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Captain America and the Struggle of the Superhero This Page Intentionally Left Blank Captain America and the Struggle of the Superhero Critical Essays
Captain America and the Struggle of the Superhero This page intentionally left blank Captain America and the Struggle of the Superhero Critical Essays Edited by ROBERT G. WEINER Foreword by JOHN SHELTON LAWRENCE Afterword by J.M. DEMATTEIS McFarland & Company, Inc., Publishers Jefferson, North Carolina, and London ALSO BY ROBERT G. WEINER Marvel Graphic Novels and Related Publications: An Annotated Guide to Comics, Prose Novels, Children’s Books, Articles, Criticism and Reference Works, 1965–2005 (McFarland, 2008) LIBRARY OF CONGRESS CATALOGUING-IN-PUBLICATION DATA Captain America and the struggle of the superhero : critical essays / edited by Robert G. Weiner ; foreword by John Shelton Lawrence ; afterword by J.M. DeMatteis. p. cm. Includes bibliographical references and index. ISBN 978-0-7864-3703-0 softcover : 50# alkaline paper ¡. America, Captain (Fictitious character) I. Weiner, Robert G., 1966– PN6728.C35C37 2009 741.5'973—dc22 2009000604 British Library cataloguing data are available ©2009 Robert G. Weiner. All rights reserved No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying or recording, or by any information storage and retrieval system, without permission in writing from the publisher. Cover images ©2009 Shutterstock Manufactured in the United States of America McFarland & Company, Inc., Publishers Box 6¡¡, Je›erson, North Carolina 28640 www.mcfarlandpub.com Dedicated to My parents (thanks for your love, and for putting up with me), and Larry and Vicki Weiner (thanks for your love, and I wish you all the happiness in the world). JLF, TAG, DW, SCD, “Lizzie” F, C Joyce M, and AH (thanks for your friend- ship, and for being there). -
The Iconic Interview with Steve Englehart By: Chris “Chrispy” Barcomb
The Iconic interview with Steve Englehart By: Chris “Chrispy” Barcomb The word “Iconic” doesn’t lend itself just to the name of this Facebook page or Podcast, but it could also be used to describe Steve Englehart’s comic book career. As a writer, he has written just about every character known to comic book fans, for both Marvel and DC, and his career stretched over two decades. Even just recently, Marvel released Captain America Serpents Unite (a one- shot), which features a reprint of Captain America #168 written by Steve Englehart. Steve Englehart’s Captain America run began in 1972 with Captain America #153 and ended in 1975 with Captain America #186. During this run, he introduced characters like William Burnside, Jack Monroe, Solarr, Nightshade, Nomad, and a newly formed Serpent Squad. He also introduced and set the foundation for the Secret Empire. He worked with some legendary comic artists as well, including Sal Buscema, Herb Trempe, and Frank Steve Englehart Robbins. Together they brought us stories about Photo Credit: Picture taken from the Secret Empire, the crazy Captain America of Steve Englehart’s personal website the 1950’s, and the true origin of the Falcon. Read on below to see what Steve Englehart had to say about his time writing Captain America and his thoughts on the character today. 1. How did you get the opportunity to write Captain America for Marvel? I’d been working my way up as a writer, from monster stories to romance stories to, finally, THE BEAST. Evidently, Editor-in-Chief Roy Thomas liked what I was doing, because one day he gave me both CAPTAIN AMERICA and THE DEFENDERS. -
39155 369E8e52840f888dd93c
Age of Ultron (AU) (crossover Amazing Spider-Man Annual, The. Anole 698 series) 698 See Spider-Man, Amazing Spider- Ant-Man (1st) 225, 226, 229, 231, Index Agent X 679 Man Annual, The 235, 236–37, 240–41, 300, 305, Agents of S. H. I. E. L. D. (TV Amazing Spider-Man Special, The. 317, 325, 485, 501–03, 628, 681. Italic numerals refer to pages of the series) 699. See also Captain See Spider-Man, Amazing Spider- See also Giant-Man; Goliath (1st); TASCHEN book 75 Years of Marvel America, Captain America: Man Special, The Henry (Hank) Pym; Wasp, The which include images. The Winter Soldier (movie); Amazing Spider-Man, The (book). See (1st); Yellowjacket (1st) S. H. I. E. L. D. Spider-Man, Amazing Spider- Ant-Man (2nd) 581, 591, 628, 653. A Aggamon 281 Man, The (book) See also Scott Lang “Amazing Case of the Human Torch, Aja, David 685, 697 “Amazing Spider-Man, The” (comic Ant-Man (3rd) 691 The” (short story) 55 Alascia, Vince 29, 63, 68, 100 strip). See Spider-Man, “Amazing Antonioni, Michelangelo 468 A.I.M. (Advanced Idea Alcala, Alfredo 574 Spider-Man, The” (comic strip) Apache Kid 120. See also Western Mechanics) 381 Alderman, Jack 73 Amazing Spider-Man, The (movie). Gunfighters (vols. 1–2) Aaron Stack 596. See also Machine Aldrin, Edwin (“Buzz”) 453 See Spider-Man, Amazing Spider- Apache Kid, The 106 Man Alex Summers 475. See also Havok Man, The (movie) Apocalypse 654 Aaron, Jason 691, 694 Alf 649 Amazing Spider-Man, The (TV Apollo 11 453 ABC (American Broadcasting Alias (live TV version) 699 series) (1977–79). -
American Comic Books & the Aids Crisis
FATAL ATTRACTIONS: AMERICAN COMIC BOOKS & THE AIDS CRISIS A MASTER’S FINAL PROJECT FOR THE DEPARTMENT OF AMERICAN STUDIES Sean A. Guynes FATAL ATTRACTIONS: AMERICAN COMIC BOOKS AND THE AIDS CRISIS A Master’s Final Project Presented by SEAN A. GUYNES Submitted to the Department of American Studies, University of Massachusetts Boston, in partial fulfillment of the requirements for the degree of MASTER OF ARTS June 2015 American Studies Program © 2015 by Sean A. Guynes All rights reserved Cover design after Alaniz (2014). Cover art by Richard Bennett, Uncanny X-Men #303 (August 1993), © Marvel Worldwide, Inc. Art below from 7 Miles A Second, story by David Wojnarowicz, art by James Romberger and Marguerite Van Cook (1996). ABSTRACT FATAL ATTRACTIONS: AMERICAN COMIC BOOKS AND THE AIDS CRISIS June 2015 Sean A. Guynes, B.A., Western Washington University M.A., University of Massachusetts Boston Advisor: Aaron Lecklider, Ph.D. Second Reader: Rachel Rubin, Ph.D. Between 1988 and 1994 American comic books engaged the politics, problematics, and crises of the AIDS epidemic by inserting the virus and its social, cultural, and epidemiological effects on gay men into the four-color fantasies of the superhero genre. As the comic-book industry was undergoing major internal changes that allowed for more mature, adult storylines, creators challenged the Comics Code Authority’s 1954 sanction against the representation of homosexuality to create, for the first time, openly gay characters. Creators’ efforts were driven by a desire to recognize the reality of gay men’s lived experiences, especially crucial in the epidemic time of the AIDS crisis. -
The Great Big Marvel Character Index (GBMCI) Compiled by Andrew Goldstein [1]
The Great Big Marvel Character Index (GBMCI) Compiled by Andrew Goldstein [1] Version 1.0, last revised 01/20/2018 This index notes each character from the Marvel Universe that was described in one or more MARVEL SUPER HEROES game products. The abbreviations used herein follow. The letter D, followed by a number, indicatesthat the character was mentioned in that issue of DRAGON® Magazine (issues #88 to #198). The letter P, followed by a number, indicates the given issue number of POLYHEDRON Newszine in which a character was mentioned (issues #18 to #61). Some products listed did not mention specific heroes or villains, but are included here to show the complete line of MARVEL SUPER HEROES game products. In cases where character entries occupy multiple pages, the page number given denotes the beginning page of the character entry. Note that this index ONLY includes characters published under the TSR "FASERIP" system; it does not include source material for the SAGA or any other subsequent incarnation of the Marvel RPG, or unpublished "vaporware" works in progress that were never commercially released, etc. This index also does not include various issues of the Marvel-Phile and other publications which do not include character information (for example, the various Ultimate Power Book addenda, Q&A, and the character indexes themselves) although some of those articles do include non- character stats (e.g., Marvel Universe technology, or real-world miltary generic stats). The TSR-produced miniatures sets are likewise not listed, because why the heck would you need to look those up? The index will eventually include fan-made material that follows the same system, as relevant to the Marvel canon. -
Amerika Kapitány Kiadója Legsikeresebb Szuperhőse Volt a Második Világháború Évei Alatt
