Insight Editions 2018 Annual Backlist Catalog by Insight Editions

B A C K L I S T 201 8

INSIGHT EDITIONS BACKLIST 2018

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Front cover: Artwork from The Art of Destiny, Volume 2 © 2018 Bungie, Inc. All rights reserved. Destiny, Bungie, and the Bungie logo are trademarks of Bungie, Inc. in the US and other countries. Back cover: Artwork from The Art of Mondo; Iron Man 3, Martin Ansin

2/1/18 4:20 PM

Film & Television

40 Gaming 48 Animation 58

Fiction & Lore

Insight Comics

Comic Art

Art & Photography

100 Music 110

Biography & Legacy

114 Sports 120

Coloring Books

126 Gift 134

Insight Kids

148 Index 152

Ordering Information

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FILM & TELEVISION

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A DIE HARD CHRISTMAS The Illustrated Holiday Classic BY DOOGIE HORNER ILLUSTRATIONS BY JJ HARRISON

$16.99 Hardcover 8x8 32 pages

AIN’T GOT TIME TO BLEED Medical Reports on Hollywood’s Greatest Action Heroes BY ANDREW SHAFFER ILLUSTRATIONS BY STEVEN LEFCOURT

$14.99 Hardcover 7x7 64 pages

ISBN: 978-1-60887-976-2

TARANTINO: A RETROSPECTIVE BY TOM SHONE

$45.00 Hardcover 9.75 x 11.5 256 pages ISBN: 978-1-68383-098-6

ISBN: 978-1-60887-978-6

More police arrived, the FBI and a SWAT team. But Hans didn’t mind. It was all part of his scheme.

More rapid than eagles his henchmen they came. And he radioed and shouted and called them by name. Now Eddie, now James, now Franco, now Uli! On Fritz and on Karl— hair long and unruly!

BEATRIX KIDDO

SCENE OF INCIDENT: Kill Bill: Vol. I (2003) OCCUPATION: Assassin (retired) INCIDENT REPORT: Former assassin was shot in the head by her ex-boss (and ex-lover) Bill. After four years in a coma, patient embarked on a quest for revenge against Bill and his squad of assassins, sustaining numerous minor injuries from hand-to-hand combat and swordfights. INJURIES: 1. Head: Shot with an EMF Hartford Pinkerton revolver (11.48 mm caliber bullet) in the left temple. Skull fracture and intracranial hematoma. Class II hemorrhage. Hypovolemic shock, with loss of consciousness. Emergency craniotomy to relieve pressure and clear bullet fragments. Cranial damage repaired with titanium plate.

4 6 3

2. Left hand, face: Martial arts fight with metal, wooden, and ceramic household objects used as weapons. Deep incisions on face and hand from mirror shards and broken ceramic dishes. Class I hemorrhage. Tendon and/or nerve damage possible.

3. Right shoulder: Cut in the shoulder by the saw blade of a single-headed meteor hammer (a Chinese weapon similar to a ball-and-chain flail or mace). Deep incision with class I hemorrhage.

4. Skin, neck: Briefly choked with the meteor hammer’s chain, resulting in temporary cyanosis. Possible contusions around neck.

5. Thorax: Hit twice with the sphere (head) of the meteor hammer, then kicked in the chest and slammed through a wooden table. Hemoptysis (coughing up blood from respiratory tract). Fractured ribs likely. 6. Abdomen, back: While slicing her way through eighty-eight sword-wielding martial artists, patient was cut on her abdomen and back; thankfully, neither incision penetrated her abdominal cavity. Class I hemorrhage. ADDITIONAL OBSERVATIONS: Immediately after emerging from her coma, patient somehow had the upper body strength to crawl. In reality, her muscles would have atrophied from four years in a vegetative state, leaving her unable to even sit up. PROGNOSIS: While nine out of ten gunshot victims with traumatic brain injury don’t survive, Kiddo was clearly one of the lucky ones. Aside from some loss of feeling or movement in the fingers of her left hand because of tendon and/or nerve damage from postcoma penetrating trauma, the patient’s injuries would heal within a couple of months. CONDITION: Partial recovery expected. Look out, Bill.

Around his waist he tied a fire hose tight. And, screaming an oath, jumped into the night. The explosives were wired to the rooftop with care in hopes that the hostages soon would be there.

MAJOR ALAN “DUTCH” SCHAEFER SCENE OF INCIDENT: Predator (1987) OCCUPATION: Mercenary INCIDENT REPORT: Ex-military soldier and his band of mercenaries were methodically hunted by an alien predator in the Guatemalan jungle. Patient was mortally wounded going mano a mano with the alien. INJURIES: 1. Right biceps: AR-15 SP-1 rifle exploded in patient’s hands after being hit by a projectile from the alien’s shoulder-mounted plasma caster. Fragment injuries (lacerations) to biceps. Class I hemorrhage.

2. Feet: Went over a cliff approximately eighty feet into a river. Probable calcaneus (heel bone) fractures due to feet-first water impact at a velocity exceeding 40 mph. 3. Abdomen (left side): Fell approximately twenty feet out of a tree. Fractured ribs. Hemoptysis (coughing up blood from respiratory tract) from internal crush injury. 4. Throat: Alien lifted patient up by the throat. Potentially severe tracheobronchial injury (crushed windpipe), which could obstruct patient’s airway and lead to asphyxiation. 5. Mouth, hands, right wrist: Hand-to-hand combat with the unnaturally strong alien. Bleeding from the mouth (class I hemorrhage), with possible avulsed teeth. Dislocation of knuckles/bruising probable. Broken wrist likely. 6. Entire body: Alien set off an explosive self-destruct device. Patient attempted to escape the bomb’s blast radius (estimated at around 2,700 feet) on foot, but only made it approximately three hundred feet from ground zero before the detonation. The patient would have either been A) immediately vaporized by the fireball, or B) mortally wounded by the blast wave, which would have caused fatal pulmonary barotrauma.

ADDITIONAL OBSERVATIONS: Patient covered himself with mud to avoid detection by the alien’s thermalimaging equipment. However, this could have caused his open wounds to become infected. Tetanus, anthrax, and necrotizing fasciitis (flesh-eating bacteria) are just a few of the many soil-related bacterial, fungal, and viral infections possible. PROGNOSIS: Most of the injuries Major Schaefer sustained prior to the explosion would heal within four to six weeks, if given the chance—though if his windpipe were crushed, he would have likely expired then and there. That would have at least spared him a particularly ugly death down the line from either the explosion or—if, by some miracle, he survived—a lethal infectious disease.

John warned everyone the roof would soon blow as the chopper strafed him with high-powered ammo.

CONDITION: Get to the chopper! Hopefully it’s carrying a body bag for what’s left of Dutch.

He dangled in the air and gritted his teeth, while flames encircled the tower like a wreath. 46

When what to his wondering eyes should appear— HOLY CRAP!

THERE ARE TERRORISTS HERE?!

John hid under a table where no one could see and watched Hans question Mr. Takagi. “I’m going to count to three; there will not be a four. Give me the codes to open the vault door.”

DETECTIVE JOHN McCLANE SCENE OF INCIDENT: Die Hard (1988)

OCCUPATION: Police officer INCIDENT REPORT: Off-duty New York City cop was involved in a terrorist incident at Nakatomi Plaza. Patient engaged suspects in hand-to-hand combat and exchanged gunfire with them before leaping off a rooftop with a fire hose around his waist.

INJURIES: 1. Entire body: Multiple fistfights with Eurotrash terrorists. Thrown into drywall. Superficial lacerations and contusions on hands, elbows, and forearms. Deep laceration on patient’s eyebrow with class I hemorrhage. If untreated, bleeding could temporarily obscure vision. 2. Back: Tumbled down a flight of stairs. Simultaneous flexion and distraction of the spinal column would cause spinal fracture of the T12–L2 vertebrae (broken back). 3. Feet, thorax, arms: Walked barefoot on broken glass. Later, crashed shirtless through a window and was dragged by a terrorist across glass shards. Numerous deep incisions. Cumulative class II hemorrhage. 4. Head: Kicked repeatedly in the head. Epistaxis. Nasal fracture possible. Mild concussion likely. 5. Right shoulder: Shot with a Beretta 92F semiautomatic pistol (9 mm caliber bullet). Penetrating trauma with no exit wound. Class I hemorrhage.

6. Neck: Jumped off the rooftop of a high-rise building with a fire hose around his waist. Unfortunately for the patient, fire hoses lack the elasticity of bungee cords. On reaching the end of the length of hose, his body would have come to an abrupt stop. Hyperflexion (forward motion) of the neck would result in cervical fracture of C5–C7 vertebrae (broken neck). ADDITIONAL OBSERVATIONS: Ingested “thousand-year-old” Twinkie of indeterminate origin. If it had gone bad, the patient would experience symptoms of food poisoning (nausea, vomiting, diarrhea, abdominal pain, and fever) within a few hours. PROGNOSIS: Provided Detective McClane received prompt medical attention for his cumulative blood loss, most of his injuries would heal within four to six weeks. Combined injuries to the patient’s spinal column, however, would likely leave him paralyzed from the neck down (quadriplegic). CONDITION: Unable to walk off into the sunset with Grace Kelly.

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THE ART OF GHOST IN THE SHELL BY DAVID S. COHEN FOREWORD BY RICHARD TAYLOR

$45.00 Hardcover 9.25 x 12.75 160 pages ISBN: 978-1-68383-000-9

CLOSE ENCOUNTERS OF THE THIRD KIND: THE ULTIMATE VISUAL HISTORY BY MICHAEL KLASTORIN FOREWORD BY STEVEN SPIELBERG

$50.00 Hardcover 9.25 x 11 192 pages + 17 inserts

THE MAKING OF DUNKIRK BY JAMES MOTTRAM FOREWORD BY CHRISTOPHER NOLAN

$45.00 Hardcover 11 x 10 144 pages ISBN: 978-1-68383-107-5

North American rights sold.

MEET THE ALIENS Having completed shooting on the scenes of the abductees returning home, the production turned to one of the most daunting tasks of the entire schedule: the introduction of the aliens. One of the biggest concerns was the welfare of the children who would play the ETs. With long, arduous days of filming ahead, the production wanted to make sure the young performers were as comfortable as possible. As such, a note was attached to the call sheet each morning, alerting all departments to the correct protocol when filming with the youngsters: “Due to the physical difficulties in ET makeup, etc., it is imperative that once the children come on the set, we roll immediately. ADs (assistant directors) will not bring children in unless we can shoot immediately.”

To facilitate these instructions, the

ambitious plans for the flying sequence and even wanted the spectators to also take to the

the fifty children would arrive on set and half their number would head to the wardrobe

air. “I wrote in the script that there was a zerogravity zone, right around the threshold of the

department, where they were dressed in

Mothership,” explains the director. “We were

the body stockings and alien gloves. After

going to fly all of the technicians, with their

the remainder went through the same procedure, all fifty were moved to the hangar cafeteria to wait for the crew to finish their

spectrometers and Geiger counters and other devices. As they approach the Mothership, the ramp opens, and they were going to get into

last-minute adjustments. When the cameras

that zone and all start to float around. Having

were ready to roll, the head appliances were

established that, I would then have the little

attached, and the aliens were rushed to the

were going to fly around the entire area and freak everybody out.”

Alves that offset the extreme heat generated by the lights in the unit. While wrangling the ground-based aliens presented no significant problems, the flying

TOP Spielberg breaks in a new member of the camera crew. ABOVE AND OPPOSITE The young girls portraying the aliens relax between takes.

Grays come out of the Mothership, and they

set. Arriving in the compartment from which they would emerge on set, the kids were cooled by air conditioning installed by Joe 112

aliens were another matter. Spielberg had

process of preparing the children to shoot had to run like clockwork. Prior to filming,

The plan was that when the hatch on the Mothership opened, the bulk of the aliens would proceed down the ramp, while the mimes playing technicians moved in slow motion around them. When they reached the

DEVILS TOWER (MAY 17–28, 1976) Close Encounters of the Third Kind began principal photography on location in Wyoming on Monday, May 17, 1976. The first shot captured would be from the scene where Roy reaches the outskirts of Reliance, Wyoming—in real life approximately four hundred miles from Devils Tower—and drives past the refugees being evacuated by the government. It was an ambitious sequence featuring over two hundred extras, laden with luggage, and dozens of vehicles, both civilian and military. Once the refugee scene was complete, Spielberg hunched down in the back of a station wagon to give direction to Richard Dreyfuss and Melinda Dillon as they performed the scene

production had to be prepared to switch from shooting the Devils Tower exteriors to shooting

with a broken toe. “My foot swelled, and it turned black and it was horrible to walk,” she

Spielberg crams into the back of a station wagon to direct Dreyfuss and Dillon in the very first scenes to be filmed in Wyoming.

ABOVE

BELOW The crew lines the highway to film the evacuation of the population of Reliance, Wyoming. OPPOSITE The crew are dwarfed by the full majesty of Devils Tower.

he needed to be on location for that first day. Because bad weather had been forecast, the

production, right after being cast by Spielberg, she had a mishap in her LA hotel that left her

says. “I thought ‘Uh-oh. There goes that job.’

Bob Balaban had his own dilemma. Originally not scheduled to work until the end of the first week of shooting, the actor suddenly got a call from production telling him

being confined to a car for the sequence was a godsend because, unbeknownst to anyone in

days I was hiding the fact that I had a broken toe. Nobody was ever told.”

where Roy and Jillian drive toward Devils Tower on the final leg of their journey. For Dillon,

interiors at the location instead, all of which required Balaban’s character. If he wasn’t there, the company would have precious little

I taped it up real tight, and then we had to get

to shoot and come to a standstill on the very

on the plane and go to Wyoming. For days and

first day. The problem was that when the

DUNKIRK and all related characters and elements © & ™ Warner Bros. Entertainment Inc. (s17)

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A MONSTER CALLS The Art and Vision Behind the Film BY DESIRÉE DE FEZ FOREWORD BY J. A. BAYONA

$45.00 Hardcover 12.2 x 8.7 328 pages ISBN: 978-1-60887-983-0

FILM & TELEVISION

ASSASSIN’S CREED: INTO THE ANIMUS BY IAN NATHAN FOREWORD BY GÉRARD GUILLEMOT

$45.00 Hardcover 9.25 x 11 160 pages ISBN: 978-1-60887-797-3

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BACK TO THE FUTURE The Ultimate Visual History BY MICHAEL KLASTORIN WITH RANDAL ATAMANIUK FOREWORD BY MICHAEL J. FOX PREFACE BY CHRISTOPHER LLOYD INTRODUCTION BY BOB GALE AFTERWORD BY ROBERT ZEMECKIS

$50.00 Hardcover 9.25 x 11 224 pages + 14 inserts North American rights sold.

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GHOSTBUSTERS: ECTOMOBILE Owner’s Workshop Manual BY TROY BENJAMIN AND MARC SUMERAK ILLUSTRATIONS BY IAN MOORES

$29.99 Hardcover 8.26 x 10.62 144 pages

GHOSTBUSTERS The Ultimate Visual History

TOBIN’S SPIRIT GUIDE Official Ghostbusters Edition

BY DANIEL WALLACE FOREWORD BY DAN AYKROYD INTRODUCTION BY IVAN REITMAN

BY ERIK BURNHAM ILLUSTRATIONS BY KYLE HOTZ

$50.00 Hardcover 9.25 x 11 224 pages + 18 inserts

ISBN: 978-1-60887-708-9

ISBN: 978-1-60887-510-8

ISBN: 978-1-60887-512-2

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THE DARK CRYSTAL The Ultimate Visual History

LABYRINTH The Ultimate Visual History

BY CASEEN GAINES FOREWORD BY CHERYL HENSON INTRODUCTION BY BRIAN AND WENDY FROUD

BY PAULA M. BLOCK AND TERRY J. ERDMANN FOREWORD BY TOBY FROUD INTRODUCTION BY BRIAN HENSON

$45.00 Hardcover 9.25 x 11 192 pages + 14 inserts

$45.00 Hardcover 9.25 x 11 192 pages + 24 inserts

ISBN: 978-1-60887-811-6

ISBN: 978-1-60887-810-9

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GINA MCINTYRE

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RECENT RELEASE! GUI LLERMO D EL TORO’S

CREATING A FAIRY TALE FOR TROUBLED TIMES

CREATING A FAIRY TALE FOR TROUBLED TIMES FOREWORD BY

m Corporation.

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GUILLERMO DEL TORO’S THE SHAPE OF WATER Creating a Fairy Tale for Troubled Times BY GINA MCINTYRE FOREWORD BY GUILLERMO DEL TORO

$45.00 Hardcover 9.25 x 11 160 pages ISBN: 978-1-68383-225-6

GUILLERMO DEL TORO’S THE DEVIL’S BACKBONE BY MATT ZOLLER SEITZ AND SIMON ABRAMS FOREWORD BY GUILLERMO DEL TORO

$50.00 Hardcover 9.25 x 11 160 pages ISBN: 978-1-68383-108-2

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F ROM ACCL A IMED F IL MM A K

ritten for Variety for over a decade. reen Plays, a collection of his d screenwriting published in The Ballad of Rango. He lives

Warner Bros. Pictures’ epic science-fi ction act Del Toro assembled a ta a fi lmmaking journey nea high-stakes adventure de Man, Machines & Monster in vivid detail, with stunni photography, and candid From initial inspirati shoot and the fi lm’s stat Pacific Rim: Man, Machin complete story of a truly This deluxe volume featu the unique monsters and Rim, chronicling the inte gave birth to each Jaeger artwork from all stages o expansive enthusiasm an and his team brought to Including pages fro reproductions of props s Corps ID badges and an Pacific Rim: Man, Machine companion to this epic m

s the acclaimed director of Pan’s nd Pacific Rim. His Strain novels sellers. He lives in Los Angeles.

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Entertainment Inc.

3 Warner Bros. Entertainment Inc. g, LLC.

FRONT COVER Lighting concept fo battle with Otachi by Alex Jaeg

ABOVE Gipsy Danger concept b

CASEWRAP Pan Pacifi c Defense C

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ISBN: 978-1-60887-182-7

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GUILLERMO DEL TORO’S PAN’S LABYRINTH Inside the Creation of a Modern Fairy Tale BY MARK COTTA VAZ AND NICK NUNZIATA FOREWORD BY GUILLERMO DEL TORO

$50.00 Hardcover 9.25 x 11 160 pages

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PACIFIC RIM Man, Machines & Monsters BY DAVID S. COHEN FOREWORD BY GUILLERMO DEL TORO

$45.00 Hardcover 11 x 10 156 pages + 15 inserts ISBN: 978-1-60887-182-7

North American rights sold. SCRIPT & STORY

Beacham had rented a modest apartment near Santa Monica Beach and would walk there every day, sometimes because he was stuck on a writing problem, sometimes just to enjoy the place. On this morning, he found the beach quiet. An unseasonable mist blanketed the bay. A handful of swimmers and surfers took to the water, black wetsuits glistening. As Beacham made his way north, he saw the Santa Monica Pier about a mile away, almost hidden in the gloom. Then, beyond the darkened arcade and Ferris wheel, he pictured something astonishing: a giant robot and a giant monster in a fight to the death.

“They just sort of materialized out of the fog, these vast, godlike things,” he remembers. But Beacham is prone to picture such things, and he knows an image alone is not enough to build a script on. So he turned over the vision in his mind, pondering it for weeks, months, and finally years. “I didn’t know that I had something that I really wanted to write,” he says, “until I realized these robots are driven by two pilots, and what happens when one of those people dies? What happens to the leftovers? Then it became a story about loss, moving on after loss, and dealing with survivor’s guilt. That makes the monsters scarier, because now you care about the people who are in these robots.”

F E W S T R E T C H E S O F S A N D are as tame as Santa Monica Beach. The breezes are light, the surf gentle, the sand smooth and blanketed with sunbathers. Dolphins frolic just yards offshore. Only rarely are there reminders that nature is not always benign, like the temblors that rupture the seabed and send up oil to foul the sand. But on some days, sea and sky conspire to reclaim a bit of mystery, if not menace, for this oh-so-civilized shore. Cool fog glides in, the sunbathers withdraw, and the beach is left to more determined, thoughtful souls. It was on such a morning that Pacific Rim was born. It was the summer of 2007, and Travis Beacham was taking his daily walk on the shore. Beacham, an up-and-coming screenwriter, was new to California and almost as new to his craft. But he’d already had his first big break: A screenplay he’d written in his University of North Carolina School of the Arts dorm room, a fantasy murder mystery called A Killing on Carnival Row, had been optioned by New Line Cinema, and he’d been developing it with Guillermo del Toro. “He is the first director I met or worked with on any real basis,” says Beacham. “It was one of the more surreal experiences of my life, but it prepared me for almost anything that came after it.”

