From Comics' Golden Age, a collection of one of comics' premier anthology titles! Never before have these comics been reprinted, making this volume a must-have for all collectors. Featured within are stories of Wonder Woman, The Flash, Green Lantern, Wildcat, Black Pirate, Ghost Patrol and many more! Included in this volume is an introduction by movie producer Michael Uslan (Batman films).

A scientist by the name of Professor Proto Plasm invents a "moron hormone" that makes people simple-minded, including Steve Trevor and Wonder Woman.

Steve Trevor investigates a report that a school of mermaids have downed a ship, and he ends up being captured by them. Meanwhile, Wonder Woman and the Holliday Girls are also kidnapped when they try to rescue him, but they escape to collar a former female swimming champion who had disguised herself as King Neptune as a cover for her piracy operations. During a pre-Christmas radio program, racial and religious persecution raises its ugly head, prompting Alan Scott to use a life-and-death situation involving Doiby as an example of what America really stands for.

The most famous of all the women who have ever been called a superhero, Wonder Woman exploded into the world of comic books amid the uncertainty and bleak determination of World War II. Fighting for justice and treating even her enemies with firm compassion, Wonder Woman brought not a cape nor a ring nor a personal fortune or hidden clubhouse, but a magical lariat that compelled anyone it bound to tell the truth, and bracelets that could not only deflect bullets but prevent Wonder Woman from ever using her superpowers for unchecked destruction. The very first stories of the Amazon Warrior are collected here in WONDER WOMAN: THE GOLDEN AGE VOLUME 1, featuring the adventures of Wonder Woman as she tackles corruption, oppression and cruelty in ALL STAR COMICS #8, COMIC CAVALCADE #1, SENSATION COMICS #1-14 and WONDER WOMAN #1-3.

While Wonder Woman is on Paradise Island showing films of her various exploits, one renegade Amazon escapes to the Man's World. She later captures Steve Trevor and Wonder Woman, then forces the Amazon Princess to return her to Reform Island.

Winner of the Popular Culture Association's Ray and Pat Browne Award for Best Book in Popular or American Culture In the 1940s and ’50s, comic books were some of the most popular—and most unfiltered—entertainment in the United States. Publishers sold hundreds of millions of copies a year of violent, racist, and luridly sexual comics to Americans of all ages until a 1954 Senate investigation led to a censorship code that nearly destroyed the industry. But this was far from the first time the US government actively involved itself with comics—it was simply the most dramatic manifestation of a long, strange relationship between high-level policy makers and a medium that even artists and writers often dismissed as a creative sewer. In Pulp Empire, Paul S. Hirsch uncovers the gripping untold story of how the US government both attacked and appropriated comic books to help wage World War II and the Cold War, promote official—and clandestine—foreign policy and deflect global critiques of American racism. As Hirsch details, during World War II—and the concurrent golden age of comic books—government agencies worked directly with comic book publishers to stoke hatred for the Axis powers while simultaneously attempting to dispel racial tensions at home. Later, as the Cold War defense industry ballooned—and as comic book sales reached historic heights—the government again turned to the medium, this time trying to win hearts and minds in the decolonizing world through cartoon propaganda. Hirsch’s groundbreaking research weaves together a wealth of previously classified material, including secret wartime records, official legislative documents, and caches of personal papers. His book explores the uneasy contradiction of how comics were both vital expressions of American freedom and unsettling glimpses into the national id—scourged and repressed on the one hand and deployed as official propaganda on the other. Pulp Empire is a riveting illumination of underexplored chapters in the histories of comic books, foreign policy, and race.

Between 1941 and 1945, Hitler was pummeled on comic book covers by everyone from Captain America to Wonder Woman. Take That, Adolf! is an oversized compilation of more than 500 stunningly restored comics covers published during World War II, featuring America’s greatest super-villain. From Superman and Daredevil to propaganda and racism, Take That, Adolf! is a fascinating look at how legendary creators such as Joe Simon, Jack Kirby, Alex Schomburg, Will Eisner, and Lou Fine entertained millions of kids on the home front and buoyed the spirits of GIs fighting overseas by using Adolf Hitler as a punching bag.

With this remarkable study, historian Keira V. Williams shows how fictional matriarchies—produced for specific audiences in successive eras and across multiple media—constitute prescriptive, solution-oriented thought experiments directed at contemporary social issues. In the process, Amazons in America uncovers a rich tradition of matriarchal popular culture in the United States. Beginning with late-nineteenth-century anthropological studies, which theorized a universal prehistoric matriarchy, Williams explores how representations of women-centered societies reveal changing ideas of gender and power over the course of the twentieth century and into the present day. She examines a deep archive of cultural artifacts, both familiar and obscure, including L. Frank Baum’s The Wizard of Oz series, Progressive-era fiction like Charlotte Perkins Gilman’s utopian novel Herland, the original 1940s Wonder Woman comics, midcentury films featuring nuclear families, and feminist science fiction novels from the 1970s that invented prehistoric and futuristic matriarchal societies. While such texts have, at times, served as sites of feminist theory, Williams unpacks their cyclical nature and, in doing so, pinpoints some of the premises that have historically hindered gender equality in the United States. Williams also delves into popular works from the twenty-first century, such as Tyler Perry’s Madea franchise and DC Comics/Warner Bros.’ globally successful film Wonder Woman, which attest to the ongoing presence of matriarchal ideas and their capacity for combating patriarchy and white nationalism with visions of rebellion and liberation. Amazons in America provides an indispensable critique of how anxieties and fantasies about women in power are culturally expressed, ultimately informing a broader discussion about how to nurture a stable, equitable society.