Book Description

Before legendary artist Frank Frazetta became an American institution for his lush paintings, he was drawing muscular hillbillies and scantily clad women for an earlier American institution: the comic strip Li'l Abner, which boasted 60 million readers daily. From 1954 to 1961 Frazetta toiled as a ghost for Al Capp, the most famous and successful cartoonist of his era.Volume 1 (of four) features The Bald Iggle (from Capp's Shmoo-and-Kigmy school of creatures with social messages), Loverboynik (a thinly disguised Liberace), and Milton the Masked Martian (an early super-hero parody) as well as Indian princess Minnie Mustache, Moonbeam McSwine, The Tigress, Daisy Mae Yokum, and Gloria Van Wellbilt - as only Frank Frazetta can draw them! ... Read more

Reviews (4)

Highly amoosing
These are Sunday Li'l Abner pages, penciled by comics legend Frank Frazetta. In my opinion, Li'l Abner was the greatest comic stip of all time. The strip was fantastic during the 1950s, so you can't go wrong here. It seems like this was released because of the Frazetta connection, but the art looks pretty much like all other Li'l Abner art. Frazetta was clearly drawing as close as he could to Al Capp's style. But any excuse to have Li'l Abner strips released works for me. Highly recommended.

Hilarious stories, so-so reproductions
When I first opened this book I was disappointed that instead of reproductions of the original art, I was seeing photos of printed newspaper pages, which creates a somewhat degraded image, with the ben day dots smudging together in blotchy patterns, the ink lines losing much of their delicacy, and the light/dark composition being thrown off. Newspaper printing in the '50s wasn't that crisp to begin with, but obviously this was what was available, and so if we are to enjoy these great comics today, it will have to do. All in all, it is legible (about as good as a quality color xerox from a newspaper), and it's a wonder that these pages of the NY Sunday Mirror were saved at all in such good shape.

The stories are absolutely all-time world-class, the drawings are superb and Lil Abner is one of the most memorable comic strips the form has ever produced. There is also a nice explanation of Al Capp's relationship to Frazetta, and an interesting B/W reproduction of Frazetta's artwork for a parody of the motorcycle flick, "The Wild Ones", which drew complaints that it was not consistent with the look of the strip (they were right; the book states that afterward Frazetta did not ink his own drawings).

I laughed out loud at almost every story. They are real gems.

The Return of a Great American Comic Strip
Denis Kitchen said he hoped to bring out a collection of the Li'l Abner Sundays when he printed the dailies under his own publishing company several years ago. He has finally been able to achieve this with the help of Dark Horse. This is a classic strip, sharply written, beautifully rendered, superior to most anything on the funny pages today. Please note this book is hardcover like a european album, not softcover as listed in the description. Also Mac Raboy has nothing to do with it. This must be a mix up from the Flash Gordon book currently available. The reproduction can be a bit muddy since it was scanned from newsprint tear sheets and can only be as good as the source. A great bargain price to boot! You can't go wrong.

Brilliant Material Puts Modern Comics to Shame
Finally! Although one may quibble over some technical details ( the strips might have been printed a bit larger, and the color is a bit muddy in spots, ) there's no denying that publisher Denis Kitchen is performing a service to mankind by making these historic strips available again - for the first time in almost 50 years. Al Capp was at a creative peak in the 1950's, the heyday of his uber cool American satiric masterpiece: LI'L ABNER, and these classic Sunday page sequences don't disappoint. For many people, this was their first exposure to Frank Frazetta's work, and he managed to capture Capp's idiosyncratic style with the greatest of ease, adding many brilliant, characteristic nuances of his own along the way. With the demise of the late, lamented Kitchen Sink Press a few years back, I despaired of ever seeing this classic material back in print again - but here it is! It's impossible for gen X-ers weaned on tripe like Dilbert and Foxtrot to even begin to imagine what a rich source of art and humor the American comic strip used to be in the 30's, 40's and 50's. For anyone interested in re-visiting a Golden Age of this uniquely American art form, you couldn't ask for a better place to start than this. Hopefully the series will be continued before and beyond the Frazetta years - into the forties and sixties. And while we're at it, how about a color POGO Sundays collection, Mr. Kitchen? ... Read more

Book Description

More "Tales of the Rarebit Fiend" (1907 strips), "Little Sammy Sneeze," "A Pilgrim's Progress," (1907 strips) and dozens of McCay's editorial illustrations from his New York period. ... Read more

Reviews (5)

A COLORFUL CAMPY CATALOGUE
Whether you're a collector of miniature books or not, this 4" by 4" palm-size volume is both unique and fun. It's well constructed and offers a wealth of pictorial pleasures that can be appreciated again and again.

Batman, Robin, Batgirl, the Joker, the Riddler, and a roguish cast of characters leap across the 300 Batman covers held in this colorful campy catalogue.

First appearing in Detective Comics in 1939, Batman has been a comic hero for well over half a century. In this volume the second 25 years of covers are documentation of the changes that have taken place as the notorious caped figure captured the imaginations of television viewers and moviegoers with his relentless war on crime.

very interesting...very tiny.
I am a moderately new Batman memorabilia collector so I could not pass up the chance to not only view but own copies of the Batman covers for the first 25 years. This tome does deliver as far as that is concerned. One thing I did fail to notice (I blame myself for this) is the size of the book: 4 inches x 4.5 inches! Tiny folio means just that. The art is still colorful. It is easy to read all of the print. It also includes all of the Detective covers prior to the introduction of Batman (which was really cool). The covers run all the way to 1963 so this publication allows the "reader" the opportunity to appreciate the transition of Batman during his early years. There is a nice, informative intro by Joe Desris. All in all it is a very interesting collectors item. To bad it is so damn TINY!

