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The Arrow and the Bat' begins with a tale from earlier in the Dark Knight's career, revealing the first meeting between the Bat and the Emerald Archer, Green Arrow!
BATMAN: LEGENDS OF THE DARK KNIGHT presents the new, original adventures of Batman from the acclaimed digital-first series by an all-star lineup of comics’ finest talents including Damon Lindelof (Lost, Prometheus), Steve Niles (30 Days of Night), Jeff Lemire (ANIMAL MAN) and more! Discover startling sides of The Dark Knight that span from his earliest days in the cowl to his never-ending battles against Gotham’s greatest enemies, including the Joker and Two-Face. Collecting issues #1-5 of BATMAN: LEGENDS OF THE DARK KNIGHT!
JLA stalwart Green Lantern and the Emerald Archer himself, Green Arrow, join forces to prevent a megalomaniac dictator in southern Asia acquiring a devastating weapon. Their mission is successful but at a price: the dictator learns Green Arrow's secret identity and sends forth vendetta-bent assassins.
Series finale and an 'Origins and Omens' tie-in issue! Picking up from the last issue, the Calculator has infiltrated the Birds' nest. Everything culminates in a final showdown between the Birds and the Silicon Syndicate!
Describes and lists the values of popular collectible comics and graphic novels issued from the 1950s to today, providing tips on buying, collecting, selling, grading, and caring for comics and including a section on related toys and rings.
After the Joker thinks that he has killed Batman, he reacts to the loss of his nemesis by attempting to leave his insanity behind him and lead a normal life as Joseph Kerr.
ÒCRIME IN REVERSE!Ó The Joker is at it again! Batman and Robin are at their witsÕ end when Joker starts to commit crimes in reverse!
The story of how Batman's career started, told in graphic novel form.
The late ’60s marked the height of Batmania, when fans of the Batman television series and the comic books couldn’t get enough of the Caped Crusader. His appearances on covers meant higher sales, so it was decreed Batman would take up permanent residence in THE BRAVE AND THE BOLD. His courage was never questioned, and he fearlessly teamed up with the most daring partners from across the DC Universe at a time when such crossovers were rare. These groundbreaking stories featured some of Batman’s greatest team-ups with such legendary characters as Wonder Woman, the Flash, Deadman, Green Arrow, Green Lantern, the Teen Titans and others, all by some of the foremost comics talent of the Bronze Age—Neal Adams, Jim Aparo, Bob Haney, Dick Giordano and Dennis O’Neil, to name a few. BATMAN: THE BRAVE AND THE BOLD: THE BRONZE AGE OMNIBUS VOL. 1 collects the first stories of Batman’s epic run on the series—THE BRAVE AND THE BOLD #74-109—and includes a foreword by comics editor Robert Greenberger.
Nowadays references to the afterlife-angels strumming harps, demons brandishing pitchforks, God enthroned on heavenly clouds-are more often encountered in New Yorker cartoons than in serious Christian theological reflection. Speculation about death and its sequel seems to embarrass many theologians; however, as Greg Garrett shows in Entertaining Judgment, popular culture in the U.S. has found rich ground for creative expression in the search for answers to the question: What lies in store for us after we die? The lyrics of Madonna, Los Lonely Boys, and Sean Combs; the plotlines of TV's Lost, South Park, and The Walking Dead; the implied theology in films such as The Dark Knight, Ghost, and Field of Dreams; the heavenly half-light of Thomas Kinkade's popular paintings; the ghosts, shades, and after-life way-stations in Harry Potter; and the characters, situations, and locations in the Hunger Games saga all speak to our hopes and fears about what comes next. In a rich survey of literature and popular media, Garrett compares cultural accounts of death and the afterlife with those found in scripture. Denizens of the imagined afterlife, whether in heaven, hell, on earth, or in purgatory, speak to what awaits us, at once shaping and reflecting our deeply held-if often somewhat nebulous-beliefs. They show us what rewards and punishments we might expect, offer us divine assistance, and even diabolically attack us. Ultimately, we are drawn to these stories of heaven, hell, and purgatory--and to stories about death and the undead--not only because they entertain us, but because they help us to create meaning and to learn about ourselves, our world, and, perhaps, the next world. Garrett's deft analysis sheds new light on what popular culture can tell us about the startlingly sharp divide between what modern people profess to believe and what they truly hope and expect to find after death--and how they use those stories to help them understand this life.