Looking to make a difference in a world caught in the middle of a global war, Knight took the identity of Starman and joined the Justice Society of America, becoming a super-powered protector of the nation. The Golden Age Starman Archives Vol. 1 reprints Starman's classic adventures from the 1940s as he uses his abilities to fire energy blasts and generate energy fields against an assortment of powerful enemies, such as his archnemesis, the intangible Mist.

    Kidnapped by Marten Broadcloak, Sheemie's become a prisoner in End-World. The Crimson King's servants are forcing him and the other psychic Breakers to destroy the Beams that hold the Dark Tower in place. Will the dim-witted but big-hearted Sheemie be able to foil his captor's plans in time?

    We're introduced to a new cast members and get but a taste of the dynamic new creative team of Christopher Priest and Ergun Gündüz. Anything can—and does—happen!

    The iconography and mythology they created flourishes to this day in practically all visual media. Supermen! collects the best and the brightest of this first generation, including Jack Cole, Will Eisner, Bill Everett, Lou Fine, Fletcher Hanks, Jack Kirby, Jerry Siegel, Joe Shuster, and Basil Wolverton. Readers expecting to find an All-American group of altruistic do-gooders are in for quite a jolt. As Jonathan Lethem writes in his Foreword, “A collection like Supermen! works like a reverse-neutron bomb to assumptions about the birth of the superhero image: it tears down the orderly structures of theory and history and leaves the figures standing in full view, staring back at us in all their defiant disorienting particularity, their blazing strangeness.” Beautifully designed and produced in full color, Supermen! contains twenty full-length stories, nine full-sized covers, a generous selection of vintage promotional ads, and comprehensive background notes by editor Greg Sadowski.This anthology is indispensable to anyone interested in the origins of superheroes and the history of the comic book form.

    The first issue, #0, was released in October 1994 by Fantagraphics Books, and a second issue, #1, was released the following January. A third issue (#2) was announced in the pages of other Fantagraphics publications and solicited in Previews but was never published. "I Was Killing When Killing Wasn't Cool", a color short story with a markedly different art style originally intended for issue #2, appeared instead in the anthology Zero Zero. In a 2010 interview, Columbia recalled that the unfinished issue "looked so different that it just didn’t look right, it didn’t look consistent, and it didn’t feel right to keep putting out that same comic book, to try to tell a story where the style is mutating."[1] The series' title is taken from a passage in the William S. Burroughs book Exterminator! (in the chapter "Short Trip Home"). The passage in question is quoted briefly in a story from issue #0, also titled "The Biologic Show".Each issue of The Biologic Show contains several short stories and illustrated poems. Many of the pieces deal with disturbing subject matter such as mutilation, incest, and the occult. Issue #0 introduces three of Columbia's recurring characters: the hapless, Koko the Clown-like Seymour Sunshine in the opening story "No Tomorrow If I Must Return", and the sibling duo Pim and Francie in "Tar Frogs". (Both "Tar Frogs" and the aforementioned "The Biologic Show" had originally appeared in the British comics magazine Deadline but were partially redrawn for Columbia's solo book.) Issue #1 is dominated by the 16-page Pim and Francie story "Peloria: Part One", intended as the start of an ongoing serial. It includes another character, Knishkebibble the Monkey-Boy, who reappears in Columbia's later work. Upon the demise of The Biologic Show Fantagraphics announced that Peloria would be released as a stand-alone graphic novel,[2] but this plan was also abandoned.

    After attending a seminar hosted in a hotel conference room by a mysterious group called the Soul Plumbers, Edgar Wiggins, disgraced former seminary school student, discovers what he thinks is the secret to delivering souls from the thrall of Satan. But after stealing the blueprints and building the machine himself, out of whatever he can afford from his salary as a gas station attendant, Edgar misses the demon and instead pulls out an inter-dimensional alien with dire consequences for all of mankind.

    But when a zombie apocalypse ravages his town, it gives him the push he needs to live for himself. Now Akira’s on a mission to complete all 100 items on his bucket list before he...well, kicks the bucket.In a trash-filled apartment, 24-year-old Akira Tendo watches a zombie movie with lifeless, envious eyes. After spending three hard years at an exploitative corporation in Japan, his spirit is broken. He can’t even muster the courage to confess his feelings to his beautiful co-worker Ohtori. Then one morning, he stumbles upon his landlord eating lunch—which happens to be another tenant! The whole city’s swarming with zombies, and even though he’s running for his life, Akira has never felt more alive!

