"New Deawardians created by Abnett & Culbard"--Title page.

New York Times best-selling novelist, graphic novelist, and all-around character, Dan Abnett (Horus Rising, Guardians of the Galaxy, The New Deadwardians) turns his skewed vision to the year 1333. The known world is locked in a holy war. As a godless mercenary company slogs across Europe in search of sustenance and coin, they encounter a demonic force born not of hell, but from beyond the stars! As evil comes forth from the skies above, the heathen warband seeks refuge and redemption in a fortified monastery. But inside lies a dark secret that could ensure their salvation--or seal their fate!

Lower Crowchurch is a small English community enjoying the peace of the 1930s, but when the town becomes the victim of an alien invasion, the residents' lives are upended by the harsh realities of life-and-death violence. Led by the town's outsider and retired war veteran, they will have to rally together to uncover the secret of their invaders and hope to fight back. Collects the complete six-issue miniseries.

In Los Angeles, Ray is sitting in gridlock when he receives a call from an LAPD officer with news about his wife. Fearing the worst, he listens intently--but suddenly the caller and everyone else around him disappears. In London, the moment two commuters catch sight of each other on a packed Monday morning tube train, everyone around them vanishes. In Japan, comic artist Yoshi has come to the Aokigahara Forest to hang himself. But when the attempt fails and he slides free, the forest comes alive with mythological creatures. Taking us through the empty freeways of Los Angeles, the deserted streets of London, and the dream world of the Aokigahara Forest, Celeste is an ambitious and profound graphic novel that explores what it means to be alive.

When humankind faces what it perceives as a threat to its very existence, a macabre thing happens in art, literature, and culture: corpses begin to stand up and walk around. The dead walked in the fourteenth century, when the Black Death and other catastrophes roiled Europe. They walked in images from World War I, when a generation died horribly in the trenches. They walked in art inspired by the Holocaust and by the atomic attacks on Japan. Now, in the early twenty-first century, the dead walk in stories of the zombie apocalypse, some of the most ubiquitous narratives of post-9/11 Western culture. Zombies appear in popular movies and television shows, comics and graphic novels, fiction, games, art, and in material culture including pinball machines, zombie runs, and lottery tickets. The zombie apocalypse, Greg Garrett shows us, has become an archetypal narrative for the contemporary world, in part because zombies can stand in for any of a variety of global threats, from terrorism to Ebola, from economic uncertainty to ecological destruction. But this zombie narrative also brings us emotional and spiritual comfort. These apocalyptic stories, in which the world has been turned upside down and protagonists face the prospect of an imminent and grisly death, can also offer us wisdom about living in a community, present us with real-world ethical solutions, and invite us into conversation about the value and costs of survival. We may indeed be living with the living dead these days, but through the stories we consume and the games we play, we are paradoxically learning what it means to be fully alive.

This book explores the connections between comics and Gothic from four different angles: historical, formal, cultural and textual. It identifies structures, styles and themes drawn from literary gothic traditions and discusses their presence in British and American comics today, with particular attention to the DC Vertigo imprint. Part One offers an historical approach to British and American comics and Gothic, summarizing the development of both their creative content and critical models, and discussing censorship, allusion and self-awareness. Part Two brings together some of the gothic narrative strategies of comics and reinterprets critical approaches to the comics medium, arguing for an holistic model based around the symbols of the crypt, the spectre and the archive. Part Three then combines cultural and textual analysis, discussing the communities that have built up around comics and gothic artifacts and concluding with case studies of two of the most famous gothic archetypes in comics: the vampire and the zombie.