Comics Books

---I'm sorry to do thid to you, but the previous review was actually meant for a book of the same title. (Pose File volume 1). I do not own this particular book you are researching, but If I get a copy, I will be sure to get back to you on this.--I am not saying that this book is good or bad, just that I cannot speak for it personally...

Cobalt

This book has one unusual strength: most poses are shown from many angles, up to about two dozen in some cases. This gives extra insight into unusual foreshortening and into how the figure articulates.

The weakness of this book is that, in order to show so many different views on a page, each figure photo is relatively small. This is especially disappointing because the models are all Japanese, where most pose books show only European features and figures. This book never meant to document details of faces, though, so I really can't complain,

From moderate shadow to deep chiascuro effects this is a beautiful addition to the Pose File series. The other books excellently describe the figure, in proportion, motion and moving through space, but mostly in an even tonal scale. This volume emphasizes the extremes of that scale, making it a necessary addition to the set.

---You may be wary of the idea of buying a japanese book, where 99% of the text is in Kanjii. Rest assured that this book is as useful in the states as it is in Japan, because the main body of these books are beautiful photographs of female models taking every pose one could imagine in any studio.--Being a fellow who works in cartooning and graphic novels more than any fine art. I find this series endlessly useful as an excersise in my spare time.--Just pick a page and draw all it's figures until your arm is sore, and you will be all the better than trying to glean useful practice from old Playboy Magazines.--Pose File books are for, and will always be about fine artists who have a passion for the ultimate machine.

Cobalt

PS. THIS is the right review for the right book Sorry about any confusion

I'm trying to learn how to draw, and the books in this and similar series would be really helpful--if I could afford any of them. I found this book in a store where I live and decided to buy it until I checked the price tag that the store had stuck onto it. because I lived in Japan for a while, I'm used to the printed price that appears on all books, so I had just looked there. I have decided to wait until Christmas when I can buy it myself for a decent price. Blah.

This book was recommended to me by Amazon having bought some of editor Tomine's comics. But while his Shortcomings is a very good comic, The Push Man and Other Stories is simply amazing.
I am generally not a fan of manga or Japanese comics because I don't like the style of drawing the characters, but the artwork by Tatsumi immediately attracted me (a pleasant surprise because the "Look Inside" feature is not available for this item).
But, boy, did these stories blew me away! They are amazingly daring for the time (compared to most of the European comincs of the time), they are still strikingly relevant. There is a sort of existential quality about them and I was immediately reminded of the Palm-of-the-Hand Stories by Kawabata, which I'd recommend if you like this collection. They linger in your mind and form a sort of visual poetry only the best of comics achieve. This is recognised by Fantagraphics and this edition is quite splendid with an introduction and an interview with Tatsumi as a bonus.
I have a feeling I will read this collection more than once. In any case, after finishing the book, I immediately ordered Abandon the Old in Tokyo!

book arrived in perfect condition, gritty- every day life subject matter that everyone likes to keep secret brought out shamelessly into the open. loves it.

I am very pleased I bought this. The art is great, and the stories are totally disturbing. Despair and a disconnect with the rest of society are common themes throughout these stories. These are themes that never age!

The art is very pleasing, all in black and white they do an excellant job of protraying the despair that runs rampant in the stories.

The stories are not for those that like happy things, but if you like dark stories with unhappy endings (Like real life) then this for you. Highly recommended.

"I myself am a very normal person. Please do not interpret these stories as representative of the author's personality." This plea to the reader appears on the very last page of this book, and upon coming across it, most readers will probably think the disclaimer belongs at the front of the book. Because by the end of these 16 short graphic stories, which represent a "best of" anthology of Tatsumi's work from 1969 (the plan is to continue releasing a "best of" for each year), it's very hard not to suspect the author of having some major dysfunctions with both society at large, and especially with women. According to the introduction by Adrian Tomine, Tatsumi is considered "the grandfather of Japanese alternative comics", and coined the term "gekiga" to distinguish naturalistic, more adult comics from the popular "manga" fare for kids. The material in this collection certainly falls into the "gekiga" category, as it encompasses very adult material. Not "adult" in the sexual sense (although there is sexual explicit material), but in the more metaphysical sense that is brought on by feelings of urban alienation

