ÒWHEN TITANS CLASH!Ó The Titans groups join forces to defeat Captain Calamity.

ÒIN THE BEGINNINGÉÓ The origin of the Teen Titans (between THE BRAVE AND THE BOLD #54 and #60). The Teen Titans disband.

As a part of the acclaimed DC Comics - The New 52 event of September 2011, writer Scott Lobdell (X-MEN, THE AGE OF APOCALYPSE) and artist Brett Booth (JUSTICE LEAGUE OF AMERICA) deliver a fresh new take on DC Comics' teen heroes, the Teen Titans. Tim Drake, Batman's former sidekick, is back in action when an international organization called Project N.O.W.H.E.R.E. seeks to capture, kill or co-opt super-powered teenagers. As Red Robin, he's going to have to team up with the mysterious andbelligerent powerhouse thief known as Wonder Girl, the hyperactive speedster calling himself Kid Flash and few more all-new teen super-heroes to stand any chance at all against N.O.W.H.E.R.E. But as Superboy meets them for the first time, the Titanshave to wonder, is he a friend--or foe?

Only a short while after the first superheroes entered the scene, they were followed by a host of scrappy teenage sidekicks. Batman had Robin. The Flash had Kid Flash. Green Arrow had Speedy. Aquaman had Aqualad. By 1964 there were enough of these young heroes-in-training to form their own team--the Teen Titans! This youthful Junior Justice League came together to aid other youngsters and stomp out evil wherever they found it--all with the style and slang of the swinging '60s. Dig it? TEEN TITANS: THE SILVER AGE OMNIBUS VOLUME 1 collects stories from THE BRAVE AND THE BOLD #54 and #60, SHOWCASE #59 and TEEN TITANS #1-11, from such talented writers and artists as Nick Cardy and Bob Haney. [W1] [W1]Copy missing for this one?

ÒTHROUGH THESE DOORS PASS THE BRAVEST TITANS OF THEM ALL!Ó Robin, Mal and Wonder Girl conquer their fears with the help of Lilith and Mr. Jupiter.

Considers the misappropriation of African American popular culture through various genres, largely Hip Hop, to argue that while such cultural creations have the potential to be healing agents, they are still exploited -often with the complicity of African Americans- for commercial purposes and to maintain white ruling class hegemony.

This book explores popular media depictions of higher education from an American perspective. Each chapter in this book investigates the portrait of higher education in an exciting array of media including novels, television, film, comic books, and video games revealing the ways anti-intellectualism manifests through time. Examining a wide range of narratives, the authors in this book provide incisive commentary on the role of the university as well as the life of students, faculty, and staff in fictional college campuses.

Did you know that comic books are being promoted by noted organizations including American Library Association and many educators as a tool for engaging young readers?

Focusing especially on American comic books and graphic novels from the 1930s to the present, this massive four-volume work provides a colorful yet authoritative source on the entire history of the comics medium. Comics and graphic novels have recently become big business, serving as the inspiration for blockbuster Hollywood movies such as the Iron Man series of films and the hit television drama The Walking Dead. But comics have been popular throughout the 20th century despite the significant effects of the restrictions of the Comics Code in place from the 1950s through 1970s, which prohibited the depiction of zombies and use of the word "horror," among many other rules. Comics through Time: A History of Icons, Idols, and Ideas provides students and general readers a one-stop resource for researching topics, genres, works, and artists of comic books, comic strips, and graphic novels. The comprehensive and broad coverage of this set is organized chronologically by volume. Volume 1 covers 1960 and earlier; Volume 2 covers 1960–1980; Volume 3 covers 1980–1995; and Volume 4 covers 1995 to the present. The chronological divisions give readers a sense of the evolution of comics within the larger contexts of American culture and history. The alphabetically arranged entries in each volume address topics such as comics publishing, characters, imprints, genres, themes, titles, artists, writers, and more. While special attention is paid to American comics, the entries also include coverage of British, Japanese, and European comics that have influenced illustrated storytelling of the United States or are of special interest to American readers.