Collects Avengers Annual (1967) #10; Uncanny X-Men (1981) #158, 171, 269; Ms. Marvel (2006) #9-10; X-Men Legacy (2008) #269-270; Captain Marvel (2019) #4-5; material from Marvel Super-Heroes (1990) #11. One of the mightiest Avengers vs. one of the most steadfast X-Men! Rogue used to be a villain, and she and Captain Marvel once clashed in a battle that left both women changed forever! On behalf of the Brotherhood, Rogue ambushed Carol — and permanently absorbed her memories and powers! As Rogue battled the Avengers, Carol struggled to rebuild her life. Tormented by Carol’s memories, Rogue eventually reformed. The two powerhouses have crossed paths time and again since then, both as enemies and reluctant allies. But can Captain Marvel and Rogue ever find a way to bury the hatchet — other than in each other’s heads?
Captain Marvel is one of the mightiest Avengers - and Rogue is one of the most steadfast X-Men! But Rogue used to be a villain, and she and Carol once clashed in a battle that left both women changed forever! On behalf of the Brotherhood, Rogue ambushed Carol - and permanently absorbed her memories and powers! As Rogue battled the Avengers and X-Men, Carol struggled to rebuild her life...and Rogue, tormented by Carol's memories, eventually reformed. The two powerhouses have crossed paths time and again since then, both as enemies and reluctant allies. But can Captain Marvel and Rogue ever find a way to bury the hatchet - other than in each other's heads? COLLECTING: AVENGERS ANNUAL (1967) 10; UNCANNY X-MEN (1981) 158, 171, 269; MS. MARVEL (2006) 9-10; X-MEN LEGACY (2008) 269-270; CAPTAIN MARVEL (2019) 4-5; MATERIAL FROM MARVEL SUPER-HEROES (1990) 11
Chris Claremont weaves complex plots and compelling characterization in our second Ms. Marvel Masterworks, concluding Carol Danvers' original adventures! The highlights are many: Ms. Marvel meets the Avengers for the very first time! Mystique makes her first appearance! A battle with Ronan the Accuser brings Ms. Marvel and Captain Marvel together, and leads to an all-new look for our heroine! COLLECTING: MS. MARVEL (1977) #15-23; MARVEL SUPER-HEROES (1990) #10-11; AVENGERS (1963) #200, AVENGERS ANNUAL (1967) #10 AND MATERIAL FROM AVENGERS (1963) #197-199 AND MARVEL FANFARE (1982) #24.
Collects Captain Marvel (2019) #1-5. Captain Marvel comes home! Carol Danvers has spent months in space protecting the planet, but now shes back on Earth. And New York City has never looked so good until a powerful villain turns Manhattans Roosevelt Island into an apocalyptic wasteland! Cut off from the rest of the world, Carol needs a new crew including Spider-Woman, Hazmat and Echo to kick-start a revolution! But which face from her past is about to reappear and change everything? The life of every man, woman and child on the island rests on Carols shoulders its time to show exactly why they call her Earths Mightiest Hero!
Despite the growing importance of heroines across literary culture—and sales figures that demonstrate both young adult and adult females are reading about heroines in droves, particularly in graphic novels, comic books, and YA literature—few scholarly collections have examined the complex relationships between the representations of heroines and the changing societal roles for both women and men. In Heroines of Comic Books and Literature: Portrayals in Popular Culture, editors Maja Bajac-Carter, Norma Jones, and Bob Batchelor have selected essays by award-winning contributors that offer a variety of perspectives on the representations of heroines in today’s society. Focused on printed media, this collection looks at heroic women depicted in literature, graphic novels, manga, and comic books. Addressing heroines from such sources as the Marvel and DC comic universes, manga, and the Twilight novels, contributors go beyond the account of women as mothers, wives, warriors, goddesses, and damsels in distress. These engaging and important essays situate heroines within culture, revealing them as tough and self-sufficient females who often break the bounds of gender expectations in places readers may not expect. Analyzing how women are and have been represented in print, this companion volume to Heroines of Film and Television will appeal to scholars of literature, rhetoric, and media as well as to broader audiences that are interested in portrayals of women in popular culture.
No other guide on the market covers the volume of comic book listings and range of eras as Comic Book Checklist & Price Guide does, in an easy-to-use checklist format. Readers can access listings for 130,000 comics, issued since 1961, complete with names, cover date, creator information and near-mint pricing. With super-hero art on the cover and collecting details from the experts as America's longest-running magazine about comics in this book, there is nothing that compares.
