Buddy Bites The Bullet

Collects in one volume the last five issues of Bagge's legendary comic book series Hate. Could it be that Buddy and his maniacal girlfriend Lisa finally decide to ... grow up? Not before they head towards an utterly hilarious disintergration with a little help from their friends. Buddy's best friend, Stinky, one-time rock star turned drug manufacturer, takes centre stage in the most riotous chapter that lead to a highly unexpected dead end. 'The funniest cartoon in existence.' John Kricfalusi, creator of Ren and Stimpy.

These legendary stories, from the classic first fifteen issues of Bagge's Hate comic, are a defining icon of Seattle's early 1990s culture, as well as Generation X in general. This is the first time these hilarious stories, starring the hapless Buddy Bradley and his cast of loser cohorts, have ever been available under one cover, and never have they been available at such a low price! Bagge's riotous tales of the early 1990s subculture are more hilarious now than ever, and find out why he has been praised by R. Crumb, Matt Groening, John Kricfalusi, Publishers Weekly, Entertainment Weekly and many more as a comedy genius.

At the end of Buddy Does Seattle, with his rock-impresario career in tatters, his friends dispersed, and his career opportunities at zero, Buddy had decided to return with his tail between his legs (and his neurotic girlfriend Lisa on his hands) to his native New Jersey. Buddy Does Jersey collects all 15 issues of Hate describing the arc of Buddy's East Coast experience, including his launch as a small businessman (co-owning and running a nostalgia store with the dubious Jay) and his reintegration with his family (his sister now a tired mom, his brother still pretty much a psycho, and his parents — well, wait and see). Also included in this volume is the shocking final fate of the exuberant Stinky — a story that caused jaws to drop in unison all around the world when it was originally released.

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.

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.

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