With over half a million copies sold and featuring the best British comics talent of the 21st century, The Complete Case Files is the comprehensive collection of Judge Dredd, the lawman of the future! The streets don't come much meaner than those found in Mega-City One. Only the Judges - empowered to dispense law and order - keep the city from falling into total anarchy. Toughest of them all is Judge Dredd - he is the law and these are his stories. In this 24th volume of the bestselling Case Files series, Dredd is faced with one of his hardest challenges yet - dispensing justice in the 'Big Meg's' worst sector known as 'The Pit'! Also, the ultimate lawman faces a legendary war robot, when Judge Dredd squares off against the ABC Warrior Hammerstein!
He is a nightmare that the Psi-Judges didn't predict, and that even Judge Dredd cannot prevent. If his vile plan succeeds, the world will never be the same again. His name is Sabbat, he has the power to raise the dead - and he's already here. While Mega-City One fights for survival, Dredd must find and terminate Sabbat. But help is coming from an unexpected source - the future mutant bounty hunter and "Strontium Dog" Johnny Alpha, hot on the necromancer's trail!
Case Files 43 continues with Judge Dredd uncovering the House of Pain and thwarting a new threat from Orlok, and the reveal of the Judges' rise to power in John Wagner and Carlos Ezquerra's Origins.
For almost thirty years, one man has dominated the British comic scene. He is judge, jury and executioner, a merciless far-future lawman delivering justice with an iron fist on the mean streets of Mega-City One. He is Judge Dredd!
The intersections of law and contemporary culture are vital for comprehending the meaning and significance of law in today’s world. Far from being unsophisticated mass entertainment, comics and graphic fiction both imbue our contemporary culture, and are themselves imbued, with the concerns of law and justice. Accordingly, and spanning a wide variety of approaches and topics from an international array of contributors, Graphic Justice draws comics and graphic fiction into the range of critical resources available to the academic study of law. The first book to do this, Graphic Justice broadens our understanding of law and justice as part of our human world—a world that is inhabited not simply by legal concepts and institutions alone, but also by narratives, stories, fantasies, images, and other cultural articulations of human meaning. Engaging with key legal issues (including copyright, education, legal ethics, biomedical regulation, and legal personhood) and exploring critical issues in criminal justice and perspectives on international rights, law and justice—all through engagement with comics and graphic fiction—the collection showcases the vast breadth of potential that the medium holds. Graphic Justice will be of interest to academics and postgraduate students in: cultural legal studies; law and the image; law, narrative and literature; law and popular culture; cultural criminology; as well as cultural and comics studies more generally.
Utopia and Dystopia in the Age of Trump:Images from Literature and Visual Arts treats literature, film, television series, and comic books dealing with utopian and dystopian worlds reflecting on or anticipating our current age. From Henry James’s dreamlike utopia of “The Great Good Place” to the psychotic world of Brett Easton Ellis’s American Psycho, from science fiction and recent horror films, television adaptations of books such as Margaret Atwood’s The Handmaid’s Tale, and new series such as Black Mirror to the repressive Hitlerian dystopia of Katherine Burdekin’s Swastika Night, the contributors examine the development of scenarios that either prefigure the rise of individuals such as Donald J. Trump or suggest alternatives to them. Ultimately, one might say of the worlds presented here, viewed from different social and political perspectives: one person’s utopia is another’s dystopia. This is the fifth in a series of books edited by Barbara Brodman and James E. Doan, and published by Rowman & Littlefield with Fairleigh Dickinson University Press. The Universal Vampire: Origins and Evolution of a Legend and Images of the Modern Vampire: The Hip and the Atavistic (both in 2013) focused on the vampire legend in traditional and modern thought. The Supernatural Revamped: From Timeworn Legends to Twenty-First-Century Chic (2016) examined a range of supernatural beings in literature, film, and other forms of popular culture. Apocalyptic Chic: Visions of the Apocalypse and Post-Apocalypse in Literature and Visual Arts (2017) dealt with legends and images of the apocalypse and post-apocalypse in film and graphic arts, literature and lore from early to modern times, and from peoples and cultures around the world.
Covering genres from adventure and fantasy to horror, science fiction, and superheroes, this guide maps the vast terrain of graphic novels, describing and organizing titles to help librarians balance their graphic novel collections and direct patrons to read-alikes. New subgenres, new authors, new artists, and new titles appear daily in the comic book and manga world, joining thousands of existing titles—some of which are very popular and well-known to the enthusiastic readers of books in this genre. How do you determine which graphic novels to purchase, and which to recommend to teen and adult readers? This updated guide is intended to help you start, update, or maintain a graphic novel collection and advise readers about the genre. Containing mostly new information as compared to the previous edition, the book covers iconic super-hero comics and other classic and contemporary crime fighter-based comics; action and adventure comics, including prehistoric, heroic, explorer, and Far East adventure as well as Western adventure; science fiction titles that encompass space opera/fantasy, aliens, post-apocalyptic themes, and comics with storylines revolving around computers, robots, and artificial intelligence. There are also chapters dedicated to fantasy titles; horror titles, such as comics about vampires, werewolves, monsters, ghosts, and the occult; crime and mystery titles regarding detectives, police officers, junior sleuths, and true crime; comics on contemporary life, covering romance, coming-of-age stories, sports, and social and political issues; humorous titles; and various nonfiction graphic novels.
