A fun, violent, and strange take on superhero comics produced by a mix of renegade alternative talents collaborating with bronze age veterans.

Standards designed for adoption at the state and local levels for the purpose of preventing and reducing organized crime in America are presented in this comprehensive report. The standards recommended in this report were formulated to assist all sectors of the community, as well as the agencies of state and local governments. As a unit, these standards constitute a comprehensive plan for the prevention and control of organized criminal activity in this country. Following the introductory remarks, a brief history of organized criminal activity in the united states, a description of the general characteristics of organized crime, and the results of a study of the various ways state and local governments have dealt with the problem are presented. Part 3 of this report presents standards to guide state and local governments, officials of the criminal justice system, and private citizens in the design and implementation of programs to combat organized criminal operations. These standards are based on successful models operating in the states or on concepts that the task force and the national advisory committee considered necessary for effective prevention and control of organized crime. Proposals for state and local administrative and regulatory agencies to participate in organized crime control programs to the fullest extent of their statutory authority are contained in chapter 4. The standards in chapters 5 through 8 recommend specific policies, law enforcement mechanisms, prosecutorial tools, and legal procedures for adoption by the criminal justice system. The standards in chapter 9 recommend that appropriate training programs in organized crime control be instituted for all levels of the criminal justice system. General educational programs for the private sector are also recommended.

"When people lie to Baer Creighton their eyes glow red and he experiences a small burst of electricity. It hurts to suffer liars-- and Baer learned long ago that everyone lies. So he sleeps in the woods outside his house, converses with his sole companion, a pit bull named Fred, and distills special blends of fruited moonshine. When Fred is stolen, fought in an illegal fight circle and left for dead, Baer vows to set things right. He has all the skill he needs to find each man present at the fight circle that night and park a pile of hell on his front porch. But when he tips his hand he becomes the hunted, and the war he thought would be settled in a single attack becomes a battle of attrition with violence coming at him from all angles. When the battle escalates to the unthinkable, Baer concots a retribution so horrifying it gives him pause. To implement the ultimate vengeance Baer will have to confront his past, the liars he has loved, and the biggest lie of all. You can be damn sure he does. Evil doesn't come easy for Baer Creighton, but it comes."--Back cover.

"An Introduction to Crime Scene Investigation" serves to eliminate warped impressions influenced by the media, and clearly identifies and explains the crime scene investigative process, components, methods, and procedures.

Critical studies of the graphic novel have often employed methodologies taken from film theory and art criticism. Yet, as graphic novels from Maus to Watchmen have entered the literary canon, perhaps the time has come to develop theories for interpreting and evaluating graphic novels that are drawn from classic models of literary theory and criticism. Using the methodology of Georg Lukács and his detailed defense of literary realism as a socially embedded practice, Litcomix tackles difficult questions about reading graphic novels as literature. What critical standards should we use to measure the quality of a graphic novel? How does the genre contribute to our understanding of ourselves and the world? What qualities distinguish it from other forms of literature? LitComix hones its theoretical approach through case studies taken from across the diverse world of comics, from Yoshihiro Tatsumi’s groundbreaking manga to the Hernandez Brothers’ influential alt-comix. Whether looking at graphic novel adaptations of Proust or considering how Jack Kirby’s use of intertextuality makes him the Balzac of comics, this study offers fresh perspectives on how we might appreciate graphic novels as literature.