Burne Hogarth is one of the most famous artists in the history of comic strips - at the peak with Alex Raymond ("Flash Gordon") and Hal Foster ("Prince Valiant"). In 1936 he followed Foster on the massively popular Tarzan comic strip, and set a new standard for dynamics and excitement. This is the first of four exclusive volumes that will collect Hogarth's entire run, beginning with" Tarzan "and the "Golden City."
Restored and reproduced in an oversized format, these editions will finally do justice to one of the most lauded illustrators of all time, whose work has been out of print for more than a decade.
Details of illustrations:
Full-color restorations of the newspaper strips, reproduced in the oversized full-page format made popular by current collections of "Prince Valiant" and "Popeye the Sailor."
Details of extras:
Historical articles from Scott Tracy Griffin, author of "Tarzan: The Centennial Celebration"

Steve Gerber (1947-2008) is among the most significant comics writers of the modern era. Best known for his magnum opus Howard the Duck, he also wrote influential series such as Man-Thing, Omega the Unknown, The Phantom Zone, and Hard Time, expressing a combination of intelligence and empathy rare in American comics. Gerber rose to prominence during the 1970s. His work for Marvel Comics during that era helped revitalize several increasingly cliched generic conventions of superhero, horror, and funny animal comics by inserting satire, psychological complexity, and existential absurdism. Gerber's scripts were also often socially conscious, confronting, among other things, capitalism, environmentalism, political corruption, and censorship. His critique also extended into the personal sphere, addressing such taboo topics as domestic violence, racism, inequality, and poverty. This volume follows Gerber's career through a range of interviews, beginning with his height during the 1970s and ending with an interview with Michael Eury just before Gerber's death in 2008. Among the pieces featured is a 1976 interview with Mark Lerer, originally published in the low-circulation fanzine Pittsburgh Fan Forum, where Gerber looks back on his work for Marvel during the early to mid-1970s, his most prolific period. This volume concludes with selections from Gerber's dialogue with his readers and admirers in online forums and a Gerber-based Yahoo Group, wherein he candidly discusses his many projects over the years. Gerber's unique voice in comics has established his legacy. Indeed, his contribution earned him a posthumous induction into the Will Eisner Comic Book Hall of Fame.

With the Ta-Nehisi Coates-authored Black Panther comic book series (2016); recent films Django Unchained (2012) and The Birth of a Nation (2016), Nate Parker's cinematic imagining of the Nat Turner rebellion; and screen adaptations of Marvel's Luke Cage (2016) and Black Panther (2018), violent black redeemers have rarely been so present in mainstream Western culture. Yet the black avenger has always been with us: the trope has fired the news and imaginations of the United States and the larger Atlantic World for three centuries. The black avenger channeled the fresh anxieties about slave uprisings and racial belonging occasioned by the European colonization project in the Americas. Even as he is portrayed as wholly Other, a heathen and a barbarian, his values?honor, loyalty, love?reflect his ties to the West. Yet being racially different, he cannot belong, and his qualities in turn make him an anomaly among black people. The black avenger is thus a liminal figure defining racial borders. Where his body lies, lies the color line. Regularly throughout the modern era and to this day, variations on the trope have contributed to defining race in the Atlantic World and thwarting the constitution of a black polity. Gregory Pierrot's The Black Avenger in Atlantic Culture studies this cultural history, examining a multicultural and cross-historical network of print material including fiction, drama, poetry, news, and historical writing as well as visual culture. It tracks the black avenger trope from its inception in the seventeenth century to the U.S. occupation of Haiti in 1915. Pierrot argues that this Western archetype plays an essential role in helping exclusive, hostile understandings of racial belonging become normalized in the collective consciousness of Atlantic nations. His study follows important articulations of the figure and how it has shifted based on historical and cultural contexts.

Contributions by Jordan Bolay, Ian Brodie, Jocelyn Sakal Froese, Dominick Grace, Eric Hoffman, Paddy Johnston, Ivan Kocmarek, Jessica Langston, Judith Leggatt, Daniel Marrone, Mark J. McLaughlin, Joan Ormrod, Laura A. Pearson, Annick Pellegrin, Mihaela Precup, Jason Sacks, and Ruth-Ellen St. Onge This overview of the history of Canadian comics explores acclaimed as well as unfamiliar artists. Contributors look at the myriad ways that English-language, Francophone, Indigenous, and queer Canadian comics and cartoonists pose alternatives to American comics, to dominant perceptions, even to gender and racial categories. In contrast to the United States' melting pot, Canada has been understood to comprise a social, cultural, and ethnic mosaic, with distinct cultural variation as part of its identity. This volume reveals differences that often reflect in highly regional and localized comics such as Paul MacKinnon's Cape Breton-specific Old Trout Funnies, Michel Rabagliati's Montreal-based Paul comics, and Kurt Martell and Christopher Merkley's Thunder Bay-specific zombie apocalypse. The collection also considers some of the conventionally ""alternative"" cartoonists, namely Seth, Dave Sim, and Chester Brown. It offers alternate views of the diverse and engaging work of two very different Canadian cartoonists who bring their own alternatives into play: Jeff Lemire in his bridging of Canadian/US and mainstream/alternative sensibilities and Nina Bunjevac in her own blending of realism and fantasy as well as of insider/outsider status. Despite an upsurge in research on Canadian comics, there is still remarkably little written about most major and all minor Canadian cartoonists. This volume provides insight into some of the lesser-known Canadian alternatives still awaiting full exploration.