Contributions by Carl Abbott, Jacob Babb, Marleen S. Barr, Michael Fuchs, John Glover, Stephen Joyce, Sarah Lahm, James McAdams, Cynthia J. Miller, Fernando Gabriel Pagnoni Berns, Chris Pak, María Isabel Pérez Ramos, Stefan Rabitsch, J. Jesse Ramírez, A. Bowdoin Van Riper, Andrew Wasserman, Jeffrey Andrew Weinstock, and Robert Yeates Metropolis, Gotham City, Mega-City One, Panem’s Capitol, the Sprawl, Caprica City—American (and Americanized) urban environments have always been a part of the fantastic imagination. Fantastic Cities: American Urban Spaces in Science Fiction, Fantasy, and Horror focuses on the American city as a fantastic geography constrained neither by media nor rigid genre boundaries. Fantastic Cities builds on a mix of theoretical and methodological tools that are drawn from criticism of the fantastic, media studies, cultural studies, American studies, and urban studies. Contributors explore cultural media across many platforms such as Christopher Nolan’s Dark Knight Trilogy, the Arkham Asylum video games, the 1935 movie serial The Phantom Empire, Kim Stanley Robinson’s fiction, Colson Whitehead’s novel Zone One, the vampire films Only Lovers Left Alive and A Girl Walks Home Alone at Night, Paolo Bacigalupi’s novel The Water Knife, some of Kenny Scharf’s videos, and Samuel Delany’s classic Dhalgren. Together, the contributions in Fantastic Cities demonstrate that the fantastic is able to “real-ize” that which is normally confined to the abstract, metaphorical, and/or subjective. Consequently, both utopian aspirations for and dystopian anxieties about the American city become literalized in the fantastic city.
The Gothic is a contested and complicated phenomenon, extending over many centuries and across all the arts. In The Edinburgh Companion to the Gothic and the Arts, the range of essays run from medieval architecture and design to contemporary gaming and internet fiction; from classical painting to the modern novel; from ballet and dance to contemporary Goth music. The contributors include many of the best-known critics of the Gothic (e.g., Hogle, Punter, Spooner, Bruhm) as well as newer names such as Kirk and Round. The editor has put all these contributors in touch with each other in the preparation of their essays in order to ensure the maximum benefit to the reader by producing a well-integrated book which will prove much more than a collection of disparate essays, but rather a distinctive contribution to a field.
The proposed volumes are aimed at a multidisciplinary audience and seek to fill the gap between law, semiotics and visuality providing a comprehensive theoretical and analytical overview of legal visual semiotics. They seek to promote an interdisciplinary debate from law, semiotics and visuality bringing together the cumulative research traditions of these related areas as a prelude to identifying fertile avenues for research going forward. Advance Praise for Law, Culture and Visual Studies This diverse and exhilarating collection of essays explores the many facets both historical and contemporary of visual culture in the law. It opens a window onto the substantive, jurisdictional, disciplinary and methodological diversity of current research. It is a cornucopia of materials that will enliven legal studies for those new to the field as well as for established scholars. It is a ‘must read’ that will leave you wondering about the validity of the long held obsession that reduces the law and legal studies to little more than a preoccupation with the word. Leslie J Moran Professor of Law, Birkbeck College, University of London Law, Culture & Visual Studies is a treasure trove of insights on the entwined roles of legality and visuality. From multiple interdisciplinary perspectives by scholars from around the world, these pieces reflect the fullness and complexities of our visual encounters with law and culture. From pictures to places to postage stamps, from forensics to film to folklore, this anthology is an exciting journey through the fertile field of law and visual culture as well as a testament that the field has come of age. Naomi Mezey, Professor of Law, Georgetown University Law Center, Washington, D.C., USA This highly interdisciplinary reference work brings together diverse fields including cultural studies, communication theory, rhetoric, law and film studies, legal and social history, visual and legal theory, in order to document the various historical, cultural, representational and theoretical links that bind together law and the visual. This book offers a breath-taking range of resources from both well-established and newer scholars who together cover the field of law’s representation in, interrogation of, and dialogue with forms of visual rhetoric, practice, and discourse. Taken together this scholarship presents state of the art research into an important and developing dimension of contemporary legal and cultural inquiry. Above all, Law Culture and Visual Studies lays the groundwork for rethinking the nature of law in our densely visual culture: How are legal meanings produced, encoded, distributed, and decoded? What critical and hermeneutic skills, new or old, familiar or unfamiliar, will be needed? Topical, diverse, and enlivening, Law Culture and Visual Studies is a vital research tool and an urgent invitation to further critical thinking in the areas so well laid out in this collection. Desmond Manderson, Future Fellow, ANU College of Law / Research School of Humanities & the Arts, Australian National University, Australia