The stories are set in late '60s Japan, in what is presumably Tokyo, and Tatsumi writes that he found inspiration in newspaper human interest stories and the police blotter. If that's the case, it seems he was drawn to tragic stories about men who just couldn't cope with their lot. In every story, the protagonist is a kind-faced everyman figure (visually, he is the same in almost every story), who works some kind of menial job either on his own or with men who don't respect him. He either lives alone or at home with a wife or girlfriend who either works as a bar hostess or openly cheats on him. Stripped of his manhood on all fronts, he either lashes out in violence, takes cold-blooded revenge, or commits suicide. Indeed, it's impossible not to notice the misogyny that pervades the stories -- literally every woman is either wanton, scheming, drunk, greedy, or somehow tainted. The urban setting, dominant theme of alienation, outbursts of violence and disgust, and sexual disgust are perhaps best compared to the film "Taxi Driver" in terms of tone, and yet are ones that seem to crop up over and over in modern Japanese fiction and film.

in contrast to the gritty subject matter, the artwork tends to be very clean and crisp, and as with everything published by Drawn & Quarterly, the book is beautifully produced. The panels haven't simply been "flopped" from the original Japanese layout, but have been rearranged for Western formatting, and the results are spectacular. Fans of Adrian Tomine's work will appreciate both the visual style, and the use of silence throughout the stories. However, this is a book that should be read not only by comics aficionados, but by anyone interested in the literature of modern Japan. It will be interesting to see if Tatsumi's stories change tone and theme over time, and I look forward to the 1970 volume.

Yoshihiro Tatsumi, The Push Man and Other Stories (Drawn and Quarterly, 2005)

The Push Man is the kind of thing that's going to weird you out anyway, but it will do so even more when you realize that all of the little stories collected here were actually written thirty-five years before the book's publication. To say Tatsumi was ahead of his time is, perhaps, the understatement of the year.

Because of the odd time differential, pretty much everything I could say about this book would need to be reversed, and would be less appropriate for the review. For example, Tatsumi doesn't show stylistic similarities to Charles Burns; Burns shows stylistic similarities to Tatsumi. (Either way round, it's a compliment.) Burns is an excellent point of comparison for those unfamiliar with Tatsumi; both are looking to get under society's skin and play around with the guts for a while before showing them to you like an eager-to-please six-year-old holding a dead badger out to you as a present and expecting you to exclaim with joy. Of course, the lives themselves are different-- Burns chronicles the stoner-era Pacific Northwest, while Tatsumi is looking at the sixties salaryman-- but looking at the two artists side-by-side, what's more apt to strike the reader is the universality of the darker human emotions. Pain, rage, confusion, hopelessness, and despair float through Tatsumi's characters as if they're breathing it straight from the air. Tatsumi captures these essences wonderfully. You have to wonder about the psyche of a person who's capable of defining characters so well with so few words and then doing such horrible things to them (or letting those things be done to them).

I don't think it would be terribly much of a stretch to at least hazard the hypothesis that Tatsumi's work, when it first appeared in 1969, may have been the single biggest thing to ever happen to graphic literature. Tatsumi made people sit up and say "hey, maybe this is something we should take seriously." Translations of his work into English are long overdue (except, of course, for bootlegs), and very welcome. This is great stuff. Seek it out. **** ½

I didn't know what to expect when I ordered this. All I knew what that I knew nothing about radio. This little comic has changed that however. With its easy to read format and great illustrations I was able to understand the fundamentals of radio production in about an hour. I'm not going to be producing any award winning series anytime soon but I will be able to mumble an 'affirmative' grunt here and there should the topic ever arise in a conversation. Overall, it was worth the money. I gave it a 4 star rating rather than a 5 only because I wish there was more of it. If you want to know the absolute basics of production then buy it.

Jessica Abel and Ira Glass have done an admirable job of explaining the basics of what it takes to do radio reportage and story telling in a novel format, mainly that of a comic. Inexpensive, easy to read and even easier to understand, the book gave me a clearer idea of what it talks to engage in this field and how to do it properly. While it is by no means a substitute for hands-on or field experience, I was able to glean enough from this to know that I would like to do this full time!

The team at "This American Life" tell stories as well as anyone in the media. This book was recommended to me during a seminar on multimedia storytelling for photographers, so its value is not limited to those who only want to do radio. It's a comic book, but not shallow. Anything but. Ira Glass and his team at Chicago Public Radio go through how a particular week's show, Do-Gooders, was produced as well as basic tip for anyone wanting to do documentary audio work. This is a little gem.

Having read "Radio", I can say it is packed with information not only on the production, but on how to tell a story. My son is a natural conversationalist, I asked him how does he put together his stories. He said he didn't know and I suggested wouldn't it be cool to understand how the dynamics/mechanics of storytelling work. He simply shrugged his shoulders and said, "I dunno". He works for me in the summer and I told him I would pay him to read this book in lieu of working. He liked that idea. He read the story in about an hour. Now he has the rhyme to the reason. This comic is a great read and should be required for any collegiate types.

