The bitter, former Witchblade bearer Katarina has transcended the Faerie realm, travelling to Chicago to intercept the fugitive murderer Toio Mulranny. And she's going to get the Witchblade's help to catch him, whether Sara Pezinni wants to or not.

It's the end of the world and few are worthy of passage to heaven, not even the Pope. God leaves behind Saint Michael, to act as a guardian for the humans. He fails, and is held captive by Luicfer. God enlists the aide of the Pope to rescue Michael, and leaves his son, Jesus H Christ to assist him in his quest. This volume is presented in color.

Celebrating 20 years of Witchblade with a veritable who's who of comic artists.

Sara Pezzini's world has become increasingly gray since she became a private investigator. Without the laws and regulations that being a cop used to provide, Sara has no idea whether her actions have been for the greater good or not. But to both put food on the table and stop a more powerful evil, Sara will need to dig up enough dirt to destroy the career of the only decent and honest politician left in Chicago.

Transported five years into the future by the shockwave of a failed spell, Alex, Ash, and Majil must find a way back home but the New York they knew is gone, and an apocalyptic wasteland ruled by demons stands between them and their ticket back to the present. Collects WITCHBLADE #13-18

"LAST DAYS," Part Three Alex makes it back from the apocalyptic future to the present, but not everyone makes it back with her. She and Haley face off, and Alex quickly discovers the event that kicks off the demonic takeover of New York is fast approaching.

In the 1990s, American televison audiences witnessed an unprecedented rise in programming devoted explicitly to women. Cable networks such as Oxygen Media, Women's Entertainment Network, and Lifetime targeted a female audience, and prime-time dramatic series such as Buffy the Vampire Slayer, Judging Amy, Gilmore Girls, Sex and the City, and Ally McBeal empowered heroines, single career women, and professionals struggling with family commitments and occupational demands. After establishing this phenomenon's significance, Amanda D. Lotz explores the audience profile, the types of narrative and characters that recur, and changes to the industry landscape in the wake of media consolidation and a profusion of channels. Employing a cultural studies framework, Lotz examines whether the multiplicity of female-centric networks and narratives renders certain gender stereotypes uninhabitable, and how new dramatic portrayals of women have redefined narrative conventions. Redesigning Women also reveals how these changes led to narrowcasting, or the targeting of a niche segment of the overall audience, and the ways in which the new, sophisticated portrayals of women inspire sympathetic identification while also commodifying viewers into a marketable demographic for advertisers.