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LEAPING TALL BUILDINGS American Comics SETH KUSHNER Pictures
LEAPING TALL BUILDINGS LEAPING TALL BUILDINGS LEAPING TALL From the minds behind the acclaimed comics website Graphic NYC comes Leaping Tall Buildings, revealing the history of American comics through the stories of comics’ most important and influential creators—and tracing the medium’s journey all the way from its beginnings as junk culture for kids to its current status as legitimate literature and pop culture. Using interview-based essays, stunning portrait photography, and original art through various stages of development, this book delivers an in-depth, personal, behind-the-scenes account of the history of the American comic book. Subjects include: WILL EISNER (The Spirit, A Contract with God) STAN LEE (Marvel Comics) JULES FEIFFER (The Village Voice) Art SPIEGELMAN (Maus, In the Shadow of No Towers) American Comics Origins of The American Comics Origins of The JIM LEE (DC Comics Co-Publisher, Justice League) GRANT MORRISON (Supergods, All-Star Superman) NEIL GAIMAN (American Gods, Sandman) CHRIS WARE SETH KUSHNER IRVING CHRISTOPHER SETH KUSHNER IRVING CHRISTOPHER (Jimmy Corrigan, Acme Novelty Library) PAUL POPE (Batman: Year 100, Battling Boy) And many more, from the earliest cartoonists pictures pictures to the latest graphic novelists! words words This PDF is NOT the entire book LEAPING TALL BUILDINGS: The Origins of American Comics Photographs by Seth Kushner Text and interviews by Christopher Irving Published by To be released: May 2012 This PDF of Leaping Tall Buildings is only a preview and an uncorrected proof . Lifting -
2News Summer 05 Catalog
SAV THE BEST IN COMICS & E LEGO ® PUBLICATIONS! W 15 HEN % 1994 --2013 Y ORD OU ON ER LINE FALL 2013 ! AMERICAN COMIC BOOK CHRONICLES: The 1950 s BILL SCHELLY tackles comics of the Atomic Era of Marilyn Monroe and Elvis Presley: EC’s TALES OF THE CRYPT, MAD, CARL BARKS ’ Donald Duck and Uncle Scrooge, re-tooling the FLASH in Showcase #4, return of Timely’s CAPTAIN AMERICA, HUMAN TORCH and SUB-MARINER , FREDRIC WERTHAM ’s anti-comics campaign, and more! Ships August 2013 Ambitious new series of FULL- (240-page FULL-COLOR HARDCOVER ) $40.95 COLOR HARDCOVERS (Digital Edition) $12.95 • ISBN: 9781605490540 documenting each 1965-69 decade of comic JOHN WELLS covers the transformation of MARVEL book history! COMICS into a pop phenomenon, Wally Wood’s TOWER COMICS , CHARLTON ’s Action Heroes, the BATMAN TV SHOW , Roy Thomas, Neal Adams, and Denny O’Neil lead - ing a youth wave in comics, GOLD KEY digests, the Archies and Josie & the Pussycats, and more! Ships March 2014 (224-page FULL-COLOR HARDCOVER ) $39.95 (Digital Edition) $11.95 • ISBN: 9781605490557 The 1970s ALSO AVAILABLE NOW: JASON SACKS & KEITH DALLAS detail the emerging Bronze Age of comics: Relevance with Denny O’Neil and Neal Adams’s GREEN 1960-64: (224-pages) $39.95 • (Digital Edition) $11.95 • ISBN: 978-1-60549-045-8 LANTERN , Jack Kirby’s FOURTH WORLD saga, Comics Code revisions that opens the floodgates for monsters and the supernatural, 1980s: (288-pages) $41.95 • (Digital Edition) $13.95 • ISBN: 978-1-60549-046-5 Jenette Kahn’s arrival at DC and the subsequent DC IMPLOSION , the coming of Jim Shooter and the DIRECT MARKET , and more! COMING SOON: 1940-44, 1945-49 and 1990s (240-page FULL-COLOR HARDCOVER ) $40.95 • (Digital Edition) $12.95 • ISBN: 9781605490564 • Ships July 2014 Our newest mag: Comic Book Creator! ™ A TwoMorrows Publication No. -
Why No Wonder Woman?