To anyone who has ever listened to This American Life and thought "I have a good story to tell", this is the book to read. "Thank you!" to Ira Glass for sharing his knowledge on how to write for radio. This book is easy to read and fun. So if you have a dream of hearing your story on NPR, get this book!

well ya see I haven't really red the 9th book yet but, here's what I have to say any way>>>>>
I think this will be just as amazing as all of the other books the other books that Rumiko has writen and i most likely believe that this book will be just as good possiblely even better than the rest. (is it even possible?)><><><><><><><(who knows!)
I truly believe that Rumiko has one of the best writing styles and the art work is just absolutly stunning!
From mewme( yes it's my nick name and yes it's umm_different)

Hey, I could look through all my Ranma 1/2 books and based off the summary given above, determine which volume it is, or if I don't have this volume. But I'll trust the reviewer above that this is Volume 9. Which, like all the Ranma manga, is terrific. Anyway, Amazon.com and sellers aren't getting any money on the three Ranma 1/2 books I want cause I can't tell which ones they are, so I'm going elsewhere to make a purchase.

I loved this book. Even if it's not my favorite one in the series, Its still an awesoime read!! i highly reccommend this to anyone who like action/comedy/romance(a little).... And if you like "Inu-Yasha" too... Well, befroe you read this, you should read volumes 1-7, or you'll be completely lost! LOL! Yours truly, *~*Gen*~*

And why does she look so familiar? Yoiko is a perky little girl who introduces herself as Ryoga's little sister. Her story is somewhat plausible, given that he finds her living in his house. As for how he could have not known about her--his whole family has the weird direction disability, and since he's been away so long, he might not have known about her. Or it could be something else.

Everyone knows that Ranma has more fiancees than any five men, but now it is Ukyo's turn to get an admirer--and it is not Ranma. Tsubasa Kurenai likes to play dress-up; a tree, a mailbox, even a one-eyed mushroom!

And how will Ranma react to getting another admirer?

In the last book, Ranma disguised herself as Ryoga's fiancee--now, she's his little sister Yoiko. Both times she did this to come between Ryoga and Akane. Maybe Ranma has feelings for Akane after all...

And we get to meet a very interesting person who has a connection to Ukyo. Who--or what--is this Tsubasa Kurenai? And what is the connection to the okonomiyaki chef?

I liked this book, but I found the story with Tsubasa hard to understand. I can't explain why I was confused without giving away vital secrets..

But don't let my easily confused tendencies keep you from enjoying anotehr fun installment of the Ranmaverse!

This is the first Ranma 1/2 I read, and it's the best! Humorous; keeps you laughing even when you're alone. Although it may have some weird concepts (a boy turning into a girl), the overall idea is brilliant!

I won't detail the storyline for this book since others have told you. I will however, comment on this bizarre mistake in my copy. One and a half chapters of the Picolet story suddenly appear in the middle of the Nabiki=fiancee' story, messing them up. But the dislocated chapters are also printed correctly earlier in the book! So, I am reading the same stuff just in a different (and wrong) place. But other than that, I have enjoyed this section of the story. And I want to think that this odd quirk will make my copy more valuable in the future.

I LOVE RANMA....well not literally but i mean the books...ALL of Rumiko Takahashi's books are good. If you put me on the couch and give me one of her books i won't get up until i am done! Her books are sooooo good! if you haven't read any of the books i encourage you to read 'em!

While Ranma remains stuck with his girly-girlie curse, he faces still another amorous martial artist - this time he's a dapperly young Frenchman! After tea ceremonies, circus acts, and Hawaiian surf-up, Ranma engages into a painfully rigorous training with REFINED ETIQUETTE FOR GOURMET DINING. However, even with all such savory French delicacies right under his young button nose, Ranma still ends up being sent to bed hungry. And, Picolet's really BIZARRE hereditary gives him a great advantage over all the speed-eating contests, so...Ranma has to find ANOTHER way quickly or he would be doomed to wear the tightly-laced iron corset so ruthlessly forced onto his nubile young girl's body AND eventually become Picolet's bride! And one of Akane's sisters, Nabiki is finally given the new role as a main character in the second story. So a sibling rivalry suddenly crackles in the air and Ranma finds himself with a SWITCHED fiancee...none other than Nabiki herself! Now all the lovestruck rivals had caught the wind of it, so poor Ranma is forced to shield the coy-faced young Nabiki from being viciously attacked. And what's more, Nabiki uses her subtle, catty ways to make some dough right off her new fiance as well as to get back at her easily-ruffled little sister! Aw, JUST PICK UP A COPY AND READ ALL ABOUT IT!

