From automatons to zombies, many elements of fantasy and science fiction have been cross-pollinated with the Western movie genre. In its second edition, this encyclopedia of the Weird Western includes many new entries covering film, television, animation, novels, pulp fiction, short stories, comic books, graphic novels and video and role-playing games. Categories include Weird, Weird Menace, Science Fiction, Space, Steampunk and Romance Westerns.

2021 Top Ten Finalist for the Locus Awards in Nonfiction Joshua Smith's chapter "Uncle Tom's Cabin Showdown" won the 2021 Don D. Walker Prize from the Western Literature Association Weird Westerns is an exploration of the hybrid western genre--an increasingly popular and visible form that mixes western themes, iconography, settings, and conventions with elements drawn from other genres, such as science fiction, horror, and fantasy. Despite frequent declarations of the western's death, the genre is now defined in part by its zombie-like ability to survive in American popular culture in weird, reanimated, and reassembled forms. The essays in Weird Westerns analyze a wide range of texts, including those by Native American authors Stephen Graham Jones (Blackfeet) and William Sanders (Cherokee); the cult television series Firefly and The Walking Dead; the mainstream feature films Suicide Squad and Django Unchained; the avant-garde and bizarre fiction of Joe R. Lansdale; the tabletop roleplaying game Deadlands: The Weird West; and the comic book series Wynonna Earp. The essays explore how these weird westerns challenge conventional representations by destabilizing or subverting the centrality of the heterosexual, white, male hero but also often surprisingly reinforce existing paradigms in their inability to imagine an existence outside of colonial frameworks.

The Navajo called them the Anasazi, the “ancient enemy,” and their abandoned cities haunt the canyons and plateaus of the Southwest. For centuries the sudden disappearance of these people baffled historians. Summoned to a dark desert plateau by a desperate letter from an old friend, renowned investigator Mike Raglan is drawn into a world of mystery, violence, and explosive revelations. Crossing a border beyond the laws of man and nature, he will learn of the astonishing world of the Anasazi and discover the most extraordinary frontier ever encountered.

Welcome to a Steampunk wild west starring Doc Holliday, with zombies, dinosaurs, robots, and cowboys. The time is April, 1885. Doc Holliday lies in bed in a sanitarium in Leadville, Colorado, expecting never to leave his room again. But the medicine man and great chief Geronimo needs him for one last adventure. Renegade Comanche medicine men object to the newly-signed treaty with Theodore Roosevelt. They are venting their displeasure on two white men who are desecrating tribal territory in Wyoming. Geronimo must protect the men or renege on his agreement with Roosevelt. He offers Doc one year of restored health in exchange for taking on this mission. Welcome to the birth of American paleontology, spearheaded by two brilliant men, Edward Drinker Cope and Othniel Charles Marsh, two men whose genius is only exceeded by their hatred for each other's guts. Now, with the aid of Theodore Roosevelt, Cole Younger, and Buffalo Bill Cody, Doc Holliday must save Cope and Marsh not only from the Comanches, not only from living, breathing dinosaurs, but from each other. And that won't be easy.

Welcome to a West like you've never seen before, where electric lights shine down on the streets of Tombstone, while horseless stagecoaches carry passengers to and fro, and where death is no obstacle to The Thing That Was Once Johnny Ringo. Think you know the story of the O.K. Corral? Think again, as five-time Hugo winner Mike Resnick takes on his first steampunk western tale, and the West will never be the same.

The western, one of Hollywood’s great film genres, has, surprisingly, enjoyed a revival recently in Asia and in other parts of the world, whilst at the same time declining in America. Although the western is often seen as an example of American cultural dominance, this book challenges this view. It considers the western from an Asian perspective, exploring why the rise of Asian westerns has come about, and examining how its aesthetics, styles and politics have evolved as a result. It analyses specific Asian Westerns as well as Westerns made elsewhere, including in Australia, Europe, and Hollywood, to demonstrate how these employ Asian philosophical and mythical ideas and value systems. The book concludes that the western is a genre which is truly global, and not one that that is purely intrinsic to America.