Comic Books Books

A self-described "working class intellectual" with a passion for collecting jazz records and a "flunky gig" as a file clerk in a VA hospital, Harvey Pekar pioneered the literary comic genre. His long-running series American Splendor portrays not caped superheroes with bulging muscles, but the everyday life of an ordinary guy in Cleveland. Pekar's autobiographical vignettes are introspective, honest, and often funny, candidly revealing his flaws and failures as he pushes on heroically in pursuit of love, companionship, and creative fulfillment.

Pekar's realistic dialogue (the characters speak in different dialects, which helps you "hear" them in your head) accompanies a wide range of art styles by a number of comic artists, from the quirkiness of R. Crumb to the stark realism of Greg Budgett and Gary Dumm and the meticulous, photographic detail of Gerry Shamray.

For me, this book was a great introduction to an addictive series. Chock full of amusing anecdotes and musings on everything from race relations in Cleveland to the joy of a good pair of shoes, it's a slice of life in comic book form.

I've been a fan of Harvey Pekar's work for over fifteen years. The first time I ever read his self-published comix, American Splendor, I was impressed by its examination of everyday life. His self-effacing humor grows on those who want more than mainstream comics starring spandex-clad teens with superpowers. Compared with Pekar, Spidey has it easy.

I was happy when this movie tie-in release of his early collected work was published. The everyday brilliance of the real life interactions between Pekar and his friends, co-workers and loved ones merit more attention by discerning readers. It would behoove anyone who cares about the comix medium to claim a copy for their personal reading enjoyment. This volume is not for collectors, but for fans of alternative graphic literature who want more meat and potatoes rather than the visual eye candy of more mainstream publishers.

Pekar has been described as a "working class intellectual" (The Comics Journal), and this label is respectfully accurate. He comes from a generation who grew up devouring a culture that had more respect for intelligence than is common today. Instead of just mourning this trend, Pekar rebels from it in true beatnik fashion. His long-time association with R. Crumb (who drew the very first American Splendor story, "The Harvey Pekar Name Story") attracted other artists within Cleveland as well as from other locations as the series has progressed.

The everyday heroism of Pekar working a civil service job in order to create his vision of the potential of graphic literature comes through in every page of this collection. I am glad that there are other collections and issues of American Splendor that are available. It would be grand if future generations of comix fans could gravitate around the work that Pekar has never tired from creating. Even at the worst of his lymphoma and chemo treatments, he has never quit observing and relating the drama of everyday life.

i own i think every american splendor collection book there is, and this one is my favorite. there's a few in particular that really blow me away (the one with pekar wondering around a park, reflecting on his past marriage, his present, and whether there is a God is spectacular). there are a wide variety of artists, from the goofy robert crumb drawings to more serious ones. there are certainly weak points IMO, but not as much as in the other collections. while "the quitter" is his most consistent i've read so far, there's no replacement for finding a really cool comic collection like this and reading through it, finding a bunch of random pekar stories and seeing which ones you enjoy best.

American Splendor: The Life and Times of Harvey Pekar is the largest published collection of the comic series, containing the complete text of American Splendor and More American Splendor. With an introduction by R. Crumb and art by Kevin Brown, Gregory Budgett, Sean Carroll, Sue Cavey, R. Crumb, Gary Drumm, Val Materick, and Gerry Shamray this is 320 pages of a classic American comic.

Pekar's work is a cerebral approach to the comic medium. Many of the panels have no dialog and only illustrate the external while the text reveals the thought stream of Pekar's mind. His ability to portray the inner workings of his thoughts, in a humorous and sympathetic manner, is the key to the success of his writings. The comic is a working class version of Seinfeld with a populist self-made intellectual as the leading character. Yet there is a Existentialist angst to this work that puts it in a class by itself.

This collection of Pekar writings from the 1970s and 80s was issued on the heels of the film "American Splendor," and it collects some of the best of Pekar's earlier work. Although not exclusively chronological, the presentation of the material gives a good idea of Pekar's life from his post-high school days through his meeting and marrying Joyce Brabner. (For a strictly chronological memoir, see Pekar's recent The Quitter.)

In the later Pekar work, the centerpiece of much of it is Pekar's obsessive-compulsive anxiety. But a lot of this work focuses on what might be described as Pekar's existential anxiety: his terrible loneliness, his anger and alienation, his dark reflections on the meaning of life, his desire for recognition, his regret over wasted opportunities and adolescent hubris, and his worries about future contingencies (financial security, illness and death, old age). The Pekar who comes through in these pages isn't the lovable crank of the film. Rather, the person who comes through is the outsider, a self-educated man, extremely knowledgeable in literature and music, who disdains a "normal" lifestyle and seeks freedom through nonconformity. Perhaps the finest single piece Pekar has ever written, "I'll be Forty-three on Friday (How I'm Living Now)" speaks to all this. The collection's lead story, "The Harvey Pekar Name Story," in which Pekar winds up asking "Who IS Harvey Pekar?" is a perfect set-up.

