From the award winning pen of J. Michael Straczynski comes Jeremiah, a gritty tale of life and survival in a terrifying post-apocalyptic nightmare. Taking a plot line as familiar as it is popular, Straczynski has created a background rich in detail which formed the basis of this critically acclaimed television series. Thunder Mountain is a fully detailed and lavishly illustrated sourcebook for the government base featured in the hit TV series and roleplaying game.

Twenty-first century American television series such as Revolution, Falling Skies, The Last Ship and The Walking Dead have depicted a variety of doomsday scenarios--nuclear cataclysm, rogue artificial intelligence, pandemic, alien invasion or zombie uprising. These scenarios speak to longstanding societal anxieties and contemporary calamities like 9/11 or the avian flu epidemic. Questions about post-apocalyptic television abound: whose voices are represented? What tomorrows are they most afraid of? What does this tell us about the world we live in today? The author analyzes these speculative futures in terms of gender, race and sexuality, revealing the fears and ambitions of a patriarchy in flux, as exemplified by the "return" to a mythical American frontier where the white male hero fights for survival, protects his family and crafts a new world order based on the old.

People have been making predictions about how and when the world is going to end for ages. The End is a fun pop culture read about the top 50 movies, books, songs, and artworks—from the movie Shaun of the Dead to the song It's the End of the World as We Know It—about the apocalypse. Each item includes: - A synopsis of the apocalyptic work - Information about the apocalyptic theory behind it (from alien invasion to meteors, nuclear war, and natural disasters) - An explanation about why this work is important in pop culture Love doomsday talk and the art made about it? Check out this fun and entertaining read!

"When Old Goldie, a prospector rumored to have had a hidden gold mine, passes away, he leaves an envelope addressed to ""T. A. F."" It contains only a photograph of a small cabin. Who was Old Goldie, and who is T.A.F.? Is there really a mine? Ted Wilford and his friend Nelson Morgan set out to answer these questions. If the mine exists at all, they soon realize, it must be on Thunder Mountain. From that point the race is on. A mining engineer, a secret code, a Native American, a rival reporter -- and most of the people from the two nearest towns -- are also looking for the mine. Whoever finds and claims it first may win a fortune. And some of them will stop at nothing to get it..."

Dystopian States of America is a crucial resource that studies the impact of dystopian works on American society-including ways in which they reflect our deep and persistent fears about environmental calamities, authoritarian governments, invasive technologies, and human weakness. Dystopian States of America provides students and researchers with an illuminating resource for understanding the impact and relevance of dystopian and apocalyptic works in contemporary American culture. Through its wide survey of dystopian works in numerous forms and genres, the book encourages readers to connect with these works of fiction and understand how the catastrophically grim or disquieting worlds they portray offer insights into our own current situation. In addition to providing more than 150 encyclopedia articles on a large and representative sample of dystopian/apocalyptic narratives in fiction, film, television, and video games (including popular works that often escape critical inquiry), Dystopian States of America features a suite of critical essays on five themes-war, pandemics, totalitarianism, environmental calamity, and technological overreach-that serve as the foundation for most dystopian worlds of the imagination. These offerings complement one another, enabling readers to explore dystopian conceptions of America and the world from multiple perspectives and vantage points.

The 'Confessions' of Jeremiah have generally been interpreted as isolated poems interspersed among prophetic oracles. This book endeavours to read the Confessions in their present literary context. Diamond argues persuasively that the more the Confessions are isolated from their setting in the book of Jeremiah, the more opaque and indeterminate readings of them become. When they are allowed to function in the context determined for them by the editors of Jeremiah, they promote the editorial valuation of the prophet's mission-Israel's opposition to Jeremiah becomes the ground for a theodicy explaining the national disaster. Restoring the Confessions to their context in the book finally enables the author to demonstrate that chapters 11-20 form an integrated literary complex.