Great item for any serious BatFan
An anthology book depicting more than 300 covers of Detective Comics issues. A great item and the size of the book is just perfect ! Having the opportunity to lay my eyes on all those covers was just an overwhelming feeling especially when you are a serious Bat-collector as I am...

This book shows covers from Detective 1 through 300.
This is a great addition to the collection of any Batman fan. This book provides large, clear images of the first 300 covers of Detective comics, many of which are copies from the famous Mile High collection. It is also great to be able to see those covers at a glance, without having to pull those comics out of my collection. I would like to thank Joe Desris for putting this book together, so that people can appreciate those truly beautiful covers.

What is inside the book.
This is a great book for beginning Batman fans. I am an obsessed Batman fan. This is the very actual book that got me to really like Batman. Just by looking at the covers you can actually learn a lot about Batman and his fantastic adventures. So if you want to find out about the "earlier" Batman, check this book out! ... Read more

Book Description

Based on interviews with Stan Lee and dozens of his colleagues and contemporaries, as well as extensive archival research, this book provides a professional history, an appreciation, and a critical exploration of the face of Marvel Comics. Recognized as a dazzling writer, a skilled editor, a relentless self-promoter, a credit hog, and a huckster, Stan Lee rose from his humble beginnings to ride the wave of the 1940s comics books boom and witness the current motion picture madness and comic industry woes. Included is a complete examination of the rise of Marvel Comics, Lee's work in the years of postwar prosperity, and his efforts in the 1960s to revitalize the medium after it had grown stale. ... Read more

Reviews (13)

Well-researched, even-handed, and hugely entertaining.
Ignore the rather pitiful review from the writer who takes rather a lot on themself by claiming that all comic fans (and "Star Trek" fans as well) want is to hide from the awful attentions of the "mainstream" (i.e.; the real world), and be left alone. Having spent much of my life as a comics/SF/fantasy enthusiast,I can testify that many of them take great comfort in the idea that they are special, persecuted, and somewhat beyond the comprehension of non-fans, the "mainstream", and other people they conceive of as "outsiders". Well, they're not. This book is in no way, shape, or form "tabloid journalism" as claimed, but an excellent and thought-provoking examination of a pivotal, highly creative, yet slightly ambiguous figure in pop-culture. Lee's talent and influence are nowhere denied by the authors, and yet it's hard not to be a little uncomfortable with the efficiency with which he wound up assuming virtually all credit for creating a lot of hugely profitable superheroes that were, pretty clearly, co-created and plotted by Jack Kirby and Steve Ditko. I've never really thought that Stan deliberately hogged the glory; It's just that he was so effusive, so outgoing and personable, whereas Kirby and the extremely private Ditko were not, that fans just sort of gravitated toward the idea that Stan was the mastermind. He could certainly have done more to dispel this notion, but it was good for business, and having seen Stan give a lecture once in the early 70's, I can bear witness to the fact that the audience regarded him as almost a holy object. It can be awfully hard to make yourself contradict complete adulation. The result was that Kirby and Ditko were, for years, relegated to the status of simple illustrators, drawing the pictures that brought to life what we all presumed were Lee's great imaginative visions, rather than as the indispensible creative forces that they were.Read Jack Kirby's immediate pre-Marvel CHALLENGERS OF THE UNKNOWN stories, compare them to the early FANTASTIC FOUR, then tell me who you think deserves the most credit for the FF.This very readable book does a very fine job of covering the life of the man,without either worshipping or denigrating him unfairly, but using Lee as a prism through which the history of the "silver age" of comics is viewed. And it's a lot of fun, as well. Far from crawling into a hole and asking to be "let alone", I say, "more please".
Incidentally, if you're interested in the subject of the history of the modern comic book, I can highly recommend THE COMIC BOOK HEROES, by Jones and Jacobs, a terrifically readable behind-the-scenes history of above-ground comics from the beginnings of the silver age. But, be careful to pick up the large,revised and updated version; it's almost completely rewritten from the original 80's version, which pulls most of its punches. The revised edition is the one with the behind-the-scenes coverage; you know: the stuff that the publishers like to publicly pretend never happened.

The True Story of Marvel
Stan Lee is one of the best-known names in comic books. He's credited with creating some of the most beloved superheroes of our time including The Hulk, The Fantastic Four and Spider-man. What most people don't really know is the real story behind the creation of these characters. Anyone who's read Michael Chabon's The Amazing Adventures of Kavalier and Clay will notice a great deal of similarities between Stan Lee's origins, which the authors meticulously recreate, and the fictionalized settings Chabon created for his book. Raphael and Spurgeon have written a fair and honest tribute to the work of Lee and in doing so, tell the story of the comics medium as a whole. Stan Lee: The Rise and Fall of the American Comic is about as smart and entertaining as biographies come.

Stan Lee the Forrest Gump of the Comics Scene
This book was a quick and enjoyable read and very balanced in showing Stan warts and all (i.e. what went wrong with him and Kirby).

What amazed me was the conectivity of Lee. He was here, there and everywhere during nearly the entire age of the American comic book and just like Forrest Gump, at times, did not seem to totally grasp what was going on.

You come away understanding that Stan Lee was more than anything one of many catalysts that started the engine of the four color comic industry.

Stan the self promoting man. Book 4 star; Stan 2 star.
I happened to see this book in the library last week. Having read a ton of comics through the 1980s, ten to fifteen comics a week was fairly typical, I was very interested in learning more about Stan Lee. I found this a fascinating book. The authors write well. The book is entertaining, and it is hard to put down.