Collects A+X #1-6, It's time-travel aplenty when a WWII -era Captain America meets Cable, and Red Hulk and Wolverine face a future menace! Black Widow and Rogue fight Sentinels, while Iron Man, Kitty Pryde and Lockheed battle the Brood! Storm and Black Panther have their first post-AV X encounter, Gambit and Hawkeye team up to save lives, and Spider-Man and Beast take on zombies! Plus, Cap, Quentin Quire, Iron Man, Beast, Iron Fist and Doop!
'A fascinating polemic' Sunday Times 'A game changer . . . as inspiring as it is informative' Terri White, editor-in-chief of Empire 'An enlightening page-turner' Anna Smith, host of the Girls On Film podcast 'This is the film history we need' Pamela Hutchinson, film historian and critic A call to arms from Empire magazine's 'geek queen', Helen O'Hara, that explores women's roles - both in front of and behind the camera - since the birth of Hollywood, how those roles are reflected within wider society and what we can do to level the playing field. The dawn of cinema was a free-for-all, and there were women who forged ahead in many areas of filmmaking. Early pioneers like Dorothy Arzner (who invented the boom mic, among other innovations) and Alice Guy-Blaché shaped the way films are made. But it wasn't long before these talented women were pushed aside and their contributions written out of film history. How and why did this happen? Hollywood was born just over a century ago, at a time of huge forward motion for women's rights, yet it came to embody the same old sexist standards. Women found themselves fighting a system that feeds on their talent, creativity and beauty but refuses to pay them the same respect as their male contemporaries - until now... The tide has finally begun to turn. A new generation of women, both in front of and behind the camera, are making waves in the industry and are now shaping some of the biggest films to hit our screens. There is plenty of work still needed before we can even come close to gender equality in film - but we're finally headed in the right direction. In Women vs Hollywood: The Fall and Rise of Women in Film, Empire's 'geek queen' Helen O'Hara takes a closer look at the pioneering and talented women of Hollywood and their work in film since Hollywood began. Equal representation in film matters because it both reflects and influences wider societal gender norms. In understanding how women were largely written out of Hollywood's own origin story, and how the films we watch are put together, we can finally see how to put an end to a picture that is so deeply unequal - and discover a multitude of stories out there just waiting to be told.
This work provides an extensive guide for students, fans, and collectors of Marvel Comics. Focusing on Marvel’s mainstream comics, the author provides a detailed description of each comic along with a bibliographic citation listing the publication’s title, writers/artists, publisher, ISBN (if available), and a plot synopsis. One appendix provides a comprehensive alphabetical index of Marvel and Marvel–related publications to 2005, while two other appendices provide selected lists of Marvel–related game books and unpublished Marvel titles.
Collects: AVX: VS #1-6, A-Babies vs. X-Babies #1. The Avengers vs. X-Men event spills over into the all-action Versus - offering extended, blow-by-blow accounts of fan-favorite matchups, as chronicled by an incredible array of comic-book talent! Unstoppable optic blasts meet immovable shield as Cyclops faces Captain America! It's the ultimate grudge match as Thing grapples with Namor! Sparks fly as Iron Man clashes with Magneto! Love hurts as Black Panther battles Storm! Thrill to these bouts and more, served up by a titanic tag-team of Marvel's biggest writers and artists. It's Avengers vs. X-Men - 'nuff said!
Collects Captain Marvel (2016) #6-10. Old friends face off as bitter enemies in an event that will change Captain Marvel's life forever! As a new Civil War erupts, Carol Danvers finds herself at the very forefront of the conflict. But when tragedy hits too close to home, how far will she go to fight for what she believes in? As the rift with Iron Man grows ever deeper, Carol and the Alpha Flight recruit more to their cause: changing the future to protect the present. As wins mount up on Carol's side, she knows her mission is the right one - the only trouble is, not everyone agrees. Carol Danvers truly is one of Earth's Mightiest Heroes, and this is the story that proves it. It's Captain Marvel at her finest, in the fight of her life!
The fourth installment in the blockbuster Avengers saga is about to hit theaters! An action epic like no other, it will be the culmination of 22 interconnected films and audiences will witness the finale of this epic journey across the length and breadth of the Marvel Cinematic Universe! This collectible volume features art from the films leading up to this thrilling event including additional behind-the-scenes images, interviews and photography from Avengers: Infinity War! Relive the road to the fourth Avengers film, and prepare yourself for the cinematic experience of a lifetime!
Despite the boom in scholarship in both Comics Studies and Memory Studies, the two fields rarely interact—especially with issues beyond the representation of traumatic and autobiographical memories in comics. With a focus on the roles played by styles and archives—in their physical and metaphorical manifestations—this edited volume offers an original intervention, highlighting several novel ways of thinking about comics and memory as comics memory. Bringing together scholars as well as cultural actors, the contributions combine studies on European and North American comics and offer a representative overview of the main comics genres and forms, including superheroes, Westerns, newspaper comics, diary comics, comics reportage and alternative comics. In considering the many manifestations of memory in comics as well as the functioning and influence of institutions, public and private practices, the book exemplifies new possibilities for understanding the complex entanglements of memory and comics.
