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Marvel Universe by Hasbro
Brian's Toys MARVEL Buy List Hasbro/ToyBiz Name Quantity Item Buy List Line Manufacturer Year Released Wave UPC you have TOTAL Notes Number Price to sell Last Updated: April 13, 2015 Questions/Concerns/Other Full Name: Address: Delivery Address: W730 State Road 35 Phone: Fountain City, WI 54629 Tel: 608.687.7572 ext: 3 E-mail: Referred By (please fill in) Fax: 608.687.7573 Email: [email protected] Guidelines for Brian’s Toys will require a list of your items if you are interested in receiving a price quote on your collection. It is very important that we Note: Buylist prices on this sheet may change after 30 days have an accurate description of your items so that we can give you an accurate price quote. By following the below format, you will help Selling Your Collection ensure an accurate quote for your collection. As an alternative to this excel form, we have a webapp available for http://buylist.brianstoys.com/lines/Marvel/toys . STEP 1 Please note: Yellow fields are user editable. You are capable of adding contact information above and quantities/notes below. Before we can confirm your quote, we will need to know what items you have to sell. The below list is by Marvel category. Search for each of your items and enter the quantity you want to sell in column I (see red arrow). (A hint for quick searching, press Ctrl + F to bring up excel's search box) The green total column will adjust the total as you enter in your quantities. -
Oktober 1968 CM # 005 (20 Seiten) Autor: Arnold Drake, Zeichner: Don Heck, Inker: John Tartaglione Hit Comics Nr. 203 , 1970 Rä
CAPTAIN MARVEL Checkliste (klassische Deutsche Ausgaben 1967-1977) Marvel Super-Heroes (Vol. 1) # 12-13 Oktober 1968 (Dezember 1967 - März 1968) CM # 005“The Mark Of The Metazoid!” (20 Seiten) Captain Marvel (Vol. 1) # 1-14 Autor: Arnold Drake, Zeichner: Don Heck, (Mai 1968 - Juli 1969) Inker: John Tartaglione Hit Comics Nr. 203 Dezember 1967 „Der Angriff des Metazoids“, 1970 MSH # 12“The Coming Of Captain Marvel!” (15 Seiten) Autor: Stan Lee, Zeichner: Gene Colan, Inker: Frank Giacoia Rächer Nr. 12-15„Das Los des Metazoiden!“ , (keine deutsche Veröffentlichung) Dezember 1974-März 1975 Übersetzung: Hartmut Huff, März 1968 Lettering: C. Raschke/U. Mordek/ MSH # 13“Where Stalks The Sentry!” (20 Seiten) M. Gerson/U. Mordek Autor: Roy Thomas, Zeichner: Gene Colan, Inker: Paul Reinman November 1968 (keine deutsche Veröffentlichung) CM # 006“In The Path Of Solam!” (20 Seiten) Autor: Arnold Drake, Zeichner: Don Heck, Mai 1968 Inker: John Tartaglione CM # 001“Out Of The Holocaust - - A Hero!” (21 Seiten) Hit Comics Nr. 203 Autor: Roy Thomas, Zeichner: Gene Colan, „Die Macht des Solams“, 1970 Inker: Vince Colletta Hit Comics Nr. 121 Rächer Nr. 16-18„Auf Solams Spur!“ , „Ein Sieger ohnegleichen“, 1969 April-Juni 1975 Übersetzung: Hartmut Huff, Rächer Nr. 1-3„Der Kampf der Titanen!“ , Lettering: Marlies Gerson, Januar-März 1974 Ursula Mordek (Rächer 16) Lettering: Ursula Mordek (nur Seite 1-7) (Originalseite 15 fehlt) Juli 1968 CM # 002 “From The Void Of Space Comes-- The Super Skrull!” (20 Seiten) Autor: Roy Thomas, Zeichner: Gene Colan, Inker: Vince Colletta Hit Comics Nr. 121 „Der Angriff des Super-Skrull“, 1969 Rächer Nr. -
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. -
Comicbooks As Cultural Archeology: Gender Representation in Captain America During WWII
