Issue 294 November 2020
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Alan Moore's Miracleman: Harbinger of the Modern Age of Comics
Alan Moore’s Miracleman: Harbinger of the Modern Age of Comics Jeremy Larance Introduction On May 26, 2014, Marvel Comics ran a full-page advertisement in the New York Times for Alan Moore’s Miracleman, Book One: A Dream of Flying, calling the work “the series that redefined comics… in print for the first time in over 20 years.” Such an ad, particularly one of this size, is a rare move for the comic book industry in general but one especially rare for a graphic novel consisting primarily of just four comic books originally published over thirty years before- hand. Of course, it helps that the series’ author is a profitable lumi- nary such as Moore, but the advertisement inexplicably makes no reference to Moore at all. Instead, Marvel uses a blurb from Time to establish the reputation of its “new” re-release: “A must-read for scholars of the genre, and of the comic book medium as a whole.” That line came from an article written by Graeme McMillan, but it is worth noting that McMillan’s full quote from the original article begins with a specific reference to Moore: “[Miracleman] represents, thanks to an erratic publishing schedule that both predated and fol- lowed Moore’s own Watchmen, Moore’s simultaneous first and last words on ‘realism’ in superhero comics—something that makes it a must-read for scholars of the genre, and of the comic book medium as a whole.” Marvel’s excerpt, in other words, leaves out the very thing that McMillan claims is the most important aspect of Miracle- man’s critical reputation as a “missing link” in the study of Moore’s influence on the superhero genre and on the “medium as a whole.” To be fair to Marvel, for reasons that will be explained below, Moore refused to have his name associated with the Miracleman reprints, so the company was legally obligated to leave his name off of all advertisements. -
Advance Tickets Avengers Endgame
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Customer Order Form
#396 | SEP21 PREVIEWS world.com Name: ORDERS DUE SEP 18 THE COMIC SHOP’S CATALOG PREVIEWSPREVIEWS CUSTOMER ORDER FORM Sep21 Cover ROF and COF.indd 1 8/5/2021 10:52:51 AM GTM_Previews_ROF.indd 1 8/5/2021 8:54:18 AM PREMIER COMICS NEWBURN #1 IMAGE COMICS 34 A THING CALLED TRUTH #1 IMAGE COMICS 38 JOY OPERATIONS #1 DARK HORSE COMICS 84 HELLBOY: THE BONES OF GIANTS #1 DARK HORSE COMICS 86 SONIC THE HEDGEHOG: IMPOSTER SYNDROME #1 IDW PUBLISHING 114 SHEENA, QUEEN OF THE JUNGLE #1 DYNAMITE ENTERTAINMENT 132 POWER RANGERS UNIVERSE #1 BOOM! STUDIOS 184 HULK #1 MARVEL COMICS MP-4 Sep21 Gem Page ROF COF.indd 1 8/5/2021 10:52:11 AM FEATURED ITEMS COMIC BOOKS & GRAPHIC NOVELS Guillem March’s Laura #1 l ABLAZE The Heathens #1 l AFTERSHOCK COMICS Fathom: The Core #1 l ASPEN COMICS Watch Dogs: Legion #1 l BEHEMOTH ENTERTAINMENT 1 Tuki Volume 1 GN l CARTOON BOOKS Mutiny Magazine #1 l FAIRSQUARE COMICS Lure HC l FANTAGRAPHICS BOOKS 1 The Overstreet Guide to Lost Universes SC/HC l GEMSTONE PUBLISHING Carbon & Silicon l MAGNETIC PRESS Petrograd TP l ONI PRESS Dreadnoughts: Breaking Ground TP l REBELLION / 2000AD Doctor Who: Empire of the Wolf #1 l TITAN COMICS Blade Runner 2029 #9 l TITAN COMICS The Man Who Shot Chris Kyle: An American Legend HC l TITAN COMICS Star Trek Explorer Magazine #1 l TITAN COMICS John Severin: Two-Fisted Comic Book Artist HC l TWOMORROWS PUBLISHING The Harbinger #2 l VALIANT ENTERTAINMENT Lunar Room #1 l VAULT COMICS MANGA 2 My Hero Academia: Ultra Analysis Character Guide SC l VIZ MEDIA Aidalro Illustrations: Toilet-Bound Hanako Kun Ark Book SC l YEN PRESS Rent-A-(Really Shy!)-Girlfriend Volume 1 GN l KODANSHA COMICS Lupin III (Lupin The 3rd): Greatest Heists--The Classic Manga Collection HC l SEVEN SEAS ENTERTAINMENT APPAREL 2 Halloween: “Can’t Kill the Boogeyman” T-Shirt l HORROR Trese Vol. -