Of course, there are also lighter moments in this collection. Mr. Boats (wonderfully illustrated by R. Crumb) appears here a couple of times, and he's always good for a bit of gently funny homespun wisdom. "Mrs. Roosevelt and the Young Queen of Greece" and "On the Corner: A Sequel, June 1976" are touching pieces about the bittersweetness of memory. And the penultimate story in the collection, "Common Sense," would make even a dyed-in-the-wool misanthrope love humanity.

Highly recommended.

Great Book. It's a wonderful comparison of the manga and the Anime as well as a great reference for how each character is developed. Also makes a great picture book for my 2 year old. She sits with daddy and looks at the picturers.

This book has lots of interesting info on all the characters and enemies throughout the first part of this great anime/manga series Inuyasha. It has many full colored pages and director, voice actor,etc, commentary. It also features sketches of important characters and enemies in the series from Kagome, Inuyasha, Sango, Miroku to Kaede, Seshomaru, Jaken, Yura, Mistress Centipede, and many others. I found the sketches useful for learning how to draw. Anyways, this is definetly a must have for all Inuyasha fans.

First of all, let me say my daughter is a complete InuYahsa addict. :) She loves the serial tale. That said, this book is marvelous! It has drawing examples, story snippets, voice character interviews.... very informative.

Beautifully colored drawings and detailed black and white work.

My only complaint refers to the hardbound version..... The spine of the book broke down the back very quickly and had to be taped. Otherwise the book is very well constructed.

Be aware the book is made to read from back to front in the typical Japanese manga manner. A little difficult for me, but my 9 year old daughter grasped the concept immediately....

Well worth the money for reference value alone.

Other reviewers have given accurate particulars about this volume, and I agree with their high ratings. This book is really a delight and a perfect way to spend a couple hours in Inuyasha bliss. I was incredibly impressed with the color panels from the manga, taken from Shonen Sunday Jump. The beautiful printing job brings out the quality of Takahashi's art, and I find myself going back and studying these pages again and again. There is also a nice section at the beginning (short but sweet) about the difference between manga and animation when it comes to storytelling techniques. As it's been said elsewhere in these reviews, if you're a fan of Inuyasha, this is a must-have. Keep in mind this isn't a voluminous book with tons of text ... you can read the whole thing in just two or three hours. But the art in it, and its A-plus presentation here, offers many more hours of enjoyment and you may, like me, find yourself returning to this book repeatedly and feeling like you've picked it up for the very first time. The art in it is that good.

I am actually over 13 years old , however I didnt want to give my email address out so I said I was younger. This is a great book. I bought it for my 16 year old son and he absolutely LOVES it. He is into drawing japanese animation and this book was a great inspiration. All of his friends who are mostly the same age want to get the book to. I did see it at Borders also , for the same price , and you dont have to pay shipping and handling charges, also you dont have to wait for it to show up. Borders also had a huge selection of other Inuyasha books and other Japanese animation characters.

A series has to be something special for me to invest in buying the manga... particularly when, at cover price, the cost will ultimately be over $250. O_o
Basara is that special. It is an epic story with believeable characters that you really become attached to. It moves quickly, but not so fast that it sacrafices the details and moments that flesh out the feeling of a scene. With a healthy mix of action, intrigue, and romance, one is easily caught up what is an amazing and beautiful story.

Although the art isn't your typical fluffy art, it is by no means ugly or unattractive. I think the people reviewing this comic have spent too much time eating sugar-coated candy and reading over-decorated comics. Calling Tamura's art anything short of "amazing" is insulting and inaccurate.

Also keep in mind that this comic was made several years ago, meaning there's a generational gap in artistic trends. The art style is raw, skillful, and radiates the epic tone of this series. I hope to see the rest come out here in the US. The story is great and not a single volume falls flat, not even up to volume 27.

If you want a story that hits you deep in the heart, BASARA is for you. There is deep social, romantic, political, and even spiritual commentary and meaning in this comic. It is a masterpiece and truly exceeds the medium it is written in.