PAGES 12–13 Keyframe of the Kaiju dubbed “Karloff” by Guy Davis and Doug Williams. OPPOSITE Storyboard art depicting Striker Eureka exiting the Shatterdome to challenge Knifehead by Stephen Erik Schirle. ABOVE Final frame of a Jaeger factory.

MONS T ERS IN T HE MIS T

Augie Chun

Beacham’s career took off when he wrote the remake of Clash of the Titans for Legendary Pictures and Warner Bros. Pictures. Three years after his walk on the foggy beach, with Clash a hit, Beacham told his agent, “I’ve got this thing about giant robots and giant monsters.” He quickly turned his long-simmering idea into an eighteen-page illustrated treatment. It told of a near-future world fighting an alien invasion that came not from space but from a space-time rupture beneath the Pacific Ocean called “the Interstice” in the treatment, later to be renamed “the Breach.” Giant monsters, or “Kaiju,” had emerged from the Interstice to lay waste to entire cities and kill millions. To fight the Kaiju, the world united to build giant robots, dubbed “Jaegers,” each controlled by two pilots linked together by a neural connection. More than a decade into the war, the Kaiju are slowly winning. The world is on the edge of apocalypse. The story follows the pilots of Jaeger Gipsy Danger: Raleigh Antrobus (he would later be renamed Raleigh Becket) and his gunner, a beautiful and surprisingly tough young Japanese woman named Mako Mori. Both Raleigh and Mako are wary, haunted by the memories of people close to them killed in Kaiju attacks, but they must learn to trust each other to pilot their Jaeger. As the secrets of the Kaiju invasion are discovered, the fate of the Earth comes to rest on this mismatched pair. Beacham and his agent offered Legendary a sneak peek at the treatment. Legendary bought it on the spot. “If you look at the movies we have worked on, either as part of our slate or in partnership with Warner Bros.,” says Legendary founder and CEO Thomas Tull, “we like things that are commercial but elevated, have a big idea, and kind of have a geeky feel. From Batman and Superman, to 300, Watchmen, and Inception, ultimately we participate in or make stuff that we actually want to see. So, giant monsters versus giant robots? Yeah, that pretty much hits the bar of something we want to see, if it’s done right. And in this case, we believe it's done really, really well.” Legendary’s President and Chief Creative Officer Jon Jashni was excited to find something that could “move the needle” in pop culture. “This felt like it was at the vanguard,” says Jashni. “This film was going

to cast an eye on manga culture, Japanese pop culture, Gundam culture, but in a way that didn’t feel too small or too indie.” Producer Mary Parent saw an opportunity to tell a story that would appeal to a much wider audience. “The scope and visuals were breathtaking on a level we hadn’t seen before,” she says, “yet at the center was a very intimate character story about the notion of community and an unlikely band of characters who come together to face unimaginable obstacles.” Not coincidentally, Legendary was beginning to develop movies separately from its longtime studio partner, Warner Bros. Says Pacific Rim Co-Producer Jillian Zaks, “For us it was sort of a declaration of our brand and everything we were looking for, so it was pretty exciting.” Legendary had long been wanting del Toro to make a film for the studio, and when he announced he was withdrawing from The Hobbit, Tull and Jashni moved decisively, sending him Beacham’s Pacific Rim treatment. When del Toro was a boy in Guadalajara, Japanese culture was the rage among his peers. He’d grown up steeped in anime, manga, and kaiju movies like Godzilla and Mothra, and he’d loved all of it. “When I was about eight years old,” he told fans at Comic-Con, “I took a bus to the other side of town to see The War of the Gargantuas. When I arrived there, it was one of those things we call in Mexico a ‘brick cinema,’ because they give you a brick to smash the rats that run through the theater. I sat down; I started watching the movie. Somebody threw a glass of pee on my head from the balcony—and this is how much I loved Kaiju: I stayed and finished the movie.” For someone who loves monsters that much, Pacific Rim was a perfect fit. Ideas tumbled out: What if the pilots didn’t get along outside the Jaegers, but had to get along inside? What if a Kaiju was pregnant? What if there was a baby Kaiju? The more he pitched, the more he fell in love with the story. But del Toro was committed to At the Mountains of Madness at the time, so for several months, he oversaw development of Pacific Rim as producer without committing to direct it. Under Legendary and del Toro’s supervision, Beacham wrote a full first draft of the script. Del Toro read that first draft, and then began working on the screenplay himself. With a handpicked team of artists, he began visual

OPPOSITE Pan Pacific

Defense Corps anti-Kaiju propaganda poster by Francisco Ruiz Velasco. LEFT Legendary Pictures

CEO Thomas Tull, Charlie Hunnam (Raleigh Becket), and Legendary Chief Creative Officer Jon Jashni on the Alaskan Wall set. ABOVE Director Guillermo del Toro and screenwriter Travis Beacham at New York Comic-Con 2012.

Pacific Rim © Warner Bros Entertainment Inc. & Legendary Pictures Productions LLC.

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2017 BRONZE

Pubwest Awards

GUILLERMO DEL TORO: AT HOME WITH MONSTERS Inside His Films, Notebooks, and Collections BY BRITT SALVESEN, PAUL KOUDOUNARIS, JIM SHEDDEN, KEITH MCDONALD, AND ROGER CLARK FOREWORD BY KAYWIN FELDMAN, MICHAEL GOVAN, AND STEPHAN JOST ILLUSTRATIONS BY GUY DAVIS

$29.99 Hardcover 8 x 10 152 pages ISBN: 978-1-60887-860-4

GUILLERMO DEL TORO: CABINET OF CURIOSITIES My Notebooks, Collections, and Other Obsessions BY GUILLERMO DEL TORO AND MARC SCOTT ZICREE

$60.00 Hardcover 9.25 x 12 264 pages North American rights sold.

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2016 SILVER

Independent Publisher Book Awards

CRIMSON PEAK The Art of Darkness BY MARK SALISBURY FOREWORD BY GUILLERMO DEL TORO

$50.00 Hardcover 9.25 x 11 160 pages + 10 inserts

THE ART OF THE STRAIN BY ROBERT ABELE FOREWORD BY GUILLERMO DEL TORO

$45.00 Hardcover 11 x 10 156 pages ISBN: 978-1-60887-475-0

ISBN: 978-1-60887-568-9

SETRAKIAN’S CANE

MIRIAM SETRAKIAN

One particular scene in the first episode of The Strain deftly communicates the eerie, melancholy history of Abraham Setrakian. Talking affectionately to his deceased wife’s heart that he keeps in an airtight jar of cloudy liquid, Setrakian cuts his finger and lets the blood drip into the receptacle, the undead heart spasming with what appears to be delight. In creating concept art depicting the heart, Guy Davis initially treated the organ like a wasp nest. “[I made it] brittle and dry, even though it was still fleshy,” he says. “If you look at a wasp nest after part of it’s been broken off, there’s that papery layered feel that would look really grotesque for a human organ. Guillermo liked that, so we worked that up as an illustration.” The jar, meanwhile, needed an antique look, and props master Jim Murray began to feel that a store-bought jar wouldn’t do: “It had to look old, have history, but also be large enough for visual effects elements.” The early assumption, based on the concept art, was that the jar would have to be made from scratch by a glass blower. However, on a tour of home decor stores, two possible jars were found. While customers browsed, Murray tested out the jars using a stand-in heart provided by the prosthetics team. “That was quite entertaining,” he recalls. “It was hard to explain sometimes what we were doing.” Del Toro picked the jar he wanted, the lip was modified to hold a new lid and locking mechanism, and then the whole piece was aged to look hundreds of years old. The jar also satisfied the effects team, who needed a certain amount of space to add a digital, animated heart, layer in the digital blood, and include the vile bloodworms reaching up to feed as they detect Setrakian’s offering.

Possibly the most memorable prop in the entire series, Abraham Setrakian’s cane-sword, once owned by Jusef Sardu, aka The Master, is a metaphor for Setrakian himself: sturdy, purposeful, and hiding a sharp fierceness that ties him forever to the one he’s vowed to kill. Plus, the elegant, twisting wolf’s head handle neatly symbolizes the hunter inside Setrakian. The prop master on season one, Jim Murray, knew that getting the cane right was essential for the series. “You identified Setrakian with that piece,” says Murray. “When you’re working on a show based on books and that has a fan following, you have to be true to what fans expect.” Working from a sculpted plastic version built early on by Simon Lee in Los Angeles, Murray was instructed by del Toro to give the final object real visual heft and so enlisted a cane builder to construct a heavy-weighted, bronze-bladed piece of real beauty. Three of these “hero” props were then built to be used primarily for close-ups that emphasized both the craftsmanship involved and the drama of Setrakian unsheathing his sword at a pivotal moment. These pieces were too heavy to be used for actual fight scenes, so a few stunt versions housing aluminum swords were built as well. For shots that didn’t require any fighting, canes without swords were also constructed. “It’s a beautiful, beautiful prop,” says Bradley, adding, “I don’t think I’ll be allowed to take it home with me!”

OPPOSITE L EF T A ND RIGHT Abraham Setrakian (David Bradley) with his signature cane. OPPOSITE CENTER Concept sculpt of Setrakian’s cane by Simon Lee. A BOVE Strigoi heart in jar concept art by Guy Davis. RIGHT The heart prop on set.

Early concept art for Sardu/The Master reflects this, depicting a hulking man of breadth made even more imposing by heavy hunting robes. Much of the art also shows a mouth that massively dislocates to reveal a fully pronounced stinger. Says del Toro, “The Master and the older vampires develop an enhanced mouth, so they have these curves at the end that allow their mouths to disengage wider and propel the stinger faster.” The pilot originally called for more prominent visuals of The Master, specifically shots of him using his stinger in an attack, so creature shop artists Sean Sansom and Steve Newburn made a full animatronic upper torso of the character with a mechanical stinger. With heavy daily input from del Toro, the pair worked from small prototype concept statues built by Simon Lee during the concept art process, as well as a larger makeup sculpture created by Mario Torres. “You could see the jaw dislocating and the mouth opening two or three times wider than it should,” says Sean Sansom of the puppet. TOP L EF T Animatronic version of The Master. L EF T Conceptual sculpt of The Master by Simon Lee. TOP RIGHT Sculpture artist Mario Torres Jr. putting the finishing

touches on the animatronic Master.

“Guillermo also wanted the eyes to bug out when they were feeding, then roll back.” When the decision was made to not show The Master’s face at all in the pilot in favor of a few fleeting glimpses of a cloaked, darting figure, the head/torso puppet was scrapped, never to be used again. The thinking was that using such a mechanism would require too much post-production work and expense. Nevertheless, prosthetics for actor Robert Maillet, the 6'11" French-Canadian wrestler-turned-actor cast as The Master, still had to be made for his eventual reveal. The creature team first made a lifecast of Maillet, after which the prosthetics were broken up into eleven separate appliances, including the back of the head, top of the head, forehead, face, teeth, hands, bulbous wattles, and the pointed ears—all of which had to be blended to look seamless. As for the ears, del Toro wanted them translucent, so they were made from a different material that allowed light to show through the skin. The wattles were meticulously painted and glued on to the neck. The eyes were intended to suggest an eclipsed sun, an idea del Toro thought “would be kind of cute and horrible at the same time.”

As for The Master’s hands, which have been likened to sausage fingers, Steve Newburn says that with the exception of the extended middle finger, the prosthetic is only an eighth of an inch thick. In other words, Maillet’s hands really are that big. “When Robert’s stunt double came in for the season finale, the makeup fit him fine, but when I put the gloves on him, they were so baggy he could stick both hands into one of Robert’s gloves,” says Newburn. “And this was a big guy, too! Ultimately I put heavy wool gloves on the stunt guy, then stuffed his hands in there, and you still could have fit my hand in there too.” TOP RIGHT Guillermo del Toro checking how light hits The Master

(Robert Maillet) in full makeup. A BOVE Applying The Master prosthetics on to Maillet. L EF T Maillet wearing the fully applied prosthetics for The Master. RIGHT Sculpt of The Master’s left hand with its extended finger.

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2017 SILVER

Pubwest Awards

HIDDEN UNIVERSE TRAVEL GUIDES: THE COMPLETE MARVEL COSMOS With Notes by the Guardians of the Galaxy BY MARC SUMERAK

$19.99 Paperback 6x9 160 pages ISBN: 978-1-60887-854-3

HIDDEN UNIVERSE TRAVEL GUIDES: STAR TREK: Vulcan

HIDDEN UNIVERSE TRAVEL GUIDES: STAR TREK The Klingon Empire

BY DAYTON WARD ILLUSTRATIONS BY LIVIO RAMONDELLI AND PETER MARKOWSKI

$19.99 Paperback 6x9 160 pages

ISBN: 978-1-60887-520-7

ISBN: 978-1-60887-519-1 THE CENTRAL PLAINS

OPENER IMAGE

MAP OF THE CENTRAL PLAINS . . . . . . . . . . 56 GETTING AROUND . . . . . . . . . . . . . . . . . . . . 59

SIGHTS AND ACTIVITIES . . . . . . . . . . . . . . . 61 nIt lulIjbe’lu’bogh . . . . . . . . . . . . . . . . 61 Fire Springs . . . . . . . . . . . . . . . . . . . . 62 qeylIS loS . . . . . . . . . . . . . . . . . . . . . . 62 Na’boq’nI Hiking Trails . . . . . . . . . . . . 64 baS Qap . . . . . . . . . . . . . . . . . . . . . . . 65 Siege of Jat’yln Pass Historical Site . . 65

SHOPPING AND ENTERTAINMENT . . . . . . . 66 Vikak Bog Racing . . . . . . . . . . . . . . . . 67 Ma’deQ Clothiers . . . . . . . . . . . . . . . 67

DINING AND NIGHTLIFE . . . . . . . . . . . . . . . 68 Soj bo’Dlj . . . . . . . . . . . . . . . . . . . . . . 68 Ha’DlbaH . . . . . . . . . . . . . . . . . . . . . . 69 The Tipsy Targ . . . . . . . . . . . . . . . . . . 69

LODGING . . . . . . . . . . . . . . . . . . . . . . . . . . . 71 ylQong Inn . . . . . . . . . . . . . . . . . . . . . 71

SIDE TRIP: KHITOMER . . . . . . . . . . . . . . . . . 72 GETTING AROUND . . . . . . . . . . . . . . . . . . . 74 SIGHTS AND ACTIVITIES . . . . . . . . . . . . . . . 74 Atrium of Reflection . . . . . . . . . . . . . . 75 The Chamber of Voices . . . . . . . . . . . 75 Khitomer Peace Park . . . . . . . . . . . . . 76 SHOPPING AND ENTERTAINMENT . . . . . . . 77 DINING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77 Raktajino Café . . . . . . . . . . . . . . . . . . 77

WELCOME TO QO’NOS

D I D YO U K N OW ? SAYING “HELLO” AND “GOOD‑BYE” ON QO’NOS It’s true that tlhIngan Hol, just one of many varieties of spoken language that fall under the label “Klingonese,” is difficult to learn, and offworlders can spend years becoming proficient. Mastery is a matter of some debate, particularly when considering the hundreds of dialect variations that have been recorded over the course of Klingon history. While most outsiders tend to rely on universal translators to cover the language gap, Klingons will usually appreciate sincere efforts to communicate using their native tongue. Travelers can often make do with a few key terms and phrases and a little practice. While Klingon hotel staff can be brusque when it comes to most interactions with outsiders, it’s fair to say their demeanor is warm and welcoming compared to that of the majority of Klingons you might encounter. For example, offering thanks to a shopkeeper for goods and services is liable to get you a dismissive shrug. Even simple greetings are often met with similar ambivalence. To put this in context, the tlhIngan Hol word for “hello” is nuqneH, which roughly means, “What do you want?” For offworlders, direct or even blunt interactions are always your best bet. On the other hand, Klingons can be quite energetic when exchanging greetings with one another. For males in particular, it’s not unusual to see them hitting each other on the arms or even exchanging hearty embraces. If they’ve been drinking, don’t be surprised to see a headbutt or two. This isn’t any sort of formally recognized greeting, of course, but it’s still quite the sight when two lumbering, inebriated warriors address one another in this fashion. Unless your skull is a strong as a Klingon’s, we advise against engaging in such salutations.

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2016 BRONZE ForeWord Reviews

STAR TREK: COSTUMES Five Decades of Fashion from the Final Frontier BY PAULA M. BLOCK AND TERRY J. ERDMANN INTRODUCTION BY ROBERT BLACKMAN

STAR TREK: REDSHIRT’S LITTLE BOOK OF DOOM BY ROBB PEARLMAN ILLUSTRATIONS BY ANNA-MARIA JUNG

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2006 Benjamin Franklin Awards

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ForeWord Magazine

SCULPTING A GALAXY Inside the Star Wars Model Shop BY LORNE PETERSON | PREFACE BY GEORGE LUCAS FOREWORD BY RICK MCCALLUM AFTERWORD BY PHIL TIPPETT

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DRESSING A GALAXY The Costumes of Star Wars BY TRISHA BIGGAR

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The Tales of Beedle the Bard

Because Hermione Granger inherits Dumbledore’s copy of The Tales of Beedle the Bard, she later understands the importance of “The Tale of the Three Brothers,” which tells the story of three wizard siblings who try to outsmart Death and end up receiving the Deathly Hallows—the Elder Wand, the Resurrection Stone, and the Cloak of Invisibility. Miraphora Mina and Eduardo Lima wanted to make the film’s prop version of The Tales of Beedle the Bard extra special, so they embellished each tale with laser-cut illustrations that looked like delicate lace. The prop was so stunning that when J.K. Rowling saw it she asked to take the book home with her.

To create the menagerie of books seen in the films, the graphics department consulted with bookbinders to come up with ever more magical tomes. They made covers out of metal, silk, and gold leaf.

Flourish and Blotts

Prop makers created a gravity-defying effect for the textbooks available at Flourish and Blotts bookshop in Diagon Alley in Harry Potter and the Chamber of Secrets, using a curved metal bar that went through a hole drilled into the middle of the books.

Flying Off the Shelves For the books to leap up to the library shelves at Hogwarts in Harry Potter and the Half-Blood Prince, set decorator Stephenie McMillan and her team made the book props out of lightweight material. Crew members wearing green gloves reached through the stacks to grasp the books, creating the illusion of flight once the green gloves were removed in post-production.

Many of the books sitting on the shelves in Professor Dumbledore’s office were actually phone books bound with fake covers.

The Sorting Hat

For generations, the Sorting Hat has placed first-year witches and wizards into one of the four Hogwarts houses: Gryffindor, Slytherin, Ravenclaw, and Hufflepuff. Though only one Sorting Ceremony is seen on-screen, the Sorting Hat appears throughout the Harry Potter films, such as in Professor Dumbledore’s office in Harry Potter and the Chamber of Secrets and during the Battle of Hogwarts in Harry Potter and the Deathly Hallows – Part 2.

The Sword of Gryffindor

A thousand-year-old artifact owned by Godric Gryffindor, the founder of Gryffindor house, this sword is goblin-made and enchanted with several magical qualities: it can be pulled from the Sorting Hat by a true Gryffindor in need, and the sword’s special silver has the ability to take in substances that make it stronger. After Harry uses it to destroy the Basilisk in Harry Potter and the Chamber of Secrets, the sword absorbs the Basilisk’s venom, which makes it a useful tool for destroying Horcruxes.

The Real Hat The Sorting Hat prop was designed by costume designer Judianna Makovsky for Harry Potter and the Sorcerer’s Stone. Over the course of the films, seven versions of the hat were created. Each hat was made out of suede and lined with horsehair canvas, dyed for color, and printed very faintly with Celtic symbols.

Make It Talk! Though Judianna Makovsky and her team made the Sorting Hat prop, it took another process entirely to make it speak! A computer-generated replica was used to sort the first years into their houses.