The authors do a good job of setting the stage. In addition to explaining and documenting just who Stan Lee is; the authors provide background by showing us Stan's early years, a whole lot about the comic industry, and those who have worked with Stan Lee. Having the background of the comic industry was fun.

For example I had never understood why for so many years the fights in the comics were mostly with fists. The book explains that in reaction to concerns about negative affects of comics, the comic industry started following a set of codes created in the 1950s. One of the codes was the restriction of guns.

The book clearly shows that Stan Lee comes across as a nice guy; moreover, it shows some of Stan Lee's major character flaws. A big one is his consistent pattern over decades of taking the credit for other people's work. This was not a one time event. He likes to be well known, and worked hard over the years to be famous. I was also disappointed to read of his experimenting with alternative comics, and his attempts to get into pornography.

In contrast to DC, many of the superheroes Stan Lee is known for were the misunderstood who did the right thing even when they weren't appreciated. Spiderman was constantly mistrusted and even persecuted, but he always fought the bad guys, he always did the right thing. So it is ironic that Stan Lee is know for creating superheroes who did the right things, even when it was not popular; however, he did the wrong things in taking creating so he could be popular.

All in all it was a fun book to read.

Excelsior!...not.
The book claims to be unbiased, but has phrases like 'hero or huckster'.

Throughout the book, various stuff has been shown in a negative light;

They say something along the lines of "Stan Lee is the creator of various superheroes from Spider-Man to the X-Men...or so he'd have you believe. In truth, he is only the COcreator." No sh*t, Einstein.

They then claim Stan Lee is trying to steal the fame of Jack Kirby, Steve Ditko. No use pointing out Ditko is now a recluse and Jack Kirby is dead.

Or they'll point out with glee, although Lee is credited with creating X-Men and Daredevil, it is the talents of Frank Miller and Chris Claremont who brought them to the fame they are today. They treat it like a scandal being brought forth, but anyone familar with the superheroes KNOW Miller defined Daredevil and so forth. Again, easy facts that nearly everyone knows twisted into a negative light.

The book concludes with a statement that is basically "Comics sell bad. The art is good, but the writing is cliched. The days of the Golden Age are long gone." If this was the 90s, fine. But right now comics are getting mainstream press, great writers among other stuff. Although comics aren't selling as well as they're used to be, they are hitting a remarkable rise. ... Read more

Book Description

The science behind the scoundrels we love to hate

From Spider-Man’s bionic archenemy, Dr. Octopus, to Superman’s nemesis, Lex Luthor, to the X-Men’s eternal rival, Magneto, comic book villains have kept us captivated for years–– not just by their diabolical talent for confounding our heroes, but also by their unrivaled techno-proficiency at creating global mayhem. But is any of the science behind their superweaponry based in truth?

The Science of Supervillains separates science fact from science fiction. Renowned authors Lois H. Gresh and Robert Weinberg present a highly entertaining and informative look at the mind-boggling wizardry behind such legendary baddies as Dr. Doom, Poison Ivy, Mr. Mxyzptlk, and more. Whether it’s artificial intelligence, weapons systems, antimatter, robotics, or magnetic flux theory, this fun, fact-filled book is a fascinating excursion into the real-world science animating the comic book world’s pantheon of evil geniuses.

Praise for The Science of Superheroes

"We comics fans have known it for years, of course: somewhere, in some nether dimension or on some alternate world, there is an Earth on which superheroes are real, living, breathing beings . . . and now Lois Gresh and Bob Weinberg have shown us how that’s possible. Mutants . . . aliens . . . scientific geniuses with a penchant for wearing costumes and masks . . . or just plain Joes who’ve trained their bodies within an inch of their lives . . . all are probed, dissected, examined in loving details. To paraphrase an old DC Comics feature: Science says you’re wrong if you believe that The Science of Superheroes isn’t more fun than a barrel of genetically altered winged monkeys."
–– Roy Thomas, writer and editor of X-Men, Fantastic Four, The Incredible Hulk, Superman, Justice League of America, Legion of Superheroes, Star Wars, and many other comic book classics ... Read more

Book Description

Everyone knows the temptation of doodling on a restaurant tablecloth — but no one performs this deed as masterfully as R. Crumb. In this second collection of often irreverent and always mesmerizing placemat drawings, Crumb depicts fellow diners, Americana, French culture, and flights of fancy, offering a glimpse into the mind of an inspired artist and savvy social critic. 120 black-and-white illustrations are featured. ... Read more

Book Description

Manga is fast becoming the world's most popular art style. This Japanese-style comic-book craze has legions of fans who want to re-create the exciting characters and scenes. Now it's easy to do just that, with:

* 50 fun lessons starting with basic anatomy and building to entire comic pages

* Step-by-step instructions for drawing people, creatures, places and backgrounds

* Hundreds of action-packed illustrations with the pop-culture style comic-book fans love

* Basic techniques that produce fast and appealing results for readers

Perfect for beginning and advanced artists, Manga Secrets is the obvious choice for mastering this Japanese style. Readers can get started in minutes! ... Read more

Book Description

The Life and Times of R. Crumb is a diverse collection of tributes to the controversial artist and underground comix pioneer R. Crumb.Follow his trajectory from homemade comic book and greeting-card design through the comix renaissance during the San Francisco psychedelic revolution to his expatriate life in France and his renewed renown today.

