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Written by GRANT MORRISON Art by CHRIS SPROUSE, FRAZER IRVING, RYAN SOOK, YANICK PAQUETTE, LEE GARBETT, GEORGES JEANTY KARL STORY and MICK GRAY Cover by ANDY KUBERT Grant Morrison's best-selling multipart Batman epic continues with this collection of the six-issue miniseries!Witness Bruce Wayne's adventures across time as he is swept through the time stream, from the ancient days that predate history itself through epics set in the times of pirates and the Old West, through his triumphant return to present day Gotham City! On sale FEBRUARY 2 - 224 pg, FC, 7.0625" x 10.875"
Batman has learned who framed him and tried to put Bruce Wayne away for murder.
Now that he's made a long return trip to the land of the living, Batman finally gets a chance to reunite with those characters closest to him.
A new graphic novel inspired by the fan-favorite animated TV series Batman Beyond! Terry McGinnis--the Batman of the future--and an elderly Bruce Wayne--the original Batman--are the sworn protectors of Neo-Gotham. But when someonetargets The Dark Knight's old foes, the new Batman must begin a case that reaches back into Bruce Wayne's past and puts Terry's future directly in danger.
Batman is one of the most recognized and popular pop culture icons. Appearing on the page of Detective Comics #27 in 1939, the character has inspired numerous characters, franchises, and spin-offs over his 80+ year history. The character has displayed versatility, appearing in stories from multiple genres, including science fiction, noir, and fantasy and mediums far beyond his comic book origins. While there are volumes analyzing Batman through literary, philosophical, and psychological lenses, this volume is one of the first academic monographs to examine Batman through a theological and religious lens. Theology and Batman analyzes Batman and his world, specifically exploring the themes of theodicy and evil, ethics and morality, justice and vengeance, and the Divine Nature. Scholars will appreciate the breadth of material covered while Batman fans will appreciate the love for the character expressed through each chapter.
One of the most eclectic and distinctive writers currently working in comics, Grant Morrison (b. 1960) brings the auteurist sensibility of alternative comics and graphic novels to the popular genres-superhero, science fiction, and fantasy-that dominate the American and British comics industries. His comics range from bestsellers featuring the most universally recognized superhero franchises (All-Star Superman, New X-Men, Batman) to more independent, creator-owned work (The Invisibles, The Filth, We3) that defies any generic classification. In Grant Morrison: Combining the Worlds of Contemporary Comics, author Marc Singer examines how Morrison uses this fusion of styles to intervene in the major political, aesthetic, and intellectual challenges of our time. His comics blur the boundaries between fantasy and realism, mixing autobiographical representation and cultural critique with heroic adventure. They offer self-reflexive appraisals of their own genres while they experiment with the formal elements of comics. Perhaps most ambitiously, they challenge contemporary theories of language and meaning, seeking to develop new modes of expression grounded in comics' capacity for visual narrative and the fantasy genres' ability to make figurative meanings literal.
Superman’s first appearance in Action Comics #1 (1938) proclaimed that the character would “reshape the destiny of the world.” The advent of the first superhero initiated a shared narrative—the DC superhero universe—that has been evolving in depth and complexity for more than 80 years. Superman, Batman, and Wonder Woman have become key threads in the tapestry of the American mythos, shaping the way we think about life, right and wrong, and our relationship with our own universe. Their narrative world is enriched by compelling stories featuring lesser-known characters like Dr. Fate, the Doom Patrol, John Constantine, and the Legion of Super-Heroes. Stories set within this shared universe have explored questions of death, rebirth, the apocalypse, the nature of evil, the origins of the universe, and the destiny of humankind. This volume brings together the work of scholars from a range of backgrounds who explore the role of theology and religion in the comics, films, and television series set in the DC Universe. The thoughtful and incisive contributions to this collection will appeal to scholars and fans alike.
Publishing alongside the world premiere of Christopher Nolan's third Batman film "The Dark Knight Rises", Will Brooker's new book explores Batman's twenty-first century incarnations. Brooker's close analysis of "Batman Begins" and "The Dark Knight" offers a rigorous, accessible account of the complex relationship between popular films, audiences, and producers in our age of media convergence. By exploring themes of authorship, adaptation and intertextuality, he addresses a myriad of questions raised by these films: did "Batman Begins" end when "The Dark Knight began? Does its story include the Gotham Knight DVD, or the 'Why So Serious' viral marketing campaign? Is it separate from the parallel narratives of the Arkham Asylum videogame, the monthly comic books, the animated series and the graphic novels? Can the brightly campy incarnations of the Batman ever be fully repressed by "The Dark Knight", or are they an intrinsic part of the character? Do all of these various manifestations feed into a single Batman metanarrative? This will be a vital text for film students and academics, as well as legions of Batman fans.
This book maps the development of the boy detective in British children’s literature from the mid-nineteenth to the early-twentieth century. It explores how this liminal figure – a boy operating within a man’s world – addresses adult anxieties about boyhood and the boy’s transition to manhood. It investigates the literary, social and ideological significance of a vast array of popular detective narratives appearing in ‘penny dreadfuls’ and story papers which were aimed primarily at working-class boys. This study charts the relationship between developments in the representation of the fictional boy detective and changing expectations of and attitudes towards real-life British boys during a period where the boy’s role in the future of the Empire was a key concern. It emphasises the value of the early fictional boy detective as an ideological tool to condition boy readers to fulfil adult desires and expectations of what boyhood and, in the future, proper manhood should entail. It will be of particular importance to scholars working in the fields of children’s literature, crime fiction and popular culture.