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Bill Rogers Collection Inventory (Without Notes).Xlsx
Title Publisher Author(s) Illustrator(s) Year Issue No. Donor No. of copies Box # King Conan Marvel Comics Doug Moench Mark Silvestri, Ricardo 1982 13 Bill Rogers 1 J1 Group Villamonte King Conan Marvel Comics Doug Moench Mark Silvestri, Ricardo 1982 14 Bill Rogers 1 J1 Group Villamonte King Conan Marvel Comics Doug Moench Ricardo Villamonte 1982 12 Bill Rogers 1 J1 Group King Conan Marvel Comics Doug Moench Alan Kupperberg and 1982 11 Bill Rogers 1 J1 Group Ernie Chan King Conan Marvel Comics Doug Moench Ricardo Villamonte 1982 10 Bill Rogers 1 J1 Group King Conan Marvel Comics Doug Moench John Buscema, Ernie 1982 9 Bill Rogers 1 J1 Group Chan King Conan Marvel Comics Roy Thomas John Buscema and Ernie 1981 8 Bill Rogers 1 J1 Group Chan King Conan Marvel Comics Roy Thomas John Buscema and Ernie 1981 6 Bill Rogers 1 J1 Group Chan Conan the King Marvel Don Kraar Mike Docherty, Art 1988 33 Bill Rogers 1 J1 Nnicholos King Conan Marvel Comics Roy Thomas John Buscema, Danny 1981 5 Bill Rogers 2 J1 Group Bulanadi King Conan Marvel Comics Roy Thomas John Buscema, Danny 1980 3 Bill Rogers 1 J1 Group Bulanadi King Conan Marvel Comics Roy Thomas John Buscema and Ernie 1980 2 Bill Rogers 1 J1 Group Chan Conan the King Marvel Don Kraar M. Silvestri, Art Nichols 1985 29 Bill Rogers 1 J1 Conan the King Marvel Don Kraar Mike Docherty, Geof 1985 30 Bill Rogers 1 J1 Isherwood, Mike Kaluta Conan the King Marvel Don Kraar Mike Docherty, Geof 1985 31 Bill Rogers 1 J1 Isherwood, Mike Kaluta Conan the King Marvel Don Kraar Mike Docherty, Vince 1986 32 Bill Rogers -
Myth, Metatext, Continuity and Cataclysm in Dc Comics’ Crisis on Infinite Earths
WORLDS WILL LIVE, WORLDS WILL DIE: MYTH, METATEXT, CONTINUITY AND CATACLYSM IN DC COMICS’ CRISIS ON INFINITE EARTHS Adam C. Murdough 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 August 2006 Committee: Angela Nelson, Advisor Marilyn Motz Jeremy Wallach ii ABSTRACT Angela Nelson, Advisor In 1985-86, DC Comics launched an extensive campaign to revamp and revise its most important superhero characters for a new era. In many cases, this involved streamlining, retouching, or completely overhauling the characters’ fictional back-stories, while similarly renovating the shared fictional context in which their adventures take place, “the DC Universe.” To accomplish this act of revisionist history, DC resorted to a text-based performative gesture, Crisis on Infinite Earths. This thesis analyzes the impact of this singular text and the phenomena it inspired on the comic-book industry and the DC Comics fan community. The first chapter explains the nature and importance of the convention of “continuity” (i.e., intertextual diegetic storytelling, unfolding progressively over time) in superhero comics, identifying superhero fans’ attachment to continuity as a source of reading pleasure and cultural expressivity as the key factor informing the creation of the Crisis on Infinite Earths text. The second chapter consists of an eschatological reading of the text itself, in which it is argued that Crisis on Infinite Earths combines self-reflexive metafiction with the ideologically inflected symbolic language of apocalypse myth to provide DC Comics fans with a textual "rite of transition," to win their acceptance for DC’s mid-1980s project of self- rehistoricization and renewal. -
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. -
The Avengers (Action) (2012)