    To help Deutsch forestall his death and to learn the secrets of life after death, a team of experts must survive a night in Belasco House, a place known amongst the local townsfolk as "Hell House." The notorious Belasco House starts to exert its dark influence on the group of scientists and spiritualists as they unearth the perverse and wretched secrets from within its walls. Hell House has let them in... but will it ever let them leave?

    Harley Quinn, King Shark, Deadshot and company must make it out alive without revealing who's pulling the strings behind their illegal operations. Who will be the first to crack under the pressure? More importantly will they make it all out alive?Collect: Suicide Squad 1-7

    The second city of the Empire is teeming with scandalous gossip and rumour. Abravanel Ben Obadiah Ben Aharon Kabariti, Sephardic Jew from Syria and trader in novelties such as corsets, aphrodisiacs and zebras, befriends the British officers and the local elite by day and records their escapades by night in a leather-bound journal.1950s Paris. A battered copy of the journal surfaces in a hole-in-the-wall antique shop in Montmartre.London, 2002. A phone rings in the East End, late at night, announcing a death and an inheritance: a silver lighter, a vintage motorcycle, an ancient radio and The Barn Owl's Wondrous Capers.What follows is a bizarre chain of events involving eccentric zamindars, a decadent aristocrat with a passion for lady footballers, a psychic cartographer, a haunted office building and, at the centre of it all, Digital Dutta, neighbourhood historian and keeper of secrets.Inspired by the legend of the Wandering Jew, this second work of fiction from India's foremost graphic novelist is an irreverent tale of illicit sex and drunken religiosity, which unravels new riddles with each reading.

    Raymond Briggs' now famous bestselling comic cartoon book depicts the effects of a nuclear attack on an elderly couple in his usual humorous yet macabre way.

    With the enemy pushing inexorably forward, he knows the Horde must turn its attention to more vulnerable prey, and he'll use every atrocity and deception at his disposal to bring the high council around to his way of thinking.A prequel to the original Gears of War, written by Kurtis J. Wiebe (Rat Queens) with art by Max Dunbar (Dungeons & Dragons). See how it all began as Queen Myrrah's deadliest servant steers the course of history to bring about Emergence Day and the attack on humanans, setting in motion the events of the game!

    The ancient town is deep, forbidden territory, the prison of a dark monster-god out of Slavic legend and nightmare, which seeks to use the newcomers to escape. An historical horror story in the vein of HP Lovecraft and Brotherhood of the Wolf.

    After losing her eye and the man she loves in a brutal mugging, Daisy McDonough is left trying to put the pieces of her life back together. Just when she begins to think she can heal— move on, she begins to see strange things through her new prosthetic eye. And The Red Mother sees her in return. Continuing BOOM! Studios’ string of successes, The Red Mother follows Faithless, Once & Future, and Something is Killing the Children for a new original series that examines the dangers that hide in plain sight – and the consequences of digging beneath the surface to find the truth underneath.

    Fletcher Hanks worked for only a few years in the earliest days of the comic book industry (1939-1941). Because he worked in a gutter medium for second-rate publishers on third-rate characters, his work has been largely forgotten. But among aficionados he is legendary. At the time, comic books were in their infancy. The rules governing their form and content had not been established. In this Anything Goes era, Hanks' work stands out for its thrilling experimentation. At once both crude and visionary, cold and hot as hell, Hanks' work is hard to pigeon hole. One thing is for certain: the stuff is bent. Hanks drew in a variety of genres depicting science-fiction saviors, white women of the jungle, and he-man loggers. Whether he signed these various stories "Henry Fletcher" or "Hank Christy" or "Barclay Flagg" there is no mistaking the unique outsider style of Fletcher Hanks.Cartoonist Paul Karasik (co-adapter of Paul Auster's City of Glass, and co-author of The Ride Together: A Memoir of Autism in the Family) has spent years tracking down these obscure and hard to find stories buried in the back of long-forgotten comic book titles. Karasik has also uncovered a dark secret: why Hanks disappeared from the comics scene. This book collects 15 of his best stories in one volume followed by an afterword which solves the mystery of "Whatever Happened to Fletcher Hanks," the mysterious cartoonist who created a hailstorm of tales of brutal retribution...and then mysteriously vanished.2008 Eisner Award WINNER: Best Archival Collection/Project — Comic Books2008 Eisner Award Nominee: Best Short Story, "Whatever Happened to Fletcher Hanks?" by Paul Karasik