Corpse On The Imjin

EC reprint series kicks off with war-story masterpieces from the legendary Harvey Kurtzman. The creation of MAD would have been enough to cement Harvey Kurtzman’s reputation as one of the titans of American comics, but Kurtzman also created two other comics landmarks: the scrupulously-researched and superbly-crafted war comics Two-Fisted Tales and Frontline Combat. Here were finally war comics without heroic, cigar-chomping sergeants, wisecracking privates from Brooklyn, or cartoon Nazis and “Japs” to be mowed down by the Yank heroes, but an unflinching look at the horror and madness of combat throughout history.

This boxed set collects the first four of our artist-centric NY Times bestselling series of EC Comics collections

The definitive anthology of the pioneering cartoonist and creator of Mad magazine, featuring 100s of classic and never-before-seeen illustrations. It’s difficult to overstate Harvey Kurtzman’s influence on pop culture. He discovered Robert Crumb and gave Gloria Steinem her first job in publishing. Terry Gilliam also started at his side, where he met John Cleese, and the genesis of Monty Python was formed. And Art Spiegelman has stated on record that he owes his career to him. Harvey Kurtzman was an astonishingly talented and influential artist, writer, editor, and satirist. The creator of MAD and Playboy’s “Little Annie Fanny” was called, “One of the most important figures in postwar America” by the New York Times. Kurtzman’s groundbreaking “realistic” war comics of the early ’50s and various satirical publications (MAD, Trump, Humbug, and Help!) had an immense impact on popular culture, inspiring a generation of underground cartoonists and comedians. The Art of Harvey Kurtzman includes hundreds of never-before-seen illustrations, paintings, pencil sketches, newly discovered lost E.C. Comics layouts, color compositions, illustrated correspondence, and vintage photos from the rich Kurtzman archives.

Taking its title from one of Wallace Wood’s all-time classics, the evil little paranoid thriller “Came the Dawn,” this collection features page after page after page of Wood’s sleek and meticulously crafted artwork put in the service of cunning twist-ending stories, most often from the typewriter of EC editor Al Feldstein. These tales range from supernatural shockers from the pages of Tales From the Cryptand The Haunt of Fear (“The Living Corpse,” “Terror Ride,” “Man From the Grave,” “Horror in the Freak Tent”) to often pointedly contemporary crime thrillers from Crime SuspenStories (“The Assault,” “The Whipping,” and “Confession,” which was singled out for specific excoriation in the anti-comics screed Seduction of the Innocent, thus giving it a special cachet), but the breathtaking art and whiplash-inducing shock endings are constants throughout.

This biography reveals the true story of Mad creator Harvey Kurtzman―the man who revolutionized humor in America; it features new interviews with his colleagues Hugh Hefner, Robert Crumb, and others. Harvey Kurtzman created Mad, and Mad revolutionized humor in America. Kurtzman was the original editor, artist, and sole writer of Mad, one of the greatest publishing successes of the 20th century. But how did Kurtzman invent Mad, and why did he leave it shortly after it burst, nova-like, onto the American scene? For this heavily researched biography, Bill Schelly conducted new interviews with Kurtzman’s colleagues, friends and family, including Hugh Hefner, R. Crumb, Jack Davis, and many others, and examined Kurtzman’s personal archives. The result is the true story of one the 20th century’s greatest humorists: Kurtzman's family life, the details of the FBI's investigation during the McCarthy Era, his legal battles with William M. Gaines (publisher of Mad), are all revealed for the first time. Rich with anecdotes, this book traces Kurtzman’s life from his Brooklyn beginnings to his post-Mad years, when his ceaseless creativity produced more innovations: new magazines, a graphic novel, and Little Annie Fanny inPlayboy.

Winner of the Popular Culture Association's Ray and Pat Browne Award for Best Book in Popular or American Culture In the 1940s and ’50s, comic books were some of the most popular—and most unfiltered—entertainment in the United States. Publishers sold hundreds of millions of copies a year of violent, racist, and luridly sexual comics to Americans of all ages until a 1954 Senate investigation led to a censorship code that nearly destroyed the industry. But this was far from the first time the US government actively involved itself with comics—it was simply the most dramatic manifestation of a long, strange relationship between high-level policy makers and a medium that even artists and writers often dismissed as a creative sewer. In Pulp Empire, Paul S. Hirsch uncovers the gripping untold story of how the US government both attacked and appropriated comic books to help wage World War II and the Cold War, promote official—and clandestine—foreign policy and deflect global critiques of American racism. As Hirsch details, during World War II—and the concurrent golden age of comic books—government agencies worked directly with comic book publishers to stoke hatred for the Axis powers while simultaneously attempting to dispel racial tensions at home. Later, as the Cold War defense industry ballooned—and as comic book sales reached historic heights—the government again turned to the medium, this time trying to win hearts and minds in the decolonizing world through cartoon propaganda. Hirsch’s groundbreaking research weaves together a wealth of previously classified material, including secret wartime records, official legislative documents, and caches of personal papers. His book explores the uneasy contradiction of how comics were both vital expressions of American freedom and unsettling glimpses into the national id—scourged and repressed on the one hand and deployed as official propaganda on the other. Pulp Empire is a riveting illumination of underexplored chapters in the histories of comic books, foreign policy, and race.

Barely old enough to drink when he joined the EC Comics stable, Al Williamson may have been the new kid on the block, but a lifetime of studying such classic adventure cartoonists as Alex Raymond (Flash Gordon) and Hal Foster (Prince Valiant) had made him a kid to reckon with ― as he proved again and again in the stories he created for EC’s legendary “New Trend” comics, in particular Weird Science and Weird Fantasy.

A groundbreaking, international review of comic art, graphic novels, animated cartoons, manga, anime, video games and visual art. The public's appetite for comics, animated cartoons, anime, manga, graphic novels and computer/video games is at an all-time high. Visual pop culture in all its forms now dominates the globe. KRAZY! is a celebration of the growing significance of this delirious visual culture. Organized into seven sections, one for each art form, the book highlights the greatest works of each genre, as chosen by seven great practitioners. The energy and intensity of the images leaps off every page, enhanced by behind-the-scenes commentary by such heavyweights as Art Spiegelman, Will Wright and Canadian comic book author and illustrator, Seth. Other contributors include Tim Johnson,! director of Antz and Over the Hedge, Kiyoshi Kusumi, a global authority on manga, and Toshiya Ueno, a highly regarded media theorist and critic. Published to accompany a landmark exhibition at the Vancouver Art Gallery, KRAZY!! is a dizzying introduction to the art forms that will dominate the new century. This book was published in partnership with the Vancouver Art Gallery.