A Pictorial History of Comic-Con

Total Page:16

File Type:pdf, Size:1020Kb

A Pictorial History of Comic-Con A PICTORIAL HISTORY OF COMIC-CON The THE NEW AGE OF COMIC-CON Comic-Con1990s moved into the brand-new San Diego Convention Center in 1991, beginning a three- decade period of growth in its new home. Everything old—including nostalgia— seemed new again. COMIC-CON 50 www.comic-con.org 1 OPPOSITE PAGE, TOP: One last look at the Comic-Con Exhibit Hall at CPAC. BOTTOM LEFT: 1990 George Pérez’s 1990 COMIC-CON 21 Souvenir Book con- COMIC-CON 21 tribution salutes the 50th anniversary of Captain America. NOTABLE AUGUST 2–5 BOTTOM RIGHT: Stan Lee seems GUESTS shocked at the Convention and appearance of Performing Arts Spider-Man. Spider- Man is always at Center, Downtown Comic-Con! THIS PAGE, TOP: Attendance: Bill Morrison’s PETER DAVID 13,000 amazing Souvenir Comic book, fiction writer, Book cover evokes Incredible Hulk, Supergirl the “big letter” greetings from Star Trek novels This was Comic-Con’s last year postcards of yore, this time filled with at CPAC, with a new home at a plethora of com- the just-built San Diego Con- ics and animation CARL MACEK ventiion Center on the horizon. characters. To make room for a growing Screenwriter, producer, BOTTOM RIGHT: convention, a food services and Robotech The official Comic- lounge area was set up on the Con T-shirt featured plaza area outside the CPAC Captain America’s buildings. The blood drive 50th anniversary GRANT MORRISON expanded to two days with art by Kevin (Thursday and Friday), with Maguire and Terry Comic book writer, the BloodMobile parked Austin. Doom Patrol, Arkham Asylum outside the center’s lobby BELOW: Hopey by on First Avenue. A welcom- Jaime Hernadez. ing night party was held at the Kingston Hotel (now the JOHN ROMITA JR. Bristol), saluting the 50th an- Comic book artist, niversary of Will Eisner’s The Amazing Spider-Man, X-Men Spirit. The after-banquet par- ty featuring Seduction of the Innocent was prematurely shortened because of noise MARK SCHULTZ complaints from the hotel. In programming, fans got Comic book writer-artist, to hear all about a new TV Xenozoic Tales show, The Simpsons, created by long-time Comic-Con at- tendee and exhibitor Matt Groening. VAN WILLIAMS Actor, The Green Hornet TV series COMIC-CON 50 Captain America TM & © 2019 MARVEL Souvenir Book cover art © 2019 Bill Morrison; characters © respective copyright holders • Captain America TM & © 2019 MARVEL • Love and Rockets art © 2019 Jaime Hernadez COMIC-CON 50 2 2019 Souvenir Book www.comic-con.org 3 OPPOSITE PAGE, TOP: The Archie gang visited Comic-Con for the second time (they also appeared in COMIC-CON1991 22 1989 and would COMIC-CON1991 22 appear again in 2003), and Ve- ronica tells it like it JULY 4–7 is, Archie. NOTABLE MIDDLE: A Mt. GUESTS Rushmore of great San Diego comic creators, Convention circa 1991: (left to right) CLIVE BARKER Center Frank Miller, Neil Gaiman, Bill Sien- Author, movie director, kiewicz, Bernie Books of Blood, Hellraiser Attendance: Wrightson, and 15,000+ Dave Gibbons. BOTTOM LEFT: A DAN DeCARLO beautiful Souvenir Book submission Comic book artist, In February 1991 the Con commit- from Barb Rausch, Archie Comics tee experimented with putting saluting the 50th on a smaller winter comics and SF anniversary of convention, Con/Fusion, with spe- Wonder Woman. cial guests artist Steve Rude (Nex- BOTTOM RIGHT: NEIL GAIMAN us) and SF author Tim Powers. That A different kind of Comic book writer, author, turned out to be the last Comic- “swimsuit edition” THIS PAGE, ABOVE: Artist Bill Stout’s dystopian Souvenir Book cover, patterned Con event held at CPAC. The big as these Marvel after classic ACE science fiction paperbacks (note the logo in the upper left Sandman, American Gods news was Comic-Con’s move