Crossmedia Adaptation and the Development of Continuity in the Dc Animated Universe
“INFINITE EARTHS”: CROSSMEDIA ADAPTATION AND THE DEVELOPMENT OF CONTINUITY IN THE DC ANIMATED UNIVERSE Alex Nader A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2015 Committee: Jeff Brown, Advisor Becca Cragin © 2015 Alexander Nader All Rights Reserved iii ABSTRACT Jeff Brown, Advisor This thesis examines the process of adapting comic book properties into other visual media. I focus on the DC Animated Universe, the popular adaptation of DC Comics characters and concepts into all-ages programming. This adapted universe started with Batman: The Animated Series and comprised several shows on multiple networks, all of which fit into a shared universe based on their comic book counterparts. The adaptation of these properties is heavily reliant to intertextuality across DC Comics media. The shared universe developed within the television medium acted as an early example of comic book media adapting the idea of shared universes, a process that has been replicated with extreme financial success by DC and Marvel (in various stages of fruition). I address the process of adapting DC Comics properties in television, dividing it into “strict” or “loose” adaptations, as well as derivative adaptations that add new material to the comic book canon. This process was initially slow, exploding after the first series (Batman: The Animated Series) changed networks and Saturday morning cartoons flourished, allowing for more opportunities for producers to create content. References, crossover episodes, and the later series Justice League Unlimited allowed producers to utilize this shared universe to develop otherwise impossible adaptations that often became lasting additions to DC Comics publishing. -
Massive Darkness Rulebook
RULES & QUESTS MASSIVE DARKNESS - RULES CHAPTERS GAME COMPONENTS ................... 3 ENEMIES’ PHASE........................ 28 Step 1 – Attack . 28 STORY: THE LIGHTBRINGERS’ LEGACY......... 5 Step 2 – Move . 28 SETUP ............................ 6 Step 3 – Attack . 28 Step 4 – Move . 28 GAME OVERVIEW ..................... 11 EXPERIENCE PHASE ....................... 31 BASIC RULES . 12 EVENT PHASE.......................... 32 ACTORS............................... 12 END PHASE ........................... 33 ZONES ............................... 13 COMBAT.......................... 33 SHADOW MODE.......................... 13 COMBAT ROLL ......................... 33 LINE OF SIGHT .......................... 14 Step 1 – Rolling Dice . 33 MOVING .............................. 15 Step 2 – Resolve The Enchantments . 34 LEVELS AND LEVEL TOKENS .................. 15 Step 3 – Inflict Pain! . 35 COMBAT DICE........................... 16 MOB RULES ........................... 36 HEROES ........................... 17 ADDITIONAL RULES ................... 37 HERO CARD ............................ 17 ARTIFACTS............................ 37 HERO DASHBOARD ........................ 17 OBJECTIVE AND PILLAR TOKENS .............. 37 CLASS SHEET ........................... 18 STUN ............................... 37 EQUIPMENT CARDS ................... 19 STORY MODE .......................... 38 COMBAT EQUIPMENT ...................... 19 Experience And Level . 38 Event Cards . 38 ITEMS .............................. 20 Inventory . 38 CONSUMABLES ........................ -
Microsoft Visual Basic