This volume contains one of my favorite storylines in the entire series, "Nabiki becomes Ranma's fiancee!" I'm a big sucker for anime romances, and the romance between Ranma and Akane is my absolute favorite. Engaged by meddling parents to carry on their families' martial arts style, they eventually fall in love without even knowing it, and their unspoken love is put to the test time after time by incredibly weird and hilarious situations. In this volume, Akane gets angry at Ranma for saving her sister Nabiki from a fall, instead of Akane. Sneaky and conniving Nabiki takes advantage of the situation by taking up Akane on her rash remark that Ranma should become Nabiki's fiancee. Akane soon regrets her remark, not to mention Ranma, who ends up being Nabiki's pawn in a number of money-making schemes. But will these two ever get over their pride and embarrassment before Nabiki makes a ton of money out of the situation? Check out this volume for an incredibly sweet, cute, and hilarious story!

Alex Sheikman's neo-cyberpunk/samurai/kung-fu/western is unlike any other comic. The art is superb and the writing is surreal adventure at its best. This collection of his first 4-issue series came out a few years ago, but it is a timeless saga of a distant future that combines and mixes genres to create a flavor unlike any other comic or graphic novel. From the wordless cyborg samurai, Niko, to the bizarre eroticism of the assassin known as Cherokee Geisha, this is a world full of wonders, terrors, and technology gone wild. Techno-organic societies mix with sorcery and wild-west violence in an odyssey of strangeness that must be experienced to be believed. Anybody who enjoys high-quality graphic novels and comic books owes it to him- or herself to buy and read ROBOTIKA. It's the kind of achievement that comics needs more of--a singular vision of one man's creative obsession. It is Alex Sheikman's imagination, poured onto the page in an exquisite ballet of line-art, beautifully-choreographed action, and mind-boggling technologies. Quite simply, ROBOTIKA is a masterpiece. Order it now and thank me later.
--John R. Fultz

As all the past reviewers have said this is visually amazing with a capital "A". But I just can't let the writing slip. This could be my favorite comic ever. But instead it's more like a beautiful ming dynasty vase sitting on my shelf. If Sheikman could get together with someone who writes amazing stories but who wouldn't overpower his (Sheikman's) originality this is the book I would be taking with me to a deserted island.

On another note does any of this remind you Aeon Flux? I'm in no way saying he stole ideas only that they are both so original and out there that they remind me of each other.

This is an excellent book. It has some amazing art and the author tries (and succeeds) with lots of different visual effects. The story is top notch too.

Some cool extras in the back, such as a sketch book, make this a collection worth having.

Read the review on "Robotika" on a comics blog and wanted to add it to my collection. Then googled the title and clicked on the link to Amazon. Too slick! There in front of me was preview pages, related titles and reduced prices on existing titles... I'm hooked.

How good is this book? Honestly, it's one of the most gorgeous comics I've ever seen. I put it up next to my copy of PRIDE OF BAGHDAD and fit right it. The ROBOTIKA hardcover looks THAT good. And reviewers have noticed. Every single review I've seen for this series notes that Alex is a special talent who could easily make it at any of the bigger comic companies. But Alex wants to make it one his own terms, and with ROBOTIKA, I think he has. It's hard to argue that you've not yet arrived when your work is showcased in a major hardcover from one of today's hottest second-tier publishers.

Where critics have occasionally come down against Robotika is in its writing. There are some valid criticisms there, but the story is still weird, violent, and visionary enough for even the most discerning steampunk sci fi fans. ROBOTIKA reads a little more like a pair of related short stories more than it does a single four-issue story, but so what? That's hardly a killer, especially in this format where the whole story is collected in one gorgeous volume.

Unfortunately, the odds are pretty good that your local comic shop didn't order this book. That's too bad. This book is well worth your time and as well illustrated as anything on the market.

I admit, Ryoichi Ikegami's art caught my eye when I say this book, but he doesn't write the stories. The synopsis on the back cover of volume one had me very interested.

The story starts off well, about two young men in two very different worlds, one in the Yukuza (Japanaese triad) and the other aiming to be a politician, who collaborate to create an ambitious vision.

Towards the end, the story becomes a bit too convoluted, however overall it is a good story, amd well worth the read.