to (male) characters corner). the San Diego Convention Cen- welcome attend- ter, using Halls A and B and some ees to the 1991 BELOW: TWO official T-shirts for 1991! Dave Stevens’ The Rocketeer tied into KEITH GIFFEN programming space upstairs. The event. the Disney movie, and Jim Lee’s X-Men was hot, Hot, HOT for Marvel. July 4 weekend made the move Comic book writer-artist, even more special: An Indepen- Legion of Super-Heroes dence Day party was held on the back patio, with a great view of local fireworks. Fans also got to LYNN JOHNSTON see an advance screening of Dave Stevens’ The Rocketeer movie, a Syndicated cartoonist, performance of the play American For Better or For Worse Splendor (based on Harvey Pekar’s comic and starring The Simpsons’ Dan Castellaneta as Pekar), and JIM LEE the first Will Eisner Comic Industry Awards presentation under the Comic book artist, auspices of Comic-Con, with Jack- Marvel Comics, ie Estrada as the awards adminis- X-Men trator, a role she continues in to this day. And Martin Jaquish took over as the Masquerade Coordina- DON MAITZ tor, starting a continuing run in Science fiction & fantasy that position for 28 years. Illustrator COMIC-CON 50 Archie TM & © 2019 Archie Publications, Inc. •Wonder Woman TM & © DC Comics Souvenir Book cover art © 2019 William Stout • Rocketeer TM & © Dave Stevens Estate • X-Men TM & © 2019 MARVEL COMIC-CON 50 4 2019 Souvenir Book Marvel characters TM & © 2019 MARVEL www.comic-con.org 5 OPPOSITE PAGE, TOP LEFT: Jack Kirby’s next-to-last appearance at Comic-Con was marked by the COMIC-CON1992 23 happy occasion of COMIC-CON1992 23 his 75th birthday and tons of special tributes to The King AUGUST 13–16 in the Souvenir NOTABLE Book. GUESTS TOP RIGHT: Dark San Diego Horse Comics and Convention Comic-Con teamed up for this first of FRANCIS FORD COPPOLA Center four issues of San Diego Comic-Con Film writer, director, Comics, given free The Godfather, Dracula Attendance: to attendees. The 22,000 second issue in1993 showcased the first CREIG FLESSEL appearance of Mike Mignola’s Hellboy. Comic book artist, This was the year that standing All-Star Comics, Superboy in line hit full force. Both Image MIDDLE: Kirby and Valiant had burst onto the tributes by (left to right) Bill Stout, scene, and fans waited patient- John Buscema, and BILL GRIFFITH ly for hours to get autographs Will Eisner. from Jim Lee, Todd McFarlane, Underground comix Rob Liefeld et al. Fantagraph- BOTTOM: William writer-artist, Zippy ics threw a party for the 10th Shatner and direc- anniversary of the Hernandez tor Francis Ford Brothers’ Love and Rockets. Dark Coppola made Horse published its first issue Comic-Con appear- TODD McFARLANE ances. of San Diego Comic-Con Comics, Comic book writer-artist, which would be published an- THIS PAGE, TOP: Spawn, Amazing Spider-Man nually through 1995. A highlight Ken Steacy’s cover for many was the 75th birthday featured a kid and party for Jack Kirby, with a rous- his dogs, both in ing speech by Frank Miller. Ban- capes, and the ROWENA ners graced Harbor Drive for magic of make-be- Fantasy book cover the first time, and everyone in lieve combined with the fun of comics. artist-illustrator San Diego saw Comic-Con bus ads. The Comics Art Conference BOTTOM: Lobo was debuted and presented an aca- big in 1992, and he demic look at the medium; it’s proved it with this WILLIAM SHATNER still going strong today at both official Comic-Con Actor, author, Comic-Con and WonderCon, T-shirt! Star Trek: The Original Series and has programs every day of each convention. Phil Foglio began his long run as MC of the Masquerade, which was held at GILBERT SHELTON Symphony Hall. Underground comix writer-artist, Freak Bros. COMIC-CON 50 Kirby tribute art © respective artists • Characters TM & © 2019 MARVEL • SDCC Comics