Crafting the Blade The prop-making team purchased a sword at an auction for reference and researched medieval swords for inspiration. The final prop is set with ruby-colored gems, which symbolize Gryffindor house, and is inscribed with Godric Gryffindor’s name on the blade. There is also a small picture engraved on the handle of a wizard holding a scroll—perhaps intended to be Godric Gryffindor himself.

Copyright © 2018 Warner Bros Entertainment Inc. HARRY POTTER and FANTASTIC BEASTS AND WHERE TO FIND THEM characters, names and related indicia are © & ™ Warner Bros. Entertainment Inc. WB SHIELD: TM & © WBEI. J.K. ROWLING’S WIZARDING WORLD ™ J.K. Rowling and Warner Bros. Entertainment Inc. Publishing Rights © JKR. (s18)

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In this scene, Harry finds an unexpected visitor in his room. HARRY: Not to be rude or anything, but this isn’t a great time for

me to have a house-elf in my bedroom. DOBBY: Oh yes, sir. Dobby understands. It’s just that Dobby

has come to tell you . . . It is difficult, sir. . . . Dobby wonders where to begin.

In this scene, Harry is attacked by a Bludger that has been enchanted to chase him. A Bludger flies out of nowhere, right at Harry’s face. He ducks to avoid it, and it just barely misses him. OLIVER: Watch yourself, Harry! The Bludger makes a sharp turn and heads right back for Harry. But Oliver is in the way. . . . HARRY: Wood, look out!

HARRY: Why don’t you sit down?

In this scene, Newt Scamander tries to get ahold of a Niffler that has escaped from his case in search of treasure. NEWT: For the last time, you pilfering pest—paws off what

doesn’t belong to you! Newt shuts his case, then looks around at Jacob. NEWT: I’m awfully sorry about all that—

In this scene, Ron Weasley nervously waits for the Gryffindor Quidditch team tryouts to begin, facing off against Cormac McLaggen. A crowd of Gryffindor students is milling about on the pitch as they wait for tryouts to begin. Ron stands nervously at the front of the crowd, dressed in a Keeper’s gear. HARRY (addressing the crowd): All right, now then, remember, just because you made the team last year does not guarantee you a spot this year. Is that clear? The students all nod in understanding. HARRY: Good.

Copyright © 2017 Warner Bros Entertainment Inc. HARRY POTTER and FANTASTIC BEASTS AND WHERE TO FIND THEM characters, names and related indicia are © & ™ Warner Bros. Entertainment Inc. WB SHIELD: TM & © WBEI. J.K. ROWLING’S WIZARDING WORLD ™ J.K. Rowling and Warner Bros. Entertainment Inc. Publishing Rights © JKR. (s17)

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HARRY POTTER: THE WAND COLLECTION

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RON WEASLEY

Harry Potter’s best mate and fellow Gryffindor Ron Weasley breaks his wand in Harry Potter and the Chamber of Secrets. The simple, baton-style wand snaps in a confrontation with the Whomping Willow on the Hogwarts grounds. Although Ron attempts to repair his wand with Spellotape, its reliability thereafter is questionable. When Draco Malfoy calls Hermione Granger a Mudblood, Ron comes to her defense by casting an Eat Slugs Spell on Malfoy. The broken wand backfires, however, leaving Ron belching up the slimy creatures himself. Actor Rupert Grint says choking up the slugs was actually his favorite scene to shoot in the film. “The slugs tasted quite nice! Chocolate, peppermint, lemon, orange . . . There were all these different flavors.” Ron remedies his wand problem by Harry Potter and the Prisoner of Azkaban when his parents buy him a new one. Ron’s second wand bears a resemblance to Harry’s with its rustic, woody design.

30 . Hogwarts Students

LORD VOLDEMORT

Tom Riddle, a half-blood wizard and member of Slytherin house at Hogwarts, became obsessed with the Dark Arts and a desire to achieve immortality while still a youth. He eventually abandoned his Muggle-born identity and took on the name Lord Voldemort. He is considered by many to be the most dangerous and powerful wizard in the wizarding world. In Harry Potter and the Order of the Phoenix, choreographer Paul Harris developed specific wand movements for the powerful exchanges between Voldemort and Dumbledore during their battle in the Ministry. Their first move in the duel is what Harris calls the “Rope of Fire.” “I used this action, which is a dance movement called a rope spin. It’s normally done with a girl,” Harris laughs, “but in this case, it’s a wand with some fire coming out of the end of it.” Voldemort’s wand is perhaps the most menacing created for the films. It appears to be carved from a single, perhaps human, bone with a honeycombed midsection and a polished tip. The crook of a knuckle joint offers Voldemort the perfect place to hook his finger as he so delicately balances the wand above his head. “It’s quite an evil shape,” says concept artist Adam Brockbank.

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Since Harry Potter and the Sorcerer’s Stone first introduced cinemagoers to the boy wizard with a lightning bolt– shaped scar, the Harry Potter film franchise has become one of the most beloved and successful in the world. This book presents a visual chronicle of the work by the artists and filmmakers of all eight Harry Potter films who made the magic real. Hundreds upon hundreds of stunning works of art, from production paintings and concept art to sketches and graphics, give fans unbridled access to the creative process that brought the wizarding world to life on the screen. With rare and never-before-published images of Hogwarts Castle and other wizarding locations, beloved witches and wizards, and mesmerizing graphic designs that include books from Hogwarts Library’s Restricted Section, this book takes readers on a rich visual journey through the wizarding world and pays homage to how one author’s fantasy became the project of many individuals’ lifetimes. The Art of Harry Potter is the definitive guide to the art behind this magical film franchise, destined to be cherished by fans for decades to come.

S UMERA K ALTERNATES

THE ART OF HARRY POTTER BY MARC SUMERAK

HARRY POTTER: A CINEMATIC GALLERY 80 Original Images to Color and Inspire

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Beauxbaton girls Underwater Black Lake

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The Character Vault

rom Harry, Ron, and Hermione to Dumbledore, Hagrid, and Lord Voldemort’s followers, the Death Eaters, the Harry Potter film series is marked by an extraordinary cast of characters both charming and fearsome. Harry Potter: The Character Vault provides an enthralling look at the creative development that helped bring the characters of the wizarding world to life on-screen, from the elaborate costumes and makeup to the special effects and essential props. Detailed profiles of each character include behind-thescenes insights from the actors, never-before-seen concept art, unit photography, and other filmmaking secrets from the Warner Bros. archive. Featuring two removable posters profiling members of both the Order of the Phoenix and the Dark Forces, as well as an interactive booklet of Death Eater masks, Harry Potter: The Character Vault is a must-have guide to how the witches and wizards at the heart of the beloved film series were brought to life.

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DANIEL RADCLIFFE as

“C hildren’s

book

characters

don’t

grow up in real time, normally,” J. K. Rowling’s ﬁrst editor, Barry Cunningham

of Bloomsbury, said in a documentary about the author. “To have a character developing in real time, as his age developed, was a really interesting idea.” It is similarly rare and special to watch a young ﬁlm actor grow and develop over several years of playing the same role, but that is just what Daniel Radcliffe has done in his decade of playing Harry Potter. Dan won the part of “The Boy Who Lived” at the tail end of a casting search to rival that of Scarlett O’Hara. The enormous popularity of the books meant that when the ﬁlm version of Harry Potter and the Sorcerer’s Stone was announced, the world was dying to know what little boy would step into the title role. Dan says he “wasn’t aware” of most of the hoopla. But, before he knew it, he, Emma Watson, and Rupert Grint were posing for photographs and being quizzed by reporters. Dan remembers one reporter asking him Voldemort’s real name, which he didn’t remember.

“And Emma and Rupert,” he says, “to both sides of me, were trying to write down the name and slide it across!” Dan, Rupert, and Emma have become close over their years playing the young wizards. “I get to spend every day with some of my best, best friends,” Dan says—speaking not only of Rupert and Emma, but of the extended cast and crew. “I love the camaraderie of a film set.” Dan has grown tremendously as an actor over the years, and recognizes how much he has benefited from working with an extraordinarily gifted group of actors—especially Gary Oldman. “I think the two best performances that I’ve given in these films so

16 Sketches for the costumes that Dan wore in Goblet of Fire.

A Harry Potter timeline—Dan has grown up with his character.

2001

2002

2004

Cyan Magenta Yellow Black Page:16

HARRY POTTER far are three and five,” he says reflectively, “and I think that is in part to do with the fact that I had Gary Oldman around.” Dan also praises the four directors he’s worked with on the series, noting that they all have unique strengths and styles. He reserves particular praise for the director who started it all, Chris Columbus: “He managed to get us smiling and energized and happy and up for filming every single day over those eight months. And he did the same thing on the second film.” Chris is complimentary of Dan as well. “Dan, at his core, is a really good person,” he has said, “and I felt that that’s what Harry was.” When ten-year-old Dan was asked whether he was anything like Harry, he said: “I think I’m a tiny bit like Harry. I’d like to have an owl.” The answer was completely charming and completely ingenuous. The young Radcliffe was reminiscent of the young Potter—humbly oblivious to fame and thrilled by something as novel as a pet owl. Throughout his extraordinary experience filming the series, Dan seems to have kept that humility—and developed a sense of humor about his relationship as an actor to the role of Harry. When Australian TV host Rove McManus asked him if it would be strange to continue his acting career without the famous round glasses, Dan replied, “I’m just going to have it written in my contract that any character I play has to have glasses—or at the very least a monocle.”

2007

2009

2010

Harry (Daniel Radcliffe) and Ginny (Bonnie Wright) share a moment in Half-Blood Prince.

2005

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“H agrid is not a father sub-

Robbie Coltrane as

stitute,” says Robbie Coltrane of his role in the Harry Potter

harry potter an d t h e

films, explaining with a chuckle, “Hagrid’s not quite smart enough to be that! He’s just a kind, decent ‘uncle’ who has Harry’s best interests at heart.” Reflecting on casting Robbie in the part, producer David Heyman says, “Hagrid is a larger-than-life character, and we wanted somebody to play him who we knew could be tough and strong but, at the same time, warm, vulnerable, and very funny. And Robbie Coltrane had all those qualities.” Although Robbie can certainly be considered “larger-than-life” himself, Hagrid is, literally, part giant. So, the filmmakers had to employ various techniques to make Hagrid tower above those around him. For example, in long shots, a Hagrid double has stood in for Robbie—a task frequently undertaken by six-foot-ten-inch former British rugby player Martin Bayfield—wearing a huge body suit and an animatronic prosthetic mask based on Robbie Coltrane’s face.

RUBEUS HAGRID

(far left) Hagrid’s boots next to Dobby’s red shoes from Deathly Hallows. (left) Two of Hagrid’s books: Dragon-Breeding for Pleasure and Proﬁt and The Monster Book of Monsters.

(right) Martin Bayﬁeld as the large-scale Hagrid with Robbie Coltrane.

H A L F -B L OOD P R INC E

A (top) Ron (Rupert Grint), Hermione (Emma Watson) and Harry (Daniel Radcliffe) in the large-scale version of Hagrid’s hut with giant-sized furniture. (above) Robbie Coltrane in the Hagrid-scale hut where the furniture is normal-sized in relation to the actor. Such scenes—especially ones where other characters had to interact with Hagrid—were complex to ﬁlm.

“David’s got a genuine enthusiasm about him, which is really great,” said Daniel Radcliffe. “He still has the same energy, the same vibrancy, and he’s just a joy to work with. Working with David on the fifth film was just

aving two different scale Hagrids

the best experience I’ve had.” Yates also recognized that this was an opportunity that doesn’t come around that often in Hollywood. “I was making a big, big movie with an incredible group of people,” the director says. “And I could do practically anything that came into my head. I think, whenever you make a big movie, you want to do it better the next time.” Harry Potter and the Half-Blood Prince afforded him that opportunity.

required the creation of regular- and large-scale versions of Hagrid’s hut and

everything inside—furniture, bottles, plates, mugs, spoons, and forks had to be duplicated in two sizes. As ﬁlming in Hagrid’s hut has progressed over the years, it has become something of a routine: the set decorators buy whatever is needed, and then the prop-makers create an enlarged copy of each item for the shots featuring the large-scale Hagrid. A London umbrella maker was even specially commissioned to make Hagrid’s pink “umbrellawand” in two sizes. The special effects department’s ingenuity was tested with the scenes featuring Hagrid’s motorbike. Robbie’s “giant” scale double sits astride the seemingly diminutive real bike, but an accurate smaller-scale copy had to be built for Robbie to make it look as if the bike is too small for him. The illusion is seamless, and the audience never detects when one Hagrid becomes another. Similar difﬁculties existed with Hagrid’s costumes, which also had to be made in two sizes. “Whatever fabrics you choose,” explains costume designer Jany Temime, “you have to be able to blow up the pattern to a larger size. And you must make bigger buttons and create bigger stitches. It’s a nightmare! But we all love Hagrid—he is big and cuddly.” “Children like [Hagrid] because he’s big and strong and kind and that’s what children want,” Robbie explains. “They want somebody who could protect them and somebody who’s nice to them—and a lot of children don’t have a person like that in their lives, which is very sad.”

s lives and loves would change during the course of harry potter and the half-blood prince , much would stay the same. yes, there would be death, destiny, and the occasional first kiss, but there would also be continuity. not least in the form of director david yates, who had been asked to stay on for the next film.

“I liked the fact that I have a certain amount of freedom,” Yates continues. “If I was ever challenged—and you do get challenged, by the studio, by the producers in particular—it was always from a very positive and respectful point of view. But I always believed they’d give me the elbow room to do what I wanted to do. So it felt like a really good place to be. “And, people wanted to watch the movies. That’s quite rare, because you never know if you’ll get the audience for every film you make. And what I love about Potter is that it has such a notable place in the cultural landscape. If I walk away from the monitor when we’re doing a scene, I know that some of the extras or the crew will gather

(top) The evening of Buckbeak’s execution as depicted by concept artist Adam Brockbank. (above) A storyboard by Jim Cornish for Order of the Phoenix. (below) A scene from Half-Blood Prince showing Professor Slughorn (Jim Broadbent), Hagrid (Robbie Coltrane), and Harry (Daniel Radcliffe) gathered around the recently departed Aragog.

around that monitor because they want to watch. It’s rare for that to happen on a film. There’s a magic about it that’s bigger than the director, bigger than the producer, bigger than the sum of what we all do. It’s Harry Potter.” It was indeed Harry Potter, but Harry Potter was changing. Voldemort’s rise was now inescapable, so much so that the movie opens with his followers, the Death Eaters, encroaching upon the Muggle world, with the destruction of London’s Millennium Bridge. This scene, from an almost throwaway line between the Prime Minister and Cornelius Fudge in the book, offered Yates and his teams an opportunity to create a sequence that was both sinister and exhilarating. As tensions continue to rise in the wizarding world, Harry learns more about Voldemort’s dark past and his own connection to the Dark Lord. This was an important evolution for both the boy wizard and the actor who had played him since his childhood. “For me, the films have always been about a loss of innocence,” states Daniel Radcliffe. “When Harry came into this world, it was all amazing and brilliant and pure. But as the films have gone on, that’s totally disintegrated, and he’s realizing that the wizarding world has just as many, if not more, challenges than the world he grew up in before.” OPPOSITE: Michael Gambon (Albus Dumbledore) stands on the Astronomy Tower set.

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Chamber of Secrets

Emma Watson as “THE CHAMBER OF SECRETS HAS BEEN OPENED.”

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ver the years she’s been with Harry

Potter, Emma has worked with several different directors and an ever-changing

cast of renowned British actors. Her character has gone from a brainy, “rather bossy” little girl to a confident young woman who experiences the pangs of adolescence in the midst of war. Emma speaks warmly of her character, emphasizing her loyalty. However, she’s just as quick to point out scenes in which she feels that Hermione is being stubborn, silly, or completely out of her depth. “It’s a minefield being a girl, it really is,” she said of the Yule Ball scene in Goblet of Fire, “a complete minefield.” Reflecting on the longevity of the series and her role in it, Emma says she hopes the Harry Potter films will live on and be discovered by new audiences. “I hope it will be a classic like The Railway Children,” she says, mentioning a personal favorite. “The books are so unique and wonderful. I hope the films have that [quality] as well.”

HERMIONE GRANGER hanks

Writing on a Hogwarts corridor wall, Harry Potter and the Chamber of Secrets

Cyan Magenta Yellow Black Page:35

Crooks

Harry Potter and the Chamber of Secrets features a giant serpent, the Basilisk, which has been living under Hogwarts castle for nearly a thousand years. In Harry Potter’s second year, the underground Chamber of Secrets is opened, and the beast that was once controlled by Salazar Slytherin prowls the pipes, searching for helpless victims. Taking his cue from the Basilisk’s history, Production Designer Stuart Craig knew that the Chamber existed in, he says, “Slytherin territory. Their place is in the dungeons of Hogwarts. So this secret part of the castle had to be in Slytherin space. It is a Slytherin temple.” Craig and crew took a trip into the sewers of London to study the architecture and engineering, bringing back inspiration for the Chamber’s design. Craig also made several trips to Scotland and created molds of the rock faces of the cliffs and hills. Then these molds were cut into blocks and constructed to resemble masonry walls. A portion of the “original” rock face was kept intact, into which a sculpture of the face of Salazar Slytherin was carved, its mouth opening into a tunnel from which the Basilisk appears. This huge piece was molded in polystyrene and then dressed by sculptor Andrew Holder to match the rock face.

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Harry Potter and the Chamber of Secrets show the size of the room and the scale of the molds used. LEFT: A sketch of the Basilisk by Stuart Craig.

M AGIC A L P L AC E S F ROM T H E F I L M S

HO G WA R T S C A S T L E

(above right) Hermione’s bedroom as seen in Deathly Hallows – Part 1.

Herm

years ione’s skirt . She on-sc reen and s (Emmhas gone look (occa a’s has siona descr from “itch chan iption lly) ged y lavis over ) to jump h dress jeans ers” the , hood and es. ies,

ng Ron.

OPPOSITE TOP: Designs for the Chamber of Secrets. TOP, ABOVE, AND OPPOSITE BOTTOM: Stills from

at the set for Hermione Granger’s bedroom in Deathly Hallows – Part 1,

Comforti

APPEARANCES: Harry Potter and the Chamber of Secrets, Harry Potter and the Deathly Hallows – Part 2

Watfe, Emma Radclif Having Daniel Grint stay son, h Rupert throug and roles has in their ﬁlms series all eightmake the say helped ble. “Peoplesee to believa nice h it’s reallyup throug ne, us grow as Hermiosays lms the ﬁ and Ron,” right) Harry, . (above Emma ne’s wand, Hermioand purse. books,

hen Emma Watson ﬁrst looked

she told Stephenie McMillan emphatically that there should be “more books.” Naturally, Stephenie took this suggestion to heart. After six Harry Potter ﬁlms, Emma understands Hermione and the importance she places on reading and learning. “I know this character inside out!” she laughs. “I’ve been playing her for so long now, I feel I intuitively know what she’d want.” Emma’s familiarity with her character is not surprising: when the series wraps, she will have been playing Hermione for more than half of her lifetime. On being cast at such a young age (nine), Emma says that she is often asked what it’s like to grow up on screen. “I’ve never grown up any other way,” she answers honestly, “so I don’t know.” When she won the role of Hermione Granger, Emma says she was too young to realize the magnitude of the situation. “We stayed in a fancy hotel for the press conference,” she recalled in an interview with MSN News UK. “I remember sitting on a massive bed jumping around watching myself on the TV evening news. It was mad.” She had never acted professionally before and found the experience both exciting and terrifying. Describing stepping onto the huge Great Hall set for the ﬁrst time, Emma says there was “no acting required” for her to look awestruck.

(right)

OCCUPANT: Basilisk FILMING LOCATION: Leavesden Studios

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c re at u re s

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HARRY POTTERTM: A POP-UP BOOK PAPER ENGINEERING BY BRUCE FOSTER ART BY ANDREW WILLIAMSON TEXT BY LUCY KEE

$34.95 Hardcover 8.5 x 11 12 pages ISBN: 978-1-60887-008-0

Copyright © 2010 Warner Bros Entertainment Inc. HARRY POTTER characters, names and related indicia are © & ™ Warner Bros. Entertainment Inc. WB SHIELD: TM & © WBEI. J.K. ROWLING’S WIZARDING WORLD ™ J.K. Rowling and Warner Bros. Entertainment Inc. Publishing Rights © JKR. (s10)

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s, exclusive offers,

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Ron: “Happy Christmas, Harry.” Harry: “Happy Christmas, Ron.” —Harry Potter and the Sorcerer’s Stone

HARRY POTTERTM: A STICKER COLLECTION $12.99 Paperback 8.5 x 11 80 pages (27 sticker pages) ISBN: 978-1-60887-039-4

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HARRY POTTER

“Blimey! Harry’s got himself a rogue Bludger! That’s been tampered with, that has!” —Rubeus Hagrid, Harry Potter and the Chamber of Secrets

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The icons/graphics shown on this page are only approved when used with the logo, character art, or other highly-recognizable indicia from the property.

