A M E R I C a N C H R O N I C L E S the by JOHN WELLS 1960-1964
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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. -
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. -
Exception, Objectivism and the Comics of Steve Ditko
Law Text Culture Volume 16 Justice Framed: Law in Comics and Graphic Novels Article 10 2012 Spider-Man, the question and the meta-zone: exception, objectivism and the comics of Steve Ditko Jason Bainbridge Swinburne University of Technology Follow this and additional works at: https://ro.uow.edu.au/ltc Recommended Citation Bainbridge, Jason, Spider-Man, the question and the meta-zone: exception, objectivism and the comics of Steve Ditko, Law Text Culture, 16, 2012, 217-242. Available at:https://ro.uow.edu.au/ltc/vol16/iss1/10 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] Spider-Man, the question and the meta-zone: exception, objectivism and the comics of Steve Ditko Abstract The idea of the superhero as justice figure has been well rehearsed in the literature around the intersections between superheroes and the law. This relationship has also informed superhero comics themselves – going all the way back to Superman’s debut in Action Comics 1 (June 1938). As DC President Paul Levitz says of the development of the superhero: ‘There was an enormous desire to see social justice, a rectifying of corruption. Superman was a fulfillment of a pent-up passion for the heroic solution’ (quoted in Poniewozik 2002: 57). This journal article is available in Law Text Culture: https://ro.uow.edu.au/ltc/vol16/iss1/10 Spider-Man, The Question and the Meta-Zone: Exception, Objectivism and the Comics of Steve Ditko Jason Bainbridge Bainbridge Introduction1 The idea of the superhero as justice figure has been well rehearsed in the literature around the intersections between superheroes and the law. -
Keane, for Allowing Us to Come and Visit with You Today
BIL KEANE June 28, 1999 Joan Horne and myself, Ann Townsend, interviewers for the Town of Paradise Valley Historical Committee are privileged to interview Bil Keane. Mr. Keane has been a long time resident of the Town of Paradise Valley, but is best known and loved for his cartoon, The Family Circus. Thank you, Mr. Keane, for allowing us to come and visit with you today. May we have your permission to quote you in part or all of our conversation today? Bil Keane: Absolutely, anything you want to quote from it, if it's worthwhile quoting of course, I'm happy to do it. Ann Townsend: Thank you very much. Tell us a little bit about yourself and what brought you to hot Arizona? Bil Keane: Well, it was a TWA plane. I worked on the Philadelphia Bulletin for 15 years after I got out of the army in 1945. It was just before then end of 1958 that I had been bothered each year with allergies. I would sneeze in the summertime and mainly in the spring. Then it got in to be in the fall, then spring, summer and fall. The doctor would always prescribe at that time something that would alleviate it. At the Bulletin I was doing a regular comic and I was editor of their Fun Book. I had a nine to five job there and we lived in Roslyn which was outside Philadelphia and it was one hour and a half commute on the train and subway. I was selling a feature to the newspapers called Channel Chuckles, which was the little cartoon about television which I enjoyed doing. -
AIR FORCE Magazine / July 2007 42
