Buddy Bradley's back! Now in his 30s and married with child, onetime slacker hero Buddy Bradley gets a "real" job, shaves his head, dons an eyepatch, quits his "real" job and buys the local dump - because what better place to raise a toddler? Peter Bagge's iconic character is to alternative comics what Homer Simpson has been to television animation over the past quarter-century: a generation-defining slacker and the greatest comedic character of its form and era. Featuring stories originally published in the comic book series Hate Annual from 2000-2011, as well as an all-new 20-page conclusion to the story arc.

In 1976, a fledgling magazine held forth the the idea that comics could be art. In 2016, comics intended for an adult readership are reviewed favorably in the New York Times, enjoy panels devoted to them at Book Expo America, and sell in bookstores comparable to prose efforts of similar weight and intent. We Told You So: Comics as Art is an oral history about Fantagraphics Books’ key role in helping build and shape an art movement around a discredited, ignored and fading expression of Americana. It includes appearances by Chris Ware, Art Spiegelman, Harlan Ellison, Stan Lee, Daniel Clowes, Frank Miller, and more.

This is a deluxe collection of Peter Bagge’s groundbreaking comic books. Neat Stuff is Bagge’s one-man humor anthology that ran from 1985 to 1989 for fifteen issues and introduced the world to Girly Girl & Chuckie-Boy, the reactionary talk radio host Studs Kirby, the hulking misfit Junior, suburbanites Chet and Bunny Leeway, the Goon on the Moon, lounge lizard Zoove Groover, and Bagge’s signature creations, The Bradleys.

For fans of Peter Bagge (b. 1957) and his bracing satirical writing and drawing, this collection offers a perfect means to track how he describes his career choices, work habits, preoccupations, and comedic sensibility since the 1980s. Featuring a new interview and much previously unavailable material, this book delivers insightful, occasionally gossipy, sometimes funny, and often tart conversations. His career has intersected with the modern history of comics, from underground comix and indie comics to comics journalism and graphic nonfiction. Bagge's detailed, garrulous, and often grotesquely funny (and discomfiting) work harks back to the underground generation, recalling Robert Crumb and Gilbert Shelton, while also pointing forward to the emergence of alternative comics as a distinct genre. His signature series, the rawly humorous Hate (1990-1998) and his editorship (1983-1986) of the often outrageous Weirdo magazine, founded by Crumb, established Bagge as a leading voice in alternative comics, and his rude, wildly expressive cartooning makes him a counterpoint to the still introspection of recent literary graphic novels. In his career over three decades, Bagge has left his mark on various formats and genres, as a prolific cartoonist, an accomplished musician, and a sometime essayist, editor, and animator. While his creative output encompasses autobiographical comics, graphic nonfiction, magazine illustrations, gag cartoons, minicomics, political commentary, superhero parodies, comic strips, animated videos, and one-page humor pieces, Bagge stands out for creating continuity-based graphic stories that revolve around sharply defined, over-the-top fictional characters. Libertarians know him for his comics journalism, as his graphic biography of Margaret Sanger in 2013 reaches new audiences. While some have lazily branded Bagge as a grunge-era visual satirist, his creative restlessness and expanding body of work make it difficult to confine him within any single genre, cultural niche, or historical moment.

The best lies you tell your friends. The worst lies you tell yourself. In country stores, old men gather over breakfast and coffee to swap tall tales. The fish are bigger, danger greater, and adventures wilder in the stories told at a Liars’ Table. No harm in stretching the truth when nothing exciting happens in their small town. Until someone steals Purvis Webb’s car. Life is hard enough without thieves. A wife in a nursing home. An estranged daughter. A grandson he didn’t know existed. Unable to accept one more indignity, Purvis takes matters into his own hands. His pursuit of the thief leads him to places he never thought he'd go and to decisions he never wanted to have to make. In this rich, layered story about life spinning out of control, past and present entwine seamlessly with engaging characters. The reader will be eagerly flipping the pages to see what happens next.

The Cambridge History of the Graphic Novel provides the complete history of the graphic novel from its origins in the nineteenth century to its rise and startling success in the twentieth and twenty-first century. It includes original discussion on the current state of the graphic novel and analyzes how American, European, Middle Eastern, and Japanese renditions have shaped the field. Thirty-five leading scholars and historians unpack both forgotten trajectories as well as the famous key episodes, and explain how comics transitioned from being marketed as children's entertainment. Essays address the masters of the form, including Art Spiegelman, Alan Moore, and Marjane Satrapi, and reflect on their publishing history as well as their social and political effects. This ambitious history offers an extensive, detailed and expansive scholarly account of the graphic novel, and will be a key resource for scholars and students.

Slacker antihero Buddy Bradley returns for the first time in this sequel to the acclaimed classics Buddy does Seattle and Buddy does Jersey. Now married with child and in his thirties, Buddy is forced to settle down and support his family. What better way than to the local dump. Torn from the pages of the legendary Hate comic books., with all-new conclusion to Buddy's familial saga.