Why No Wonder Woman? A REPORT ON THE HISTORY OF WONDER WOMAN AND A CALL TO ACTION!! Created for Wonder Woman Fans Everywhere Introduction by Jacki Zehner with Report Written by Laura Moore April 15th, 2013 Wonder Woman - p. 2 April 15th, 2013 AN INTRODUCTION AND FRAMING “The destiny of the world is determined less by battles that are lost and won than by the stories it loves and believes in” – Harold Goddard. I believe in the story of Wonder Woman. I always have. Not the literal baby being made from clay story, but the metaphorical one. I believe in a story where a woman is the hero and not the victim. I believe in a story where a woman is strong and not weak. Where a woman can fall in love with a man, but she doesnʼt need a man. Where a woman can stand on her own two feet. And above all else, I believe in a story where a woman has superpowers that she uses to help others, and yes, I believe that a woman can help save the world. “Wonder Woman was created as a distinctly feminist role model whose mission was to bring the Amazon ideals of love, peace, and sexual equality to ʻa world torn by the hatred of men.ʼ”1 While the story of Wonder Woman began back in 1941, I did not discover her until much later, and my introduction didnʼt come at the hands of comic books. Instead, when I was a little girl I used to watch the television show starring Lynda Carter, and the animated television series, Super Friends. -
K1 Timer with Remote Start Switch Instructions
Micro Wizard Instructions How to install your Fast Track flashing light display timer model K1 with optional remote start switch (If you have ordered the Quick Mount or have a Best Track, disregard this section and refer to the mounting instruction sheet for installing your timer) Enclosed you will find the Fast Track finish tine, remote start switch, a computer interface cable and USB converter* , AC adapter (and any options ordered). The Fast Track finish line contains all the electronics, sensors and displays for the Fast Track system. To install the Fast Track finish line to your track, mark the finish line on your track with a pencil. Now mark the midpoint of each lane where it crosses the finish line. These marks should align with the location of the sensors in the bottom rail of your Fast Track timer, which was manufactured according to the track measurements provided on the order form. Next, measure from the nearest sensor to the mounting screws. Mark this spot where it crosses the finish line. This marks the spot to put the mounting screws. The other marks are for the sensors that are mounted in the bottom rail of the Fast Track finish line. Now carefully drill these marks in the finish line of your track with a 3/16 inch drill bit. The sensor holes should be in the middle of each lane. The two other holes are for mounting and should be countersunk with a 1/4 inch bit so that the mounting screws are flush with the surface of the track. -
Alter Ego #78 Trial Cover
TwoMorrows Publishing. Celebrating The Art & History Of Comics. SAVE 1 NOW ALL WHE5% O N YO BOOKS, MAGS RDE U & DVD s ARE ONL R 15% OFF INE! COVER PRICE EVERY DAY AT www.twomorrows.com! PLUS: New Lower Shipping Rates . s r Online! e n w o e Two Ways To Order: v i t c e • Save us processing costs by ordering ONLINE p s e r at www.twomorrows.com and you get r i e 15% OFF* the cover prices listed here, plus h t 1 exact weight-based postage (the more you 1 0 2 order, the more you save on shipping— © especially overseas customers)! & M T OR: s r e t • Order by MAIL, PHONE, FAX, or E-MAIL c a r at the full prices listed here, and add $1 per a h c l magazine or DVD and $2 per book in the US l A for Media Mail shipping. OUTSIDE THE US , PLEASE CALL, E-MAIL, OR ORDER ONLINE TO CALCULATE YOUR EXACT POSTAGE! *15% Discount does not apply to Mail Orders, Subscriptions, Bundles, Limited Editions, Digital Editions, or items purchased at conventions. We reserve the right to cancel this offer at any time—but we haven’t yet, and it’s been offered, like, forever... AL SEE PAGE 2 DIGITIITONS ED E FOR DETAILS AVAILABL 2011-2012 Catalog To get periodic e-mail updates of what’s new from TwoMorrows Publishing, sign up for our mailing list! ORDER AT: www.twomorrows.com http://groups.yahoo.com/group/twomorrows TwoMorrows Publishing • 10407 Bedfordtown Drive • Raleigh, NC 27614 • 919-449-0344 • FAX: 919-449-0327 • e-mail: [email protected] TwoMorrows Publishing is a division of TwoMorrows, Inc. -
Operator's Manual
Operator’s Manual FinishLynx 32 Lynx System Developers, Inc. 175 N New Boston Street, Woburn, MA 01801 http://www.finishlynx.com Important Notice Use of FinishLynx is governed by the Sales and License Agreement signed by you or your agent (the “Buyer”), Section 7a of which is reprinted below: 7a.Ownership of Software. Lynx System Developers, Inc. (Lynx) owns and retains all title, copyright, trademark, and other proprietary rights in the software, firmware and documentation provided with the software and firmware (collectively, “Software”). Buyer acknowledges that the Software is the confidential property of Lynx and the Buyer will not disclose the Software to any other person without Lynx’s consent. FinishLynx™, Etherlynx™, CyberScoreboard™, ReacTime™ and the FinishLynx logo are registered trademarks of Lynx System Developers, Inc. SeriaLynx, FieldLynx, LaserLynx, InterLynx, ClerkLynx, Exchange, ResulTV, LynxTV and AirLynx are trademarks of Lynx System Developers, Inc. Windows 95, Windows 98, Windows 2000, Windows ME and Windows NT are registered trademarks of Microsoft Corp. Photoshop and PostScript are registered trademarks of Adobe Systems Incorporated. Palm OS, Palm Computing, Graffiti, HotSync, are registered trademarks of Palm, Inc. Palm, the Palm logo, the HotSync logo are trademarks of Palm, Inc. All other trademarks are properties of their respective companies. The following statement applies to the Independent JPEG Group's software which is included with FinishLynx 32. The authors make NO WARRANTY or representation, either express or implied, with respect to this software, its quality, accuracy, merchantability, or fitness for a particular purpose. This software is provided "AS IS", and you, its user, assume the entire risk as to its quality and accuracy. -