TARTALOMJEGYZÉK 3-12. oldal - Történeti áttekintés 13-30. oldal - Pozitív szereplők 31-41. oldal - Negatív szereplők Írta: Ben Reilly Grafikai munkálatok: Genzo HálóZsák Képregények 2014 Amerika Kapitány kiadója legsikeresebb szuperhőse volt a második világháború évei alatt. A háború után a szereplő népszerűsége, akárcsak más szuperhősöké is, fakulni kezdett, végül az ötvenes években szépen lassan el is tűnt. Az 1960-as években bukkant fel újfent a képregények oldalain egy vadonatúj szuperhőstársulás, a Bosszú Angyalai állandó tagjaként és vezetőjeként. Visszatérése után a szereplő kalandjainak legsikeresebb és elismertebb írói Stan Lee, Steve Englehart, J. M. DeMatteis, Mark Gruenwald és Ed Brubaker voltak. Történeteit gyakran itatta át az Egyesült Államok politikai hangulata, és alkotói ezeken keresztül közvetetten gyakran bírálták az ország vezeté- sét, az általuk elkövetett hibákat, vagy éppen hívták fel az olvasó figyelmét az ezeknél sokkal súlyosabb társadalmi problémákra. Amerika Kapitány személyiségének ábrázolása a második világháborútól kezdődően az Egyesült Ál- lamokat ért 2001. szeptember 11-ei terrortámadáson át folyamatosan, íróról íróra változott és fejlődött. A kezdet- ben az országot jelképező szuperhős idővel az amerikai álom megtestesítőjévé vált, miközben hazafias mivolta mindvégig megmaradt. A figura születése Megalkotásakor Amerika Kapitány leginkább az Adolf Hitler által képviselt érték- és eszmerendszer ellentétét volt hivatott jelképezni, amely ötlet két fiatal alkotó, Joe Simon és Jack Kirby fejéből pattant elő. Kirby illusztrátori és rajzolói pályafutását különböző sajtóügynökségek munkatársaként kezdte, de egy ideig a Flei- scher Studios alkalmazottjaként animációs filmeken is dolgozott. A nála néhány évvel idősebb Simon több újságnál, köztük a Rochester Journal-Americannél és a Syracuse Heraldnál is dolgozott. A két fiatalember 1939 végén, 1940 elején ismerkedett meg egymással a Fox Feature Syndicate-nél. -
The Captain America Conundrum: Issues of Patriotism, Race, and Gender in Captain America Comic Books, 1941-2001
The Captain America Conundrum: Issues of Patriotism, Race, and Gender in Captain America Comic Books, 1941-2001 by Richard A. Hall A dissertation submitted to the Graduate Faculty of Auburn University in partial fulfillment of the requirements for the Degree of Doctor of Philosophy Auburn, Alabama August 6, 2011 Keywords: Captain America, comic books, patriotism, popular culture Copyright 2011 by Richard A. Hall Approved by Larry Gerber, Chair, Professor Emeritus of History Ruth Crocker, Professor of History David Carter, Associate Professor of History Abstract “The Captain America Conundrum: Issues of Patriotism, Race, and Gender in Captain America Comic Books, 1941-2001” represents a comprehensive examination of Captain America comic books as a primary source for the study of United States history from just prior to World War II to the aftermath of the terrorist attacks of September 11, 2001. Just as Time magazine or the New York Times newspaper could be used as primary sources to examine American society, mores, and culture, it is the argument of this study that comic books – heretofore considered primarily children’s literature – can also be used in this regard. Through the pages of this essentially monthly publication, accepted norms of contemporary American society can be seen, as well as (post-1960) attempts on the part of the writers and artists to influence those norms. Within the zeitgeist of American culture, the character of Captain America has been considered a representation of strong government and ardent conservatism. The reality, however, is that the character has become increasingly just left-of-center politically, promoting strong nationalism and American leadership alongside ideas of racial and gender equality. -
1 White, A., & White, W
White, A., & White, W. (2021). Addiction and recovery in American comic books and graphic novels. Posted at www.williamwhitepapers.com Addiction and Recovery in American Comic Books and Graphic Novels1 Alisha White, PhD and Bill White, MA Representations of addiction and In 1954, the Comics Magazine addiction recovery Association of America banned all drug in literature, references in its “Comics Code” based on music, art, film, the belief that such references would theatre, and trigger youth curiosity and drug comedy simultaneously reflect and experimentation. Stan Lee, Editor-in- shape the historical evolution of these Chief at Marvel Comics, challenged this experiences. This paper explores the code in 1971 by portraying addiction and portrayal of drug use and addiction in its