Written by Nick Cardy, Sergio Aragones, Dennis O'Neil, Len Wein and Cary Bates Art by Nick Cardy, Mike Sekowsky, George Moliterni and Dan Spiegle Cover by Nick Cardy DC's legendary Western series is collected at last in one volume featuring SHOWCASE #76, BAT LASH #1-7 and stories from DC SPECIAL SERIES #16 and JONAH HEX #49, 51 and 52. Advance-solicited; on sale July 8 - 240 pg, B&W, $9.99 US
Life for Bat Lash is looking good. His family's farm is on the up, the local card-sharps have been taken for a ride, and he has the love of a good woman, Dominique. But Dominique has been promised to the vicious local sherriff, and Bat Lash is gonna have to go for his guns.
This centuries-spanning original graphic novel from legendary writer/artist Walter Simonson cleverly ties the Biblical story of Judas to the DC Universe. Simonson shows how one of the silver coins Judas was paid to betray Jesus has had an impact on the DC Universe, with chapters starring The Golden Gladiator (70 A.D.), The Viking Prince (900 A.D.), Captain Fear (1740) and Bat Lash (1880). The centerpiece of the book is an epic battle between Batman and Two-Face. The story blasts into the future as well, with a final chapter set in the year 2070.
Clark Kent is living in a darkworld where he has no powers, no memory of ever beinganything other than human. His world is controlled bymystical forces no one can challenge, with thetriumvirate of Vandal Savage, Mordru, and Felix Faustcalling the shots.The Demon and Phantom Stranger approach Clark andtell him that he is really Superman, that alterationsmade more than a hundred years ago to the time stream arecausing space-time fluctuations that will result in thisparticular reality becoming the sole reality, unlesssomething is done. Since Superman is powerless in thisreality, and since the alterations were made in the past,the three heroes have to travel into the past,specifically into the American Southwest of the 1870s,where Jonah Hex, Bat Lash and other DC Western heroeshelp them set things right again.
Wes Cutter's coming home from the Civil War... as part of the losing side. His estate has been repossessed by Union soldiers; his wife is missing, presumed dead; and for a group of Confederate die-hards up in the mountains, the war hasn't ended yet. But what secrets is Cutter hiding alongside the dynamite in his saddlebags? Who is the mysterious companion riding with him? Why is his own brother proclaiming him dead? And exactly which side is Cutter on - Confederate, Union... or his own? From acclaimed, bestselling author Brian Azzarello (100 Bullets, Batman: Broken City) and artist Marcelo Frusin (Hellblazer) comes a hard-hitting Western in the tradition of Deadwood and Unforgiven!
Honest Abe. The rail-splitter. The Great Emancipator. Old Abe. These are familiar monikers of Abraham Lincoln. They describe a man who has influenced the lives of everyday people as well as notables like Leo Tolstoy, Marilyn Monroe, and Winston Churchill. But there is also a multitude of fictional Lincolns almost as familiar as the original: time traveler, android, monster hunter. This book explores Lincoln's evolution from martyred president to cultural icon and the struggle between the Lincoln of history and his fictional progeny. He has been Simpsonized by Matt Groening, charmed by Shirley Temple, and emulated by the Lone Ranger. Devotees have attempted to clone him or to raise him from the dead. Lincoln's image and memory have been invoked to fight communism, mock a sitting president, and sell products. Lincoln has even been portrayed as the greatest example of goodness humanity has to offer. In short, Lincoln is the essential American myth.
A history of American Western genre comics and how they interacted with contemporaneous political and popular culture. Redrawing the Western charts a history of the Western genre in American comics from the late 1800s through the 1970s and beyond. Encompassing the core years in which the genre was forged and prospered in a range of popular media, Grady engages with several key historical timeframes, from the origins of the Western in the nineteenth-century illustrated press; through fin de siècle anxieties with the closing of the frontier, and the centrality of cowboy adventure across the interwar, postwar, and high Cold War years; to the revisions of the genre in the wake of the Vietnam War and the Western’s continued vitality in contemporary comics storytelling. In its study of stories about vengeance, conquest, and justice on the contested frontier, Redrawing the Western highlights how the “simplistic” conflicts common in Western adventure comics could disguise highly political undercurrents, providing young readers with new ways to think about the contemporaneous social and political milieu. Besides tracing the history, forms, and politics of American Western comics in and around the twentieth century, William Grady offers an original reassessment of the important role of comics in the development of the Western genre, ranking them alongside popular fiction and film in the process.
Describes and lists the values of popular collectible comics and graphic novels issued from the 1950s to today, providing tips on buying, collecting, selling, grading, and caring for comics and including a section on related toys and rings.
A fascinating story of growing up as a gay fan of comic books in the 1960s, building a fifty-year career as an award-winning writer, and interacting with acclaimed comic book legends Award-winning writer Bill Schelly relates how comics and fandom saved his life in this engrossing story that begins in the burgeoning comic fandom movement of the 1960s and follows the twists and turns of a career that spanned fifty years. Schelly recounts his struggle to come out at a time when homosexuality was considered a mental illness, how the egalitarian nature of fandom offered a safe haven for those who were different, and how his need for creative expression eventually overcame all obstacles. He describes living through the AIDS epidemic, finding the love of his life, and his unorthodox route to becoming a father. He also details his personal encounters with major talents of 1960s comics, such as Steve Ditko (co-creator of Spider-Man), Jim Shooter (writer for DC and later editor-in-chief of Marvel Comics), and Julius Schwartz (legendary architect of the Silver Age of comics).
