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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. -
By Lee A. Breakiron REVIEWING the REVIEW
REHEAPA Summer Solstice 2010 By Lee A. Breakiron REVIEWING THE REVIEW Belying its name, the first issue of the fanzine The Howard Review (THR) contained no reviews, but only because its editor and publisher, Dennis McHaney, had wanted to hold it to 24 pages while including Howard’s story “The Fearsome Touch of Death” and Glenn Lord’s “The Fiction of Robert E. Howard: A Checklist.” McHaney had sent a list of the published works to Lord, who added the unpublished works. “Fearsome” had not been reprinted since its appearance in Weird Tales in February, 1930, and it was de rigueur at the time for any REH fanzine to feature some unpublished or unreprinted material by Howard. Lord had provided the material and permission required, as he was to do for so many fanzines, magazines, and books published during the Howard Boom of the 1970s. In the issue’s editorial, McHaney states that his zine “will be strictly devoted to Robert E. Howard, and will only review new material by others if that material is directly related to R.E.H., or one of his creations,” including pastiches. It would also “contain fiction and poetry by Howard, including obscure, out-of-print items as well as unpublished pieces.” [1, p. 3] And so began one of the better known fanzines of the period, produced by the longest active contributor to Howard fandom, given that he is still active. Marked by continual experimentation and improvement in format and style, THR reflected its creator’s interest and skill in graphic design and his drive to constantly hone those skills and utilize the best technology available. -
Duncan Hall's Deep Secret Lack of Money Endangers Greek Sports
7 - 4 21, 1982 LCC114-1 IT'S A (-1.T'S A . IT 's Of' I N THE e)IPLOI SKY!! -V The history of comics: Daily exercise in humor $4,zkv- Pow! Heroes, villians still fighting See page 3 &wpi\vir)rtf_mici fID Serving the San Jose State University Community since 1934 Volume 79 No 17 Wednesday, September 22, 1982 K op! 9 Lack of money Instructor consoles a shipwrecked sailor con- endangers Greek rock CSJS .m. to 1 sports programs n. to 1 !a inpus I "La By Gerald Loeb ing the Fraternity sports could be "I'm pretty sure we could get some threated by the discovery that only money, but the problem is the iu nday about $5,000 remains in the A.S. money just isn't there " 'The general fund, according to Mark a Lewis, inter-fraternities coun- Makiewicz also said the IFC ha, con. cilman-treasurer. never needed the money before "We want the money for sports, "We've never applied before. The and since we are not open to all problem is. we spent so much on tor for students to participate, we don't formal rush that we could use some imed it have a valid claim to the money; at money now." smooth least that's what the AS. says," IFC President Scott Cooley Lewis said. "We tried to sneak in a said "wasn't sure" if the IFC had ever with a $200 allocation request, but with not applied before. that much in the fund, I don't think just a "We do have an annual we are going to nk.le in get it." allocation for Greek Week," Cooley The IFC sponsors football said. -
Adapting the Graphic Novel Format for Undergraduate Level Textbooks
ADAPTING THE GRAPHIC NOVEL FORMAT FOR UNDERGRADUATE LEVEL TEXTBOOKS DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Brian M. Kane, M.A. Graduate Program in Arts Administration, Education, and Policy The Ohio State University 2013 Dissertation Committee: Professor Candace Stout, Advisor Professor Clayton Funk Professor Shari Savage Professor Arthur Efland Copyright by Brian M. Kane 2013 i ABSTRACT This dissertation explores ways in which the graphic narrative (graphic novel) format for storytelling, known as sequential art, can be adapted for undergraduate-level introductory textbooks across disciplines. Currently, very few graphic textbooks exist, and many of them lack the academic rigor needed to give them credibility. My goal in this dissertation is to examine critically both the strengths and weaknesses of this art form and formulate a set of standards and procedures necessary for developing new graphic textbooks that are scholastically viable for use in college-level instruction across disciplines. To the ends of establishing these standards, I have developed a four-pronged information-gathering approach. First I read as much pre factum qualitative and quantitative data from books, articles, and Internet sources as possible in order to establish my base of inquiry. Second, I created a twelve-part dissertation blog (graphictextbooks.blogspot.com) where I was able to post my findings and establish my integrity for my research among potential interviewees. Third, I interviewed 16 professional graphic novel/graphic textbook publishers, editors, writers, artists, and scholars as well as college professors and librarians. Finally, I sent out an online survey consisting of a sample chapter of an existing graphic textbook to college professors and asked if the content of the source material was potentially effective for their own instruction in undergraduate teaching. -