BERNARD BAILY Vol
Roy Thomas’ Star-Bedecked $ Comics Fanzine JUST WHEN YOU THOUGHT 8.95 YOU KNEW EVERYTHING THERE In the USA WAS TO KNOW ABOUT THE No.109 May JUSTICE 2012 SOCIETY ofAMERICA!™ 5 0 5 3 6 7 7 2 8 5 Art © DC Comics; Justice Society of America TM & © 2012 DC Comics. Plus: SPECTRE & HOUR-MAN 6 2 8 Co-Creator 1 BERNARD BAILY Vol. 3, No. 109 / April 2012 Editor Roy Thomas Associate Editors Bill Schelly Jim Amash Design & Layout Jon B. Cooke Consulting Editor John Morrow FCA Editor P.C. Hamerlinck AT LAST! Comic Crypt Editor ALL IN Michael T. Gilbert Editorial Honor Roll COLOR FOR $8.95! Jerry G. Bails (founder) Ronn Foss, Biljo White Mike Friedrich Proofreader Rob Smentek Cover Artist Contents George Pérez Writer/Editorial: An All-Star Cast—Of Mind. 2 Cover Colorist Bernard Baily: The Early Years . 3 Tom Ziuko With Special Thanks to: Ken Quattro examines the career of the artist who co-created The Spectre and Hour-Man. “Fairytales Can Come True…” . 17 Rob Allen Roger Hill The Roy Thomas/Michael Bair 1980s JSA retro-series that didn’t quite happen! Heidi Amash Allan Holtz Dave Armstrong Carmine Infantino What If All-Star Comics Had Sported A Variant Line-up? . 25 Amy Baily William B. Jones, Jr. Eugene Baily Jim Kealy Hurricane Heeran imagines different 1940s JSA memberships—and rivals! Jill Baily Kirk Kimball “Will” Power. 33 Regina Baily Paul Levitz Stephen Baily Mark Lewis Pages from that legendary “lost” Golden Age JSA epic—in color for the first time ever! Michael Bair Bob Lubbers “I Absolutely Love What I’m Doing!” . -
The Lasso of Truth a Critique of Feminist Portrayals in Wonder Woman
the lasso of truth A Critique of Feminist Portrayals in Wonder Woman sophia fOX For generations, Wonder Woman has been a staple oF both the comic book industry and popular Feminist discourse. her deeply Feminist creators, William moulton mar- ston, elizabeth holloWay marston, and olive bryne, Would surely be proud oF hoW their character has maintained her relevancy in american liFe. hoWever, the recent Wonder Woman movie seems to abandon those roots, and exposes a bleaker side oF modern Feminism. the rising commodiFication oF Feminism and the stubbornness oF derogatory representations oF Women in cinema are evident in the Film, in spite oF its immediate adoption as a Feminist victory. “The marketing power of celebrities has, somewhat inadvertently, been applied to the feminist movement. ” Wielding her Lasso of Truth and flying in her invisible air- In similar ways, celebrity endorsement has become the plane, the Amazonian enigma that is Wonder Woman still dominant conversation of modern feminism. The market- 38 holds the position as the most prominent female super- ing power of celebrities has, somewhat inadvertently, been hero of all time. The brainchild of William Moulton Mar- applied to feminism. Just as the Kardashians sell makeup ston, his wife Elizabeth Holloway Marston, and his live-in products, Beyoncé has helped to sell an ideology simply by mistress Olive Bryne, Wonder Woman was born of a attaching her image to it. People may recognize the names uniquely feminist mindset. As Harvard professor Jill Elizabeth Cady Stanton, Sojourner Truth, Betty Friedan, Lepore argues in her novel, The Secret History of Wonder and Gloria Steinem, but reading their works has become Woman, the larger-than-life fictional character acts as a far less important than being able to boldly proclaim one- link between the various stages of the feminist movement. -
Why Wonder Woman Matters
Why Wonder Woman Matters When I was a kid, being a hero seemed like the easiest thing in the world to be- A Blue Beetle quote from the DC Comics publication The OMAC Project. Introduction The superhero is one of modern American culture’s most popular and pervasive myths. Though the primary medium, the comic book, is often derided as juvenile or material fit for illiterates the superhero narrative maintains a persistent presence in popular culture through films, television, posters and other mediums. There is a great power in the myth of the superhero. The question “Why does Wonder Woman matter?” could be answered simply. Wonder Woman matters because she is a member of this pantheon of modern American gods. Wonder Woman, along with her cohorts Batman and Superman represent societal ideals and provide colorful reminders of how powerful these ideals can be.1 This answer is compelling, but it ignores Wonder Woman’s often turbulent publication history. In contrast with titles starring Batman or Superman, Wonder Woman comic books have often sold poorly. Further, Wonder Woman does not have quite the presence that Batman and Superman both share in popular culture.2 Any other character under similar circumstances—poor sales, lack of direction and near constant revisions—would have been killed off or quietly faded into the background. Yet, Wonder Woman continues to persist as an important figure both within her comic universe and in our popular consciousness. “Why does Wonder Woman matter?” To answer this question an understanding of the superhero and their primary medium, the comic book, is required, Wonder Woman is a comic book character, and her existence in the popular consciousness largely depends on how she is presented within the conventions of the comic book superhero narrative. -
