Read Ebook {PDF EPUB} Louder Than Words by Sergio Aragonés Sergio Aragonés. Sergio Aragonés Domenech was born in San Mateo, Spain, but moved to France and eventually Mexico, because of the Civil War. He grew up in Mexico City, producing streams of cartoons for his friends. In 1953, one of these friends sent some to the Mexican humor magazine Ja Ja, which printed them. He also began a collaboration with the magazine Mañana. The Smokehouse Five. He studied architecture for a while, and worked as a clown and pantomime artist, which he learned under the guidance of Alejandro Jodorowsky. Aragonés headed for the USA in 1962, where he began his longtime collaboration with MAD magazine. Aragonés became known for his section 'A Mad Look At. ' and his many pantomime comic strips, called marginals, which were inserted into the margins and between panels of the magazine. Aragonés has contributed to nearly every issue of MAD since 1963. In the late sixties, Aragonés began a collaboration with DC Comics, drawing for titles like 'Angel and the Ape', 'Inferior Five', 'Young Romance' and 'Jerry Lewis', as well as some horror anthologies. He also served as a plotter for other artists and co-created serials like the western 'Bat Lash' and the humor title 'Plop!' (1973-1976). He started his classic fantasy parody 'Groo the Wanderer' with scripts by Marc Evanier in the alternative comic book Destroyer Duck in 1982. As a creator-owned book, 'Groo' has since been published by a number of publishers, including Pacific Comics, Eclipse Comics, Marvel Comics (under the Epic Comics imprint), Image Comics and Dark Horse Comics. Other serials by Aragonés at the time were 'The Smokehouse Five' and 'Buzz and Bell', which were distributed in Europe to publishers like Dupuis (Belgium) and Carlsen (Germany) through the Strip Art Features syndicate. Aragonés and Evanier continued their collaboration throughout the 1990s with series like 'Fanboy', 'Boogeyman', 'Magnor', 'Blair Witch?' and a series in which they trash famous characters: 'Sergio Aragonés Massacres Marvel', 'Sergio Aragonés Destroys DC', and 'Sergio Aragonés Stomps Star Wars'. His artwork has appeared on hundreds of advertisements and editorial features, and his animation has been featured on numerous TV shows. In recent years, he has a regular feature in the 'Bart Simpson' comic book, called 'Maggie's Crib'. Search AbeBooks. We're sorry; the page you requested could not be found. AbeBooks offers millions of new, used, rare and out-of-print books, as well as cheap textbooks from thousands of booksellers around the world. Shopping on AbeBooks is easy, safe and 100% secure - search for your book, purchase a copy via our secure checkout and the bookseller ships it straight to you. Search thousands of booksellers selling millions of new & used books. New & Used Books. New and used copies of new releases, best sellers and award winners. Save money with our huge selection. Rare & Out of Print Books. From scarce first editions to sought-after signatures, find an array of rare, valuable and highly collectible books. Textbooks. Catch a break with big discounts and fantastic deals on new and used textbooks. About Sergio. Sergio Aragonés is said to be the fastest cartoonist in the world today. He is certainly the most honored, having won every major award in the field, including the National Cartoonists Society’s Reuben Award, and the Will Eisner Hall of Fame Award. He was born in 1937 in Castellon, Spain but his family soon relocated to Mexico during the Spanish Civil War. In Mexico, Sergio received his education, eventually studying Architecture at the University of Mexico, and also learning pantomime under the direction of Alexandro Jodorowsky. But his heart was always in cartooning, a craft he discovered in the third grade, to the delight of his classmates and the annoyance of his instructors. He contributed to school newspapers and anywhere else he could get his sketches printed and, at age 17, began selling professionally to a wide array of Mexican publications. He maintained a weekly spot for over ten years in Mañana Magazine. In 1962, he decided to try his luck in America, and arrived in New York with only twenty dollars and a folder bulging with his cartoon work. At first, work was slow in coming and what he did sell didn’t pay very well, forcing him to work as a singer/poet in Greenwich Village restaurants and to pick up other odd jobs. Things changed when he mustered the courage to approach the top market for silly pictures, Mad Magazine. Embarrassed by his halting English, he went to their office and asked for Antonio Prohias, the Cuban refugee who drew their popular “Spy Vs. Spy” feature. Sergio figured that Prohias could translate for him, but he figured wrong: Prohias, though thrilled to meet a fellow Hispanic cartoonist, spoke even less English than Sergio. He did, however, introduce his new “brother” about, and the Mad editors liked what they saw. Sergio’s first contribution — “A Mad Look at the U.S. Space Effort” — appeared in Mad #76, cover-dated January of 1963. For that same issue, he also contributed the cover gag (the first of many) and his first “Marginal Thinking” cartoons to be printed in the magazine’s margins. He has since appeared in every issue of Mad except for one (the post office screwed up) and has done thousands of his unique pantomime cartoons. He also produced 16 best-selling original Mad paperback books. In the early eighties, Sergio teamed with wordsmith Mark Evanier to bring forth the adventures of Groo the Wanderer . Groo quickly became one of the longest-running “creator-owned” comic book properties, outlasting many of the companies that published it. Together, Sergio and Mark have also produced other comics, including Fanboy, Boogeyman, Magnor, Blair Witch? and an acclaimed series in which together, they trash famous characters: Sergio Aragonés Massacres Marvel, Sergio Aragonés Destroys DC, and Sergio Aragonés Stomps Star Wars. For their comic book work, they have received multiple Eisner awards. Sergio has also “soloed” with two all-pantomime series, Actions Speak and Louder Than Words and on his new comic from Bongo, Sergio Aragonés Funnies. Sergio has appeared as an actor-performer on television (on, among others, Laugh-In and Speak Up, America ) and motion pictures (in, among others, Norman, Is That You? and To Kill A Stranger ). His artwork has appeared on hundreds of advertisements and editorial features, and his animation has been featured on numerous TV shows, including The Shirley MacLaine Special, The Cher Special, The Half-Hour Comedy Hour and Dick Clark’s TV Bloopers and Practical Jokes. Sergio Aragones Louder Than Words (1997) comic books. Story and art by Sergio Aragones. Legendary artist of Mad and Groo (or TV Bloopers and Practical Jokes), Sergio Aragonés does what he does best in this six-issue miniseries, skewering everything from skateboarding to dating, from loneliness to the Roman Coliseum! You'll laugh out loud, like you're ten years old again! All-new material! 