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.
Daniels collects rare and never-before-seen early artwork by the Man of Steel's teenage creators and chronicles the evolution of the character from an orphan alien comics hero to a complex multimedia icon. Part of the superhero triumvirate trilogy.
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.
In this book, Martin Lund challenges contemporary claims about the original Superman’s supposed Jewishness and offers a critical re-reading of the earliest Superman comics. Engaging in critical dialogue with extant writing on the subject, Lund argues that much of recent popular and scholarly writing on Superman as a Jewish character is a product of the ethnic revival, rather than critical investigations of the past, and as such does not stand up to historical scrutiny. In place of these readings, this book offers a new understanding of the Superman created by Jerry Siegel and Joe Shuster in the mid-1930s, presenting him as an authentically Jewish American character in his own time, for good and ill. On the way to this conclusion, this book questions many popular claims about Superman, including that he is a golem, a Moses-figure, or has a Hebrew name. In place of such notions, Lund offers contextual readings of Superman as he first appeared, touching on, among other ideas, Jewish American affinities with the Roosevelt White House, the whitening effects of popular culture, Jewish gender stereotypes, and the struggles faced by Jewish Americans during the historical peak of American anti-Semitism. In this book, Lund makes a call to stem the diffusion of myth into accepted truth, stressing the importance of contextualizing the Jewish heritage of the creators of Superman. By critically taking into account historical understandings of Jewishness and the comics’ creative contexts, this book challenges reigning assumptions about Superman and other superheroes’ cultural roles, not only for the benefit of Jewish studies, but for American, Cultural, and Comics studies as a whole.
Presents rare and never-before-seen early artwork by Superman's teenage creators, Jerry Siegel and Joe Shuster (including a two-page doodle from 1936 featuring early Superman costume designs), and he chronicles the evolution of the character from an orphan alien comics hero to a complex multimedia icon.
Collects twelve of the most diabolical acts of Lex Luthor, spanning the more than sixty years of his ongoing struggle to prevail over the Man of Steel.
Superman and Comic Book Brand Continuity traces the development of comic book continuity through the case study of Superman, examining the character’s own evolution across several media, including comics, radio, television, and film. Superman’s relationship with continuity illustrates a key feature of the way in which people in western societies construct stories about themselves. In this respect, the book is a study of narrative and how comic book continuity reflects the way that, in wider western post-enlightenment culture, storytelling shapes the common sense and received wisdoms that influence how we perceive "reality." The scope of the analysis extends from Superman’s creation in the late 1930s to the recent films Man of Steel (2013) and Batman v. Superman: Dawn of Justice (2016), as well as the current comic book reboot Rebirth (2016).
From New York Times best-selling writer Brian Michael Bendis comes a new story of Superman. The Last Son of Krypton is about to meet his home planet's nemesis! A remorseless killer called Rogol Zaar has arrived on Earth, bringing wide-scale death and destruction in his wake. Only Superman and his cousin, Supergirl, stand between Zaar and the completion of his mission--the complete annihilation of the Kryptonian race. But even as Kal-El and Kara struggle to contain this new existential threat, the world's greatest superhero faces a completely different challenge in his adopted home city of Metropolis, where Clark Kent still lives and works--but without his wife and son. The stage is set for a reckoning like nothing Superman has ever faced--and everything that matters to the Man of Steel hangs in the balance! Collects The Man of Steel #1-6 and stories from DC Nation #0 and Action Comics #1000.
The fifth collection of Superman tales from the 1980s, featuring ADVENTURES OF SUPERMAN #432-435, ACTION COMICS #592-593 and SUPERMAN #9-10! Superman encounters the new hero Gangbuster, faces the menace of the Joker, teams up with Mister Miracle and Big Barda, and inadvertently becomes Metropolis's greatest menace!
Since the release of Christopher Nolan’s Batman Begins in 2005, there has been a pronounced surge in alternative uses of the computer term ‘reboot,’ a surge that has witnessed the term deployed in new contexts and new signifying practices, involving politics, fashion, sex, nature, sport, business, and media. As a narrative concept, however, reboot terminology remains widely misused, misunderstood, and misinterpreted across popular, journalistic, and academic discourses, being recklessly and relentlessly solicited as a way to describe a broad range of narrative operations and contradictory groupings, including prequels, sequels, adaptations, revivals, re-launches, generic ‘refreshes,’ and enactments of retroactive continuity. Adopting an inter-disciplinary approach that fuses cultural studies, media archaeology, and discursive approaches, this book challenges existing scholarship on the topic by providing new frameworks and taxonomies that illustrate key differences between reboots and other ‘strategies of regeneration,’ helping to spotlight the various ways in which the culture industries mine their intellectual properties in distinct and novel ways to present them anew. Reboot Culture: Comics, Film, Transmedia is the first academic study to critically explore and interrogate the reboot phenomenon as it emerged historically to describe superhero comics that sought to jettison existing narrative continuity in order to ‘begin again’ from scratch.of franchising in the twenty-first century. of franchising in the twenty-first century. /div