Superman Batman 51

The Man of Steel and the Dark Knight are shocked to discover little versions of themselves fighting a threat in Metropolis. But where did these tiny heroes come from? As Superman and Batman search for answers, things get worse with the arrival of the "Li'

THE GREATEST HERO THIS WORLD HAS EVER KNOWN… …IS DYING. Superman’s body is failing him. With his final days upon him, the Man of Steel reaches out to his loved ones and most trusted allies to say his goodbyes. Yet while he does so, the world is greeted by new threats—a dangerous being alive with fire, who insists to Lois Lane and anyone else he meets that he is the one true Superman, and a black-clad man whose appearance and powers mirror those of Superman himself. Alongside Batman, Wonder Woman and Supergirl, the Man of Steel must fight one final battle—seemingly against himself. Will Superman die trying to save his adoptive world and those he loves most? THE FINAL DAYS OF SUPERMAN marks the beginning of an era, written by Peter J. Tomasi (SUPERMAN) and illustrated by artists Mikel Janín (BATMAN), Doug Mahnke (SUPERMAN), Paul Pelletier (AQUAMAN), Dale Eaglesham (SECRET SIX), Scot Eaton (THE NEW 52: FUTURES END), Ed Benes (JUSTICE LEAGUE OF AMERICA) and Jorge Jiménez (EARTH 2: SOCIETY). Collects SUPERMAN #51-52, ACTION COMICS #51-52, BATMAN/SUPERMAN #31-32 and SUPERMAN/WONDER WOMAN #28-29.

The most comprehensive guide to the history of DC Comics ever published In 1938, Superman led the charge. The world's first Super Hero was soon followed by his Justice League teammates Batman, Wonder Woman, the Flash, Aquaman, Shazam! and Green Lantern. These heroes, and their Super-Villainous foes such as Lex Luthor and The Joker, became the foundation of DC Comics. You can trace these characters' evolution, and learn about the company and creators who made them the enduring pop culture icons they are today in DC Comics Year By Year: A Visual Chronicle - the most comprehensive, chronological history of DC Comics ever published. Fully updated, this best-selling, visually stunning book details the debuts and careers of every major hero and villain in the DC Universe. It also chronicles the company's fascinating 85-year history, highlighting its publishing milestones and expansion into movies and television, alongside the real-world events that shaped the times. Created in full collaboration with DC Comics and written by leading comics historians Matthew K. Manning, Daniel Wallace, Mike McAvennie, Alex Irvine, Alan Cowsill and Melanie Scott, the new edition brings the DC Comics story right up to date, covering recent landmark events such as Rebirth, Dark Nights: Metal, Doomsday Clock and Heroes in Crisis. DC Comics Year By Year: A Visual Chronicle is guaranteed to keep fans enthralled for hours on end. (TM) & © DC Comics. (s19)

An examination of the art in superhero comics and how style influences comic narratives.

Over the past forty years, American film has entered into a formal interaction with the comic book. Such comic book adaptations as Sin City, 300, and Scott Pilgrim vs. the World have adopted components of their source materials' visual style. The screen has been fractured into panels, the photographic has given way to the graphic, and the steady rhythm of cinematic time has evolved into a far more malleable element. In other words, films have begun to look like comics. Yet, this interplay also occurs in the other direction. In order to retain cultural relevancy, comic books have begun to look like films. Frank Miller's original Sin City comics are indebted to film noir while Stephen King's The Dark Tower series could be a Sergio Leone spaghetti western translated onto paper. Film and comic books continuously lean on one another to reimagine their formal attributes and stylistic possibilities. In Panel to the Screen, Drew Morton examines this dialogue in its intersecting and rapidly changing cultural, technological, and industrial contexts. Early on, many questioned the prospect of a "low" art form suited for children translating into "high" art material capable of drawing colossal box office takes. Now the naysayers are as quiet as the queued crowds at Comic-Cons are massive. Morton provides a nuanced account of this phenomenon by using formal analysis of the texts in a real-world context of studio budgets, grosses, and audience reception.

Concentrating primarily on contemporary depictions of Batman in the comic books, this book analyzes why Batman is so immensely popular right now in America and globally, and how the fictional Dark Knight reveals both new cultural concerns and longstanding beliefs about American values. The organizing premise is that while Batman is perceived as a very clearly defined character, he is open to a wide range of interpretations and depictions in the comics (what Henry Jenkins refers to as "multiplicities"), each of which allows access to different cultural issues. The idea of Batman functions as an anchoring point out of which multiple Batmen, or Batman-like characters, can occupy different positions: Grim Batman, Gay Batman, Female Batman, Black Batman, Cute Batman, and so on. Each iteration opens up a discussion of different cultural issues pertinent to modern society, such as sexuality, ethnicity, feminism and familial relationships.

It's the start of the last chapter in the Man of Steel's life that will change everything you know asætheæeight-partæepicæ"TheæFinal Days of Superman" begins.ææ His never-ending battles have finally taken their toll onæKal-El, and with time short, he reaches out to unite his friends and loved ones for what comes next. Meanwhile, a new sinister force's machinations will see to it that Man of Steel will not go quietly into the night, but instead enter into a life-and-death struggle with another being forged from the very energies of the Kryptonian's solar flare power, now claiming to be the true Superman!

Superman is shocked to learn where Supergirl has been after disappearing for months as part three ofæ"TheæFinal Days of Superman" begins! And, the faux Man of Steel arrives at the Daily æPlanet thinking he's Clark Kent, and that's bad news for everyone there.æ