€ LIJST: FAX/MODEM/E-MAIL: 19 okt 2020 PREVIEWS DISK: 21 okt 2020 [email protected] voor Nieuws, Aanbiedingen en Nabestellingen KIJK OP WWW.PEPCOMICS.NL PEP COMICS SLUITINGSDATUM: DCD WETH. DEN OUDESTRAAT 10 FAX: 19 oktober 5706 ST HELMOND ONLINE: 19 oktober TEL +31 (0)492-472760 UITLEVERING: (€) FAX +31 (0)492-472761 december/januari #547 ********************************** __ 0081 [M] Southern Bastards H TPB Vol.03 19.34 b *** DIAMOND COMIC DISTR. ******* __ 0082 [M] Southern Bastards G TPB Vol.04 21.92 b ********************************** __ 0083 [M] Ascender TPB Vol.03 21.92 b __ 0084 [M] Ascender TPB Vol.01 12.89 b DCD SALES TOOLS page 026 __ 0085 [M] Ascender TPB Vol.02 21.92 b __ 0019 Previews December 2020 #387 3.69 i __ 0086 [M] Descender Tin Stars TPB Vol.01 12.89 b __ 0020 Marvel Previews De EXTRA Vol.05 #6 1.58 b __ 0087 [M] Descender TPB Vol.02 19.34 b __ 0021 Previews Dec 2020 Customer Or #387 0.79 i __ 0088 Descender Singularities TPB Vol.03 19.34 b __ 0022 Previews Dec 2020 Custo EXTRA #387 1.58 i __ 0089 [M] Descender Orbital M TPB Vol.04 21.92 b __ 0024 Previews Dec 2020 Retai EXTRA #387 2.62 b __ 0090 Descender Rise/Robots TPB Vol.05 21.92 b __ 0025 Game Trade Magazine #250 0.00 E __ 0091 Descender War Machine TPB Vol.06 21.92 b __ 0026 Game Trade Magazine EXTRA #250 0.58 E __ 0092 [M] Coffin Bound Dear G TPB Vol.02 21.92 b IMAGE COMICS page 032 __ 0093 [M] Coffin Bound TPB Vol.01 21.92 b __ 0030 [M] Reckless H/C 32.24 b __ 0094 [M] Die Great Game TPB Vol.03 21.92 b __ 0031 [M] Bad Weekend H/C 21.92 b __ 0095 [M] -
“Why So Serious?” Comics, Film and Politics, Or the Comic Book Film As the Answer to the Question of Identity and Narrative in a Post-9/11 World
ABSTRACT “WHY SO SERIOUS?” COMICS, FILM AND POLITICS, OR THE COMIC BOOK FILM AS THE ANSWER TO THE QUESTION OF IDENTITY AND NARRATIVE IN A POST-9/11 WORLD by Kyle Andrew Moody This thesis analyzes a trend in a subgenre of motion pictures that are designed to not only entertain, but also provide a message for the modern world after the terrorist attacks of September 11, 2001. The analysis provides a critical look at three different films as artifacts of post-9/11 culture, showing how the integration of certain elements made them allegorical works regarding the status of the United States in the aftermath of the attacks. Jean Baudrillard‟s postmodern theory of simulation and simulacra was utilized to provide a context for the films that tap into themes reflecting post-9/11 reality. The results were analyzed by critically examining the source material, with a cultural criticism emerging regarding the progression of this subgenre of motion pictures as meaningful work. “WHY SO SERIOUS?” COMICS, FILM AND POLITICS, OR THE COMIC BOOK FILM AS THE ANSWER TO THE QUESTION OF IDENTITY AND NARRATIVE IN A POST-9/11 WORLD A Thesis Submitted to the Faculty of Miami University in partial fulfillment of the requirements for the degree of Master of Arts Department of Communications Mass Communications Area by Kyle Andrew Moody Miami University Oxford, Ohio 2009 Advisor ___________________ Dr. Bruce Drushel Reader ___________________ Dr. Ronald Scott Reader ___________________ Dr. David Sholle TABLE OF CONTENTS ACKNOWLEDGMENTS .......................................................................................................................... III CHAPTER ONE: COMIC BOOK MOVIES AND THE REAL WORLD ............................................. 1 PURPOSE OF STUDY ................................................................................................................................... -
BCALA and GNCRT May Have Contributed to the Items Listed Here, and May Have Done So on a Voluntary Or Paid Basis
BCALA and the ALA Graphic Novels and Comics Round Table: Afrofuturism Last updated March 15, 2021 For the next iteration of our ongoing collaboration between the Black Caucus of the American Library Association (BCALA) and the Graphic Novels and Comics Round Table of the American Library Association (GNCRT), we are presenting themed Black Lives Matter comics reading mini-lists with a continued focus on Black literature. Titles are alphabetically arranged with their target audiences denoted in parentheses: A for Adult, YA for Young Adult, and J for Juvenile. However, many of these stories cross age groups! In addition, each list includes supplementary works for a deeper analysis, and each highlights a Black-owned