Whatever Happened to the Man of Tomorrow?" begins the final story of the Silver Age Superman, as written by legendary scribe Alan Moore. Superman's villains attack, revealing his secret identity to those closest to him! Continued in ACTION COMICS #583.
"Doomsday has returned in these tales from ACTION COMICS #900-904! The monster that once Superman's life in a battle that destroyed half of Metropolis is back for another round with the Man of Steel. Writer Paul Cornell (Doctor Who, KNIGHT AND SQUIRE) pens a tale that not only puts Superman in a fight for his life -- but in a fight for the life of Superboy, Supergirl and all members of the Superman family. "--Publisher.
The dynamic writing team of Geoff Johns & Richard Donner joins artist extraordinaire Eric Powell (Eisner Award-winning writer/artist of THE GOON) for SUPERMAN: ESCAPE FROM BIZARRO WORLD!Bizarro, the twisted, imperfect duplicate of Superman, has kidnapped Pa Kent, and now the Man of Steel must fly to Bizarro World to rescue his adoptive father. On this cubic world, populated by Bizarro versions of the Justice League of America, Lois Lane and more, Superman must stop Bizarro's tormented, Frankenstein-like rampage long enough to get away-but will Bizarro versions of Doomsday and other evildoers prove to be too much for Superman?Collects ACTION COMICS #855-857, SUPERMAN #140, DC COMICS PRESENTS #71 and THE MAN OF STEEL #5.
Clark Kent is dead! When grave circumstances cause Superman to leave behind his alter ego, an unimpeded Man of Steel must face his deadliest foe to date: Nimrod the Hunter! Metropolis' newest threat has killed everything he's ever tracked, but he'snever killed an alien. Will the red and blue Kryptonian be his first? Legendary writer Grant Morrison (ALL-STAR SUPERMAN, BATMAN) continues his best-selling, critically acclaimed run on SUPERMAN: ACTION COMICS, with art by Rags Morales (IDENTITY CRISIS), Gene Ha (TOP 10) and a host of comics' finest illustrators. graphic novel collects SUPERMAN: ACTION COMICS #9-12, #0 and ANNUAL #1.
"Originally published in single magazine form in Action Comics 1-10 and in book form in Superman/Action Comics volume 1: Superman and the men of steel, Superman/Action Comics volume 2: Bulletproof"--Copyright page.
Batman is one of the most compelling and enduring characters to come from the Golden Age of Comics, and interest in his story has only increased through countless incarnations since his first appearance in Detective Comics #27 in 1939. Why does this superhero without superpowers fascinate us? What does that fascination say about us? Batman and Psychology explores these and other intriguing questions about the masked vigilante, including: Does Batman have PTSD? Why does he fight crime? Why as a vigilante? Why the mask, the bat, and the underage partner? Why are his most intimate relationships with “bad girls” he ought to lock up? And why won't he kill that homicidal, green-haired clown? Combining psychological theory with the latest in psychological research, Batman and Psychology takes you on an unprecedented journey behind the mask and into the dark mind of your favorite Caped Crusader and his never-ending war on crime.
Ever since the first appearances of Superman and Batman in comic books of the late 1930s, superheroes have been a staple of the popular culture landscape. Though initially created for younger audiences, superhero characters have evolved over the years, becoming complex figures that appeal to more sophisticated readers. While superhero stories have grown ever more popular within broader society, however, comics and graphic novels have been largely ignored by the world of academia. In Enter the Superheroes:American Values, Culture, and the Canon of Superhero Literature, Alex S. Romagnoli and Gian S. Pagnucci arguethat superheroes merit serious study, both within the academy and beyond. By examining the kinds of graphic novels that are embraced by the academy, this book explains how superhero stories are just as significant. Structured around key themes within superhero literature, the book delves into the features that make superhero stories a unique genre. The book also draws upon examples in comics and other media to illustrate the sociohistorical importance of superheroes—from the interplay of fans and creators to unique narrative elements that are brought to their richest fulfillment within the world of superheroes. A list of noteworthy superhero texts that readers can look to for future study is also provided. In addition to exploring the important roles that superheroes play in children’s learning, the book also offers an excellent starting point for discussions of how literature is evolving and why it is necessary to expand the traditional realms of literary study. Enter the Superheroes will be of particular interest to English and composition teachers but also to scholars of popular culture and fans of superhero and comic book literature.
Why do heroes fight each other? Why do villains keep trying even though they almost never win? Why don't heroes simply take over the world? Economics and comics may seem to be a world apart. But in the hands of economics professor and comic book hero aficionado Brian O’Roark, the two form a powerful alliance. With brilliant deadpan enthusiasm he shows how the travails of superheroes can explain the building blocks of economics, and how economics explains the mysteries of superhero behavior. Spider-Man's existential doubts revolve around opportunity costs; Wonder Woman doesn't have a sidekick because she has a comparative advantage; game theory sheds light on the battle between Captain America and Iron Man; the Joker keeps committing crimes because of the Peltzman effect; and utility curves help us decide who is the greatest superhero of all. Why Superman Doesn't Take Over the World probes the motivations of our favorite heroes, and reveals that the characters in the comics may have powers we dont, but they are still beholden to the laws of economics.