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Monster Book of Monsters

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The icons/graphics shown on this page are only approved when used with the logo, character art, or other highly-recognizable indicia from the property.

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“Master has given Dobby a sock! Master has presented Dobby with clothes! Dobby is free.” —Dobby, Harry Potter and the Chamber of Secrets

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THE TEENAGE MUTANT NINJA TURTLES PIZZA COOKBOOK BY PEGGY PAUL CASELLA PHOTOGRAPHY BY ALBERT YEE

$24.99 Hardcover 8 x 10 128 pages 65 recipes ISBN: 978-1-60887-831-4

TEENAGE MUTANT NINJA TURTLES The Ultimate Visual History

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BY ANDREW FARAGO FOREWORD BY PETER LAIRD

$50.00 Hardcover 9.25 x 11 192 pages + 23 inserts

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Teenage Mutant Ninja Turtles

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THE WALKING DEAD: THE POP-UP BOOK

BY LAUREN WILSON PHOTOGRAPHY BY YUNHEE KIM

TEXT BY S. D. PERRY PAPER ENGINEERING BY BECCA ZERKIN AND DAVID HAWCOCK ILLUSTRATIONS BY SALLY ELIZABETH JACKSON

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BY WILLOW ROSENBERG AND A. M. ROBINSON

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ISBN: 978-1-60887-722-5 -Cold River Institute— founded by eugenicists in early 20th century. Now owned by Dyad. Continuing their work? -Building torn down. Records stored nearby.

Send

To...

Ferdinand

From...

Daniel Albright

Subject:

Re: surgery

Sorry to have taken so long to get back to you, old chap, but I’ve been on a bit of R&R. And not the fun kind, I’m afraid. You see, I was in a bit of a dust-up recently. A lorry crashed into my Aston Martin and I’m afraid the lorry got the better end of it. I’m fine, mind you, but there was considerable damage to the ulnar nerve and wrist sheath in my right hand. I assume you can read between the lines, I’m afraid. While I’m still a doctor, and still tenured here at old Oxford, I’m afraid that my days as a surgeon are well behind me. A pity, really, as the surgery you propose sounds fascinating. I’d heard about these Neolutionist chappies, and I saw some of the early research on these—bots, did you call ‘em?—and was intrigued. But I never heard much about it afterward. Kept it all hush-hush, I suppose. Typical, really. It’s why I prefer to remain with academia. The politics are hell, of course, but at least everything’s out in the open. Still, the possibilities just boggle the mind. To be able to rewrite your own genetic code just by shoving a worm in your cheek. Great to live in the 21st century, eh? Who is this Sarah Manning woman when she’s at home, by the way? I understand why you’re helping her out—the resemblance to the lovely Ms. Duncan is quite significant. Speaking of, I’m afraid there’s not much joy there, either. I’d hoped that my old friend in Reykjavik might have some leads on where your Rachel wound up, but I’m afraid not. In any event, pip-pip, and good luck finding someone to remove that blighted object from poor Miss Manning’s cheek. Yours, etc. Daniel

-Neolution bots in cheek can cure many ills— cured Cho of her lupus— but life-threatening to remove.

-I managed it with Sarah, but was a close call, and we almost lost her.

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UNIQUE OPENING BY LOCAL ARTIST Felix Dawkins puts on a show in his loft with themed art exhibit By: Howard Frank The last time we saw Felix Dawkins was two years ago when his “Visions of Judgment” exhibit opened at the Mehu Gallery. He’s been in and out of the scene ever since, but he’s come back in a big way with his new exhibit, which is currently showing at Dawkins’s loft (aka Gallerie Rimbaud) on King Street. The opening Saturday night was an impressive piece of performance art to go with his impressive paintings. The exhibit, which Dawkins said is called Sestra, is a series of studies of different versions of Dawkins’s foster sister, Sarah Manning. One has her with short hair and an eye patch, one has her with dreads, and so on. The performance came from the subject herself. Manning did a series of quick changes, performing as each interpretation of herself from each of the paintings. Most impressively, she even destroyed one of the works—the one with the eye patch—which this reviewer found both impressive and appalling. Finally, Manning was herself, and Dawkins dedicated the paintings to her, her daughter, their foster mother, and Dawkins’s biological sister, an attorney from the States who apparently provided the hors d’oeuvres. Several members of the local scene attended, but the true VIP at the show was Ezra Lue, who flew in from Geneva just for this opening. All the paintings were purchased by evening’s end with four exceptions: the eye patch painting, which is unsellable, the one of Manning in her true form, and also the two deviations from the theme, to wit, the portrait of Manning’s daughter and foster mother. Dawkins explained later that those two were not for sale. Dawkins said he has since received tremendous interest in his work and plans to pursue his art further possibly in New York City and beyond.

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MISSION IMPOSSIBLE: GHOST PROTOCOL Shooting Diary BY DAVID JAMES FOREWORD BY TOM CRUISE

$24.99 Hardcover 9.25 x 7 208 pages ISBN: 978-1-60887-098-1

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RED RIDING HOOD From Script to Screen BY CATHERINE HARDWICKE SCREENPLAY BY DAVID LESLIE JOHNSON

$18.95 Paperback 6.2 x 9 192 pages ISBN: 978-1-60887-023-3

ISBN: 978-1-933784-64-9

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THE ART OF PAN BY CHRISTOPHER GROVE FOREWORD BY JOE WRIGHT INTRODUCTION BY GARRETT HEDLUND

FILM & TELEVISION

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HAIRSPRAY The Movie Musical

THE COMPLETE X-FILES Revised and Updated Edition

BY DIANA LANDAU PHOTOGRAPHS BY DAVID JAMES

BY CHRIS KNOWLES AND MATT HURWITZ FOREWORD BY CHRIS CARTER PREFACE BY J. J. ABRAMS INTRODUCTION BY FRANK SPOTNITZ

$45.00 Hardcover 9.25 x 11 160 pages

$45.00 Hardcover 11 x 10 160 pages

ISBN: 978-1-60887-668-6

ISBN: 978-1-933-784-38-0

$39.99 Hardcover 10 x 11 272 pages ISBN: 978-1-60887-845-1

ecord hop! Link sings an up-tempo Elvis-style number, “Ladies Choice,” and the dancers get going. Coming in, Tracy and Penny can’t help noticing that a long velvet rope splits the gym in two, with white kids on one side and black kids on the other. Tracy spots Seaweed and proposes they do the dance he taught her in detention. He reminds her they can’t do it together but tells her to “borrow” the dance—and she whirls off, working her way to the front of the pack, with Corny paying serious attention. … Penny sees what’s happening and dashes off to Tracy’s house. She drags Edna and Wilbur to the TV and makes them watch as Tracy dances to Corny’s reprise of “The Nicest Kids in Town.” “To think I almost stopped her reaching for the stars!” Edna marvels, as Corny presents Tracy as the newest Council member … and a contestant in the “Miss Teenage Hairspray” contest. This is the last straw for Velma and Amber. They’ve watched in horror as Tracy declares that if she were the first woman president, “I’d make every day Negro Day.” The show’s sponsor, Mr. Spritzer of Ultra-Clutch, is also livid, telling Velma “I want that chubby communist girl off the show!” As the hop ends, Corny and Velma are again locked in combat over the show’s future.

“The songwriters decided to give Link a cool, upbeat, Elvis-style number, and it’s the perfect time for it in the movie. ‘Ladies Choice’ establishes the connection between Tracy and Link. And it’s the kind of number you need in a sixties musical: the rock ‘n’ roll band at the record hop, with bright colors and backup singers.” — Zac Efron

S eaweed

Are yo u crazy? You gott a d ance wit’ y ou r crowd, and I go tta dance wi t’ mine.

“Ladies Choice” burn with the cash to … Hey, little girl, you won’t return selection I’m selling something through the whole Once you’ve browsed in my direction Shake your hips

Ni k ki B lo ns ky as Tracy Turnb lad

“I

always wanted to play Tracy Turnblad. I always wanted to be in Hairspray,” says 17-yearold Nikki Blonsky. And in a dream-come-true tale that’s already become Hollywood legend, that’s just what happened. Nikki, who had performed in school musicals and operas but never professionally, was scooping ice cream at Long Island’s Coldstone Creamery when she was invited to try out for her dream role. She braved a blizzard in Manhattan to meet Hairspray’s casting directors, and, after weeks of intense scrutiny by the filmmakers, came away with the prize. “We had to find a real teenager who could not only sing, dance, act and project strength and total vulnerability as well as indomitable warmth, but was also fat, not chubby, and pretty,” says Shankman. “And then Nikki waltzed in. It was magic.” He was determined to cast an unknown, and Ricki Lake, who was likewise plucked from nowhere to be the original Tracy in 1988, explains: “I think it’s really important for the audience to fall in love with Tracy and not know her from anywhere else.” When cast and filmmakers gathered for the first table read, Nikki’s powerful singing and stage presence blew everyone away—including her famous costars. John Travolta compared her to the young

Hairspray

Streisand. Says Adam Shankman, “Nikki has really surpassed my expectations and dreams. She learned so quickly, it’s scary. She’s out there dancing like a maniac with intensely talented professional dancers. Doing scene work with John Travolta, Michelle Pfeiffer, Chris Walken … and she’s making them up their game because she is the character. She’s a really special talent and a really special girl.” Nikki had the time of her life during the rigorous rehearsal and shooting process, while working harder than she ever imagined. She marvels that her director and coaches sought her creative input—“They would say, does this feel like something Tracy would do?”— and was happy to discover that her colleagues were “not just an amazing actor or producer or director or choreographer, they’re real, wonderful human beings. I feel so fortunate to have spent this time with them working on such an incredible project.” She’s also thrilled with the messages Tracy and Hairspray bring to audiences: that heart means way more than looks, that the fight against prejudice of every kind has to be carried on by each new generation. “I can’t tell you how proud I was to be holding that sign, ‘Integration Not Segregation’ … to be playing Tracy, who believes in the same things I do. This movie is coming out to help push those issues forward again.”

Part Two

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PRISON BREAK: BEHIND THE SCENES BY CHRISTIAN TROKEY AND KALINDRA VALZQUEZ

$24.95 Paperback 9 x 10 168 pages

FILM & TELEVISION

24: BEHIND THE SCENES BY JON CASSAR FOREWORD BY KIEFER SUTHERLAND

$29.95 Paperback 11 x 10 168 pages ISBN: 978-1-933784-07-6

ISBN: 978-1-93378-466-3

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FRINGE September’s Notebook BY TARA BENNETT AND PAUL TERRY FOREWORD BY J. H. WYMAN AND JEFF PINKNER

$50.00 Hardcover 9.25 x 11 192 pages + 10 inserts ISBN: 978-1-60887-130-8

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FILM & TELEVISION

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GAME OF THRONES™: A POP-UP GUIDE TO WESTEROS

Over 80,000 in print!

PAPER ENGINEERING BY MATTHEW REINHART ILLUSTRATIONS BY MICHAEL J. KOMARCK

2015 GOLD

Publishers West Design Awards

$65.00 Hardcover 9.25 x 11 5 spreads with 33 pops ISBN: 978-1-60887-314-2

2015 GOLD

Independent Publisher Book Awards

2015 GOLD

Benjamin Franklin Awards

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2016 BRONZE

Independent Publisher Book Awards

FILM & TELEVISION

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DISNEY PRINCESS: A MAGICAL POP-UP WORLD PAPER ENGINEERING, ILLUSTRATIONS, AND TEXT BY MATTHEW REINHART

$65.00 Hardcover 9.25 x 11 5 spreads with 27 pops ISBN: 978-1-60887-553-5

• RECENT RELEASE!

FILM & TELEVISION

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TOTALLY AWESOME The Greatest Cartoons of the Eighties BY ANDREW FARAGO FOREWORD BY RUSSI TAYLOR

$50.00 Hardcover 9.25 x 11 160 pages + 10 inserts ISBN: 978-1-60887-713-3

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FILM & TELEVISION

THE SPONGEBOB SQUAREPANTS EXPERIENCE A Deep Dive into the World of Bikini Bottom

THE HANNA-BARBERA TREASURY Rare Art & Mementos from Your Favorite Cartoon Classics

BY JERRY BECK

$45.00 Hardcover 10 x 11 156 pages

$50.00 Hardcover 9.25 x 11 160 pages + 11 inserts

BY JERRY BECK

ISBN: 978-1-933784-28-1

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THE 100 GREATEST LOONEY TUNES CARTOONS EDITED BY JERRY BECK FOREWORD BY LEONARD MALTIN

$24.95 Hardcover 9 x 6.5 240 pages ISBN: 978-1-60887-003-5

ISBN: 978-1-60887-184-1

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BART SIMPSON’S MANUAL OF MISCHIEF

FILM & TELEVISION

BARTMAN: THE HERO’S HANDBOOK

BY MATT GROENING

$24.99 Hardcover 7x7 64 pages + 14 inserts + 1 gatefold

ISBN: 978-1-60887-310-4

ISBN: 978-1-60887-453-8

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C. MONTGOMERY BURNS’ HANDBOOK OF WORLD DOMINATION BY MATT GROENING

$24.99 Hardcover 7x7 64 pages + 8 inserts + 1 gatefold ISBN: 978-1-60887-320-3

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GRAMPA SIMPSON’S GUIDE TO AGING BY MATT GROENING

$24.99 Hardcover 7x7 64 pages + 14 inserts + 1 gatefold ISBN: 978-1-60887-452-1

FILM & TELEVISION

HOMER SIMPSON’S LITTLE BOOK OF LAZINESS BY MATT GROENING

$24.99 Hardcover 7x7 64 pages + 11 inserts + 1 gatefold ISBN: 978-1-60887-226-8

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LISA SIMPSON’S GUIDE TO GEEK CHIC BY MATT GROENING

$24.99 Hardcover 7x7 64 pages + 8 inserts ISBN: 978-1-60887-321-0

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GAMING

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RECENT RELEASE! 2017 GOLD

Benjamin Franklin Awards

2017 HONORABLE MENTION

Foreword Indies Awards

2017 BRONZE

Independent Publisher Book Awards

HEARTHSTONE: INNKEEPER’S TAVERN COOKBOOK

WORLD OF WARCRAFT: THE OFFICIAL COOKBOOK

BY CHELSEA MONROE-CASSEL

$21.99 Hardcover 6x9 112 pages 50 recipes

$35.00 Hardcover 8 x 10 216 pages ISBN: 978-1-60887-804-8

ISBN: 978-1-68383-142-6

THE ART OF WORLD OF WARCRAFT BY BLIZZARD ENTERTAINMENT FOREWORD BY ALEX HORLEY INTRODUCTION BY CHRIS ROBINSON

$45.00 Hardcover 9.25 x 12.75 224 pages ISBN: 978-1-60887-449-1

BLOOD OF T HE ANCI ENT ONE Prep time: 5 minutes

Makes: 1 or 2 servings, depending on the glass

Pairs well with: Full breakfast with bacon; shrimp cocktail 2 cups tomato juice 2 to 3 ounces vodka 2 tablespoons lemon juice 1 tablespoon Worcestershire sauce 1 teaspoon 1 tablespoon wasabi paste Dash of brown sugar Pinch of celery salt Pinch of cayenne pepper Pinch of black pepper Ice Celery stalk, lemon wedges, and crispy fried bacon for garnishing 1. Combine all ingredients except the ice and garnishes in a large measuring cup or a small pitcher. 2. Fill a tall glass with ice, and slowly pour the mix over it, letting it fill in all the cracks between the cubes. 3. Garnish with a celery stalk, lemon wedges, and bacon.

that a single Hemet Nesingwary swears but serving of anything is worthless, your I disagree. What if you change mind? What if you want something else? What if your drink sprouts you? tentacles and starts devouring all patrons. It’s good to have options for

FIRESIDE LOG Prep and assembly time: 40 minutes

Bake time: 10 minutes Makes: 8 to 10 servings

Pairs well with: Beneath the Coffee Grounds (page 47); a sense of camaraderie

CA K E Butter, for greasing 1 cup all-purpose flour

1 teaspoon ground cinnamon

1 teaspoon baking powder

1 teaspoon ground ginger

¼ teaspoon salt

4 eggs

¼ cup maple syrup 1 cup brown sugar, not packed Confectioners’ sugar for rolling

FIL L ING A ND TOP P ING 2 cups heavy cream

2 tablespoons brown sugar

¼ cup maple syrup

Blue food coloring

Meringue mushrooms and red berries to garnish

To make the filling and the topping: To make the cake: 1. Preheat the oven to 400°F and line a large 1. Whip the heavy cream, maple syrup, and brown sugar until it forms stiff peaks. rimmed baking sheet with parchment 2. Divide in half, and color one half a shade paper. Butter the paper and set aside. of blue you like. 2. In a small bowl, whisk together the flour, 3. When the cake has cooled completely, baking powder, salt, cinnamon, and unroll gently. Spread the blue whipped ginger. Set aside. cream in an even layer across it. Roll up, 3. In a large bowl, beat the eggs and maple without the towel this time. Don’t let too syrup together for several minutes until much cream squeeze out the end. smooth and a little thickened. 4. Beat in the brown sugar, then while still 4. Using a sharp knife, slice a few inches off beating, gradually add the dry ingredients. each end of the roll with a diagonal cut. 5. Place the main log on your serving platter, Beat just until there are no lumps. then nestle the trimmed ends to either side 5. Pour the batter out onto the prepared of it like branches. baking sheet, and bake for about 10 6. Spread the remaining white cream out minutes, until slightly golden. over the whole cake. 6. While it’s baking, sift confectioners’ 7. Place the whole cake platter in the freezer sugar onto a clean dishtowel. to chill for at least a half hour, then 7. When the cake is done baking, flip it out onto the towel, and gently peel the garnish with meringue mushrooms and parchment paper off. While the cake is red berries. still warm, roll it up lengthwise, towel and all. Allow to finish cooling in this shape.

103

Copyright © 2017 Blizzard Entertainment, Inc. All rights reserved. Hearthstone and Blizzard Entertainment are trademarks or registered trademarks of Blizzard Entertainment, Inc., in the U.S. and/or other countries.

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THE ART OF BLIZZARD ENTERTAINMENT BY NICK CARPENTER, SAM DIDIER, AND CHRIS METZEN CREATED BY BLIZZARD ENTERTAINMENT

$75.00 Hardcover 9.25 x 12.75 376 pages

GAMING

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THE CINEMATIC ART OF WORLD OF WARCRAFT Wrath of the Lich King BY BLIZZARD ENTERTAINMENT

$29.95 Paperback 11 x 10 154 pages

STARCRAFT FIELD MANUAL BY RICK BARBA

$39.99 Hardcover 11 x 8.5 160 pages ISBN: 978-1-60887-450-7

ISBN: 978-1-60887-208-4

ISBN: 978-1-60887-027-1

© 2016 Blizzard Entertainment, Inc. All rights reserved. Blizzard Entertainment, World of Warcraft, Warcraft, StarCraft, Diablo, and Blizzard are trademarks or registered trademarks of Blizzard Entertainment, Inc., in the U.S. and/or other countries.