comics publisher. You may notice that these lists include a slim collection of middle grade titles. This is due to the dearth of readily accessible comics and graphic novels by Black creators by established children’s publishing companies. For younger children, while some board books and picture books may suffice, there is a glaring shortage of middle grade comics and graphic novels by Black creators. Evidence has suggested a significant decline in pleasure reading by age nine (Scholastic’s “Decline By Nine”), a critical year to encourage a lifelong love of reading. As essential discussions are being held surrounding diversity in literature, reluctant readers, and attractive titles for young readers, the necessity for representation must be addressed. We implore publishers to uplift Black voices by hiring Black authors and illustrators to tell Black stories of all genres and topics in which Black readers can see themselves, and readers can view different experiences beyond their own lens. -
Sandman, Aesthetics and Canonisation Today I Want To
Sandman, Aesthetics and Canonisation Today I want to examine the ways in which Neil Gaiman’s Sandman has used narrative, format and aesthetic to move ever closer to the notion of the literary text. Particularly going to consider how it exploits the author function and enacts the struggle for cultural worth that comics seem consistently engaged in. Sandman is an epic series rewriting a golden-age superhero into an immortal deity. It is best remembered for its mythological content and literary references, and these elements have allowed it to claim its place as a canonised graphic novel (despite not actually being a singular GN but a maxi-series across multiple trade paperbacks!). Neil Gaiman’s authorship and authority dominate the text and epitomise Michel Foucault’s author function. But Sandman also draws heavily on mixed media and artistic variation and these aspects are less often discussed. Far from supporting a singular author function, Sandman’s visual style is multiple and varied. But despite this, in paratexts the artistic contributions are frequently subsumed into Gaiman’s authorship. However, a closer reading demonstrates that in fact this artistic variety destabilises clear-cut authorship and enacts the particular status struggles of comics as a collaborative medium struggling against the graphic novel branding. SLIDE: literary pix Sandman was launched in 1989 and became the flagship title for DC’s new Vertigo imprint. Vertigo’s publications contributed heavily to the mainstream cultural revaluation of comics as graphic novels, and critics such as Candace West have argued that Sandman in particular was instrumental here due to the attention the series received from mainstream media such as Rolling Stone magazine. -
2019 Maverick Graphic Novel Annotated Reading List
2019 Maverick Graphic Novel Annotated Reading List Grades 6-8 Breach, J., & Holgate, D. (2018). Clem Hetherington and the Ironwood race. New York: Graphix, an imprint of Scholastic. ISBN: 9780545814461 Publisher’s Summary: “A dangerous rally race... and archaeology?! Clementine Hetherington and her robot brother, Digory, have run away from the orphanage they've been living in since their parents died. Clem and Dig want to follow in their famous archaeologist mother's footsteps, but no one will take them seriously. Their chance arrives when a man from their past saves Digory's life, and to repay the debt they enter a multi-day rally race... to recover stolen artifacts! Clem and Dig hope to win so they can give them to a museum, but their opponents want to sell them on the black market. The Ironwood Race has no rules, and Clem and Dig might be in over their heads!” Great story about orphaned girl and her robot brother. The siblings must repay a debt by competing in a race for archeological artifacts.” Commentary: Clem Hetherington and the Ironwood race is a fun adventure that will appeal to both middle grade and high school students. 2018 Maverick Graphic Novel Annotated Reading List 1 Brosgol, V. B. (2018). Be Prepared. Place of publication not identified: First Second. ISBN: 9781626724457 Publisher’s Summary: "In Be Prepared, all Vera wants to do is fit in—but that’s not easy for a Russian girl in the suburbs. Her friends live in fancy houses and their parents can afford to send them to the best summer camps. -