Bloodstar Free
FREE BLOODSTAR PDF Ian Douglas | 355 pages | 30 Nov 2012 | Voyager | 9780061894763 | English | United States For Health Professionals | National Blood Authority How to Distinguish from Similar Species: This species is variable and is likely a species complex. Henricia Bloodstar is a small species with Bloodstar pores slightly oral to the margin of the disk Bloodstar is a mottled color. In Douglas Eernisse, M. Strathmann, E. Corstorphine, Bloodstar. Clark, and C. Mah were working on a key to distinguish species in this complex. Habitat: Common in the rocky intertidal and Bloodstar in rocky and shelly hash areas. Often has a commensal scaleworm, Arctonoe vittata. Small females may brood their young in winter or the brooders may be Bloodstar separate species--this is most likely the correct interpretation. Has ocelli at the tips of the rays. Henricia leviuscula is fairly stiff with only small papulae and tube feet. It seems to rely much more on seawater uptake through the madreporite than does Leptasterias hexactisanother intertidal species of similar size Ferguson, The genus Henricia is closely related to the Bloodstar Echinaster Medeiros-Lopes et al. Ferguson, John C. Madreporite inflow Bloodstar seawater to Bloodstar body fluids in five species Bloodstar starfish. Echinoderms through time. Balkema, Rotterdam. McEdward, Larry R. Miner, Estimation and interpretation of egg provisioning Bloodstar marine invertebrates. Integrative and Comparative Biology pp The molecular phylogeny of the sea star Echinaster Asteroidea: Echinasteridae provides insights for genus taxonomy. Invertebrate Biology pp This species is found in many Bloodstar and colors, and may be Bloodstar species complex. Photo by Dave Cowles, July The ossicles on the aboral side form a branching network of small papillate bumps. -
Graphic Novel Finding Aid for Merril Collection of Science Fiction, Speculation & Fantasy Last Updated: September 15, 2020
Graphic Novel Finding Aid for Merril Collection of Science Fiction, Speculation & Fantasy Last updated: September 15, 2020 Most books in this list are in English. We have some graphic novels in other languages . Books are listed alphabetically by series title. Books in series are listed in numerical order (if possible) — otherwise they’re listed alphabetically by sub-title. A | B |C |D | E |F |G | H | I| J| K | L | M | N |O | P | Q| R |S | T| U | V | W | X | Y | Z Title Writer/Artist Notes A A.B.C. Warriors. The Mills, Pat and Kevin A.B.C. Warriors began in Mek-nificent Seven O’Neill and Mike Starlord. McMahon A. D.: after death Snyder, Scott and Jeff Lemire A.D.D. : Adolescent Rushkoff, Douglas Demo Division et al. Aama. 1, The smell Peeters, Frederick of warm dust Aama. 2, The Peeters, Frederick invisible throng Aama. 3, The desert Peeters, Frederick of mirrors The Abaddon Shadmi, Koren Abbott Ahmed, Saladin and Originally published in single others magazine form as Abbott, #1-5. Aama. 4, You will be Peeters, Frederick glorious, my daughter Abe Sapien. Vol. 1, Mignola, Mike et al. The drowning Abe Sapien. Vol. 2, Mignola, Mike et al. The devil does not jest and other stories Across the Universe. Moore, Alan et al. “Superman annual” #11; The DC Universe “Detective comics” #549, 550, stories of Alan “Green Lantern” #188; Moore “Vigilante” #17, 18; “The Omega men” #26, 27; “DC Comics presents” #85; “Tales of the Green Lantern corps annual” #2, 3; “Secret origins” #10; “Batman annual” #11 The Action heroes Gill, Joe et al. -
The Nemedian Chroniclers #4
REHEAPA Winter Solstice 2009 By Lee A. Breakiron FANDOM AT A CROSSROADS Fantasy Crossroads was a semi-pro publication that became the premier fantasy fanzine after the demise of Glenn Lord’s The Howard Collector in 1973. Edited and published by Jonathan Bacon quarterly over the last half of the 1970s, it ran 15 issues, plus one Special Edition. In the first issue, Bacon states: Fantasy Crossroads is not only the title of this fanzine, it’s also a statement of philosophy. The area of fantasy literature has been neglected either because of intellectual snobbery or because it was considered the realm of children. I will not attempt to rationalize fantasy literature as an area of great intellectual pursuit. Fantasy has always been an escape … and in high pressure, high tension times any escape mechanism which does not pervert the human spirit is welcome. On the other hand no one can deny that fantasy literature contains its share of classics. He goes on to say that the field includes Sword and Sorcery, epitomized by Robert E. Howard’s Conan, and is a grand field with plenty of territory to cover. Fantasy Crossroads intends to bring these areas together. We intend to be the crossroads where the various sectors of fantasy fandom gather to exchange their best works and criticize their worst. We hope to present more than just fan and pro work in these pages. We want to present not only the written work of Robert E. Howard (for example) but also background on the man from his letters and his friends. -
