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Originally published as a comic book in 1996 by DC's Vertigo Comics, 7 Miles a Second was an instant critical success and has become a cult classic amongst fans of literary and art comics. Now fully restored and expanded, 7 Miles a Second blends the gritty naturalism of Lower East Side street life with hallucinatory, psychedelic images that takes perfect advantage of the comics medium.

Basil Wolverton is one of the greatest, most idiosyncratic talents in comic book history. Though he is best known for his humorous grotesqueries in MAD magazine, it is his science-fiction character Spacehawk that Wolverton fans have most often demanded be collected. The wait is over, as Spacehawk features every story from Spacehawk's intergalactic debut in 1940 to his final, Nazi-crushing adventure in 1942. Spacehawk is the closest thing to a colorfully-costumed, conventional action hero Wolverton ever created, yet the strip is infused with Wolverton's quintessential weirdness: controlled, organic artwork of strangely repulsive aliens and monsters and bizarre planets, and stories of gruesome retribution that bring to mind Wolverton's peer, Fletcher Hanks. Spacehawk had no secret identity, no fixed base of operations beyond his spaceship, and no sidekicks or love interests. He had but one mission in life: to protect the innocent throughout the Solar System, and to punish the guilty. He was a dark -- yet much more visually playful -- counterpart to Buck Rogers and Flash Gordon. Spacehawk also includes the character's final and rarely-seen Earthbound adventures. As the U.S. became involved in World War II, Spacehawk returned to 20th Century America to join the United States' efforts in defeating fascism, which he does by patrolling the Earth's stratosphere, looking for wrongdoing. Named "Best Superhero Comic Originally Published Much, Much Earlier Than 2012" by ComicsAlliance

Like Sex and the City but with adorable, ex-wrestler hairy gay men (or bears), Wuvable Oaf is Luce's debut graphic novel. This book fills a romance comics hole by portraying a likeable gay male character that is both fully realized and relatable. Mostly playful, but sometimes serious, Wuvable Oaf captures the levity of loneliness. Luce delivers a rom-com that would leave Zack Galifianakis and Zooey Deschanel feuding over who got to play Oaf in a hypothetical movie adaptation. Oaf is a large, hirsute, scary-looking ex-wrestler who lives in San Francisco with his adorable kitties, and listens to a lot of Morrissey. The book follows Oaf's search for love in the big city, especially his pursuit of Eiffel, the lead singer of the black metal/queercore/progressive disco grindcore band Ejaculoid. Luce weaves friends, associates, enemies, ex-lovers, and the pasts of both men into the story of their courtship. Like Scott Pilgrim, Love and Rockets, and Archie, Wuvable Oaf explores the joys and pains of romantic conquests, set against the backdrop of the San Francisco scene. After decades of comics about boy-loves-girl, Luce finally gives readers of all orientations some insight into man-loves-man. Oaf's silly, sweet, and sometimes sexy stories will win over everyone's heart.

Tony Millionaire fuses the darker spirit of older fairy tales with an utterly transporting absurdist adventure that transmutes nursery rhymes and the golem myth, all in his dementedly charming, meticulous drawing style.

LOVF is the sketchbook companion of a man literally losing his mind. Homeless and broke after giving all his stuff to punk-rock heroin dealers, he ends up off his meds and on a secret quest from Portland to Brooklyn, DC, LA, San Francisco, and Seattle. Jammed with cartoons, mad schemes, psychedelic portraits, and notes from the road, LOVF is a travel journal and a mirror of the post-traumatic dreamworld its author can’t escape from, a Kerouacian meltdown of cross-hatching, spattered marker, crayons, glitter, tape, nail polish, Wite-Out, finger-painting, rain, wine, stickers, and word balloons.

Outer Limits features more than 200 meticulously restored, full-color comics pages by Ditko in his early prime. This volume’s suspense and mystery stories―thanks to the inspiration Ditko took from space travel comics―heavily weighted to the science fiction genre. Ditko rocketed into the vast outer reaches of the universe to craft tales that tapped into the fears and aspirations of middle America coming to terms with the Cold War and the beginning of the space race with Soviet Russia.

The 25th volume of The Complete Peanuts collects the very final year-plus of the defining comic strip of the 20th century, which ran for nearly 18,000 strips and for 50 years after its debut in 1950. This masterpiece includes all of 1999 through the final Feb. 13, 2000 strip. In this volume, Rerun takes center stage and cements himself as the last great Peanuts character―when he embarks on a career as an underground comic book artist! This volume also features a huge surprise: the complete Li'l Folks, the weekly one-panel comic that Charles Schulz produced for his hometown paper. Li'l Folks was a clear precursor to Peanuts, and its inclusion here will bring The Complete Peanuts full circle.

