In 2008, Hurricane Ike swept theGulf of Mexicointo Galveston, submerging 75 percent of the city, shredding entire buildings to splinters, and turning out rich and pooralike fromtheir beloved island home. Scores of private interviews expose the politics of recovery, the destitution of loss, and the revelry of rebirth. Award-winning Galveston County Daily News reporters Leigh Jones and Rhiannon Meyers deliver the storyabout one of Americas largest hurricanes through the voices of those who lived it. Survivors who didreturn to the island waded through not only mounds of toxic debris, but also a dense and seemingly endless bureaucracy that threatened to stifle recovery before it even began. Like a phantom reincarnation of its 1900 ancestor, Hurricane Ike wasthe Infinite Monster that would forever cloud the Gulf Coast's future.

A study of the gruesome game characters we love to beat—and what they tell us about ourselves. Since the early days of video games, monsters have played pivotal roles as dangers to be avoided, level bosses to be defeated, or targets to be destroyed for extra points. But why is the figure of the monster so important in gaming, and how have video games come to shape our culture’s conceptions of monstrosity? To answer these questions, Player vs. Monster explores the past half-century of monsters in games, from the dragons of early tabletop role-playing games and the pixelated aliens of Space Invaders to the malformed mutants of The Last of Us and the bizarre beasts of Bloodborne, and reveals the common threads among them. Covering examples from aliens to zombies, Jaroslav Švelch explores the art of monster design and traces its influences from mythology, visual arts, popular culture, and tabletop role-playing games. At the same time, he shows that video games follow the Cold War–era notion of clearly defined, calculable enemies, portraying monsters as figures that are irredeemably evil yet invariably vulnerable to defeat. He explains the appeal of such simplistic video game monsters, but also explores how the medium could evolve to present more nuanced depictions of monstrosity.

Quantum Hughes' life is stuck on repeat. While trapped in The LOOP, he struggles to free himself from a glitch that forces him to re-live the same day over and over.

This collection of essays analyzes the many ways in which comic book and film superheroes have been revised or rewritten in response to changes in real-world politics, social mores, and popular culture. Among many topics covered are the jingoistic origin of Captain America in the wake of the McCarthy hearings, the post-World War II fantasy-feminist role of Wonder Woman, and the Nietzschean influences on the "sidekick revolt" in the 2004 film The Incredibles.

Vols. 227-230, no. 2 include: Stuff and nonsense, v. 5-6, no. 8, Jan. 1929-Aug. 1930.