Over forty of Crumb's peers, friends, and admirers have contributed to this work, including:
-Simpsons creator Matt Groening on cross-hatching and the corruption of youth
-Filmmaker Terry Gilliam on pre-Monty Python days with Crumb and Mad creator Harvey Kurtzman
-Prankster Paul Krassner on the "slimy tentacles of our national id"
-Writer Alan Moore's infatuation with Angelfood McSpade
-Notes on Crumb's sexual obsessions by Screw magazine publisher Al Goldstein
-First wife Dana Crumb on the rise and fall of their marriage
-Filmmaker Jim Jarmusch's quixotic effort to canonize Crumb
-Crumb's warning to Reverend Ivan Stang about selling out
-Film critic Roger Ebert and Terry Zwigoff on the making of the harrowing Crumb documentary

And, naturally, appreciations, criticisms, stories of debauchery and foolishness from such noted comix artists as Daniel Clowes, Will Eisner, Peter Kuper, S. Clay Wilson, Doug Allen, Bill Griffith, Spain, the Friedman Brothers, Trina Robbins, Jim Woodring, Mary Fleener, Frank Stack, and Kim Deitch. ... Read more

Reviews (2)

Useless anecdotes about a great artist
This is probably the least important book ever written about Robert Crumb and his work. Although it's packed with people --- each one of them talks about Crumb in their own words --- almost everything they say is forgettable. I think it's because the chapters are so short. Each person gives you two or three pages about reading Zap in the 1960s or hanging out with Crumb. I got bored hearing the same tale over and over. Two chapters stand out: Crumb's ex-wife Dana and Roger Ebert. The Crumb artwork in the middle of the book looks nice, but most of it is excerpted from longer stories. Instead of this, just buy Fantagraphics' Complete Crumb Comics.

Okay overview; but not very insider info, at all
This is an okay look at what folks have said about Crumb, through the years; but it doesn't really dig up any terribly unique facts.Most other Crumb books already contain lengthy essays from Crumb himself, or closeassociates and friends of R. Crumb; so this book seems to be ratherimpersonal, by comparison. There are dozens of different contributors, butmost of these pieces are reprints from earlier appearances. Most of thesecomments were not taken from fresh interviews, intended specifically forthis book, which is unfortunate if you consider the resurgence of interestin Crumb, in the last few years. Updating the public record would have beenmuch more interesting now.True Crumb addicts will probably enjoy this book,but feel like they did not really read anything that they haven't comeacross before.A lightweight compilation, to be sure.-Bryan LeedDayton, Ohio ... Read more

Book Description

Reviews (3)

wonderful pictures, disjointed story
The pictures alone make this book worth getting. If the story had been better, I would have given this book a five. As it is though, the story felt like each page was written separately, to be collected together in the end. Perhaps I need someone to explain the story to me, but it seems like many of the pages are only related to one another if you're in the habit of disengaging your brain from reality.

at the statue of Corrupted Endeavor
Edward Gorey, most easily recognizable for the opening animation of the television show "Mystery!", wrote dozens of strangely comic picture-books that were not intended for children. The Object-Lesson shines among them.

The first sentence, divided amongst six elaborately crosshatched panoramic ink drawings, initiates what is only the first of several surreal and non-sequiturial narratives and gives readers the sense that an elaborate story of some sort is unfolding and they are mearly seeing brief snippets.

Having just read the book, I'd say the effect is of looking out from inside a novel: a story is happening, but the large passages of narration that connect the individual events of "The Object-Lesson" into a single story are as unavailable to the reader as they are to the characters. It's mysterious, it's exciting, it's lots and lots of fun.

I reccomend buying this and leaving it anywhere in your home where people will be waiting for the maybe-five minutes it takes to finish the book, as the wierdness of it all will make their day that much more fun.

An enchanting book
This nifty book defies summarization. Traipsing along through 30 pages of illustrations and text, the story draws the reader along a whimsically surreal story, where each event leads inexorably to the next completely unconnected event! The illustrations are black-and-white, stark like the text, reminding one of the whimsical images that featured at the beginning of PBS's mystery show. This book is not to be taken too seriously, but is also not to be missed; it is an enchanting book.This nifty book defies summarization. Traipsing along through 30 pages of illustrations and text, the story draws the reader along a whimsically surreal story, where each event leads inexorably to the next completely unconnected event! The illustrations are black-and-white, stark like the text, reminding one of the whimsical images that featured at the beginning of PBS's mystery show. This book is not to be taken too seriously, but is also not to be missed; it is an enchanting book. ... Read more

Book Description

Modern Masters Volume 2: George Perez contains page after page of rare and unseen artwork, illustrating a comprehensive interview with Perez on his stellar career. This second volume in the new Modern Masters series delves into the artist's life, as Perez discusses his Puerto Rican upbringing, how he broke into the comics field, and the attention to detail that has made him one of comics' top talents. ... Read more

Book Description

Join the Simpsons and the citizens of Springfield in their workday world. Saddle up for a drink at Moe's Tavern witness a robbery at the Kwik-E-Mart, support the celebrity Bowlathon at Barney;s Bowl-A-Rama, experience the comic book guys fast food induced fantasies at the Androids Dungeon, take a virtual tour of Frik Labs, or visit the mall for more surprises. Spend a week or a year with he Simpsons and lift your spirits every day.

Book Description

The Japanese Comic style -- manga -- has become wildly popular throughout North America and the rest of the world, as evidenced by Harper Design’s bestselling “Japanese Comickers.”But the latest vanguard of artists working in this style come not only from Japan, but also Korea (where comics are called “manhwa”) and China (where they are called “manhua.”) Therefore to follow-up the success of “Japanese Comickers,” Harper Design is proud to present Comic Artists - Asia featuring rising comics artists from Korea and Taiwan as well as Japan.