1 The Avengers (Action) (2012) Major Characters Captain America/Steve Rogers...............................................................................................Chris Evans Steve Rogers, a shield-wielding soldier from World War II who gained his powers from a military experiment. He has been frozen in Arctic ice since the 1940s, after he stopped a Nazi off-shoot organization named HYDRA from destroying the Allies with a mystical artifact called the Cosmic Cube. Iron Man/Tony Stark.....................................................................................................Robert Downey Jr. Tony Stark, an extravagant billionaire genius who now uses his arms dealing for justice. He created a techno suit while kidnapped by terrorist, which he has further developed and evolved. Thor....................................................................................................................................Chris Hemsworth He is the Nordic god of thunder. His home, Asgard, is found in a parallel universe where only those deemed worthy may pass. He uses his magical hammer, Mjolnir, as his main weapon. The Hulk/Dr. Bruce Banner..................................................................................................Mark Ruffalo A renowned scientist, Dr. Banner became The Hulk when he became exposed to gamma radiation. This causes him to turn into an emerald strongman when he loses his temper. Hawkeye/Clint Barton.........................................................................................................Jeremy -
PDF Download Green Arrow a Celebration of 75 Years
GREEN ARROW A CELEBRATION OF 75 YEARS: A CELEBRATION OF 75 YEARS PDF, EPUB, EBOOK Various | 500 pages | 12 Jul 2016 | DC Comics | 9781401263867 | English | United States Green Arrow a Celebration of 75 Years: A Celebration of 75 Years PDF Book We also get to see the beginning and continuing friendship of Green Lantern and Green Arrow. Use your keyboard! If you're interested in the Green Arrow's evolution, you might like this book as a primer to jump to other stories. Reviewed by:. Dan Jurgens Artist ,. Adam Peacock rated it it was amazing Feb 21, I have mixed feelings about this story. Batman knocks Ollie out to have a closer examination and see if he is the real deal. Hardcover , pages. Get A Copy. This issue was most recently modified by:. To see what your friends thought of this book, please sign up. Green Arrow: A Celebration of 75 Years. Select Option. So many reboots and rebirths over the years make a book like this necessary so you can have an idea of what is going on. We're given the dramatic endings but I have no idea who any of these characters are or what is going on. Mike Cullen rated it really liked it Feb 16, Go to Link Unlink Change. Story Arcs. Two thousand one saw filmmaker Kevin Smith pick up torch and move the original GA into a new century. We're committed to providing low prices every day, on everything. Jan 04, Simone rated it really liked it. Release Date:. This edit will also create new pages on Comic Vine for:. -
Alter Ego #78 Trial Cover
Roy Thomas ’Merry Mar vel Comics Fan zine No. 50 July 2005 $ In5th.e9U5SA Sub-Mariner, Thing, Thor, & Vision TM & ©2005 Marvel Characters, Inc.; Conan TM & ©2005 Conan Properties, Inc.; Red Sonja TM & ©2005 Red Sonja Properties, Inc.; Caricature ©2005 Estate of Alfredo Alcala Vol. 3, No. 50 / July 2005 ™ Editor Roy Thomas Roy Thomas Associate Editors Shamelessly Celebrates Bill Schelly 50 Issues of A/E , Vol. 3— Jim Amash & 40 Years Since Design & Layout Christopher Day Modeling With Millie #44! Consulting Editor John Morrow FCA Editor P.C. Hamerlinck Comic Crypt Editor Michael T. Gilbert Editors Emeritus Jerry Bails (founder) Ronn Foss, Biljo White, Contents Mike Friedrich Production Assistant Writer/Editorial: Make Mine Marvel! . 2 Eric Nolen-Weathington “Roy The Boy” In The Marvel Age Of Comics . 