ALL ROADS LEAD TO… Izumi tells Kazusa that he hasn’t thought of doing things with her at all. And Kazusa should feel relieved to hear this, but… Now she’s swimming in a sea of confusion over sex and love: How are they different? How are they linked? As these thoughts race through her head, things get more complicated when she spots Nina and Izumi hanging out by themselves. If Nina brought up these questions about sex in the first place, then what if the two are…?

The Lost World is doomed! When a tear in the dimensional fabric opens over the forbidden God Mountain, the brave and cunning Jana must rescue her friends Togg and Mike Mize from flaming debris, stampeding dinosaurs, and bloodthirsty tribesmen. Can the intrepid Jungle Girl overcome the chaos caused by the fearsome otherworldly deities known as The Old Ones? Her only salvation, a powerful artifact of alien origin, resides within the Temple of the Dirt People... a journey that will not only lead Jana to horrors undreamt, but also to a terrible revelation about the man she loves most: her father! Acclaimed storyteller Frank Cho (Savage Wolverine, Liberty Meadows) returns to Jungle Girl for its epic third act, co-written by Doug Murray (The 'Nam) and featuring artwork by Jack Jadson (The Savage Hawkman)!

We're getting down to the nitty-gritty now! As the creatures from beyond space and time begin to rip the God Mountain apart, Jana and her friends have to fight their way past the Dirt People, blood-drinking worms, and the most powerful (and insane) Dream Walker of them all to acquire the weapon Jana's father needs to save the Lost World. The Jungle Girl is confident that she can accomplish the mission - the real question is: can she do it before the world around her is destroyed?

Ideas of masculinity and femininity become sharply defined in war-reliant societies, resulting in a presumed enmity between men and women. This so-called battle of the sexes intensifies in tandem with dispositions to fight actual wars. These are among the fascinating discoveries Tom Digby shares in Love and War, which describes the making and manipulation of gender in both militaristic and nonmilitaristic societies and the consequences for men and women in their personal, romantic, sexual, and professional lives. Drawing on cross-cultural comparisons and examples from popular media, including sports culture, the rise of ÒgonzoÓ and ÒbangbusÓ pornography, and ÒInternet trolls,Ó Digby shows how misogyny and toughness are deployed to construct masculinity in ways that undermine relations between women and men. Through diverse philosophical methodologies, he identifies the cultural elements that contribute to heterosexual antagonism, such as an enduring faith in male force to solve problems, the glorification of violent men who suppress caring emotions, the devaluation of menÕs physical and emotional lives, an imaginary gender binary, male privilege premised on the subordination of women, and the use of misogyny to encourage masculine behavior. Digby tracks the Òcollateral damageÓ of this disabling misogyny in the lives of both men and women, but ends on a hopeful note. He ultimately finds the link between war and gender to be dissolving in many societies: war is becoming degendered, and gender is becoming demilitarized.

Nobody sleeps until Law Hightower is six feet deep. All Kanati Dawson wanted was to work for the boss and then go home to be with the love of his life, Sunni Hamden. And then his patience was tested in one act of disrespect. The moment Law saw Kanati’s girl he knew he had to have her. Being a man who is accustomed to getting what he wants, Law plotted to steal her from him despite his closest comrade’s advice. “Leave her alone. Kanati feels like trouble.” If only Law listened. After going across the country to steal Kanati’s girl in the middle of the night, Law unknowingly brought hell like he never imagined back to his hometown. Before long blood poured and bodies dropped as Kanati and his villain’s descended on Baltimore with one objective in mind…revenge.

Mother Trouble traces white maternal angst in popular culture across a span of more than fifty years, from the iconic Rosemary’s Baby to anti-vaxx mom memes and HGTV shows. The book narrows in on popular media to think about white maternal angst as a manifestation of feminism’s unrealized possibilities and continued omissions since the second wave. It interrogates intersecting systems of power which make mothers and their children the most impoverished people in the world and urges a greater appreciation in academic and popular thinking of the work that mothers do. The book calls for an analytical expansion beyond gender to better address the erasure of reproductive labour, and especially that performed by migrants and people of colour. It illustrates the continued marginalization of racialized mothers and the disproportionate amount of labour performed by all mothers in a society where their work is devalued. Ultimately, Mother Trouble reveals how the unease around white motherhood in the media has become a proxy for the troubles faced by all mothers.