PDF Download Bloodstar
BLOODSTAR PDF, EPUB, EBOOK Ian Douglas | 355 pages | 30 Nov 2012 | Voyager | 9780061894763 | English | United States Bloodstar PDF Book Start Your Free Trial. Donald I. Corben doesn't just "fill in" outline drawings, he makes complete forms in a manner that is more often the domain of painting versus line illustration. This article is about the graphic novel. Howard , the creator of Conan the Barbarian , and illustrated by fantasy artist [1] [2] Richard Corben. Or browse results titled :. Madeline Smith Vocals : Yes, in a sense. Empowering people to change what is within their control with positivity instead of shame or hatred is far more effective. Balkema, Rotterdam. Dan and I were in Deathblow for a few years together, so he was a natural first choice for a drummer, simply because we knew and liked him a lot already, in addition to his killer chops. A beige form is especially common in deep water. How much additional music do you have written and recorded, or ready to record? Clark, and C. The madreporite of the 4- rayed individual above is orange and not strongly distinguished from the ossicles around it. Pioneer Books, Inc.. James Van Hise. Thumb Tack Books. Prentice-Hall, Inc.. Had no need or want to eat anything even a few hours after using the product. Sex in the Comics. Relieve Symptoms. Help other patients find trustworthy strains and get a sense of how a particular strain might help them. Leon Kriegs. Aurum Press, Ltd.. Mediascene pages 8—9. Riffs and leads are given space and shade, allowing the inherently somber atmospheres to shimmer, simmer, and then sizzle. -
Illustrated Myth: Culture & Meaning Through Graphic
ILLUSTRATED MYTH: CULTURE & MEANING THROUGH GRAPHIC NOVELS A Thesis Presented to the Honors Tutorial College, Ohio University In Partial Fulfillment of the Requirements for Graduation from the Honors Tutorial College with the degree of Bachelor of Science in Media Arts & Studies Haley Alishusky. May 2018. INTRODUCTION Exploring stories visually is by no means a new concept. Artwork, both stationary and moving, is something that has been a part of human history for millennia. The ancient Greeks illustrated their stories on pots, in wall paintings, and carved massive stories on the pediments of their temples. Depicting cultural figures, stories, and gods is something that has perpetuated even to this day as a major means of communicating with others. In my creative project, I wanted to combine this history of meaningful image with the stories that cultures told hundreds or thousands of years ago by adapting them into visual novels and telling these stories as comics. This method allowed me to combine both my love of graphic storytelling, something I’ve enjoyed in the form of comic books and graphic novels for years, and my love of mythology into a project that explored both. By including both of these topics into a creative project, I was able to take things I learned in both my major and my minor, utilizing resources from both the Classics department and the Scripps College of Communication. RESEARCH The first and original research topic for this project was how to make comics. I had no idea how to make a comic when I was going into the tutorial for Icarus. -
The Nemedian Chroniclers #7
REHEAPA Vernal Equinox 2011 By Lee A. Breakiron THE SASSER ZINES, PART ONE The first issue of the fanzine REH: Two-Gun Raconteur appeared in the spring of 1976, a typed mimeograph of 44 pages, in an 8½×11-inch, side-stapled format with black-and-white contents, as all the issues would have, with a cover price of $2.50 in a print run of 350. It was published by the Black Coast Press of Houston resident Damon C. Sasser, who had been a fan of Robert E. Howard ever since a bookstore clerk handed him a copy of the Lancer paperback The Hour of the Dragon when Sasser was looking for Tarzan books in the summer of 1971. In his editorial, Sasser says his zine is “aimed at the newcomer to Howard: those of you who have just become aware of REH through Marvel Comics and the Zebra paperbacks. … Hopefully, REH: Two-Gun Raconteur will bring about a better understanding of Robert E. Howard and his writings.” [1] Born in 1955, Sasser would spend by far most of his life in Texas. At the time, he was an electrician by trade whose chief interests were “comic collecting, old movies and serials, pulp reprints, and popular fiction.” After a year and half of college, he went to work in sales, selling everything from insurance to custom clothing to pagers, until 1994. Then he went back to school at night, obtained a Paralegal Certificate, and went to work for the El Paso Corporation, where he has been for the past 15 years.