A Brush With the Air Force 42 AIR FORCE Magazine / July 2007 prototype for Corkin was Air Force Col. Milton Caniff was out front with “Terry and Philip Cochran, a noted World War II pilot and leader of air commandos in the Pirates,” but other cartoonists also found Burma. (See “The All-American Air- their calling in the wild blue yonder. man,” March 2000, p. 52.) He became a continuing character in “Terry.” In a famous “Terry and the Pirates” Sunday page from 1943, Corkin opened with, “Let’s take a walk, Terry,” and then delivered an inspirational talk about A Brush With the war and the Air Force as he and the newly fledged pilot Terry strolled around the flight line. The page was “read” into the Congressional Record and reported in the newspapers. Terry, Flip, and their colleagues had a great following among airmen, and the Air Force By John T. Correll the strip had considerable morale and public relations value. Gen. Henry H. “Hap” Arnold, Chief of the Army Air Forces, assigned an officer to as- sist Caniff with any technical details he needed. Caniff produced another strip, “Male Call,” without charge for camp and base newspapers. It featured Miss Lace, who was reminiscent of the Dragon Lady but less standoffish. It is difficult today to comprehend what a big deal the funnies used to be. Everybody read the comic strips. Characters were as well known as movie stars. The strips were printed much larger than present comic strips are. On Sunday, a popular strip might get a whole color page to itself. -
Arthur Suydam: “Heroes Are What We Aspire to Be”
Ro yThomas’’ BXa-Ttrta ilor od usinary Comiics Fanziine DARK NIGHTS & STEEL $6.95 IN THE GOLDEN & SILVER AGES In the USA No. 59 June 2006 SUYDAM • ADAMS • MOLDOFF SIEGEL • PLASTINO PLUS: MANNING • MATERA & MORE!!! Batman TM & ©2006 DC Comics Vol. 3, No. 59 / June 2006 ™ Editor Roy Thomas Associate Editors Bill Schelly Jim Amash Design & Layout Christopher Day Consulting Editor John Morrow FCA Editor P.C. Hamerlinck Comic Crypt Editor Michael T. Gilbert Editors Emeritus Jerry Bails (founder) Contents Ronn Foss, Biljo White, Mike Friedrich Writer/Editorial: Dark Nights & Steel . 2 Production Assistant Arthur Suydam: “Heroes Are What We Aspire To Be” . 3 Eric Nolen-Weathington Interview with the artist of Cholly and Flytrap and Marvel Zombies covers, by Renee Witterstaetter. Cover Painting “Maybe I Was Just Loyal” . 14 Arthur Suydam 1950s/60s Batman artist Shelly Moldoff tells Shel Dorf about Bob Kane & other phenomena. And Special Thanks to: “My Attitude Was, They’re Not Bosses, They’re Editors” . 25 Neal Adams Richard Martines Golden/Silver Age Superman artist Al Plastino talks to Jim Kealy & Eddy Zeno about his long Heidi Amash Fran Matera and illustrious career. Michael Ambrose Sheldon Moldoff Bill Bailey Frank Motler Jerry Siegel’s European Comics! . 36 Tim Barnes Brian K. Morris When Superman’s co-creator fought for truth, justice, and the European way—by Alberto Becattini. Dennis Beaulieu Karl Nelson Alberto Becattini Jerry Ordway “If You Can’t Improve Something 200%, Then Go With The Thing John Benson Jake Oster That You Have” . 40 Dominic Bongo Joe Petrilak Modern legend Neal Adams on the late 1960s at DC Comics. -
Bisonalities Again
Bisonalities, Again A quarterly Newsletter dedicated to the Alumni of Waterford & Fort LeBoeuf High Schools April 2005 Spring Issue Volume 6 --- Number 3 Contents Robert J. Catlin, Sr. Cat ===s Corner 111 2670 Dakota Street Death of Merle Heard 2 Bryans Road, MD 20616-3062 Sunday Comics Quiz Tel: (301) 283-6549 or Fax (301) 375-9250 by Herb Walden 333 PPPlease, NONONO handwritten submissions. Remembering those early school days TTThisT newsletter is available free to any and all by Elizabeth Potter 444 alumni, teachers, and administrators, past or A shocking incident present, of Waterford High School or FLBHS on by Herb Walden 5 the Web site. If you know an alumnus, Humor 555 teacher, or administrator who would be My life, my cars interested, tell them about the Web site. None by Alan Hazen 6 of the material in this newsletter has a ****************************************************************************** copyright, unless