This book offers an interdisciplinary approach to the study of comic-books, mobilising them as a means to understand better the political context in which they are produced. Structured around key political events in the US between 1938 and 1975, the author combines analyses of visual and textual discourse, including comic-book letters pages, to come to a more complete picture of the relationship between comic-books as documents and the people who read and created them. Exploring the ways in which ideas about the US and its place in the world were represented in major superhero comic-books during the tumultuous period of US history from the Great Depression to the political trauma of Watergate and the end of the Vietnam War, Superheroes and American Self-Image sheds fresh light on the manner in which comic-books shape and are shaped by contemporary politics. As such it will appeal to scholars of cultural and media studies, history and popular culture.

This book offers an interdisciplinary approach to the study of comic-books, mobilising them as a means to understand better the political context in which they are produced. Structured around key political events during the tumultuous period of US history from the Great Depression to the political trauma of Watergate and the end of the Vietnam War, the author combines analyses of visual and textual discourse, including comic-book letters pages, to come to a more complete picture of the relationship between comic-books as documents and the people who read and created them.

A Hero Like You looks at everyday heroes and highlights qualities such as loyalty, compassion, resourcefulness, justice, and courage. The lyrical rhyme and relatable illustrations remind us that we all have the opportunity to be a hero by helping others, doing right and making the world a better place. "What the world needs is a hero like you!"

A sort of nebulous sad thing happening forever and ever : childhood socialization to the Vietnam War -- Why couldn't I fight in a nice, simpler war? : comic books and Mad magazine -- Who bombed Santa's workshop? : militarizing play with commercial war toys -- One of the most agonizing years of my life : knowing someone in Vietnam -- Mom tried to make it for us like he wasn't even gone : father separation and reunion -- God bless dad wherever you are : POW/MIA -- How come the flags around town aren't flying at half-mast? : Gold Star children -- Yes, I am My Lai, but My Lai is better than Viet Cong! : Vietnamese adoptees and Amerasians.

Contributions by Lawrence Abrams, Dorian L. Alexander, Max Bledstein, Peter Cullen Bryan, Stephen Connor, Matthew J. Costello, Martin Flanagan, Michael Fuchs, Michael Goodrum, Bridget Keown, Kaleb Knoblach, Christina M. Knopf, Martin Lund, Jordan Newton, Stefan Rabitsch, Maryanne Rhett, and Philip Smith History has always been a matter of arranging evidence into a narrative, but the public debate over the meanings we attach to a given history can seem particularly acute in our current age. Like all artistic mediums, comics possess the power to mold history into shapes that serve its prospective audience and creator both. It makes sense, then, that history, no stranger to the creation of hagiographies, particularly in the service of nationalism and other political ideologies, is so easily summoned to the panelled page. Comics, like statues, museums, and other vehicles for historical narrative, make both monsters and heroes of men while fueling combative beliefs in personal versions of United States history. Drawing the Past, Volume 1: Comics and the Historical Imagination in the United States, the first book in a two-volume series, provides a map of current approaches to comics and their engagement with historical representation. The first section of the book on history and form explores the existence, shape, and influence of comics as a medium. The second section concerns the question of trauma, understood both as individual traumas that can shape the relationship between the narrator and object, and historical traumas that invite a reassessment of existing social, economic, and cultural assumptions. The final section on mythic histories delves into ways in which comics add to the mythology of the US. Together, both volumes bring together a range of different approaches to diverse material and feature remarkable scholars from all over the world.

Printing Terror places horror comics of the Cold War in dialogue with the anxieties of their age. It rejects the narrative of horror comics as inherently, and necessarily, subversive and explores, instead, the ways in which these texts manifest white male fears over America’s changing sociological landscape. It examines two eras: the pre-CCA period of the 1940s up to 1954, and the post-CCA era to 1975. The book examines each of these periods through the lenses of war, gender, and race, demonstrating that horror comics at this time were centered on white male victimhood and the monstrosity of the gendered and/or racialised other. It is of interest to scholars of horror, comics studies, and American history.

Over the last several decades, comic book superheroes have multiplied and, in the process, become more complicated. In this cutting edge anthology an international roster of contributors offer original research and writing on the contemporary comic book superhero, with occasional journeys into the film and television variation. As superheroes and their stories have grown with the audiences that consume them, their formulas, conventions, and narrative worlds have altered to follow suit, injecting new, unpredictable and more challenging characterizations that engage ravenous readers who increasingly demand more.