consequences in The Amazing American comic books and graphic Spider-Man series #96 - #98. Lee’s novels. action, and the positive public response to the series, opened the door for the Comic books in the United States portrayal of drug use and addiction in began as syndicated series within American comic books. Lee’s actions newspapers and then emerged in the were part of his larger effort to address 1930s as independent publications— social issues of his day, including civil spurred in great part by the enormous rights, disability rights, gay rights, war, popularity of Jerry Siegel and Joe and civil disobedience. Lee’s efforts set Shuster's Superman. The success of the stage for the subsequent portrayal of Superman spawned the “superhero” addiction and recovery in American genre of American comic books, comic books and graphic novels. including Captain America, Plastic Man, Flash, Green Lantern, Captain Marvel, Since The Amazing Spider-Man, and numerous others. -
TSR6867.MH9.Gates.Of.What.If.Pdf
..........•.•• ... Command - Center I · .... '. '. • . '. · . " � · • . • · .� · · . · . � · · e · c Confer .nce Hall · · · · · · • · • Pillars .l · • · · · · · · · · Supplies Reception Room ....... ..•..............•. Victor and Va leria's Suite '. '. '. '. '. '. '. '. '. '. '. '. '. " '. 6867 OFFICIAL GAME ADVENTURE GATES OF WHAT IF?TM By Roger E. Moore Greetings. I am UATU" the Watcher. I ask you now: What if there were no REED RICHARDS'·? For eons I've lived on the Moon, watching the rise of your Think for a moment. The avalanche of changes wrought in the Earthly race. I have many powers at my command to assist my world's history would be profound if Earth had been robbed of examination of your world - among them being the ability to MR. FANTASTIC'· and his ingenious intellect, his dedication to gaze into other dimensions and realities. I confess to a particular good, and his battles against the evil and criminal elements that interest in divergent universes, in which changes in the so-called plague your world. "natural" course of history have produced worlds at times pro The question, however, is not entirely academic. For I have dis foundly different from your own, even though your world and the covered a divergent world in which Reed Richards, the corner alternate ones share identical histories up to the points of diver stone of the Fantastic Four, no longer exists - his career cut gence. short by an accident in his graduate-school days. Even now, the I call these divergent realities "What If?" worlds, since their diver avalanche of changes is building, spreading, sweeping across gence revolves around the question, "What if so-and-so had hap his world - and, all too soon, across the universe with which you pened, instead of what actually happened?" Perhaps you've read and I are most familiar. -
Astoday 2007.Pub
Issue 16 September 2007 Celebrating the 20th Anniversary of the American Studies Resources Centre 2 In this year’s issue Rhetoric and the 35 Loreto Goes is the official journal of the 3 toWashington American Studies Resources Spanish- Centre, The Aldham Robarts American War an account of a 6th Centre, Liverpool John Moores form trip to the University, Mount Pleasant Liv- Michelle Munton ex- American capital. erpool L3 5UZ amines the role of rhetoric, both by the Tel & fax: 0151-231 3241 press and by govern- e-mail: [email protected] ment, in gaining public web site: support for the Span- www.americansc.org.uk ish-Amer icanWar. 37 The Barringer Fel- Editor-in-Chief: Ian Ralston lowship, Sum- Painting It Black? Editor: David Forster mer2006 Editorial assistant: Helen Tam- 14 An optimistic and light- burro hearted look at how the Kathryn Cooper of Loreto Layout and graphics: David Sixties democratised al- College Manchester has Forster most everything written this account of her The views expressed are those By Ed Weeden studytrip to Virginia. of the contributors, and not nec- essarily those of the centre or An Appeal to Fear News and events the university. 18 Ain’t Nothin’ © 2007, Liverpool John Moores University and the Contributors. New 38 'Hard Times and Articles in this journal may be Ralph Donald examines George W. HardTravellin' freely reproduced for use in Bush’s Middle East War Rhetoric Shonagh Wilkie reports on subscribing institutions only, and Territoriality in American Celebrating 20 years of the provided that the source is ac- Propaganda Films of World War II knowledged.