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There are lots of other websites that offer free audiobooks that you can download through torrent websites. However, you should know that while that method of sharing books (or anything, like music and movies) may seem completely fine, it's normally illegal in most countries and is typically considered an unsafe method for sharing files since it's a common way to transmit malware.
Despite fighting in battles across multiple continents, Call of Duty Operators never faced two colossal threats like Kong and Godzilla before. And despite popular belief, these two creatures are our allies against a greater threat.
Sexual orientation refers to an enduring pattern of emotional, romantic and/or sexual attractions to men, women or both sexes. Sexual orientation also refers to a person's sense of identity based on those attractions, related behaviors and membership in a community of others who share those attractions. Research over several decades has demonstrated that sexual orientation ranges along a continuum, from exclusive attraction to the other sex to exclusive attraction to the same sex. However, sexual orientation is usually discussed in terms of three categories: heterosexual (having emotional, romantic or sexual attractions to members of the other sex), gay/lesbian (having emotional, romantic or sexual attractions to members of one's own sex) and bisexual (having emotional, romantic or sexual attractions to both men and women). This range of behaviors and attractions has been described in various cultures and nations throughout the world. Many cultures use identity labels to describe people who express these attractions. In the United States the most frequent labels are lesbians (women attracted to women), gay men (men attracted to men), and bisexual people (men or women attracted to both sexes). However, some people may use different labels or none at all.
There is no consensus among scientists about the exact reasons that an individual develops a heterosexual, bisexual, gay or lesbian orientation. Although much research has examined the possible genetic, hormonal, developmental, social and cultural influences on sexual orientation, no findings have emerged that permit scientists to conclude that sexual orientation is determined by any particular factor or factors. Many think that nature and nurture both play complex roles; most people experience little or no sense of choice about their sexual orientation.
Research indicates that many lesbians and gay men want and have committed relationships. For example, survey data indicate that between 40 percent and 60 percent of gay men and between 45 percent and 80 percent of lesbians are currently involved in a romantic relationship. Further, data from the 2000 U.S. Census indicate that of the 5.5 million couples who were living together but not married, about 1 in 9 (594,391) had partners of the same sex. Although the census data are almost certainly an underestimate of the actual number of cohabiting same-sex couples, they indicate that there are 301,026 male samesex households and 293,365 female same-sex households in the United States.
As the social visibility and legal status of lesbian and gay parents have increased, some people have raised concerns about the well-being of children in these families. Most of these questions are based on negative stereotypes about lesbians and gay men. The majority of research on this topic asks whether children raised by lesbian and gay parents are at a disadvantage when compared to children raised by heterosexual parents. These are the most common questions and answers:
Studies of prejudice, including prejudice against gay people, consistently show that prejudice declines when members of the majority group interact with members of a minority group. In keeping with this general pattern, one of the most powerful influences on heterosexuals' acceptance of gay people is having personal contact with an openly gay person. Antigay attitudes are far less common among members of the population who have a close friend or family member who is lesbian or gay, especially if the gay person has directly come out to the heterosexual person.
This isn't meant as a comprehensive list of the "best" or "most important" or "most influential" comics, of course. It's a lot more personal and idiosyncratic than that, because we asked folks to name the comics they loved. That means you'll find enormously popular mainstays like Maus and Fun Home jostling for space alongside newer work that's awaiting a wider audience (Check Please, anyone?).
Craig Thompson wrote and drew this bittersweet, 600-page, semiautobiographical story of a young man raised in a strict evangelical tradition, haunted by feelings of guilt and shame as adolescence gives way to adulthood. His attempts to navigate a sexual relationship cause him to question his most deeply felt beliefs, and it's that extra, achingly heartfelt layer that elevates Blankets above similarly themed "sensitive artist is sensitive, artfully" indie comics. Thompson grapples with big ideas about faith, art and sex, yet his art is always expressive, intimate and highly specific.
