The wait is over, Crickets #6, "an interlaced body of cowardice, blindness,craftiness and stupidity," has arrived.

NOW IN STOCK.

Yes, this 384 page softcover collecting the entire initial run of MisterXcontains some excellent graphics by Paul Rivoche (who also contributed a niceshort piece)and Dean Motter, two short pieces byDave McKean and one by Bill Sienkiewicz, as well as the first notable body of work by Seth, but this archival collection willprimarily be of interest to Copacetic customers for the simple reason thatthe first four issues of the series are byGilbert,Jaime (and Mario) Hernandez! These four issues are absolute gems that were originally created in 1984, when the Hernandez brothers were in their first flush of fame and critical acclaim and still...

Wow! Ethan Rilly just keeps getting better. Anyone interested in deftly delineated character driven narratives in the tradition founded by Xaime and Beto Hernandez needs to be aware of this series. Rilly is a relative youngster and his work – set in what we are assuming is Toronto (Rilly is a native), but could be Seattle, or any other major north American metropolis, for that matter – is closer in register to the work of Adrian Tomine, as it is largely set in a world of office towers and upward striving. Anyone unfamiliar with this series can get some idea of what's in store by checking out the short 2010 piece, "Ex Montreal", hosted in...

Lynda Barry's classichybrid illustrated novel (that was successfully adapted to a play) at last returns to print in its first hardcover (and nicest yet!) edition, from Drawn & Quarterly (natch'). Set in the Seattle of the late 1960s,The Good Times Are Killing Me presents a bittersweet portrait of an adolescence in whichexposure to the toxic effects of racism occurs simultaneously with a revelation of the redemptive uplift ofmusic; music oftencreated by those who suffer the most from those toxiceffects...

Check out this excerpt on Rookie Mag.

Darwin Cooke. Where to begin. Cooke is the heroic fantasy comics art synthesizer of his generation, par excellence. He knows comics. He knows how they work. He can take them apart and put them back together again, and, more importantly, he has amply demonstrated, perhaps nowhere better than through the work collected in this volume, that he can disassemble the machinery of the styles of the greats of comics past, pick out the best, strongest parts, the ones that still hold up, and then put them all together to build an awesome new comics story-telling machine, one that can deliver page after page of action-packed adventure. And there’s...

In the Swarm presents a cogent response to the rising tide of internet inf(l)ected consciousness that is deeply rooted in the European – primarily German – philosophical tradition, but don't let that scare you off. This slim tome, judiciously translated from the original German by Erik Butler, is straightforward and gets right to the point in sixteen concise chapters, each focused on a facet of the problem currently confronting us: thegradual yet seemingly ineluctable erosion of human agency resulting from our ever greater immersion in the sea of information. Written in 2013, this book was clearly ahead of the curve and will impress any...

Now's your chance to get – or give – the two works upon which rests Jason's US reputation – "Hey, Wait!" and Ssshhhh – along with the long out of print and up-until-now-mega-pricey, The Iron Wagon. All three works in an attractive hardcover omnibus for significantly less than the retail cost of the original softcovers. If there is still anyone reading this who has yet to discover the pleasures of Jason, this is the perfect place to start.

Yes, it has finally come to pass: Ed the Happy Clown is back in print in book form for the first time in decades, in what is likely to be the definitive edition. This is the ground breaking work that both put Chester Brown on the map and broadened the horizons of comics in the 1980s, causing a seismic shift in its landscape and charting a new direction away from heroic fantasy through a methodology that, in hindsight, can be seen to be – at least in some respects – a deconstruction of the psychological as well as epistemological underpinnings of that genre, which has since become dominated by corporate entertainment behemoths. Ed the Happy...