lhs (print) issn 1742–2906 lhs (online) issn 1743–1662 Article Comicbooks as cultural archeology: Gender representation in Captain America during WWII Francisco O. D. Veloso Abstract The aim of this article is to discuss how comicbooks, as complex multimodal artifacts, discursively interpret and evaluate events during World War II. More specifically, I examine how women are represented in an archive of 69 Captain America stories published by Marvel Comics between March 1941 and March 1943, drawing on theoretical developments within the area of social semiotics (Halliday, 1978; Hodge and Kress, 1988). An important argument within social semiotics and multimodal studies is that texts are a combination of semiotic resources that are used for produc- tion and consumption of meanings, in specific contexts (Hodge and Kress, 1988). As a consequence, by examining these semiotic resources one can develop a better understanding of social meanings that circulate in society and how these meanings are structurally organized. By examining forms of discourse for social analysis we may identify ways of addressing particular issues at the level of representation. Keywords: comicbooks; gender representation; social semiotics; women 1. Comicbooks as historical documents The use of the term comicbook in this article is motivated by the transforma- tions of the medium across time. Historically, the medium, in its materiality as it circulates today, originated from the newspapers’ ‘funnies’ (Inge, 1990), what is referred to as comic strips, nowadays. A first collection of reprints of previously published funnies was bound together as a giveaway for a Proc- tor and Gamble product, and the successful campaign suggested the medium Affiliation Department of Modern Languages, LIteratures, and Cultures (LILEC), University of Bologna, Italy. -
Hernandez Brothers' Love and Rockets
Critical Survey of Graphic Novels LOVE AND ROCKETS LOVE AND ROCKETS Author: Hernandez, Gilbert; Hernandez, Jaime; Her- nandez, Mario Artist: Gilbert Hernandez (illustrator); Jaime Her- nandez (illustrator); Mario Hernandez (illustrator); Jeff Johnson (colorist); Rhea Patton (colorist); Chris Brownrigg (colorist); Steven Weissman (colorist) Publisher: Fantagraphics Books First serial publication: 1982-1996; 2001-2007; 2008- First book publication: 1985- Publication History Soon after brothers Mario, Gilbert, and Jaime Her- nandez self-published their first issue of Love and Rockets in 1981, it caught the eye of Fantagraphics publisher Gary Groth. In 1982, Groth republished the inaugural issue; the first series ofLove and Rockets ran for fifty issues, ending in 1996. All issues in the orig- inal volume were magazine-size, and the comics were black and white. The art duties for the color covers al- ternated between Gilbert and Jaime; one would draw the front cover and the other the back cover, then switching responsibilities for the following issue. Love and Rockets. (Courtesy of Fantagraphics Books) After the end of the first series, Jaime and Gilbert began working on separate titles that continued many large omnibus collections, and Love and Rockets Li- of the stories in the original Love and Rockets. In brary editions. 2001, the brothers began their second series of Love and Rockets, which ran for twenty issues, until 2007. Plot Although these issues were smaller than the originals, Love and Rockets contains a variety of narrative arcs, they nonetheless retained a similar format: color covers many of which have convoluted plots. The two pri- illustrated by Jaime and Gilbert and black-and-white mary stories, however, concern the associations of the content written and illustrated by all three brothers. -
Fantastic Four Omnibus Volume 2 (New Printing) Pdf, Epub, Ebook
FANTASTIC FOUR OMNIBUS VOLUME 2 (NEW PRINTING) PDF, EPUB, EBOOK Stan Lee | 832 pages | 17 Dec 2013 | Marvel Comics | 9780785185673 | English | New York, United States Fantastic Four Omnibus Volume 2 (new Printing) PDF Book It also introduces the groundbreaking if problematic Black Panther and the high weirdness of the Inhumans, along with other major players in the Marvel Universe to come. While I already knew Doom and Reed went to college together, it was nice to read the story for the first time. Marvel Omnibus time! Read more Added to basket. While I already knew Doom and Reed went to college together, it was nice to read the story for