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 early- to mid-1960s strips in our latest volume houses the first golden age of Peanuts Sundays in one gorgeous, full-color book. Linus, Charlie Brown, Pig-Pen, Shermy, Violet, Sally, Patty, and Schroeder are all present, but the rising star is undoubtedly Snoopy. Peanuts Every Sunday: 1961-1965 has been scrupulously re-colored to match the original syndicate coloring - allowing readers to plunge into Charles Schulz's marvelous world.

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. These late 1950s strips comprise the first golden age of Peanuts Sundays in one gorgeous, full-color book. Linus, Charlie Brown, Pig-Pen, Shermy, Violet, Sally, Patty, and Schroeder are all present, but the rising star is undoubtedly Snoopy. Peanuts Every Sunday: 1956-1960 has been scrupulously re-colored to match the original syndicate coloring-allowing readers once again to plunge back into Charles Schulz's marvelous world.

In the tradition of RAW and Drawn & Quarterly, a new quarterly anthology is sprung on the world. Acting as a forum of sorts for both established and up-and-coming cartoonists and published four times a year, this first issue of Blood Orange showcases the comic art of Rick Altergott, Lauren Weinstein, Kevin Huizenga, Ron Regé, Jr., a sketchbook from Gary "Teacher's Pet" Baseman, and much more, in a distinctive, beautifully designed format. Blood Orange captures the pulse of alt-comics.

The first in a series of 10 massive coffee-table-quality books, each one containing a half-decade's worth of Peanuts Sunday strips "re-mastered" to match the original syndicate coloring.
Since their original publication, Peanuts Sundays have almost always been collected and reprinted in black and white, and generations of Peanuts fans have grown up enjoying this iteration of these strips. But many who read Peanuts in their original Sunday papers remain fond of the striking coloring, which makes for a surprisingly different reading experience. It is for these fans (and for Peanuts fans in general who want to experience this alternate/original version) that we now present a series of larger, Sundays-only Peanuts reprints. As with most strips, Peanuts showed by far the quickest and richest development in its first decade, and Peanuts Every Sunday: 1952-1955, by compiling every strip from the first four years, offers a fascinating peek at Schulz's evolving creative process. Not only does the graphic side of the strips change drastically, from the strip's initial stiff, ultra-simple stylizations through a period of uncommonly lush, detailed drawings to something close to the final, elegant Peanuts style we've all come to know and love, but several main characters are gradually introduced - oddly enough, usually as infants who would then grow up to full, articulate Peanut-hood! - and then refined: Schroeder, Lucy, and Linus. Full color

In this brand new graphic novel from the acclaimed author of Bottomless Belly Button and BodyWorld, Dash Shaw dramatizes the story of a boy moving to an exotic country and his infatuation with an unfamiliar culture that quickly shifts to disillusionment. A sense of "being different" grows to alienation, until he angrily blames this once-enchanting land for his feelings of isolation. All of this is told through the fantastical eyes of young Danny, a boy growing up in the '90s fed on dramatic adventure stories like Jurassic Park and X-Men. Danny's older brother, Luke, travels to a remote island to teach English to the employees of ClockWorld, an ambitious new amusement park that recreates historical events. When Luke doesn't return after two years, Danny travels to ClockWorld to convince Luke to return to America. But Luke has made a new life, new family, and even a new personality for himself on ClockWorld, rendering him almost unrecognizable to his own brother. Danny comes of age as he explores the island, ClockWorld, and fights to bring his brother home. New School is unlike anything in the history of the comics medium: at once funny and deadly serious, easily readable while wildly artistic, personal and political, familiar and completely new.

Readers of the first Fletcher Hanks volume―I Shall Destroy All the Civilized Planets―were stunned by its pop surrealism and outright violent mayhem. This larger second volume, when combined with the first, comprises the complete comics work of the heretofore forgotten Golden Age visionary. Fletcher Hanks was the first great comic book auteur. That is, he wrote, penciled, inked, and lettered all of his own stories. He completed an astonishing 48 stories in three years from 1939-1941. As a one-man-cartooning-band, his work packs the wallop of a unique and unified artistic vision. He was a true comics visionary. In the earliest days of the comic book, before censorship, it was “anything goes!”―and in the tales of Fletcher Hanks, anything went!

