Join Usagi Jane and her friends, the Skullbunnies, as they save a city from a cyclops monster, travel to the spirit world, ride a giant snow mole, and face off with a hungry jelly dragon in the very first volume of Usagi Jane and the Skullbunnies!

Join Usagi Jane and her friends, the Skullbunnies, as they save a city from a cyclops monster, travel to the spirit world, ride a giant snow mole, and face off with a hungry jelly dragon in the very first volume of Usagi Jane and the Skullbunnies!

Born on the cusp of WWII in 1938, at a time when other little girls dreamed of being nurses and secretaries, Trina Robbins’s ambition was to be a bohemian; and indeed she did. She chronicles a life of sex, drugs, rock ’n’ roll — and comics — in Last Girl Standing. Robbins describes her upbringing in Queens, New York, reading comics through her childhood in the 1940s; visiting the EC offices and becoming part of SF fandom (dating Harlan Ellison at age 16); and posing nude for men’s magazines in the 1950s; living in the Village, over her own boutique where she made clothes for and interacted with rock royalty like David Crosby, Donovan, Cass Elliot; her close relationship with Paul Williams; entering the orbit of underground cartoonists like Art Spiegelman, R. Crumb, Vaughn Bodé, and Bill Griffith, when she started contributing comics to The East Village Other; and, in the ’70s, moving to San Francisco, contending with the phallocentric underground scene, marrying Kim Deitch, co-founding Wimmen’s Comix, and being invited into Felch Comics (she declined); her work for the National Lampoon, Marvel Comics, and Eclipse in the 1980s; and her crisis as a cartoonist and transformation into an historian and lecturer in the ’90s and 2000s. From science fiction to the Sunset Strip, from New York’s underground newspapers to San Francisco’s underground comix: Trina Robbins broke the rules and broke the law. From dressing Mama Cass to being pelted with jelly babies as she helped photograph the Rolling Stones’s first US tour, from drunken New York nights spent with Jim Morrison to producing the very first all-woman comic book, this former Lady of the Canyon takes no prisoners in this heavily illustrated memoir.

This omnibus and retrospective collects the best of 23 years of cartoonist Kaz’s alt-weekly comic strip. Underworld: From Hoboken to Hollywood is the first-ever omnibus of the very best of the alternative weekly strip’s 23-year run, with annotations, photos, and other surprises from the author (along with a foreword by Mutts creator Patrick McDonnell). Kaz's strip hilariously depicts sordid doings in a surreal city, stuffed with almost-parodies of famous comic strip characters, a healthy dose of cigarette smoking cats, cute little saccharin-cuddly creatures, media-damaged kids, and much more ― all destined for a sardonic smashing.

Collects Captain America (1968) #193-200. Captain America and the Falcon embark on a vast, desperate search for the most malignant conspirators in our history - and their insidious creation: the Madbomb! On the 200th anniversary of the United States, America will die - and only Cap and the Falcon can save it! Plus: Captain America stands alone against an army of underground killers! It's cataclysmic Kirby action in the mind-boggling Marvel manner!

AN AUSPICIOUS DEBUT EXAMINING THE CULTURE OF HAIR FROM THE RONA JAFFE FOUNDATION AWARD-WINNING CARTOONIST Hot Comb offers a poignant glimpse into Black women’s lives and coming of age stories as seen across a crowded, ammonia-scented hair salon while ladies gossip and bond over the burn. The titular story “Hot Comb” is about a young girl’s first perm—a doomed ploy to look cool and to stop seeming “too white” in the all-black neighborhood her family has just moved to. In “Virgin Hair” taunts of “tender-headed” sting as much as the perm itself. It’s a scenario that repeats fifteen years later as an adult when, tired of the maintenance, Flowers shaves her head only to be hurled new put-downs. The story “My Lil Sister Lena” traces the stress resulting from being the only black player on a white softball team. Her hair is the team curio, an object to touched, a subject to be discussed and debated at the will of her teammates, leading Lena to develop an anxiety disorder of pulling her own hair out. Among the series of cultural touchpoints that make you both laugh and cry, Flowers recreates classic magazine ads idealizing women’s needs for hair relaxers and product. “Change your hair form to fit your life form” and “Kinks and Koils Forever” call customers from the page. Realizations about race, class, and the imperfections of identity swirl through Flowers’ stories and ads, which are by turns sweet, insightful, and heartbreaking. Flowers began drawing comics while earning her PhD, and her early mastery of sequential storytelling is nothing short of sublime. Hot Comb is a propitious display of talent from a new cartoonist who has already made her mark.