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.

THE EMPIRE STATE IS THE OTHER NEW YORK. A parallel-universe, Prohibition-era world of mooks and shamuses that is the twisted magic mirror to our bustling Big Apple, a place where sinister characters lurk around every corner while the great superheroes that once kept the streets safe have fallen into dysfunctional rivalries and feuds. Not that its colourful residents know anything about the real New York… until detective Rad Bradley makes a discovery that will change the lives of all its inhabitants. Playing on the classic Gotham conventions of the Batman comics and HBO’s Boardwalk Empire, debut author Adam Christopher has spun this smart and fast-paced superhero-noir adventure, the sort of souped-up thrill ride that will excite genre fans and general readers alike. File Under: Science Fiction [ Pocket Universe | Heroes or Villains | Speak Easy | Loyalties Divided ] e-book ISBN: 978-0-85766-194-4

Superman may be faster than a speeding bullet, but even he can't outrun copyright law. Since the dawn of the pulp hero in the 1930s, publishers and authors have fought over the privilege of making money off of comics, and the authors and artists usually have lost. Jerry Siegel and Joe Shuster, the creators of Superman, got all of $130 for the rights to the hero. In Empire of the Superheroes, Mark Cotta Vaz argues that licensing and litigation do as much as any ink-stained creator to shape the mythology of comic characters. Vaz reveals just how precarious life was for the legends of the industry. Siegel and Shuster—and their heirs—spent seventy years battling lawyers to regain rights to Superman. Jack Kirby and Joe Simon were cheated out of their interest in Captain America, and Kirby's children brought a case against Marvel to the doorstep of the Supreme Court. To make matters worse, the infant comics medium was nearly strangled in its crib by censorship and moral condemnation. For the writers and illustrators now celebrated as visionaries, the "golden age" of comics felt more like hard times. The fantastical characters that now earn Hollywood billions have all-too-human roots. Empire of the Superheroes digs them up, detailing the creative martyrdom at the heart of a pop-culture powerhouse.

When Tony Prosdocimi finds himself with super-powers he decides to use them to take down the local supervillain, the Cowl, which gets him in trouble with the local superhero team, the Seven Wonders..

Originally published by DC Comics as Empire issues #0-6.

Centuries ago, two Mayan brothers constructed a spacecraft that sent them hurtling into outer space. Returned to Earth, only to find their culture and civilization destroyed, one of the brothers vows revenge and seeks to decimate the planet with intergalactic technology gathered on his travels. To prevent this, his sibling creates a contingency plan that activates the world’s protectors – descendants of their own Pacal family. Now, the fate of the planet lies in the hands of three cousins scattered throughout Central and North America who have never even met.

In the less than eight decades since Superman's debut in 1938, comic book superheroes have become an indispensable part of American society and the nation's dominant mythology. They represent America's hopes, dreams, fears, and needs. As a form of popular literature, superhero narratives have closely mirrored trends and events in the nation. This study views American history from 1938 to 2010 through the lens of superhero comics, revealing the spandex-clad guardians to be not only fictional characters but barometers of the place and time in which they reside. Instructors considering this book for use in a course may request an examination copy here.