Originally published as My Greatest Adventure #80-85, The Doom Patrol #86-101.

Written by Jack Miller, Ed Herron, Gardner Fox and Bob Haney Art by JackKirby, George Papp, Mike Sekowsky and Neal Adams Cover by Lee Elias & JerryOrdway The Emerald Archer's Silver Age adventures get the spotlight! Thisvolume reprints stories from ADVENTURE COMICS #250-266, 268-269, THE BRAVE ANDTHE BOLD #50, 71, 85, JUSTICE LEAGUE OF AMERICA #4, and WORLD'S FINEST #95-140.Along with his sidekick Speedy, see Green Arrow take on all manner of crime inStar City!

"Originally published in single magazine form in DC Comics presents 52, 59, 81, Supergirl 16, Action comics 560, 563, 565, Ambush Bug 1-4, Son of Ambush Bug 1-6, Ambush Bug stocking stuffer 1, Secret origins 48, Ambush Bug nothing special 1."--Colophon.

All hail the Supreme Shape! Gerard Way and the World’s Strangest Superheroes return in an all-new series that takes them beyond the borders of time and space! Featuring artwork by acclaimed cartoonist James Harvey, this issue finds the Doom Patrol facing off against the fanatical fitness fiends of planet Orbius and the Marathon Eternal! Meanwhile, Cliff Steele, formerly known as Robotman, must come to terms with his new body of flesh and bone...yet the real test turns out to be something far more frightening: his mom.

Collects comic books starring Superman's cousin from the planet Krypton: Kara Zor-El, the teenager who would become Supergirl.

A collection originally published in 1960 through 1968.

The Thing. Daredevil. Captain Marvel. The Human Fly. Drawing on DC and Marvel comics from the 1950s to the 1990s and marshaling insights from three burgeoning fields of inquiry in the humanities—disability studies, death and dying studies, and comics studies—José Alaniz seeks to redefine the contemporary understanding of the superhero. Beginning in the Silver Age, the genre increasingly challenged and complicated its hypermasculine, quasi-eugenicist biases through such disabled figures as Ben Grimm/The Thing, Matt Murdock/Daredevil, and the Doom Patrol. Alaniz traces how the superhero became increasingly vulnerable, ill, and mortal in this era. He then proceeds to a reinterpretation of characters and series—some familiar (Superman), some obscure (She-Thing). These genre changes reflected a wider awareness of related body issues in the postwar U.S. as represented by hospice, death with dignity, and disability rights movements. The persistent highlighting of the body's “imperfection” comes to forge a predominant aspect of the superheroic self. Such moves, originally part of the Silver Age strategy to stimulate sympathy, enhance psychological depth, and raise the dramatic stakes, developed further in such later series as The Human Fly, Strikeforce: Morituri, and the landmark graphic novel The Death of Captain Marvel, all examined in this volume. Death and disability, presumed routinely absent or denied in the superhero genre, emerge to form a core theme and defining function of the Silver Age and beyond.