Wonder Woman Created by William Moulton Marston
BACKSTORIES WWonderonder woman™ AAmazonmazon wwarriorarrior ™ By Steve Korté Illustrated by Marcus To Wonder Woman created by William Moulton Marston SCHOLASTIC INC. ™ ™ 4453933_Text_v1.indd53933_Text_v1.indd 1 112/17/152/17/15 88:12:12 PPMM If you purchased this book without a cover, you should be aware that this book is stolen property. It was reported as “unsold and destroyed” to the publisher, and neither the author nor the publisher has received any payment for this “stripped book.” Copyright © 2016 DC Comics. WONDER WOMAN and all related characters and elements are trademarks of and © DC Comics. (s16) SCUS36035 All rights reserved. Published by Scholastic Inc., Publishers since 1920. SCHOLASTIC and associated logos are trademarks and/or registered trademarks of Scholastic Inc. The publisher does not have any control over and does not assume any responsibility for author or third-party websites or their content. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without written permission of the publisher. For information regarding permission, write to Scholastic Inc., Attention: Permissions Department, 557 Broadway, New York, NY 10012. This book is a work of fi ction. Names, characters, places, and incidents are either the product of the author’s imagination or are used fi ctitiously, and any resemblance to actual persons, living or dead, business establishments, events, or locales is entirely coincidental. ISBN 978-0-545-92557-0 10 9 8 7 6 5 4 3 2 1 16 17 18 19 20 Printed in the U.S.A. -
DISC Is Credited to Dr. William Moulton Marston: “Marston
DISC is credited to Dr. William Moulton Marston: “Marston theorized that human behavior could be studied using a two-axis model based on a person’s action in a favorable or an unfavorable environment. Marston provided observational methods to demonstrate how four primary emotions are related to a logical analysis of neurological results. He introduced a hypothetical construct and provided meaningful terminology to describe the four primary emotions. He clustered traits for each of the four emotions.” *John G. Geier’s introduction to the 1979 edition of “Emotions of Normal People.” Dr. William Marston was born in Cliftondale, Massachusetts on May 9, 1893. By 191, he was a member of the Massachusetts state bar, and by 1921, he had a psychology doctorate from Harvard University. Through the 1920s and 1930s, he was extremely active lecturing at universities, working with government study groups. Although he had a psychological background, he was not interested in abnormal or “crazy” behavior like the research being done by Drs. Freud and Jung; rather he believed that all people were “normal.” He was more interested in the common, day-to-day behaviors and what made “normal” human beings “tick” and contributed to early research with the government to prove that it was imbalances in brain chemistry that caused any aberrant behavior. Marston had identified and named the four primary style-types which display which motivators are more intense in people. Marston described these four categories of human response in words which became the foundation for the language we now call DISC: Dominance, Influence, Steadiness, and Compliance. -
Flashtiming FT-FAT User Manual for Line Scan and Full Frame Video
FlashTiming FT-FAT User Manual For Line Scan and Full Frame Video Version 1.3 Table of Contents 1 Introduction .......................................................................................................................................... 1 1.1 Minimum System Requirement .................................................................................................... 1 1.2 Installation .................................................................................................................................... 1 2 System Setup ........................................................................................................................................ 2 2.1 Camera Setup ................................................................................................................................ 2 Lens Adjustment ................................................................................................................... 2 2.2 Computer Setup ............................................................................................................................ 2 2.3 Networking Computers ................................................................................................................. 3 2.4 The Capture Folder ...................................................................................................................... 3 2.5 Scoring Data Folder Setup (Optional) ........................................................................................... 4 Hy-Tek’s Meet Manager