otherwise noted. If you wish WWWelcome to the spring issue of the Newsletter to print the newsletter and make copies and dedicated to the alumni (students, teachers, distribute it to other Alumni and/or friends, and administrators) of Waterford High School please feel free to do so. and Fort LeBoeuf High School. This newsletter +++++++++++++++++++++++++++++++++++++ will be distributed quarterly. New issues will be posted for viewing on the Web site on, or about, January 5, April 5, July 5, and October 5. The Bisonalities, Again Web site may be viewed by going to the following URL: http://www.geocities.com/candohttp://www.geocities.com/candoer1er1 Cat ===s corner TTThe success of this newsletter depends on you. -
Green Lantern a Guide to Jordan Family Members and Their Appearances Pdf, Epub, Ebook
GREEN LANTERN A GUIDE TO JORDAN FAMILY MEMBERS AND THEIR APPEARANCES PDF, EPUB, EBOOK Deborah Eker | 60 pages | 01 Jan 2018 | Createspace Independent Publishing Platform | 9781983486579 | English | none Green Lantern A Guide to Jordan Family Members and Their Appearances PDF Book He was one of the first characters introduced during the company-wide relaunch when he appeared in the pages of the teaser comic The New 52 Free Comic Book Day Special Edition. Though after spending weeks in it, I'm ready to turn on the lights and scare the nightmares away. Three years after his father's death, Hal started dating a girl named Jennifer. Working together, the Lanterns drove Mongul into the local moon, where a major battle ensued. Upon arrival, the escort team is ambushed by the Sinestro Corps , and again later by the Red Lantern Corps. As Hal attempts to leave Parallax, Sinestro tells him it's his destiny to be the host and not Hal. Jordan and Kent would remain acquaintances. Enraged that the Guardians would ignore the personal loss he had suffered in the name of their Corps, Hal became insane with grief and decided to meat them head on and defeat the men who destroyed his life. So they decide to wait until the time is right. Showcase 22, Emerald Dawn 1 Hal would later learn that another man, Guy Gardner , was deemed equally worthy. A few nights later, Jordan's life was jeopardized by his lack of fear. While they're talking, the Shark leaps through the window intent on killing Hal Jordan. -
“I Am the Villain of This Story!”: the Development of the Sympathetic Supervillain
“I Am The Villain of This Story!”: The Development of The Sympathetic Supervillain by Leah Rae Smith, B.A. A Thesis In English Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS Approved Dr. Wyatt Phillips Chair of the Committee Dr. Fareed Ben-Youssef Mark Sheridan Dean of the Graduate School May, 2021 Copyright 2021, Leah Rae Smith Texas Tech University, Leah Rae Smith, May 2021 ACKNOWLEDGMENTS I would like to share my gratitude to Dr. Wyatt Phillips and Dr. Fareed Ben- Youssef for their tutelage and insight on this project. Without their dedication and patience, this paper would not have come to fruition. ii Texas Tech University, Leah Rae Smith, May 2021 TABLE OF CONTENTS ACKNOWLEDGMENTS………………………………………………………….ii ABSTRACT………………………………………………………………………...iv I: INTRODUCTION……………………………………………………………….1 II. “IT’S PERSONAL” (THE GOLDEN AGE)………………………………….19 III. “FUELED BY HATE” (THE SILVER AGE)………………………………31 IV. "I KNOW WHAT'S BEST" (THE BRONZE AND DARK AGES) . 42 V. "FORGIVENESS IS DIVINE" (THE MODERN AGE) …………………………………………………………………………..62 CONCLUSION ……………………………………………………………………76 BIBLIOGRAPHY …………………………………………………………………82 iii Texas Tech University, Leah Rae Smith, May 2021 ABSTRACT The superhero genre of comics began in the late 1930s, with the superhero growing to become a pop cultural icon and a multibillion-dollar industry encompassing comics, films, television, and merchandise among other media formats. Superman, Spider-Man, Wonder Woman, and their colleagues have become household names with a fanbase spanning multiple generations. However, while the genre is called “superhero”, these are not the only costume clad characters from this genre that have become a phenomenon. -