Basara is perhaps my absolute favorite manga. The art may not be the most stunning, but the characters and story are excellent. I had seen the anime series years ago before the manga was released here. I enjoyed the series bu forgot about it until I was watching the movie 'Whale rider', I was reminded of Basara. I immediately went out and bought the available volumes and have been addicted ever since. I will not go on to describe the series here, but I would highly recommend Basara to anyone who enjoys a good story (also a great love story). The main character is neither whiny nor weak and Yumi Tamura weaves her tale so wonderfully.

How can i convince you: the purchaser of manga, the one with a credit card to begin colleting this manga? What if i just said...OMG THIS MANGA IS FREAKIN AWESOME YOU WILL NOT REGRET IT!!!

Maybe you need more convincing than that. i mean it is atleast 26 volumes. and there are so many options these days it's hard to know what to buy, i've made mistakes lately too based on the exuberant exclamations of reviewers on this site. but i can honestly tell you who will love this book and who wont.

If you;re an older audience you will appreciate this manga.
If you like fantasy adventure you wil like this manga.
If you like complicated romances you will like this manga.
If you like strong, intelligent female leads who fight their own battles you will like this manga.
If you don't mind older works you will certainly not mind this one.
If you like manga that pulls you in, grabs your heart and never lets go...you will like this manga.
One of the most popular manga's of 90s and for a reason.

I HIGHLY RECCOMEND THIS BOOK.

Basara is not your typical shoujo manga, and Sarasa is a very atypical shoujo heroine. I was initially attracted to this series through the anime. I had read a review in which someone mentioned that it was a shame that not all of the manga volumes were animated. Having seen the anime, and now having started on the manga, I find that I am in agreement. When Sarasa and her twin brother Tatara were born in their village, the prophet Nagi declared "here is the child of destiny". Of course, everyone assumed they meant Tatara. Sarasa grew up in his shadow, with nobody expecting very much from her, and everyone expecting Tatara to lead them to salvation.

When Tatara is killed and Byakko village decimated by the forces of the Red King, Sarasa takes up Tatara's name and guise to exact revenge. This volume chronicles her attempt to reclaim the sword of Byakko, which had belonged to Tatara and which her female hand was previously never allowed to "defile", as well as a couple more attempts to strike at the Red King's forces.

The supporting cast, particularly Ageha and Shuri, is interesting, and the secrets concerning their histories are doled out very sparingly. The art is sometimes a little odd (I find the blurry eyes rather distracting), but I completely adore how Tamura-sensei draws little kids. This series (and the anime if you can find it) is highly recommended.

This is a great book, with arguably universal appeal. The humor ranges from being rather heady and hard-to-follow, all the way down to being non-sequiter and accessable. Pretty much anyone will grow to like this book very much; anyone who has read it previously will love it immediately.

This I guarantee to you, dear friend!

I really enjoyed this book.
I knew i would before i bought it. Chances are other reviews say this already.
But check out www.qwantz.com. This book has the first comic through to somewhere in 2005.
Pretty straight forward.
All the comics are in black and white in this book. Which let me tell you is actually disappointing because the dinosaur expressions suffer.

This book is fantastic. If you are a fan of dinosaur comics, then this book provides is great because of its portability and also because it is very classy b+w. If you are not a fan of dinosaur comics this book is a classy, black and white representation of the comics from the popular webcomic. I have no real reason to repeat what many others have said about Mr. North's work, but I will anyways. It was said best this way:

"Picture watching the same movie again and again, where the dialogue is changed so completely, and with so much skill that you forget that you've seen these images before. Now picture that every day for two years. That's Dinosaur Comics."

This is that, in book form. Awesome.

It must have been hard to pick the 'best' of Dinosaur Comic, because it's all genius. You should buy this book. It will make you more Awesome, and perhaps sexy.

If you enjoy Dinosaur Comics, you must purchase and read this book. After reading this book, I became a popular and successful person, and because chronology = causality, I attribute my good fortune to this book!

Also, you know who HASN'T purchased this book? Child molestors and shoplifters. You're not a child molestor and/or shoplifter, are you?

-Matt

P.S. See if you can spot the two logical fallacies in this review! If you spotted at least 50% of them, you are eligible to purchase this book immediately!

Blade of the Immortal: Cry of the Worm, was the first manga I read in the series. It is also one of the first manga I started out with when I began my collection of Japanese anime. I find that the artist is decent and respectable, not to mention suspenseful. Despite that I came upon the second in the series of the trade paperbacks, did not ruin the plot at all. All elements are revisited enough so that the words have depth behind them, but not too much that it ruins the current story and takes to much time. Every character seems well thought out and intricate, each with thier own history to bring to the main plot. Not all bad guy/ good guy roles are clear cut. Which makes this the thinking person's manga. The mix of tradition, history, fantasy, comic relief, and superb art pulled me out of this world and into that one. The art is so visually effective that one will realize that it's not just drawings in a book. Subtle morals in the book make the reader parallel feudal Japan with the modern world. The translation is good, but I can just imagine the effect each panel would have in the original Japanese. I recommend this for anyone who is looking for a masterpiece of work to become the trophy of thier collection.