characters © 2019 respective copyright holders Souvenir Book cover art © 2019 Ken Steacy • Lobo TM & © DC Comics COMIC-CON 50 6 2019 Souvenir Book www.comic-con.org 7 OPPOSITE PAGE, CLOCKWISE FROM TOP LEFT: John Byrne made an appearance at the Dark Horse COMIC-CON1993 24 Comics booth COMIC-CON1993 24 to promote their new comics line, Legend. NOTABLE AUGUST 19–22 Grrr . Stan Sakai’s Franken- GUESTS Usagi GOOD. San Diego Convention One of Marvel and DC’s greatest MURPHY ANDERSON Center artists, Gene Comic book artist, Colan. Hawkman, The Spectre Attendance: Betty rocks out at 28,000 the Archie Com- ics booth. JIM APARO An official Comic- Comic book artist, Batman, Comic-Con expanded its Exhibit Con membership The Brave and the Bold Hall to fill out the entire ground card. Don’t leave floor of the San Diego Conven- home without it. tion Center (Halls A through C), The main instituting an autograph sign- DANIEL CLOWES entrance to the ing area and plenty of room for Exhibit Hall. Comic book writer-artist, portfolio reviews. DC wowed Eightball, Ghost World everyone with its megabooth DC Comics’ Lobo (dubbed “Wayne’s World” af- invaded Comic- ter DC’s director of sales Bob Con in the one- Wayne). Independent publish- shot Lobo Con- DON MARTIN vention Special by ing was the new thing, with Cartoonist, creator Dave Sim (Cerebus) on Keith Giffen, Alan Grant, and Kevin hand, along with Scott McCloud MAD magazine O’Neill (it didn’t (Zot!), Larry Marder (Tales of end well). the Beanworld), and Jeff Smith (Bone). The Eisner Awards were THIS PAGE TOP: held on Thursday evening, draw- Frank Miller and OLIVIA ing a large crowd that saw Frank Lynn Varley’s Fantasy illustrator Miller and Neil Gaiman garner Souvenir Book the lion’s share of the plaques. cover. The Will Eisner Spirit of Com- BOTTOM: We ics Retailer Award was added doubled down VINCENT SULLIVAN at the urging of Eisner himself, with Miller and Comic book editor, saluting the best comic shops his new creation, in the world and their connec- Sin City, for the of- Action Comics tion between creators, publish- ficial Comic-Con ers and readers.
Recommended publications
  • The Charismatic Leadership and Cultural Legacy of Stan Lee
    REINVENTING THE AMERICAN SUPERHERO: THE CHARISMATIC LEADERSHIP AND CULTURAL LEGACY OF STAN LEE Hazel Homer-Wambeam Junior Individual Documentary Process Paper: 499 Words !1 “A different house of worship A different color skin A piece of land that’s coveted And the drums of war begin.” -Stan Lee, 1970 THESIS As the comic book industry was collapsing during the 1950s and 60s, Stan Lee utilized his charismatic leadership style to reinvent and revive the superhero phenomenon. By leading the industry into the “Marvel Age,” Lee has left a multilayered legacy. Examples of this include raising awareness of social issues, shaping contemporary pop-culture, teaching literacy, giving people hope and self-confidence in the face of adversity, and leaving behind a multibillion dollar industry that employs thousands of people. TOPIC I was inspired to learn about Stan Lee after watching my first Marvel movie last spring. I was never interested in superheroes before this project, but now I have become an expert on the history of Marvel and have a new found love for the genre. Stan Lee’s entire personal collection is archived at the University of Wyoming American Heritage Center in my hometown. It contains 196 boxes of interviews, correspondence, original manuscripts, photos and comics from the 1920s to today. This was an amazing opportunity to obtain primary resources. !2 RESEARCH My most important primary resource was the phone interview I conducted with Stan Lee himself, now 92 years old. It was a rare opportunity that few people have had, and quite an honor! I use clips of Lee’s answers in my documentary.