the first time. I guess it just showed how the world building was going on off the pages as well as on them. Please try again or alternatively you can contact your chosen shop on or send us an email at. Collecting the greatest stories from the World''s Greatest Comics Magazine in one, massive collector''s edition that has been painstakingly restored and recolored from the sharpest material in the Marvel Archives. Your order is now being processed and we have sent a confirmation email to you at. Fast Customer Service!!. Sort order. In this volume the two great storylines are the introduction of the Inhumans, Galactus and the Silver Surfer. Prices and offers may vary in store. The Fantastic Four comics from this era are consistently good value, even if some are more exciting than others. The Fantastic Four comics from this era are consistently good value, even if some are more exciting than others. -
Fantastic Four Compendium
MA4 6889 Advanced Game Official Accessory The FANTASTIC FOUR™ Compendium by David E. Martin All Marvel characters and the distinctive likenesses thereof The names of characters used herein are fictitious and do are trademarks of the Marvel Entertainment Group, Inc. not refer to any person living or dead. Any descriptions MARVEL SUPER HEROES and MARVEL SUPER VILLAINS including similarities to persons living or dead are merely co- are trademarks of the Marvel Entertainment Group, Inc. incidental. PRODUCTS OF YOUR IMAGINATION and the ©Copyright 1987 Marvel Entertainment Group, Inc. All TSR logo are trademarks owned by TSR, Inc. Game Design Rights Reserved. Printed in USA. PDF version 1.0, 2000. ©1987 TSR, Inc. All Rights Reserved. Table of Contents Introduction . 2 A Brief History of the FANTASTIC FOUR . 2 The Fantastic Four . 3 Friends of the FF. 11 Races and Organizations . 25 Fiends and Foes . 38 Travel Guide . 76 Vehicles . 93 “From The Beginning Comes the End!” — A Fantastic Four Adventure . 96 Index. 102 This book is protected under the copyright laws of the United States of America. Any reproduction or other unauthorized use of the material or artwork contained herein is prohibited without the express written consent of TSR, Inc., and Marvel Entertainment Group, Inc. Distributed to the book trade in the United States by Random House, Inc., and in Canada by Random House of Canada, Ltd. Distributed to the toy and hobby trade by regional distributors. All characters appearing in this gamebook and the distinctive likenesses thereof are trademarks of the Marvel Entertainment Group, Inc. MARVEL SUPER HEROES and MARVEL SUPER VILLAINS are trademarks of the Marvel Entertainment Group, Inc. -
´ Los Comics De
LOS COMICS´ DE la plaga CUANDO LOS TEBEOS ERAN PELIGROSOS vol. 2 ANTOLOGÍA DE PORTADAS / 1942 - 1954 Selección y notas de Óscar Palmer Yáñez Es Pop EDICIONES 3 Los cómics de la plaga Cuando los tebeos eran peligrosos, vol. 2 1ª EDICIÓN: DICIEMBRE 2018 Publicado por ES POP EDICIONES Mira el río alta, 8 - 28005 Madrid www.espop.es © 2018 de esta edición: Es Pop Ediciones El material reunido en este libro apareció originalmente en diversos comic books publicados entre 1942 y 1954. La mayoría de ellos se encuentra en el dominio público, pero autor y editor están en deuda con las siguientes editoriales por su autorización para incluir materiales con copyright: Avon Books, Nueva York; Dell Publishing, Nueva York; Fawcett Publications es una división de Ballantine Books, Nueva York; Atlas Comics, Complete Photo Story Corp, Non-Pareil Publishing y Official Comics son divisiones de Marvel Comics, Nueva York. © Marvel Worldwide Inc.: pp. 39, 46 , 88, 91, 115, 125,126, 128, 129, 146, 147, 159, 160. Phantom Lady es © DC Comics: pp. 48, 49. Se ha realizado el máximo esfuerzo por identificar y rastrear a los propietarios del copyright. Cualquier error u omisión ha sido inadvertida y accidental y el autor y editor se comprometen a añadir cualquier tipo de reconocimiento o enmienda en futuras ediciones. Imágenes en páginas anteriores: portada de L. B. Cole para el nº 13 de Terrifying Tales (Star Publications; junio, 1953); portada de Charles Biro para el nº 25 de Crime Does Not Pay (Comic House Inc.; enero, 1943); portada de Lee Elias para el nº 21 de Chamber of Chills (Harvey Comics; enero, 1954). -
