A FIRST-TIME COLLECTION OF THE BEST ROMANCE COMICS OF THE 1950S. Four genres dominated American comic books in the 1940s and '50s: superheroes, funny animals, horror, and... romance. This revisionist collection of romance comics stories from the '50s challenges the cliche of the "tear-stained face" that later dominated the genre and became widely known and vilified as a tiresome icon of moral uplift. These bright, naturalistic tales (originally published by Archer St. John and written by unrecognized comics master Dana Dutch) are about high school girls who may be inexperienced but definitely have minds of their own: they choose their guys, not the other way around, and they use their heads in dealing with life's difficulties rather than waiting to be saved by some cardboard Romeo. They make all kinds of mistakes, learn from them, and hardly ever suffer. What kind of mistakes? Well, there's going out with a prude or a conceited jerk, of course. But also, improbably enough: Allowing themselves to be picked-up by strangers in a neighboring town; leading guys on with heavy petting; making nervous boyfriends check into a room as man and wife, as a gag after the car breaks down; lying to the folks and going on a "thrill" weekend in the big city; eloping with a couple of rough guys they met at a riverfront cafe and finding out after the marriage was consummated that it was all a sham... Well, okay, in that last case they did suffer, but it was a rare exception. Many of these stories are illustrated by Matt Baker, who achieved fame for his work on Phantom Lady and other sexy female characters in the '40s and '50s. His work for St. John is less known yet the most sophisticated and mature of hiscareer. Baker was a superb illustrator and a first-rate draftsman with a slick, urbane approach to contemporary material. In addition to the stories themselves, the book includes also 16 pages of Baker's luscious full-color covers. Romance Without Tears is edited by comics historian John Benson, who also contributes an introductory essay.
If ever there is an iconic comic strip, it is Peanuts. What began in the funny pages in 1950 has developed into an enduring classic. Whether you're persnickety like Lucy, a philosopher like Linus, a joyous Flying Ace like Snoopy, or a lovable underdog like Charlie Brown, there is something to touch your heart or make you laugh in Peanuts.
"Confined to their cubicles in a company run by idiot bosses, Dilbert and his white-collar colleagues make the dronelike world of Kafka seem congenial."Parasitic consultants, weaselly stockbrokers, masochistic coworkers and the ever-present, evil-plotting pointy-haired boss? Welcome to the seventh circle of hell, er, the 22nd collection of Scott Adams' stupendously popular comic strip, Dilbert
Words You Don't Want to Hear During Your Annual Performance Review updates loyal readers on the mind-numbing careers of Dilbert, Wally, Alice, the PHB himself, and an ever-expanding cast of walk-on "guest stars." In this installment, a cash-sucking "consultick" burrows under the boss's skin, a not-so-grim reaper pops anti-depressants, and a lab accident turns Dilbert into a sheep-a transformation which goes barely noticed by his beleaguered coworkers. All the while, Adams takes his patented over-the-top but right-on-the-money jabs at the inanity of the corporate world.
As American as jazz or rock and roll, comic books have been central in the nation's popular culture since Superman's 1938 debut in Action Comics #1. Selling in the millions each year for the past six decades, comic books have figured prominently in the childhoods of most Americans alive today. In Comic Book Nation, Bradford W. Wright offers an engaging, illuminating, and often provocative history of the comic book industry within the context of twentieth-century American society.
From Batman's Depression-era battles against corrupt local politicians and Captain America's one-man war against Nazi Germany to Iron Man's Cold War exploits in Vietnam and Spider-Man's confrontations with student protestors and drug use in the early 1970s, comic books have continually reflected the national mood, as Wright's imaginative reading of thousands of titles from the 1930s to the 1980s makes clear. In every genre--superhero, war, romance, crime, and horror comic books--Wright finds that writers and illustrators used the medium to address a variety of serious issues, including racism, economic injustice, fascism, the threat of nuclear war, drug abuse, and teenage alienation. At the same time, xenophobic wartime series proved that comic books could be as reactionary as any medium.
Wright's lively study also focuses on the role comic books played in transforming children and adolescents into consumers; the industry's ingenious efforts to market their products to legions of young but savvy fans; the efforts of parents, politicians, religious organizations, civic groups, and child psychologists like Dr. Fredric Wertham (whose 1954 book Seduction of the Innocent, a salacious expos of the medium's violence and sexual content, led to U.S. Senate hearings) to link juvenile delinquency to comic books and impose censorship on the industry; and the changing economics of comic book publishing over the course of the century. For the paperback edition, Wright has written a new postscript that details industry developments in the late 1990s and the response of comic artists to the tragedy of 9/11. Comic Book Nation is at once a serious study of popular culture and an entertaining look at an enduring American art form.
Dedicated readers have long known that the medium of comics and graphic novels isn't all about caped super-heroes and spandex-clad bad girls. In fact, the combination of words and pictures can be the perfect vehicle for telling all kinds of stories, from poignant memoirs to lighter takes on the mundane musings of modern life. This collection of short stories illustrates, quite literally, the effectiveness of the medium for telling the most personal of stories -- the autobiography -- and does so by showcasing some of the first published autobiographical stories from living-legend artists, mainstream greats, and young "indie" up-and-comers.
Witty and irreverent, these cartoons from The New Yorker take a second look at our most beloved childhood stories and rhymes. More than 80 selections by such artists as George Booth, Leo Cullum, George Price and Jack Ziegler - including several cartoons never before published - are accompanied by the original nursery rhymes. Bobbye S. Goldstein's introduction provides a brief overview of the history of cartoons.
For the more than 50 million readers who regularly enjoy Dilbert in over 2,000 newspapers worldwide, Scott Adams's take on the working world is outrageously fresh, farcical, and far-reaching. In this collection, Dilbert and his egg-shaped, bespectacled canine, Dogbert, again give readers an insider's look at the funny business of the work-a-day world.
Dream Taiyi, the most alluring object of Datura's lust - is wed to someone less handsome than our hero, or so he thinks. Is this another dream? Also, Fei battles the grotesque union of both Old Sanns. But will the others survive their own battle test?
- Alex Hunter tries to make sense of being trapped in England's weirdest village, the ghost of the beautiful woman who haunts his dreams, and why the villagers celebrate Christmas in mid-summer. The Amazonian Shaman, Megaron, reveals his tribe's deadly cycle of vengeance; and the village's resident extraterrestrial, Adam, explains away the UFO phenomenon, while behind the scenes a clandestine brotherhood pulls the strings.
- A complex and intriguing journey through romance, mystery, and the supernatural with a twist of bizarre humor, beautifully illustrated with pencil, pen & ink, painted watercolor, and manipulated photographs.
- Introduction by Heart of Empire creator Bryan Talbot.
- New, full-color painted cover by Millidge.