Pulp Empire returns for its second go around with all new stories from thirteen young pulp writers! Shea Hennum and James Pinard return from Volume One and are joined by Ken Janssens, J.M. Stewart, Travis Hiltz, Magnus Aspli, Sam Roseme, Teel James Glenn, Gary Cahill, David Perlmutter, Melissa Embry, and Victor J. Banis. Experience pulp fiction for the twenty-first century in the pages of Pulp Empire!
Winner of the Popular Culture Association's Ray and Pat Browne Award for Best Book in Popular or American Culture In the 1940s and ’50s, comic books were some of the most popular—and most unfiltered—entertainment in the United States. Publishers sold hundreds of millions of copies a year of violent, racist, and luridly sexual comics to Americans of all ages until a 1954 Senate investigation led to a censorship code that nearly destroyed the industry. But this was far from the first time the US government actively involved itself with comics—it was simply the most dramatic manifestation of a long, strange relationship between high-level policy makers and a medium that even artists and writers often dismissed as a creative sewer. In Pulp Empire, Paul S. Hirsch uncovers the gripping untold story of how the US government both attacked and appropriated comic books to help wage World War II and the Cold War, promote official—and clandestine—foreign policy and deflect global critiques of American racism. As Hirsch details, during World War II—and the concurrent golden age of comic books—government agencies worked directly with comic book publishers to stoke hatred for the Axis powers while simultaneously attempting to dispel racial tensions at home. Later, as the Cold War defense industry ballooned—and as comic book sales reached historic heights—the government again turned to the medium, this time trying to win hearts and minds in the decolonizing world through cartoon propaganda. Hirsch’s groundbreaking research weaves together a wealth of previously classified material, including secret wartime records, official legislative documents, and caches of personal papers. His book explores the uneasy contradiction of how comics were both vital expressions of American freedom and unsettling glimpses into the national id—scourged and repressed on the one hand and deployed as official propaganda on the other. Pulp Empire is a riveting illumination of underexplored chapters in the histories of comic books, foreign policy, and race.
Focusing on Bernarr Macfadden, a bodybuilder turned publishing mogul, Shanon Fitzpatrick charts the rise and export of US mass media and consumer culture. Macfadden’s magazines—featuring fitness tips, celebrity gossip, and sensational “true” stories—created an enduring editorial template and powered worldwide demand for interactive American media.
Detective Rook Venner was a successful investigating officer for the Hudson Valley Police Department—until the General Sangacha murder case came across his desk and his world exploded. Now after being dragged through hell and back, Rook is on the run with Plesur, a Pleasure Model who is the one eyewitness to the murder. Plesur carries a secret in her brain that terrifies the powers-that-be. A secret that they will do anything to destroy—even bring in a Tactical Robotic Regiment to track Rook and Plesur down and annihilate them. The only choice the two have is to locate the coordinates that were planted in the pleasure mod’s head to the isolated mountain ridge where it all began. Deep underground, in a warren of machine halls and ice caves, something so horrific is happening that just knowing three code words is enough to get you killed: Operation Taste Imperative. Rook and Plesur have no way back and no way out. If they want to survive and have any kind of life together, they must uncover the terrifying secret that lies deep inside the mountain.
Between 1941 and 1945, Hitler was pummeled on comic book covers by everyone from Captain America to Wonder Woman. Take That, Adolf! is an oversized compilation of more than 500 stunningly restored comics covers published during World War II, featuring America’s greatest super-villain. From Superman and Daredevil to propaganda and racism, Take That, Adolf! is a fascinating look at how legendary creators such as Joe Simon, Jack Kirby, Alex Schomburg, Will Eisner, and Lou Fine entertained millions of kids on the home front and buoyed the spirits of GIs fighting overseas by using Adolf Hitler as a punching bag.
After a terrible war almost extinguished humanity, the New Terran Empire rises from its own ashes.Sent on an exploratory mission to the dead worlds of the Old Empire, Commander Jared Mertz sets off into the unknown.Only the Old Empire isn't quite dead after all. Evil lurks in the dark.With everything he holds dear at stake, Jared must fight like never before. Victory means life. Defeat means death. Or worse.If you love military science fiction and grand adventure on a galaxy-spanning scale, grab "Empire of Bones" and the rest of The Empire of Bones Saga today!
Conventional wisdom holds that comic books of the post-World War II era are poorly drawn and poorly written publications, notable only for the furor they raised. Contributors to this thoughtful collection, however, demonstrate that these comics constitute complex cultural documents that create a dialogue between mainstream values and alternative beliefs that question or complicate the grand narratives of the era. Close analysis of individual titles, including EC comics, Superman, romance comics, and other, more obscure works, reveals the ways Cold War culture--from atomic anxieties and the nuclear family to communist hysteria and social inequalities--manifests itself in the comic books of the era. By illuminating the complexities of mid-century graphic novels, this study demonstrates that postwar popular culture was far from monolithic in its representation of American values and beliefs.
"I love Trigan Empire! It's absolutely epic" - Duncan Jones. The best-selling Treasury of British Comics archival series The Rise and Fall of the Trigan Empire reaches its fourth astounding volume. The fourth omnibus of the science-fiction classic, The Rise and Fall of the Trigan Empire, collects the stories published from 1973 through to 1976. Don Lawrence's painted art continues to be a highlight of the series, and as he takes a sabbatical from the strip Miguel Quesada and Philip Corke match his impressive work with their own style. The Trigan Empire remains resilient against enemies on all fronts, from treacherous politicians, murderous Zith assassins, and alien invaders, Trigo and Janno protect the citizens of Elekton.
"Hadrian Marlowe is lost. For half a century, he has searched the farther suns for the lost planet of Vorgossos, hoping to find a way to contact the elusive alien Cielcin. He has not succeeded, and for years has wandered among the barbarian Normans as captain of a band of mercenaries. Determined to make peace and bring an end to nearly four hundred years of war, Hadrian must venture beyond the security of the Sollan Empire and among the Extrasolarians who dwell between the stars. There, he will face not only the aliens he has come to offer peace, but contend with creatures that once were human, with traitors in his midst, and with a meeting that will bring him face to face with no less than the oldest enemy of mankind. If he succeeds, he will usher in a peace unlike any in recorded history. If he fails ... the galaxy will burn"--
Contributions by Derek T. Buescher, Travis L. Cox, Trischa Goodnow, Jon Judy, John R. Katsion, James J. Kimble, Christina M. Knopf, Steven E. Martin, Brad Palmer, Elliott Sawyer, Deborah Clark Vance, David E. Wilt, and Zou Yizheng One of the most overlooked aspects of the Allied war effort involved a surprising initiative--comic book propaganda. Even before Pearl Harbor, the comic book industry enlisted its formidable army of artists, writers, and editors to dramatize the conflict for readers of every age and interest. Comic book superheroes and everyday characters modeled positive behaviors and encouraged readers to keep scrapping. Ultimately, those characters proved to be persuasive icons in the war's most colorful and indelible propaganda campaign. The 10 Cent War presents a riveting analysis of how different types of comic books and comic book characters supplied reasons and means to support the war. The contributors demonstrate that, free of government control, these appeals produced this overall imperative. The book discusses the role of such major characters as Superman, Wonder Woman, and Uncle Sam along with a host of such minor characters as kid gangs and superhero sidekicks. It even considers novelty and small presses, providing a well-rounded look at the many ways that comic books served as popular propaganda.