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2016 SILVER

Independent Publisher Book Awards

ASSASSIN’S CREED®: THE COMPLETE VISUAL HISTORY BY MATTHEW MILLER FOREWORD BY RAPHAËL LACOSTE

$60.00 Hardcover 9.25 x 12.75 320 pages ISBN: 978-1-60887-600-6

ASSASSIN’S CREED® UNITY Abstergo Entertainment: Employee Handbook BY CHRISTIE GOLDEN ILLUSTRATIONS BY ANDY BELANGER AND KARL KERSCHL

$45.00 Hardcover 9.25 x 11 152 pages + 13 inserts

ASSASSIN’S CREED® IV BLACK FLAG™ Blackbeard: The Lost Journal BY CHRISTIE GOLDEN ILLUSTRATIONS BY VANCE KOVACS AND BEN ANDREWS

$39.99 Hardcover 7.75 x 10 148 pages + 8 inserts ISBN: 978-1-60887-322-7

ISBN: 978-1-60887-403-3

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GAMING

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RECENT RELEASE! $45.00 US / $60.00 CAN

THE ART OF

THE ART O F T H E A R T O F D E S T I N Y, V O L U M E 2

VO LU ME 2

The world of Destiny has become home to millions of heroes. Each of them has cultivated an identity as unique as their own personal adventures. As Guardians emerge triumphant from enemy lairs, they equip the spoils of the battles they have waged to serve as a warning to any who would oppose them. In Destiny 2, as humanity’s last safe city falls and the fate of the solar system is threatened, Guardians must escape to mysterious, unexplored worlds. These worlds, along with the ones that preceded them, are on full display in The Art of Destiny, Volume 2, as Bungie gives players an inside look at the dynamic art and striking visual style that bring the franchise to life. Following the meticulous work that went into creating Destiny, the team at Bungie was faced with a new challenge. Destiny 2 expands the solar system in surprising and creative ways, finding new frontiers to immerse players in an ever-growing world. Featuring behind-the-scenes treasures including early character illustrations, paintings of sweeping vistas,

VO LU ME 2

and additional context for the game’s stunning in-game cinematics, The Art of Destiny, Volume 2 showcases the design work that went into building a world and crafting numerous weapons, vehicles, and heroes. With exclusive, never-before-seen imagery, developer commentary, and more, The Art of

Destiny, Volume 2 is a must-have for brave Guardians ISBN: 978-1-68383-111-2 $45.00 US / $60.00 CAN

throughout our solar system.

THE ART OF DESTINY, VOLUME 2

THE ART OF DESTINY

BY BUNGIE

$45.00 Hardcover 11 x 10 216 pages

BY BUNGIE

$45.00 Hardcover 11 x 10 216 pages

$14.99 Hardcover 8x8 40 pages + 1 insert

ISBN: 978-1-60887-420-0

ISBN: 978-1-60887-907-6

ISBN: 978-1-68383-111-2

132

133

“With Destiny 2, supers are a state, not just an action. From an animation perspective, this means supporting many more abilities than we had in the past. Be it the martial arts flavor of the Hunter’s Arc staff, the strength and power of the Titan’s Void shield, or the Warlock’s Solar blade raining fire down its enemies, each ability animation within a super represents a player fantasy people can identify with.” — Rick Lico

(RIGHT AND OPPOSITE, TOP) Select frames of animation of a Dawnblade attack. (OPPOSITE, BOTTOM) Destiny 2 features unique Guardian Class abilities. Pictured here is the Warlock Empowering Rift, balancing the Warlock’s subtle grace with high-impact power.

(PAGES 118–119) The New Pacific Arcology is a testament to humanity’s will, built on Saturn’s moon, Titan, which never directly felt the gifts of the Traveler during the Golden Age. (PAGE 120) The Rig holds steadfast against the massive waves of Titan’s methane ocean. (OPPOSITE) The once-tamed methane seas of Titan crash against the arcology’s platforms, while Saturn lords in the background. (ABOVE) The overhead view, capturing the true majesty of the arcology; the broken, surrounding platforms that once gave passage to a great city.

122

123

“The Last City on Earth has always been our most precious location. Though it’s a stronghold where the remnants of humanity found refuge from the hordes of enemies who sought their extinction, it’s also a spiritual center of sorts–where humanity can be close to its ultimate savior, the Traveler.” — Jason Harris

(PAGE 36–37) A Titan walks the City streets beneath the Tower, a near-god to the citizens who live in the safety of the City. (PAGE 38) Children watch in awe as their protectors return to a rare moment of quiet in the Tower. (ABOVE) The unseen daily activity within the passages and shops of the Last City. (RIGHT) An exploration of a New Monarchy palais, the city faction focused on civic ventures in the Last City. (OPPOSITE) Children of the Last City honoring their Guardian heroes.

D IS FOR DESTINY

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GAMING

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RECENT RELEASE!

CALL OF DUTY WWII: FIELD MANUAL

THE ART OF MAFIA III $39.99 Hardcover 11.75 x 11.75 160 pages

BY MICKY NEILSON

$24.99 Hardcover 8 x 10 112 pages

ISBN: 978-1-60887-986-1

ISBN: 978-1-60887-934-2 © 2016 Take-Two Interactive Software and its subsidiaries. Developed by Hangar 13. 2K, Hangar 13, 2K Czech, the 2K logo, the 2K Czech logo, the Hangar 13 logo and Take-Two Interactive Software are all trademarks and/or registered trademarks of Take-Two Interactive Software.

RECENT RELEASE!

MAFIA III: PLAIN OF JARS

THE ART OF HALO® 5: GUARDIANS

BY MARSHEILA ROCKWELL AND JEFF MARIOTTE COVER ART BY JOE JUSKO

FOREWORD BY SPARTH INTRODUCTION BY FRANK O’CONNOR

$15.99 Paperback 6x9 224 pages

$45.00 Hardcover 9.25 x 12 208 pages

ISBN: 978-1-60887-993-9

ISBN: 978-1-60887-649-5

©2017. Take-Two Interactive Software, Inc. and its subsidiaries. All Rights Reserved. 2K, Hangar 13, The 2K Logo, the Hangar 13 logo and Take-Two Interactive Software are all trademarks and/ or registered trademarks of Take-Two Interactive Software. All rights reserved.

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ANGRY BIRDS Hatching a Universe BY DANNY GRAYDON FOREWORD BY MIKAEL HED

$50.00 Hardcover 11 x 10 162 pages + 10 inserts ISBN: 978-1-60887-211-4

GAMING

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GEARS OF WAR: JUDGMENT™ Kilo Squad: The Survivor’s Log BY ROB AUTEN

$39.99 Hardcover 7.75 x 10 128 pages + 11 inserts ISBN: 978-1-60887-304-3

© 2013, Epic Games, Inc. All Rights Reserved. Epic, Epic Games, the Epic Games logo, Gears of War, Gears of War 2, Gears of War 3, Gears of War: Judgment, Marcus Fenix and Crimson Omen Logo are trademarks or registered trademarks of Epic Games, Inc. in the United States of America and elsewhere.

THE ART OF EVOLVE INTRODUCTION BY PHIL ROBB AND CHRIS ASHTON

$39.99 Hardcover 9.25 x 12 192 pages ISBN: 978-1-60887-514-6

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GAMING

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RECENT RELEASE!

XCOM 2: ESCALATION

THE ART OF XCOM 2

BY RICK BARBA COVER ART BY ALEX GARNER

INTRODUCTION BY GREG FOERTSCH

XCOM 2: RESURRECTION BY GREG KEYES

$15.99 Paperback 6x9 200 pages

$39.99 Hardcover 9.25 x 12 192 pages

$16.00 Paperback 6x9 240 pages

ISBN: 978-1-60887-992-2

ISBN: 978-1-60887-711-9

ISBN: 978-1-60887-712-6

©2018 Take-Two Interactive Software and its subsidiaries. Take-Two Interactive Software, Inc., 2K, Firaxis Games, XCOM, and their respective logos are trademarks of Take-Two Interactive Software, Inc. All rights reserved.

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ADVENTURE TIME: THE OFFICIAL COOKBOOK Monster-Fighting Meals, Dungeon-Crawl Desserts, and Princess-Worthy Pancakes from the Land of Ooo RECIPES BY JORDAN GROSSER TEXT BY CHRISTOPHER HASTINGS PHOTOGRAPHS BY ANDRIA LO

$29.99 Hardcover 8 x 10 112 pages

ANIMATION

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ADVENTURE TIME: HERO TIME WITH FINN AND JAKE The Ultimate Guide to Becoming a Genuine Legend

ADVENTURE TIME: HOW TO WARRIOR BY FIONNA AND CAKE A Tale of Deadly Quests, Daring Rescues, and Defeating Evil!

BY BRANDON T. SNIDER ILLUSTRATIONS BY ZACHARY STERLING

BY CHRISTOPHER HASTINGS ILLUSTRATIONS BY ZACHARY STERLING

$19.99 Hardcover 6.5 x 9 64 pages + 7 inserts

ISBN: 978-1-60887-639-6

ISBN: 978-1-60887-883-3

ISBN: 978-1-60887-643-3

TM & © Cartoon Network (s16)

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THE ART OF THE JUNGLE BOOK BY ELLEN WOLFF FOREWORD BY JON FAVREAU

$45.00 Hardcover 11 x 10 156 pages ISBN: 978-1-60887-791-1

ANIMATION

THE ART AND THE MAKING OF CLOUDY WITH A CHANCE OF MEATBALLS BY TRACEY MILLER-ZARNEKE FOREWORD BY JUDI BARRETT

$50.00 Hardcover 11 x 10 180 pages ISBN: 978-1-933784-89-2

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THE ART OF PLANET 51 BY DANNY GRAYDON FOREWORD BY GARY OLDMAN

$39.95 Hardcover 11 x 10 144 pages ISBN: 978-1-933784-97-7

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THE BALLAD OF RANGO The Art & Making of an Outlaw Film BY DAVID S. COHEN FOREWORD BY GORE VERBINSKI

$39.95 Hardcover 11 x 10 156 pages

ANIMATION

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THE ART OF PUSS IN BOOTS

THE ART OF SHREK FOREVER AFTER

BY RAMIN ZAHED FOREWORD BY GUILLERMO DEL TORO

BY JERRY SCHMITZ FOREWORD BY CAMERON DIAZ

$39.95 Hardcover 11 x 10 152 pages ISBN: 978-1-60887-034-9

ISBN: 978-1-60887-017-2

$24.95 Hardcover 10.25 x 8.75 144 pages ISBN: 978-1-60887-002-8

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ANIMATION

•

THE ART OF THE BOSS BABY

THE ART OF KUNG FU PANDA

THE ART OF KUNG FU PANDA 2

BY RAMIN ZAHED FOREWORD BY ALEC BALDWIN PREFACE BY TOM MCGRATH AFTERWORD BY MARLA FRAZEE

BY TRACEY MILLER-ZARNEKE

BY TRACEY MILLER-ZARNEKE FOREWORD BY DUSTIN HOFFMAN

$45.00 Hardcover 11 x 10 156 pages + 1 gatefold

$45.00 Hardcover 10.3 x 11.3 192 pages

$39.95 Hardcover 11 x 10 156 pages

ISBN: 978-1-93378-457-1

ISBN: 978-1-60887-018-9

ISBN: 978-1-60887-682-2

PO P

(Above & Right) Po • Nicolas Marlet - pencil and marker (Below) Sequence 100 - Po Lives the Dream Early Color Keys • Raymond Zibach - digital paint

o is a perfect balance—a true embodiment of Yin Yang. At his very essence, Po’s existence as a panda portrays the harmony of softness and strength in the animal world. In a visual sense, Po’s black and white coloration is a clear reflection of the Chinese graphic representation for Yin-Yang. While character designer Nicolas Marlet captured a completely readable animal silhouette in Po, his basic shape language is essentially circular, echoing that symbol further. On an even deeper artistic level, Po’s design provides balance to the tone of the film. Dropping this soft, round ball into an environment bursting with sharp, concise physical action is a conscious decision that lightens a potentially heavy cinematic experience. “Part of the conceit of this film is that it’s a hardcore kung fu world with hardcore kung fu characters, and then there’s a big cuddly panda in the middle of the action,” explains director Jennifer Yuh Nelson. “It’s a visual contrast, playing into the fact that Po has a sweetness to him: he’s not the bad-ass you would expect to find in a martial arts movie.”

Flashbacks Po’s emotional state in Kung Fu Panda 2 displays a balance that’s teetering upon the fulcrum of his identity. He is a combination of confidence and doubt. While he portrays strength and skill as a kung fu master, he is also riddled with confusion as he embarks on a journey of self-discovery. At the most surface level of self-awareness, Po is completely content in a state of Yang— with who he is as the hero of the Valley of Peace. “Po’s dream in the first film is his life in the second,” explains head of story Phil Craven. While he has honed his kung fu techniques, he is not egotistical about his newly acquired skill set in any way. “He’s still the same guy, humble and self-doubting,” continues Craven. “Now he

(Below) Sequence 1900 - Po Finds theTruth Concept

•

Raymond Zibach - digital paint

(Top Right) Sequence 25 - Prologue Early Concept • Jason Brubaker - digital paint (Bottom Right) Sequence 25 - Prologue Early Concept • Tang Kheng Heng - digital paint

team a more detailed previsualization of what effects and lighting could bring to each sequence by capturing the cinematographic goals earlier and more clearly than ever before. This allowed a more pointed focus for every department in the pipeline, from animation through final lighting, which also meant more freedom to explore and maximize the look and action within each shot. Rendering a huge location such as Gongmen City alone would have been a great technical challenge during the making of the first Kung Fu Panda movie, “so even if there had been such a grand vision in that movie, it would have been nearly impossible to achieve,” notes visual effects supervisor

Alex Parkinson. This time, the vast city rises to the screen as an amazingly intricate and expansive set. Having a stereoscopic pipeline solidly in place for Kung Fu Panda 2 also added to the “wow” factor, as the filmmakers went into the project thinking about how to best utilize this medium from the earliest phases of development to achieve stunning 3D results in the final presentation. Going deeper, going further—this film does just that in terms of character growth, art direction, and technical achievement. It is an astounding journey on all levels as shown by the hundreds of conceptual drawings, paintings, and renderings collected within the pages of The Art of Kung Fu Panda 2.

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THE ART OF KUNG FU PANDA 3 BY TRACEY MILLER-ZARNEKE

$45.00 Hardcover 11 x 10 156 pages + 2 gatefolds ISBN: 978-1-60887-494-1

ANIMATION

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THE ART OF MADAGASCAR 3 Europe’s Most Wanted BY BARBARA ROBERTSON FOREWORD BY CHRIS ROCK

$40.00 Hardcover 11 x 10 156 pages

THE ART OF PENGUINS OF MADAGASCAR BY BARBARA ROBERTSON FOREWORD BY TOM MCGRATH

$45.00 Hardcover 11 x 10 156 pages + 2 gatefolds ISBN: 978-1-60887-492-7

ISBN: 978-1-60887-075-2

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ANIMATION

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THE ART OF TURBO

THE ART OF HOME

BY ROBERT ABELE FOREWORD BY RYAN REYNOLDS PREFACE BY DAVID SOREN

BY RAMIN ZAHED FOREWORD BY JIM PARSONS INTRODUCTION BY TIM JOHNSON AFTERWORD BY ADAM REX

$45.00 Hardcover 11 x 10 150 pages ISBN: 978-1-60887-212-1

$45.00 Hardcover 11 x 10 156 pages + 2 gatefolds ISBN: 978-1-60887-384-5

THE ART OF MR. PEABODY & SHERMAN BY JERRY BECK FOREWORD BY TY BURRELL PREFACE BY TIFFANY WARD AFTERWORD BY ROB MINKOFF

$45.00 Hardcover 11 x 10 156 pages + 2 gatefolds ISBN: 978-1-60887-258-9

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ANIMATION

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THE ART OF RISE OF THE GUARDIANS

THE ART OF THE IRON GIANT

BY RAMIN ZAHED FOREWORD BY ALEC BALDWIN PREFACE BY WILLIAM JOYCE

BY RAMIN ZAHED FOREWORD BY BRAD BIRD

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BY FLINT DILLE CREATED BY BLIZZARD ENTERTAINMENT

BY MATT BURNS CREATED BY BLIZZARD ENTERTAINMENT

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COURT OF THE DEAD The Chronicle of the Underworld

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y, two ng from its

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So beautiful…

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I can see everything…

112

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Um...guys!?!

Sorry to interrupt, but we’re about to get the royal treatment.

It required some lengthy and arduous processing…

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Indeed you have, iRIS. So pleased Aldair will be here to witness my true coronation.

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STORY AND CHARACTERS BY TOM GILLILAND

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SPLENDID LIFE The Art of Scott C.

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GRIT AND GLAMOUR The Street Style, High Fashion, and Legendary Music of the 1970s PHOTOGRAPHY AND INTRODUCTION BY ALLAN TANNENBAUM TEXT BY PETER OCCHIOGROSSO FOREWORD BY DEBBIE HARRY

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STYLING THE STARS Lost Treasures from the Twentieth Century Fox Archive BY ANGELA CARTWRIGHT AND TOM MCLAREN FOREWORD BY MAUREEN O’HARA

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THE GATHERING STORM A Quartet in Several Parts BY STORM THORGERSON

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FIGURE FANTASY The Pop Culture Photography of Daniel Picard

BY SIDESHOW COLLECTIBLES® INTRODUCTION BY WILLIAM STOUT

PHOTOGRAPHS AND INTRODUCTION BY DANIEL PICARD FOREWORD BY SIMON PEGG AFTERWORD BY KEVIN SMITH

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CAPTURING ARCHETYPES, VOLUME 2 A Gallery of Heroes and Villains from Batman to Vader

CAPTURING ARCHETYPES, VOLUME 3 Astonishing Avengers, Adversaries, and Antiheroes

BY SIDESHOW COLLECTIBLES® FOREWORD BY GUILLERMO DEL TORO INTRODUCTION BY TOM GILLILAND

BY SIDESHOW COLLECTIBLES® FOREWORD BY DREW STRUZAN INTRODUCTION BY GREG ANZALONE

BY SIDESHOW COLLECTIBLES® FOREWORD BY GAIL SIMONE INTRODUCTION BY GREG ANZALONE AFTERWORD BY TITUS WELLIVER

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SHADES OF LOVE Photographs Inspired by the Poems of C. P. Cavafy PHOTOGRAPHS BY DIMITRIS YEROS POEMS BY C. P. CAVAFY FOREWORD BY EDWARD ALBEE INTRODUCTION BY JOHN WOOD TRANSLATED BY DAVID CONNOLLY

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REFLECTIONS 25 Years of Photography by Connie Imboden

THE MONKEY KING 72 Transformations of the Mythical Hero

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AQUATIQUE BY BRIAN OGLESBEE FOREWORD BY LESLEY BRILL

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CELESTIAL GALLERY

BY ROMIO SHRESTHA FOREWORD BY DEEPAK CHOPRA TEXT BY IAN A. BAKER

BY ROMIO SHRESTHA FOREWORD BY DEEPAK CHOPRA TEXT BY IAN A. BAKER AFTERWORD BY ROBERT A. F. THURMAN

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GODDESSES OF THE CELESTIAL GALLERY

IN A WORLD OF GODS & GODDESSES The Mystic Art of Indra Sharma

BY ROMIO SHRESTHA

ILLUSTRATIONS BY INDRA SHARTMA TEXT BY JAMES H. BAE

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THE NATIONAL PARKS An American Legacy

THE NATIONAL PARKS Our American Landscape

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BY IAN SHIVE FOREWORD BY THOMAS C. KIERNAN

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THE ART OF ADVENTURE Outdoor Sports from Sea to Summit PHOTOGRAPHS BY TANDEM STILLS + MOTION FOREWORD BY SUSAN ALKAITIS INTRODUCTION BY IAN SHIVE AFTERWORD BY JON-PAUL HARRISON

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MILE 46 Face to Face in Maasailand

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Tufa towers · Mono Lake, California, USA Rainstorm over canyon lands · Escalante, Utah, USA

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Wahweap Hoodoos · Grand Staircase-Escalante National Monument, Utah, USA following pages : Savanna storm · Maasai Mara National Reserve, Kenya

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PHOTOGRAPHS AND TEXT BY FRANK STEFANKO INTRODUCTION BY BRUCE SPRINGSTEEN

PHOTOGRAPHS BY ERIC MEOLA

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FIFTY years of Rock Photography

RrRrRrRrRrRr

RrRrRr Rr RrRrRr Rr Rr

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FIfty years of Rock Photography

Robert M. Knight

Fifty years of Rock Photography

Robert M. Knight

Robert M. Knight introduction by

Slash

edited by D IVINA I NFUSINO

•

2012 GOLD

Benjamin Franklin Awards

n 1968 a young photographer named Robert M. Knight arrived in San Francisco with a camera and a single roll of film to shoot the legendary Jimi Hendrix. The photographs Knight took seized the uncanny energy of Hendrix, recording his primal performance and adrenaline-driven solos that tantalized audiences. The iconic images Knight produced immortalized Hendrix and propelled Knight on a lifelong pilgrimage as the photographic herald of rock and roll. Rock Gods: Fifty Years of Rock Photography showcases the rich visual universe of Robert M. Knight’s work, replete with visions of guitar gods, monumental performances, and earth-shattering solos. For half a century, Knight has chronicled the greatest moments in the evolution of rock music and culture. His remarkable photographs define generations of rock stars from the Rolling Stones and Led Zeppelin to Van Halen and Green Day. With Rock Gods, Knight captures the grueling riffs of Jimmy Page, the flamboyant solos of Elton John, Eric Clapton’s soulful blues, and Slash’s steel resolve. With his intimate access to many of his subjects, Knight’s photography fashions a unique perspective on the world of rock stars, creating some of the most compelling and evocative portraits of popular musicians witnessed to date. Through the haze and jagged reverb, Rock Gods captures the ephemeral candor of the stage, visually asserting the impassioned substance of rock that incites our souls. N 9/13/17 12:19 PM

ROCK GODS Fifty Years of Rock Photography PHOTOGRAPHY BY ROBERT M. KNIGHT INTRODUCTION BY SLASH EDITED BY DIVINA INFUSINO

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PHOTOGRAPHY BY MARCIA RESNICK INTRODUCTION BY VICTOR BOCKRIS TEXT BY VICTOR BOCKRIS AFTERWORD BY ANTHONY HADEN-GUEST

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KEEPING TIME The Photographs of Don Hunstein

BETWEEN MIDNIGHT AND DAY The Last Unpublished Blues Archive

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SOUL REBEL An Intimate Portrait of Bob Marley PHOTOGRAPHY BY DAVID BURNETT FOREWORD BY CHRIS SALEWICZ INTRODUCTION BY CHRIS MURRAY

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ELVIS (ONE ON ONE) BY ALFRED WERTHEIMER FOREWORD BY PETER GURALNICK INTRODUCTION BY CHRIS MURRAY

$19.99 Paperback 5.75 x 8.25 320 pages ISBN: 978-1-60887-102-5

•

ART & PHOTOGRAPHY

M I L E S D AV I S

zz musicians of the twentieth

rking as a musician, composer,

oducer, and bandleader, Davis

evolutionized popular music

e 1940s until his death in 1991.

s featured on the covers of two

bums, Star People (1983) and

“The art of Miles Davis was much like

89).

his music; innovative, erotic, provocative,

erman writes about music and

, Artforum, The New Yorker, GQ,

ublications. He is the deputy

he Neue Galerie New York.

