In these stories from issues #1-6 of the hit series, learn the story behind this alternate reality where the Second World War is fought by superpowered women on the front lines and behind the scenes! It all begins with the stories of Batwoman, Wonder Woman and Supergirl.

    Don’t worry—this isn’t the typical redemptive coming-of-age tale of a young woman and her glorious triumph over tragedy or any such nonsense. It’s simply a hilarious—occasionally poignant—book filled with interesting art, absurd humor and plenty of amusing self-deprecation. Box by box, Wertz chronicles four sketchy apartments, seven terrible jobs, family drama, traveling fiascos, and too many whiskey bottles to count.

    With masterful storytelling and color illustrations, Heretics! offers a unique introduction to the birth of modern thought in comics form--smart, charming, and often funny.These contentious and controversial philosophers--from Galileo and Descartes to Spinoza, Locke, Leibniz, and Newton--fundamentally changed the way we look at the world, society, and ourselves, overturning everything from the idea that the Earth is the center of the cosmos to the notion that kings have a divine right to rule. More devoted to reason than to faith, these thinkers defended scandalous new views of nature, religion, politics, knowledge, and the human mind.Heretics! tells the story of their ideas, lives, and times in a vivid new way. Crisscrossing Europe as it follows them in their travels and exiles, the narrative describes their meetings and clashes with each other--as well as their confrontations with religious and royal authority. It recounts key moments in the history of modern philosophy, including the burning of Giordano Bruno for heresy, Galileo's house arrest for defending Copernicanism, Descartes's proclaiming cogito ergo sum, Hobbes's vision of the "nasty and brutish" state of nature, and Spinoza's shocking Theological-Political Treatise.A brilliant account of one of the most brilliant periods in philosophy, Heretics! is the story of how a group of brave thinkers used reason and evidence to triumph over the authority of religion, royalty, and antiquity.

    This brilliant radio personality now bursts onto the page as an illustrated character in vivid comics drawn by acclaimed artist Josh Neufeld. The cartoon of Brooke conducts the reader through two millennia of history-from the newspapers in Caesar's Rome to the penny press of the American Revolution and the manipulations of contemporary journalism. Gladstone's manifesto debunks the notion that "The Media" is an external force, outside of our control, since we've begun directly constructing, filtering, and responding to what we watch and read. With fascinating digressions, sobering anecdotes, and brave analytical wit, The Influencing Machine equips us to be smart, savvy, informed consumers and shapers of the media. It shows that we have met the media and it is us. So now what?

    Huda Fahmy has found it’s a little more difficult to fade into the crowd when wearing a hijab. In Yes, I’m Hot in This, Huda navigates the sometimes-rocky waters of life from the unique perspective of a Muslim-American woman, breaking down misconceptions of her culture one comic at a time. From recounting the many questions she gets about her hijab every day (yes, she does have hair) and explaining how she runs in an abaya (just fine, thank you) to dealing with misconceptions about Muslims.

    Told by the comic legend Harvey Pekar, his frequent artistic collaborator Ed Piskor, and a range of artists and writers, including the feminist comic creator Trina Robbins and the Mad magazine artist Peter Kuper, The Beats takes us on a wild tour of a generation that, in the face of mainstream American conformity and conservatism, became known for its determined uprootedness, aggressive addictions, and startling creativity and experimentation.What began among a small circle of friends in New York and San Francisco during the late 1940s and early 1950s laid the groundwork for a literary explosion, and this striking anthology captures the storied era in all its incarnations—from the Benzedrine-fueled antics of Kerouac, Ginsberg, and Burroughs to the painting sessions of Jay DeFeo’s disheveled studio, from the jazz hipsters to the beatnik chicks, from Chicago’s College of Complexes to San Francisco’s famed City Lights bookstore. Snapshots of lesser-known poets and writers sit alongside frank and compelling looks at the Beats’ most recognizable faces. What emerges is a brilliant collage of—and tribute to—a generation, in a form and style that is as original as its subject.