Iron Man or Captain America? Which one is superior—as a hero, as a role model, or as a personification of American virtue? Philosophers who take different sides come together in Iron Man versus Captain America to debate these issues and arrive at a deeper understanding of the strengths and weaknesses of these iconic characters. The discussion ranges over politics, religion, ethics, psychology, and metaphysics. John Altmann argues that Captain America’s thoughtful patriotism, is superior to Iron Man’s individualist-cosmopolitanism. Matthew William Brake also votes for Cap, maintaining that it’s his ability to believe in the impossible that makes him a hero, and in the end, he is vindicated. Cole Bowman investigates the nature of friendship within the Avengers team, focusing predominantly on the political and social implications of each side of the Civil War as the Avengers are forced to choose between Stark and Rogers. According to Derrida’s Politics of Friendship, Cap is the better friend, but that doesn’t make him the winner! Aron Ericson’s chapter tracks our heroes’ journeys in the movies, culminating with Civil War, where the original attitudes of Tony (trusts only himself) and Steve (trusts “the system”) are inverted. Corey Horn’s chapter focuses on one of the many tensions between the sides of Iron Man and Captain America—the side of Security (Iron Man) versus Liberty (Cap). But Maxwell Henderson contends that if we dig deeper into the true heart of the Marvel Civil War, it isn’t really about security or privacy but more about utilitarianism—what’s best for everybody. Henderson explains why Iron Man was wrong about what was best for everybody and discloses what the philosopher Derek Parfit has to say about evaluating society from this perspective. Daniel Malloy explains that while both Captain America and Iron Man have faced setbacks, only Iron Man has failed at being a hero—and that makes him the better hero! In his other chapter, Malloy shows that where Iron Man trusts technology and systems, Captain America trusts people. Jacob Thomas May explores loss from the two heroes’ points of view and explains why the more tragic losses suffered by Stark clearly make him the better hero and the better person. Louis Melancon unpacks how Captain America and Iron Man each embodies key facets of America attempts to wage wars: through attrition and the prophylactic of technology; neither satisfactorily resolves conflict and the cycle of violence continues. Clara Nisley tests Captain America and Iron Man’s moral obligations to the Avengers and their shared relationship, establishing Captain America’s associative obligations that do not extend to the arbitration and protection of humans that Iron Man advocates. Fernando Pagnoni Berns considers that while Iron Man is too much attached to his time (and the thinking that comes with it), Captain America embraces-historical values, and thinks that there are such things as intrinsic human dignity and rights—an ethical imperative. Christophe Porot claims that the true difference between Captain America and Iron Man stems from the different ways they extend their minds. Cap extends his mind socially while Stark extends his through technology. Heidi Samuelson argues that the true American spirit isn't standing up to bullies, but comes out of the self-interested traditions of liberal capitalism, which is why billionaire, former-arms-industry-giant Tony Stark is ultimately a more appropriate American symbol than Steve Rogers. By contrast, Jeffrey Ewing shows that the core of Captain America: Civil War centers on the challenge superpowers impose on state sovereignty (and the monopoly of coercion it implies). Nicol Smith finds that Cap and Shell-Head’s clash during the Civil War does not necessarily boil down to the issue of freedom vs. regulation but rather stems from the likelihood that both these iconic heroes are political and ideological wannabe supreme rules or “Leviathans.” Craig Van Pelt reconstructs a debate between Captain America and Iron Man about whether robots can ever have objective moral values, because human bias may influence the design and programming. James Holt looks into the nature of God within Captain America’s world and how much this draws on the “previous life” of Captain Steve Rogers. Holt’s inquiry focuses on the God of Moses in the burning bush, as contrasted with David Hume’s understanding of religion. Gerald Browning examines our two heroes in a comparison with the Greek gods Hephaestus and Hercules. Christopher Ketcham supposes that, with the yellow bustard wreaking havoc on Earth, God asks Thomas Aquinas to use his logical process from Summa Theologica to figure which one of the two superheroes would be better at fixing an economic meltdown, and which one would be better at preventing a war. Rob Luzecky and Charlene Elsby argue that gods cannot be heroes, and therefore that the god-like members of the Avengers (Iron Man, with a god’s intelligence; Thor, with a god’s strength, and the Hulk, with a god’s wrath) are not true heroes in the same sense as Captain America. Cap is like Albert Camus’s Sisyphus, heroic in the way that he rallies against abstract entities like the gods and the government.