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"Superheroes Cartoons and comics."
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The Immortal Men : the end of forever
\"The superstar creative team of comics legend Jim Lee (Batman, Justice League) and James Tynion IV (Detective Comics) unite to tell the tale of the secret history of heroes who have protected humanity from the shadows since the dawn of time...and who can live forever. There is a secret history to the DC Universe of heroes who have protected humanity from the shadows since the dawn of time...and who can live forever. Enter the Immortal Men! The team, headed by the Immortal Man, has waged a secret war against the House of Conquest for countless years--but Conquest has dealt a devastating blow. When their base of operations, known as the Campus, is savagely attacked, the Immortal Men must seek out their last hope--an emerging metahuman known as Caden Park! With the Batman Who Laughs lurking in the shadows things get serious quickly.\"-- Provided by publisher.
Book
Comic Book Women
The history of comics has centered almost exclusively on men.
Comics historians largely describe the medium as one built by men
telling tales about male protagonists, neglecting the many ways in
which women fought for legitimacy on the page and in publishers'
studios. Despite this male-dominated focus, women played vital
roles in the early history of comics. The story of how comic books
were born and how they evolved changes dramatically when women like
June Tarpé Mills and Lily Renée are placed at the center rather
than at the margins of this history, and when characters such as
the Black Cat, Patsy Walker, and Señorita Rio are analyzed.
Comic Book Women offers a feminist history of the
golden age of comics, revising our understanding of how numerous
genres emerged and upending narratives of how male auteurs built
their careers. Considering issues of race, gender, and sexuality,
the authors examine crime, horror, jungle, romance, science
fiction, superhero, and Western comics to unpack the cultural and
industrial consequences of how women were represented across a wide
range of titles by publishers like DC, Timely, Fiction House, and
others. This revisionist history reclaims the forgotten work done
by women in the comics industry and reinserts female creators and
characters into the canon of comics history.
eBook
One-Punch Man
\"Every time a promising villain appears, Saitama beats the snot out of 'em with one punch! Can he finally find an opponent who can go toe-to-toe with him and give his life some meaning? Or is he doomed to a life of superpowered boredom?\"-- provided by publisher.
Book
Bending Steel
“Faster than a speeding bullet. More powerful than a locomotive. Able to leap tall buildings in a single bound . . . It’s Superman!” Bending Steel examines the historical origins and cultural significance of Superman and his fellow American crusaders. Cultural historian Aldo J. Regalado asserts that the superhero seems a direct response to modernity, often fighting the interrelated processes of industrialization, urbanization, immigration, and capitalism that transformed the United States from the early nineteenth century to the present. Reeling from these exciting but rapid and destabilizing forces, Americans turned to heroic fiction as a means of explaining national and personal identities to themselves and to the world. In so doing, they created characters and stories that sometimes affirmed, but other times subverted conventional notions of race, class, gender, and nationalism.
The cultural conversation articulated through the nation’s early heroic fiction eventually led to a new heroic type—the brightly clad, super-powered, pro-social action heroes that first appeared in American comic books starting in the late 1930s. Although indelibly shaped by the Great Depression and World War II sensibilities of the second-generation immigrants most responsible for their creation, comic book superheroes remain a mainstay of American popular culture.
Tracing superhero fiction all the way back to the nineteenth century, Regalado firmly bases his analysis of dime novels, pulp fiction, and comics in historical, biographical, and reader response sources. He explores the roles played by creators, producers, and consumers in crafting superhero fiction, ultimately concluding that these narratives are essential for understanding vital trajectories in American culture.
eBook
All-star Batman. Vol. 2, Ends of the earth
\"Join Scott Snyder and his frequent collaborator Jock (BATMAN: THE BLACK MIRROR) as they plunge into the icy heart of darkness with Mr. Freeze. Eat the forbidden fruit offered by the sinister and seductive Poison Ivy in a tale illustrated by Tula Lotay (BODIES). Take a journey to the far side of sanity with the Mad Hatter through art by comics superstar Giuseppe Camuncoli (BATMAN: EUROPA). Then, finally, the demonic mind behind these master criminals' apocalyptic ambitions is revealed ... He is Gotham City's guardian. He is the Justice League's Dark Knight. He is Batman, one of the most iconic characters in history. But without his equally classic foes, his legend would be incomplete.\"-- Provided by publisher.
