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B.P.R.D.: The Black Flame #1
In _B.P.R.D.: The Black Flame_ #1, a bloodbath washes across America as the Bureau for Paranormal Research and Defense turns its attention back to the plague of frogs. While the Bureau tries to interpret bizarre new behavior from the frog men, a madman from the B.P.R.D.'s secret history returns to take advantage of the mindless monsters. Mike Mignola takes over cover duties for the sprawling six-issue epic he's crafted with cowriter John Arcudi and the interior-art team of artist Guy Davis and colorist Dave Stewart.
The Story So Far Vol. 1
You don’t have to change any diapers here. We don’t go back that far. Sit back and wonder what Schizophrenic was like as a college dropout. What happened to Harrier after he won the Nobel Peace Prize. How Multipurpose rose to become one of the greatest weight-loss gurus the universe had ever come to trust. Because none of that actually happened. Cooler junk did, though. Like Multipurpose eating an entire bagel. Singlehandedly. Read about the history of your favorite In a Galaxy Far, Far AwRy jackasses: how they became who they are today. Who used to work as a recharge station attendant? Who set fire to a pile of old laundry? Whose urine smells most like asparagus? Or don’t. Don’t read about it. But you’ll always wonder about that asparagus urine. They all do. They all do.
Fearless
Collects Fearless (2019) #1-4. The fiercest ladies of the Marvel Universe — on and off the page! Straight off her silver-screen debut, Captain Marvel takes the world by storm! And speaking of the weather, Storm of the X-Men faces a problem only a goddess could solve. Add in the Invisible Woman, and you’ve got an unstoppable trio in a story by Hugo-nominated novelist Seanan McGuire! Alien invasion at a summer camp for young girls? You know whom to call. Carol Danvers is on her way — and she won’t be alone! Plus: Journey back to the Golden Age of romance with Millie the Model! Enter the dangerous world of Night Nurse! And join Patsy Walker — A.K.A. Hellcat — on the prowl! Also featuring “Herstory” profiles on classic and contemporary creators!
The Haunt of Fear
Volume 1: "Foreword by Robert Englund -- Volume 2: "Foreword by Tim Sullivan -- Volume 3: "Introduction by Grant Geissman; foreword by Cullen Bunn -- Volume 4: "Introduction by Grant Geissman; foreword by Rob Zombie -- Volume 5: "Foreword by Clive Barker."
Spanish Comics
Spanish comics represent an exciting and diverse field, yet one that is often overlooked outside of Spain. Spanish Comics offers an overview on contemporary scholarship on Spanish comics, focusing on a wide range of comics dating from the Francoist dictatorship, 1939-1975; the Political Transition, 1970-1985; and Democratic Spain since the early 1980s including the emergence of the graphic novel in 2000. Touching on themes of memory, gender, regional identities, and history, the chapters in this collection demonstrate the historical and cultural significance of Spanish comics.
Superman: Son of Kal-El (2021-) #9
Superman/Nightwing crossover part 2 of 2! Nightwing promised Clark Kent that while he’s off-planet, Nightwing would look after Clark’s son, Jon, as he tries to fill his father’s shoes as Superman. But with someone out there murdering superpowered people, is Nightwing in over his head? Read Nightwing #89 for part 1 of this crossover story!
"I'm Just a Comic Book Boy"
Comics and the punk movement are inextricably linked--each has a foundational do-it-yourself ethos and a nonconformist spirit defiant of authority. This collection of new essays provides for the first time a thorough analysis of the intersections between comics and punk. The contributors expand the discussion beyond the familiar U.S. and UK scenes to include the influence punk has had on comics produced in other countries, such as Spain and Turkey.
Morning Wood
Morning Wood features the work of 50 of the world's current top 'alternative creators' in an incredible compilation that is not only pure inspiration but a celebration of the acceptance of graffiti and street styles into the mainstream and commercial world. Morning Wood provides a long-awaited forum for well-known visionaries such as billboard liberator Ron English; the creator of the "Garbage Pail Kids," John Pound; and Sex Pistols art director Jamie Reid. Morning Wood also features the latest generation's brightest artistic and photographic stars such as Espo, Cynthia Connolly, Dalek, Giant, Shepard Fairey. Andrew Jeffrey Wright, and Estevan Oriol. Each artist was given complete freedom to present a selection of his or her work in four full bleed pages and the short, up-to-date biographies which accompany each spread assist in putting this remarkable 21st century art into context.
Mome Vol. 4
The fourth volume of Mome includes the following: R. Kikuo Johnson (Night Fisher) contributes a series of comic strips created for a gallery show in New York City that could be mistaken for a forgotten classic from the Sunday Funnies circa 1935; John Pham's "221 Sycamore Street," an ongoing graphic novel about three very strange people who board in a two-story house, presented in a unique three-color process; Paul Hornschemeier's "Life with Mr. Dangerous," a full-color narrative about a young woman who struggles to define a life outside of the example her mother provides, spending far too much time watching a cartoon called "Mr. Dangerous"; David Heatley (Deadpan, McSweeney's) weaves a surre...
Comics and Agency
This volume aims to intensify the interdisciplinary dialogue on comics and related popular multimodal forms (including manga, graphic novels, and cartoons) by focusing on the concept of medial, mediated, and mediating agency. To this end, a theoretically and methodologically diverse set of contributions explores the interrelations between individual, collective, and institutional actors within historical and contemporary comics cultures. Agency is at stake when recipients resist hegemonic readings of multimodal texts. In the same manner, “authorship” can be understood as the attribution of agency of and between various medial instances and roles such as writers, artists, colorists, letterers, or editors, as well as with regard to commercial rights holders such as publishing houses or conglomerates and reviewers or fans. From this perspective, aspects of comics production (authorship and institutionalization) can be related to aspects of comics reception (appropriation and discursivation), and circulation (participation and canonization), including their potential for transmedialization and making contributions to the formation of the public sphere.
