Thea dreams. Not of a better life, but of revenge on the clan that ruined her family. With ferocious battles between man, machines, and monsters ahead who knows where her quest for vengeance will take her? Creator DANIEL WARREN JOHNSON (Space Mullet) and colorist MIKE SPICER present a bold new vision, where the beauty and imagination of Studio Ghibli meet the intensity of Mad Max, in this all-new Skybound Original. Collects EXTREMITY #1-6
The Paznina take desperate measures to finish their war against the Roto a war that will draw Thea and Rollo back into it no matter how much death and heartbreak it promises. Collects EXTREMITY #7-12
The world is under attack by hideous monsters, and Jake's life is falling apart until he meets Murder Falcon. He was sent from The Heavy to destroy all evil, but he can't do it without Jake shredding up a storm. Now, with every chord Jake plays on his guitar, the power of metal fuels Murder Falcon into all-out kung fu fury on those that seek to conquer Earth! From DANIEL WARREN JOHNSON creator of the Eisner-nominated EXTREMITY comes MURDER FALCON! GET READY TO SHRED! Collects MURDER FALCON #1-8
In 2016, Hanselmann began producing Xeroxed zines starring the depressive Megg (a green-skinned witch), her abusive boyfriend Mogg (an actual cat), their submissive roommate Owl (a vaguely humanoid owl), and the self-destructively hedonistic Werewolf Jones (half human, half wolf) in print runs of 300 to 500 copies, with hand-painted covers, custom stamps and hologram security stickers. Seeds and Stems collects all of these out-of-print, self-published stories produced by the artist between 2016-2019, along with a generous smattering of rarities from various anthologies and magazines. Megg and Mogg and friends explore the worlds of lucid dreaming, banking scams, cinema, mixed drinks, alien invasions, and budget vasectomies in this varied collection of rare and often experimental adventures, designed and curated entirely by the artist.
The films of the New French Extremity have been reviled by critics but adored by fans and filmmakers. Known for graphically brutal depictions of sex and violence, the subgenre emerged from the French art-house scene in the late 1990s and became a cult phenomenon, eventually merging into the horror genre where it became associated with American torture porn. Decidedly French in flavor, the films seek to reveal the dark side of French society. This book provides an in-depth study of New French Extremity, focusing on such films as Trouble Every Day (2001), Irreversible (2002), Twentynine Palms (2003), High Tension (2003) and Martyrs (2008). The author explores the social implications of cinematic cruelty presented not as "violent films" but as "films about violence."
A National Book Critics Circle Finalist for Criticism A deeply Malcolmian volume on painters, photographers, writers, and critics. Janet Malcolm's In the Freud Archives and The Journalist and the Murderer, as well as her books about Sylvia Plath and Gertrude Stein, are canonical in the realm of nonfiction—as is the title essay of this collection, with its forty-one "false starts," or serial attempts to capture the essence of the painter David Salle, which becomes a dazzling portrait of an artist. Malcolm is "among the most intellectually provocative of authors," writes David Lehman in The Boston Globe, "able to turn epiphanies of perception into explosions of insight." Here, in Forty-one False Starts, Malcolm brings together essays published over the course of several decades (largely in The New Yorker and The New York Review of Books) that reflect her preoccupation with artists and their work. Her subjects are painters, photographers, writers, and critics. She explores Bloomsbury's obsessive desire to create things visual and literary; the "passionate collaborations" behind Edward Weston's nudes; and the character of the German art photographer Thomas Struth, who is "haunted by the Nazi past," yet whose photographs have "a lightness of spirit." In "The Woman Who Hated Women," Malcolm delves beneath the "onyx surface" of Edith Wharton's fiction, while in "Advanced Placement" she relishes the black comedy of the Gossip Girl novels of Cecily von Zeigesar. In "Salinger's Cigarettes," Malcolm writes that "the pettiness, vulgarity, banality, and vanity that few of us are free of, and thus can tolerate in others, are like ragweed for Salinger's helplessly uncontaminated heroes and heroines." "Over and over," as Ian Frazier writes in his introduction, "she has demonstrated that nonfiction—a book of reporting, an article in a magazine, something we see every day—can rise to the highest level of literature." One of Publishers Weekly's Best Nonfiction Books of 2013
For the world's most valuable, dangerous, or secretive cargo, you don't call just any trucking service...you call THE GHOST FLEET. When one of the world's most elite combat-trained truckers takes a forbidden peek at his payload, he uncovers a conspiracy that will change his life, and the world, forever! The critically acclaimed eight-issue miniseries is collected for the very first time in one deluxe, over-the-top volume from DONNY CATES (GOD COUNTRY, REDNECK) and the incredible DANIEL WARREN JOHNSON (EXTREMITY). Collects THE GHOST FLEET #1-8
Robert Hughes, who has stunned us with comprehensive works on subjects as sweeping and complex as the history of Australia (The Fatal Shore), the modern art movement (The Shock of the New), the nature of American art (American Visions), and the nature of America itself as seen through its art (The Culture of Complaint), now turns his renowned critical eye to one of art history’s most compelling, enigmatic, and important figures, Francisco José de Goya y Lucientes. With characteristic critical fervor and sure-eyed insight, Hughes brings us the story of an artist whose life and work bridged the transition from the eighteenth-century reign of the old masters to the early days of the nineteenth-century moderns. With his salient passion for the artist and the art, Hughes brings Goya vividly to life through dazzling analysis of a vast breadth of his work. Building upon the historical evidence that exists, Hughes tracks Goya’s development, as man and artist, without missing a beat, from the early works commissioned by the Church, through his long, productive, and tempestuous career at court, to the darkly sinister and cryptic work he did at the end of his life. In a work that is at once interpretive biography and cultural epic, Hughes grounds Goya firmly in the context of his time, taking us on a wild romp through Spanish history; from the brutality and easy violence of street life to the fiery terrors of the Holy Inquisition to the grave realities of war, Hughes shows us in vibrant detail the cultural forces that shaped Goya’s work. Underlying the exhaustive, critical analysis and the rich historical background is Hughes’s own intimately personal relationship to his subject. This is a book informed not only by lifelong love and study, but by his own recent experiences of mortality and death. As such this is a uniquely moving and human book; with the same relentless and fearless intelligence he has brought to every subject he has ever tackled, Hughes here transcends biography to bring us a rich and fiercely brave book about art and life, love and rage, impotence and death. This is one genius writing at full capacity about another—and the result is truly spectacular.
