The Eternaut 1969

This is a psychedelically drawn, boldly political retelling of the 1950s graphic novel The Eternaut, whose imagery is still used as a symbol of resistance in Latin America to this day. The 1950s version of The Eternaut, a seminal Argentine work, is drawn in F. Solano Lopez’s clean, orderly comics art style. In the 1969 reboot, the darker tone is reflected in Breccia's Expressionist art. In The Eternaut 1969, the great world powers have forsaken South America to alien invaders, and POV character Juan Salvo, along with his friend Professor Favalli, metalworker Franco, and neighbor Susanna, join the resistance in Buenos Aires with the knowledge that the outside world will not come to their aid. Through the lenses of these timeless characters, the politically prescient creators ask readers to consider the implications of global domination by the "great powers" before it’s too late.

Fantagraphics collects the graphic novel Perramus ― winner of an Amnesty International prize ― in English for the first time. This graphic novel follows the existential odyssey of a political dissident. When he voluntarily loses his memory, he's dubbed "Perramus" from the brand of his raincoat. During his absurdist travels, he teams up with the gruff Cannelloni; a foreign aviator dubbed "The Enemy" by despot Mr. Whitesnow; and the blind author "Borges" (based on the real-life literary figure), who comes to be a guide. This motley crew journeys to outlandish locales where they encounter a variety of eccentric characters ― including a director of trailers for films that will never exist; a guerilla fbeforce of circus folk, clowns, and puppeteers; a tin-pot dictator with a vast fortune built on an empire of excrement; and Ronald Reagan. This highly anticipated collection is an act of resistance in and of itself ― it was created while Argentina's military dictatorship was still in power. Perramus is a cartooning tour de force, with a revolutionary message that remains vital to this day.

Alberto Breccia's Dracula is composed of a series of brutally funny satirical misadventures starring the hapless eponymous antihero. Literally defanged (a humiliating trip to the dentist doesn’t help), the protagonist’s glory days are long behind him and other, more sinister villains (a corrupt government, overtly backed by American imperialism) are sickening and draining the life out of the villagers far more than one creature of the night ever could. This is the first painted, full-color entry in Fantagraphics’ artist-focused Alberto Breccia Library, and the atmospheric palette adds mood and dimension. It also includes a sketchbook showing the artist’s process.

Alberto Breccia is recognized as one of the greatest international cartoonists in the history of comics and Mort Cinder is considered one of his finest achievements. Created in collaboration with the Argentine writer Héctor Germán Oesterheld, best known in the U.S. for his politically incendiary sci-fi masterpiece, the Eisner Award-winning The Eternaut, Mort Cinder is a horror story with political overtones. This episodic serial, written and drawn between 1962–1964, is drawn by Breccia in moody chiaroscuro. The artist’s rubbery, expressionistic faces capture every glint in the eyes of the grave robbers, sailors, and slaves that populate these stories; while the slash of stripes of prisoners’ uniforms, the trapeziums of Babylon, and more create distinct and evocative milieus.

When night falls in Buenos Aires, the city comes alive. Artists flock to cafes and dives to exchange ideas, listen to music, watch outré performance art, pen poetry, fall in love. In these raucous, smoke-filled rooms, the bohemian heart and soul of this vibrant city, a conflagration of creative energy burns. With the improvisational pacing of a jazz performance, Beatnik Buenos Aires follows the lives of writers, painters, musicians, sculptors, and performers as they wind their way through these hubs of creative life, seeking out inspiration and grappling with their craft. Set in 1963, this graphic novel celebrates a time in Argentine history when its art scene blossomed.

Science fiction, fantasy, comics, romance, genre movies, games all drain into the Cultural Gutter, a website dedicated to thoughtful articles about disreputable art-media and genres that are a little embarrassing. Irredeemable. Worthy of Note, but rolling like errant pennies back into the gutter. The Cultural Gutter is dangerous because we have a philosophy. We try to balance enthusiasm with clear-eyed, honest engagement with the material and with our readers. This book expands on our mission with 10 articles each from science fiction/fantasy editor James Schellenberg, comics editor and publisher Carol Borden, romance editor Chris Szego, screen editor Ian Driscoll and founding editor and former games editor Jim Munroe.

In 1944, as Swastikas flew over Paris, one of the most notorious and prolific serial killers in history turned the occupied city into his personal hunting ground. Under the guise of opportunity and freedom, a killer preys on those desperate to flee . . . until a gruesome discovery alerts the police. In a city on the brink of war, the hunt for a serial killer begins as a French detective races to catch the villain before the Nazis beat him to it. Written by Stephanie Phillips (Descendent, Devil Within) with art by Dean Kotz (Mars Attacks), The Butcher of Paris is a historical, true crime thriller about a killer wanted by both the Nazis and allied forces for the death of nearly two-hundred victims. Collects Butcher of Paris #1-#5.

Comics Beyond the Page in Latin America is a cutting-edge study of the expanding worlds of Latin American comics. Despite lack of funding and institutional support, not since the mid-twentieth century have comics in the region been so dynamic, so diverse and so engaged with pressing social and cultural issues. Comics are being used as essential tools in debates about, for example, digital cultures, gender identities and political disenfranchisement.