But that's not what this is about. It's the steamy world of politics and scandal. An excellent story with excellent art. I cried at the end and I never cry at the end of anything. The characters are awesome and devious. Read it.

This is a story of two people who set out to change japan (and to some extent, the world) by unwaveringly sticking to their principles, using both Japanese politics and its underworld.

The plot details the intricate maneuverings of the two; there is little violence. Their opponents are not weak (mentally, in power, or in integrity), and their friends sometimes carry liabilities. The characters are as believable as those in any of the best western novels (the plot is far more western than eastern); this seems more like a novel that just happened to be drafted in graphic form.

Unfortunately, westerners should be cautioned that manga often contains graphic depictions of rape, which is usually treated in a humorous light. This book should be docked for that, but I'll leave it be.

The only other manga I've read is Crying Freeman, so I'm not very biased towards manga.

I'm new to manga and while I was initially attracted to Ikegami's art (art that still gives me pause it's so beautiful)the story really, really captured me. It was like a history lesson in Japanese politics and the mob (the Yakuza). All the characters were so interwoven and yes you do have to pay attention because there are twists and turns all the time. The nine volumes that it takes to tell this story never becomes dull.
The story drives all the time and is never ever predictable. The writing is exceptional. I highly recommend this series to the mature reader who appreciates not only great art but great intricate storytelling.

This is the first of a nine volume series about two young men (30) who set about changing Japan (and the world) one from above (politics) and one from below (organized crime).

The premise is very interesting but extremely complex. I have all 9 volumes and have given this a go about three times but have never been able to move past volume 5 because of the way the story is set up. I got the feeling that you need to know how the Yakuza (the Japanese mob) is set up, as well as the geography of Japan to follow the story well. For example I have no idea what the Kanto region is. There seem to be several different factions of the Yakuza and among those factions they are again fragmented into different parties. It is hard to follow who is on whose side and who isn't on whose side and why is that person going after that person. Phew! You practically need a score card to keep up with the story!

I prefered to focus on the main characters Hojo and Asami. Two very unique men with unshakable faith and confidence in themselves that has nothing to do with arrogance. That is the reason I keep picking up the books again and again. I can not help but idolize them particularly Hojo. Here is a man who will go after what he wants without hesitation. But at the same time he has a great deal of loyalty and kindness to those he loves and likes.

Of course there is Ikegami's art work. He can easily be described as the Michelangelo of the manga world. Because of his clean and expressive drawings. You find that you can see how a character functions simply by the way that he has him/her stand. Or tilt his head. It really is phenominal.

But like another reviewer said this book has to be seriously docked for the casual and capricious dipiction of rape. It was horrible and disgusting and took away from the story.

I would recommend Sanctuary to those who are looking for an in depth manga story that will make you pay attention.

Mr. Sipress's book, The Secret Life of Dogs, is as good as the reviews say. The one-star review refers to The Hidden Life of Dogs, which is, as stated, garbage, by a different author. Mr. Lengowski might please amend his review.

Why should I review something that was already explained to us by [...]back in 1993.

I want to talk about the hidden lives of my dogs.

Until recently, I wasn't aware that my dogs had hidden lives. There were many times, such as when they'd take turns repeatedly eating a deceased lizard and throwing it back up, when I wasn't even sure they had brains. Then I got ''The Hidden Life of Dogs,'' the best-selling book by Elizabeth Marshall Thomas, who has some astounding insights into dog behavior. For example, in an effort to find out what dogs do when they're on their own, she spent months following a husky named Misha as he roamed all over Cambridge, Mass. What Thomas discovered was that Misha, who at first appeared to be simply trotting around aimlessly, was in fact earning a degree from Harvard Business School.

No, I am joshing. Harvard does not accept huskies unless their parents are extremely wealthy. What Thomas discovered, after much observation, was that Misha spent his time -- and here I will attempt to summarize two full chapters of ''The Hidden Life of Dogs'' -- sniffing other dogs and peeing a lot.

This might not strike you dog-owners as all that deep of an insight. But trust me, it seems like one when you're reading the book. Because where you might see just a plain old dog engaging in non-rocket-scientist behavior, Thomas sees a highly sophisticated organism responding to elaborate socio-biological stimuli and performing complex problem-solving tasks. It's not her fault that the solution to the problem is usually to pee on it.

Anyway, reading this book got me to thinking about my own dogs. Did they have a hidden life? If so, could I discover it, and -- more important -- write a best-selling book?