"Welcome to the bizarre world of Fletcher Hanks, Super Wizard of the Inkwell. Fletcher Hanks worked for only a few years in the earliest days of the comic book industry (1939-1941). Because he worked in a gutter medium for second-rate publishers on third-rate characters, his work has been largely forgotten. But among aficionados he is legendary. At the time, comic books were in their infancy. The rules governing their form and content had not been established. In this Anything Goes era, Hanks' work stands out for its thrilling experimentation. At once both crude and visionary, cold and hot as hell, Hanks' work is hard to pigeon hole. One thing is for certain: the stuff is bent. Hanks drew in a variety of genres depicting science-fiction saviors, white women of the jungle, and he-man loggers. Whether he signed these various stories ""Henry Fletcher"" or ""Hank Christy"" or ""Barclay Flagg"" there is no mistaking the unique outsider style of Fletcher Hanks."

This latest inexpensive and handy collection of Jaime Hernandez's early work picks up where 2010's Penny Century leaves off. Esperanza features an older, wiser Maggie, a maturing Hopey and introduces one of Jaime's greatest recent characters, Vivian the 'Frogmouth,' the near-psychotic bombshell.

Picking up right after Perla La Loca, this compilation of stories from Jaime Hernandez's solo comic Penny Century and his subsequent return to Love and Rockets (Vol. II) charts the further lives of his beloved "Locas." But first... wrestling! Penny Century starts off with a blast with "Whoa, Nellie!," a unique graphic novelette in which Maggie, who has settled in with her pro-wrestler aunt for a while, experiences that wild and woolly world first-hand. Then it's back to chills and spills with the old cast of Hopey, Ray Dominguez, and Izzy Ortiz - including Maggie's romantic dream fantasia "The Race" and the definitive Ray story, "Everybody Loves Me, Baby." Penny Century also features two major "flashback" stories: "Bay of Threes" finally reveals the full back story behind Beatriz "Penny Century" Garcia, Maggie's long-time, bleached-blonde bombshell friend (who gives this volume its name), while "Home School" is one of Hernandez's popular looks at his characters' lives from when they were little kids, drawn in an adorable simplified Dennis the Menace type style. This volume also includes the Maggie & Hopey Color Fun one-shot, reproduced here in glorious black and white.
"At this point, I don't know what else there is to say about Jamie Hernandez or Love and Rockets. I suspect that one day he's going to make a truly terrible comic, if only because he must feel at least a little bit bad about showing nearly every other creator up so often. ...Penny Century is yet another masterpiece from a guy who turns them out seemingly like clockwork. If you haven't read it, you need to. ...Jamie Hernandez's exploration of life continues as an unimpeachable standard for comic book mastery." - Michael C. Lorah, Newsarama

Beyond Palomar collects two of Gilbert's groundbreaking works about the Central American hamlet of Palomar in one affordable book."Poison River" is a dizzying period piece often hailed as one of Hernandez's masterpieces. It traces the pre-Palomar childhood of Luba, her teenage marriage to gangster Peter Rio, the secrets behind her mysterious mother, all the way up to her subsequent escape and arrival in Palomar. "Love and Rockets X," set in the early 1990s (in the waning years of Bush I's post-Reagan hangover, with Gulf War I in the background), takes us from plush Beverly Hills to the dangerous east side and introduces us to a dizzyingly diverse cast of characters, including a lowlife rock 'n' roll band, a "posse" of black youths, a ditzy Hollywood mom and her spoiled son, a gay activist filmmaker and his rebellious, half-Iraqi daughter, and a group of racist thugs whose violent attack on an older woman sets the plot in motion.

Celebrating its 30th anniversary in 2012, the complete Love and Rockets library is finally going digital with this series of compact, thick, affordable, mass-market volumes that present the whole story in perfect chronological order. This volume collects the second half (following Heartbreak Soup) of Gilbert Hernandez's acclaimed magical-realist tales of "Palomar," the small Central American town, beginning with the landmark "Human Diastrophism," named one of the greatest comic book stories of the 20th Century by The Comics Journal, and continuing on through more modern-day classics. "Human Diastrophism" is the only full graphic novel length "Palomar" story ever created by Gilbert. In it, a serial killer stalks Palomar -- but his depredations, hideous as they are, only serve to exacerbate the cracks in the idyllic Central American town as the modern world begins to intrude. "Diastrophism" concludes with the death (the suicide, in fact) of one of Palomar's most beloved characters, and a postscript that provides one of the most hauntingly magical moments of the entire series as a rain of ashes drifts down upon Palomar. Also included are all the post-"Diastrophism" stories, in which Luba's past (as seen in the epic Poison River) comes back to haunt her, and the seeds are sown for the "Palomar diaspora" that ends this dense, enthralling book.
"The Love and Rockets Vol. 1 reprints may be my favorite publishing project of the last five years, and there are a lot of fine projects going on... the smaller, bargain-priced volumes [are] the perfect vehicle for that material, the best comics series of all time." - Publishing Project of 2007, The Comics Reporter