e-Pedia: Captain America: Civil War

Captain America: Civil War is a 2016 American superhero film based on the Marvel Comics character Captain America, produced by Marvel Studios and distributed by Walt Disney Studios Motion Pictures

e-Pedia: Captain America: Civil War

This carefully crafted ebook is formatted for your eReader with a functional and detailed table of contents. Captain America: Civil War is a 2016 American superhero film based on the Marvel Comics character Captain America, produced by Marvel Studios and distributed by Walt Disney Studios Motion Pictures. It is the sequel to 2011's Captain America: The First Avenger and 2014's Captain America: The Winter Soldier, and the thirteenth film of the Marvel Cinematic Universe (MCU). The film is directed by Anthony and Joe Russo, with a screenplay by Christopher Markus & Stephen McFeely, and features an ensemble cast, including Chris Evans, Robert Downey Jr., Scarlett Johansson, Sebastian Stan, Anthony Mackie, Don Cheadle, Jeremy Renner, Chadwick Boseman, Paul Bettany, Elizabeth Olsen, Paul Rudd, Emily VanCamp, Tom Holland, Frank Grillo, William Hurt, and Daniel Brühl. In Captain America: Civil War, disagreement over international oversight of the Avengers fractures them into opposing factions—one led by Steve Rogers and the other by Tony Stark. This book has been derived from Wikipedia: it contains the entire text of the title Wikipedia article + the entire text of all the 634 related (linked) Wikipedia articles to the title article. This book does not contain illustrations.

Comics and Conflict

Patriotism and Propaganda from WWII through Operation Iraqi Freedom

Comics and Conflict

Illustration has been an integral part of human history. Particularly before the advent of media such as photography, film, television, and now the Internet, illustrations in all their variety had been the primary visual way to convey history. The comic book, which emerged in its modern form in the 1930s, was another form of visual entertainment that gave readers, especially children, a form of escape. As World War II began, however, comic books became a part of propaganda as well, providing information and education for both children and adults. This book looks at how specific comic books of the war genre have been used to display patriotism, adventure through war stories, and eventually to tell of the horrors of combat—from World War II through the current conflicts in Iraq and Afghanistan in the first decade of the twenty-first century. This book also examines how war- and patriotically-themed comics evolved from soldier-drawn reflections of society, eventually developing along with the broader comic book medium into a mirror of American society during times of conflict. These comic books generally reflected patriotic fervor, but sometimes they advanced a specific cause. As war comic books evolved along with American society, many also served as a form of protest against United States foreign and military policy. During the country’s most recent wars, however, patriotism has made a comeback, at the same time that the grim realities of combat are depicted more realistically than ever before. The focus of the book is not only on the development of the comic book medium, but also as a bell-weather of society at the same time. How did they approach the news of the war? Were people in favor or against the fighting? Did the writers of comics promote a perception of combat or did they try to convey the horrors of war? All of these questions were important to the research, and serve as a focal point for what has been researched only in limited form previously. The conclusions of the book show that comic books are more than mere forms of entertainment. Comic books were also a way of political protest against war, or what the writers felt were wider examples of governmental abuse. In the post 9/11 era, the comic books have returned to their propagandistic/patriotic roots.

Days of Darkness Vol.1 #1

Days of Darkness Vol.1 #1

First issue of the epic and incredible telling of the early days of the United States during the Second World War. Days of Darkness covers the darkest days of World War II for the US, when the country went from the tragedy of Pearl Harbor to the triumph at Midway. Covered in detail is the attack of the US Naval base and the devastation of the fleet at Hawaii, then the action moves to the evacuation and fall of the Philippines to the horror of the Death March of Bataan, and finally to the dramatic Battle of Midway which stopped the Japanese juggernaut in the Pacific. Creator Wayne Vansant, best known for his exacting detail on Marvel's long running popular series, The 'Nam, chronicles the participation of the Cahill family during these events as their lives are irrevocably changed forever as their world is plunged into war. "Heavy on authenticity, compellingly written and beautifully drawn."- Comics Buyers Guide.

Days of Darkness Vol.1 #3

Days of Darkness Vol.1 #3

The war shifts to the fall of the Philippines and the surrender of Bataan with tens of thousands taken prisoner. While back home in the United States the Cahill family await word and do their part for the war effort. "Informative and historical, all wrapped up in an entertaining package of fact blended with fiction." - Joe Pruett, writer of X-Men and Domino.

Days of Darkness Vol.1 #4

Days of Darkness Vol.1 #4

American soldiers try desperately to hold out in the jungles of the Philippines but finally surrender and are brutalized on the death march to their internment camps. Allowing the Japanese to take full control of the Philippines.

Days of Darkness Vol.1 #5

Days of Darkness Vol.1 #5

American soldiers continue to suffer through the Bataan death march and die by the thousands while the US Navy engages Japanese ships in the Coral Sea to prevent further expansion in the south Pacific.

Marvel Graphic Novels and Related Publications

An Annotated Guide to Comics, Prose Novels, Children’s Books, Articles, Criticism and Reference Works, 1965–2005

Marvel Graphic Novels and Related Publications

This work provides an extensive guide for students, fans, and collectors of Marvel Comics. Focusing on Marvel’s mainstream comics, the author provides a detailed description of each comic along with a bibliographic citation listing the publication’s title, writers/artists, publisher, ISBN (if available), and a plot synopsis. One appendix provides a comprehensive alphabetical index of Marvel and Marvel–related publications to 2005, while two other appendices provide selected lists of Marvel–related game books and unpublished Marvel titles.

The Comic Art of War

A Critical Study of Military Cartoons, 1805-2014, with a Guide to Artists

The Comic Art of War

For military cartoonists the absurdity of war inspires a laugh-or-cry response and provides an endless source of un-funny amusement. Cartoons by hundreds of artists-at-arms from more than a dozen countries and spanning two centuries are included in this study--the first to consider such a broad range of military comics. War and military life are examined through the inside jokes of the men and women who served. The author analyzes themes of culture, hierarchy, enemies and allies, geography, sexuality, combat, and civilian relations and describes how comics function within a community. A number of artists included were known for their work with Disney, Marvel Comics, the New Yorker and Madison Avenue but many lesser known artists are recognized.

Atom Bomb

And Other Stories

Atom Bomb

When the famed artist Wallace Wood teamed up with legendary writer/editor Harvey Kurtzman to create stories about men in combat, the result was some of the best war stories ever put to paper. Together, Wood and Kurtzman delivered outstanding, deeply human battle tales from the Civil War to World War I to World War II to Korea. From the Army to the Navy to the Air Force to the Marines. From aviators to soldiers to sailors. Wood and Kurtzman pulled no punches in depicting the utter folly, madness, and horror of war — especially in the title story, which depicts the bombing of Nagasaki from the viewpoint of the victims on the ground — a shockingly controversial point of view in 1953!