This title explores the roles of religion in comic books and graphic novels. Comic books have increasingly become a vehicle for serious social commentary and, specifically, for innovative religious thought. Practitioners of both traditional religions and new religious movements have begun to employ comics as a missionary tool, while humanists and religious progressives use comics' unique fusion of text and image to criticize traditional theologies and to offer alternatives. Addressing the increasing fervor with which the public has come to view comics as an art form and Americans' fraught but passionate relationship with religion, "Graven Images" explores with real insight the roles of religion in comic books and graphic novels. In essays by scholars and comics creators, "Graven Images" observes the frequency with which religious material - in devout, educational, satirical, or critical contexts - occurs in both independent and mainstream comics. Contributors identify the unique advantages of the comics medium for religious messages; analyze how comics communicate such messages; place the religious messages contained in comics books in appropriate cultural, social, and historical frameworks; and, articulate the significance of the innovative theologies being developed in comics.

The sea that calls all things unto her calls me, and I must embark. One of the best known and most translated works of free-verse poetry ever published in the English language, The Prophet, by Lebanon-born Kahlil Gibran, tells the story of the prophet Almustafa, who was banished from his homeland and who has lived the last twelve years of his life as a refugee among the good people of Orphalese. One day, as he prepares to board the ship that will take him home, Almustafa addresses a gathering of townspeople who have come to see him off. His parting words of wisdom about the human condition reveal him to be a man who sees deeply into the hearts, minds, and souls of his peers. While remaining faithful to the original text, the script adaptation by A. David Lewis provides backstory details that provide greater insight into the enigmatic main character. And the illustrations by Justin Rentería, inspired by a 1920s Ottoman style, are vibrant, authentic, and skillfully paced. Appearing exactly one hundred years after the original 1923 publication of Gibran’s masterpiece, and at a time when entire groups of people are being forced to seek refuge elsewhere, this fresh and visually compelling rendering of The Prophet conveys the original work’s bracing and inspirational message about what it means to live well in today’s world.

The roster of Muslim superheroes in the comic book medium has grown over the years, as has the complexity of their depictions. Muslim Superheroes tracks the initial absence, reluctant inclusion, tokenistic employment, and then nuanced scripting of Islamic protagonists in the American superhero comic book market and beyond. This scholarly anthology investigates the ways in which Muslim superhero characters fulfill, counter, or complicate Western stereotypes and navigate popular audience expectations globally, under the looming threat of Islamophobia. The contributors consider assumptions buried in the very notion of a character who is both a superhero and a Muslim with an interdisciplinary and international focus characteristic of both Islamic studies and comics studies scholarship. Muslim Superheroes investigates both intranational American racial formation and international American geopolitics, juxtaposed with social developments outside U.S. borders. Providing unprecedented depth to the study of Muslim superheroes, this collection analyzes, through a series of close readings and comparative studies, how Muslim and non-Muslim comics creators and critics have produced, reproduced, and represented different conceptions of Islam and Muslimness embodied in the genre characters.

This fascinating work explores the meaning of death in the digital age, showing readers the new ways digital technology allows humans to approach, prepare for, and handle their ultimate destiny. With DeadSocial (TM) one can create messages to be published to social networks after death. Facebook's "If I Die" enables users to create a video or text message for posthumous publication. Twitter _LIVESON accounts will keep tweeting even after the user is gone. There is no doubt that the digital age has radically changed options related to death, dying, grieving, and remembering, allowing people to say goodbye in their own time and their own unique way. Drawing from a range of academic perspectives, this book is the only serious study to focus on the ways in which death, dying, and memorialization appear in and are influenced by digital technology. The work investigates phenomena, devices, and audiences as they affect mortality, remembrances, grieving, posthumous existence, and afterlife experience. It examines the markets to which the providers of such services are responding, and it analyzes the degree to which digital media is changing views and expectations related to death. Ultimately, the contributors seek to answer an even more important question: how digital existences affect both real-world perceptions of life's end and the way in which lives are actually lived. Explains how new technologies and online accessibility are changing human attitudes to death and dying-and impacting the ways in which people live Explores the afterlife experience as it can play out in a variety of digital media, including Facebook and other social media, World of Warcraft and video games, YouTube and other video services, and Internet memorials Analyzes the myriad ways encounters with death and dying and the capacity for mourning are mediated by new technologies Places death and dying in the digital age in historical perspective, showing how beliefs about and approaches to death and dying have changed constantly over time

This title explores the roles of religion in comic books and graphic novels. Comic books have increasingly become a vehicle for serious social commentary and, specifically, for innovative religious thought. Practitioners of both traditional religions and new religious movements have begun to employ comics as a missionary tool, while humanists and religious progressives use comics' unique fusion of text and image to criticize traditional theologies and to offer alternatives. Addressing the increasing fervor with which the public has come to view comics as an art form and Americans' fraught but passionate relationship with religion, "Graven Images" explores with real insight the roles of religion in comic books and graphic novels. In essays by scholars and comics creators, "Graven Images" observes the frequency with which religious material - in devout, educational, satirical, or critical contexts - occurs in both independent and mainstream comics. Contributors identify the unique advantages of the comics medium for religious messages; analyze how comics communicate such messages; place the religious messages contained in comics books in appropriate cultural, social, and historical frameworks; and, articulate the significance of the innovative theologies being developed in comics.