Book
Comics and Conflict
Illustration has been an integral part of human history. Particularly before the advent of media such as photography, film, television, and now the Internet, illustrations in all their variety had been the primary visual way to convey history. The comic book, which emerged in its modern form in the 1930s, was another form of visual entertainment that gave readers, especially children, a form of escape. As World War II began, however, comic books became a part of propaganda as well, providing information and education for both children and adults. This book looks at how specific comic books of the war genre have been used to display patriotism, adventure through war stories, and eventually to tell of the horrors of combatfrom World War II through the current conflicts in Iraq and Afghanistan in the first decade of the twenty-first century. This book also examines how war- and patriotically-themed comics evolved from soldier-drawn reflections of society, eventually developing along with the broader comic book medium into a mirror of American society during times of conflict. These comic books generally reflected patriotic fervor, but sometimes they advanced a specific cause. As war comic books evolved along with American society, many also served as a form of protest against United States foreign and military policy. During the country's most recent wars, however, patriotism has made a comeback, at the same time that the grim realities of combat are depicted more realistically than ever before. The focus of the book is not only on the development of the comic book medium, but also as a bell-weather of society at the same time. How did they approach the news of the war? Were people in favor or against the fighting? Did the writers of comics promote a perception of combat or did they try to convey the horrors of war? All of these questions were
important to the research, and serve as a focal point for what has been researched only in limited form previously. The conclusions of the book show that comic books are more than mere forms of entertainment. Comic books were also a way of political protest against war, or what the writers felt were wider examples of governmental abuse. In the post 9/11 era, the comic books have returned to their propagandistic/patriotic roots.
eBook
The amazing Spider-Man. Worldwide. Vol. 7
\"What will Secret Empire mean for the Amazing Spider-Man? The return of Otto Octavius! But this isn't the old Doc Ock - he's back as the Superior Octopus! He's allied himself with Steve Rogers and Hydra, and he has a personal mission - to take down the company that he helped create: Parker Industries! Spider-Man is already overwhelmed from the chaos of Secret Empire - but now, facing one of his greatest enemies who's back from the grave, more powerful than ever before and following orders from Captain America himself, does Spider-Man stand a chance? Peter must use the full force of his company, every asset at his disposal, to stop Ock and Hydra - but will it be enough?\"-- provided by publisher.
Book
Public Heroes, Secret Jews: Jewish Identity and Comic Books
By 1938 there was a syndicated comic strip, and in 1948 The Lone Ranger comic book series began its 145-issue run.1 These visual representations created the now iconic look of a man in a simple black domino mask, which was enough of a disguise that no one could recognize the man under the mask. A mask simply diverts the eye (or the paint) for a brief time until it is removed, and the underlying reality is once again revealed, unchanged and unharmed. [...]when a superhero wears a mask the version of her that sits below the mask exists simultaneously with the version of her that wears the mask. In Disguised as Clark Kent, Danny Fingeroth writes, \"as part of their assimilation into America, Jews became deeply involved in creating the modern myths that infuse our pop culture. \"6 Yet, he says, many of the Jewish creators of comic books argue that their personal Jewishness was not important, or that they were just telling universal stories: \"According to this viewpoint, if there was any Jewish mythological basis for the superheroes that emerged from comics, it was fueled by the same Bible tales to which every child in Western society is exposed, as often as not in a nonreligious, nonethnic context.
Journal Article
The amazing Spider-Man : the Spider-Man secret!
When there is a chance that the Living Brain has discoverd Peter Parker's super-hero identity, it is a race against time to silence him before a parade of super villains also learn the truth about Spider-Man.
Book
The poetics of slumberland
In The Poetics of Slumberland, Scott Bukatman celebrates play, plasmatic possibility, and the life of images in cartoons, comics, and cinema. Bukatman begins with Winsor McCay's Little Nemo in Slumberland to explore how and why the emerging media of comics and cartoons brilliantly captured a playful, rebellious energy characterized by hyperbolic emotion, physicality, and imagination. The book broadens to consider similar \"animated\" behaviors in seemingly disparate media—films about Jackson Pollock, Pablo Picasso, and Vincent van Gogh; the musical My Fair Lady and the story of Frankenstein; the slapstick comedies of Jerry Lewis; and contemporary comic superheroes—drawing them all together as the purveyors of embodied utopias of disorder.
eBook