Having been introduced to Rin and Manji in Volume 1 ('Death of a Thousand'), and given a taste of the nature of their confrontation with the Itto-Ryu sword school, we now enter the real rhythm of the story telling. At first glance, we are tempted to write this off as yet another samurai slasher, with its clear-cut division between good and evil. But Hiroaki Samura has other plans, and 'Cry of the Worm' is his first step in muddying the waters.

In the first episode ('The Fanatic'), Rin sees Magatsu Taito, one of the assassins, having her dead father's sword sharpened. When she voices her outrage, she catapults Manji into another fight sequence, this time to recover the weapon. Manji's method of regaining the sword is painful (to say the least), and young Rin begins to understand that her desire for vengeance has a price.

Manji's immortality depends on a type of bloodworm that cares for its host by healing all wounds. Manji has yet to deal with the long-term effects of gift, and is not completely prepared when he meets Erika Shizuma, another Itto-Ryu at a way station inn. Shizuma tries to involve Manji in a plot to overthrow the leader of the Itto-Ryu. Properly suspicious, Manji refuses, and in the following scuffle discovers that Shizuma is also infected with the worms.

The conflict between Manji and Shizuma become an inquest into the realities of immortal life. He is a mirror that forces Manji to look at own commitments. In addition, he provides a somewhat different insight into the Itto-Ryu than we have had so far. If their tactics are grim, their motives are not completely selfish. They are a natural reaction to the excessive complexities of the sword school system and the excesses of the samurai class, which is more about show and politics than it is about the disciplines of fighting.

In this second volume of the series, we are not so much asked to resolve the questions as to take note of them. As this series builds, the violence of the quest will play in counterpoint to these musings about meaning. Gradually the inner dialog will play a more and more vital part.

I stumbled onto "Blade of the Immortal" translations in comic book format. Attracted by the art, and the unusally deep dialogue between the opponents (as dramatic as Kazou Kioke's "Lone Wolf and Cub", but much more up-to-date in sensibility and subject matter) I immediately began looking for back issues, which was difficult. Many retailers don't seem to order many issues of this book. Fortunately the trade paperbacks started coming out soon after.

"Blade of the Immortal" starts off as a fairly typical samurai revenge story, with some unusual horror movie twists. We meet Manji, a guilt-ridden outlaw and expert swordsman, who is cursed with an odd form of immortality. No matter how grievously he is injured, he cannot die. Manji makes a deal with a magical buddhist nun. He will gain the release of death, if he slays 1000 evil men. Soon we meet Rin, a young girl, the daughter of a swordsmanship teacher who witnessed the horrific murder of her parents at the hands of the Itto-Ryu, a renegade sword school. Tortured by nightmares, she seeks revenge, but realizing she has no hope of surviving a direct confrontation with even one Itto-Ryu swordsman, she convinces Manji to serve as her bodyguard and stand in. Taking up Rin's quest seems a perfect confluence of both of their desires: her need to put her parents memory to rest, his to earn his redemption.

The stories take you through dramatic encounters with various members of the sword school. All are dangerous swordsmen with unique styles of combat. Some are quite literally monsters. Each has a unique story, an unique reason for having become a renegade, and this becomes the source of much thought provoking drama before, during and after the battles. All are memorable characters, in particular Shimuzu (Book Two: "Cry of the Worm"), a fellow immortal and Maki, a swordswoman forced into prostitution who fights like the wind (Book 3: "Dreamsong").

Harioki Samura has great timing, the panel layouts make the fight scenes breathtaking and exciting. Also wonderful is the developing relationship between Manji and Rin, a kind of older brother, little sister dynamic that lends the book much humor and necessary warmth (given the bloodiness of the battles).

Beginning with "Rins Bane" (Book 4) Rin's internal debate about the morality and human costs of her quest, takes center stage, and make this one of the deepest and most interesting books to cross the Pacific in years. There's still plenty of action, and the relationship between Rin and Manji continues to deepen, but it's the debates about the sanity of the bushido code, about memory, about filial duty, and hints of political intrigue to come, that make this book an thought provoking and engrossing read.

