"It's A Gay Life" is a robust collection of hilariously queer comics from the warped mind of Aaron Palmiter. Within these black ink style comics are Gay & Lesbian themes that poke fun at realities that people would often view as socially unacceptable. These comics are ironic in nature but funny nonetheless. Other themes include Pop Culture, Television/Movie Characters, Sex and Personified Animals. What started as a hobby has now been brought into print for everyone to enjoy. Flip the pages with caution because you might find yourself rolling on the floor laughing, if not then know you will at least laugh out loud This collection is fun, edgy, imaginative and hilariously queer.

From hormones to how-come-Ia (TM)m-not-like-everyone-else questions and insecurities, Borgman and Scott continue to successfully tell teenage horror stories since the strips debut in newspapers in 1997. Readers and fans can find Zits in 1,600 newspapers worldwide, an achievement only 18 comic strips have ever earned.
Lauded by the "Los Angeles Times" "as one of the freshest and most imaginative comic strips" and designated as Best Newspaper Comic Strip twice by the National Cartoonists Society, Jerry Scott and Jim Borgman's "Zits" chronicles many of the scenes that play out under the rooftops of more than 80.5 million homes across the country.
Artfully exploring insecurities, societal pressures, and just plain teenage goofiness, Scott and Borgman contrast the experiences of adolescence and parenthood. Sixteen-year-old Jeremy Duncan is learning to navigate residential byways and high school hallways while the parentals, a.k.a. Connie and Walt Duncan, try to keep pace and find a little peace.

"Nothing is certain but death and taxes. And laundry." --"Baby Blues" proverb

When the recipe box has more pizza coupons than recipes, or for those parenting days when all you seem to accomplish is brushing your hair and making a tray of ice cubes, "Baby Blues" offers parental fatigue redemption. The brainchild of Rick Kirkman and Jerry Scott, this "Baby Blues" treasury features cartoons from "Briefcase Full of Baby Blues" and "Night Shift,"

From prophetic "Baby Blues" proverbs like, "The grass is always greener on the knees of your kid's new white pants," to Dinner Table Olympics where Synchronized Whining is the main event, young parents Darryl and Wanda keep pace with energetic children Zoe, Hammie, and baby Wren, as Kirkman and Scott expertly navigate the daily nuances of newborns, nocturnal diaper changes, and the nirvana of family life.

Welcome to Yellowberry Hill!...a place where an owl in a onesie, a snake in a cape and a mole with a conspicuous wig are best friends; where a cat has a pet dog, a frog is permanently in a mug and the local moose is never without a slice of pie; where an undersized panda regularly tests the patience of a duck in a woolly hat, while a little blue fish tries to make sense of it all and a distant yak looks on. Once you've accepted that all this is normal, you'll be right at home...

Jim Toomey is "a breath of fresh water." --Washington Post Lauded for sparking dialogue on topics relating to marine life, Sherman's Lagoon appears in 250 newspapers in 30 countries in 6 languages. Collecting more than 42 weeks of Jim Toomey's Sherman's Lagoon, this collection transports readers to an imaginary lagoon near the South Pacific island of Kapupu, where a cast of coral reef critters live a charmed aquatic lifestyle. Commenting on such timely issues as rising sea levels, degrading water quality, and environmental pollution, inhabitants of Toomey's nautical neighborhood include Sherman, an always-hungry, but otherwise typical kind of great white shark, and his witty pearl-wearing wife Megan, along with friendly Fillmore the turtle, geeky fish Ernest, macho hermit crab Hawthorne, and salty old Captain Quigley, who remains vengeful after loosing his leg to Sherman. This is the 13th Sherman's Lagoon cartoon collection, in addition to two treasuries.

Luann DeGroot is a 16 year old girl who's full of spirited personalityAand agonizing confusion.

Like all teens, she's happy if she can stumble through a day without totally embarrassing herself. She lives with typical parents and an annoying older brother. Luann and her best buds, Bernice and Delta, along with a lively cast of characters from Pitts School, struggle with the euphoric highs and devastating lows that torment the life of a contemporary teen. From small events (a pop quiz) to large (a daring fire rescue), "Luann 3" delivers the kind of poignant, honest, amusing stories that have made "Luann" a reader favorite for 21 years.