Comic Artists - Asia introduces the work of a dozen promising young artists who are non-professional or semi-professional in Japan, Korea and Hong Kong. Each artist profile includes an interview, providing insight into how they work and how they regard their craft as well as a gallery of their breathtaking imagery. and step-by-step or idea sources how they work.

A sumptuous presentation of the most cutting-edge practitioners of today’s most popular cartooning style, Comic Artists - Asia is an indispensable addition to every manga fan’s collection.

Amazon.com

With The Headless Bust, Edmund Gravel and the Bahum Bug from Gorey's "Dispirited and Distasteful" Christmas tale, The Haunted Tea-Cosy, have returned to usher in the New Year. The story, told in verse, takes up just after Edmund's riotous party. He and the Bug are whisked off to a faraway village for another round of strange and vaguely eerie encounters. Fans of Gorey's distinctive ink drawings, tending toward the well-dressed and slightly mad, will not be disappointed--they make for an engrossing book with or without the accompanying deliciously odd text. ("Reversing at a tango tea/ In Snogg's Casino-not-on-Sea/ L-- tripped and cried, 'I am afraid/ They tampered with the marmalade.'") There is also plenty to be had for aficionados of the mysterious little rituals, mentioned nonchalantly, that seem so logical to the inhabitants of Gorey's bizarre world--the Bandage Folder's Ball being a head-cocking highlight. The Headless Bust is perfect for a winter's read by the fireplace, just before drifting off into fruitcake-induced dreams. --Ali Davis ... Read more

Reviews (9)

Not for the weak of heart
The following facts should be made clear immediately. There is not, in spite of the title, a single bust in this book (to say nothing of headlessness). There is not even, I might go so far as to say, much of a plot. But what there is lives in superb Gorey glory. The best way to approach this book is to consider it a sequel to Gorey's "The Haunted Tea-Cosy" (which actually did include a cosy of spectral proportions). Our heroes, Mr. Edmund Gravel and the Bahhumbug have finished saying goodbye to the last of their guests for the evening. Ah, but a creature soon comes to spirit our protagonists, "from place to place, where there is shame, also disgrace". The story uses such delightful and little heard words as "druthers" and "aubergine" while telling the lightly lamentable tales of a host of people. Each situation is privy to a little four line poem in the style of a-b-a-b. The subtitle of this book was "A Melancholy Meditation on the False Millennium" and by the book's end both the Bahhumbug and Mr. Gravel sit, drink their tea, and think about the new Millennium (looks of horror clearly plastered on their faces). This being one of Gorey's later works, we can't criticize it too severely. Mr. Gorey had a style all his own and there is a plot here, buried as it may be. If you're partial to Fellini-esque tales of woe, you will like this book. If not, best that you pick up a copy of something entirely different (like "Betsy-Tacy" or "Goodnight Moon") and leave this book to those who would enjoy it better.

vintage gorey, but not for starters
If you're unacquainted with Gorey, don't start with this - start with Amphigorey. But if you've already got the EG bug, here's another must for the library. This sequel of sorts (in as much as anything can truly be linked to anything else by EG), is a delight that will get you snickering everytime you put marmalade on your aubergine.

A Gorey Sequel
In this sequel to "The Haunted Tea Cozy," the Bahhum Bug returns to Edmund Gravel and takes him on another journey to ponder over the fates and destinies of others. Upon their return to Gravel's home they calmly await the millennium. After all, will another day make a difference in the lives they just saw?

Edward Gorey (1925-2000) RIP
Edward Gorey died in the Hyannisport Hospital on April 18, 2000 from heart failure. On April 23, 2000, Charles Osgood on "Sunday Morning" (CBS) aired a final interview with Gorey and gave a short memorial to him. Gorey final interest featured finials, and his final stuffed creation was the figbash. Gorey's first work was THE UNSTRUNG HARP (1953) and THE HEADLESS BUST (1999) appears to be his terminal one unless he has left some manuscripts for posthumous publication. Let's hope that he did. He's gone, but he is now draped with the robe immortality and on his way to take his place in the Pantheon of Literature next to Edward Lear and Lewis Carroll. A fitting poem for his mausoleum would be one by Walter Hamilton: "I never had a piece of toast, Particularly long and wide, But fell upon the sanded floor, And always on the buttered side."

Brilliant
I think that this peace of liderature is strange but different in some way. It has all sorts of different charactors and places. This is a briliant work and i would reccomend it to everyone. ... Read more

Book Description

The media used for colog genga (original drawings)are felt markers, COPIC sketch markers are particularly popular, becuase they allow the artist to use a wide variety of styles and can be used with an airbrush.This publication presents in great detail COPIC sketch techniques, giving onsideration to suitability with the paper and even includes techniques of combining markers with pastels and other media.It is an unparralleled, innovative manual, proving excellent reference for the beginner and professional alike. ... Read more

Reviews (5)

pretty good...
I borrowed this book from a classmate for a day, and i really liked it. It doesn't have pictures of naked people, but it has 2 somewhat disturbing pictures. it may seem like a huge advertising gimmick for copic, but it does give you useful information, like how to use an airbrush, how to gradate colors,mixing marker, colored pencil, and pastel colors, and tips on types paper and inks. the art seemed ugly sometimes but I tried to look over that. the guide character that appeared throughout the book looked as if the proportions were messed up; her boobs were too big, her legs too short, and she looked overall like a 7 year old.

but thats ok.
I liked the book. ^_^

A world of NO.
When I got this book I stupidly ignored the cover and bought it based on the content it promised and the little bit of content I saw while flipping through it. And there really is some useful and worthy information in this book.