If you have any taste for the high drama and action, as well as the deeper issues running through comic books like "the Authority", you have to give "Blade" a try. This is the best dramatic manga translation I've read, and it compares favorably with "Lone Wolf & Cub" and "Neon Genesis Evangelion". I really don't think you will be disappointed.

This is a beautiful manga. It is very interesting and the art is spectacular. It has a pencil sketched quality to it and is very unique. The plot is also one of the best I've ever read. . This may be a manga for guys but that doesn't mean that females can't enjoy this as well. The fight scenes are detailed (though sometimes confusing with the sketch pictures) and really fun to read.

WARNING Blade of the Immortal is about a guy that is....umm....immortal. That means he won't die. That means the bad guys are gonna do all in their power to kill him, slash him, decapitate him, stab him and so forth. VERY GORY is what I'm getting at.

The story is basically about Manji who had these worms put in him that make you immortal. They won't go away until he atones for his sins of killing 100 of the good guys (self defense I swear) by killing a thousand bad guys. He meets Rin who needs his help to avenge her parents who were murdered right before her eyes.

The thing that really holds this series together are the characters. Even the ones that are supposedly evil u find are not really evil but human. You almost don't want them to fight and get killed by the main guy, but then again u do because they are responsible for something horrible. You also feel immediately at home with nearly every other character introduced even after only a couple of pages.

This book Volume two, Cry of the Worm is my personal favorite. It was at my public library and the first I ever read of this great series. Rin finds a sword that once belonged to her father being owned by some (really cool, kinda looks like Vagita from DBZ only more realistic looking) samurai and she'll do anything to get it back. Later on they meet up with another immortal guy who wants Manji dead and being immortal himself he knows just the thing to do Manji in.

Plot wise, this is perhaps the strongest of the BOTI series. The villain is almost likeable, yet thoroughly hateable, and the end fight is imaginative. Kudos to Samura for this one.

There aren't really any action scenes worth talking about in this novel. Rin does a few things, but she doesn't actually "fight". There is a story about this guy and his masks, but that isn't fully developed until the next volume.

This isn't a great place to start for your first volume. It mostly just develops story, but the story is important. Start somewhere else though. Get DREAMSONG if you can't fight a good seller for BLOOD OF A THOUSAND.

Those who already own the previous volumes of BOTI could skip this book and the next possibly. It develops Rin some, but I skipped it for a while and was fine.

Dude this book is beast!! The best comic company ever (dark horse comics) has once again put out another comic that doesn't just raise the bar it obliterates it. Kudos to Hiroaki Samura for making the best comic book ever.

this is one of the best comics i've ever read. it's about manji's job as a bodyguard for rin, who confronts Anotsu Kagehisa, who killed rin's father. she attemps to kill him, but does she really even stand a chance?this book was explosive and had a mix of action and explaining of the story for people who did not read any other of the Blade of the immortal series.

The first time I looked at the Blade of the Immortal series, I seriously thought "Oh wonderful, another cheesy, gore ridden series with no plot and ... artwork." However, upon reading it I was taken aback by how wrong I truly was. The art is beautiful in its own way, unique and sketchy looking with no possible way it could be turned into an anime and still look as gorgeous. The story is also very nice, there is blood, but there is a good intellectual plot with the occasional twist of witty humor. It is an interesting mix of fact and fantasy, real and surreal all mixed in a historical setting. This series is set apart from others and I don't believe that I have any others quite like it. It never gets old. I highly recommend that, no matter what you're interested in, you should at least give this stunning series a try.

This volume and its sequel capture events from issues 19 through 28 of the manga comic books, and represents events in the earlier phases of the adventures of Rin and Manji. It contains two stories, "Rin's Bane," and the first part of "On Silent Wings." Both of these are strong stories that trace Rin's growth from a young girl hell-bent on vengeance for the murder of her parents into a woman who is beginning to understand the real price of retaliations.

In "Rin's Bane," the young swordswoman, smarting from an argument with Manji over her fighting skills heads off into the woods to wash her hair. There she finds herself face to face with Kagehisa Anotsu, the leader of the Itto-Ryu swordsmen. Anotsu brushes aside her skills, and she is forced to face some very unpleasant truths about her beliefs. The lessons of this encounter haunt Rin in the next story, "On Silent Wings." Manji and Rin are at a local fair when the immortal swordsman suddenly finds that a local mask maker is another Itto-Ryu. In a parallel encounter, Rin risks her own life to prevent a haughty samurai from killing a young child. Manji barely avoids a public battle, and Rin is shocked to recognize the artist as the killer who defiled her mother.

