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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.

Charles Rodrigues was one of the fiercest, most audacious, taboo-busting cartoonists who ever lived, and our second collection of his cartoons from the National Lampoon may be the most jaw-droppingly potent collection of single gag cartoons ever published. There was no subject Rodrigues wouldn't tackle, and none that he couldn't make funny. There is no example of human suffering, misery, tragedy, or absurdity that is off limits. If they weren't as funny as they in fact are, they would be considered tasteless, repugnant, and horrifying―but without a drop of rancor, even the chapter titled "Good Ways to kill a Rock Performer." There is virtually no way to adequately describe Rodrigues' viciously wicked imagination.

Fantagraphics is proud to announce the release of the first volume of another great, under-appreciated, quintessentially American cartoonist. “Black as sin and decay and perversion” is how National Lampooneditor Tony Hendra described the work of Charles Rodrigues. By all accounts, this small, politically conservative, devout Catholic, was a good-natured dumpling of a man. But inside lurked an untapped vein of savage wit that only the National Lampoon saw fit to unleash. Given carte blanche by its young editors, Rodrigues produced a 20-year tsunami of hilarious self-contained comic strips, themed gag spreads, and serials that boggled the mind and challenged all sense of decency and propriety. In this first-ever collection of his comics, readers are treated to the misadventures of conjoined twins The Aesop Brothers; Sam deGroot, a private detective in an iron lung (whose life actually gets worse when he is sprung from his enclosure); Deirdre Callahan, a girl so hideous that to look upon her causes madness and suicide; and the heartwarming (in relative terms) titular tale of Ray and Joe, the saga of a man and his dead best friend. Also included are his brilliant “biographies” of Marilyn Monroe, Abbie Hoffman, Eugene O’Neill, and others. Rodrigues rendered his cast of grotesqueries and naifs in a ragged, unpretty line within dense panels and pages, that perfectly reflects his uniquely bizarre, riotous and repellent world. Charles Rodrigues may be gone and, if not forgotten, insufficiently remembered, and this collection will rectify at least one of those tragedies.

This is a graphic novel about a noise rock band, based in an alternate reality version of Chicago, and their community of friends and acquaintances. Though beset with disaster at every turn―and frequently reduced to squabbling―they stick together because the band is the core of their existence, and they help each other find their way. Band for Life is a love letter to people compelled to create with no hope of financial reward.

Even as butterflies ominously proliferate in town, the rumor of a mysterious creature lurking in the tunnel behind the school spreads among the children. When the body of Arié Kimura's mother is found by this tunnel's entrance, next to apparently human traces, the legend seems to be confirmed. Is the end of the world coming? In order to appease the wrath of the beast, the children decide to offer it a sacrifice: The unfortunate Arié, whom they believe to be the cause of the curse, is shoved into a well that leads to the Nijigahara tunnel ― an act that in turns pushes Komatsuzaki, the budding thug who has carried a torch for Arié for a while already, entirely over the edge. But this is only the beginning of the complex, challenging, obliquely told Nijigahara Holograph, which takes place in two separate timelines and involves the suicidal Suzuki; Higure, his stalkerish would-be girlfriend; and their teacher Miss Sakaki, whose heavily bandaged face remains a mystery; and many more ― brothers, sisters, parents, co-workers, teachers, aggressors and victims who are all inextricably linked to one another and all will eventually ― ten years later ― have to live with what they've done or suffered through.

This series is rated Adults Only
DISCLAIMER: graphic sexuality
What's this? An all-new, stand-alone, one-shot comic book from one of our greatest living cartoonists? Christmas has come early! Featuring six mostly wordless, thoroughly surreal adventures featuring a cast of misfits, monsters, and anthropomorphs that could only spring from the id of the great Gilbert Hernandez, last year's Eisner Award winner for "Best Short Story"!

The punk art legend sends his best-loved character into Dante's Inferno.
"Don't try to pass a pop quiz on Dante's Hell based on a reading of this comic," warns Gary Panter. "It won't work. Even though the comic is engorged with Dante's Hell and though Jimbo mouths a super-condensed version of what happens in The Inferno, canto by canto, characters are fused, actions inverted, parodied, subject to mutation by my odd memories and obsessions and whims…"
That said, Jimbo's Inferno is the hugely anticipated sequel (or prequel, as it was actually completed first) to Jimbo In Purgatory. In this oversize hardcover cloth-and-gold-finished volume, produced to the same exacting standards as 2004's Purgatory, Jimbo, accompanied by his trusty guide and ride Valise, visits Hell (here envisioned as a gigantic subterranean shopping mall called Focky Bocky), and in so doing runs across minotaurs, drug-addled punkettes, UFOs, giant robots, and more, leading him to such profound questions as, "Why do so many recreational activities involve smoke and heat?"
Panter's wild Albrecht-Dürer-meets-Jack-Kirby graphics are wilder and more hallucinatory than ever, and given the full, expansive treatment they so richly deserve. Black-and-white comics throughout