But I hate it.

I hate the fact that we are taken through this book page after page by a preternaturally perky character that looks like a hydrocephalic five-year-old with big, BIG boobs.

I hate the fact that almost every drawing example is female, and that every female in this book looks like a hydrocephalic five-year-old with big, BIG boobs.

I hate the fact that this book is a non-stop commercial for Copic brand markers and accessories. C'mon people! Ease up on the brand imprinting already! It's not as if any U.S. manufacturer still makes airbrush accessories for their markers. We're already a captive audience, there's no need to rub it in.

I hate the fact that since this is mainly a big ol' undisguised ad for Copic, they couldn't be bothered to at least sell the thing at a lower price.

I hate the fact that the hydrocephalic five-year-old with big, BIG boobs is frequently posed with eye-gougingly obvious phallic symbols. Be it an ice cream or the airbrush assembly or the markers themselves, you can bet Miss perky-panties will be giving it the lovin'.

I hate the fact that I have to wade through all that garbage to get to the real and useful information.

I hate the fact that there are people out there who find that kind of illustration acceptable, or worse, appealing.

GAH! In a series that is widely known as hit-n-miss, this volume is most assuredly a miss.

Excellent for the Serious Drawer
This is a very unique manga-drawing guide as it covers specifically colored pictures. However, I I felt that it did an excellent job of covering that subject.

For example, this book had a section that showed how the same colored drawing would look on many, many different types of paper. It also explained the differences between, water, oil, and alchohol-based markers and important little things to know about them. (For example, oil-based markers will dissolve toner.) It also mentioned things such as not coloring too quickly or too slowly, and photocopying your images when coloring to make room for mistakes. It even tells you multiple ways of storing and protecting your finished artwork and where to make copies...
The guide also goes on to airbrush techniques...

Also, this book provided several solid examples of doing colored drawings step by step. And, this volume was quite free of ecchi material, which is an enormous plus in my view.

Finally, the little mini-manga at the beginning and end of the book added a cute touch to the guide. The store salesperson who appears often throughout the pages makes the book more fun to read despite the fact that this guide is much more technical than other volumes.

Overall, this is a wondeful How to Draw Manga book. Although it it more for the slightly advanced drawer who has some decent experience with drawing manga, it's a fun and educational (in terms of drawing) read for anyone who loves drawing manga.

Nice!
Great examples of how to use your copics, etc, to add color to your artwork the way the professionals do. I think this could help all kinds of artists, actually.

An excellent book for adding color to Manga/Anime
Great techniques and instructions for adding color to your works of art and bring them to life. A must have for any inspired manga/anime artist. ... Read more

Reviews (1)

Well...
This book is one that gave me really mixed feelings. Where as they manage to teach the techniques without any pornographic imagery this time, instead I don't really think the artist they got was that good... he's very mediocre,... ... Read more

Book Description

The Art of George Tuska is a comprehensive look at the personal and professional life of Tuska, including his early work with the Eisner-Iger studio and his involvement with the controversial crime comics of the independent publishers Tuska worked with. The book includes extensive coverage of his definitive work on Iron Man, X-Men, Hulk, Justice League, Teen Titans, Batman, T.H.U.N.D.E.R. Agents, and many more. A gallery of commission artwork by George and a thorough index of his extensive body of work are also included, and each section of the book is filled with examples of original artwork and photographs, as well as sketches and previously unpublished artwork. Interviews and anecdotes from his peers and fans, plus the very personal and reflective words of George himself, make this book a testament to the tremendous influence Tuska has had on the comic book industry and his legion of fans. ... Read more

Reviews (1)

A tribute to a fifty-year seasoned veteran
The collaborative effort of Dewey Cassell, Aaron Sulton and Mike Gartland, The Art Of George Tuska examines the artistic and creative legacy of comic book artist George Tuska, best known for his work on the Marvel Comic series "Iron Man" but who has worked for every major comic book publisher and illustrated hundreds of stories. A tribute to a fifty-year seasoned veteran of a demanding and competitive industry, The Art Of George Tuska traces Tuska's earliest work, his service during World War II, his work for the hotly controversial crime comics of the 1950s, and his tenure with both Marvel and DC comics. Filled cover-to-cover with black-and-white photographs and samples of Tuska's art, The Art Of George Tuska a fine survey of Ruska's dedication and talent, and includes interviews and anecdotes from Will Eisner, Jim Mooney, Nick Cardy, Marie Severin, John Romita, Gene Colan, Joe Simon, Mike Esposito, Bob Layton, Paul Levitz, and Roy Thomas, and Featuring a foreword by Marvel Comics paragon Stan Lee. Highly recommended especially for classic superhero comic book fans.
... Read more

Book Description

The man behind Spider-Man, The X-Men, The Incredible Hulk, and a legion of other superheroes tells his own amazing story in a book packed with punch, humor, anecdotes, and a gallery of never-before-seen photographs.

Stan Lee is the most legendary name in the history of comicbooks. The leading creative force behind the rise of Marvel Comics, he brought to life some of the world's best-known heroes and most infamous villains. His stories, featuring super- heroes who struggled against personal hang-ups and bad guys who possessed previously unseen psychological complexity, added wit and subtlety to a field previously locked into flat portrayals of good vs. evil. Lee put the human in the super-human. In the process, he created a new mythology for the twentieth century.