(Mr) 3,60 € Aug18 0015 Citize
Συνδρομές και Προπαραγγελίες Comics Αύγουστος 2018 (για Οκτώβριο- Nοέμβριο 2018) Μέχρι τις 17 Αυγούστο, στείλτε μας email στο [email protected] με θέμα "Προπαραγγελίες Comics Αύγουστος 2018": Ονοματεπώνυμο Username Διεύθυνση, Πόλη, ΤΚ Κινήτο τηλέφωνο Ποσότητα - Κωδικό - Όνομα Προϊόντος IMAGE COMICS AUG18 0013 BLACKBIRD #1 CVR A BARTEL 3,60 € AUG18 0014 BLACKBIRD #1 CVR B STAPLES (MR) 3,60 € AUG18 0015 CITIZEN JACK TP (APR160796) (MR) 13,49 € AUG18 0016 MOTOR CRUSH TP VOL 01 (MAR170820) 8,49 € AUG18 0017 MOTOR CRUSH TP VOL 02 (MAR180718) 15,49 € AUG18 0018 DEAD RABBIT #1 CVR A MCCREA (MR) 3,60 € AUG18 0020 INFINITE HORIZON TP (FEB120448) 16,49 € AUG18 0021 LAST CHRISTMAS HC (SEP130533) 22,49 € AUG18 0022 MYTHIC TP VOL 01 (MAR160637) (MR) 15,49 € AUG18 0023 ERRAND BOYS #1 (OF 5) CVR A KOUTSIS 3,60 € AUG18 0024 ERRAND BOYS #1 (OF 5) CVR B LARSEN 3,60 € AUG18 0025 POPGUN GN VOL 01 (NEW PTG) (SEP071958) 26,99 € AUG18 0026 POPGUN GN VOL 02 (MAY082176) 26,99 € AUG18 0027 POPGUN GN VOL 03 (JAN092368) 26,99 € AUG18 0028 POPGUN GN VOL 04 (DEC090379) 26,99 € AUG18 0029 EXORSISTERS #1 CVR A LAGACE 3,60 € AUG18 0030 EXORSISTERS #1 CVR B GUERRA 3,60 € AUG18 0033 DANGER CLUB TP VOL 01 (SEP120436) 8,49 € AUG18 0034 DANGER CLUB TP VOL 02 REBIRTH (APR150581) 8,49 € AUG18 0035 PLUTONA TP (MAR160642) 15,49 € AUG18 0036 INFINITE DARK #1 3,60 € AUG18 0037 HADRIANS WALL TP (JUN170665) (MR) 17,99 € AUG18 0038 WARFRAME TP VOL 01 (O/A) 17,99 € AUG18 0039 JOOK JOINT #1 (OF 5) CVR A MARTINEZ (MR) 3,60 € AUG18 0040 JOOK JOINT #1 (OF 5) CVR B HAWTHORNE (MR) 3,60 -
Extending and Visualizing Authorship in Comics Studies
AN ABSTRACT OF THE THESIS OF Nicholas A. Brown for the degree of Master of Arts in English presented on April 30, 2015 Title: Extending and Visualizing Authorship in Comics Studies. Abstract approved: ________________________________________________________________________ Tim T. Jensen Ehren H. Pflugfelder This thesis complicates the traditional associations between authorship and alphabetic composition within the comics medium and examines how the contributions of line artists and writers differ and may alter an audience's perceptions of the medium. As a fundamentally multimodal and collaborative work, the popular superhero comic muddies authorial claims and requires further investigations should we desire to describe authorship more accurately and equitably. How might our recognition of the visual author alter our understandings of the author construct within, and beyond, comics? In this pursuit, I argue that the terminology available to us determines how deeply we may understand a topic and examine instances in which scholars have attempted to develop on a discipline's body of terminology by borrowing from another. Although helpful at first, these efforts produce limited success, and discipline-specific terms become more necessary. To this end, I present the visual/alphabetic author distinction to recognize the possibility of authorial intent through the visual mode. This split explicitly recognizes the possibility of multimodal and collaborative authorships and forces us to re-examine our beliefs about authorship more generally. Examining the editors' note, an instance of visual plagiarism, and the MLA citation for graphic narratives, I argue for recognition of alternative authorships in comics and forecast how our understandings may change based on the visual/alphabetic split.