    [Show full text]
  • Copyright 2013 Shawn Patrick Gilmore
    Copyright 2013 Shawn Patrick Gilmore THE INVENTION OF THE GRAPHIC NOVEL: UNDERGROUND COMIX AND CORPORATE AESTHETICS BY SHAWN PATRICK GILMORE DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in English in the Graduate College of the University of Illinois at Urbana-Champaign, 2013 Urbana, Illinois Doctoral Committee: Professor Michael Rothberg, Chair Professor Cary Nelson Associate Professor James Hansen Associate Professor Stephanie Foote ii Abstract This dissertation explores what I term the invention of the graphic novel, or more specifically, the process by which stories told in comics (or graphic narratives) form became longer, more complex, concerned with deeper themes and symbolism, and formally more coherent, ultimately requiring a new publication format, which came to be known as the graphic novel. This format was invented in fits and starts throughout the twentieth century, and I argue throughout this dissertation that only by examining the nuances of the publishing history of twentieth-century comics can we fully understand the process by which the graphic novel emerged. In particular, I show that previous studies of the history of comics tend to focus on one of two broad genealogies: 1) corporate, commercially-oriented, typically superhero-focused comic books, produced by teams of artists; 2) individually-produced, counter-cultural, typically autobiographical underground comix and their subsequent progeny. In this dissertation, I bring these two genealogies together, demonstrating that we can only truly understand the evolution of comics toward the graphic novel format by considering the movement of artists between these two camps and the works that they produced along the way.
    [Show full text]
  • We Spoke Out: Comic Books and the Holocaust
    W E SPOKE OUT COMIC BOOKS W E SPOKE OUT COMIC BOOKS AND THE HOLOCAUST AND NEAL ADAMS RAFAEL MEDOFF CRAIG YOE INTRODUCTION AND THE HOLOCAUST AFTERWORD BY STAN LEE NEAL ADAMS MEDOFF RAFAEL CRAIG YOE LEE STAN “RIVETING!” —Prof. Walter Reich, Former Director, United States Holocaust Memorial Museum Long before the Holocaust was widely taught in schools or dramatized in films such asSchindler’s List, America’s youth was learning about the Nazi genocide from Batman, X-Men, and Captain America. Join iconic artist Neal Adams, the legend- ary Stan Lee, Holocaust scholar Dr. Rafael Medoff, and Eisner-winning comics historian Craig Yoe as they take you on an extraordinary journey in We Spoke Out: Comic Books and the Holocaust. We Spoke Out showcases classic comic book stories about the Holocaust and includes commentaries by some of their pres- tigious creators. Writers whose work is featured include Chris Claremont, Archie Goodwin, Al Feldstein, Robert Kanigher, Harvey Kurtzman, and Roy Thomas. Along with Neal Adams (who also drew the cover of this remarkable volume), artists in- clude Gene Colan, Jack Davis, Carmine Infantino, Gil Kane, Bernie Krigstein, Frank Miller, John Severin, and Wally Wood. In We Spoke Out, you’ll see how these amazing comics creators helped introduce an entire generation to a compelling and important subject—a topic as relevant today as ever. ® Visit ISBN: 978-1-63140-888-5 YoeBooks.com idwpublishing.com $49.99 US/ $65.99 CAN ® ACKNOWLEDGMENTS The authors are grateful to friends and colleagues who assisted with various aspects of this project: Kris Stone and Peter Stone, of Continuity Studios; Gregory Pan, of Marvel Comics; Thomas Wood, Jay Kogan, and Mandy Noack-Barr, of DC Comics; Dan Braun, of New Comic Company (Warren Publications); Corey Mifsud, Cathy Gaines-Mifsud, and Dorothy Crouch of EC Comics; Robert Carter, Jon Gotthold, Michelle Nolan, Thomas Martin, Steve Fears, Rich Arndt, Kevin Reddy, Steve Bergson, and Jeff Reid, who provided information or scans; Jon B.
