Contributions by Derek T. Buescher, Travis L. Cox, Trischa Goodnow, Jon Judy, John R. Katsion, James J. Kimble, Christina M. Knopf, Steven E. Martin, Brad Palmer, Elliott Sawyer, Deborah Clark Vance, David E. Wilt, and Zou Yizheng. One of the most overlooked aspects of the Allied war effort 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. 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.

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.

In the wake of Pearl Harbor, President Roosevelt called for the largest arms buildup in our nation's history. A shortage of steel, however, quickly slowed the program's momentum, and arms production fell dangerously behind schedule. The country needed scrap metal. Henry Doorly, publisher of the Omaha World-Herald, had the solution. Prairie Forge tells the story of the great Nebraska scrap drive of 1942-a campaign that swept the nation and yielded five million tons of scrap metal, literally salvaging the war effort itself. James J. Kimble chronicles Doorly's conception of a fierce competition pitting county against county, business against business, and, in schools across the state, class against class-inspiring Nebraskans to gather 67,000 tons of scrap metal in only three weeks. This astounding feat provided the template for a national drive. A tale of plowshares turned into arms, Prairie Forge gives the first full account of how home became home front for so many civilians.

During World War II, the home front offered unprecedented levels of moral, financial, and labor support for the war effort. This was no accident. Through the U.S. Treasury Department's war bond drives, Franklin D. Roosevelt's administration strategically cultivated national morale by creating the largest single domestic propaganda campaign known to that time. Donald Duck and Bugs Bunny joined Judy Garland, Dorothy Lamour, and Lana Turner to urge Americans to buy war bonds, helping to create a virtual army of home front soldiers. Dr. Seuss drew cartoons, Irving Berlin wrote songs, and Norman Rockwell designed posters to help raise over $185 billion for the struggle, most of it coming from average citizens who well remembered the poverty of the Depression. In ""Mobilizing the Home Front"", James J. Kimble marshals archival documents, public appeals, and a wealth of internal memoranda, reports, and surveys to offer a new understanding of the government's eight war bond drives and the psyche of the nation at war. With roots in propaganda studies, military history, rhetorical criticism, and peace studies, this book adds new dimensions to our understanding of the waging of war by the ""Greatest Generation.