Oblivion Rouge, Volume 1 follows the paths of Oumi and other young Hakkinen soldiers who are on their way to saving their African communities in a dystopian future in which a virus has infected half the population.

Nikos Rallis is the definitive high-risk investor, whose avarice entraps even the most savvy members of the international business community. He fluidly skirts legal barriers in Monaco, Switzerland, and the United States. His roguish pixie dust suffocates astute targets with outrageous promises of reward. Savvy women front his schemes, captivated only slightly by his charms but much more by the opportunity to share his gains. Perched in his Alpine headquarters, the obsessive secrecy of Switzerland and strategic purpose of Chinese foreign investment become veiled money-laundering tools for his exploitation of a defense contract in Washington's easy-money climate. Ultimately, his chilling gallery of plundered emotions produces a fatal result that even his legendary diligence never anticipated.

"Learn how to reflect the beautifully diverse world around you in the manga-style characters you draw, guided by the talented team of artists at Saturday AM. Saturday AM is the world's leading showcase of diverse anime and manga stories. How to Draw Diverse Manga features the comics brand's most popular artists, who themselves represent racial identities, ethnicities, and cultures from all over the world, as well as diverse gender identities. Our perceptions of the world are shaped by how the media presents it. With this guide, you will be able to tell inclusive stories about heroic, beautiful, strong, intelligent, and courageous heroes from all backgrounds that are relatable to all and represent the true diversity of our world. The reader-friendly, step-by-step presentation, which is accessible even to beginning artists, shares drawing guidance for: Diverse faces, features, and expressions Bodies, proportions, and body positivity Hair, including afros, braids, and waves Developing character design through the language of shape, silhouette, and color schemes Avoiding stereotypes and caricatures Perfect for beginning to intermediate manga and anime artists, character designers, fantasy illustrators, animators, and cartoonists, Saturday AM Presents How to Draw Diverse Manga offers an insider's point of view and expertise on how to design and draw authentic manga characters that reflect the diverse identities and backgrounds of our world. Find even more inspiration for diverse manga characters in Saturday AM TANKS, which collect Saturday AM's comics in graphic novel format."

Curated by Saturday AM, this inaugural edition of the Annual series is the ultimate version of the eponymously titled digital magazine. Contents:



Orisha by Zayf, a new, original short story from the world of Orisha, exclusive to Saturday AM Annual
MMWOG: Judge Joker by Marinos Basiadakis, an exciting spinoff from Saturday AM's
Massively Multiplayer World of Ghosts
Animale by Philippa Borman
Interview with the artists of March Art Madness 2022
Benedict Nick the Phenomenal Brick by @nathq_art
The Enemy of Crime by Lord Kotodwe
False Hoods by @effessart
Interview with Summer of Manga alumni creators
The road to Saturday Wars—discover what's to come from the biggest crossover in manga with the multiverse of Saturday AM

The Chronicle of a People's War: The Military and Strategic History of the Cambodian Civil War, 1979–1991 narrates the military and strategic history of the Cambodian Civil War, especially the People’s Republic of Kampuchea (PRK), from when it deposed the genocidal Khmer Rouge regime in 1979 until the political settlement in 1991. The PRK survived in the face of a fierce insurgency due to three factors: an appealing and reasonably well-implemented political program, extensive political indoctrination, and the use of a hybrid army. In this hybrid organization, the PRK relied on both its professional, conventional army, and the militia-like, "territorial army." This latter type was lightly equipped and most soldiers were not professional. Yet the militia made up for these weaknesses with its intimate knowledge of the local terrain and its political affinity with the local people. These two advantages are keys to victory in the context of counterinsurgency warfare. The narrative and critical analysis is driven by extensive interviews and primary source archives that have never been accessed before by any scholar, including interviews with former veterans (battalion commanders, brigade commanders, division commanders, commanders of provincial military commands, commanders of military regions, and deputy chiefs of staff), articles in the People’s Army from 1979 to 1991, battlefield footage, battlefield video reports, newsreel, propaganda video, and official publications of the Cambodian Institute of Military History.

From melodrama to Cantonese opera, from silents to 3D animated film, Remaking Chinese Cinema traces cross-Pacific film remaking over the last eight decades. Through the refractive prism of Hollywood, Shanghai, and Hong Kong, Yiman Wang revolutionizes our understanding of Chinese cinema as national cinema. Against the diffusion model of national cinema spreading from a central point—Shanghai in the Chinese case—she argues for a multi-local process of co-constitution and reconstitution. In this spirit, Wang analyzes how southern Chinese cinema (huanan dianying) morphed into Hong Kong cinema through trans-regional and trans-national interactions that also produced a vision of Chinese cinema. Among the book’s highlights are a rereading of The Goddess—one of the best-known silent Chinese films in the West—from the perspective of its wartime Mandarin-Cantonese remake; the excavation of a hybrid genre (the Western costume Cantonese opera film) inspired by Hollywood's fantasy films of the 1930s and produced in Hong Kong well into the mid-twentieth century; and a rumination on Hollywood’s remake of Hong Kong’s Infernal Affairs and the wholesale incorporation of “Chinese elements” in Kung Fu Panda 2. Positing a structural analogy between the utopic vision, the national cinema, and the location-specific collective subject position, the author traces their shared urge to infinitesimally approach, but never fully and finitely reach a projected goal. This energy precipitates the ongoing processes of cross-Pacific film remaking, which constitute a crucial site for imagining and enacting (without absolving) issues of national and regional border politics. These issues unfold in relation to global formations such as colonialism, Cold War ideology, and postcolonial, postsocialist globalization. As such, Remaking Chinese Cinema contributes to the ongoing debate on (trans-)national cinema from the unique perspective of century-long border-crossing film remaking.

Throughout his distinguished career as a journalist and film-maker, John Pilger has looked behind the 'official' versions of events to report the real stories of our time. The centrepiece of this new, expanded edition of his bestselling Distant Voices is Pilger's reporting from East Timor, which he entered secretly in 1993 and where a third of the population has died as a result of Indonesia's genocidal policies. This edition also contains more new material as well as all the original essays - from the myth-making of the Gulf War to the surreal pleasures of Disneyland. Breaking through the consensual silence, Pilger pays tribute to those dissenting voices we are seldom permitted to hear.

"In one of the most powerful memoirs of persecution ever written, Denise Affonco recounts how her comfortable life in Phnom Penh was torn apart when the Khmer Rouge seized power in Cambodia in April 1975. As a French citizen, Denise Affonco was offered a choice: she could either flee to France with her children or they could all stay together in Cambodia with her husband, Seng, who did not have a French passport. Seng was Chinese and a convinced communist; he believed that the Khmer Rouge would bring an end to five years of civil war. Denise decided the family should stay together. But the Khmer Rouge did not bring peace: Denise and her family, along with millions of their fellow citizens, were deported to a living hell in the countryside where, for almost four years, they endured hard labour, famine, sickness and death." "What gives this book its freshness is that much of it was written in the months after Denise Affonco's liberation in 1979. Shortly afterwards, Denise left for France to rebuild her life with her surviving son and the carbon copy manuscript was all but forgotten. It was only when, some 25 years later, she met a European academic who told her that the Khmer Rouge did "nothing but good" for Cambodia that she realised it was time to end her silence."--BOOK JACKET.