As events proceed inexorably towards the second volume's part of the story, we sense the internal tensions in Rin and her swordsman as they confront the possible outcomes of their actions. Hiroaki Samura's tale again touches on complex moral issues rather than simply dishing out a violent samurai melodrama. The grim horror that counterpoints the lighter exchanges between Samura's main encounters provides the basis for much thought and consideration. One of the surprises in this series has been the quality of the translation, which manages to carry through the whole range of the dialog. Yet Japanese is preserved where it is part if the detailed and carefully composed artwork. This extremely high level of artistic integrity grows on the reader. "Blade of the Immortal" is much more a genuine graphic novel than it is a simple manga.

My daughter has now read through Volume 5 of the series. She really enjoyed the "Diary of a Wimpy Kid", so I ran upon the Bone series when looking for other graphic novels. She enjoys the humor and has shared the books with her friends.

The only drawback off this TPB is its length - this comics is simplistic so you go through the book fast. But the story is great, characters are engaging and you have to wait for the next volume.
Note - this edition is colored and is really beautiful. Can't imaging it in any other quality.

This volume of the Bone adventures picks up where the first one left off, and is equally fun and interesting. It would be hard not to love the Bone series, with the wonderful characters and humorous situations. This is great stuff, and I highly recommend it to graphic novel lovers.

Again my son loves the Bone Series and it helps encourage him to read because he enjoys the books so much.

Wow! There is something truly amazing about the images and words of "Bone". At heart, it's a fairy tale, but one that appeals to the child in the adult and the adult in the child.

I love this book. It's hard to put down & is a great comfort when the world seems grim. A must have & a must read. Diane DiMassa is truly gifted.

Hothead Paisan keeps me sane.


I would probably explode out of tension and frustration if it weren't for her and my own cat.

This is a great book for any rainy day. You can open the book to nearly any page and get wrapped up in Hothead's story all over again. I bought this book years ago, and I am still picking it up and having fun with it all the time.

Hothead is the ultimate revenge fantasy for any oppressed female. DiMassa's art is distinctive and entertaining.

I can only imagine what HH would think of the current state of this country...

This is a wonderful underground and quite subversive comic premised around overthrowing patriarchy and phallocentric society. DiMassa is witty and bold and clearly very angry with a world that has and continues marginalised women and create normalising barriers for non-hetrosexuals.

While the work is clearly tongue-in-cheek and based on exagerrated fantasy, the truth resonates, and DiMassa has a wonderful way of saying and doing exactly what all women have wished they could do. The characters are wonderful, particular Chicken, Hothead's lovely yoga-esque cat and her blind but centred friend Rox. It is definitely not as violent as I had imagined and much more plot driven, which is good.

The Complete work chronicles an entire comic, and while the work at the beginning is quite basic, the middle section is an absolute joy to read. However, the final section is somewhat patchy and difficult to follow, as Hothead slips into depression and seeming hallucination. The art progressively becomes more refined, and was very funny at times.

Overall, the entire piece was better than I expected, let down only by the confusion shrouding the final sections of the work. Nevertheless, a favourite comic collection of mine, to be read when I am feeling particularly inflamed by societal inequalities.

I've read this book through about twelve times (and that's a lot... it's a big book!) and gotten several friends hooked on it. It's gory and gross and violent and completely over the top. The ultimate angry Riot Grrrl feminist takes revenge on the sexist jerks of the world.

Anybody who's ever experienced the unfairness of the world and wished they could take revenge will love this book. It's simply the most fun book to read you'll find, but at the same time there are real insights here, things that will make you stop and think, things that will make you see the life a little differently, if only for a few minutes. And plenty that will make you jump up and yell, "YES!!" But it really can't be described in a review. You just have to experience the awesome power of Hothead for yourself.

While it's Violet who's given the front cover for this book (more about the strip this image came from later...), it's Snoopy and Peppermint Patty who come into their own in this book.

Snoopy's stint as the WWI Flying Ace is not nearly as strong as before, but it begins to to interact with the other characters (other than Charlie Brown, who HAS to interact with Snoopy on a regular basis) and affect their actions, as does some other of Snoopy's alternate characters. Snoopy is also given a back story involving a former owner who was unable to keep him (a plot which was expanded into its own movie).

Peppermint Patty, having developed from a blank slate looking for something to believe in to a character strong enough to solo in late 1966, is now further expanding into what would become her role as Charlie Brown's female, power-filled alter-ego. With Jose Peterson (.850 in North Dakota?), Roy and Franklin (a Summer of '68 introduction) in tow and a possible peak at Marcie, Peppermint Patty is now the leader of her own gang - a Female Charlie Brown, only a competent leader of a group chosen for their strengths and winning ways (as compared to Charlie Brown, whose team is pretty much a collections of locals who don't really like him too much and are chosen more-or-less because of habit and closeness). Peppermint Patty's weaknesses would round out her character in the future, but here it's her strengths that are propelling her.

