Fantagraphics

The final two years of Segar’s classic feature the return of the Sea Hag and the Goon, plus more.

Alas, E.C. Segar, arguably the funniest cartoonist to ever lay ink on paper, died at the age of 44, leaving less that a decade’s worth of strips featuring his immortal creation Popeye — so this sixth volume of Segar’s Popeye is in fact the final one, enabling collectors to add the last “E” to the P-O-P-E-Y-E spelled out on the spines of Fantagraphics’ smashing collection.

This final volume starts off in grand style with “Mystery Melody,” featuring the terrifying return of the shape-shifting Sea Hag. Olive Oyl, Wimpy, Poop-deck Pappy, the Jeep, the newly domesticated Goon, and Toar all appear in this four-month epic, as does Bolo, the latest in Segar’s cast of massive Popeye opponents.

Other stories include the melodramatic “A Sock for Susan’s Sake” (Popeye becomes the protector of a girl who lives on the streets), Popeye’s boxing duel with King Smacko, the return of Thimble Theatre’s original star Castor Oyl as a detective who solves the case of “Plastic Pan,” the Poopdeck Pappy yarn “Wild Oats” (culminating in a six-month prison sentence for the rambunctious oldster), “The Valley of the Goons” (in which Popeye is shocked to discover who the new leader of the Goons is), and the self-explanatory “King Swee’Pea.”

And that’s just the dailies! Popeye, Volume 6, also includes 62 splendid full-page full-color Sundays, featuring further adventures of Popeye and an epically surreal six-month interplanetary voyage for Sappo, the star of Popeye’s “top strip.” The supplementary features include two historical articles by Popeye expert Rick Marschall (one on Popeye’s translation to the world of licensing and merchandising, and one on Segar’s place in comics and pop culture history), an illustrated Segar-written biography of Popeye originally serialized in newspapers of the time, and more rare art and photos. 80 pages of full-color and 86 pages of black-and-white comics

1998 Ignatz Award Winner, Outstanding Graphic Novel: The inspiration for the feature film and one of the most acclaimed graphic novels ever.

Ghost World has become a cultural and generational touchstone, and continues to enthrall and inspire readers over a decade after its original release as a graphic novel. Originally serialized in the pages of the seminal comic book Eightball throughout the mid-1990s, this quasi-autobiographical story (the name of one of the protagonists is famously an anagram of the author's name) follows the adventures of two teenage girls, Enid and Becky, two best friends facing the prospect of growing up, and more importantly, apart. Daniel Clowes is one of the most respected cartoonists of his generation, and Ghost World is his magnum opus. Adapted into a major motion picture directed by Terry Zwigoff (director of the acclaimed documentary Crumb), which was nominated for an Academy Award for Best Adapted Screenplay. This graphic novel is a must for any self-respecting comics fan's library. Two-color comics throughout

The first in a historic series of books collecting the comic book stories of “The Good Duck Artist.”

Carl Barks’ Donald Duck and Uncle Scrooge comics are considered among the greatest artistic and storytelling achievements in the history of the medium. After serving a stint at the Walt Disney studios as an in-betweener and a gag-man, Barks began drawing the comic book adventures of Donald Duck in 1942. He quickly mastered every aspect of cartooning and over the next nearly 30 years created some of the most memorable comics ever drawn — as well as some of the most memorable characters: Barks introduced Uncle Scrooge, the charmed and insufferable Gladstone Gander, the daffy inventor Gyro Gearloose, the bumbling and heedless Beagle Boys, the Junior Woodchucks, and many others.

Barks alternated between longish, sprawling 20- or 30-page adventure yarns filled with the romance of danger, courage, and derring-do, whose exotic locales spanned the globe, and shorter stories that usually revolved around crazily ingenious domestic squabbles between Donald and various members of the Duckburg cast. Barks’s duck stories, famously enjoyed equally by both children and adults, are both evanescent celebrations of courage and perseverance and depictions of less commendable traits — greed, resentment, and one-upmanship.