To find out, I removed my dogs from the confined, controlled environment of our house and put them outside, where they were free to reveal their hidden lives. I observed them closely for the better part of a day, and thus I am able to reveal here, for the first time anywhere, that what dogs do, when they are able to make their own decisions in accordance with their unfettered natural instincts, is: Try to get back inside the house. They spent most of the day pressing sad moony faces up against the glass patio door, taking only occasional breaks to see if it was a good idea to eat worms (Answer: No).

Of course, the dogs have important and complex socio-biological reasons for wanting to get back into the house. For one thing, the house contains the most wondrous thing in the world: the kitchen counter. One time a piece of turkey fell off of it. The dogs still regularly visit the spot where it landed, in case it shows up again. There's an invisible Dog Historic Marker there.

Another reason is that the house provides a better echo for barking. Dogs employ barking as a vital means of communicating important messages, such as: ''bark.'' Barking also serves a vital biological purpose: If a dog does not release a certain number of barks per day, they will back up, and the dog will explode. (Whenever you hear an unexplained loud noise in the distance, it's probably a dog exploding.)

Our large main dog, Earnest, spends her day sleeping directly under my desk, and three or four times a day she'll have a pressure buildup, causing her to wake up, lift her head, release a bark and immediately go back to sleep. Her bark, traveling at the speed of bark, quickly reaches our small emergency backup dog, Zippy, who is sleeping elsewhere in the house. He wakes up and rushes up to the outside of my office door and starts barking at it, because there is clearly something wrong inside. (Why else would Earnest have barked?) This in turn awakens Earnest, who leaps up, bonks her head against the bottom of my desk, then rushes over and starts barking at her side of the door. Each dog is firmly convinced that there is Big Trouble on the other side, possibly involving their arch-enemy, the U.S. Postal Service truck. It comes around every day, and usually Earnest and Zippy are able to drive it off by barking at it and getting spit all over the windows by our front door, but now apparently the truck somehow has GOTTEN INTO THE HOUSE and is ON THE OTHER SIDE OF THIS DOOR BARK BARK BARK BARKBARKBARKBARK!!!

This is what my dogs are thinking (if ''thinking'' is the word I want here) as I get up, walk past Earnest, who is now insane with rage, and open the door. Instantly Earnest charges BARKBARKBARK into the hall, narrowly missing Zippy, who is charging BARKBARKBARK into my office. Each one goes about five feet, then -- WAIT a minute!! -- skids to a stop, whirls around, and charges back the other way, still barking. Sometimes they'll pass each other three or four times before they run out of momentum and lie down again, confident that, thanks to their alertness, the house is once again safe. This is the hidden dog world that goes on every day in our house. I admit that, socio-biologically, it is not as interesting as the things that Elizabeth Marshall Thomas' dogs do. But Earnest and Zippy are the only dogs I have. Make me an offer.

I think you guys are all referring to a different book. The editorial review refers to this book as a collection of cartoons, and the author as David someone. Most of you seem to be writing about a book that I am unable to find, called I think, the INNER life of Dogs, not the SECRET Life of Dogs,a non-cartoon book, and the writer of that book is female, as referred to by the other reviews. Possibly this other book is out of print, but if you can find it, I highly reccomend it for the insight it gives into dog behavior. The rather angry reviewer, the only one who rated it badly, is totally off the mark. This is really the only book of its kind, and it is an invaluable resource for dog owners. Of course, if you want to buy that book, you are on the wrong page!

I first ran across this book as a book on tape. I enjoyed how the author intertwined her own astute observations of dogs with other research. I came to appreciate how complex canine behavior could be, especially regarding social rules and heirarchies.

I read this book and it opened my eyes to the canine kingdom After reading it I realized my only intent was teaching the dogs. I negated that they had anything to teach me. It is not enough to love your dog on your level. We must learn to understand their behavior without forcing what we believe is best for them at a human level and observe their lives and interaction with one another. Only then can we truly love our animals as we watch and let them teach us. I never saw dogs in the narrow-minded way I had seen them before. I hope it comes back into print as I have repeatedly given my copies away to those I felt could learn from it.

I grew up on Daredevil in the 1980's. Miller, Mazzucchelli, Romita Jr. But, being the collector I was, I went back and bought up all the old books as well. Even then, as a young teenager, I was really impressed with the artwork in those old books. I had looked at other old comics and was never pulled in. The artwork always seemed so..."old". Gene's work never did. Sure, it was different than the newer books, but it still had a freshness and energy that most of the other old books lacked. So, yeah I've been a fan of Gene's Daredevil work for a long time.