M I L E S D AV I S S C O T T G u T T E R M A n W I T H M I L E S D Av I S

fOREWORD by QuInCy JOnES

TH E COL L ECT E D ARTWORK

R E f L E C T I O n S b y E R I n D Av I S A n D v I n C E W I L b u R n J R .

A f T E R W O R D b y C H E R y L D Av I S

One of the most influential musicia

twentieth century, Miles Davis was

of many talents. Around 1980, he t

to sketching and painting to keep h

occupied with something when he

playing music. This hobby quickly t

a serious passion, and Davis appro

with the same obsessive creativity

to music. The result is an impressiv

unique and evocative visual work s

the varied skills of this legendary a

THE COLLECTED ARTWORK

was one of the preeminent

•

and bold! Extremely prolific in both his compelling artwork and his extraordinary music, he was a genius for the ages.” —LIONEL RICHIE

New York City.

Throughout the 1980s, Davis stu

regularly with New York painter Jo

developing a distinct graphic style. I

bright colors and geometric shapes

reminiscent of work by Pablo Picass

as African tribal art, the historical in

cited during interviews on the subje

Scott Gutterman sat down with Mil

himself before his death in 1991, and

own commentary accompanies this showcase of his work.

A long-overdue celebration, Mile

Collected Artwork is a treasure for a

and music aficionados alike, who wi

a window into the life of this creativ

SCOTT GuTTERMAn WITH MILES DAvIS

x 3088, San Rafael, CA 94912 ww.insighteditions.com

isbn: 978-1-60887-223-7

U.s. $50.00

anufactured in china

JERRY GARCIA The Collected Artwork

MILES DAVIS The Collected Artwork

BY JERRY GARCIA PREFACE BY BOB DYLAN FOREWORD BY MICKEY HART EDITED BY APRIL HIGASHI

BY SCOTT GUTTERMAN WITH MILES DAVIS FOREWORD BY QUINCY JONES AFTERWORD BY CHERYL DAVIS REFLECTIONS BY VINCE WILBURN JR. AND ERIN DAVIS

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ART & PHOTOGRAPHY

•

2015 SILVER

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JOHN LENNON The Collected Artwork

JOHN & YOKO A New York Love Story

BY SCOTT GUTTERMAN ARTWORK BY JOHN LENNON FOREWORD BY YOKO ONO

PHOTOGRAPHY BY ALLAN TANNENBAUM PREFACE BY BOB DYLAN

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ART & PHOTOGRAPHY

•

2015 PEWTER

Gold Ink Awards

2015 BRONZE

Independent Publisher Book Awards

2015 GOLD

Benjamin Franklin Awards

BIG SHOTS The Photography of Guy Webster PHOTOGRAPHY BY GUY WEBSTER TEXT BY HARVEY KUBERNIK AND KENNETH KUBERNIK FOREWORD BY BRIAN WILSON

$75.00 Hardcover 9.25 x 12.75 272 pages

CLINT EASTWOOD Icon BY DAVID FRANGIONI AND THOMAS SCHATZ

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MUSIC

•

2017 HONORABLE MENTION

Foreword Indies Awards

BOWIE: ALBUM BY ALBUM BY PAOLO HEWITT INTRODUCTION BY ROBERT ELMS

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PAPERBACK

METALLICA: BACK TO THE FRONT A Fully Authorized Visual History of the Master of Puppets Album and Tour BY MATT TAYLOR FOREWORD BY JAMES HETFIELD AFTERWORD BY RAY BURTON

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HARDCOVER

101

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KURT COBAIN Montage of Heck BY BRETT MORGEN WITH RICHARD BIENSTOCK ILLUSTRATIONS BY HISKO HULSING AND STEFAN NADELMAN

MUSIC

•

HOUSE OF BLUES A Backstage Pass to the Artists, Music & Legends

LES BRERS Kirk West’s Photographic Journey with the Brothers

BY DANIEL SIWEK FOREWORD BY DAN AYKROYD INTRODUCTION BY RON BENSION

TEXT AND PHOTOGRAPHY BY KIRK WEST FOREWORD BY WARREN HAYNES CONTRIBUTIONS BY ALAN PAUL, SAM CUTLER, AND JOHN LYNSKEY

$35.00 Hardcover 7.5 x 9 160 pages

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MUSIC

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AUSTIN CITY LIMITS A Monument to Music

SLASH An Intimate Portrait

ELVIS AT 21 New York to Memphis

BY TRACEY LAIRD AND BRANDON LAIRD PHOTOGRAPHS BY SCOTT NEWTON FOREWORD BY ROSANNE CASH AFTERWORD BY TERRY LICKONA

TEXT BY RICHARD BIENSTOCK PHOTOGRAPHY BY ROBERT KNIGHT FOREWORD BY RONNIE WOOD PREFACE BY JOE PERRY

BY ALFRED WERTHEIMER FOREWORD BY PETER GURALNICK INTRODUCTION BY CHRIS MURRAY

$45.00 Hardcover 9.25 x 12 192 pages ISBN: 978-1-60887-496-5

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103

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MUSIC

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2009 GOLD

Benjamin Franklin Awards

REGGAE SCRAPBOOK

MY MUSIC, MY LIFE

BY ROGER STEFFENS AND PETER SIMON FOREWORD BY TOOTS HIBBERT INTRODUCTION BY STEPHEN DAVIS

BY RAVI SHANKAR FOREWORD BY PHILIP GLASS INTRODUCTION BY YEHUDI MENUHIN

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THE COMPLETE QUINCY JONES My Journey & Passions BY QUINCY JONES FOREWORD BY CLINT EASTWOOD PREFACE BY MAYA ANGELOU INTRODUCTION BY BONO AFTERWORD BY SIDNEY POITIER

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MUSIC

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LIVE DEAD The Grateful Dead Photographed by Bob Minkin

THE EXPERIENCE Jimi Hendrix at Mason’s Yard

PHOTOGRAPHY BY BOB MINKIN EDITED BY BLAIR JACKSON FOREWORD BY STEVE PARISH PREFACE BY TOM CONSTANTEN

PHOTOGRAPHS BY GERED MANKOWITZ TEXT BY RICHIE UNTERBERGER

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MUSIC

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2012 GOLD IN PERFORMING ARTS AND MUSIC

ForeWord Magazine

2013 GOLD

Independent Publisher Book Awards

ROLLING STONES (ONE ON ONE)

106

ROLLING STONES 50X20

PHOTOGRAPHY BY GERED MANKOWITZ ESSAY BY SEAN EGAN

EDITED BY CHRIS MURRAY FOREWORD BY RICHARD HARRINGTON AFTERWORD BY CHRIS SALEWICZ

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NASHVILLE Behind the Curtain PHOTOGRAPHS BY SONYA JASINSKI AND KATE YORK FOREWORD BY KACEY MUSGRAVES INTRODUCTION BY NATHAN FOLLOWILL AFTERWORD BY HOLLY WILLIAMS

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MUSIC

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THIS IS COUNTRY A Backstage Pass to the Academy of Country Music Awards BY LISA LEE FOREWORD BY REBA MCENTIRE

$50.00 Hardcover 9.25 x 12 224 pages + 12 inserts ISBN: 978-1-60887-315-9

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MUSIC

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2013 GOLD

PublishersWest Design Awards

2013 GOLD

Independent Publisher Book Awards

GUITARS THAT JAM Portraits of the World’s Most Storied Rock Guitars BY JAY BLAKESBERG FOREWORD BY WARREN HAYNES

$29.99 Hardcover 7 x 8.5 192 pages ISBN: 978-1-60887-525-2

108

THE KING OF STYLE Dressing Michael Jackson BY MICHAEL BUSH FOREWORD BY JOHN BRANCA

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MUSIC

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SOUL TRAIN The Music, Dance, and Style of a Generation

WHITNEY HOUSTON The Voice, the Music, the Inspiration

BY AHMIR “QUESTLOVE” THOMPSON FOREWORD BY GLADYS KNIGHT PREFACE BY NICK CANNON AFTERWORD BY KENARD GIBBS

BY NARADA MICHAEL WALDEN WITH RICHARD BUSKIN FOREWORD BY CHAKA KHAN

$24.99 Hardcover 6x9 160 pages + 16 color pages

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ISBN: 978-1-60887-200-8

ISBN: 978-0-06-228838-7

The Moves When I was growing up, Soul Train was cool, and cool was Soul Train. This was well before the dawn of the VCR, so the only way you could ensure that you remembered everything about a Soul Train episode was to, well, remember everything. This was doubly true for the dancers. My cousins and I would watch them closely, as intent as any scientist in the field. “You all see that?” one of us would say, shoving the others to attention. “You all see that?” We’d look around to make sure we hadn’t seen it wrong and then head to the mirror to practice. After the show, we’d go out into the street to show off our new moves, where we discovered that most everybody in the neighborhood had the same idea.

PAGES 40-41 In Episode 77 on November 3, 1973, the Jackson 5 had the stage all to themselves, performing songs: “Dancing Machine,” “Don’t Say Goodbye Again,” “Get It Together,” and two solo spots, one for Jermaine, “You’re in Good Hands,” and one for Michael, “With a Child’s Heart.” PAGES 42-43 As a young boy, it was hard not to wish to be just like the Jacksons. ABOVE The Jackson 5 in Episode 77 helped reinforce my decision never to get rid of my Afro. BELOW Soul Train was the place where many kids were introduced to lesser-known instruments. In Episode 35 on October 7, 1972, Randy on the bongos gave viewers a treat. RIGHT As I got older, it was hard not to wish to be near little sister Janet. Here she is in Episode 342 on November 8, 1980, during which Don introduced older sister La Toya. OPPOSITE Michael Jackson during his solo show, Episode 111 on October 5, 1974.

Soul Train

The Big Idea

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BIOGRAPHY & LEGACY

•

New York Times Best Seller

2012 FINALIST

Benjamin Franklin Awards

2012 GOLD

Independent Publisher Book Awards

HOUSE OF CASH The Legacies of My Father, Johnny Cash

JOHN WAYNE The Genuine Article

BY JOHN CARTER CASH

BY MICHAEL GOLDMAN FOREWORD BY PRESIDENT JIMMY CARTER PREFACE BY ETHAN WAYNE

$39.95 Hardcover 9.25 x 12 160 pages ISBN: 978-1-60887-028-8 $14.99 Paperback 5.5 x 8.25 152 pages + 16 inserts ISBN: 978-1-60887-479-8

HARDCOVER

PAPERBACK

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111

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BIOGRAPHY & LEGACY

A CALIFORNIA CHILDHOOD BY JAMES FRANCO

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112

PAPERBACK

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HOLLYWOOD DREAMING Stories, Pictures, and Poems BY JAMES FRANCO

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BIOGRAPHY & LEGACY

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I’VE NEVER MET AN IDIOT ON THE RIVER Reflections on Family, Photography, and Fly-Fishing BY HENRY WINKLER

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JOHNNY DEPP A Retrospective INTRODUCTION AND COMMENTARIES BY STEVEN DALY

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$14.99 Paperback 7 x 8.5 144 pages ISBN: 978-1-60887-096-7

HARDCOVER

PAPERBACK

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SPORTS

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2015 GOLD

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AMERICA’S TEAM The Official History of the Dallas Cowboys

SAN FRANCISCO 49ERS From Kezar to Levi’s Stadium

BY JEFF SULLIVAN FOREWORD BY JERRY JONES

BY BRIAN MURPHY FOREWORD BY JERRY RICE INTRODUCTION BY JED YORK

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$50.00 Hardcover 9.25 x 12.75 248 pages + 5 inserts ISBN: 978-1-60887-436-1

115

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SPORTS

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2013 JUDGE'S CHOICE

Publishers West Design Award

2013 GOLD IN SPORTS/FITNESS/ RECREATION

Publishers West Design Awards

2012 FINALIST IN SPORTS

ForeWord Magazine

2009 GOLD

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2008 PEWTER

Gold Ink Awards

UNDER THE HALO The Official History of Angels Baseball

THE SAN FRANCISCO GIANTS 50 Years

BY PETE DONOVAN FOREWORD BY TIM SALMON PREFACE BY ARTE MORENO INTRODUCTION BY MIKE SCIOSCIA

BY BRIAN MURPHY FOREWORD BY DANNY GLOVER AFTERWORD BY WILLIE MAYS

$50.00 Hardcover 9.25 x 12.75 264 pages ISBN: 978-1-60887-019-6

116

$50.00 Hardcover 9.25 x 12.75 234 pages ISBN: 978-1-933784-52-6

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SPORTS

•

2011 BRONZE

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BALTIMORE ORIOLES 60 Years of Orioles Magic

THE PHILADELPHIA PHILLIES An Extraordinary Tradition

BY JIM HENNEMAN INTRODUCTION BY JIM PALMER

EDITED BY SCOTT GUMMER AND LARRY SHENK FOREWORD BY CHRISTOPHER GUEST INTRODUCTION BY MIKE SCHMIDT

$50.00 Hardcover 9.25 x 12.75 276 pages ISBN: 978-1-60887-318-0

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117

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SPORTS

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2016 SILVER

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2016 HONERABLE MENTION

ForeWord Reviews

2008 SILVER IN SPORTS

ForeWord Magazine

THE FINEST LINE The Global Pursuit of Big-Wave Surfing BY RUSTY LONG PHOTOGRAPHY BY DOUG ACTON, ROBERT BROWN, AND TODD GLASSER FOREWORD BY TOM CARROLL AFTERWORD BY GREG LONG

$50.00 Hardcover 9.25 x 11.25 232 pages ISBN: 978-1-60887-409-5

118

KNOCKOUT The Art of Boxing

SAILING ON THE EDGE America’s Cup

BY KEN REGAN FOREWORD BY MUHAMMAD ALI COMMENTARY BY NORMAN MAILER INTRODUCTION BY LIAM NEESON AFTERWORD BY BUDD SCHULBERG

CONTRIBUTIONS BY JAMES BOYD, MARK CHISNELL, BOB FISHER, KIMBALL LIVINGSTON, AND IVOR WILKINS | PHOTOS EDITED BY SHARON GREEN INTRODUCTION BY ROGER VAUGHAN

$75.00 Hardcover 11 x 14 338 pages + 4 gatefolds ISBN: 978-1-933784-31-1

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•

SPORTS

•

BLAZERMANIA: THIS IS OUR STORY The Official History of the Portland Trail Blazers

ULTIMATE WARRIOR: A LIFE LIVED “FOREVER” The Legend of a WWE Hero

BY WAYNE THOMPSON FOREWORD BY BILL WALTON

TEXT BY JON ROBINSON FOREWORD BY DANA WARRIOR INTRODUCTION BY PAUL “TRIPLE H” LEVESQUE

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VIMY The Vimy Expeditions BY PETER MCMILLAN

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All WWE programming, talent names, images, likenesses, slogans, wrestling moves, trademarks, logos and copyrights are the exclusive property of WWE, Inc. and its subsidiaries. All other trademarks, logos and copyrights are the property of their respective owners. © 2015 WWE, Inc. All Rights Reserved.

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COLORING BOOKS

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DESTINY: THE OFFICIAL COLORING BOOK

DESPICABLE ME 3: THE DELUXE COLORING BOOK

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THE OFFICIAL SUPERNATURAL™ COLORING BOOK Monsters, Demons, and Spirits $14.99 Paperback 8.5 x 10.875 64 coloring pages + 16 full-color pages

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121

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ASSASSIN’S CREED®: THE OFFICIAL COLORING BOOK $15.99 Paperback 8.5 x 11 80 coloring pages + 16 full-color pages

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122

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THE NATIONAL PARKS POSTCARD COLORING BOOK 20 Colorable Postcards of America’s National Parks

THE NATIONAL PARKS POSTER COLORING BOOK 20 Removable Posters to Color and Frame

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DINOSAURS: A COLORING BOOK By William Stout $15.99 Paperback 10 x 11 96 pages ISBN: 978-1-60887-864-2

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123

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New York Times Best Seller!

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Copyright © 2016 Warner Bros. Entertainment Inc. HARRY POTTER characters, names and related indicia are © & ™ Warner Bros. Entertainment Inc. WB SHIELD: TM & © Warner Bros. Entertainment Inc. J.K. ROWLING’S WIZARDING WORLD ™ J.K. Rowling and Warner Bros. Entertainment Inc. Publishing Rights © JKR. (s16)

124

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HARRY POTTER: MAGICAL PLACES AND CHARACTERS POSTER COLORING BOOK $24.99 Paperback 11 x 14 20 posters North American rights sold.

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HARRY POTTER: WINTER AT HOGWARTS $15.99 Paperback 6x6 48 pages North American rights sold.

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North American rights sold. Copyright © 2016 Warner Bros. Entertainment Inc. HARRY POTTER characters, names and related indicia are © & ™ Warner Bros. Entertainment Inc. WB SHIELD: TM & © Warner Bros. Entertainment Inc. J.K. ROWLING’S WIZARDING WORLD ™ J.K. Rowling and Warner Bros. Entertainment Inc. Publishing Rights © JKR. (s16)

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TAVERNS OF THE AMERICAN REVOLUTION BY ADRIAN COVERT

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GIFT

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GO AHEAD, MAKE MY DRINK 60 Recipes Inspired by the Best of Film and Television BY ANTHONY MARINESE ILLUSTRATIONS BY HORACIO CASSINELLI

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CHARMED BY AUDREY Life on the Set of Sabrina PHOTOGRAPHS BY MARK SHAW

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NAPA VALLEY CABERNETS The Best of California’s Wine Country INTRODUCTION BY LISA ADAMS WALTERS FOREWORD BY JOE ROBERTS

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THE GOLDEN GATE San Francisco’s Celebrated Bridge PHOTOGRAPHY BY MORTON BEEBE EDITED BY PETER BEREN

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GRAND CANYON A River at Risk BY WADE DAVIS PHOTOGRAPHY BY CHRIS RAINIER FOREWORD BY GREG MACGILLIVRAY PREFACE BY ROBERT F. KENNEDY JR.

