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This article describes comics as a modern form of mythology. Comic book artists not only adapt well‑known American myths, such as the power of money (Batman) or America as a home for immigrants (Superman), but they also co‑create new ones along with other cultural works. For one of the characteristics of mythology is taming, explaining and commenting on reality in the form of fantastic tales. All of American history and the image of society can be found in comics. The lives of immigrants in the early twentieth century and experiences of the World Wars were illustrated in short comics that appeared in the daily press. The events of the Cold War such as the arms race and the Vietnam War were portrayed through the eyes of famous characters such as the Fantastic Four and Iron Man. Comics were also the target of Puritan society. Just like the Hays Code concerning cinema, the system of self‑censorship called the Comics Code limited artistic freedom and forced some artists to create underground. In turn, the counterculture of the 1960's led to a gradual liberalization, allowing the adventures of African and Afro‑American superheroes to be published. Likewise, the economic crisis of the 1970s, problems in American society and the Reagan era are reflected in such comics as The Watchmen and The Dark Knight Returns. Surprisingly, the economic boom of the 1990s brought about a creative crisis and financial troubles among publishers. Last but not least, the events of 9/11 gave comic book stories new power when superheroes began to fight against terrorists and to explore the issue of what is more important: national security or civil liberties. All of this indicates and highlights that the history of American comic books is closely linked with the history of the American nation.

Periodization of American Comic Book – A New Proposal The article aims to present a new proposal for the periodization of the history of American comic books. The introduction deals with the problems of other propositions: the academic one created by Arthur Asa Berger and the so-called Olympic / Mainstream that is mainly used by industry artists and readers. The most critical short comings of these periodization are also listed, including them being outdated. The new proposal complements the deficiencies of the previous two: in its actuality, it focuses on the transformations of the comics genre caused by the socio-political implications of the events of September 11, 2001. Each epoch was given specific time frames, cut-off dates, events, and characteristics.

Abstract
Despite an increasing number of fangirls, female superheroes continue to represent the fears and concerns of male readers. These characters are not representative of girls or women despite their possession of a female form. Through the characterization and body shapes of male and female superheroes, the comics have remained focused upon fanboys. The female body in comics is not powerful but, instead, reinforces male dominance. While fangirls have made an effort to become a vocal force within comic book culture, the design of comic book content continues to marginalize girls and women.

"The Allied victory in World War II relied on far more than courageous soldiers. Americans on the home front constantly supported the war effort in the form of factory work, war bond purchases, salvage drives, and morale-rallying efforts. Motivating these men, women, and children to keep doing their bit during the war was among the conflict's most urgent tasks. One of the most overlooked aspects of these efforts involved a surprising initiative ... comic book propaganda. Even before Pearl Harbor, the comic book industry enlisted its formidable army of artists, writers, and editors to dramatize the conflict for readers of every age and interest. Comic book superheroes and everyday characters modeled positive behaviors and encouraged readers to keep scrapping. Ultimately those characters proved to be persuasive icons in the war's most colorful and indelible propaganda campaign. The 10 Cent War presents a riveting analysis of how different types of comic books and comic book characters supplied reasons and means to support the war effort. The contributors demonstrate that, free of government control, these appeals produced this overall imperative. The book discusses the role of such major characters as Superman, Wonder Woman, and Uncle Sam along with a host of such minor characters as kid gangs and superhero sidekicks. It even considers novelty and small presses, providing a well-rounded look at the many ways that comic books served as popular propaganda."

Following works on the intersection of neoliberalism, capitalism and non-human worlds, a growing number of critical social scientists call for a discussion about alternatives to the capitalist production of nature. This paper addresses how certain comic books formulate and circulate these alternatives, by acting as subversive medias that help think about and engage with post-capitalist natures. I draw on the increasingly strong scholarship on political comics in geography to explore how discourses of popular cultural culture can challenge dominant narratives by opening up new spaces of imagination. I use Alessandro Pignochi's Petit traité d'écologiesauvagediptych and La recomposition des mondes as case studies. The former follows a Jivaro anthropologist who travels throughout a fictional France where animist relations have taken over the western conception of nature. The latter recounts Pignochi's stay at the Notre Dame des Landes Zone à Défendre, notably narrating his experience of resisting forced evacuation and discovering grassroots agriculture. First, I show how these comics use the character of the anthropologist to question vocabularies and practice constitutive of capitalist natures. Second, I look at how Pignochi depicts a western society where subject to subject relations between humans and non-humans replace a subject to object relation with nature. Third, I analyze how comics provoke empathy with alternative ways of relating to nature, by humorously underlying the absurdity of dominant world-views and helping us imagine other possible worlds

In 1999, Gail Simone circulated a list of female comic book characters who had been "depowered, raped, or cut up and stuck in the refrigerator," sparking a dialogue about gender and comic book culture that continues today. In particular, 2011 and 2012 have been marked by an exponential growth in conversations and criticisms surrounding the state of women in comics, both as producers and consumers. Through a survey of how scholars have gendered comic book readership, an overview of recent incidents that have renewed concern about women in comics, and an analysis of one transformative intervention in the wake of these conversations, this essay broadly discusses the relative invisibility of female comic book fans as a market segment and how fangirls are actively striving to become a visible and vocal force within comic book culture. This essay suggests that we are currently witnessing a transformative moment within comic book industry, comic book fandom, and comic book scholarship, in which gender is one of the primary axes of change.

In 1999, Gail Simone circulated a list of female comic book characters who had been "depowered, raped, or cut up and stuck in the refrigerator," sparking a dialogue about gender and comic book culture that continues today. In particular, 2011 and 2012 have been marked by an exponential growth in conversations and criticisms surrounding the state of women in comics, both as producers and consumers. Through a survey of how scholars have gendered comic book readership, an overview of recent incidents that have renewed concern about women in comics, and an analysis of one transformative intervention in the wake of these conversations, this essay broadly discusses the relative invisibility of female comic book fans as a market segment and how fangirls are actively striving to become a visible and vocal force within comic book culture. This essay suggests that we are currently witnessing a transformative moment within comic book industry, comic book fandom, and comic book scholarship, in which gender is one of the primary axes of change.