Our initial volume begins when Barks had reached his peak — 1948-1950. Highlights include:

     • The title story, “Lost in the Andes” (Barks’s own favorite). Donald and the nephews embark on an expedition to Peru to find where square eggs come from only to meet danger in a mysterious valley whose inhabitants all speak with a southern drawl, and where Huey, Dewey, and Louie save Unca’ Donald’s life by learning how to blow square bubbles!
     • Two stories co-starring the unbearably lucky Gladstone, including the epic “Race to the South Seas,” as Donald and Gladstone try to win Uncle Scrooge’s favor by being the first to rescue him from a desert island.
     • Two Christmas stories, including “The Golden Christmas Tree,” one of Barks’s most fantastic stories that pits him and the nephews against a witch who wants to destroy all the Christmas trees in the world.
     • In other stories, Donald plays a TV quiz show contestant and ends up encased in a giant barrel of "Shaky-Jell," a truant officer who matches wits with his nephews, and a ranch hand who outwits cattle rustlers.

These new editions feature meticulously restored and re-colored pages in a beautifully designed, affordable format geared to the mainstream book buyer. Discover the genius of Carl Barks! 240 full-color pages of comics

Prince Valiant and Aleta travel to Canada, where their child is born, in this Legends-of-the-Roundtable-inspired strip.

Hal Foster’s masterpiece of adventure enters its second decade as Valiant and Aleta journey to “The New World,” a 16-month epic that allows Foster to draw some of his spectacular native Canadian backgrounds, and during which Aleta gives birth to Arn and acquires her Indian nurse, Tillicum. Most of the rest of the book is taken up with the action-packed five-month sequence “The Mad King,” during which Val, back at Camelot, confronts the evil, fat little King Tourien of Cornwall. This volume will be rounded off with an essay by Foster scholar Brian M. Kane (The Prince Valiant Companion) discussing Foster’s depiction of “Indians” as it relates to other interpretations of the times, accompanied by various graphic goodies such as a previously unpublished camping cartoon by Foster from circa 1915, some of Foster’s Mountie paintings, Foster’s own map of Val’s voyage to/from the New World, and more rare photos and art. Yes

Uncle Scrooge classics for all ages!

Since Fantagraphics’ first release in this series focused on Donald Duck, it is only right that the second focus on Carl Barks’s other great protagonist, and his greatest creation: The miserly, excessively wealthy Scrooge McDuck, whose giant money bin, lucky dime, and constant wrangles with his nemeses the Beagle Boys are well-known to, and beloved by, young and old.

This volume starts off with “Only a Poor Old Man,” the defining Scrooge yarn (in fact his first big starring story) in which Scrooge’s plan to hide his money in a lake goes terribly wrong. Two other long-form classics in this volume include “Tralla La La” (also known as “the bottlecap story,” in which Scrooge’s intrusion has terrible consequences for a money-less eden) and “Back to the Klondike” (Barks disciple Don Rosa’s favorite story, a crucial addition to Scrooge’s early history, and famous for a censored bar brawl that was restored in later editions). Each of these three stories is famous enough to have its own lengthy Wikipedia page.

Also in this volume are the full-length “The Secret of Atlantis,” and over two dozen more shorter stories and one-page gags.

Newly recolored in a version that combines the warm, friendly, slightly muted feeling of the beloved classic original comic books with state-of-the-art crispness and reproduction quality, the stories are joined by another volume’s worth of extensive “Liner Notes,” featuring fascinating behind-the-panels essays about the creation of the stories and analyses of their content from a world’s worth of Disney and Barks experts.

Full color throughout

The first volume of the second-most requested strip collection reprint in Fantagraphics' history.

Walt Kelly started his career at age 13 in Connecticut as a cartoonist and reporter for the Bridgeport Post. In 1935, he moved to Los Angeles and joined the Walt Disney Studio, where he worked on classic animated films, including Pinocchio, Dumbo, and Fantasia. Rather than take sides in a bitter labor strike, he moved back east in 1941 and began drawing comic books.

