Approaching fifty, and warned by his doctor that he's drinking too much and needs to take more exercise, David Hughes is given a dog for his birthday - Dexter, a wire-haired fox terrier. Hughes' daily walks with Dexter form the spine of Walking the Dog. We eavesdrop on their encounters with fellow dog-walkers ('Hello Hector', 'Hello Chester'...) and on Hughes' thoughts as he plods along carrying a plastic bag of poo. He begins to remember moments from his past, dark memories of murder and violence. He explores his own fantasies and obsessions. From the gentle comedy of the early pages, Walking the Dog is transformed into something deeper and more disturbing. This will be a landmark book in the field of graphic literature. The drawing is sublime, the imagination extraordinary, the ambition unequalled.

In late 1995 and early 1996, cartoonist/reporter Joe Sacco travelled four times to Gorazde, a UN-designated safe area during the Bosnian War, which had teetered on the brink of obliteration for three and a half years. Still surrounded by Bosnian Serb forces, the mainly Muslim people of Gorazde had endured heavy attacks and severe privation to hang on to their town while the rest of Eastern Bosnia was brutally 'cleansed' of its non-Serb population. But as much as Safe Area Gorazde is an account of a terrible siege, it presents a snapshot of people who were slowly letting themselves believe that a war was ending and that they had survived. Since it was first published in 2000, Safe Area Gorazde has been recognized as one of the absolute classics of graphic non-fiction. We are delighted to publish it in the UK for the first time, to stand beside Joe Sacco's other books on the Cape list - Palestine, The Fixer and Notes from a Defeatist.

The follow-up to the lyrical, haunting novel-in-pictures The Three Incestuous Sisters, The Adventuress tells a new tale of love, loss and redemption. Niffenegger's stunning, lavish prints again depict a timeless, evocative tale and showcase her unique talent as an artist and writer.

Guy Delisle's work for a French animation studio requires him to oversee production at various Asian studios on the grim frontiers of free trade. His employer puts him up for months at a time in 'cold and soulless' hotel rooms where he suffers the usual deprivations of a man very far from home. After Pyongyang, his book about the strange society that is North Korea, Delisle turned his attention to Shenzhen, the cold, urban city in Southern China that is sealed off with electric fences and armed guards from the rest of the country. The result is another brilliant graphic novel - funny, scary, utterly original and illuminating.

But among the statues, portraits and propaganda of leaders Kim Il-Sung and his son Kim Jong-Il - the world's only Communist dynasty - Delisle was able to observe more than was intended of the culture and lives of the few North Koreans he encountered. Famously referred to as part of the 'Axis-of-Evil', North Korea remains one of the most secretive and mysterious nations in the world today. A series of manmade and natural catastrophes have also left it one of the poorest. When the fortress-like country recently opened the door a crack to foreign investment, cartoonist Guy Delisle found himself in its capital Pyongyang on a work visa for a French film animation company, becoming one of the few Westerners to witness current conditions in the surreal showcase city. Armed with a smuggled radio and a copy of 1984, Delisle could only explore Pyongyang and its countryside while chaperoned by his translator and a guide. His astute and wry musings on life in the austere and grim regime form the basis of this remarkable graphic novel. Pyongyang is an informative, personal and accessible look at an enigmatic country.

Presents a series of one-page comics that tell the same story in a variety of ways. Inspired by Raymond Queneau's 1947 work, which told a simple story in ninety-nine different styles and genres, this work uses varying points of view, visual and verbal parodies, even reshuffling of the elements of the story. A series of engrossing one page comics that tells the same story ninety nine different ways Matt Madden's 99 Ways to Tell a Story is a series of one-page comics that tell the same story in a variety of ways Inspired by Raymond Queneau's 1947 work of the same title, which told a simple story in ninety-nine different styles and genres - haiku, sonnet, book jacket blurb - Madden does the same but in different styles of comics - Marvel superhero, R. Crumb, Hergé, even as a map or the Bayeux Tapestry. Or he uses varying points of view, visual and verbal parodies, even radical reshuffling of the elements of the story. The result is funny, inspiring, and genuinely clever. ‘Delightful, intriguing and compelling. 99 Ways to Tell a Story is a zany masterpiece that reads like a convergence of Robert Louis Stevenson, Italo Calvino and Action Comics’ Harry Mathews