4 Cover Artists Jim Amash interviews Roy Thomas about being Stan Lee’s “left-hand man” Alfredo Alcala, John Buscema, in the 1960s & early ’70s. & Jack Kirby Jerry Ordway DC Comics 196 5––And The Rest Of Roy’s Cover Colorist Color-Splashed Career . Flip Us! Alfredo Alcala (portrait), Tom Ziuko About Our Cover: A kaleidoscopically collaborative combination of And Special Thanks to: three great comic artists Roy worked with and admired in the 1960s and Alfredo Alcala, Jr. Allen Logan ’70s: Alfredo Alcala , John Buscema , and Jack Kirby . The painted Christian Voltan Linda Long caricature by Alfredo was given to him as a birthday gift in 1981 and Alcala Don Mangus showed Rascally Roy as Conan, the Marvel-licensed hero on which the Estelita Alcala Sam Maronie Heidi Amash Mike Mikulovsky two had labored together until 1980, when R.T. -
Tebeografèa Kevin Maguire
TEBEOGRAFÍA KEVIN MAGUIRE Se citan, por orden de fecha de publicación, todas las obras conocidas de Kevin Maguire, cuya participación se destaca en negrita. En las ocasiones en las que Maguire sólo ha realizado una de las historias de la publicación, se menciona el título de ésta y el número de páginas. Siempre que no se haga, se supondrá que corresponde a la historia principal. Editor Serie Núm. / Título de la Portada Guión Lápiz Tinta Año historieta Marvel Hero for Hire 123 Kevin Jim Mark Jerry V- Maguire Owsley Bright Acerno 1986 Marvel Official Handbook of 6 (1 ficha) John Byrne --- Maguire Joe Ru- V- the Marvel Universe binstein 1986 Deluxe Edition Marvel Official Handbook of 7 (1 ficha) John Byrne --- Maguire Rubins VI- the Marvel Universe Tein? 1986 Deluxe Edition Marvel Official Handbook of 8 (1 ficha) John Byrne --- Maguire Rubins VII- the Marvel Universe tein? 1986 Deluxe Edition DC Who is who in the 23 (Tattoed Man, 1 p.) Joe Staton / varios Maguire Dick I- DC Universe?: The Mike Giordano 1987 Definitive Directory DeCarlo DC Who is who in Star 1 (Elasians, 1 p.; Carol Howard Allan Maguire varios III- Trek? Marcus, 1 p.) Chaykin Asherman 1987 DC Who is who in the 25 Maguire / --- --- --- III- DC Universe?: The Dick 1987 Definitive Directory Giordano DC Who is who in Star 2 (Saavik, 1 p.) Howard Allan Maguire Joe Ru- IV- Trek? Chaykin Asherman binstein 1987 DC Justice League 1 (“Born Again”) Maguire / K. Giffen / Maguire Terry V- [Liga de la Justicia #1, Terry Austin J. M. Austin 1987 Zinco, IV-1988] DeMatteis DC Justice League 2 (“Make War No More!”) Maguire / Giffen / Maguire Al Gordon VI- [Liga de la Justicia #2, Al Gordon DeMatteis 1987 Zinco, V-1988] DC Secret Origins 15 (“Death Like a Crown”, Ed Andrew Maguire Dick VI- 15 pp.) [Universo DC Hannigan / Helfer Giordano 1987 #28, Zinco, VI-1991] Giordano DC Focus 1B (portada interior) --- --- Maguire --- VII- 1987 DC Justice League 3 (“Meltdown”) Maguire / Keith Maguire Al Gordon VII- [Liga de la Justicia #3, Al Gordon Giffen / J. -
NEURO-WHAT? It’S Brain Awareness Week Page 10
THEOAKLANDPOSTOakland University’s Independent Student Newspaper Volume 44 Issue 22 Mar. 13, 2019 l l NEURO-WHAT? It’s Brain Awareness Week Page 10 CLASS CREDITS LT. GOVERNOR SHOT DOWN OU considers changing course Garlin Gilchrist talks Michigan’s Men’s basketball loses in last credits from four to three future in technology second at LCA PAGE 4 PAGE 5 PAGE 7 GRAPHIC BY PRAKHYA CHILUKURI MARCH 13, 2019 | 2 THIS WEEK PHOTO OF THE WEEK THEOAKLANDPOST EDITORIAL BOARD AuJenee Hirsch Laurel Kraus Editor-in-Chief Managing Editor [email protected] [email protected] 248.370.4266 248.370.2537 Elyse Gregory Patrick Sullivan Photo Editor Web Editor [email protected] [email protected] 248.370.4266 EDITORS COPY&VISUAL Katie Valley Campus Editor Mina Fuqua Chief Copy Editor [email protected] Jessica Trudeau Copy Editor Zoe Garden Copy Editor Trevor Tyle Life&Arts Editor Erin O’Neill Graphic Designer [email protected] Prakhya Chilukuri Graphic Assistant Michael Pearce Sports Editor Ryan Pini Photographer [email protected] Nicole Morsfield Photographer Samuel Summers Photographer Jordan Jewell Engagement Editor Sergio Montanez Photographer [email protected] PRIDE MONTH SPEAKER Poet and educator J Mase III opens Pride Month with pow- REPORTERS DISTRIBUTION erful slam poetry about his experiences being black and transgender, and talks about Benjamin Hume Staff Reporter Kat Malokofsky Distribution Director Distributor combating white supremacy and false allyship. PHOTO / NICOLE MORSFIELD Dean Vaglia Staff Reporter Alexander Pham -
