Comic books have presented fictional and fact-based stories of the Korean War, as it was being fought and afterward. Comparing these comics with events that inspired them offers a deeper understanding of the comics industry, America's "forgotten war," and the anti-comics movement, championed by psychiatrist Fredric Wertham, who criticized their brutalization of the imagination. Comics--both newsstand offerings and government propaganda--used fictions to justify the unpopular war as necessary and moral. This book examines the dramatization of events and issues, including the war's origins, germ warfare, brainwashing, Cold War espionage, the nuclear threat, African Americans in the military, mistreatment of POWs, and atrocities.

Comic books have presented fictional and fact-based stories of the Korean War, as it was being fought and afterward. Comparing these comics with events that inspired them offers a deeper understanding of the comics industry, America's "forgotten war," and the anti-comics movement, championed by psychiatrist Fredric Wertham, who criticized their brutalization of the imagination. Comics--both newsstand offerings and government propaganda--used fictions to justify the unpopular war as necessary and moral. This book examines the dramatization of events and issues, including the war's origins, germ warfare, brainwashing, Cold War espionage, the nuclear threat, African Americans in the military, mistreatment of POWs, and atrocities.

"Sacco brings the conflict down to the most human level, allowing us to imagine our way inside it, to make the desperation he discovers, in some small way, our own."—Los Angeles Times Rafah, a town at the bottommost tip of the Gaza Strip, has long been a notorious flashpoint in the bitter Middle East conflict. Buried deep in the archives is one bloody incident, in 1956, that left 111 Palestinians shot dead by Israeli soldiers. Seemingly a footnote to a long history of killing, that day in Rafah—cold-blooded massacre or dreadful mistake—reveals the competing truths that have come to define an intractable war. In a quest to get to the heart of what happened, Joe Sacco immerses himself in the daily life of Rafah and the neighboring town of Khan Younis, uncovering Gaza past and present. As in Palestine and Safe Area Goražde, his unique visual journalism renders a contested landscape in brilliant, meticulous detail. Spanning fifty years, moving fluidly between one war and the next, Footnotes in Gaza—Sacco's most ambitious work to date—transforms a critical conflict of our age into intimate and immediate experience.

In contrast to the many books that use military, diplomatic, and historic language in analyzing the Korean War, this book takes a cultural approach that emphasizes the human dimension of the war, an approach that especially features Korean voices. There are chapters on Korean art on the war, translations into English of Korean poetry by Korean soldiers, and American soldier poetry on the war. There is a photographic essay on the war by combat journalist and Pulitzer Prize winning photographer Max Desfor. Another chapter includes and analyzes songs on the Korean War - Korean, American, and Chinese - that illuminate the many complex memories of the war. There is a discussion of Korean films on the war and a chapter on Korean War POWs and their contested memories. More than any other nonfiction book on the war, this one shows us the human face of tragedy for Americans, Chinese, and most especially Koreans. June 2000 was the fiftieth anniversary of the outbreak of the Korean War; this moving volume is intended as a commemoration of it.

The legendary Starfleet Captain Lucian Murat, a contemporary of Christopher Pike, disappears during a battle with the alient Tarn. Generations later, Captain Picard discovers the descendants of Murat and his crew stranded on a desolate planet, still fighting a war that ended decades ago.

A massive collection of never-before-collected pre-Comics Code horror comics of the 1950s. Of the myriad genres comic books ventured into during its golden age, none was as controversial as or came at a greater cost than horror; the public outrage it incited almost destroyed the entire industry. Yet before the watchdog groups and Congress could intercede, horror books were flying off the newsstands. During its peak period (1951–54) over fifty titles appeared each month. Apparently there was something perversely irresistible about these graphic excursions into our dark side, and Four Color Fear collects the finest of these into a single robust volume.

Conventional wisdom holds that comic books of the post-World War II era are poorly drawn and poorly written publications, notable only for the furor they raised. Contributors to this thoughtful collection, however, demonstrate that these comics constitute complex cultural documents that create a dialogue between mainstream values and alternative beliefs that question or complicate the grand narratives of the era. Close analysis of individual titles, including EC comics, Superman, romance comics, and other, more obscure works, reveals the ways Cold War culture--from atomic anxieties and the nuclear family to communist hysteria and social inequalities--manifests itself in the comic books of the era. By illuminating the complexities of mid-century graphic novels, this study demonstrates that postwar popular culture was far from monolithic in its representation of American values and beliefs.

Originally published as Doctor Who: the Forgotten, issues #1-6.