    [Show full text]
  • 20 a 23.08.2013 Wilson/Lint: Biografía, Comic Independiente
    Escola de Comunicações e Artes – Universidade de São Paulo – 20 a 23.08.2013 Wilson/Lint: biografía, comic independiente y la cualidad literaria Amadeo Gandolfo UBA (Facultad de Ciencias Sociales) – Conicet. Buenos Aires, Argentina. RESUMO En este trabajo analizaremos dos comics de Chris Ware y Daniel Clowes, “Lint” y “Wilson”, publicados durante 2010. Comparten una serie de características: son intentos de realizar la biografía de personajes sumamente desagradables, que en otro contexto serían vistos como villanos y no protagonistas de su propia historia; ambos siguen a sus personajes presentándonos todo lo que les sucede desde su punto de vista, obligándonos a ver las cosas como ellos las ven; ambos lidian con la propia historia del medio y las influencias de sus autores de una forma que incorpora estas en el texto; finalmente, la manera en que ambos fueron publicados habla de una situación cambiante dentro del campo del comic independiente norteamericano, su industria, sus formatos y las discusiones alrededor de su cualidad literaria. Observaremos ambas obras centrándonos fundamentalmente en la manera en que sus autores eligen abordar el género de la biografía y las decisiones estéticas que toman a la hora de representar la vida de sus protagonistas. Pero, también, colocaremos ambos trabajos en la obra más extensa de Ware y Clowes y en el lugar ocupan dentro de esa constelación conocida como comics independientes. También diseccionaremos sus elecciones formales en términos narrativos. PALAVRAS-CHAVE: comics independientes, biografía, cualidad literaria. 1. INTRODUCCIÓN El objetivo de este trabajo será el análisis de Lint y de Wilson, dos historietas autoconclusivas producidas por Chris Ware y Daniel Clowes, respectivamente, publicadas por la editorial Drawn & Quarterly durante el 2010.
    [Show full text]
  • Aesthetics, Taste, and the Mind-Body Problem in American Independent Comics
    PAPER TOWER: AESTHETICS, TASTE, AND THE MIND-BODY PROBLEM IN AMERICAN INDEPENDENT COMICS William Timothy Jones 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 2014 Committee: Jeremy Wallach, Advisor Esther Clinton © 2014 William Timothy Jones All Rights Reserved iii ABSTRACT Jeremy Wallach, Advisor Comics studies, as a relatively new field, is still building a canon. However, its criteria for canon-building has been modeled largely after modernist ideas about formal complexity and criteria for disinterested, detached, “objective” aesthetic judgment derived from one of the major philosophical debates in Western thought: the mind-body problem. This thesis analyzes two American independent comics in order to dissect the aspects of a comic work that allow it to be categorized as “art” in the canonical sense. Chris Ware’s Building Stories is a sprawling, Byzantine comic that exhibits characteristically modernist ideas about the subordination of the body to the mind and art’s relationship to mass culture. Rob Schrab’s Scud: The Disposable Assassin provides a counterpoint to Building Stories in its action-heavy stylistic approach, developing ideas about the merging of the mind and the body and the artistic and the commercial. Ultimately, this thesis advocates for a re -evaluation of comics criticism that values the subjective, emotional, and the popular as much as the “objective” areas of formal complexity and logic. iv ACKNOWLEDGMENTS To Anna O’Brien, for the original germ of this idea and hours of enlightening conversation and companionship. To Jeremy Wallach and Esther Clinton, whose emphatic response to the paper that eventually became this thesis was instrumental to my belief in the quality of my work.
