This work dissects the origin and growth of superhero comic books, their major influences, and the creators behind them. It demonstrates how Batman, Wonder Woman, Captain America and many more stand as time capsules of their eras, rising and falling with societal changes, and reflecting an amalgam of influences. The book covers in detail the iconic superhero comic book creators and their unique contributions in their quest for realism, including Julius Schwartz and the science-fiction origins of superheroes; the collaborative design of the Marvel Universe by Jack Kirby, Stan Lee, and Steve Ditko; Jim Starlin’s incorporation of the death of superheroes in comic books; John Byrne and the revitalization of superheroes in the modern age; and Alan Moore’s deconstruction of superheroes.

Superhero comic books are traditionally thought to have two distinct periods, two major waves of creativity: the Golden Age and the Silver Age. In simple terms, the Golden Age was the birth of the superhero proper out of the pulp novel characters of the early 1930s, and was primarily associated with the DC Comics Group. Superman, Batman, Green Lantern, and Wonder Woman are the most famous creations of this period. In the early 1960s, Marvel Comics launched a completely new line of heroes, the primary figures of the Silver Age: the Fantastic Four, Spider-Man, the Incredible Hulk, the X-Men, the Avengers, Iron Man, and Daredevil. In this book, Geoff Klock presents a study of the Third Movement of superhero comic books. He avoids, at all costs, the temptation to refer to this movement as "Postmodern," "Deconstructionist," or something equally tedious. Analyzing the works of Frank Miller, Alan Moore, Warren Ellis, and Grant Morrison among others, and taking his cue from Harold Bloom, Klock unearths the birth of self-consciousness in the superhero narrative and guides us through an intricate world of traditions, influences, nostalgia and innovations - a world where comic books do indeed become literature.

Faster than a speeding bullet, Superman burst onto the comic book scene in 1938, just as America was on the terrifying precipice of a world war. In a desperate time, legendary creators Jerry Siegel and Joe Shuster brought to life the world’s first modern superhero. The Man of Steel emerged as a champion of the oppressed, taking down any enemy with his super-strength and speed, both foreign and near to home. In his distinctive royal blue, red and yellow costume, complete with cape, the stalwart Kryptonian emanated strength and fearlessness. He swiftly became a symbol of hope for a downtrodden America.Collecting all of the Metropolis Wonder’s first-ever adventures from ACTION COMICS #1-19, SUPERMAN #1-3 and NEW YORK WORLD’S FAIR COMICS #1!

Authorizing Superhero Comics examines the comic book superhero as a lasting phenomenon of US popular serial storytelling. Moving beyond linear- or creator-centered models of genre development, Daniel Stein identifies authorization conflicts that have driven the genre's evolution from the late 1930s to the present. These conflicts include paratextually mediated exchanges between officially authorized comic book producers and, alternatively, authorized fans that trouble the distinction between production and its reception; storyworld-building processes that subsume producers and fans into a collective rooted in a common style; parodies that ensure the genre's longevity by deflating criticism through self-reflexive humor; and collecting and archiving as forms of memory management that align the genre's past with the demands of the present. Taking seriously the serial agencies of the superhero comic book as a material artifact with a particular mediality, the study analyzes letter columns, editorial commentary, fanzines, encyclopedias, and other forms of comic book communication as critical frameworks for understanding the evolution of the genre--assessing rarely covered archival sources alongside some of the most treasured figures from the superhero's multi-decade history, from Batman and Spider-Man to Wonder Woman and Captain America.

Now it can be told. The full story behind the origin of X-23 - who she is, where she came from and the exact nature of her relationship to Wolverine. You think you know, but you have no idea. Collects X-23 (2005) #1-6.

"Contextualizes the history of race within comic books and the fundamental whiteness observed in American superhero narratives from the late 1930s to the present"--

"What if there's an alternative universe with a different moral code? What if we are being deceived by an evil genius? Examining the deep philosophical topics addressed in superhero comics, this entertaining book reads plot lines for the complex "thought experiments" they contain and analyzes their implications as if the comic authors were philosophers. In doing so, authors Chris Gavaler and Nathaniel Goldberg--a comics expert and a philosophy scholar, respectively--find that superhero comics often depict philosophical thought experiments more fully than philosophers do, and with surprising results. For example, René Descartes briefly worries that we are being deceived by an evil genius, but Marvel Comics explores this concern--and its consequences--over decades. Similarly, in a few paragraphs philosophers Terry Horgan and Mark Timmons imagine a "moral twin earth" with deviant morality, while DC Comics dedicates multiple comics to different moral twin earths in which readers see multiple deviant moralities play out"--