Joe Kubert sealed his reputation as one of the greatest American comic-book cartoonists of all time with the four-color adventures of Sgt. Rock of Easy Company, Enemy Ace, and Tarzan, all done for DC Comics during the 1960s and 1970s (themselves already the subject of archival editions)... but he had been working in comics since the 1940s. In fact, young Kubert produced an exciting, significant body of work as a freelance artist for a variety of comic book publishers in the postwar era, in a glorious variety of non-super hero genres: horror, crime, science fiction, western, romance, humor, and more. For the first time, 33 of the best of these stories have been collected in one full-color volume, with a special emphasis on horror and crime.

WEIRD HORRORS #1If you dare - take these adventures into darkness! The 1950's were the heyday of horror, when nothing was too macabre, too scary, or too intense. The comics were ready and willing to warp the minds of our youth, and bring sleepless nights to millions of boys and girls willing to give up a dime for the right to be scared.....to death! Now you can enjoy again - or, for the first time - some of the best in classic horror comics with these public domain reprints from Golden Age Reprints and UP History and Hobby . This book contains the full issue of WEIRD HORRORS #1. Be sure to check out our entire line of full-color comic reprints!The classic comic reprints from GOLDEN AGE REPRINTS and UP History and Hobby are reproduced from actual comics, and sometimes reflect the imperfection of books that are decades old. These books are constantly updated with the best version available - if you are EVER unhappy with the experience or quality of a book, return the book to us to exchange for another title or the upgrade as new files become available. For our complete classic comics library catalog contact [email protected] OR VISIT OUR WEB STORE AT www.goldenagereprints.com

WEIRD HORRORS #7 If you dare - take these adventures into darkness! The 1950's were the heyday of horror, when nothing was too macabre, too scary, or too intense. The comics were ready and willing to warp the minds of our youth, and bring sleepless nights to millions of boys and girls willing to give up a dime for the right to be scared.....to death! Now you can enjoy again - or, for the first time - some of the best in classic horror comics with these public domain reprints from Golden Age Reprints and UP History and Hobby . This book contains the full issue of WEIRD HORRORS #7. Be sure to check out our entire line of full-color comic reprints! The classic comic reprints from GOLDEN AGE REPRINTS and UP History and Hobby are reproduced from actual comics, and sometimes reflect the imperfection of books that are decades old. These books are constantly updated with the best version available - if you are EVER unhappy with the experience or quality of a book, return the book to us to exchange for another title or the upgrade as new files become available. For our complete classic comics library catalog contact [email protected] OR VISIT OUR WEB STORE AT www.goldenagereprints.com

2017 Jordan Schnitzer Book Award in Jewish Literature and Linguistics Honorable Mention, 2016 Baron Book Prize presented by AAJR A monster tour of the Golem narrative across various cultural and historical landscapes In the 1910s and 1920s, a “golem cult” swept across Europe and the U.S., later surfacing in Israel. Why did this story of a powerful clay monster molded and animated by a rabbi to protect his community become so popular and pervasive? The golem has appeared in a remarkable range of popular media: from the Yiddish theater to American comic books, from German silent film to Quentin Tarantino movies. This book showcases how the golem was remolded, throughout the war-torn twentieth century, as a muscular protector, injured combatant, and even murderous avenger. This evolution of the golem narrative is made comprehensible by, and also helps us to better understand, one of the defining aspects of the last one hundred years: mass warfare and its ancillary technologies. In the twentieth century the golem became a figure of war. It represented the chaos of warfare, the automation of war technologies, and the devastation wrought upon soldiers’ bodies and psyches. Golem: Modern Wars and Their Monsters draws on some of the most popular and significant renditions of this story in order to unravel the paradoxical coincidence of wartime destruction and the fantasy of artificial creation. Due to its aggressive and rebellious sides, the golem became a means for reflection about how technological progress has altered human lives, as well as an avenue for experimentation with the media and art forms capable of expressing the monstrosity of war. New Books Network interview with Maya Barzilai on Golem

Comic books have presented fictional and fact-based stories of the Korean War, as it was being fought and afterward. Comparing these comics with events that inspired them offers a deeper understanding of the comics industry, America's "forgotten war," and the anti-comics movement, championed by psychiatrist Fredric Wertham, who criticized their brutalization of the imagination. Comics--both newsstand offerings and government propaganda--used fictions to justify the unpopular war as necessary and moral. This book examines the dramatization of events and issues, including the war's origins, germ warfare, brainwashing, Cold War espionage, the nuclear threat, African Americans in the military, mistreatment of POWs, and atrocities.

A fascinating story of growing up as a gay fan of comic books in the 1960s, building a fifty-year career as an award-winning writer, and interacting with acclaimed comic book legends Award-winning writer Bill Schelly relates how comics and fandom saved his life in this engrossing story that begins in the burgeoning comic fandom movement of the 1960s and follows the twists and turns of a career that spanned fifty years. Schelly recounts his struggle to come out at a time when homosexuality was considered a mental illness, how the egalitarian nature of fandom offered a safe haven for those who were different, and how his need for creative expression eventually overcame all obstacles. He describes living through the AIDS epidemic, finding the love of his life, and his unorthodox route to becoming a father. He also details his personal encounters with major talents of 1960s comics, such as Steve Ditko (co-creator of Spider-Man), Jim Shooter (writer for DC and later editor-in-chief of Marvel Comics), and Julius Schwartz (legendary architect of the Silver Age of comics).

This is a deluxe, full-color, coffee table book biography; the first of one of America’s greatest storytellers. It's filled with beautifully reproduced artwork from the comic books Little Lulu, and his creations Melvin Monster and Thirteen(Going on Eighteen); rare drawings and cartoons; and never-before-seen photographs. Bill Schelly tells Stanley’s life story through interviews with his family, friends, and colleagues: his childhood in Harlem and the Bronx, life with his strict Irish Catholic mother, his education at Parsons, his first job as an animator at Max Fleischer Studios, and his years working as a commercial artist, before finding his true métier in comic books during World War II (while battling clinical depression and alcoholism).