Best known for her Eisner Award-winning graphic novels, Exit Wounds and The Property, Rutu Modan's richly colored compositions invite readers into complex Israeli society, opening up a world too often defined only by news headlines. Her strong female protagonists stick out in a comics scene still too dominated by men, as she combines a mystery novelist's plotting with a memoirist's insights into psychology and trauma. The Comics of Rutu Modan: War, Love, and Secrets conducts a close reading of her work and examines her role in creating a comics arts scene in Israel. Drawing upon archival research, Kevin Haworth traces the history of Israeli comics from its beginning as 1930s cheap children's stories, through the counterculture movement of the 1970s, to the burst of creativity that began in the 1990s and continues full force today. Based on new interviews with Modan (b. 1966) and other comics artists, Haworth indicates the key role of Actus Tragicus, the collective that changed Israeli comics forever and launched her career. Haworth shows how Modan's work grew from experimental mini-comics to critically acclaimed graphic novels, delving into the creative process behind Exit Wounds and The Property. He analyzes how the recurring themes of family secrets and absence weave through her stories, and how she adapts the famous clear line illustration style to her morally complex tales. Though still relatively young, Modan has produced a remarkably varied oeuvre. Identifying influences from the United States and Europe, Haworth illustrates how Modan's work is global in its appeal, even as it forms a core of the thriving Israeli cultural scene.

Billy Batson discovers a secret in a forgotten subway tunnel. There the young man meets a wizard who offers a precious gift: a magic word that will transform the newsboy into a hero. When Billy says, ""Shazam!,"" he becomes Captain Marvel, the World's Mightiest Mortal, one of the most popular comic book characters of the 1940s. This book tells the story of that hero and the writers and artists who created his magical adventures. The saga of Captain Marvel is also that of artist C. C. Beck and writer Otto Binder, one of the most innovative and prolific creative teams working during the Golden Age of comics in the United States. While Beck was the technician and meticulous craftsman, Binder contributed the still, human voice at the heart of Billy's adventures. Later in his career, Beck, like his friend and colleague Will Eisner, developed a theory of comic art expressed in numerous articles, essays, and interviews. A decade after Fawcett Publications settled a copyright infringement lawsuit with Superman's publisher, Beck and Binder became legendary, celebrated figures in comic book fandom of the 1960s. What Beck, Binder, and their readers share in common is a fascination with nostalgia, which has shaped the history of comics and comics scholarship in the United States. Billy Batson's America, with its cartoon villains and talking tigers, remains a living archive of childhood memories, so precious but elusive, as strange and mysterious as the boy's first visit to the subway tunnel. Taking cues from Beck's theories of art and from the growing field of memory studies, Captain Marvel and the Art of Nostalgia explains why we read comics and, more significantly, how we remember them and the America that dreamed them up in the first place.

Become the best comic book artist - ever! Graphic novelist Dan Cooney will show you how to draw credible perspective from any point of view for your own stories, from creating convincing backgrounds to capturing the 'right' angle of the characters that inhabit your world. This isn't your regular instructional book on perspective; it's a journal with proper guidance and relevant exercises on drawing scenes for the context of storytelling: practical demonstrations, an interactive workbook with grids to fill in, and inspiring artwork to complete specially designed by Daniel, makes the development of your sketching skills and the drawing mechanics needed for your storytelling an enjoyable, progressive experience. It's all here: the behaviour of light and its importance for drawing from imagination, the concepts of composition, visually engaging characters and environments, perspective (of course) and using references to create fantastic work from unique camera angles. Discover everything you need to know about drawing perspective and bring your ideas to the drawing board with confidence, in this book that will inspire graphic novel artists and storytellers from beginners upwards.

Author Michael Chabon described Ben Katchor (b. 1951) as "the creator of the last great American comic strip." Katchor's comic strip Julius Knipl, Real Estate Photographer, which began in 1988, brought him to the attention of the readers of alternative weekly newspapers along with a coterie of artists who have gone on to public acclaim. In the mid-1990s, NPR ran audio versions of several Julius Knipl stories, narrated by Katchor and starring Jerry Stiller in the title role. An early contributor to RAW, Katchor also contributed to Forward, the New Yorker, Slate, and weekly newspapers. He edited and published two issues of Picture Story, which featured his own work, with articles and stories by Peter Blegvad, Jerry Moriarty, and Mark Beyer. In addition to being a dramatist, Katchor has been the subject of profiles in the New Yorker, a recipient of a MacArthur "Genius Grant" and a Guggenheim Fellowship, and a fellow at both the American Academy in Berlin and the New York Public Library. Katchor's work is often described as zany or bizarre, and author Douglas Wolk has characterized his work as "one or two notches too far" beyond an absurdist reality. And yet the work resonates with its audience because, as was the case with Knipl's journey through the wilderness of a decaying city, absurdity was only what was usefully available; absurdity was the reality. Julius Knipl, Real Estate Photographer presaged the themes of Katchor's work: a concern with the past, an interest in the intersection of Jewish identity and a secular commercial culture, and the limits and possibilities of urban life.