    [Show full text]
  • Drawn&Quarterly
    DRAWN & QUARTERLY spring 2012 catalogue EXCERPT FROM GUY DELISLE’S JERUSALEM EXCERPT FROM GUY DELISLE’S JERUSALEM EXCERPT FROM GUY DELISLE’S JERUSALEM CANADIAN AUTHOR GUY DELISLE JERUSALEM Chronicles from the Holy City Acclaimed graphic memoirist Guy Delisle returns with his strongest work yet, a thoughtful and moving travelogue about life in Israel. Delisle and his family spent a year in East Jerusalem as part of his wife’s work with the non-governmental organiza- tion Doctors Without Borders. They were there for the short but brutal Gaza War, a three-week-long military strike that resulted in more than 1000 Palestinian deaths. In his interactions with the emergency medical team sent in by Doctors Without Borders, Delisle eloquently plumbs the depths of the conflict. Some of the most moving moments in Jerusalem are the in- teractions between Delisle and Palestinian art students as they explain the motivations for their work. Interspersed with these simply told, affecting stories of suffering, Delisle deftly and often drolly recounts the quotidian: crossing checkpoints, going ko- sher for Passover, and befriending other stay-at-home dads with NGO-employed wives. Jerusalem evinces Delisle’s renewed fascination with architec- ture and landscape as political and apolitical, with studies of highways, villages, and olive groves recurring alongside depictions of the newly erected West Bank Barrier and illegal Israeli settlements. His drawn line is both sensitive and fair, assuming nothing and drawing everything. Jerusalem showcases once more Delisle’s mastery of the travelogue. “[Delisle’s books are] some of the most effective and fully realized travel writing out there.” – NPR ALSO AVAILABLE: SHENZHEN 978-1-77046-079-9 • $14.95 USD/CDN BURMA CHRONICLES 978-1770460256 • $16.95 USD/CDN PYONGYANG 978-1897299210 • $14.95 USD/CDN GUY DELISLE spent a decade working in animation in Europe and Asia.
    [Show full text]
  • 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: twomorrow@aol.com TwoMorrows Publishing is a division of TwoMorrows, Inc.
    [Show full text]
  • Ahead of Their Time
    NUMBER 2 2013 Ahead of Their Time About this Issue In the modern era, it seems preposterous that jazz music was once National Council on the Arts Joan Shigekawa, Acting Chair considered controversial, that stream-of-consciousness was a questionable Miguel Campaneria literary technique, or that photography was initially dismissed as an art Bruce Carter Aaron Dworkin form. As tastes have evolved and cultural norms have broadened, surely JoAnn Falletta Lee Greenwood we’ve learned to recognize art—no matter how novel—when we see it. Deepa Gupta Paul W. Hodes Or have we? When the NEA first awarded grants for the creation of video Joan Israelite Maria Rosario Jackson games about art or as works of art, critical reaction was strong—why was Emil Kang the NEA supporting something that was entertainment, not art? Yet in the Charlotte Kessler María López De León past 50 years, the public has debated the legitimacy of street art, graphic David “Mas” Masumoto Irvin Mayfield, Jr. novels, hip-hop, and punk rock, all of which are now firmly established in Barbara Ernst Prey the cultural canon. For other, older mediums, such as television, it has Frank Price taken us years to recognize their true artistic potential. Ex-officio Sen. Tammy Baldwin (D-WI) In this issue of NEA Arts, we’ll talk to some of the pioneers of art Sen. Sheldon Whitehouse (D-RI) Rep. Betty McCollum (D-MN) forms that have struggled to find acceptance by the mainstream. We’ll Rep. Patrick J. Tiberi (R-OH) hear from Ian MacKaye, the father of Washington, DC’s early punk scene; Appointment by Congressional leadership of the remaining ex-officio Lady Pink, one of the first female graffiti artists to rise to prominence in members to the council is pending.