Star Wars © 2012 Lucasfilm Ltd
Star Wars © 2012 Lucasfilm Ltd. & ™. All 0 3 No.55 $ 8 . 9 5 A pril 201 2 1 82658 27762 8 LICENSED COMICS ISSUE: THE RETRO COMICS EXPERIENCE! and an interview with Carol Zone” wife Serling, creator of Rod “Twilight Serling STAR WARS Indiana Jones • Edgar Rice Burroughs—Beyond Tarzan at Dark Horse Comics! • Man from Atlantis Volume 1, Number 55 April 2012 Celebrating the Best The Retro Comics Experience! Comics of the '70s, '80s, '90s, and Beyond! EDITOR Michael Eury PUBLISHER John Morrow DESIGNER Rich J. Fowlks COVER ARTIST Brian Koschack COVER COLORIST Dan Jackson COVER DESIGNER Michael Kronenberg PROOFREADER Rob Smentek SPECIAL THANKS Scott Allie Karl Kesel Kevin J. Anderson Dave Land BACK SEAT DRIVER: Editorial by Michael Eury . .2 Michael Aushenker Rick Leonardi FLASHBACK: Edgar Rice Burroughs’ Weird Worlds . .3 Jeremy Barlow Lucasfilm Mike Baron Pop Mahn Wolfman, Kaluta, and Weiss recall their DC Comics journeys to Barsoom, Venus, and beyond Mike W. Barr Ron Marz BEYOND CAPES: John Carter Lives! . .11 Haden Blackman Bob McLeod Eliot R. Brown David Michelinie Monthly adventures on Barsoom in Marvel Comics’ John Carter, Warlord of Mars Jarrod and Allen Milgrom BACKSTAGE PASS: Who Shot Down Man from Atlantis? . .17 Jamie Buttery John Jackson Miller John Byrne John Nadeau The cancellation of this Marvel TV adaptation might not have been a result of low sales Paul Chadwick Jerry Ordway INTERVIEW: The “Twilight” Saga: A Conversation with Carol Serling . .25 Brian Ching John Ostrander Chris Claremont Steve Perry The widow of Twilight Zone mastermind and Planet of the Apes screenwriter Rod Serling Bob Cooper Thomas Powers shares her fond memories Dark Horse Comics Ron Randall Daniel DeAngelo Mike Richardson FLASHBACK: Star Wars at Dark Horse Comics: The Force is Strong within Them! . -
The Blackest Night for Aristotle's Account of Emotions
PART ON E WILL AND EMOTION: THE PHILOSOPHICAL SPECTRUM COPYRIGHTED MATERIAL CCH001.inddH001.indd 5 33/14/11/14/11 88:42:24:42:24 AAMM CCH001.inddH001.indd 6 33/14/11/14/11 88:42:24:42:24 AAMM THE BLACKEST NIGHT FOR ARISTOTLE’S ACCOUNT OF EMOTIONS Jason Southworth Since 2005’s Green Lantern: Rebirth, writer Geoff Johns has told a series of stories leading up to Blackest Night, introducing to the DC Universe a series of six previously unknown color corps in addition to the classic green: red (rage), orange (avarice), yellow (fear), blue (hope), indigo (compassion), and violet (love).1 The members of each corps see the emotion they represent as the most important one and believe that acting out of that emotion is the only appropriate way to behave. The Green Lanterns, on the other hand, represent the triumph of willpower or reason over emotion and seek to overcome and stifl e these emotional states.2 The confl ict between the various lantern corps, while provid- ing an interesting series of stories, also sets the stage for thinking about one of the most long-standing questions in ethics: What role should emotion play in moral reasoning? 7 CCH001.inddH001.indd 7 33/14/11/14/11 88:42:24:42:24 AAMM 8 JASON SOUTHWORTH Color-Coded Morality With the exception of the Indigo Lanterns (who don’t speak a language that can be translated by a Green Lantern power ring, much less your average comics reader), the representa- tives of the new color corps all make the case that acting out their sections of the emotional spectrum is the only way to achieve justice.