32 pages, B&W. Cover price $2.95. Story and art by Sergio Aragones. He's one of the greatest living cartoonists! Sergio Aragonés proves that a picture paints a thousand words and a one-page strip is good for a million laughs. Sergio's dreamed up 24 pages of all-new material, leaving no stone unturned and no sacred cow untipped! 32 pages, B&W. Cover price $2.95. Story and art by Sergio Aragones. From the jungle to the supermarket, from perfume to pro-wrestling, nothing's safe from Sergio Aragonés! A long-time contributor to Mad and the creator of Groo, Sergio will make you laugh without ever writing a word, in this all-art humor comic! 32 pages, B&W. Cover price $2.95. Story and art by Sergio Aragones. How do you sleep if your dreams keep running out onto the mattress? How can you listen to your future if your psychic has really bad breath? Sergio Aragonés, winner of the Ruben Award and 1997's Harvey Award for Special Achievement in Humor, answers the questions that have plagued the ages with the wit and insight that only a master cartoonist can deliver! 32 pages, B&W. Cover price $2.95. Story and art by Sergio Aragones. Comics Buyer's Guide says, "Aragonés is the undisputed master of the silent gag"! The National Cartoonists' Society gave Sergio the Reuben Award for Cartoonist of the Year 1996! If you don't know Sergio's unique brand of humor, join these highly regarded institutions and the millions of readers worldwide who have for decades enjoyed his silent but deadly jibes at society. And if you grew up on it, pick up this all-new series and remember what it feels like to laugh out loud! 32 pages, B&W. Cover price $2.95. Story and art by Sergio Aragones. It's clean-up time for Sergio Aragonés, 1997 Harvey, Eisner, and Ruben Award-winner, and it's just too funny for words! This all-new hit black-and-white series of silent gags wraps up this month, as the Serge shakes loose one last batch of insanity from his fevered brain! 32 pages, B&W. Cover price $2.95. Customer Testimonials Our customers have some nice things to say about us: Customer Testimonials Mailing List Join our Mailing List for news and sales. We’ve been selling comics since 1961 (our first sale: Fantastic Four #1 at $0.25, see one of our first ads) and on the web since 1996. Copyright © 1996 - 2021 Lone Star Comics Inc. Character images copyright © their respective owners. Sergio Aragones: Louder Than Words. Currently on the comics racks are two very different books that demonstrate the medium's ability, when in the right hands, to tell stories without using words—and in a manner that simply would not work in any other form. Sergio Aragonés is best known for the literally marginal work with which he has supplied Mad Magazine for decades, in addition to his rambling barbarian parody Groo The Wanderer . For anyone who's ever spent time squinting to make out the elaborate details of Aragonés' work, any opportunity to see it enlarged to a more approachable size is a welcome one, making the first issue of this six-part series something of a godsend. Aragonés has the mind of a gag-man from the silent-film era, producing seemingly endless variations on classic slapstick varieties of humiliation. Here, the gags are laid out one to a page, freed from the restrictions of thematic or narrative unity. When taken together, it becomes clear that Aragonés' world is a pretty grim one; almost every joke is based on dashed expectations and public embarrassment. It's humor at its most basic level, done well and nicely showcased in this series. An equally dangerous world, but one more of the red-in-tooth-and-claw variety, is rendered in the new collection of Ricardo Delgado's second series covering the Jurassic Age. A designer and storyboard artist for such films as Men In Black , Eraser and Star Trek: First Contact , Delgado uses dinosaurs in his comics with greater effectiveness and expressiveness than found in some artists' depictions of humans. The Hunt uses one character, an allosaur named Santo who is orphaned in the first few pages, as its central figure, following him through a dangerous, eat-or-be- eaten, prehistoric American landscape while sidetracking frequently to examine his surroundings. That Santo seems almost to plot revenge over the course of the book's five parts is a questionable bit of anthropomorphism, but it's the only example of that tendency in the book, and an ambiguous one at that. At times The Hunt seems to consist of little more than beautifully illustrated, stirringly laid-out portrayals of dinosaurs fighting, which would have been fine; what else is a comic set in the age of dinosaurs going to be about? To Delgado's credit, it's more than that. Due to his careful attention to detail and convincing depiction of another age, he summons up a complete world—and, as with Aragonés' work, it's difficult to imagine it working in any other medium. Just as Aragones' gags would fall apart if removed from the carefully paced rhythms of his jokes (as they were when appropriated for TV's Censored Bloopers And Practical Jokes ), Delgado's dinosaurs, if animated or recreated through special effects, would likely lose the freeze-frame perfection and thoughtful flow of his work here. Anyone interested in two first-rate examples of comic-book storytelling at its most rudimentary—and most effective—would do well to check out these titles.