Written by PAUL LEVITZ and GERRY CONWAY Art by WALLACE WOOD, JOE STATON and others Cover by BRIAN BOLLAND The JSA's 1970s adventures from ALL-STAR COMICS #58-74 and ADVENTURE COMICS #461-466 are collected in a value-priced Showcase edition! Don't miss the team's battles with the Psycho-Pirate, Vandal Savage, the Injustice Society and more. On sale SEPTEMBER 21 - 448 pg, B&W, $19.99 US
"He was just an ordinary soldier. But in a time when the United States needed a true hero, Sgt. Frank Rock emerged as a symbol of patriotism during the country's battle against the Nazi menace in World War II" -- p. [4] of cover.
Written by DOUG MOENCH and others - Art by JOHN BUSCEMA, TONY DEZUNIGA and others - Cover by ROGER KASTEL Pulp fiction hero Doc Savage is back in this value-priced title collecting his 1970s black-and-white magazine adventures for the first time. Originally published in 1975, these tales include: - "The Doom on Thunder Island" - "Hell-Reapers at the Heart of Paradise" - "The Inferno Scheme" - "Ghost Pirates from The Beyond" - "The Sky Stealers" - "The Mayan Mutations" On sale JUNE 22 - 448 pg, B&W, $19.99 US
The adventures of the Justice Society of America, the world's first super-team, continues in the 1970s adventures. Witness the continuing adventures of the Flash, Green Lantern, Hawkman, Doctor Fate and Wildcat as they're joined by younger heroes Robin, Power Girl and Star-Spangled Kid to battle the Psycho-Pirate, the immortal Vandal Savage, the Injustice Society and more. The classic 1970s run of the Justice Society of America is now collected in a single volume from the pages of ALL-STAR COMICS #58-74, ADVENTURE COMICS #461-466 and DC SPECIAL #29.
Almost 500 pages of super hero action are collected in this value-priced volume of stories from the 1970s, inspired by the classic 1970s animated TV series Super Friends. From the Hall of Justice come these tales starring The Justice League of America, along with their sidekicks Marvin, Wendy and Wonderdog, as they take on foes of every type. Don't miss the team's battles against the villains from space and below the sea, as well as well-known evildoers including The Penguin and The Riddler.
The superhero Wolverine time travels and changes storylines. On Torchwood, there's a pill popped to alter memories of the past. The narrative technique of retroactive continuity seems rife lately, given all the world-building in comics. Andrew J. Friedenthal deems retroactive continuity, or “retconning,” as a force with many implications for how Americans view history and culture. Friedenthal examines this phenomenon in a range of media, from its beginnings in comic books and now its widespread shift into television, film, and digital media. Retconning has reached its present form as a result of the complicated workings of superhero comics. In comic books and other narratives, retconning often seems utilized to literally rewrite some aspect of a character's past, either to keep that character more contemporary, to erase stories from continuity that no longer fit, or to create future story potential. From comics, retconning has spread extensively, to long-form, continuity-rich dramas on television, such as Buffy the Vampire Slayer, Lost, and beyond. Friedenthal explains that in a culture saturated by editable media, where interest groups argue over Wikipedia pages and politicians can immediately delete questionable tweets, the retcon serves as a perfect metaphor for the ways in which history, and our access to information overall, has become endlessly malleable. In the first book to focus on this subject, Friedenthal regards the editable Internet hyperlink, rather than the stable printed footnote, as the de facto source of information in America today. To embrace retroactive continuity in fictional media means accepting that the past itself is not a stable element, but rather something constantly in contentious flux. Due to retconning's ubiquity within our media, we have grown familiar with narratives as inherently unstable, a realization that deeply affects how we understand the world.
Taking a multifaceted approach to attitudes toward race through popular culture and the American superhero, All New, All Different? explores a topic that until now has only received more discrete examination. Considering Marvel, DC, and lesser-known texts and heroes, this illuminating work charts eighty years of evolution in the portrayal of race in comics as well as in film and on television. Beginning with World War II, the authors trace the vexed depictions in early superhero stories, considering both Asian villains and nonwhite sidekicks. While the emergence of Black Panther, Black Lightning, Luke Cage, Storm, and other heroes in the 1960s and 1970s reflected a cultural revolution, the book reveals how nonwhite superheroes nonetheless remained grounded in outdated assumptions. Multiculturalism encouraged further diversity, with 1980s superteams, the minority-run company Milestone’s new characters in the 1990s, and the arrival of Ms. Marvel, a Pakistani-American heroine, and a new Latinx Spider-Man in the 2000s. Concluding with contemporary efforts to make both a profit and a positive impact on society, All New, All Different? enriches our understanding of the complex issues of racial representation in American popular culture.