It wasn't however, until I read this book that I truly had a deep appreciation for the work. Gene is a living legend, and deservedly so. Buy this book. Not only is it a testament to Gene, it give the reader a good look behind the scenes of how hard it was for comic artists before the dawning of "Image Comics".

I also HIGHLY recommend you check out Gene's website ([...]) He's still turning out AMAZING artwork. Many of his recent commissions are far and away nicer than most anything being published today.

I have very little to add to what the other reviewers have already said. If you're a fan of Gene Colan, this book is a must-have. Even if you're not a big Colan fan, you'll learn a lot about the business of comics and how personalities and personal relationships affected the comics we grew up with. It's well written, well documented and contains a tremendous amount of research and (of course) lots of great art. (And if the author happens to read this, that very first New York comic convention was the SCARP Con in 1968 -- I, a geeky 17 year old, attended and met the gracious Mr. Colan who did a sketch of Iron Man for me, and drew dozens of sketches for other fans.) Highly recommended!

A genuine great book,long awaited, about that somehow underated
cool gentleman of the sixties and seventies...but I long for more !
somehing perhaps like "Bernie Wrightson, a look back", or ... "The Gene Colan Collector" ???
And of course good editions of his masterworks.
Aniway, I'm happy for the moment !

This piece covers the life-span career of GENE "THE DEAN" COLAN. From early drawings he did in his boyhood until his recent commissions. Lots of rare never seen before fotos and original art. From the early days at Timely and Atlas (later known as Marvel Comics), DC (Hopalong Cassidy), Marvel again with SUB-MARINER, IRON MAN, CAPTAIN MARVEL, DAREDEVIL, and of course TOMB OF DRACULA and HOWARD THE DUCK. Conversations with Gene and his collegues Tom Palmer, Marv Wolfman, his wife Adrienne and many others. Even Jim Shooter about the conflicts that lead Gene Colan to leave Marvel for DC, where he did BATMAN and some other series starring WONDER WOMAN and SUPERMAN. What else can I say? If you like superhero comics and want to learn more about the persons behind them, buy this book, read and enjoy! This one is unique. Hopefully publisher TwoMorrows and author Tom Field will continue this with other great comic artist...

Two characters come to mind when I think of Gene Colan...Doctor Strange and Dracula. They were two of my favorites when I began reading comics in the mid-1970's. I was fortunate to have two stores close to me that sold old back issues of comic books. I was able to put together quite a collection of silver age comics. Among my favorite comics was Gene's run on the original Doctor Strange series beginning with #169. These atmospheric, psychedelic stories were unlike anything I had ever seen. I had sold my collection in the 1980's but recently picked up that complete run all over again because I was still enchanted by the great Colan work on those books.

Secrets in the Shadows is a combination biography and tribute to one of the all-time great comic artists, Gene Colan. Author Tom Field takes on a guided tour through Gene's life, beginning with his upbringing in New York and his first comic book work for Fiction House. Gene tells a story similar to many of his contemporaries such as John Buscema and John Romita, and their mass dismissal from Timely Comics. Gene would go on to DC and then back to what was now Atlas Comics. Atlas would then implode leaving Gene again out of work in the late 1950's and with a lifelong feeling of insecurity about the comic book business. As Gene explains this was a difficult time in his life as he was not only out of a job, but also had just gone through a divorce with his first wife.

Stan Lee would come beckoning again in the early 1960's as the Marvel Age was off and running. Gene quickly became one of Marvel's top artists and perhaps the only one whose style was so unique that he was not asked to pencil over Jack Kirby's layouts the way many other artists were. Field presents several conversations in the book between Gene and some of the people he worked with at Marvel. The first is a lengthy conversation from 2004 between Gene and Stan Lee. They talk about their first meeting at Timely in the 1940's. Gene mentions that Stan was wearing a beanie cap with a propeller...now that's something I'd love to see! They also discuss their creative process and how books were plotted and finished. Other conversations include Gene talking with his long-time inker Tom Palmer with whom he worked on so many great books over the years, and with Steve Gerber, the writer on Howard the Duck.

Gene worked on numerous titles at Marvel over the years, Daredevil, The Avengers, Captain America...But perhaps the title most associated with him was Dracula which had a remarkable 70 issue run in the 1970's. Colan's Dracula was dark and grim and his incredible use of light and shading gave the book a true horrific feel.