$45.00 Hardcover 12 x 11 168 pages ISBN: 978-1-60109-013-3

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E A R T H AWA R E E D I T I O N S

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GIFT

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GOODNIGHT HUSBAND, GOODNIGHT WIFE

AIR GUITAR A User’s Guide

BY ERIC STANGEL ILLUSTRATIONS BY ADAM J. RAITI

BY BRUNO MACDONALD

$16.99 Hardcover 8.5 x 10 32 pages ISBN: 978-1-60887-093-6

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THE STINK OF LOVE Pepé Le Pew’s Guide to L’Amour

THE KISS A Celebration

BY PEPÉ LE PEW AND SALLY DEEMS-MOGYORDY

$14.99 Hardcover 7x7 128 pages

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130

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ISBN: 978-1-60887-065-3

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MEET MR. PRODUCT, VOL. 1 The Graphic Art of the Advertising Character BY WARREN DOTZ

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GIFT

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MR. PRODUCT, VOL. 2 The Graphic Art of Advertising’s Magnificent Mascots 1960–1985 BY WARREN DOTZ

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CAT FOOD FOR THOUGHT Pet Food Label Art, Wit & Wisdom

DOG FOOD FOR THOUGHT Pet Food Label Art, Wit & Wisdom

BY WARREN DOTZ

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131

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MAIL-ORDER MYSTERIES Real Stuff from Old Comic Book Ads

132

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MAD ABOUT POLITICS An Outrageous Pop-Up Political Parody

BY KIRK DEMARAIS

BY RODGER SMITH

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CHRISTMAS WITH THE FIRST LADIES The White House Decorating Tradition from Jacqueline Kennedy to Michelle Obama BY COLEEN CHRISTIAN BURKE

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THE WORLD’S BEST ADVICE FROM THE WORLD’S WISEST WOMEN BY B. J. GALLAGHER

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ISBN: 978-1-60887-046-2

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DREAMWORKS TROLLHUNTERS: A Brief Recapitulation of Troll Lore: Volume 48 BY RICHARD HAMILTON

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RECENT RELEASE!

JUSTICE LEAGUE MEGA STICKER BOOK

JUSTICE LEAGUE: THE OFFICIAL GUIDE

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Includes Lenticular Cover!

THE BOY WHO CRIED

SUN AND MOON SISTERS

BY KHOA LE

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Includes Lenticular Cover!

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Includes Lenticular Cover!

THE BOY WITH THE BIG HAIR

THE CLOUD PRINCESS

BY KHOA LE

$14.99 Hardcover 11 x 10 24 pages Ages 4+

ISBN: 978-1-60887-733-1

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WHEN I’M FEELING KIND

WHEN I’M FEELING SCARED

WRITTEN AND ILLUSTRATED BY TRACE MORONEY

$9.99 Hardcover 8x8 18 pages Ages 2+

ISBN: 978-1-60887-505-4

ISBN: 978-1-60887-526-9

THE THINGS I LOVE ABOUT FRIENDS

THE THINGS I LOVE ABOUT ME

WRITTEN AND ILLUSTRATED BY TRACE MORONEY

$10.99 Hardcover 9.5 x 9.5 20 pages Ages 4+

ISBN: 978-1-60887-504-7

ISBN: 978-1-60887-527-6

137

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MY MEGA MONSTERPEDIA

MY MONSTER-MASHING ACTIVITY BOOK

BY CATHERINE LEBLANC ILLUSTRATIONS BY ROLAND GARRIGUE

$16.99 Hardcover 7x9 72 pages Ages 6+

$14.99 Paperback 9.25 x 10.5 80 pages

ISBN: 978-1-60887-709-6

138

INSIGHT KIDS

ISBN: 978-1-60887-710-2

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INSIGHT KIDS

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HOW TO KNOCK OUT NIGHTMARES

HOW TO DEMOLISH DINOSAURS

HOW TO OUTWIT WITCHES

BY CATHERINE LEBLANC ILLUSTRATIONS BY ROLAND GARRIGUE

$14.99 Hardcover 9.25 x 10.5 32 pages + sticker sheet Ages 4+

ISBN: 978-1-60887-342-5

ISBN: 978-1-60887-191-9

ISBN: 978-1-60887-193-3

$8.99 Paperback 9.25 x 10.5 32 pages Ages 4+

ISBN: 978-1-60887-413-2

ISBN: 978-1-60887-416-3

HARDCOVER

PAPERBACK

HARDCOVER

PAPERBACK

139

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HOW TO PULVERIZE PIRATES

HOW TO WARD OFF WOLVES

BY CATHERINE LEBLANC ILLUSTRATIONS BY ROLAND GARRIGUE

$14.99 Hardcover 9.25 x 10.5 32 pages + sticker sheet Ages 4+

ISBN: 978-1-60887-192-6

ISBN: 978-1-60887-194-0

$8.99 Paperback 9.25 x 10.5 32 pages Ages 4+ ISBN: 978-1-60887-417-0

HARDCOVER

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PAPERBACK

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HOW TO ZAP ZOMBIES BY CATHERINE LEBLANC ILLUSTRATIONS BY ROLAND GARRIGUE

$14.99 Hardcover 9.25 x 10.5 32 pages + sticker sheet Ages 4+ ISBN: 978-1-60887-442-2

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BEST SELLER!

HOW TO MASH MONSTERS

HOW TO DEFEAT DRAGONS

HOW TO GET RID OF GHOSTS

BY CATHERINE LEBLANC ILLUSTRATIONS BY ROLAND GARRIGUE

$14.99 Hardcover 9.25 x 10.5 32 pages + sticker sheet Ages 4+

ISBN: 978-1-60887-190-2

ISBN: 978-1-60887-341-8

ISBN: 978-1-60887-195-7

$8.99 Paperback 9.25 x 10.5 32 pages Ages 4+

ISBN: 978-1-60887-415-6

ISBN: 978-1-60887-412-5

ISBN: 978-1-60887-414-9

HARDCOVER

PAPERBACK

HARDCOVER

PAPERBACK

HARDCOVER

PAPERBACK

141

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AN EXPLORE-AND-CREATE ACTIVITY BOOK AND PLAYSET

TO BERK AND BEYOND!

ellow Black

Card Front

ellow Black

17295 • 21506030

Card Front

17295 • 21506030

out figures up’s map ostcards 17295 • 21506030

Card Front

17295 • 21506030

ox 3088 l, CA 94912 hteditions.com

887-681-5

$24.95

DRAGON RIDERS!

RICHARD HAMILTON

sketches n cards

-dragon

TO BERK AND BEYOND!

ES:

Includes a complete set t of punch-ou

Richard Hamilton

URED IN CHINA

d Front

17295 • 21506030

Cyan Magenta Yellow Black

17295 • 21507102

DREAMWORKS DRAGONS: TO BERK AND BEYOND! An Explore-and-Create Activity Book and Play Set

142

7/16/15 3:54 PM

KUNG FU PANDA: THE SCROLL OF THE MASTERS An Explore-and-Create Activity Book and Play Set

BY RICHARD HAMILTON

$24.95 Hardcover 9.25 x 10.5 48 pages + 6 inserts

$24.99 Hardcover 9.25 x 10.5 48 pages + 6 inserts

ISBN: 978-1-60887-681-5

ISBN: 978-1-60887-893-2

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DISNEY FROZEN: ELSA AND ANNA’S GUIDE TO ARENDELLE An Explore-and-Create Activity Book and Play Set BY BARBARA BAZALDUA

$24.95 Hardcover 9.25 x 10.5 48 pages + 11 inserts

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DISNEY PRINCESS: A MAGICAL POP-UP WORLD PAPER ENGINEERING, ILLUSTRATIONS, AND TEXT BY MATTHEW REINHART

$65.00 Hardcover 9.25 x 11 5 spreads with 27 pops ISBN: 978-1-60887-553-5

ISBN: 978-1-60887-683-9

143

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ANGRY BIRDS The Complete Sticker Collection $12.99 Paperback 8.5 x 11 80 pages Ages 4+ ISBN: 978-1-60887-378-4

144

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STELLA AND THE HUNT FOR THE JADE EGG

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PIGGY ISLAND HEROES

$14.95 Hardcover 8.5 x 11 32 pages

$10.95 Paperback 5x8 88 pages Ages 8+

ISBN: 978-1-60887-376-0

ISBN: 978-1-60887-377-7

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BULLY $12.99 Hardcover 6.5 x 9 12 pages ISBN: 978-1-60887-163-6

INSIGHT KIDS

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REAL LOVE The Drawings for Sean BY JOHN LENNON INTRODUCTION BY YOKO ONO

$16.95 Hardcover 10 x 9 48 pages ISBN: 978-1-60887-042-4

145

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2013 SILVER IN PICTURE BOOKS

Independent Publisher Book Awards

WHOSE EGG? A Lift-the-Flap Book

WHOSE NEST? A Lift-the-Flap Book

TEXT BY LYNETTE EVANS ILLUSTRATIONS BY GUY TROUGHTON

TEXT BY VICTORIA COCHRANE ILLUSTRATIONS BY GUY TROUGHTON

$16.99 Hardcover 10.25 x 10 36 pages Ages 3+

$16.99 Hardcover 10.25 x 10 40 pages Ages 3+

ISBN: 978-1-60887-203-9

ISBN: 978-1-60887-204-6

THE TITANIC NOTEBOOK The Story of the World’s Most Famous Ship BY CLAIRE HANCOCK

$50.00 Hardcover 11.75 x 10 276 pages ISBN: 978-1-60887-072-1 REVISED NB_Titanic Internals V8 US edit_Layout 1 16/09/2011 14:39 Page 8

My egg is emerald green. It lies like a jewel in this dry, red land.

ose egg? Wh

I will hatch with wings and feathers, but I will never fly.

Ice Ahead!

Beyond Saving The iceberg buckled the hull in several places, and rivets popped out over a length of 270 ft (82 m). Seawater rushed in and the watertight doors were shut. Although the ship could stay afloat with four flooded compartments, five were filling with water.

On the night of April 14th, 1912, at 11:40 p.m., the crew at watch in Titanic’s crow’s nest spotted an iceberg. Thirty-seven seconds later, travelling at over 20 knots, the starboard bow of Titanic hit the berg, and the ship started to list. By midnight, Captain Smith knew she would sink. Five of the forward compartments had flooded, and the ship was beyond saving. At 12:20 a.m., he ordered the lifeboats to be lowered to help his passengers escape the sinking ship.

As water poured into the ship, the tops of the forward watertight bulkheads fell below the waterline.

Distress Signal On board Titanic was a Marconi wireless telegraph that enabled ships to communicate by sending messages via a transmitter to land-based stations. At 10:55 p.m., Harold Bride, the wireless operator, sent out a CQD – the international distress message.

Who am I? Titanic carried lifeboats to hold only 1,179 people. That’s around half of the people who were on board.

Disaster Strikes

of An iceberg is a huge floating chunk ice, and what is seen above the surface the is only a tenth of its full size. On night in question, as soon as the watch spotted the iceberg, Officer Murdoch ordered the ship to be to be turned away and for the engines hit put in reverse. Despite this, Titanic side. the berg on its starboard (right)

My egg is tough and leathery. I call to my mother from a warm, earthy nest. I will hatch with yellow stripes and needle-sharp teeth. I have scaly claws and snapping jaws!

Who am I?

146

Whose egg?

The Ship’s Band

Captain Smith had received various warnings of icebergs throughout the day.

As it became obvious that Titanic was going to sink, the eight-member ship’s band, led by Wallace Hartley, assembled and played in the first class lounge. Later, in an effort to keep passengers calm, they moved on to the forward half of the boat deck. All members went down with the ship.

P. C. Taylor W. T. Brailey

J. L. Hume G. Krins

J. W. Woodward

W. Hartley

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INSIGHT KIDS

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2013 SILVER

Independent Publisher Book Awards

BEE LIFE

BUG LIFE

TEXT BY LYNETTE EVANS ILLUSTRATIONS BY FRANCESCA D’OTTAVI

$12.99 Hardcover 9 x 9.75 32 pages Ages 4+

ISBN: 978-1-60887-198-8

ISBN: 978-1-60887-199-5

The tiny ladybug beats her transparent wings up to 85 times per second as she ﬂies.

The little ladybug explores the tangle of leafy plants around her. She crawls across long leaves that arch and bend like living bridges. She climbs spear-shaped leaves that shoot straight and tall into the sky.

Worker bees can fight like warriors. They have a sharp, poison-filled sting to keep honey-snatchers away. Worker bees use their sting for defence, but it is a one-time weapon.

Worker bees gather the food that fuels the hive. In fine weather, the older bees fly far and wide to forage in fields and sip from flowers. The bees see the striking patterns and many of the bright colors in flowers. They smell the nectar and the pollen. The flowers invite them to come close. The little honeybee hovers like a helicopter above a flower’s pink petals. She lands lightly. She drinks deeply. Inside a special part of her stomach, the sugary nectar begins to turn into honey for the hive.

A worker bee dies soon after it loses its sting. As it dies, it sends out a brave message. A special smell alerts other bees to danger, and guard bees get ready to attack.

Then the little ladybug lifts and swivels her fiery-red front wings, ready for takeoff. Beneath them, her paper-thin back wings unfold and flutter like a fan until she rises into the air.

he brightly colored little beetle launches herself up, up, and away. She skims over a farmer’s full fields on her tiny beating wings. Below her, rows of cabbages and leafy lettuces and clusters of tomatoes grow round and ripe in the summer sun.

This little insect is a ladybug. She is hungry, but not for the farmer’s food. A broad green leaf is her landing pad, and juicy bugs are her prey.

Worker bees can travel up to 500 miles during their foraging lifetime of 17 days.

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INDEX

ART OF THE IRON GIANT, THE . . . . . . . . . . . . . . . . . . . . . . . . . . 55

24: BEHIND THE SCENES. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

ART OF THE JUNGLE BOOK, THE . . . . . . . . . . . . . . . . . . . . . . . 50

100 GREATEST LOONEY TUNES CARTOONS, THE. . . . . . . . 37

ART OF THE STRAIN, THE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 ART OF TURBO, THE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

A A CALIFORNIA CHILDHOOD . . . . . . . . . . . . . . . . . . . . . . . . . . . 112 A DIE HARD CHRISTMAS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 A MONSTER CALLS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 ACCIDENTAL INVENTIONS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114 ADVENTURE TIME: HERO TIME WITH FINN AND JAKE . . . . . . 49 ADVENTURE TIME: HOW TO WARRIOR BY FIONNA AND CAKE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

ART OF WORLD OF WARCRAFT, THE . . . . . . . . . . . . . . . . . . . . 41 ART OF XCOM 2, THE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47 ASSASSIN’S CREED UNITY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43 ASSASSIN’S CREED: INTO THE ANIMUS . . . . . . . . . . . . . . . . . . 5 ASSASSIN’S CREED® IV BLACK FLAG™. . . . . . . . . . . . . . . . . . 43 ASSASSIN’S CREED®: THE COMPLETE VISUAL HISTORY. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

ADVENTURE TIME: THE OFFICIAL COOKBOOK . . . . . . . . 49

ASSASSIN’S CREED®: THE OFFICIAL COLORING BOOK . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122

AFTER EARTH. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

AUSTIN CITY LIMITS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103

AIN’T GOT TIME TO BLEED . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

AVATAR: THE LAST AIRBENDER: LEGACY. . . . . . . . . . . . . . . 56

AIR GUITAR: A USER’S GUIDE . . . . . . . . . . . . . . . . . . . . . . . . . . . 129 ALIEN: THE WEYLAND-YUTANI REPORT . . . . . . . . . . . . . . . . . 27 ALL ACCESS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94 AMAZING EVERYTHING: THE ART OF SCOTT C. . . . . . . . . 78 AMERICA’S TEAM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115 ANGRY BIRDS: HATCHING A UNIVERSE . . . . . . . . . . . . . . . 144 ANGRY BIRDS: THE COMPLETE STICKER COLLECTION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144 AQUATIQUE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85 ART & MAKING OF CLOUDY WITH A CHANCE OF MEATBALLS, THE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .50 ART AND MAKING OF THE SHAPE OF WATER, THE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

B BACK TO THE FUTURE: THE ULTIMATE VISUAL HISTORY. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 BAKER STREET FOUR, VOL. 1, THE . . . . . . . . . . . . . . . . . . . . . . 69 BAKER STREET FOUR, VOL. 2, THE . . . . . . . . . . . . . . . . . . . . . . 69 BAKER STREET FOUR, VOL. 3, THE . . . . . . . . . . . . . . . . . . . . . . 68 BALLAD OF RANGO, THE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51 BALTIMORE ORIOLES. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117 BART SIMPSON’S MANUAL OF MISCHIEF. . . . . . . . . . . . . . . 38 BARTMAN: THE HERO’S HANDBOOK . . . . . . . . . . . . . . . . . . 38 BATMOBILE: THE COMPLETE HISTORY . . . . . . . . . . . . . . . . . 26 BEATLES IN INDIA, THE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126

ART OF ADVENTURE, THE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

BEE LIFE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147

ART OF BLIZZARD ENTERTAINMENT, THE . . . . . . . . . . . . . . 42

BETWEEN MIDNIGHT AND DAY . . . . . . . . . . . . . . . . . . . . . . . . 95

ART OF BLUE SKY STUDIOS, THE. . . . . . . . . . . . . . . . . . . . . . . . 56

BIG SHOTS: ROCK LEGENDS AND HOLLYWOOD ICONS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99

ART OF DAVE SEELEY, THE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81 ART OF DESTINY 2, VOLUME 2, THE . . . . . . . . . . . . . . . . . . . . 44 ART OF DESTINY, THE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44 ART OF EVOLVE, THE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46 ART OF GHOST IN THE SHELL, THE . . . . . . . . . . . . . . . . . . . . . . 4 ART OF HALO 5: GUARDIANS, THE. . . . . . . . . . . . . . . . . . . . . 45 ®

ART OF HARLEY QUINN, THE . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71 ART OF HARRY POTTER, THE . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 ART OF HOME, THE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54 ART OF JOCK, THE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77 ART OF KRAMPUS, THE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 ART OF KUNG FU PANDA 2, THE . . . . . . . . . . . . . . . . . . . . . . . . 52 ART OF KUNG FU PANDA 3, THE . . . . . . . . . . . . . . . . . . . . . . . . 53 ART OF KUNG FU PANDA, THE . . . . . . . . . . . . . . . . . . . . . . . . . 52 ART OF MADAGASCAR 3, THE . . . . . . . . . . . . . . . . . . . . . . . . . . 53 ART OF MAFIA III, THE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45 ART OF MEGAMIND, THE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57 ART OF MONDO, THE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77

148

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BLACK’MOR CHRONICLES: THE CURSED . . . . . . . . . . . . . . . 61 BLAZERMANIA: THIS IS OUR STORY . . . . . . . . . . . . . . . . . . . . 119 BLUE ICE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90 BOB MARLEY (ONE ON ONE) . . . . . . . . . . . . . . . . . . . . . . . . . . 96 BORN TO RUN. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93 BOWIE: ALBUM BY ALBUM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101 BOY WHO CRIED, THE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136 BOY WITH THE BIG HAIR, THE . . . . . . . . . . . . . . . . . . . . . . . . . . 136 BRIAN FROUD’S WORLD OF FAERIE . . . . . . . . . . . . . . . . . . . 80 BUDDHAS OF THE CELESTIAL GALLERY . . . . . . . . . . . . . . . . 86 BUFFY THE VAMPIRE SLAYER THE OFFICIAL GRIMOIRE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 BUG LIFE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147 BULLY. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145 C C. MONTGOMERY BURNS’ HANDBOOK OF WORLD DOMINATION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

ART OF MR. PEABODY & SHERMAN, THE . . . . . . . . . . . . . . . 54

CALL OF DUTY WWII: FIELD MANUAL . . . . . . . . . . . . . . . . . . 45

ART OF PAN, THE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

CAPTURING ARCHETYPES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83

ART OF PENGUINS OF MADAGASCAR, THE . . . . . . . . . . . . 53

CAPTURING ARCHETYPES, VOLUME 2 . . . . . . . . . . . . . . . . . 83

ART OF PLANET 51, THE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

CAPTURING ARCHETYPES, VOLUME 3 . . . . . . . . . . . . . . . . . 83

ART OF PUSS IN BOOTS, THE. . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