ALEX ROSS' Unrealized
Fantastic Four TM & © Marvel Characters, Inc. All Rights Reserved. No.118 February 2020 $9.95 1 82658 00387 6 ALEX ROSS’ DC: TheLost1970s•FRANK THORNE’sRedSonjaprelims•LARRYHAMA’sFury Force• MIKE GRELL’sBatman/Jon Sable•CLAREMONT&SIM’sX-Men/CerebusCURT SWAN’s Mad Hatter• AUGUSTYN&PAROBECK’s Target•theill-fatedImpact rebootbyPAUL lost pagesfor EDHANNIGAN’sSkulland Bones•ENGLEHART&VON EEDEN’sBatman/ GREATEST STORIESNEVERTOLDISSUE! KUPPERBERG •with unpublished artbyCALNAN, COCKRUM, HA,NETZER &more! Fantastic Four Four Fantastic unrealized reboot! ™ Volume 1, Number 118 February 2020 EDITOR-IN-CHIEF Michael Eury Comics’ Bronze Age and Beyond! PUBLISHER John Morrow DESIGNER Rich Fowlks COVER ARTIST Alex Ross COVER DESIGNER Michael Kronenberg PROOFREADER Rob Smentek SPECIAL THANKS Brian Augustyn Alex Ross Mike W. Barr Jim Shooter Dewey Cassell Dave Sim Ed Catto Jim Simon GREATEST STORIES NEVER TOLD: Alex Ross and the Fantastic Four That Wasn’t . 2 Chris Claremont Anthony Snyder An exclusive interview with the comics visionary about his pop art Kirby homage Comic Book Artist Bryan Stroud Steve Englehart Roy Thomas ART GALLERY: Marvel Goes Day-Glo. 12 Tim Finn Frank Thorne Inspired by our cover feature, a collection of posters from the House of Psychedelic Ideas Paul Fricke J. C. Vaughn Mike Gold Trevor Von Eeden GREATEST STORIES NEVER TOLD: The “Lost” DC Stories of the 1970s . 15 Grand Comics John Wells From All-Out War to Zany, DC’s line was in a state of flux throughout the decade Database Mike Grell ROUGH STUFF: Unseen Sonja . 31 Larry Hama The Red Sonja prelims of Frank Thorne Ed Hannigan Jack C. Harris GREATEST STORIES NEVER TOLD: Cancelled Crossover Cavalcade . -
Department of Political Science Chair of Gender Politics Wonder Woman
Department of Political Science Chair of Gender Politics Wonder Woman and Captain Marvel as Representation of Women in Media Sara Mecatti Prof. Emiliana De Blasio Matr. 082252 SUPERVISOR CANDIDATE Academic Year 2018/2019 1 Index 1. History of Comic Books and Feminism 1.1 The Golden Age and the First Feminist Wave………………………………………………...…...3 1.2 The Early Feminist Second Wave and the Silver Age of Comic Books…………………………....5 1.3 Late Feminist Second Wave and the Bronze Age of Comic Books….……………………………. 9 1.4 The Third and Fourth Feminist Waves and the Modern Age of Comic Books…………...………11 2. Analysis of the Changes in Women’s Representation throughout the Ages of Comic Books…..........................................................................................................................................................15 2.1. Main Measures of Women’s Representation in Media………………………………………….15 2.2. Changing Gender Roles in Marvel Comic Books and Society from the Silver Age to the Modern Age……………………………………………………………………………………………………17 2.3. Letter Columns in DC Comics as a Measure of Female Representation………………………..23 2.3.1 DC Comics Letter Columns from 1960 to 1969………………………………………...26 2.3.2. Letter Columns from 1979 to 1979 ……………………………………………………27 2.3.3. Letter Columns from 1980 to 1989…………………………………………………….28 2.3.4. Letter Columns from 19090 to 1999…………………………………………………...29 2.4 Final Data Regarding Levels of Gender Equality in Comic Books………………………………31 3. Analyzing and Comparing Wonder Woman (2017) and Captain Marvel (2019) in a Framework of Media Representation of Female Superheroes…………………………………….33 3.1 Introduction…………………………….…………………………………………………………33 3.2. Wonder Woman…………………………………………………………………………………..34 3.2.1. Movie Summary………………………………………………………………………...34 3.2.2.Analysis of the Movie Based on the Seven Categories by Katherine J. -
