"Originally published in single magazine form in the Flash #1-7, The Flash secret files and origins 2010"--T.p. verso.

The Flash races out of BLACKEST NIGHT and into the first graphic novel collection of his new monthly title written by comics hottest writer Geoff Johns (BLACKEST NIGHT, GREEN LANTERN). The all-new adventures of the Fastest Man Alive start with "Case One: The Dastardly Death of the Rogues!" Barry Allen, The Flash, runs back to his life in Central City, but when one of the Rogues turns up murdered under mysterious circumstances, it's up to The Fastest Man Alive to not only solve this bizarre crime, but protect those that are still targeted by the elusive killer. This storyline ties directly into BRIGHTEST DAY, the direct follow-up to the biggest comics event of 2009, BLACKEST NIGHT. Collects THE FLASH #1-6 and THE FLASH SECRET FILES 2010!

When one of the Rogues is found dead in the future, the Renegades travel back in time to arrest Barry Allen, the Flash, for a murder that hasn't occured yet.

The Flash races out of BLACKEST NIGHT and into the first graphic novel collection of his new monthly title written bycomics hottest writer Geoff Johns (BLACKEST NIGHT, GREEN LANTERN). The all-new adventures of The Fastest ManAlive start with "Case One: The Dastardly Death of the Rogues!" Barry Allen, The Flash, runs back to his life in Central City, but when one of the Rogues turns up murdered under mysterious circumstances, it's up to The Fastest Man Alive to not onlysolve this bizarre crime, but protect those that are still targeted by the elusive killer. This storyline ties directly into BRIGHTEST DAY, the direct follow-up to the biggest comics event of 2009, BLACKEST NIGHT.

Covering genres from adventure and fantasy to horror, science fiction, and superheroes, this guide maps the vast terrain of graphic novels, describing and organizing titles to help librarians balance their graphic novel collections and direct patrons to read-alikes. New subgenres, new authors, new artists, and new titles appear daily in the comic book and manga world, joining thousands of existing titles—some of which are very popular and well-known to the enthusiastic readers of books in this genre. How do you determine which graphic novels to purchase, and which to recommend to teen and adult readers? This updated guide is intended to help you start, update, or maintain a graphic novel collection and advise readers about the genre. Containing mostly new information as compared to the previous edition, the book covers iconic super-hero comics and other classic and contemporary crime fighter-based comics; action and adventure comics, including prehistoric, heroic, explorer, and Far East adventure as well as Western adventure; science fiction titles that encompass space opera/fantasy, aliens, post-apocalyptic themes, and comics with storylines revolving around computers, robots, and artificial intelligence. There are also chapters dedicated to fantasy titles; horror titles, such as comics about vampires, werewolves, monsters, ghosts, and the occult; crime and mystery titles regarding detectives, police officers, junior sleuths, and true crime; comics on contemporary life, covering romance, coming-of-age stories, sports, and social and political issues; humorous titles; and various nonfiction graphic novels.

Conventional wisdom holds that comic books of the post-World War II era are poorly drawn and poorly written publications, notable only for the furor they raised. Contributors to this thoughtful collection, however, demonstrate that these comics constitute complex cultural documents that create a dialogue between mainstream values and alternative beliefs that question or complicate the grand narratives of the era. Close analysis of individual titles, including EC comics, Superman, romance comics, and other, more obscure works, reveals the ways Cold War culture--from atomic anxieties and the nuclear family to communist hysteria and social inequalities--manifests itself in the comic books of the era. By illuminating the complexities of mid-century graphic novels, this study demonstrates that postwar popular culture was far from monolithic in its representation of American values and beliefs.