Can a cartoonist and millions of random strangers change the world? The initial stages of their attempt are chronicled in this book of comics-journalism and written observations. Stephanie McMillan, long-time activist and cartoonist, has waited her entire life for the American people to rise up. Sparked by uprisings around the world, a new movement bursts onto the national scene against a system that denies the people a decent life and puts the planet at risk. With delightful full-color drawings, interviews, dialogue, description, and insightful reflections, this book chronicles the first several months of the fragile and contradictory movement. It situates detailed personal experiences and representative narratives within the broad context of a truly unique and historical global conjuncture. This book will stand as a record of the emerging movement in accessible comics form.

Inspired by the Occupy Wall Street protests, this anthology brought together a diverse chorus of voices to present tales drawn from the issues that drove people to set up camp on capitalism's doorstep, issues that continue to impact our lives and world today. Featuring work by Alan Moore (Watchmen, V For Vendetta), Art Spiegelman (Maus), David Lloyd (V For Vendetta), Molly Crabapple (Drawing Blood), Amanda Palmer, Bill Ayers (The Weather Underground), Mike Allred (Madman), David Mack (Kabuki), Ben Templesmith (30 Days Of Night), Charlie Adlard (The Walking Dead), and early comics by Matthew Rosenberg (Uncanny X-Men), Patrick Kindlon (Nobody Is In Control), Matt Miner (Critical Hit), Eric Zawadzki (The Dregs), Patrick Meaney (Last Born), Amancay Nahuelpan (Clandestino), and Matteo Pizzolo (Calexit).

Collects Occupy Avengers #1-4 and Avengers (1963) #80-81. Super heroes — they’re a privileged class. Doing what they want, when they want, and never facing the consequences. They have no regard for the ordinary people left behind to suffer in their wake. Who will stand up for the little guy? Clint Barton, the original Hawkeye, will! Clint doesn’t look for trouble, but trouble keeps finding him — and he’ll quickly drag Red Wolf and Nighthawk into his street-level heroics, as well! But what happens when Nick Fury — the original Nick Fury — arrives on the scene? Isn’t he dead? If so, someone who looks a lot like him is out to kill Clint and his renegade team! What’s going on, and can Clint keep his eye on the ball while dealing with spymasters and sabotage? Plus: Relive Red Wolf’s classic debut!

Focusing especially on American comic books and graphic novels from the 1930s to the present, this massive four-volume work provides a colorful yet authoritative source on the entire history of the comics medium. Comics and graphic novels have recently become big business, serving as the inspiration for blockbuster Hollywood movies such as the Iron Man series of films and the hit television drama The Walking Dead. But comics have been popular throughout the 20th century despite the significant effects of the restrictions of the Comics Code in place from the 1950s through 1970s, which prohibited the depiction of zombies and use of the word "horror," among many other rules. Comics through Time: A History of Icons, Idols, and Ideas provides students and general readers a one-stop resource for researching topics, genres, works, and artists of comic books, comic strips, and graphic novels. The comprehensive and broad coverage of this set is organized chronologically by volume. Volume 1 covers 1960 and earlier; Volume 2 covers 1960–1980; Volume 3 covers 1980–1995; and Volume 4 covers 1995 to the present. The chronological divisions give readers a sense of the evolution of comics within the larger contexts of American culture and history. The alphabetically arranged entries in each volume address topics such as comics publishing, characters, imprints, genres, themes, titles, artists, writers, and more. While special attention is paid to American comics, the entries also include coverage of British, Japanese, and European comics that have influenced illustrated storytelling of the United States or are of special interest to American readers.

In recent years the world has borne witness to numerous confrontations, many of them violent, between protesters and authorities at pivotal gatherings of the world’s political and economic leaders. While police and the media are quick to paint participants as anarchistic thugs, accurate accounts of their ubsequent treatment at the hands of authorities often go untold—as well as the myriad stories of corporate and government corruption, greed, exploitation, and abuse of power that inspired such protests in the first place. In this startling, politically astute graphic novel, Gord Hill (The 500 Years of Resistance Comic Book) documents the history of capitalism as well as anti-capitalist and anti-globalization movements around the world, from the 1999 “Battle of Seattle” against the World Trade Organization to the Toronto G20 summit in 2010. The dramatic accounts trace the global origins of public protests against those in power, then depict recent events based on eyewitness testimony; they go far to contradict the myths of violence perpetrated by authorities, and instead paint a vivid and historically accurate picture of activists who bring the crimes of governments and multinationals to the world’s attention. As the “Occupy” movements around the world unfold, The Anti-Capitalist Resistance Comic Book is a deft, eye-opening look at the new class warfare, and those brave enough to wage the battle.

Contributions by Georgiana Banita, Colin Beineke, Harriet Earle, Ariela Freedman, Liza Futerman, Shawn Gilmore, Sarah Hamblin, Cara Koehler, Lee Konstantinou, Patrick Lawrence, Philip Smith, and Kent Worcester A carefully curated, wide-ranging edited volume tracing Art Spiegelman’s exceptional trajectory from underground rebellion to mainstream success, Artful Breakdowns: The Comics of Art Spiegelman reveals his key role in the rise of comics as an art form and of the cartoonist as artist. The collection grapples with Spiegelman’s astonishing versatility, from his irreverent underground strips, influential avant-garde magazine RAW, the expressionist style of the comics classic Maus, the illustrations to the Jazz Age poem “The Wild Party,” and his response to the September 11 terrorist attacks to his iconic cover art for the New Yorker, his children’s books, and various cross-media collaborations. The twelve chapters cut across Spiegelman’s career to document continuities and ruptures that the intense focus on Maus has obscured, yielding an array of original readings. Spiegelman’s predilection for collage, improvisation, and the potent protest of silence shows his allegiance to modernist art. His cultural critique and anticapitalist, antimilitary positions shed light on his vocal public persona, while his deft intertextual strategies of mixing media archives, from comics to photography and film, amplify the poignance of his works. Developing new approaches to Spiegelman’s comics—such as the publication history of Maus, the history of immigration and xenophobia, and the cartoonist’s elevation of children’s comics—the collection leaves no doubt that despite the accolades his accessible comics have garnered, we have yet to grasp the full range of Spiegelman’s achievements in the realm of comics and beyond.

On the surface, the relationship between comics and the ‘high’ arts once seemed simple; comic books and strips could be mined for inspiration, but were not themselves considered legitimate art objects. Though this traditional distinction has begun to erode, the worlds of comics and art continue to occupy vastly different social spaces. Comics Versus Art examines the relationship between comics and the most important institutions of the art world, including museums, auction houses, and the art press. Bart Beaty's analysis centres around two questions: why were comics excluded from the history of art for most of the twentieth century, and what does it mean that comics production is now more closely aligned with the art world? Approaching this relationship for the first time through the lens of the sociology of culture, Beaty advances a completely novel approach to the comics form.