Largest Gift in RIT History to Expand Entrepreneurship and Cybersecurity
The University Magazine Spring 2018 PROMISE DELIVERED Largest gift in RIT history to expand entrepreneurship and cybersecurity NTID celebrates 50 years • Study-abroad program adapts to better serve students FROM THE PRESIDENT Learning from Millennials— creative careers with noble purpose s a baby boomer of 32, Austin is among the nation’s top 50 on a quest to philanthropists for 2017. continually Alearn and find ways • Anna Sweet ’04 (computer science): Anna to make a difference, is a tech entrepreneur and executive with I am putting my faith Caffeine, a new live streaming platform RIT: The University Magazine in the future generation for the gaming industry. She also founded Executive Editors of leaders. Octave Nine, a tech consulting firm focused Bob Finnerty ’07, Marketing and Communications I am riveted by the Millennial genera- on augmented reality, virtual reality and Deborah M. Stendardi, Government and Community Relations tion—born between 1980 and 2000—who mixed reality. In addition to her career in John Trierweiler, Marketing and Communications are not only doing well in their careers, but the gaming industry in the San Francisco Editor who are also doing good deeds outside the Bay area, Anna is co-founder of Sweet Mindy Mozer, Marketing and Communications workplace. They will tell you that creativity Farm Foundation, a nonprofit organization Contributing Editors and innovation are best used for noble dedicated to promoting the humane treat- Lisa Cauda, Development and Alumni Relations purposes. They will tell you that goodness ment of animals in the food system. Kim Slusser, Development and Alumni Relations Cindy Sobieraj, Development and Alumni Relations is essential to improve the world. -
Surfing, Gender and Politics: Identity and Society in the History of South African Surfing Culture in the Twentieth-Century
Surfing, gender and politics: Identity and society in the history of South African surfing culture in the twentieth-century. by Glen Thompson Dissertation presented for the Degree of Doctor of Philosophy (History) at Stellenbosch University Supervisor: Prof. Albert M. Grundlingh Co-supervisor: Prof. Sandra S. Swart Marc 2015 0 Stellenbosch University https://scholar.sun.ac.za Declaration By submitting this thesis electronically, I declare that the entirety of the work contained therein is my own, original work, that I am the author thereof (unless to the extent explicitly otherwise stated) and that I have not previously in its entirety or in part submitted it for obtaining any qualification. Date: 8 October 2014 Copyright © 2015 Stellenbosch University All rights reserved 1 Stellenbosch University https://scholar.sun.ac.za Abstract This study is a socio-cultural history of the sport of surfing from 1959 to the 2000s in South Africa. It critically engages with the “South African Surfing History Archive”, collected in the course of research, by focusing on two inter-related themes in contributing to a critical sports historiography in southern Africa. The first is how surfing in South Africa has come to be considered a white, male sport. The second is whether surfing is political. In addressing these topics the study considers the double whiteness of the Californian influences that shaped local surfing culture at “whites only” beaches during apartheid. The racialised nature of the sport can be found in the emergence of an amateur national surfing association in the mid-1960s and consolidated during the professionalisation of the sport in the mid-1970s.