    [Show full text]
  • Tarzan Intégrale Russ Manning Newspaper Strips
    Tarzan4_interieur_Layout 1 10/02/2020 16:04 Page1 Tarzan4_interieur_Layout 1 10/02/2020 16:04 Page2 Tarzan4_interieur_Layout 1 10/02/2020 16:04 Page3 EDGAR RICE BURROUGHS™ TARZAN ® VOLUME quatre : 1974-1979 Tarzan4_interieur_Layout 1 10/02/2020 16:04 Page4 VINTAGE COLLECTION • GRAPH ZEPPELIN DIRECTEUR DE COLLECTION Thierry Plée • CHEF DE PROJET ET CONCEPTION Dean Mullaney CHEF DE PROJET ADJOINT Bruce Canwell • COLLABORATEUR ÉDITORIAL Henry G. Franke III DIRECTEUR ARTISTIQUE Lorraine Turner • DIRECTEUR MARKETING Beau Smith RESTAURATION DES PLANCHES DOMINICALES Joseph ketels, Lorraine Turner et Dean Mullaney LETTRAGE Terry Marx • TRADUCTION Philippe Louet GRAPH ZEPPELIN, une marque éditoriale des Éditions de l’Éveil 77123 Noisy-sur-École • www.graphzeppelin.com Édité en français par Graph Zeppelin sous licence IDW Publishing Président : Thierry Plée – Fabrication : Estelle Plessis – Secrétariat : Stéphanie Dejoux ISBN papier : 978-2-490357-18-5 • ISBN ebook pdf : 978-2-490357- 95-6 • ISBN ePub : 978-2-490357-96-3 Première édition, février 2020 • Imprimé en Chine par Book Partners China, Ltd Les éditeurs dédient ce volume à Doris (Dodie) Manning, qui nous a quittés le 15 août 2014 des suites d’une longue maladie. Mère de Melissa et Roger et épouse de Russ, Dodie l’avait rencontré quand ils étudiaient tous deux Edgar Rice Burroughs ™ et Tarzan ® sont la propriété d’Edgar Rice Burroughs, Inc et exploités avec leur permission. Copyright © 2014 Edgar Rice Burroughs, Inc. Tous au « Los Angeles Art Institute », dans les années droits réservés. © 2014 Henry G. Franke III. Traduction française © 2020 Éditions de l’Éveil. Hormis les exceptions prévues par la loi, aucune illustration ou bande cinquante.
    [Show full text]
  • KILLING and DYING ADRIAN TOMINE “[Adrian Tomine] Has More Ideas in Twenty Panels Than Novelists Have in a Lifetime.”—Zadie Smith
    DRAWN & QUARTERLY WINTER 2018 Killing And DYING NEW PAPERBACK EDITION ADRIAN TOmINE Red WinteR ANNElI FuRmARK FRom Lone MOUNTAIN JOhN PORCEllINO Von SpATZ ANNA hAIFIsCh Red ColoRed ELEGY sEIIChI hAyAshI KITARo the VAMPIRe SlAYER shIgERu mIzuKI Moomin WinteR TOvE JANssON NEW paperback EDITION KILLING AND DYING ADRIAN TOMINE “[Adrian Tomine] has more ideas in twenty panels than novelists have in a lifetime.”—Zadie Smith After enjoying over six months on the story, “Killing and Dying,” centers on par- New York Times Bestseller list and enthood, mortality, and stand-up comedy. receiving a rave review from the same In six interconnected, darkly funny stories, institution, acclaimed cartoonist Adrian Tomine forms a quietly moving portrait of Tomine’s Killing and Dying is now avail- contemporary life. able in paperback, with an updated cover Adrian Tomine is a master of the small and French flaps. With this work, Tomine gesture, equally deft at signaling emotion (Shortcomings, Scenes from an Impending via a subtle change of expression or writ Marriage) reaffirms his place not only as large across landscapes illustrated in full one of the most significant creators of con- color. Killing and Dying is a fraught, realist temporary comics, but as one of the great masterpiece. voices of modern American literature. His gift for capturing emotion and intellect res- onates: the weight of love and its absence, PRAISe FoR KILLING AND DYING the pride and disappointment of family, the “Pocket epics of romantic, creative and anxiety and hopefulness of being alive in social frustration set in recognizably the twenty-first century. drab, drably picturesque American land- “Amber Sweet” shows the disastrous scapes.”―New York Times impact of mistaken identity in a hyper- connected world; “A Brief History of “[Tomine] is an emotional x-ray machine.