    . . right at the beginning of their careers. This gorgeous, high-energy graphic novel is an intimate peek into the early years of the world's greatest rock band.The heart of Baby's In Black is a love story. The "fifth Beatle," Stuart Sutcliffe, falls in love with the beautiful Astrid Kirchherr when she recruits the Beatles for a sensational (and famous) photography session during their time in Hamburg. When the band returns to the UK, Sutcliffe quits, becomes engaged to Kirchherr, and stays in Hamburg. A year later, his meteoric career as a modern artist is cut short when he dies unexpectedly.The book ends as it begins, with Astrid, alone and adrift; but with a note of hope: her life is incomparably richer and more directed thanks to her friendship with the Beatles and her love affair with Sutcliffe. This tender story is rendered in lush, romantic black-and-white artwork.Baby's In Black is based on a true story.

    Seuss was drawing biting cartoons for adults that expressed his fierce opposition to anti-Semitism and fascism. An editorial cartoonist from 1941 to 1943 for PM magazine, a left-wing daily New York newspaper, Dr. Seuss launched a battle against dictatorial rule abroad and America First (an isolationist organization that argued against U.S. entry into World War II) with more than 400 cartoons urging the United States to fight against Adolf Hitler and his cohorts in fascism, Benito Mussolini, Pierre Laval, and Japan (he never depicted General Tojo Hideki, the wartime prime minister, or Togo Shigenori, the foreign minister). Dr. Seuss Goes to War, by Richard H. Minear, includes 200 of these cartoons, demonstrating the active role Dr. Seuss played in shaping and reflecting how America responded to World War II as events unfolded.As one of America's leading historians of Japan during World War II, Minear also offers insightful commentary on the historical and political significance of this immense body of work that, until now, has not been seriously considered as part of Dr. Seuss's extraordinary legacy.Born to a German-American family in Springfield, Massachusetts, in 1904, Theodor Geisel began his cartooning career at Dartmouth College, where he contributed to the humor magazine. After a run-in with college authorities for bootlegging liquor, he had to use a pseudonym to get his work published, choosing his middle name, Seuss, and adding "Dr." several years later when he dropped out of graduate school at Oxford University in England. He had never planned on setting poison political pen to paper until he realized his deep hatred of Italian fascism. The first editorial cartoon he drew depicts the editor of the fascist paper Il Giornale d'Italia wearing a fez (part of Italy's fascist uniform) and banging away at a giant steam typewriter while a winged Mussolini holds up the free end of the banner of paper emerging from the roll. He submitted it to a friend at PM, an outspoken political magazine that was "against people who push other people around," and began his two-year career with the magazine before joining the U.S. Army as a documentary filmmaker in 1943.Dr. Seuss's first caricature of Hitler appears in the May 1941 cartoon, "The head eats, the rest gets milked," portraying the dictator as the proprietor of "Consolidated World Dairy," merging 11 conquered nations into one cow. Hitler went on to become one of the main caricatures in Seuss's work for the next two years, depicted alone, among his generals and other Germans, and with his allies Benito Mussolini and Pierre Laval. He is also drawn alongside "Japan," which Dr. Seuss portrays quite offensively, with slanted, bespectacled eyes and a sneering grin. While Dr. Seuss was outspoken against antiblack racism in the United States, he held a virulent disdain for the Japanese and rendered sinister and, at times, slanderous caricatures of their wartime actions even before the bombing of Pearl Harbor. But Dr. Seuss's aggression wasn't solely reserved for the fascists abroad. He was also loudly critical of America's initial apathy toward the war, skewering isolationists like America First advocate Charles Lindbergh, the Chicago Tribune's Colonel Robert McCormick, Eleanor Medill Patterson of the Washington Times-Herald, and Joseph Patterson of the New York Daily News, whom he considered as evil as Hitler. He encouraged Americans to buy war savings bonds and stamps and to do everything they could to ensure victory over fascism.Minear provides historical background in Dr. Seuss Goes to War that not only serves to contextualize these cartoons but also deftly explains the highly problematic anti-Japanese and anticommunist stances held by both Dr. Seuss and PM magazine, which contradicted the leftist sentiments to which they both eagerly adhered. As Minear notes, Dr. Seuss eventually softened his feelings toward communism as Russia and the United States were united on the Allied front, but his stereotypical portrayals of Japanese and Japanese-Americans grew increasingly and undeniably racist as the war raged on, reflecting the troubling public opinion of American citizens. Minear does not attempt to ignore or redeem Dr. Seuss's hypocrisy; rather, he shows how these cartoons evoke the mood and the issues of the era. After Dr. Seuss left PM magazine, he never drew another editorial cartoon, though we find in these cartoons the genesis of his later characters Yertle the dictating turtle and the Cat in the Hat, who bears a striking resemblance to Uncle Sam. Dr. Seuss Goes to War is an astonishing collection of work that many of his devoted fans have not been able to see until now. But this book is also a comprehensive, thoughtfully researched, and exciting history lesson of the Second World War, by a writer who loves Dr. Seuss as much as those who grow up with his books do.

