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Exciting, innovative, and beautifully drawn romance stories by two towering titans of the field (and originators of the genre).In such best-selling titles as Young Love and Real Western Romances, Simon and Kirby delighted a generation of girls and women (and probably a fair number of boys and men as well) with hundreds of charming and endlessly inventive stories of love and heartbreak. This never-before reprinted material painstakingly restored in full color and edited by Michel Gange. So get out your handkerchiefs and enjoy the trials, tribulations, tragedies and triumphs of Suzi, Marjorie, Annaliese, Toni, Kathy, Sari... and 15 other star-crossed young lovers from half a century ago.

From tears to soda fountains, from mobsters to pretty ingénues in freshly pressed dresses, the stories of love and betrayal herein will prompt you to grab a tissue box or swoon in delight. Featuring two of Joe Simon and Jack Kirby's sensational romance comics, "If You Want Me" focuses on a construction worker with a silver tongue who cannot abide the live of a lowly writer. Meanwhile, "The Town and Toni Benson" follows a newly wed couple trying to make the most of life in a town that doesn't want them within the city limits. Cup your lover's face and pull them in for a sweet kiss or crack open this book for an even BETTER time.

Exciting, innovative, and beautifully drawn romance stories by two towering titans of the field (and originators of the genre).In such best-selling titles as Young Love and Real Western Romances, Simon and Kirby delighted a generation of girls and women (and probably a fair number of boys and men as well) with hundreds of charming and endlessly inventive stories of love and heartbreak. This never-before reprinted material painstakingly restored in full color and edited by Michel Gange. So get out your handkerchiefs and enjoy the trials, tribulations, tragedies and triumphs of Suzi, Marjorie, Annaliese, Toni, Kathy, Sari... and 15 other star-crossed young lovers from half a century ago.

Ron Regé, Jr. is a very unusual yet accomplished storyteller whose work exudes a passionate moral, idealistic core that sets him apart from his peers. The Cartoon Utopia is his Magnum Opus, a unique work of comic art that, in the words of its author, ""focuses on ideas that I've become intrigued by that stem from magical, alchemical, ancient ideas & mystery schools."" It's part sci-fi, part philosophy, part visual poetry, and part social manifesto. Regé's work exudes psychedelia, outsider rawness, and pure cartoonish joy.

One of Library Journal's Best Books 2011: Graphic Novels. One of Booklist's Top 10 Graphic Novels: 2012 (for 2011 books)
21 chronicles Roberto Clemente's life from his early days growing up in rural Puerto Rico, the highlights of his career (including the 1960s World Series where he helped the Pirates win its first victory in 33 years, and his 3000th hit in 1972 during the last official at-bat of his life) as well as his private life and public mission off the field.
Wilfred Santiago captures the grit of Clemente's rise from his impoverished Puerto Rican childhood, to the majesty of his performance on the field, to his fundamental decency as a human being in a drawing style that combines realistic attention to detail and expressive cartooning.

In those countless cheap and long forgotten men's humor magazines, Ward's voluptuous "girly" drawings shared the pages with photos of Bettie Page and Mamie Van Doren, and pin-up cartoons by the likes of Archie's Dan DeCarlo and Playboy magazine's Jack Cole. Thumbing through those digests, it quickly becomes evident that Ward was Humorama's dominant pin-up cartoon artist. His mastery of the Conte crayon allowed him to produce unparalleled textures, including the wonderful sheen on satiny curve-hugging dresses and on black thigh-high stockings that became Ward trademarks. Ward's other trademark, of course, was his penchant for drawing extremely well endowed women accentuated by tiny waists, and whether playing the role of office secretaries, arm candy at cocktail parties or vamping it up in a boudoir, his women played to multiple fetishes adorned in opera-length gloves, lacy lingerie, and five-inch stiletto heals. Sometimes bawdy, but never tawdry, Ward's top-heavy Humorama women always managed to maintain their allure, innocence and glamour that made Torchy so popular.

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.