Given the growth in Snoopy and Peppermint Patty, the other characters work more in support. Charlie Brown already has become more a handmaiden to Peppermint Patty's attempts to improve her team (at first CB's team, then her own) and Snoopy's escapades more and more involve and affect the people around them. The Red-Haired girl again affects CB in bad ways, this time even going so far as to force CB to live in the dark of his bedroom for a whole week. And Freida still appears, still doggedly trying to turn Snoopy into the hunting dog she's always dreamed of owning.

And finally, the image on the front cover of this book comes from the "missing strip" in the book: Violet solo, shooting forth a cutdown only for us to learn of its weakness (May 3, 1967). Maybe the compiler thought it a bit odd that Violet, once able (with or without the original Patty) to rip into CB with a force powerful enough to destroy living men (never mind struggling boys with no self-esteem) weakened to a mere "nyaah." Anyway, it was replaced with the strip from two days before in the book. You can find a copy online and consider the irony of an image used in the front of a book that it's been banished from (unintentionally, but banished nevertheless).

Buy this book. Buy the books before this one as well, if you haven't done that yet.

The Complete Peanuts l967-68 takes me back to the founding of my Peanuts related company, Aviva Enterprises, with Elliot Steinberg in l968. Every Peanuts 'fan' -- should own this entire collection. It is a wonderful gift to leave for future generation in your own families.

I love Peanuts, but there is no doubt it deteriorated in the last 10-15 years it was made, one was bound to run out of original ideas sooner or later. However, this book is from what was the heydays of the series, and is great reading.

My excitment at getting this the latest in the wonderful "Peanuts" reprint series, was tempered when an accidental double printing of the May 1st,1967 strip was brought to my attention by a previous reviewer.With the omission of the May 3rd,1967 strip it really isnt "The Complete" Peanuts any more is it? Bad job all around by Fantagraphics.I will not feel complete until the missing strip is finally printed.Thus far the only black mark on a truly wonderful series.Incidentally, has any one else ordered the first volume of "The Complete Little Orphan Annie"? I ordered it back on February 23 because of Amazon's published date of February 25th. It is is now mid-June and they have just changed the date for the third time.I have called Amazon and gotten no answer.Does anyone have any idea when the First volume of Little Orphan Annie is being published???

It's getting harder and harder to come up with new things to say that will convey how much I enjoy reading these old Peanuts strips. This comes from a period where I am less familiar with the strips themselves, so there are some surprises for me.

In this volume we find the strips that will be the inspiration for the animated special, Snoopy Come Home, in which we find out Snoopy has an owner before Charlie Brown who is ill and in the hospital. This is the era where Franklin makes his first appearance, giving Charlie Brown one of his rare emotional boosts. There is also plenty of Snoopy as the WWI flying ace and numerous baseball games.

All in all, as always, this volume is a great collection of wonderful Peanuts comic strips. Charles Schulz rarely disappoints.

(Prospective buyers of this volume should be aware that the first edition has an error: the May 1, 1967 strip is printed twice, leaving the May 3, 1967 strip missing. Later editions of this volume are supposed to correct the error and the missing strip will also be printed in the 1969-1970 volume.)

I'm a relatively new reader of the genre, so admittedly there are probably many other writers who may be acclaimed as the founder. But for my money, Eisner is the master of the graphic novel. This trilogy is a must.

I'm a relative latecomer to the world of the graphic novel, though I did read my share of comic books as a kid. But a year or so ago, I read Will Eisner's "The Protocols of the Elders of Zion" and have been talking about it ever since. Time, I thought, to see what else Eisner might have written.

"What else Eisner might have written" is answered in part by this wonderful reminiscence of the Bronx of days gone by. The tales revolve around the history and residents of a tenement block on 55 Dropsie Avenue in the Bronx. To Eisner, it was always a neighborhood - greater than the sum of its parts and capable of moving callous men to teary nostalgia.

The book starts of with "A Contract with God," a relatively short and focused story about Frimm Hersch, a young Jewish boy who escapes Russian anti-Semitic pogroms, makes a contract with a just God, and loses his faith when his beloved daughter dies. Eisner tells us in the introduction that this story is one of the ways he dealt with his own daughter's death, a blow so severe that he plunged it deep into his psyche. What is so intriguing about Eisner's tale is that the reader never quite finds out what was in the contract. But one finds out a little about God and a bit about humanity's willingness to continue to struggle with this Witness to human misery and loneliness.
"A Contract with God" continues with other New York tales drawn from Eisner's memory - a tale about a lonely former opera diva who befriends a penniless street singer; a bitter tenement "super" infatuated with a young girl; a summer "cookalein" or cook-your-own boarding house at an upstate farm where city moms take their kids for a summer in the out-of-doors. Eisner is at his most frank here, not shying away from the pressures and temptations that entice people living in such close proximity to each other. The tales are sexy, brash, violent and always real.

