Minty Lewis, of Cartoon Network's Regular Show, delivers the Ignatz Award winning PS Comics - talking terriers and fruit included!

Will Eisner—best known for his influential comic book series The Spirit and his groundbreaking graphic novel A Contract with God—believed in the teaching power of comics, and from 1951 to 1971 he produced PS magazine for the U.S. Army. This Preventive Maintenance Monthly (called PS because it was a postscript to the standard technical manuals) was aimed at teaching American soldiers everything about weapons safety for vehicles, aircraft, firearms, and electronics. Eisner illustrated these vital lessons in drawings, pinups, step-by-step guides, and comic strips. This collection contains the best of Eisner’s 227 issues of PS, reproduced in a portable digest format. This relatively unknown work by Eisner is finally explored—the missing link between his comic books and his later, more mature graphic novel style. Praise for PS Magazine: "For the first time, Will Eisner’s superlative work for the U.S. Army has been assembled into a single collection. The result shows the artist’s keen understanding of the educative power of graphic storytelling. From 1951 to 1971, between The Spirit and A Contract with God, Eisner produced PS Magazine for the army in order to teach the common soldier how best to use, maintain, repair, and requisition their equipment. From explaining how to load a truck correctly to why it won’t start, Eisner used a combination of humor, sound technical writing, and graphic storytelling to educate the soldiers. His magazines could be found at the front lines, in the officer’s mess, and in the quarters of senior military officials. It featured a cast of recurring characters like the loveable Joe Dope and the voluptuous Connie Rodd, who headlined featured segments like “Joe’s Dope Sheet” and the provocatively named “Connie Rodd’s Briefs.” With Eisner’s wonderful artwork and clarity of style making sometimes difficult concepts easy to understand, it’s no wonder PS Magazine was so popular with military personnel. A fascinating document for both fans of Eisner and military history buffs." - Publishers Weekly starred review “These amusing yet pragmatic sketches provide a ‘missing-link’ comics document for fans and demonstrate the same mastery of his craft that marked Eisner’s better-known works.” —Booklist “An instructional model for today’s producers of non­fiction comics, which too often lack such visual traction, this also has appeal for military buffs, vehicle junkies, and Eisner fans.” —Library Journal “The enthusiast who’s been nurturing a curiosity about Eisner’s lost years will find all he needs to know from this beautifully produced little volume.” —The Comics Journal "Eisner understood comics' potential for education decades before his peers, and PS magazine was his first laboratory. This thoughtful new collection is an essential addition to the Eisner library." -Scott McCloud, author of Understanding Comics

A sweet, funny contemporary teen romance for the inner geek in all of us from graphic novelist Faith Erin Hicks. Miriam's family should be rich. After all, her grandfather was the co-creator of smash-hit comics series The TomorrowMen. But he sold his rights to the series to his co-creator in the 1960s for practically nothing, and now that's what Miriam has: practically nothing. And practically nothing to look forward to either-how can she afford college when her family can barely keep a roof above their heads? As if she didn't have enough to worry about, Miriam's life gets much more complicated when a cute boy shows up in town . . . and turns out to be the grandson of the man who defrauded Miriam's grandfather, and heir to the TomorrowMen fortune. In her endearing debut novel, cartoonist Faith Erin Hicks pens a sensitive and funny Romeo and Juliet tale about modern romance, geek royalty, and what it takes to heal the long-festering scars of the past (Spoiler Alert: love).

Illustration has been an integral part of human history. Particularly before the advent of media such as photography, film, television, and now the Internet, illustrations in all their variety had been the primary visual way to convey history. The comic book, which emerged in its modern form in the 1930s, was another form of visual entertainment that gave readers, especially children, a form of escape. As World War II began, however, comic books became a part of propaganda as well, providing information and education for both children and adults. This book looks at how specific comic books of the war genre have been used to display patriotism, adventure through war stories, and eventually to tell of the horrors of combat—from World War II through the current conflicts in Iraq and Afghanistan in the first decade of the twenty-first century. This book also examines how war-and patriotically-themed comics evolved from soldier-drawn reflections of society, eventually developing along with the broader comic book medium into a mirror of American society during times of conflict. These comic books generally reflected patriotic fervor, but sometimes they advanced a specific cause. As war comic books evolved along with American society, many also served as a form of protest against United States foreign and military policy. During the country’s most recent wars, however, patriotism has made a comeback, at the same time that the grim realities of combat are depicted more realistically than ever before. The focus of the book is not only on the development of the comic book medium, but also as a bell-weather of society at the same time. How did they approach the news of the war? Were people in favor or against the fighting? Did the writers of comics promote a perception of combat or did they try to convey the horrors of war? All of these questions were important to the research, and serve as a focal point for what has been researched only in limited form previously. The conclusions of the book show that comic books are more than mere forms of entertainment. Comic books were also a way of political protest against war, or what the writers felt were wider examples of governmental abuse. In the post 9/11 era, the comic books have returned to their propagandistic/patriotic roots.

This book is part of a nuanced two-volume examination of the ways in which violence in comics is presented in different texts, genres, cultures and contexts. Contexts of Violence in Comics asks the reader to consider the ways in which violence and its representations may be enabled or restricted by the contexts in which they take place. It analyzes how structures and organising principles, be they cultural, historical, legal, political or spatial, might encourage, demand or prevent violence. It deals with the issue of scale: violence in the context of war versus violence in the context of an individual murder, and provides insights into the context of war and peace, ethnic and identity-based violence, as well as examining issues of justice and memory. This will be a key text and essential reference for scholars and students at all levels in Comics Studies, and Cultural and Media Studies more generally.

This comic anthology features early short stories, first chapters, and future glimpses of upcoming work for my ongoing comic book series, PS Comics.