An Exploration of Comics and Architecture in Post-War Germany and the United States
An Exploration of Comics and Architecture in Post-War Germany and the United States A DISSERTATION SUBMITTED TO THE FACULTY OF THE UNIVERSITY OF MINNESOTA BY Ryan G. O’Neill IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Dr. Rembert Hueser, Adviser October 2016 © Ryan Gene O’Neill 2016 Table of Contents List of Figures……………………………………………………………………………………...……….i Prologue……………………………………………………………………………………….....…1 Introduction………………………………………………………………………………………...8 Chapter 1: The Comic Laboratory…………………………………………………...…………………………………….31 Chapter 2: Comics and Visible Time…………………………………………………………………………...…………………..52 Chapter 3: Comic Cities and Comic Empires………………………………...……………………………...……..…………………….80 Chapter 4: In the Shadow of No Archive…………………………………………………………………………..…….…………114 Epilogue: The Painting that Ate Paris………………………………………………………………………………...…………….139 Works Cited…..……………………………………………………………………………..……152 i Figures Prologue Figure 1: Kaczynski, Tom (w)(a). “Skyway Sleepless.” Twin Cities Noir: The Expanded Edition. Ed. Julie Schaper, Steven Horwitz. New York: Akashic Books, 2013. Print. Figure 2: Kaczynski, Tom (w)(a). “Skyway Sleepless.” Twin Cities Noir: The Expanded Edition. Ed. Julie Schaper, Steven Horwitz. New York: Akashic Books, 2013. Print. Figure 3: Image of Vitra Feuerwehrhaus Uncredited. https://www.vitra.com/de-de/campus/architecture/architecture-fire-station Figure 4: Kaczynski, Tom (w)(a). “Skyway Sleepless.” Twin Cities Noir: The Expanded Edition. Ed. Julie Schaper, Steven Horwitz. New York: Akashic Books, 2013. Print. Introduction Figure 1: Goscinny, René (w), Alberto Uderzo (i). Die Trabantenstadt. trans. Gudrun Penndorf. Stuttgart: Ehapa Verlag GmbH, 1974. Pp.28-29. Print. Figure 2: Forum at Pompeii, Vitruvius Vitrubius. The Ten Books on Architecture. trans. Morris Hicky Morgan, Ph.D., LL.D. Illustrations under the direction of Herbert Langford Warren, A.M. pp. 132. Print. Figure 3: Töpffer, Rodolphe. -
1 Daniel Clowes (1961- ) Is a Highly
Integrity of the Page: The Creative Process of Daniel Clowes Daniel Clowes (1961- ) is a highly-regarded cartoonist, graphic novelist, and screenwriter. He is best known for his Eightball comic book series (1989-2004) and for his graphic novels Ghost World (1997), Ice Haven (2005), Wilson (2010), Mister Wonderful (2011), and The Death-Ray (2011). The Special Collections Research Center acquired Clowes’ archive in 2015. The acquisition honors Clowes’ personal ties to the University of Chicago – Clowes was born in Chicago and spent much of his childhood in Hyde Park where he attended the University of Chicago Laboratory School until 1979. His grandfather, James Lea Cate (1899-1981), was a history professor at the University of Chicago from 1930 to 1969, and Dr. Cate’s personal papers reside in the Special Collections Research Center. Clowes’ archive also anchors a growing collection of Chicago-related contemporary comics at the Library. The collection supports a burgeoning, cross-disciplinary interest in comics for research and teaching at the University. The Clowes archive contains notes, outlines, narrative drafts, character sketches, draft layouts, and more for three of Clowes’ books: Ice Haven, Mister Wonderful, and The Death-Ray. The exhibition pieces this material together, tracing the evolution of Clowes’ art from conception to production to publication. The materials on display emphasize the exceptional tangibility of Clowes’ work in an era when art can easily be made, and then unmade, on a computer. Throughout his career, the physicality of his craft has been a vital component of his artistic vision and creative process. Clowes remains dedicated to simple paper, pencil, and ink – to what he calls the “integrity of the page.” Explanatory panels throughout the exhibition are composed of excerpts from interviews with Clowes in which he articulates aspects of his style and technique. -