The second story, "A Life Force," is a meditation on the unseen drive of all living things to remain alive and to reproduce. An out-of-work Depression-era carpenter finds a lesson in a cockroach's struggle to survive. His path crosses that of an ancient "rebbe" needs a room built for whose wife, who suffers from dementia. Soon, the story draws in a ne'er-do-well former playboy boy, young socialists, Sicilians gangsters and a woman from Nazi Germany (an old acquaintance of the carpenter) trying to extract her family from the growing turmoil back home. Eisner's depiction of the ever-triumphant "life force" comes alive in a myriad ways that look surprisingly like ordinary living.

The final section deals with the history of the parcel that became Dropsie Avenue. Eisner takes us on a kaleidoscopic tour from its days as Dutch farmland through its many incarnations as a residential neighborhood, vibrant gathering place for immigrant families, rat hole and locale for single-family homes. His tale is populated with crooked real estate developers, local politicians, druggies, thieves, ethnic priests, ineffectual cops and a variety of local characters. Eisner is at his best as he shows how greed and bad housing laws can strip the poor of housing, enrich the unscrupulous and reduce once-proud neighborhoods to rubble. I learned more about the roots of urban blight from Eisner's pictures than from any "serious" book.

Eisner's work is not disposable, like the comics of my youth. His stories have a depth of humanity that makes them fascinating and re-readable. His art exaggerates enough to telegraph his characters' inner feelings, but subtle enough to keep them rooted in reality. A wonderful experience.

Esta novela gráfica es simplemente sublime, las historias son maravillosas así como la presentación del libro que es de una calidad tan alta, pocas veces vista pero que definitivamente un trabajo tan bien logrado se merece. Cualquier otra cosa que te pueda decir, estaría de mas, si no conoces la maravillosa narrativa, dibujo e inventiva del maestro Will Eisner, este es un claro ejemplo de su maravillosa calidad como artista, ahora que si eres un seguidor, es un libro que debes tener en tu colección. Pero ya sea una razón o la otra, es una compra de la cual definitivamente no te vas a arrepentir.

Will Eisner is like Cervantes, Griffith and John Ford. The Contract With God graphic novel is his masterpiece. This is the Don Quixote of Comics. Truly art. Period.

Comic and cartoon artists are finally getting the respect they have deserved since the Yellow Kid wore his one piece pajama. Artists like Charles Burns and Frank Miller; Seth and Tony Millionaire, all work in a medium whose fan base is basically adult, literate and mainstream. In reading current book reviews of works like "Jimmy Corrigan, The Smartest Kid On Earth" by Chris Ware or "Blankets" by Craig Thompson, it is clear that the Graphic Novel as an art form no longer requires an asterisk.

All these artists and cartoonists owe this new environment of respect in no small part to the work of Will Eisner, specifically the work contained in this volume. While Eisner was not the first artist to tell a story with pictures, he without question hammered out a stylistic language that others could learn and understand. I don't think it is an exaggeration to say that he brought the concept of the graphic novel home and gave it a firm structure and a future. Also important was Eisner's unyielding believe in the graphic novel as a form of fine art, as legitimate a tool for storytelling as any of the traditional oral or written forms. All current artists working in comics owe Eisner in the same way that all Afro-American ballplayers owe a debt of gratitude to Jackie Robinson. Like Robinson, Eisner completely believed in what he was doing and refused to accept anything less than respect for his work, all done in a day when respect didn't come easily or automatically for them.

Now, about the work itself - what can one say? No one will ever replace or improve on Eisner's innate ability to tell a story with pictures. His work was absolutely gorgeous and fluid, the line and brushwork immaculate and dense without every looking fussy. He forged a unique and instantly recognizable style that is the true mark of a virtuoso in any artistic medium, and he was a very gifted storyteller into the bargain. There are certain panels in his best work, like "A Life Force" or "Droopsie Avenue," that are just jaw dropping in their beauty and absolutely unforgettable.

To this day his work is unmatched in its depth and sophistication of theme. Norton deserves much praise for reissueing these trailblazing works in a well bound and attractive hardcover. Recommended highly. -Mykal Banta