It was during this time that Kelly created Pogo Possum. The character first appeared in Animal Comics as a secondary player in the “Albert the Alligator” feature. It didn’t take long until Pogo became the comic’s leading character. After WWII, Kelly became artistic director at the New York Star, where he turned Pogo into a daily strip. By late 1949, Pogo appeared in hundreds of newspapers. Until his death in 1973, Kelly produced a feature that has become widely cherished among casual readers and aficionados alike.

Kelly blended nonsense language, poetry, and political and social satire to make Pogo an essential contribution to American “intellectual” comics. As the strip progressed, it became a hilarious platform for Kelly’s scathing political views in which he skewered national bogeymen like J. Edgar Hoover, Joseph McCarthy, George Wallace, and Richard Nixon. Walt Kelly started when newspaper strips shied away from politics — Pogo was ahead of its time and ahead of later strips (such as Doonesbury and The Boondocks) that tackled political issues. Our first (of 12) volume reprints approximately the first two years of Pogo — dailies and (for the first time) full-color Sundays.

This first volume also introduces such enduring supporting characters as Porkypine, Churchy LaFemme, Beauregard Bugleboy, Seminole Sam, Howland Owl, and many others. And for Christmas, 1949, Kelly started his tradition of regaling his readers with his infamously and gloriously mangled Christmas carols.

Special features in this sumptuous premiere volume, which is produced with the full cooperation of Kelly’s heirs, include a biographical introduction by Kelly biographer Steve Thompson, an extensive section by comics historian R. C. Harvey explaining some of the more obscure current references of the time, a foreword by legendary columnist Jimmy Breslin, and more. 32 pages of full-color and 320 pages of black-and-white comics

“What, me imitated?”

When MAD became a surprise hit as a comic book in 1953 (after the early issues lost money!) other comics publishers were quick to jump onto the bandwagon, eventually bringing out a dozen imitations with titles like FLIP, WHACK, NUTS, CRAZY, WILD, RIOT, EH, UNSANE, BUGHOUSE, and GET LOST. The Sincerest Form of Parody collects the best and the funniest material from these comics, including parodies of movies (20,000 Leagues Under the Sea, From Here To Eternity), TV shows (What’s My Line, The Late Show), comic strips (Little Orphan Annie, Rex Morgan), novels (I, the Jury), plays (Come Back, Little Sheba), advertisements (Rheingold Beer, Charles Atlas), classic literature (“The Lady or the Tiger”), and history (Pancho Villa). Some didn’t even try for parody, but instead published odd, goofy, off-the-wall stories.

These earnest copiers of MAD realized that Will Elder’s cluttered “chicken fat” art was a good part of MAD’s success, and these pages are densely packed with all sorts of outlandish and bizarre gags that make for hours of amusing reading. The “parody comics” are uniquely “’50s,” catching the popular culture zeitgeist through a dual lens: not only reflecting fifties culture through parody but also being themselves typical examples of that culture (in a way that Harvey Kurtzman’s MAD was not).

This unprecedented volume collects over 30 of the best of these crazy, undisciplined stories, all reprinted from the original comics in full color. Editor John Benson (who wrote the annotations for the first complete MAD reprints, and interviewed MAD editor Harvey Kurtzman in depth several times over the years) also provides expert, profusely illustrated commentary and background, including comparisons of how different companies parodied the same subject.

Artists represented include Jack Davis, Will Elder, Norman Maurer, Carl Hubbell, William Overgard, Jack Kirby, Dick Ayers, Bill Everett, Al Hartley, Ross Andru & Mike Esposito, Hy Fleischman, Jay Disbrow, Howard Nostrand, and Bob Powell.

Casual comics readers are probably familiar with the later satirical magazines that continued to be published in the ’60s and ’70s, such as Cracked and Sick, but the comics collected in this volume were imitations of the MAD comic book, not the magazine, and virtually unknown among all but the most die-hard collectors. For the first time, Fantagraphics is collecting the best of these comics in a single, outrageously funny volume. 208 full-color illustrations

More great 1950s horror and sci-fi work by one of comics' greatest stylists.