    [Show full text]
  • Comic Books: Superheroes/Heroines, Domestic Scenes, and Animal Images
    Curriculum Units by Fellows of the Yale-New Haven Teachers Institute 1980 Volume II: Art, Artifacts, and Material Culture Comic Books: Superheroes/heroines, Domestic Scenes, and Animal Images Curriculum Unit 80.02.03 by Patricia Flynn The idea of developing a unit on the American Comic Book grew from the interests and suggestions of middle school students in their art classes. There is a need on the middle school level for an Art History Curriculum that will appeal to young people, and at the same time introduce them to an enduring art form. The history of the American Comic Book seems appropriately qualified to satisfy that need. Art History involves the pursuit of an understanding of man in his time through the study of visual materials. It would seem reasonable to assume that the popular comic book must contain many sources that reflect the values and concerns of the culture that has supported its development and continued growth in America since its introduction in 1934 with the publication of Famous Funnies , a group of reprinted newspaper comic strips. From my informal discussions with middle school students, three distinctive styles of comic books emerged as possible themes; the superhero and the superheroine, domestic scenes, and animal images. These themes historically repeat themselves in endless variations. The superhero/heroine in the comic book can trace its ancestry back to Greek, Roman and Nordic mythology. Ancient mythologies may be considered as a way of explaining the forces of nature to man. Examples of myths may be found world-wide that describe how the universe began, how men, animals and all living things originated, along with the world’s inanimate natural forces.
    [Show full text]
  • David Aronoff Partner
    David Aronoff Partner daronoff@foxrothschild.com Los Angeles, CA Tel: 310.228.2916 Fax: 310.556.9828 A seasoned entertainment and media law attorney, David has more than 30 years of experience handling a variety of complex matters, including breach of contract, copyright, trademark, right of publicity, accounting and defamation claims. David regularly represents and advises a variety of business entities, including motion picture and television studios, production companies, broadcasters, Internet websites and podcasters, video game companies, music companies and advertising agencies in their business and marketing decisions and disputes involving: • Copyrights • Trademarks • Right of publicity • Unfair competition • Trade secrets • False advertising • Contracts/accounting/finance He has handled numerous infringement and idea submission claims concerning popular entertainment works and hit movies such as “The Last Samurai,” “Along Came Polly,” “Reality Bites,” “There’s Something About Mary” and “The Mask of Zorro.” Among his recent cases, David conducted a two-week bench trial concerning the financing and distribution of the videogame “Def Jam Rapstar,” defended the in-development spy-thriller project “Section 6” against claims that it infringed the copyrights in the character James Bond, and represented keyboardist-songwriter Jonathan Cain of the rock group “Journey” in acrimonious trademark litigation between the band’s members concerning the ownership and control of the “Journey” band name and trademarks. Representative Matters • Guity v. Romeo Santos/Sony Music, 2019 WL 6619217 (S.D.N.Y. 2019) (won MTD resulting in dismissal of copyright infringement claims against Romeo Santos’ hit song “Eres Mia” on the grounds that defendants’ song, as a matter of law, was not substantially similar to plaintiff’s allegedly infringed song of the same title).
    [Show full text]