CAT FOOD FOR THOUGHT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131

ART OF RISE OF THE GUARDIANS, THE. . . . . . . . . . . . . . . . . 55

CELESTIAL GALLERY. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86

ART OF SHREK FOREVER AFTER, THE . . . . . . . . . . . . . . . . . . . 51

CHARMED BY AUDREY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127

ART OF THE BOSS BABY, THE . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

CHRISTMAS WITH THE FIRST LADIES . . . . . . . . . . . . . . . . . . . 133

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INDEX

CINEMATIC ART OF WORLD OF WARCRAFT: WRATH OF THE LICH KING, THE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

•

CLINT EASTWOOD: ICON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99

GAME OF THRONES™: A POP-UP GUIDE TO WESTEROS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

CLOSE ENCOUNTERS OF THE THIRD KIND: THE ULTIMATE VISUAL HISTORY. . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

GATHERING STORM: A QUARTET IN SEVERAL PARTS, THE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80

CLOUD PRINCESS, THE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136

GEARS OF WAR: JUDGMENT™ . . . . . . . . . . . . . . . . . . . . . . . . . . 46

COMPLETE QUINCY JONES, THE . . . . . . . . . . . . . . . . . . . . . . 104

GHOSTBUSTERS: ECTOMOBILE . . . . . . . . . . . . . . . . . . . . . . . . . 6

COMPLETE X-FILES, THE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32 COURT OF THE DEAD. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61 COURT OF THE DEAD: GRAVE TALES. . . . . . . . . . . . . . . . . . . 65 CRIMSON PEAK: THE ART OF DARKNESS . . . . . . . . . . . . . . . 11

GHOSTBUSTERS: THE ULTIMATE VISUAL HISTORY . . . . . . . 6 GO AHEAD, MAKE MY DRINK . . . . . . . . . . . . . . . . . . . . . . . . . . . 127 GODDESSES OF THE CELESTIAL GALLERY. . . . . . . . . . . . . . 87 GODZILLA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

CUBA: THIS MOMENT, EXACTLY SO . . . . . . . . . . . . . . . . . . . . . 90

GOLDEN GATE, THE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128

GRAMPA SIMPSON’S GUIDE TO AGING . . . . . . . . . . . . . . . . 39

D IS FOR DESTINY. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

GRAND CANYON: A RIVER AT RISK . . . . . . . . . . . . . . . . . . . . 110

DARK CRYSTAL: THE ULTIMATE VISUAL HISTORY, THE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

GRIMBEARD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

DARK KNIGHT MANUAL, THE . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

GRIT AND GLAMOUR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79

DAYS OF HOPE AND DREAMS . . . . . . . . . . . . . . . . . . . . . . . . . . 93

GUARDIANS OF THE GALAXY: CREATING MARVEL’S SPACEFARING SUPER HEROES . . . . . . . . . . . . . . . . . . . . . . 72

DC COMICS COLORING BOOK . . . . . . . . . . . . . . . . . . . . . . . 122 DC COMICS: SUPER-VILLAINS . . . . . . . . . . . . . . . . . . . . . . . . . . 71 DC COMICS: WONDER WOMAN COLORING BOOK. . . 93 DEADPOOL: DRAWING THE MERC WITH A MOUTH . . . . 72 DESPICABLE ME 3: THE DELUXE COLORING BOOK. . . . 121 DESTINY: THE OFFICIAL COLORING BOOK. . . . . . . . . . . . . 121 DIABLO III: BOOK OF CAIN. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60 DIABLO III: BOOK OF TYRAEL . . . . . . . . . . . . . . . . . . . . . . . . . . 60 DINOSAURS: A COLORING BOOK BY WILLIAM STOUT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123 DISNEY FROZEN: ELSA AND ANNA’S GUIDE TO ARENDELLE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143 DISNEY PRINCESS: A MAGICAL POP-UP WORLD . . . 35, 143 DOG FOOD FOR THOUGHT . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131 DREAMWORKS DRAGONS: TO BERK AND BEYOND! . . . 142

GOODNIGHT HUSBAND, GOODNIGHT WIFE . . . . . . . . . . 129

GRATEFUL DEAD: WORLD AT THEIR COMMAND . . . . . . . . 71

GUILLERMO DEL TORO: AT HOME WITH MONSTERS . . . . 10 GUILLERMO DEL TORO: CABINET OF CURIOSITIES . . . . . 10 GUILLERMO DEL TORO’S PAN’S LABYRINTH . . . . . . . . . . . . . 9 GUILLERMO DEL TORO’S THE DEVIL’S BACKBONE . . . . . . . 8 GUITARS THAT JAM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108

H HAIGHT: LOVE, ROCK, AND REVOLUTION, THE . . . . . . . . . 79 HAIRSPRAY. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32 HANNA-BARBERA TREASURY, THE . . . . . . . . . . . . . . . . . . . . . . 37 HARRY POTTER AND THE CHAMBER OF SECRETS ENCHANTED POSTCARD BOOK . . . . . . . . . . . . . . . . . . . . . 21 HARRY POTTER AND THE SORCERER’S STONE ENCHANTED POSTCARD BOOK . . . . . . . . . . . . . . . . . . . . . . 21 HARRY POTTER: A CINEMATIC GALLERY . . . . . . . . . . . . . . . . 17

DREAMWORKS TROLLHUNTERS: A BRIEF RECAPITULATION OF TROLL LORE: VOLUME 48 . . . . . 135

HARRY POTTER: A POP-UP BOOK . . . . . . . . . . . . . . . . . . . . . . 20

DRESSING A GALAXY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

HARRY POTTER: COLORING BOOK . . . . . . . . . . . . . . . . . . . . 124

E EARTH IS MY WITNESS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91 ELVES, VOL. 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67 ELVES, VOL. 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67 ELVES, VOL. 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66 ELVIS AT 21 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103 ELVIS (ONE ON ONE) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96 ENDER’S GAME: INSIDE THE WORLD OF AN EPIC ADVENTURE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27 ESSENTIAL SUPERNATURAL™, THE . . . . . . . . . . . . . . . . . . . . . 25 EXPERIENCE: JIMI HENDRIX AT MASONS YARD, THE . . . 105 EXPLORING THE DEEP. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

F FANTASTIC BEASTS AND WHERE TO FIND THEM: NEWT SCAMANDER: A MOVIE SCRAPBOOK . . . . . . . . . . . . . . . . 15 FIGURE FANTASY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82 FINEST LINE, THE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118 FRINGE: SEPTEMBER’S NOTEBOOK . . . . . . . . . . . . . . . . . . . . 33

HARRY POTTER: A STICKER COLLECTION . . . . . . . . . . . . . . . 21 HARRY POTTER: FILM WIZARDRY . . . . . . . . . . . . . . . . . . . . . . . 19 HARRY POTTER: MAGICAL ARTIFACTS COLORING BOOK . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125 HARRY POTTER: MAGICAL ARTIFACTS POSTER COLORING BOOK . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125 HARRY POTTER: MAGICAL ARTIFACTS POSTER COLORING BOOK . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125 HARRY POTTER: MAGICAL CREATURES COLORING BOOK . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124 HARRY POTTER: MAGICAL CREATURES POSTCARD COLORING BOOK. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124 HARRY POTTER: MAGICAL FILM PROJECTIONS QUIDDITCH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 HARRY POTTER: MAGICAL FILM PROJECTIONS: PATRONUS CHARM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 HARRY POTTER: MAGICAL PLACES AND CHARACTERS COLORING BOOK . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125 HARRY POTTER: MAGICAL PLACES AND CHARACTERS POSTCARD COLORING BOOK . . . . . . . . . . . . . . . . . . . . . . . 125 HARRY POTTER: MAGICAL PLACES AND CHARACTERS POSTER COLORING BOOK . . . . . . . . . . . . . . . . . . . . . . . . . . 125

149

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INDEX

HARRY POTTER: MAGICAL PLACES FROM THE FILMS . . . 19

JOHN & YOKO: A NEW YORK LOVE STORY . . . . . . . . . . . . . 98

HARRY POTTER: PAGE TO SCREEN . . . . . . . . . . . . . . . . . . . . . . 19

JOHN LENNON: THE COLLECTED ARTWORK . . . . . . . . . . 98

HARRY POTTER: POSTCARD COLORING BOOK . . . . . . . . 124

JOHN WAYNE: THE UNSEEN ARCHIVE OF AN AMERICAN LEGEND . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111

HARRY POTTER: POSTER COLORING BOOK . . . . . . . . . . . 124 HARRY POTTER: THE ARTIFACT VAULT . . . . . . . . . . . . . . . . . . 18 HARRY POTTER: THE CHARACTER VAULT . . . . . . . . . . . . . . . 18 HARRY POTTER: THE CREATURE VAULT . . . . . . . . . . . . . . . . . 18 HARRY POTTER: THE MONSTER BOOK OF MONSTERS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120 HARRY POTTER: THE WAND COLLECTION . . . . . . . . . . . . . . 17 HARRY POTTER: WINTER AT HOGWARTS . . . . . . . . . . . . . . . 125

JOHNNY DEPP: A RETROSPECTIVE . . . . . . . . . . . . . . . . . . . . . 113 JUSTICE LEAGUE MEGA STICKER BOOK . . . . . . . . . . . . . . . 135 JUSTICE LEAGUE: THE OFFICIAL GUIDE . . . . . . . . . . . . . . . . 135

K KEEPING TIME: THE PHOTOGRAPHS OF DON HUNSTEIN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

HEARTHSTONE: INNKEEPER’S TAVERN COOKBOOK. . . . 41

KING OF STYLE, THE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108

HIDDEN UNIVERSE TRAVEL GUIDES: STAR TREK: THE KLINGON EMPIRE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

KISS, THE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130 KNOCKOUT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118

HIDDEN UNIVERSE TRAVEL GUIDES: STAR TREK: VULCAN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

KUNG FU PANDA: THE SCROLL OF THE MASTERS . . . . . . 142

HIDDEN UNIVERSE TRAVEL GUIDES: THE COMPLETE MARVEL COSMOS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

KURT COBAIN: MONTAGE OF HECK . . . . . . . . . . . . . . . . . . . 102

HOLLYWOOD DREAMING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112

LABYRINTH: THE ULTIMATE VISUAL HISTORY. . . . . . . . . . . . . 7

HOMER SIMPSON’S LITTLE BOOK OF LAZINESS . . . . . . . . 39

LAST WINTER, THE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

HOUSE OF BLUES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102

LES BRERS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102

HOUSE OF CASH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111

LISA SIMPSON’S GUIDE TO GEEK CHIC . . . . . . . . . . . . . . . . . 39

HOW TO DEFEAT DRAGONS . . . . . . . . . . . . . . . . . . . . . . . . . . . 141

LIVE DEAD. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105

HOW TO DEMOLISH DINOSAURS . . . . . . . . . . . . . . . . . . . . . . 139 HOW TO GET RID OF GHOSTS . . . . . . . . . . . . . . . . . . . . . . . . . . 141

LONE RANGER: BEHIND THE MASK, THE . . . . . . . . . . . . . . 28

HOW TO KNOCK OUT NIGHTMARES . . . . . . . . . . . . . . . . . . . 139 HOW TO MASH MONSTERS . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141

LONDON ROCK: THE UNSEEN ARCHIVE . . . . . . . . . . . . . . 92 LOST AMAZON, THE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124

HOW TO OUTWIT WITCHES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139

HOW TO PULVERIZE PIRATES . . . . . . . . . . . . . . . . . . . . . . . . . . 140

M.F.K. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

HOW TO WARD OFF WOLVES . . . . . . . . . . . . . . . . . . . . . . . . . 140

MAD ABOUT POLITICS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132

HOW TO ZAP ZOMBIES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140

MAFIA III: PLAIN OF JARS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

I I’VE NEVER MET AN IDIOT ON THE RIVER . . . . . . . . . . . . . . 113 IN A WORLD OF GODS & GODDESSES . . . . . . . . . . . . . . . . . 87 INCEPTION: THE SHOOTING SCRIPT. . . . . . . . . . . . . . . . . . . . 29 INDIANA JONES AND THE KINGDOM OF THE CRYSTAL SKULL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 INSIDE THE SIDESHOW STUDIO . . . . . . . . . . . . . . . . . . . . . . . . 82 INTERSTELLAR: BEYOND TIME AND SPACE . . . . . . . . . . . . 29 INTO AFRICA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88 INTO THE LOOKING GLASS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118 IRON MAN MANUAL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

MAIL-ORDER MYSTERIES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132 MAKING OF DUNKIRK, THE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 MAN OF STEEL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 MARVEL VEHICLES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73 MARVEL’S THE BLACK WIDOW: CREATING THE AVENGING SUPER-SPY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72 MEET MR. PRODUCT, VOL. 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131 METALLICA: BACK TO THE FRONT . . . . . . . . . . . . . . . . . . . . . . 101 MIGRATIONS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91 MILE 46 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90 MILES DAVIS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97 MISSION IMPOSSIBLE: GHOST PROTOCOL: SHOOTING DIARY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 MONKEY KING, THE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85

J.K. ROWLING’S WIZARDING WORLD: A POP-UP GALLERY OF CURIOSITIES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

MR. PRODUCT, VOL. 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131

J.K. ROWLING’S WIZARDING WORLD: MAGICAL FILM PROJECTIONS: CREATURES . . . . . . . . . . . . . . . . . . . . . . . . . . 16

MY MONSTER-MASHING ACTIVITY BOOK . . . . . . . . . . . . . . 138

J.K. ROWLING’S WIZARDING WORLD: MOVIE MAGIC, VOLUME 2: CURIOUS CREATURES . . . . . . . . . . . . . . . . . . . . 14

150

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MY MEGA MONSTERPEDIA . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138 MY MUSIC, MY LIFE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104

J.K. ROWLING’S WIZARDING WORLD: MOVIE MAGIC, VOLUME 3: AMAZING ARTIFACTS . . . . . . . . . . . . . . . . . . . . . 14

NAPA VALLEY CABERNETS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128

J.K. ROWLING’S WIZARDING WORLD: MOVIE MAGIC: VOLUME 1: EXTRAORDINARY PEOPLE AND FASCINATING PLACES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

NATIONAL PARKS POSTCARD COLORING BOOK, THE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123

NASHVILLE: BEHIND THE CURTAIN . . . . . . . . . . . . . . . . . . . . 107

NATIONAL PARKS POSTER COLORING BOOK, THE . . . . 123

J.K. ROWLING’S WIZARDING WORLD: THE DARK ARTS: A MOVIE SCRAPBOOK . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

NATIONAL PARKS: AN AMERICAN LEGACY, THE . . . . . . . 89

JERRY GARCIA: THE COLLECTED ARTWORK . . . . . . . . . . . . 97

NATIONAL PARKS: OUR AMERICAN LANDSCAPE, THE . . . 89

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INDEX

O OFFICIAL SUPERNATURAL COLORING BOOK, THE . . . . 121 ORPHAN BLACK: CLASSIFIED CLONE REPORTS . . . . . . . 24 ORPHAN BLACK: THE OFFICIAL COLORING BOOK . . . . 121

•

TEENAGE MUTANT NINJA TURTLES: THE ULTIMATE VISUAL HISTORY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 TERMINATOR GENISYS: RESETTING THE FUTURE . . . . . . 30 THINGS I LOVE ABOUT FRIENDS, THE . . . . . . . . . . . . . . . . . . 137 THINGS I LOVE ABOUT ME, THE . . . . . . . . . . . . . . . . . . . . . . . . 137

THIS IS COUNTRY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107

PACIFIC RIM: MAN, MACHINES & MONSTERS . . . . . . . . . . . . 9

TITANIC NOTEBOOK, THE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146

PATTI SMITH: AMERICAN ARTIST . . . . . . . . . . . . . . . . . . . . . . . 93

TOBIN’S SPIRIT GUIDE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

PHILADELPHIA PHILLIES, THE . . . . . . . . . . . . . . . . . . . . . . . . . . 117

TOTALLY AWESOME . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

PIGGY ISLAND HEROES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144

TRANSCENDENT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

PRISON BREAK . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

TRICK ‘R TREAT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

PUNKS, POETS & PROVOCATEURS . . . . . . . . . . . . . . . . . . . . . 94

R REAL LOVE: THE DRAWINGS FOR SEAN . . . . . . . . . . . . . . . . 145 RED RIDING HOOD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 REFLECTIONS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85 REGGAE SCRAPBOOK . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104 ROCK GODS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94 ROLLING STONES (ONE ON ONE) . . . . . . . . . . . . . . . . . . . . . 106 ROLLING STONES 50X20 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106

S SAILING ON THE EDGE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118 SALVAGED . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84 SAN FRANCISCO 49ERS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115 SAN FRANCISCO GIANTS, THE . . . . . . . . . . . . . . . . . . . . . . . . . 116 SCULPTING A GALAXY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 SHADES OF LOVE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84 SHADOWLINE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81 SIBERIA 56 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64 SKINNED . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63 SLASH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103 SOUL REBEL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96 SOUL TRAIN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109 SPIRIT: A POP-UP GRAPHIC NOVEL, THE . . . . . . . . . . . . . . . . 73 SPLENDID LIFE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78 SPONGEBOB SQUAREPANTS EXPERIENCE, THE . . . . . . . . 37 STAR TREK: COSTUMES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 STAR TREK: REDSHIRT’S LITTLE BOOK OF DOOM . . . . . . . 13 STARCRAFT FIELD MANUAL . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

U ULTIMATE WARRIOR: A LIFE LIVED “FOREVER” . . . . . . . . 119 UNDER THE HALO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116

V VAMPIRE DIARIES, THE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 VIMY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119

W WALKING DEAD: THE OFFICIAL COOKBOOK AND SURVIVAL GUIDE, THE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 WALKING DEAD: THE POP-UP BOOK, THE . . . . . . . . . . . . . 23 WARCRAFT: BEHIND THE DARK PORTAL . . . . . . . . . . . . . . . 30 WHEN I’M FEELING KIND . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137 WHEN I’M FEELING SCARED . . . . . . . . . . . . . . . . . . . . . . . . . . . 137 WHITNEY HOUSTON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109 WHOSE EGG? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146 WHOSE NEST? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146 WORLD ACCORDING TO BATMAN, THE . . . . . . . . . . . . . . . . . 74 WORLD ACCORDING TO IRON MAN, THE . . . . . . . . . . . . . . 75 WORLD ACCORDING TO SPIDER-MAN, THE . . . . . . . . . . . . 75 WORLD ACCORDING TO SUPERMAN, THE . . . . . . . . . . . . . . 74 WORLD ACCORDING TO THE JOKER, THE . . . . . . . . . . . . . . 74 WORLD ACCORDING TO THOR, THE . . . . . . . . . . . . . . . . . . . . 75 WORLD ACCORDING TO WOLVERINE, THE . . . . . . . . . . . . 75 WORLD ACCORDING TO WONDER WOMAN, THE . . . . . . 74 WORLD OF WARCRAFT: THE OFFICIAL COOKBOOK . . . . 41 WORLD’S BEST ADVICE FROM THE WORLD’S WISEST WOMEN, THE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133

STELLA AND THE HUNT FOR THE JADE EGG . . . . . . . . . . 104

STINK OF LOVE, THE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130

XCOM 2: RESURRECTION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

STRAIN: THE MASTER, THE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118

XCOM 2: ESCALATION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

STYLING THE STARS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79 SUN AND MOON SISTERS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136 SUPERNATURAL, THE TELEVISION SERIES . . . . . . . . . . . . . 25

Z ZOMBIES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65

SUPERNATURAL: THE MEN OF LETTERS BESTIARY . . . . . 25 SUPERNATURAL: THE OFFICIAL COLORING BOOK . . . . 122 SURF’S UP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

T TARANTINO: A RETROSPECTIVE . . . . . . . . . . . . . . . . . . . . . . . . . 3 TAVERNS OF THE AMERICAN REVOLUTION . . . . . . . . . . . 127 TEENAGE MUTANT NINJA TURTLES PIZZA COOKBOOK, THE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 TEENAGE MUTANT NINJA TURTLES: THE POP-UP BOOK . . . 22

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