World War III is over, and nomad soldier Duenan Knute and her cyborg partner Briareos struggle to survive in the abandoned cities and demilitarized zones of the post-war wasteland, the "Badside." Matters appear on the upswing, however, when they are found and brought to Olympus, an urban utopia and centerpiece for the reconstruction of civilization. Duenan and Bri join the Olympus police, a force that seems hardly necessary in such a paradise. But, like in most pretty pictures, perfection is an illusion, and Olympus's peaceful facade hides a dark secret, a violent struggle between human and cyborg that could once again plunge the world into war . . . and genocide. * Shirow is well known and critically acclaimed internationally, and is responsible for numerous classic anime/manga titles, such as Appleseed, Dominion, Ghost in the Shell, Orion, and Black Magic. * Produced in the authentic right-to-left reading format, as originally published in Japan. * A New York Times Bestselling series!

When nomad solider Duenan Knute and her cyborg partner Briareos are brought to Olympus, an urban utopia and centerpiece for the reconstruction of civilization following World War III, they join the Olympus police and discover that under the peaceful facade hides a dark secret.

This book analyses the relationship between comics and cultural memory. By focussing on a range of landmark comics from the twentieth and twenty-first centuries, the discussion draws attention to the ongoing role of visual culture in framing testimony, particularly in relation to underprivileged subjects such as migrants and refugees, individuals dealing with war and oppressive regimes and individuals living with particular health conditions. The discussion is influenced by literary and cultural debates on the intersections between ethics, testimony, trauma, and human rights, reflected in its three overarching questions: ‘How do comics usually complicate the production of cultural memory in local contents and global mediascapes?’, ‘How do comics engage with, and generate, new forms of testimonial address?’, and ‘How do the comics function as mnemonic structures?’ The author highlights that the power of comics is that they allow both creators and readers to visualise the fracturing power of violence and oppression – at the level of the individual, domestic, communal, national and international – in powerful and creative ways. Comics do not stand outside of literature, cinema, or any of the other arts, but rather enliven the reciprocal relationship between the verbal and the visual language that informs all of these media. As such, the discussion demonstrates how fields such as graphic medicine, graphic justice, and comics journalism contribute to existing theoretical and analytics debates, including critical visual theory, trauma and memory studies, by offering a broad ranging, yet cohesive, analysis of cultural memory and its representation in print and digital comics.

Did you know that comic books are being promoted by noted organizations including American Library Association and many educators as a tool for engaging young readers?

Peorth is back! ... but in a pint-sized version of her true self. The demon, Velsper, who put her in this situation is now a kitten and isn't much help. How will she ever get back to her normal size?