Important Note about PRINT ON DEMAND Editions: You are purchasing a print on demand edition of this book. This book is printed individually on uncoated (non-glossy) paper with the best quality printers available. The printing quality of this copy will vary from the original offset printing edition and may look more saturated. The information presented in this version is the same as the latest edition. Any pattern pullouts have been separated and presented as single pages. If the pullout patterns are missing, please contact c&t publishing.

Fans are FAN-tastic!Lucas is a little boy with a big passion. Lucas loves fans more than just about anything else!Fans in many sizes and shades, fans with different sizes of blades. Fans that spin fast and fans that spin slow. Fans in the clouds and fans on the ground. Whatever he does, wherever he goes, Lucas thinks fans are FAN-tastic!Follow Lucas the Number One Fan Boy on his adventure through these pages, as he finds fans, fans everywhere!

To the casual observer, similarities between fan communities and religious believers are difficult to find. Religion is traditional, institutional, and serious; whereas fandom is contemporary, individualistic, and fun. Can the robes of nuns and priests be compared to cosplay outfits of Jedi Knights and anime characters? Can travelling to fan conventions be understood as pilgrimages to the shrines of saints? These new essays investigate fan activities connected to books, film, and online games, such as Harry Potter-themed weddings, using The Hobbit as a sacred text, and taking on heroic roles in World of Warcraft. Young Muslim women cosplayers are brought into conversation with Chaos magicians who use pop culture tropes and characters. A range of canonical texts, such as Supernatural, Buffy the Vampire Slayer, and Sherlock--are examined in terms of the pleasure and enchantment of repeated viewing. Popular culture is revealed to be a fertile source of religious and spiritual creativity in the contemporary world.

Emmett's Fans is a book about a little boy who collects fans for a hobby. He shares photos of his fans, along with a short description about each.

Between 1966 and 1983, the Baltimore Orioles were considered the best team in baseball. During that span, the team won three World Series, advanced to three others, and competed for a playoff spot just about every season. The Orioles were a model franchise thanks to its “Orioles Way” approach to building a franchise through a strong farm system. Future Hall of Famers like Brooks Robinson, Jim Palmer, Cal Ripken Jr., and Eddie Murray made their ways through the ranks and helped put consistent winners on the field. But five years after Ripken caught the final out to clinch the Orioles World Series victory over the Philadelphia Phillies, the franchise was in disarray. From not understanding how to utilize free agency to having their once famed farm system dry up of talent, the once-proud franchise was spiraling downward. Heading into the 1988 season, the Orioles expected to struggle after a 95-loss season the year before. Not even the return of famed manager Earl Weaver in 1985 and 1986 was enough to turn the team around. The Orioles attempted to revamp their roster in 1988 with 14 new players on the roster compared to the year before. The team opened that season 0–21, shattering the record for futility to start a season by eight games. They consistently found different ways to lose each night to the point that President Ronald Regan sent a message of support to the lovable losers from Charm City. Religious leaders and mental health professionals even offered to help the team find that elusive first win. In the same vein as Jimmy Breslin’s Can’t Anyone Here Play This Game? on the 1962 New York Mets, author Ron Snyder discusses just how did a once model franchise devolved into a team with the distinction of having the worst start of any team in MLB history. A Season to Forget takes an in-depth look at the lead up to that season, a game-by-game breakdown of the streak, and the toll it took on those who lived through it.

The Penguin Classics Marvel Collection presents the origin stories, seminal tales, and characters of the Marvel Universe to explore Marvel’s transformative and timeless influence on an entire genre of fantasy Collects Fantastic Four #1, 2, 3, 4, 5, 10, 11, 48, 49, 50, 51, and Fantastic Four Annual #6. It is impossible to imagine American popular culture without Marvel Comics. For decades, Marvel has published groundbreaking visual narratives that sustain attention on multiple levels: as metaphors for the experience of difference and otherness; as meditations on the fluid nature of identity; and as high-water marks in the artistic tradition of American cartooning, to name a few. Throughout the 1960s, the Fantastic Four doubled as the flagship title and the creative laboratory of the Marvel Universe. Stan Lee and Jack Kirby introduced dozens of new characters and concepts in its pages, while expanding the emotional bandwidth and visual vocabulary of the Super Hero genre with every issue. This collection gathers some key tales from Lee and Kirby’s lengthy tenure—from their first experiments in generic hybridity to the remarkable fusion of the cosmic and the quotidian that is the “The Galactus Trilogy.” A foreword by Jerry Craft and scholarly introductions and apparatus by Ben Saunders offer further insight into the enduring significance of the Fantastic Four and classic Marvel comics.

Reveals the diversity crisis in children's and young adult media as not only a lack of representation, but a lack of imagination Stories provide portals into other worlds, both real and imagined. The promise of escape draws people from all backgrounds to speculative fiction, but when people of color seek passageways into the fantastic, the doors are often barred. This problem lies not only with children’s publishing, but also with the television and film executives tasked with adapting these stories into a visual world. When characters of color do appear, they are often marginalized or subjected to violence, reinforcing for audiences that not all lives matter. The Dark Fantastic is an engaging and provocative exploration of race in popular youth and young adult speculative fiction. Grounded in her experiences as YA novelist, fanfiction writer, and scholar of education, Thomas considers four black girl protagonists from some of the most popular stories of the early 21st century: Bonnie Bennett from the CW’s The Vampire Diaries, Rue from Suzanne Collins’s The Hunger Games, Gwen from the BBC’s Merlin, and Angelina Johnson from J.K. Rowling’s Harry Potter. Analyzing their narratives and audience reactions to them reveals how these characters mirror the violence against black and brown people in our own world. In response, Thomas uncovers and builds upon a tradition of fantasy and radical imagination in Black feminism and Afrofuturism to reveal new possibilities. Through fanfiction and other modes of counter-storytelling, young people of color have reinvisioned fantastic worlds that reflect their own experiences, their own lives. As Thomas powerfully asserts, “we dark girls deserve more, because we are more.”