"Luann" is featured in 400 newspapers worldwide, and LuannsRoom.com receives 80,000 hits a day. "Luann" consistently ranks in the top five in newspaper surveys and is often number one with female readers. "Luann, the Musical," from Pioneer Drama, has been performed by hundreds of theater groups across the country.

The superhero Wolverine time travels and changes storylines. On Torchwood, there's a pill popped to alter memories of the past. The narrative technique of retroactive continuity seems rife lately, given all the world-building in comics. Andrew J. Friedenthal deems retroactive continuity, or ""retconning,"" as a force with many implications for how Americans view history and culture. Friedenthal examines this phenomenon in a range of media, from its beginnings in comic books and now its widespread shift into television, film, and digital media. Retconning has reached its present form as a result of the complicated workings of superhero comics. In comic books and other narratives, retconning often seems utilized to literally rewrite some aspect of a character's past, either to keep that character more contemporary, to erase stories from continuity that no longer fit, or to create future story potential. From comics, retconning has spread extensively, to long-form, continuity-rich dramas on television, such as Buffy the Vampire Slayer, Lost, and beyond. Friedenthal explains that in a culture saturated by editable media, where interest groups argue over Wikipedia pages and politicians can immediately delete questionable tweets, the retcon serves as a perfect metaphor for the ways in which history, and our access to information overall, has become endlessly malleable. In the first book to focus on this subject, Friedenthal regards the editable Internet hyperlink, rather than the stable printed footnote, as the de facto source of information in America today. To embrace retroactive continuity in fictional media means accepting that the past itself is not a stable element, but rather something constantly in contentious flux. Due to retconning's ubiquity within our media, we have grown familiar with narratives as inherently unstable, a realization that deeply affects how we understand the world.

From the moment Captain America punched Hitler in the jaw, comic books have always been political, and whether it is Marvel's chairman Ike Perlmutter making a campaign contribution to Donald Trump in 2016 or Marvel's character Howard the Duck running for president during America's bicentennial in 1976, the politics of comics have overlapped with the politics of campaigns and governance. Pop culture opens avenues for people to declare their participation in a collective project and helps them to shape their understandings of civic responsibility, leadership, communal history, and present concerns. Politics in the Gutters: American Politicians and Elections in Comic Book Media opens with an examination of campaign comic books used by the likes of Herbert Hoover and Harry S. Truman, follows the rise of political counterculture comix of the 1960s, and continues on to the graphic novel version of the 9/11 Report and the cottage industry of Sarah Palin comics. It ends with a consideration of comparisons to Donald Trump as a supervillain and a look at comics connections to the pandemic and protests that marked the 2020 election year. More than just escapist entertainment, comics offer a popular yet complicated vision of the American political tableau. Politics in the Gutters considers the political myths, moments, and mimeses, in comic books-from nonfiction to science fiction, superhero to supernatural, serious to satirical, golden age to present day-to consider how they represent, re-present, underpin, and/or undermine ideas and ideals about American electoral politics.

When Pat Brady puts pen to paper, readers can't resist following his original images and tight story lines. This creator pulls more material from the one-child Gumbo family than other cartoonists can with five times the number of characters and settings.

That magic comes through in Brady's seventh collection, Rose is Rose Running on Alter Ego. The lively series of daily and Sunday strips revolves around Rose-devoted wife and doting mother-who, try as she might, just can't keep her biker chick fantasies totally in check. Rose never knows, as she manages her blue-collar husband, Jimbo, and their energy-fired son, Pasquale, when Vicki the Biker may show up. But when the long-haired, short-skirted babe surfaces, it's always with a breath of fresh air and a fresh take on "normal" family life.

Besides appearing on the cover, Rose as Vicki shines throughout the collection, in six new full-page drawings created just for the book. Each shows the seemingly satisfied housewife's alter ego performing some mundane chore demanded by Rose's less adventurous life, while Brady's usual mix of family fun, frolic, and fancy gives Gumbo fans plenty of delight.