In this treasure trove of marvelous memories, Stan tells the story of his life with the same inimitable wit, energy, and offbeat spirit that he brought to the world of comicbooks. He moves from his impoverished childhood in Manhattan to his early days writing comicbooks, followed by military training films during World War II, through the rise of the Marvel empire in the 1960s to his recent adventures in Hollywood.

The story of a man who earned respect by blazing new creative trails in a storytelling form once dismissed as just for kids, Excelsior! is an inspirational story about following one's vision, no matter the odds. Yet it's also the story of how some of the most exciting and memorable characters in the pop-culture universe came to thrill a generation. ... Read more

Reviews (19)

As Good As We'll Get?
While this isn't an autobiography as such, Stan Lee does write the vast majority of the book and leaves his collaborator (George Mair) to fill in the gaps or provide continuity. There is some discussion of his personal life and his career, with a fair amount devoted to the creation of Marvel's glory days. For those who can remember, it is written in the 'Stan's Soapbox' style.

Most of the information found here won't be new to Stan's fans, as it is available in other interviews and articles. He admits to a terrible memory (all of his life, and he's now 80) so it is difficult to know whether the stories behind his famous creations are all that complete. Plus, there is not much more than can be found in his 'Origins of Marvel Comics' books. There are also significant gaps - why, for example, does he not mention Marvel's failed attempt to reintroduce super-heroes in the 1950s?

Yet, despite the quibbles, this is the best insight you'll get into the real Stan Lee. Forget any second-hand stories or biographies filled with speculation and guesswork - go straight to the source. He may not address things as precisely as you'd like, but there are interesting nuggets of information and a lot of gentle humour. Don't throw away your other references though, as he has addressed many topics in past interviews that simply don't get a mention here.

BETTER THAN NOTHING
At last, comic book fans get the opportunity to explore the life of comicdom's greatest creator and promotor, Stan Lee. Stan, along with his writing side kick George Mair gives us an "inside" glimpse of his life and the world of Marvel Comics. His wit, spicy sarcasm and brilliant style comes through the pages except for one thing; you get to know little about Lee and a lot about the comic book industry and even at that the book falls short on providing the reader with the intrigues of the comic mongols.

For those looking for a definitive biography or autobiography of one of comic's greatests masters, Excelsior comes as a big let down. Sure Stan gives us the tidbits of his life and hard times but there is very few lines of introspection about his work and the impact it had on his life. Side kick George isn't any better in providing the reader with a historical context and interpretation of the forces which shaped Stan.

Okay is the book all that bad? No. If you know nothing about Lee, Marvel Comics or the evolution of the comic industry, Excelsior is a fair book for initiation into the realms of comicdom. Younger readers would certainly appreciate its style that will immediately captivate their attention. Collectors of comics and its assortment of memorabilia certainly need this book as part of their collection.

For those who want a detailed and historical analysis of the life of Stan and the world he created, forget it. Excelsior won't feed your need. Yet in spite of that it is better than nothing so by all means give it a reading.

He Talks with pride about the Marvel Method.
There many references in the book to the Marvel Method, the job of doing the stories that Stan came up with, and helped launched Marvel to the number one spot in the comics industry. Basically Stan would come up with a story outline and then give it to the various artists he was working with (Jack Kirby, John Romita, John Busema, and Steve Didko), they would fully draw the story, give it back to Stan, and then he would write in the dialoge and speech captions. Stan very rarely wrote a full script. Sometimes he would do a story outline and either his brother Larry Liber or Roy Thomas would commit to a script and then it would be drawn. If you think of screenwriters and how they sometimes collaberate on screenplays. One would do the story outline and then someone else would commit it to a screenplay, well the Marvel Method was very similar to that, and it worked. It was a great exchange of ideas. That was the key to Marvel's early success, and it worked.

Great Book!
Excelsior! The Amazing Life of Stan Lee
Stan Lee and George Mair
C. Cho
P. 5

This book is an autobiography of Stan Lee. Many people don't actually know who this man is. Stan Lee is the man who created and wrote comic book characters such as Spider-man, Daredevil, The Hulk, The Fantastic Four, X-Men, and many other charcters. Stan was also the author of these comic book characters and the editor. Stan tells us about what kind of hardships he went through and even about his personal life.

I enjoyed reading this book because I always wondered how comic book creaters were able to create characters that were very descriptive. Stan even wrote a whole entire chapter on my favorite charcter, Spider-Man. In this chapter it tells about how Stan lee made Spider-Man. Stan says that he got the idea of Spider-Man by looking at a fly on the wall while he was typing. After he had seen the fly, he rushed to his artist, Steve Ditko and asked him to draw a man that had the characteristics of a spider and Spider-Man turned out to be a hit. Comic books back then cost around twelve cents, here is a quote that will amaze you. "Today, incidentally, copies of Amazing Fantasy #15 sell for up to $20,000 in the collectors' market, if anyone is lucky enough to find one."

Some parts that I did not like was that it told a lot about his personal life. When I first started reading this book, I thought his personal life was interesting, but after a while, it started to get repetitive. This book also informs me about what he published and how he did it. I think Stan should've not told us about his publishers so much. After reading about so many publishers, I had to skip some parts because I didn't want to read about it.

My favorite part of the book is when Stan talks about his creation of comic book characters and how he created them. It was interesting when he told me some of his stories such as being chased by a policeman that was on a horse. Stan tells stories very descriptive so I enjoyed reading this book very much. Stan writes his comic books so great that I have been influenced to read more about this great character. This book has taught me many great things about Stan Lee's life. I think this will be an enjoyable book for young adults and even adults!

