While Popeye, Olive Oyl, and Swee'pea search for treasure in an old mansion, they are interrupted by a shape in a white sheet.

When Phoebe's best friend Adam takes a bullet for her, it proves everyone right - Adam is in love with her. And now that he's come back to life, Phoebe's presence may be more important than ever. They say that a zombie can come back from death faster if they're loved... and kissed - which means Phoebe has to say goodbye to Tommy Williams, the other zombie in her life. While coaxing Adam back to reality and fending off Tommy's advances, Phoebe continues to carry on as if everything's normal. But normal has been different since American teenagers started rising from their graves. Although some try to bridge the gap between the living and the differently biotic, there are scores of people who want nothing more than to send all of the undead back to their graves. And the dead kids in Phoebe's school don't like that one bit...

It's a rare comic character who can make audiences laugh for well over half a century--but then again, it's a pretty rare cartoon hero who can boast of forearms thicker than his waist, who can down a can of spinach in a single gulp, or who generally faces the world with one eye squinted completely shut. When E.C. Segar's gruff but lovable sailor man first tooted his pipe to the public on January 7, 1929, it was not in the animated cartoon format for which he is best known today (and which would become the longest running series in film history). Instead it was on the comics page of the New York Journal, as Segar's Thimble Theatre strip. Over the decades to come, Popeye was to appear on radio, television, stage, and even in a live-action feature film. This comprehensive and lavishly illustrated history is a thoroughly updated and revised edition of the highly acclaimed 1994 work. Animated series and films are examined, noting the different directions each studio took and the changing character designs of the Popeye family. Popeye in other media--comics, books, radio, and a stage play--is thoroughly covered, as are Robert Altman's 1980 live-action film, and Popeye memorabilia.

From comic strip hero to motion picture star, here is the history of Popeye, one of the best-loved cartoon characters. Animated series and films are examined, noting the different directions each studio took and the changing character designs of the Popeye family. Popeye in other media--comics, books, radio, and even a stage play--is thoroughly covered, as are Robert Altman's 1980 live-action film, and Popeye memorabilia.

Re-presenting the classic Popeye comic book series that debuted in 1948 by Bud Sagendorf, the long-time assistant to creator E.C. Segar! Carefully reproduced from the original comic books and lovingly restored, Volume 1 contains issues #1-4, with stories such as "That's What I Yam," "Ghost Island," and "Dead Valley." Also includes all of Sagendorf's gloriously funny one-pagers.

Los Angeles, 1936, broke, hungry and without wings. Like many Depression-era tramps, Jake Hollow is drawn to California's siren call. Unlike other hobos, he carries a telegram from an old buddy, inviting Jake to live the dream at rainbow's dead end, flying for the movies. As Jake rides the rails into L.A., the East Coast Mob, led by Benjamin "Bugsy" Siegel, arrives in style to stake its claim on the City of Angels. With Prohibition repealed, mobsters turn to expanding illegal gambling operations in Southern California. To avoid the law they can't bribe, the casinos are loaded onto old steamships and anchored outside the three-mile limit off the coast. What's illegal on land is vaguely legit offshore. As the money rolls in on the tide it carries the bodies of those who don't play by the rules-Mob rules, Hollywood rules. And Jake Hollow rarely plays or flies by the rules.

Every living American adult likely prized one childhood toy that featured the happy image of an animated cartoon or comic strip character. There is an ever-growing market for these collectibles, and stacks of books pose as pricing guides. Yet Tim Hollis is the first to examine the entire story of character licensing and merchandising from a historical view. Toons in Toyland focuses mainly on the post-World War II years, circa 1946-1980, when the last baby boomers were in high school. During those years, the mass merchandising of cartoon characters peaked. However, the concept of licensing cartoon characters for toys, trinkets, and other merchandise dates back to the very first newspaper comics character, the Yellow Kid, who debuted in 1896 and was soon appearing on a variety of items. Eventually, cartoon producers and comic strip artists counted on merchandising as a major part of their revenue stream. It still plays a tremendous role in the success of the Walt Disney Company and many others today. Chapters examine storybooks (such as Little Golden Books), comic books, records, board games, jigsaw puzzles, optical toys (including View-Master and Kenner's Give-a-Show Projector), and holiday paraphernalia. Extending even beyond toys, food companies licensed characters galore--remember the Peanuts characters plugging bread and Dolly Madison snacks? And roadside attractions, amusement parks, campgrounds, and restaurants--think Yogi Bear and Jellystone Park Campgrounds--all bought a bit of cartoon magic to lure the green waves of tourists' dollars.

Toys are fun, but prices are for real when it comes to the toys you want to buy or sell. When values are on the line, collectors can rely on this accurate, newly updated price guide. The book features up to three grades of value for toys from the 1840s to the present, including banks, action figures, classic tin, toy guns, model kits, and Marx, Barbie and character toys. 500 b&w photos. 20 color photos.

Ghosts and other supernatural phenomena are widely represented throughout modern culture. They can be found in any number of entertainment, commercial, and other contexts, but popular media or commodified representations of ghosts can be quite different from the beliefs people hold about them, based on tradition or direct experience. Personal belief and cultural tradition on the one hand, and popular and commercial representation on the other, nevertheless continually feed each other. They frequently share space in how people think about the supernatural. In Haunting Experiences, three well-known folklorists seek to broaden the discussion of ghost lore by examining it from a variety of angles in various modern contexts. Diane E. Goldstein, Sylvia Ann Grider, and Jeannie Banks Thomas take ghosts seriously, as they draw on contemporary scholarship that emphasizes both the basis of belief in experience (rather than mere fantasy) and the usefulness of ghost stories. They look closely at the narrative role of such lore in matters such as socialization and gender. And they unravel the complex mix of mass media, commodification, and popular culture that today puts old spirits into new contexts.