chicago, My Favorite Thing Is Monsters is the fictional graphic diary of 10-year-old Karen Reyes, filled with B-movie horror and pulp monster magazines iconography. Karen Reyes tries to solve the murder of her enigmatic upstairs neighbor, Anka Silverberg, a holocaust survivor, while the interconnected stories of those around her unfold. When Karen’s investigation takes us back to Anka’s life in Nazi Germany, the reader discovers how the personal, the political, the past, and the present converge.