Diana Prince is sitting at her desk one day when a woman enters, posing as a reporter, and asks very personal questions about Wonder Woman. Sensing something is wrong, Diana refuses to answer questions, but Steve Trevor is taken in, not realizing the woman is a Nazi agent, Fausta Grables. She eventually steals Wonder Woman's costume and poses as her for an Army benefit show.
From Comics' Golden Age, a collection of one of comics' premier anthology titles! Never before have these comics been reprinted, making this volume a must-have for all collectors. Featured within are stories of Wonder Woman, The Flash, Green Lantern, Wildcat, Black Pirate, Ghost Patrol and many more! Included in this volume is an introduction by movie producer Michael Uslan (Batman films).
Wonder Woman arrives in Paradise Island after being informed that the Cheetah had escaped and supposedly drowned in the ocean. However, the Cheetah stows away in the Invisible Plane, returns to the Man's World, and impersonates her twin, Claudia, capturing Steve and Wonder Woman.
The most famous of all the women who have ever been called a superhero, Wonder Woman exploded into the world of comic books amid the uncertainty and bleak determination of World War II. Fighting for justice and treating even her enemies with firm compassion, Wonder Woman brought not a cape nor a ring nor a personal fortune or hidden clubhouse, but a magical lariat that compelled anyone it bound to tell the truth, and bracelets that could not only deflect bullets but prevent Wonder Woman from ever using her superpowers for unchecked destruction. The very first stories of the Amazon Warrior are collected here in WONDER WOMAN: THE GOLDEN AGE VOLUME 1, featuring the adventures of Wonder Woman as she tackles corruption, oppression and cruelty in ALL STAR COMICS #8, COMIC CAVALCADE #1, SENSATION COMICS #1-14 and WONDER WOMAN #1-3.
This anthology hosts a collection of essays examining the role of comics as portals for historical and academic content, while keeping the approach on an international market versus the American one. Few resources currently exist showing the cross-disciplinary aspects of comics. Some of the chapters examine the use of Wonder Woman during World War II, the development and culture of French comics, and theories of Locke and Hobbs in regards to the state of nature and the bonds of community. More so, the continual use of comics for the retelling of classic tales and current events demonstrates that the genre has long passed the phase of for children’s eyes only. Additionally, this anthology also weaves graphic novels into the dialogue with comics.
With this remarkable study, historian Keira V. Williams shows how fictional matriarchies—produced for specific audiences in successive eras and across multiple media—constitute prescriptive, solution-oriented thought experiments directed at contemporary social issues. In the process, Amazons in America uncovers a rich tradition of matriarchal popular culture in the United States. Beginning with late-nineteenth-century anthropological studies, which theorized a universal prehistoric matriarchy, Williams explores how representations of women-centered societies reveal changing ideas of gender and power over the course of the twentieth century and into the present day. She examines a deep archive of cultural artifacts, both familiar and obscure, including L. Frank Baum’s The Wizard of Oz series, Progressive-era fiction like Charlotte Perkins Gilman’s utopian novel Herland, the original 1940s Wonder Woman comics, midcentury films featuring nuclear families, and feminist science fiction novels from the 1970s that invented prehistoric and futuristic matriarchal societies. While such texts have, at times, served as sites of feminist theory, Williams unpacks their cyclical nature and, in doing so, pinpoints some of the premises that have historically hindered gender equality in the United States. Williams also delves into popular works from the twenty-first century, such as Tyler Perry’s Madea franchise and DC Comics/Warner Bros.’ globally successful film Wonder Woman, which attest to the ongoing presence of matriarchal ideas and their capacity for combating patriarchy and white nationalism with visions of rebellion and liberation. Amazons in America provides an indispensable critique of how anxieties and fantasies about women in power are culturally expressed, ultimately informing a broader discussion about how to nurture a stable, equitable society.
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.
