Storyville: The Prostitute Murders is a graphic novel set in the Storyville district of 1910 New Orleans which was the home for the "Devil's Blues" which later became known as jazz. The legalized red light district ran for 25 years and virtually everything was permitted - from sex to booze, from gambling to drugs. The only thing that was not acceptable was murder, because murder was bad for business. When prostitutes and their customers start being killed, Detective Brian Donahue, a transplant from Chicago, finds he has no answer to these seemingly random murders. Pressured by superiors and the local 'political machine' Donahue enlists the aid of Dr. Eric Trevor, a psychiatrist at the nearby Saint James Infirmary. And the two of them embark to unravel the mystery of this new type of killer seldom seen before...a serial killer. From the mind of Gary Reed, writer of the critically acclaimed Renfield and Saint Germaine graphic novels. Collects issues 1-5.

Set in the Storyville district of 1910 New Orleans which was the home for the "Devil¡¯s Blues" which later became known as jazz. The legalized red light district ran for 25 years and virtually everything was permitted - from sex to booze, from gambling to drugs. The only thing that was not acceptable was murder, because murder was bad for business. When prostitutes and their customers start being killed, Detective Brian Donahue, a transplant from Chicago, finds he has no answer to these seemingly random murders. Pressured by the local 'political machine' Donahue enlists the aid of Dr. Eric Trevor, a psychiatrist at the nearby Saint James Infirmary, a hospital for the mentally ill. It is hoped that Dr. Trevor will provide the answers these seemingly random and vicious crimes. And the two of them embark to unravel the mystery of this new type of killer seldom seen before...a serial killer. From the mind of Gary Reed, writer of the critically acclaimed Renfield and Saint Germaine. Part 1 of 5.

While attempting to solve the Storyville district murders in 1910 New Orleans, Detective Brian Donahue comes under pressure by his superiors and local 'political machine' and enlists the aid of Dr. Eric Trevor, a psychiatrist at the nearby Saint James Infirmary, a hospital for the mentally ill. Dr. Trevor is at first reluctant to join, his main concern is for his patients, not the police's work but understands his value to the investigation. As he evaluates the mounting crime scenes, he begins to formulate his own idea of why the crimes are occurring and that perhaps it was not the prostitutes that were the intended victims but actually their customers. Part 2 of 5.

The conclusion to the mystery as Trevor finds out the key suspect was a patient at Saint James Infirmary. But even identifying the murderer still leaves the question of motive. Donahue, Trevor, and the support team lay a trap for the killer in hope that they not only stop the murders but find out why as well. Part 5 of 5.

The investigation makes headway as answers start to develop that explain the murders. A society of businessmen who banded together for profit and appearances may be the key to the murders. In a city full of disease before the era of antibiotics, deadly diseases may also play a major role. But the investigators have to be careful as the city is on the precipice of another riot, which decimated the city a decade earlier. Part 4 of 5.

While attempting to solve the Storyville district murders in 1910 New Orleans, Dr.Eric Trevor finds out that Detective Donahue is much more resourceful than he thought as he is invited to participate in Donahue¡¯s "private" investigation since officially, things have to be kept quiet so as not to disrupt the thriving economic base of Storyville. New to the city, Trevor finds out about the past of Storyville while at the same time attending his Saint James Infirmary patients, including a 15-year-old boy who murdered his two friends for no apparent reason. Trevor explains to the investigative police team about the ideas behind Jack the Ripper and how the cases might be eerily similar. Part 3 of 5.

This first Caliber Rounds preview issue clocks in at a large 38 pages with interviews from Kevin Van Hook on doing Rocky Horror Picture Show, Ben Sherrill and his Ballad of Rory Hawkins, Mayen Briem on the genesis of Horror City, and Steve Jones takes a look at Dracula and wants to know why the Count can't gain popularity ala Sherlock Holmes. Plus a look at all the releases from Caliber's first year since it returned to publishing. There's also a sneak peak at some upcoming titles.

The original Caliber Presents anthology title was one of Caliber Comic's inaugural releases in the 1990s and featured predominantly new creators, many of which went onto successful careers in the comics' industry. Continuing the relaunch of one of independent comics’ most acclaimed anthologies! This new version of Caliber Presents has expanded in size and scope. In addition to new voices, something that Caliber has always been known for, established professionals join the ranks in this ongoing anthology series. In this second volume, nominees and winners of such awards as Eisner; Harvey; Veric; Ghastly; Comic Monsters; and Shel Dorf are included. Writers Gary Reed, Gary Scott Beatty, Mark Bertolini, E. Mayen Briem, Ken Meyer Jr., Sam Costello, Glenn Moane, Jason Walz, and Orion Petitclerc; with illustrations by Trevor Denham, Predrag Ivanovic, Jason Jarava, Sami Makkonen, Gary Scott Beatty, Ken Meyer Jr., Marcelo Salaza, Denis Vermesse, and Andy Bennett. For fans that enjoy Twilight Zone, Black Mirror, Tales from the Crypt and Alfred Hitchcock Presents! A Caliber Comics release.

Urban Comics: Infrastructure and the Global City in Contemporary Graphic Narratives makes an important and timely contribution both to comics studies and urban studies, offering a decolonisation and reconfiguration of both of these already interdisciplinary fields. With chapter-length discussions of comics from cities such as Cairo, Cape Town, New Orleans, Delhi and Beirut, this book shows how artistic collectives and urban social movements working across the global South are producing some of the most exciting and formally innovative graphic narratives of the contemporary moment. Throughout, the author reads an expansive range of graphic narratives through the vocabulary of urban studies to argue that these formal innovations should be thought of as a kind of infrastructure. This ‘infrastructural form’ allows urban comics to reveal that the built environments of our cities are not static, banal, or depoliticised, but rather highly charged material spaces that allow some forms of social life to exist while also prohibiting others. Built from a formal infrastructure of grids, gutters and panels, and capable of volumetric, multi-scalar perspectives, this book shows how urban comics are able to represent, repair and even rebuild contemporary global cities toward more socially just and sustainable ends. Operating at the intersection of comics studies and urban studies, and offering large global surveys alongside close textual and visual analyses, this book explores and opens up the fascinating relationship between comics and graphic narratives, on the one hand, and cities and urban spaces, on the other.

Taking readers back to his acclaimed and much-loved Storyville series, award-winning author Fulmer marks a heart-pounding return to the streets of Detective Valentin St. Cyr's New Orleans.