    A cultural history of Wonder Woman traces the character's creation and enduring popularity, drawing on interviews and archival research to reveal the pivotal role of feminism in shaping her seven-decade story.Examines the life of Wonder Woman creator William Moulton Marston and his polyamorous relationship with wife Elizabeth Holloway and mistress Olive Byrne, both of whom inspired and influenced the comic book character's creation and development.-Abstract from WorldCat

    A brilliantly witty book of cartoons, it reveals some of our greatest thinkers' baffling theories about women. We learn that even Charles Darwin, long celebrated for his open, objective scientific mind, believed that women would never achieve anything important, because of their smaller brains.Get ready to laugh, wince and rescue forgotten women from the 'dustbin of history', whilst keeping a close eye out for tell-tale "genius hair." You will never look at history in the same way again.

    Bonhoeffer was a German Lutheran pastor and theologian who was shocked to watch the German church embrace Hitler's agenda of hatred. He spoke out against the Nazi party and led a breakaway church that rebelled against racist and nationalist beliefs of the Third Reich. Struggling with how his faith interacted with his ethics, Bonhoeffer eventually became convinced that Hitler and the Nazi Party needed to be stopped--and he was willing to sacrifice anything and everything to do so.

    The next morning, he said goodbye to his 7½-months-pregnant wife, Alissa, and headed out the door.In an instant, Alissa's world was thrown into chaos. Forced to deal with unimaginable challenges, Alissa suddenly found herself cast into the role of 9/11 widow, tossed into a storm of bureaucracy, politics, patriotism, mourning, consolation, and, soon enough, motherhood.Beautifully and thoughtfully illustrated, American Widow is the affecting account of one woman's journey through shock, pain, birth, and rebirth in the aftermath of a great tragedy. It is also the story of a young couple's love affair: how a Colombian immigrant and a strong-minded New Yorker met, fell in love, and struggled to fulfill their dreams. Above all, American Widow is a tribute to the resilience of the human heart and the very personal story of how one woman endured a very public tragedy.

    In early 2001 cartoonist Guy Delisle became one of the few Westerners to be allowed access to the fortress-like country. While living in the nation's capital for two months on a work visa for a French film animation company, Delisle observed what he was allowed to see of the culture and lives of the few North Koreans he encountered; his findings form the basis of this graphic novel.Guy Delisle was born in Quebec City in 1966 and has spent the last decade living and working in the South of France with his wife and son. Delisle has spent ten years, mostly in Europe, working in animation, an experience that taught him about movement and drawing. He is now currently focusing on his cartooning. Delisle has written and drawn six graphic novels, including "Pyongyang," his first graphic novel in English.

    With his passion for surfing uniting many narratives, he intertwines his own story with those of some of the great heroes of surf.

    All proceeds go to UNIDOS Disaster Relief & Recovery Program to Support Puerto Rico.Despite being a US territory, Puerto Rico is often thought of as a foreign land, if it’s even a thought in the mind of the average American at all. Its people exist in all corners of America; some of them have parents who immigrated from the home island, others are a part of families that have been on the mainland for generations. Then there are those who have come to the states in search of a dream but struggle to integrate into an unfamiliar culture, while there are those who have lived in the United States all of their lives but still have the same struggle because of the color of their skin or their sexual identity. These stories follow individuals from diverse walks of life but are all part of the culture that is Puerto Rico.Puerto Rico Strong features art and writing by Rosa Colon, Vita Ayala, Naomi Franquiz, Javier Cruz Winnick, Sabrina Cintron, Ronnie Garcia, Fabian Nicieza, Joamette Gil, and many more!