Sid tries so hard to be scary, but really he's not! In this new interactive series, award-winning creator Sam Lloyd bring a delightful monster world to life with a hand puppet format that can be used to act out the story. Sid hides behind trees and jumps out to scare the other creatures in the forest-roar! As the story unfolds kids are invited to give Sid a fright themselves, and see what happens to the not so scary monster!

"You're in charge of Dudley's day. What will he do? What will he say"--Cover.

The four Toy Story films retold as comics.

Sid, Axl, and Ivan volunteer to make a late-night fast-food run for the high school theater crew, and when they return, they find themselves. Not in a deep, metaphoric sense: They find copies of themselves onstage. As they look closer, they begin to realize that the world around them isn’t quite right. Turns out, when they went to the taco place across town, they actually crossed into an alien dimension that’s eerily similar to their world. The aliens have made sinister copies of cars, buildings, and people—and they all want to get Sid, Axl, and Ivan. Now the group will have to use their wits, their truck, and even their windshield scraper to escape! But they may be too late. They may now be copies themselves . . .

It's Doris's first day at school, and unlike her big-mouthed big brother, she's quiet and a bit shy. 'Turn it up, Doris ' Boris tells her. But nothing can make her speak up until Boris falls down a hole on the way home. Then Doris surprises everyone when she saves the day by shouting for help.

Eldot continues his five part romp at Camp Walker that began with Barr's Meadow. Julian's main objective, conquering his scoutmaster's heart, is unchanged, but he learns that it will take much longer than he planned. Meanwhile, he learns what he can from the other scouts. He works hard at his new job as assistant scribe. The romance between Tom and Nick is the major focus of Part 2. Distractions, challenges and obstacles occur along the way. Of course, those just happen to come in the guise of yet other characters that wish to romp with Tom. First among these is the exotic Geoff Staples, a sophisticated and savvy lad from the west coast and Hawaii. He is an experienced urban fox loose in a country chicken coop. He is witty, adventuresome, and outrageously daring. He and his two friends from Atlanta have a special Poker Club—that's strip poker—and they lure Tom into a game. The sophistication of that scene is contrasted with several others during the three days that constitute the time frame of Julian's Private Scrapbook, Part 2. Like a second son, the second part in a series has a mix of advantages and disadvantages. As long as the reader keeps this in mind, there is no reason for disappointment. The big advantage is not having to spend so much time introducing and describing. The “action” gets started early on, and there is room for lots more. The disadvantage is for readers who didn't read the first book or who have largely forgotten it. There are some built in helps for that in Part 2. A synopsis of part one is provided at the end of the book. The Index of Characters is purposely expanded to include a brief notation about events of importance to the character in Part 1. These do not equal a full reading, but they do provide an idea of what has happened to the individual. Being the second in a family of five is similar to another task that faces The Poker Club. Number two son has to share with number one the burden of setting an example for the next book; there are others coming along. Still, the fun and insights of Part 2 certainly stand on their own.

The demons that haunt Mason Waters have developed a new strategy. It is no longer enough to torment him in the night. They are now appearing in the dreams of his wife, his children, and anyone close to him. The demons are trying to destroy Mason by any means possible, terrorizing him while causing harm and even death to his loved ones. To save his family, Mason must fight back, but how does a mere mortal stand a chance against an ancient creature with millions at his command? Mason faces many challenges and forms new relationships on his quest. He falls in love with the enchanting Aiden, unaware she is genetically designed to ensnare him. His wife and children are being ruthlessly victimized, while Mason is in the midst of building an army for his final battle against creatures with supernatural strength. Meanwhile, Aiden is now carrying Masons child. Mason was born with the ability to bring forth a Door that allows him entrance into alternate realities, and this innate ability is now his only chance to thwart evil for good.

Seven Types of Ambiguity is a psychological thriller and a literary adventure of breathtaking scope. Celebrated as a novelist in the tradition of Jonathan Franzen and Philip Roth, Elliot Perlman writes of impulse and paralysis, empty marriages, lovers, gambling, and the stock market; of adult children and their parents; of poetry and prostitution, psychiatry and the law. Comic, poetic, and full of satiric insight, Seven Types of Ambiguity is, above all, a deeply romantic novel that speaks with unforgettable force about the redemptive power of love. The story is told in seven parts, by six different narrators, whose lives are entangled in unexpected ways. Following years of unrequited love, an out-of-work schoolteacher decides to take matters into his own hands, triggering a chain of events that neither he nor his psychiatrist could have anticipated. Brimming with emotional, intellectual, and moral dilemmas, this novel-reminiscent of the richest fiction of the nineteenth century in its labyrinthine complexity-unfolds at a rapid-fire pace to reveal the full extent to which these people have been affected by one another and by the insecure and uncertain times in which they live. Our times, now.

A sweeping history of Los Angeles told through the lens of the many marginalized groups—from hobos to taggers—that have used the city’s walls as a channel for communication Graffiti written in storm drain tunnels, on neighborhood walls, and under bridges tells an underground and, until now, untold history of Los Angeles. Drawing on extensive research within the city’s urban landscape, Susan A. Phillips traces the hidden language of marginalized groups over the past century—from the early twentieth-century markings of hobos, soldiers, and Japanese internees to the later inscriptions of surfers, cholos, and punks. Whether describing daredevil kids, bored workers, or clandestine lovers, Phillips profiles the experiences of people who remain underrepresented in conventional histories, revealing the powerful role of graffiti as a venue for cultural expression. Graffiti aficionados might be surprised to learn that the earliest documented graffiti bubble letters appear not in 1970s New York but in 1920s Los Angeles. Or that the negative letterforms first carved at the turn of the century are still spray painted on walls today. With discussions of characters like Leon Ray Livingston (a.k.a. “A-No. 1”), credited with consolidating the entire system of hobo communication in the 1910s, and Kathy Zuckerman, better known as the surf icon “Gidget,” this lavishly illustrated book tells stories of small moments that collectively build into broad statements about power, memory, landscape, and history itself.

Punk Rock examines the history of punk rock in its totality. Punk became a way of thinking about the role of culture and community in modern life. Punks forged real alternatives to producing popular music and built community around their music. This punk counterpublic, forged in the late Cold War period, spanned the globe and has provided a viable cultural alternative to alienated young people over the years. This book starts with the rise of modernity and places the emergence of punk as a musical subculture into that longer historical narrative. It also reveals how punk itself became a contested terrain, as participants sought to imbue the production of music with greater meaning. It highlights all styles of punk and its wide variety of creators around the world, including from the LGBTQ+, feminist, and alternative communities. Punk was and remains a transnational phenomenon that influences music production and shapes our understanding of culture’s role in community building.