The founder of "Punk" art reinvents Dante through his character Jimbo in this landmark graphic novel.
Gary Panter has been one of America's pre-eminent designers and cartoonists of the last quarter century: In addition to being a prolific and sought-after illustrator, he was one of the graphic minds behind the award-winning Pee-wee's Playhouse show, and, as the creator of Jimbo, one of the pillars of the legendary RAW magazine. Panter's early graphics defined the California punk ethos and the alternative zine scene—and although he hasn't achieved the notoriety of Keith Haring or Kenny Scharf, the post-Pop painting world is also deeply in his debt. Now, Fantagraphics is proud to present a major, all-new book by Panter: Jimbo in Purgatory.
In this spectacular graphic novel, Panter has transformed his protean punk hero Jimbo into the protagonist of a reinterpretation of Dante's Purgatorio. After years of comparing Dante and Boccaccio to find commonalities between the two, Panter developed a narrative of his own that includes literary and pop references regularly injected throughout the captions of the reinterpreted cantos.
In Panter's adaptation, Jimbo traverses a vast infotainment-testing center built in the shape of Dante's Mount Purgatory. Within its borders every man or robot stands in for a character in the Divine Comedy. In this version all the participants in the drama must respond to one another within a lunatic logic wherein each quotes a literary fragment that demonstrates their respective knowledge of a particular passage and its import to the specific location in a poem.

Patience is a psychedelic science-fiction love story, veering with uncanny precision from violent destruction to deeply personal tenderness in a way that is both quintessentially “Clowesian” and utterly unique in the author’s body of work. This 180-page, full-color original graphic novel affords Clowes the opportunity to draw some of the most exuberant and breathtaking pages of his life, and to tell his most suspenseful, surprising and affecting story yet. Full-color illustrations throughout.

This book collects all of Schulz’s rare, non-strip Peanuts art: storybooks, comic book stories, single-panel gags, advertising art, book illustrations, photographs―even a recipe! With close to 1000 Peanuts images included, all created by Schulz himself, no true Peanuts library would be complete without this final volume. As a fitting end to The Complete Peanuts series, Jean Schulz, who was instrumental in putting this beloved series together, provides an emotional introduction to the volume.

The Collected Stories from 1968 to 1985 - In 1968, Spain Rodriguez created his most famous hero, Trashman, Agent of the Sixth International, an urban guerrilla fighter of the near future who battles fascist cops and soldiers in a post-Bomb police state Amerika. In the late Sixties, Trashman became the Superman of the New Left, idolized by the Weathermen and admired by a generation of young people disillusioned with the collapse of the American dream.

Before the Amazing Spider-Man and mysterious Dr. Strange, the legendary comic book artist Steve Ditko was conjuring all manners of horrors at his drawing table. In his first two years in the industry (1953 and1954), Ditko drew tales of macabre suspense that were not yet hobbled by the Comics Code Authority. These stories featured graphic bloodshed, dismemberment and blood-curdling acid baths as the ugly end to the lives of the dark and twisted inhabitants of Steve Ditko's imagination. Strange Suspense: The Steve Ditko Archives Vol. 1 features, for the first time, spectacular full-color reprints of every story from those first two years of his career. Beginning with Ditko's very first story to Ditko's short stint in the Joe Simon/Jack Kirby studio, to Ditko's eventual encampment at the Charlton Comics operation in 1954, readers will see the initial works of an artist already at a level of craftsmanship that exceeded most of his peers. The book also features editor Blake Bell's insightful introduction, providing historical background and speaking to Ditko's influence and his unique craft.

Josh Simmons returns with his first full-length graphic novel since 2007's acclaimed House. A group of women, one man, and two dogs are making their way through a post-apocalyptic world in search of a city that supposedly still has electricity and some sort of civilization. Along the way, they go to a comedy club, take a drug called Gumdrop, and encounter gangs of men who are fools, lunatics, or murderous sadists. In other words, all manner of terrors. Josh Simmons is one of the field's most distinctive voices in the genre of horror (The Furry Trap, House), and this full-length graphic novel is his best work yet, echoing director John Carpenter's perfect tick-tock pacing, as well as Shirley Jackson's ability to transcend genre and turn it into literature.