A traitor in their midst! As Mister Twister relentlessly tightens his grip, our heroes band together to crack open one of the greatest mysteries in DC history! But if they can't trust their own memories, they certainly can't trust each other and with good reason. One of them is not who they seem to be!
The Secret History of the Teen Titans continues! Dick Grayson is hot on the trail of a young Atlantean named Garth-but what he doesn't realize is that something is hunting him! Plus, Roy Harper encounters a mysterious woman named Lilith-and this run-in will leave him questioning his own past!
THE SECRET HISTORY OF THE TEEN TITANS REVEALED! Robin. Wonder Girl. Speedy. Aqualad. Hawk and Dove. There was a time when these and other young heroes were synonymous with justice. They were the Teen Titans, one of the greatest superhero teams in the entire Multiverse…but that Multiverse has changed, and the time of the Titans has been wiped from the world. So why are Dick Grayson and Roy Harper-now better known as Nightwing and Arsenal-experiencing memories of a world they never knew? What compels them to hunt for an Atlantean named Garth and an Amazon named Donna Troy? What dangerous secrets connect them to a powerful stranger, a mysterious psychic and an odd couple-and what do those secrets mean for the fate of all life on Earth? Somehow, somewhere, somewhen, these men and women were Titans. Now the hunt is on for the force that can reunite them so the Titans can tower once more… One of the DC Universe’s premier teams returns for the first time in years in TITANS HUNT! Join writer Dan Abnett and artists Paulo Siqueira and Stephen Segovia as they uncover the titanic mystery behind it all! Collects TITANS HUNT #1-8, JUSTICE LEAGUE #51 and TITANS REBIRTH #1.
Beautifully designed and carefully curated, a fascinating collection of the things that shaped the way we live and play in America What artifact best captures the spirit of American sports? The bat Babe Ruth used to hit his allegedly called shot, or the ball on which Pete Rose wrote, "I'm sorry I bet on baseball"? Could it be Lance Armstrong's red-white-and-blue bike, now tarnished by doping and hubris? Or perhaps its ancestor, the nineteenth-century safety bicycle that opened an avenue of previously unknown freedom to women? The jerseys of rivals Larry Bird and Magic Johnson? Or the handball that Abraham Lincoln threw against a wall as he waited for news of his presidential nomination? From nearly forgotten heroes like Tad Lucas (rodeo) and Tommy Kono (weightlifting) to celebrities like Amelia Earhart, Muhammad Ali, and Michael Phelps, Cait Murphy tells the stories of the people, events, and things that have forged the epic of American sports, in both its splendor and its squalor. Stories of heroism and triumph rub up against tales of discrimination and cheating. These objects tell much more than just stories about great games-they tell the story of the nation. Eye-opening and exuberant, A History of American Sports in 100 Objects shows how the games Americans play are woven into the gloriously infuriating fabric of America itself.
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.
What roles do imaginary games have in story-telling? Why do fiction authors outline the rules of a game that the audience will never play? Combining perspectives from philosophy, literary theory and game studies, this book provides the first in-depth investigation into the significance of fictional games within fictional worlds. Drawing from contemporary cinema and literature, from The Hunger Games to the science fiction of Iain M. Banks, Stefano Gualeni and Riccardo Fassone introduce five key functions that different types of imaginary games have in worldbuilding. First, fictional games can emphasize the dominant values and ideologies of the fictional society they belong to. Second, some imaginary games function in fictional worlds as critical, utopian tools, inspiring shifts in the thinking and political orientation of the fictional characters. Third, a few fictional games are conducive to the transcendence of a particular form of being, such as the overcoming of human corporeality. Fourth, imaginary games within works of fiction can deceptively blur the boundaries between the contingency of play and the irrevocable seriousness of “real life”, either camouflaging life as a game or disguising a game as something with more permanent consequences. And fifth, they can function as meta-reflexive tools, suggesting critical and/or satirical perspectives on how actual games are designed, played, sold, manipulated, experienced, understood and utilized as part of our culture. With illustrations in every chapter bringing the imaginary games to life, Gualeni and Fassone creatively inspire us to consider fictional games anew: not as moments of playful reprieve in a storyline, but as significant and multi-layered expressive devices.
Imagining Alternative Worlds explores how the far right employs fictionality as a powerful political tool in the 21st century. It does so by examining the far right’s own cultural production and commentary through a large collection of its novels, novellas, short stories, and film reviews, illustrating how the ‘alternative worlds’ articulated in such cultural products convey its ideology. More specifically, the book identifies and analyses four distinct far-right cultural imaginaries – a ‘primordial’, a ‘nostalgic’, a ‘promethean’, and a ‘nihilist’ one – that each subtly conveys different yet linked ideas about space, time, ‘race’, gender, and heroic identity. By drawing attention to the cultural heterogeneity of the contemporary far right, Imagining Alternative Worlds offers key insights into the dreams, identities, and norms such actors hope will define our future. The book will be of interest to researchers of the far right, of literary, media and communication studies, and of social and cultural history.
In recent years research into creative labour and cultural work has usually addressed the politics of production in these fields, but the sociotechnical and aesthetic dimensions of collaborative creative work have been somewhat overlooked. This book aims to address this gap. Through case studies that range from TV showrunning to independent publishing, from the film industry to social media platforms such as Tumblr and Wattpad, this collection develops a critical understanding of the integral role collaboration plays in contemporary media and culture. It draws attention to diverse kinds of creative collaboration afforded via the intermediation of digital platforms and networked publics. It considers how these are incorporated into emergent market paradigms and investigates the complicated forms of subjectivity that develop as a consequence. But it also acknowledges historical continuities, not least in terms of the continued exploitation of ‘support personnel’ and of resulting artistic conflicts but also of alternative models that resist the precarious nature of contemporary cultural work. Finally, this volume attempts to situate creative collaboration in broader social and economic contexts, where the experience and outcomes of such work have proved more problematic than the rich potential of their promise would lead us to expect.
During the 1980s, popular fear of World War III spurred moviemakers to produce dozens of nuclear threat films. Categories ranged from monster movies to post-apocalyptic adventures to realistic depictions of nuclear war and its immediate aftermath. Coverage of atomic angst films isn't new, but this is the first book to solely analyze 1980s nuclear threat movies as a group. Entries range from classics such as The Day After and WarGames to obscurities such as Desert Warrior and Massive Retaliation. Chronological coverage of the 121 films released between 1980 and 1990 includes production details, chapter notes, and critical commentaries.