Comic Book Man
I've always been a fan of comic books. These pulp collections of modern mythology helped me through a sometimes extraordinarily mundane childhood with my sanity intact. In fact, my closet has several large boxes filled with several thousand of them. Even at 32 year of age, I refuse to give them up.

Stan Lee is Marvel Comics. From the Second World War to today, he has given us a slate of unparalled heroes to adorn with wonder. He saw Marvel grow from a little pubisher called Timely in the 40s, survive attacks from parent groups in the 50s, the rebirth of the superhero in the 60s, and the emergence of a unique artform in 80s, 90s and today.

The book is so-so. Stan Lee has led an interesting life, to be certain, but there are no sex scandals, drug addiction, alcoholism, embezzlement or any of those other things that tend to make biographies best sellers today. In some ways, he is a goody-goody and he writes the book like one of his comic stories without the juicy material it needs to make it truly thrilling.

I don't want to turn anyone off, but if you are looking for things like Joan Collins rape at age 17 or Elizabeth Taylor's multiple stormy marriages,this isn't for you. Rather this provides a unique and invaluable historical record of the a part of history that is ignored by traditional outlets. Comic books are firmly entrenched in history, but are just starting to be realized as a legitimate art and literary form. Marvel has a colorful history, staring out as a private publishing company, being sold from company to company, going public after being taken over by buyout king Ron Perelmen in 1989. Financial mismanagement nearly destroyed the company in the mid-90s and it is just starting to recover. This is where the biography's true value lies.

Stan Lee always felt that Marvel had the potential to become the next Disney. With the success of Spider-Man in the movies, which has broken $800 million worldwide, as of this writing, that prediction may yet come true. ... Read more

Book Description

Superman's role in romanticizing commercialism; sexual violence in Japanese manga comics; Wonder Woman as Americanized immigrant; reader's reactions to the gay superhero Northstar; Dilbert as a workplace revolutionary; the Punisher's invasion of Vietnam-these are a few of the issues that Comics & Ideology addresses. Focusing on the intersection of social power and comic art, essays in this book explore how images and narratives in comic books and comic strips may portray social groups and social issues. As a scholarly examination of a form known as "the funnies" or "funny books," this book argues that the themes and characterizations in comic art are often quite serious. Essays take diverse theoretical perspectives such as cultural studies, political economy, feminist criticism, queer studies, and mythic analysis, all focusing on the relationship of comics to issues of social division. ... Read more

Reviews (1)

Interesting, but Lacks Vital Core.
Excluding the introduction, Comics & Ideology includes eleven rather different essays, which is to say that the only unifying themes in the various contributions, as the reader might expect, are "comics" and "ideology." Unfortunately, both have such varied definitions that although they are used with great frequency in the collection, they are often referring to vastly different things. "Comics" include everything from Japanese magna to syndicated American newspaper strips to traditional superhero comics. Similarly, "ideology" refers to gender politics, race and ethnicity, nationalism, nostalgia, as well as more traditional political belief systems. As such it is rather difficult to recommend the book: there is no great concentration of any one mode of scholarship to attract any scholar with specific interests, and with there being so few limitations on the types of texts considered it would be rather difficult to use the whole text in any unifying way (i.e. teaching a course, or even general research). At most, Comics & Ideology may offer potential readers one or two essays of interest, but this will be entirely dependant upon the individual. For my purposes (and I assume for the majority of potential readers), Comics & Ideology offers three (or five if Judge Dredd and superheroes in The 'Nam can be considered) useful essays on American superhero comics, concentrating, respectively, on Wonder Woman, Superman, and gay characters in mainstream comics.
"The Tyranny of the Melting Pot Metaphor" by Matthew J. Smith is a rather interesting approach to Women Woman and her place in the DC universe: Unlike Superman who is quickly homogenized in Smallville, Kansas, Wonder Woman's entire career has been spent in an attempt to slowly acculturate herself to the United States. While Smith wanders from time to time (falling into the inevitable discussion of Wonder Woman and bondage), the article is interesting and the utility of it is apparent: Wonder Woman is the every-immigrant, slowly becoming American through the adoption of cultural practices, and Smith provides an ample framework to understand similar conversions in comic books as well as aliens from more traditional science fiction.
One of the most important pieces of comic book criticism is Umberto Eco's "The Myth of Superman" which Ian Gordon updates in his "Nostalgia, Myth, and Ideology: Visions of Superman at the End of the 'American Century'." The basic argument is that Superman must constantly be reinvented in order to appeal to new readers (or viewers of the cinematic or television adaptations, as is the case with most of Gordon's contribution), and Gordon does a good job of updating Eco's argument, appealing to the more commercially recognized screen versions of the Man of Steel.
Morris E. Franklin's "Coming Out in Comics Books" is the most interesting piece in the collection, largely due to his methodological procedure: Eschewing the typical literary analysis of the text itself, Franklin consults the letter columns in comics to analyze reader reaction to coming out narratives. And while the selective editorial practices that limit the letters that are included in such letter columns prohibit full understanding of reader reaction, Franklin does provide a useful model for scholars interested in more anthropological analysis of comic books and their fans.
Finally, the studies of Judge Dredd comics and superhero appearances in Marvel Comics' The 'Nam are rather interesting - both deal explicitly with politics, and as such are more at the heart of Comics & Ideology than the majority of the other contributions. Unfortunately though, their political contribution isn't enough to demand owning this collection for political scholars, nor is their loose relation to superheroes enough for those interested in tight- and cape-wearing men and women. Overall, Comics & Ideology has decent pieces, but as a collection it fails to coalesce into a clear academic statement. ... Read more