Five years before his breakthrough as the co-creator of Spider-Man, Doctor Strange, and other classic super-heroes for Marvel Comics in the early 1960s, Steve Ditko, inspired by the freedom he found at the laissez-faire Charlton Comics, was turning out some of the best work of his career.

Mysterious Traveler, which collects stories from (among others) Tales of the Mysterious Traveler and This Magazine Is Haunted, reprints over 210 full-color pages of Ditko in his early prime. These are stories that have never been properly reprinted until now — thrilling stories of suspense, mystery, haunted houses, and unsuspecting victims.

224 pages of full-color comics

This entry in the EC series focuses on Al Williamson’s comics work, primarily in the sci-fi genre.

Barely old enough to drink when he joined the EC Comics stable, Al Williamson may have been the new kid on the block, but a lifetime of studying such classic adventure cartoonists as Alex Raymond (Flash Gordon) and Hal Foster (Prince Valiant) had made him a kid to reckon with — as he proved again and again in the stories he created for EC’s legendary “New Trend” comics, in particular Weird Science and Weird Fantasy. As a result of Williamson’s focus, it’s possible to compile all of Williamson’s “New Trend” EC work into one book — which Fantagraphics is finally doing here. Sci-fi aficionados should note that although most of the stories were written by Al Feldstein, 50 Girls 50 features three of EC’s legendary Ray Bradbury adaptations, including “I, Rocket” and “A Sound of Thunder” — and a unique curiosity, a strip adapted from a short story submitted by a teenage Harlan Ellison. Williamson ran with a gang of like-minded young Turks dubbed the “Fleagle Gang,” who would help one another out on assignments. Thus this book includes three stories upon which Williamson was joined by the legendary Frank Frazetta, and one story (“Food for Thought”) where Roy Krenkel provided his exquisite alien landscapes, to make it one of the most gorgeous EC stories ever printed. As a supplementary bonus, 50 Girls 50 includes three stories drawn by Fleagles sans Williamson: Frazetta’s Shock SuspenStories short “Squeeze Play”; Krenkel’s meticulous “Time to Leave”; and Angelo Torres’s “An Eye for an Eye,” an EC story that famously fell prey to censorship and was not released until the 1970s. As with other Fantagraphics EC titles, 50 Girls 50 will also include extensive story notes by EC experts. Yes

Horror and crime shockers from the EC vaults, illustrated by a comics grandmaster.

Wallace Wood applied his preternaturally lush brushwork to over two dozen stories in the thematically overlapping (“dreadful things happen to people, both innocent and guilty”) horror, crime, and suspense genres. This work is the subject of one of the two premiere releases in Fantagraphics’ highly-anticipated new EC reprint line.

Taking its title from one of Wood’s all-time classics, the evil little paranoid thriller “Came the Dawn,” this collection features page after page after page of Wood’s sleek and meticulously crafted artwork put in the service of cunning twist-ending stories, most often from the typewriter of EC editor Al Feldstein.

These tales range from supernatural shockers from the pages of Tales From the Crypt and The Haunt of Fear (“The Living Corpse,” “Terror Ride,” “Man From the Grave,” “Horror in the Freak Tent”) to often pointedly contemporary crime thrillers from Crime SuspenStories (“The Assault,” “The Whipping,” and “Confession,” which was singled out for specific excoriation in the anti-comics screed Seduction of the Innocent, thus giving it a special cachet), but the breathtaking art and whiplash-inducing shock endings are constants throughout.

Like every book in the Fantagraphics EC line, “Came the Dawn!” will feature extensive essays and notes on these classic stories by EC experts — but the real “meat” of the matter (sometimes literally, in the grislier stories) will be supplied by these ofted lurid, sometimes downright over-the-top, but always compelling and superbly crafted, classic comic-book masterpieces.

Black & white throughout