Wimbledon Green

From the critically acclaimed cartoonist of Clyde Fans and It's A Good Life comes a humorous graphic novel on the obsession of comic-book collecting Taking a break from the serialization of his saga Clyde Fans and the design of The Complete Peanuts, critically acclaimed cartoonist and illustrator Seth creates a farcical world of the people whose passion lies in the need to own comic books and only in pristine, mint condition. Meet Wimbledon Green, the self-proclaimed world's greatest comic-book collector who brokered the world's best comic-book deal in the history of collecting. Comic-book retailers, auctioneers, and conventioneers from around North America, as well as Green's collecting rivals, weigh in on the man and his vast collection of comic books. Are Green's intentions honorable? Does he truly love comics or is he driven by the need to conquer? Lastly, is he really even Wimbledon Green? A charming and amusing caper where comic-book collecting is a world of intrigue and high finance. Part riotous chase, part whimsical character sketch, Wimbledon Green looks at the need to collect and the need to reinvent oneself.

Taking a break from the serialization of his saga Clyde Fans and the design of The Complete Peanuts, critically acclaimed cartoonist and illustrator Seth creates a farcical world of the people whose passion lies in the need to own comic books (and only in mint condition). Meet Wimbledon Green, the self-proclaimed world’s greatest comic book collector who brokered the biggest comic book deal in the history of collecting. Comic book retailers, auctioneers and conventioneers from around North America, as well as Green’s collecting rivals, weigh in on the man and his vast collection of comic books. Are Green’s intentions honourable? Does he truly love comics or is he driven by the need to conquer? Lastly, is he really even Wimbledon Green? A charming and amusing caper where comic book collecting is a world of intrique and high finance – part riotous chase, part whimsical character sketch, Wimbledon Green looks at the need to collect and the need to reinvent oneself.

Considers how comics display our everyday stuff—junk drawers, bookshelves, attics—as a way into understanding how we represent ourselves now For most of their history, comics were widely understood as disposable—you read them and discarded them, and the pulp paper they were printed on decomposed over time. Today, comic books have been rebranded as graphic novels—clothbound high-gloss volumes that can be purchased in bookstores, checked out of libraries, and displayed proudly on bookshelves. They are reviewed by serious critics and studied in university classrooms. A medium once considered trash has been transformed into a respectable, if not elite, genre. While the American comics of the past were about hyperbolic battles between good and evil, most of today’s graphic novels focus on everyday personal experiences. Contemporary culture is awash with stuff. They give vivid expression to a culture preoccupied with the processes of circulation and appraisal, accumulation and possession. By design, comics encourage the reader to scan the landscape, to pay attention to the physical objects that fill our lives and constitute our familiar surroundings. Because comics take place in a completely fabricated world, everything is there intentionally. Comics are stuff; comics tell stories about stuff; and they display stuff. When we use the phrase “and stuff” in everyday speech, we often mean something vague, something like “etcetera.” In this book, stuff refers not only to physical objects, but also to the emotions, sentimental attachments, and nostalgic longings that we express—or hold at bay—through our relationships with stuff. In Comics and Stuff, his first solo authored book in over a decade, pioneering media scholar Henry Jenkins moves through anthropology, material culture, literary criticism, and art history to resituate comics in the cultural landscape. Through over one hundred full-color illustrations, using close readings of contemporary graphic novels, Jenkins explores how comics depict stuff and exposes the central role that stuff plays in how we curate our identities, sustain memory, and make meaning. Comics and Stuff presents an innovative new way of thinking about comics and graphic novels that will change how we think about our stuff and ourselves.

The second generation Range Rover was arguably Land Rover's first model designed as a luxury vehicle. It was a major leap for the company, but a very successful one as well. Despite controversy over its looks, and some initial teething problems, it became a worthy successor to the much-loved original. Range Rover Second Generation The Complete Story draws on the memories of designers and engineers as well as on a wide variety of factory sources to provide the most authoritative history of the mode yet. The book covers the full development history; the changes during eight years of production; Range Rovers for the North American market; full technical specifications and finally Range Rovers and the emergency services.A companion volume to the author's Range Rover First Generation - The Complete Story (Crowood 2018).