It S Only Teenage Wasteland

In the first days of the apocalypse, a group of high school boys may be the last alive in the city. When his parents go out of town for the weekend, Mexican-American high schooler Javi decides to throw a party—one that'll launch him and his buds into popularity! Or at least get them noticed by some girls. But no high school party goes off without a hitch. Javi can only watch as his friend takes a beating from the school bully, but then—BAM! The apocalypse has the worst timing. With few survivors—and even fewer sane ones—Javi and his friends will have to learn to survive together, and mend the fallout from the last party before the end of the world. Written by Curt Pires (Youth, Wyrd) with art by Jacoby Salcedo (Home, Angel Boy). Collects It's Only Teenage Wasteland #1–#4.

Old friends are reunited and head deeper into the wasteland together. Some of the kids are captured and brought before the "bright one." The first arc of _It's Only Teenage Wasteland _races towards its pulse- pounding conclusion!

The identity of the "Bright One" revealed! The cause of the apocalypse unveiled! The can't-miss conclusion to the first arc of It's Only Teenage Wasteland!

When his parents go out of town for the weekend, Mexican-American high schooler Javi decides to throw a party--one that'll launch him and his buds into popularity! Or at least get them noticed by some girls. But when things take a turn for the worse, Javi and his friends are thrust into a situation and future they could have never possibly prepared for. For fans of The Nice House on the Lake and What's the Furthest Place From Here? or other comics with really long titles and cool high concepts.

It's been ten days since the end of the world. Ten days since the party. Ten days since Javi totally ruined his chances with Henry. There's no power or running water, but Javi and his friends find an oasis with everything they'll need in the hollowed-out corpse of a gas station. Home sweet home. With their base established, it's time to search for their families, survivors. Are they really alone?

Teenage Wasteland provides memorable portraits of "rock and roll kids" and shrewd analyses of their interests in heavy metal music and Satanism. A powerful indictment of the often manipulative media coverage of youth crises and so-called alternative programs designed to help "troubled" teens, Teenage Wasteland draws new conclusions and presents solid reasons to admire the resilience of suburbia's dead end kids. "A powerful book."—Samuel G. Freedman, New York Times Book Review "[Gaines] sheds light on a poorly understood world and raises compelling questions about what society might do to help this alienated group of young people."—Ann Grimes, Washington Post Book World "There is no comparable study of teenage suburban culture . . . and very few ethnographic inquiries written with anything like Gaines's native gusto or her luminous eye for detail."—Andrew Ross, Transition "An outstanding case study. . . . Gaines shows how teens engage in cultural production and how such social agency is affected by economic transformations and institutional interventions."—Richard Lachman, Contemporary Sociology "The best book on contemporary youth culture."—Rolling Stone

This volume brings together writing on the topic of home media, and in particular releases described as appealing to ‘cult’ fans and audiences. Despite popular assumptions to the contrary, the distributors of physical media maintain a vivid presence in the digital age. Perhaps more so than any other category of film or media, this is especially the case with titles considered ‘cult’ and its related processes of distribution and exhibition. The chapters in this collection chart such uses and definitions of ‘cult’, ranging from home media re-releases to promotional events, film screenings, file-sharing and the exploitation of established fan communities. This book will be of interest to the ever-growing number of academics and research students that are specializing in studies of cult cinema and fan practices, as well as professionals (filmmakers, journalists, promoters) who are familiar with these types of films.

What makes a film a teen film? And why, when it represents such powerful and enduring ideas about youth and adolescence, is teen film usually viewed as culturally insignificant? Teen film is usually discussed as a representation of the changing American teenager, highlighting the institutions of high school and the nuclear family, and experiments in sexual development and identity formation. But not every film featuring these components is a teen film and not every teen film is American. Arguing that teen film is always a story about becoming a citizen and a subject, Teen Film presents a new history of the genre, surveys the existing body of scholarship, and introduces key critical tools for discussing teen film. Surveying a wide range of films including The Wild One, Heathers, Akira and Donnie Darko, the book's central focus is on what kind of adolescence teen film represents, and on teen film's capacity to produce new and influential images of adolescence.