Gene would eventually leave Marvel in the early 1980's after several run-ins with then Editor-in-Chief, Jim Shooter. Shooter's tenure was marred by one controversy after another including his shameful treatment of Jack Kirby. Shooter was highly critical of Gene's work and harassed him with constant demands of changes. Gene would migrate to DC along with many other former Marvel staffers who had grown tired of Shooter including Roy Thomas, Len Wein, and Marv Wolfman. To be fair, Tom Field presents both sides in the Colan/Shooter situation. He allows Shooter to give his side of the story in which he feels he was doing what was right for the company and felt Gene was cutting corners with his work. Unfortunately Shooter's credibility is almost nil due to his run-ins with so many other artists and writers.
At DC Gene would work on Batman, Wonder Woman, Detective, and new projects such as Night Force and Nathaniel Dusk. Gene would find himself under attack again for his art, this time by John Byrne who was highly critical of Gene in a Comics Journal interview in 1982. Byrne would basically call Gene a cheat and say that 90% of the time you could not tell what was happening on the page. I credit Field for including this in the book. I would guess he knew that rather than be any kind of indictment against Gene, that it would make Byrne look like a jerk for making an unwarranted attack on a true legend. Cheat? Byrne is still giving every character that same weird looking, rectangular mouth for twenty-five years!

Gene would leave DC some years later after similar criticisms by then Editor Dick Giordano. Gene would strictly freelance from now on and even go back to work at Marvel (shooter has since been broomed himself). Today, Gene has found many new outlets for his work thanks to the internet. He's busy doing commissions for fans who truly appreciate his work.

Tom Field presents a portrait of a man who fits the nickname of "Gentleman Gene". Colan's volume of work over the last sixty years is awe-inspiring. It's great to see Gene finally getting the tribute he so justly deserves.

Reviewed by Tim Janson

I'd like to point out that the two stories in this book are not all of the Shmoo stories; there were at least a half dozen more.

Pity no one thought to put all of them in a book.

The book does justice to combine two previous books THE LIFE AND TIMES OF THE SHMOO and RETURN OF THE SHMOO. Both have been out of print for decades.

Pity about Harlan Ellison's over blown introduction. He can't stick to the subject.

It's good to see this great part of the Li'l Abner comic strip is once again available. I takes me back to when I was 14 and in High School.Not only did Al Capp give us the wonderful Shmoos;but also Sadie Hawkins Day and all the fun we had with that.
This story of the Shmoo came out in the daily Comic Strips but it also was published in Paperbook form in 1948 and 1949.I still have my copy from those days and wrote a review on it on November 27,2007.
It has the title,"The Life and Times of the Shmoo",by Al Capp.
One thing worth mentioning is the high level of artwork that the cartoonists like Al Capp,Walt Kelley and Chester Gould gave us,and it was so good that it still remains the standard for cartoon art to aspire even today.

Grew up reading this series. Now I have a permanent copy of my own. Good price and great product for comics junkies.

When I was 5 I would love to have my father read Pogo, Dagwood and Blondie, and Li'l Abner to me from the daily and Sunday newspapers. When I was 7 years old, I loved reading them by myself and about this time, 1958, the Shmoo became a major theme in the Li'l Abner series. I could not wait for the paper to arrive so I could read the latest adventures of these Shmmos that were so accommodating to meet almost all human needs. Yet even then, at age 7, I began to "get" the message behind the series. This is wonderful social commentary on the limits of capitalism and the limits government will go to ensure that capitalism remains our economic model. However for captitalism to work, there has to be need or the threat of need which creates demand which stimulates supply, and I am sure you know the rest of this formula. If the basic needs of labor are met, they won't work, and thus the costs of labor goes up and the profits go down. Al Capp was brilliant to bring this message into America's homes soon after the McCarthy Anti-American hearings in Washington. Capp, like the Shmoo, is subversive in such a clever endearing entertaining way that when I saw this book I had to re-read the scripts to see what I may have remembered from so many years ago.

The book contains the original Shmoo characters and script from 1948-49 and the return of the Shmoo in 1958. If I was ever to teach High School Seniors in an Economics class, I would have them read this book along with their text, maybe not to strengthen the neurons but to lighten them.

Capp's other Dogpatch hillbilly characters and story lines are also delightful. Li'l Abner, Daisy Mae, Ma and Pa Yokum, and Sadie Hawkings are all here!

This was more amusing that I expected. I hadn't read much of "Li'l Abner" and was surprised. However, I have two objections to this book. First, the original strips seem a bit truncated. Surely, they could have gotten more of the dailies in this book than they did. And second, the awful introduction by Harlan Ellison. He seems to be in love with the sound of his voice and not necessarily a Li'l Abner fan. The Schmoo seems to have been a craze like the "Pet Rock." More information about that and less about Ellison's advertures in New York City would have been welcomed.