J a C K Kirb Y C Olle C T Or F If T Y- Nine $ 10
JACK KIRBY COLLECTOR FIFTY-NINE $10 FIFTY-NINE COLLECTOR KIRBY JACK IT CAN’T BE! BUT IT IS! I’VE DISCOVERED... ...THE AND NOTHING WILL EVER BE THE SAME AGAIN!! 95 A TREASURE TROVE OF RARITIES BY THE “KING” OF COMICS! Contents THE OLD(?) The Kirby Vault! OPENING SHOT . .2 (is a boycott right for you?) KIRBY OBSCURA . .4 (Barry Forshaw’s alarmed) ISSUE #59, SUMMER 2012 C o l l e c t o r JACK F.A.Q.s . .7 (Mark Evanier on inkers and THE WONDER YEARS) AUTEUR THEORY OF COMICS . .11 (Arlen Schumer on who and what makes a comic book) KIRBY KINETICS . .27 (Norris Burroughs’ new column is anything but marginal) INCIDENTAL ICONOGRAPHY . .30 (the shape of shields to come) FOUNDATIONS . .32 (ever seen these Kirby covers?) INFLUENCEES . .38 (Don Glut shows us a possible devil in the details) INNERVIEW . .40 (Scott Fresina tells us what really went on in the Kirby household) KIRBY AS A GENRE . .42 (Adam McGovern & an occult fave) CUT-UPS . .45 (Steven Brower on Jack’s collages) GALLERY 1 . .49 (Kirby collages in FULL-COLOR) UNEARTHED . .54 (bootleg Kirby album covers) JACK KIRBY MUSEUM PAGE . .55 (visit & join www.kirbymuseum.org) GALLERY 2 . .56 (unused DC artwork) TRIBUTE . .64 (the 2011 Kirby Tribute Panel) GALLERY 3 . .78 (a go-go girl from SOUL LOVE) UNEARTHED . .88 (Kirby’s Someday Funnies) COLLECTOR COMMENTS . .90 PARTING SHOT . .100 Front cover inks: JOE SINNOTT Back cover inks: DON HECK Back cover colors: JACK KIRBY (an unused 1966 promotional piece, courtesy of Heritage Auctions) This issue would not have been If you’re viewing a Digital possible without the help of the JACK Edition of this publication, KIRBY MUSEUM & RESEARCH CENTER (www.kirbymuseum.org) and PLEASE READ THIS: www.whatifkirby.com—thanks! This is copyrighted material, NOT intended for downloading anywhere except our The Jack Kirby Collector, Vol. -
Pain, Opioids and The
HIGHLANDS NEWS-SUN Monday, June 11, 2018 VOL. 99 | NO. 162 | $1.00 YOUR HOMETOWN NEWSPAPER SINCE 1919 AN EDITION OF THE SUN Summer reading DUI citations rocks! jump up this year By MELISSA MAIN STAFF WRITER SEBRING — DUI citations from law enforcement agents in Highlands County have risen dramatically since last year. From January 2017 through April 2017, Highlands County Sheriff’s Office dep- uties issued 16 DUI citations. However, that rose to 49 for the same period in 2018 — a 206 percent increase. Sheriff’s Office spokesman Scott Dressel said, “The difference in the numbers can be attributed to MELISSA MAIN/STAFF SOBERING some new depu- FACTS ABOUT ties we have who Sebring Public Library rocks its summer reading program designed to keep students’ reading skills sharp during the summer. are very vigilant DUIS when it comes to •Drunk driving costs the looking for drivers Sebring Public Library’s fun activities United States $132 billion that may be a year. impaired.” •About 1 in 7 teens binge- Lake and reading programs get children busy drinks, but only 1 in 100 Placid Police parents believes his or her Department saw By MELISSA MAIN child binge-drinks. a 133 percent STAFF WRITER •Fifty-seven percent of increase in DUI fatally injured drivers citations from SEBRING—The summer rocks at had alcohol and/or other January 2017 Sebring Public Library with loads of drugs in their system, and through April fun summer activities and a reading 17 percent had both. 2017 compared program designed with incentives •The rate of drunk driving to the same time to keep children reading throughout is highest among 26- to this year.