Winner of the Grand Prix 2009 de la Critique Bande Dessinée. Tamara Drewe has transformed herself. Plastic surgery, a different wardrobe, a smouldering look, have given her confidence and a new and thrilling power to attract, which she uses recklessly. Often just for the fun of it. People are drawn to Tamara Drewe, male and female. In the remote village where her late mother lived Tamara arrives to clear up the house. Here she becomes an object of lust, of envy, the focus of unrequited love, a seductress. To the village teenagers she is 'plastic-fantastic', a role model. Ultimately, when her hot and indiscriminate glances lead to tragedy, she is seen as a man-eater, a heartless home-wrecker, a slut. First appearing as a serial in the Guardian, in book form Tamara Drewe has been enlarged, embellished and lovingly improved by the author.

'Nowadays I don't get out of bed for less than a murder. I don't get out of bed much...Until today.' 'Private Researcher' Fernandez Britten is the messenger who would view being shot as a blessing. The years spent uncovering people's secret dramas and helping to confirm their darkest suspicions have taken their toll. Battered by remorse over the lives he has ruined, he clings to the hope of redemption through delivering, just once, a truth with a positive impact. It's a hope he has been clinging to for a long time. And so Britten and his 'unconventional' partner, Brulightly, take on the case of suicide Berni Kudos. At least, suicide was the official verdict. His fiancee, Charlotte Maughton, believes his death was something more sinister. Blackmail, revenge, murder: desperate acts are exposed, and this is no tree-lined avenue to justice. Each new revelation stirs the muddy waters of a family's dark secrets, and each fresh twist takes them further from that elusive redemption. There are murder mysteries and there are murder mysteries, but this is a noir where nothing is black and white.

As we inhabit the heads of several key characters - some kids who have it, some who don't, some who are about to get it - what unfolds isn't the expected battle to fight the plague, or bring heightened awareness of it, or even to treat it. And you thought your adolescence was scary. Suburban Seattle, the mid-1970s. We learn from the outset that a strange plague has descended upon the area's teenagers, transmitted by sexual contact. The disease is manifested any number of ways - from the hideously grotesque to the subtle (and concealable) - but once you've got it, that's it. There's no turning back. What we become witness to instead is a fascinating and eerie portrait of the nature of high-school alienation itself - the savagery, the cruelty, the relentless anxiety and ennui, the longing for escape. And then the murders start. As hypnotically beautiful as it is horrifying (and, believe it or not, autobiographical), Black Hole transcends its genre by deftly exploring a specific American cultural moment in flux and the kids who are caught in it - back when it wasn't exactly cool to be a hippie any more, but Bowie was still just a little too weird. To say nothing of sprouting horns and moulting your skin . .

In its depiction of the universal trials of adolescent life and growing into adulthood - here compounded by being an outsider both abroad and at home, and by living in a state where you have no right to show your hair, wear make-up, run in public, date, or question authority - it's raw, honest, and incredibly illuminating. Here is the fascinating and equally unforgettable sequel to Persepolis, Marjane Satrapi's memoir-in-comic strips of growing up in Iran during the Islamic Revolution. Persepolis ended on a cliffhanger in 1984, just as fourteen-year-old Marjane was leaving behind her home in Tehran, escaping fundamentalism and the war with Iraq to begin a new life in the West. Here we follow our young, intrepid heroine through the next eight years of her life: an eye-opening and sometimes lonely four years of high school in Vienna, followed by a supremely educational and heartwrenching four years back home in Iran. Just as funny and heartbreaking as its predecessor - with perhaps an even greater sense of the ridiculous inspired by life in a fundamentalist state - Persepolis 2 is also as clear-eyed and searing in its condemnation of fundamentalism and its cost to the human spirit.