Comics nerds are a nitpicky, combative lot, so whenever Will Eisner's collection of comics short stories gets called "the first graphic novel," the "um, actually"s descend like so many neck-bearded locusts to remind everyone about Rodolphe Topffer and Lynd Ward and to point out that it's not a novel, it's a collection of stories. So let's put it this way: Eisner's 1978 A Contract With God is widely regarded as the first modern graphic novel. But it's not on this list because it was first, it's on this list because it remains one of the most beloved. Eisner sets his stories in and around a Lower East Side tenement building very like the one he grew up in, and it shows. He imbues each story with an elegiac quality reminiscent of the fables of Sholom Alecheim, replete with a fabulist's gift for distilling the world's morass into tidy morality plays. Moody, moving and darkly beautiful, this work helped the wider world accept the notion that comics can tell stories of any kind, the only limit being the vision of their creators.
Carla Speed McNeil has a mind as big as several universes, and you can visit at least one of them in the Eisner Award-winning Finder. Finder covers so many genres it's almost impossible to sum up, so we'll just say, come for the hot-outsider-in-a-strange-future action, stay for the insanely extensive world-building footnotes that will tell you exactly what is going on in every corner of every panel, from random lizard things to genetically engineered TV screen vines.
This hugely popular manga series by Naoki Urasawa was inspired by a story arc in Osamu Tezuka's seminal Astro Boy. Urasawa recast one of that manga's most famous story arcs from the villain's point of view. In manga, of course, robots are thick on the ground, but this series examined the question of what it means to be human with a surprising emotional depth and served it all up under the guise of an addictively compelling murder mystery.
Neil Gaiman is America's favorite nerd these days, but back in the late '80s, he was mostly known for fringe titles like Black Orchid and, well, writing a quickie biography of Duran Duran. And then he pitched DC Comics the idea of reviving an old character, the Sandman, and making him something completely new: A pale, tormented, goth-tacular Lord of the Dreaming who is rebuilding his kingdom after 70 years of occult captivity. Soapy, dramatic, mythic, gorgeous and sometimes terrifying, Sandman is the comic that fluttered the hearts of a million baby fans. (Plus, Death is adorable.)
Wonder Woman's much-buzzed-about movie may have granted her a bit of a popular-vote groundswell, but there wasn't much agreement on which run of comics from her long and storied life should make the final cut. Arguments were made for her debut comics, which remain bracingly weird; George Perez's mid-'80s reboot; Greg Rucka's tenure, when he turned her into a kind of superpowered diplomat; and Brian Azzarello's recent turn, in which he recast the Olympian gods as rival crime families. Ultimately, it was Gail Simone's run on the character (especially her four-issue launch tale, The Circle, with art by Terry and Rachel Dodson) that best managed to nail Diana's iconography by depicting her as powerful as we know her to be and as compassionate as we need her to be.
Len Wein and Bernie Wrightson created Swamp Thing for DC Comics in 1972, a muck-monster who owed a lot to Marvel's similarly swampy Man-Thing created the year before. But Alan Moore's tenure on the character, beginning in 1984, redefined the character in a fundamental and groundbreaking way, turning him into arguably the most powerful hero in the DC Universe, albeit one shot through with the darkest elements of gothic horror. Penciler Stephen Bissette and inker John Totleben's images seemed to float in that darkness, imbuing Moore's literally epic tale (Swampy visits both Hell and outer space) with a sense of dread and foreboding, even when that tale involved Swamp Thing communing with Evil itself ... by walking into its giant fingernail. Yeah, look, you really have to read it.
"It's like Shakespeare! But with lots more punching! It's like Goethe! But with lots more crushing!" Okay, well, no, but you have to admit that the Marvel Z-listers who make up the Nextwave team have a way better theme song than any other superheroes. This is Warren Ellis at his silliest and most joyful, complemented by Stuart Immonen's gorgeously angular line work. It's an over-the-top parody of the Marvel universe, the antidote to grim 'n' gritty and the perfect book to press into the hands of anyone who says they hate superheroes. 2ff7e9595c
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