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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. -
Previews Plus #1198
READ ABOUT THESE ITEMS AND MORE AT PREVIEWSworld.com When a new item’s so hot it can’t wait to be solicited in the next issue of PREVIEWS, you’ll find it here in PREVIEWS Plus! Here’s your last chance to order some of the hottest comics, toys and merchandise before they come to your comic shop! Order these items from your retailer by MONDAY, SEPTEMBER 28 .com HALO 5: GUARDIANS SERIES 2 ACTION FIGURES From McFarlane Toys. With the next epic chapter in the Halo video game saga world about to begin, the Halo 5: Guardians Series 2 action figures will reinforce the first wave of troops with an incredible cast of brand new figures! The series will include the charismatic Spartan Buck from Spartan Locke’s Fireteam Osiris, as well as excit- ing custom colored Spartans from the Halo 5: Guardians multiplayer! Collect Spar- ASTERIX AND THE MISSING SCROLL HC tan Buck (with new Hydra rapid fire missile launcher & Magnum handgun), Spar- (W) Jean-Yves Ferri (A/CA) Didier Conrad tan Hermes (with Rocket Launcher and Boltshot energy pistol), Spartan Helljumper From Orion. You’ll have to wait until October to discover Asterix and the Missing Scroll, the PREVIEWS (with Energy Sword & SMG) and Spartan Athlon (with Hydra rapid fire missile 36th album of the adventures of Asterix. In the meantime, why not look through all your old launcher & Boltshot energy pistol). Plus, each Halo 5: Guardians action figure come albums and make a list of all the regions our gallant warriors have already visited? Because with a free Supply “REQ Pack” code to unlock in-game content which contains a it’s official: for this new adventure, Asterix and Obelix will stay in Gaul, as the tradition of variety of requisitions (REQs) in the form of unlockable weapons and armors, skins, Asterix albums dictates. -
ROY THOMAS Chapter Four
Captain Marvel Jr. TM & © DC Comics DC © & TM Jr. Marvel Captain Introduction by ROY THOMAS Chapter Four Little Boy Blue Ed Herron had come to Fawcett with a successful track record of writing Explosive is the best way to describe this iconic, colorful cover (on opposite page) by and creating comic book characters that had gone on to greater popularity, Mac Raboy, whose renditions of a teen-age super-hero with a realistic physique was noth- including work on the earliest stories of Timely’s colorful Captain America— ing less than perfect. Captain Marvel Jr. #4, (Feb. 19, 1943). Inset bottom is Raboy’s first and his kid sidekick Bucky. It was during the fall of 1941 that Herron came cover for Fawcett and the first of the CMJr origin trilogy, Master Comics #21 (Dec. 1941). Below up with the idea of a new addition to the Fawcett family. With Captain is a vignette derived from Raboy’s cover art for Captain Marvel Jr. #26 (Jan. 1, 1945). Marvel sales increasing dramatically since his debut in February 1940, Fawcett management figured a teenage version of the “Big Red Cheese” would only increase their profits. Herron liked Raboy’s art very much, and wanted a more illustrative style for the new addition, as opposed to the C. C. Beck or Pete Costanza simplified approach on Captain Marvel. The new boy-hero was ably dubbed Captain Marvel Jr., and it was Mac Raboy who was given the job of visualizing him for the very first time. Jr.’s basic attire was blue, with a red cape. -
En El Cómic Nadie Puede Oír Tus Gritos: a Propósito De Las Adaptaciones Del Cine Al Cómic1
En el cómic nadie puede oír tus gritos: a propósito de las adaptaciones del cine al cómic 25 EN EL CÓMIC NADIE PUEDE OÍR TUS GRITOS: A PROPÓSITO DE LAS ADAPTACIONES DEL CINE AL CÓMIC1 Eduard BAILE LÓPEZ Dept. de Filologia Catalana-Aula de Còmic (Universitat d’Alacant) RESUMEN En este artículo se propone un acercamiento a las adaptaciones del cine al cómic, a menudo dejadas de lado en comparación con el fenómeno inverso, más habitual y de mayor impacto mediático. Ciertamente, el camino que lleva del celuloide a las viñetas suele estar plagado de obras olvidables, a menudo fruto tan solo de intereses publicitarios, pero pensamos que, bajo una premisa intermedial, se puede proponer un compendio breve de ejemplos merecedores de análisis. Así pues, queremos presentar una propuesta de diez ítems que se constituyen como una suerte de canon artístico expuesto al debate. Posteriormente, una de las obras escogidas, Alien: The Illustrated Story (1979), será objeto específico de reflexión como ítem modélico. Palabras clave: cómic, cine, adaptación, intermedialidad. 1. LOS CAMINOS QUE CONDUCEN A LAS ADAPTACIONES (EN CÓMIC) SON INESCRUTABLES La valoración y la conveniencia de adaptar una obra de un medio a otro ha sido, a menudo, un tema controvertido, bien por juicios apriorísticos de muy dudosa profundidad respecto a las cualidades supuestamente inherentes a cada arte (abandonemos ya el debate sobre la alta y la baja cultura) o bien, en un plano de crítica intelectual más honesta, por las dificultades de traslación si fuera la circunstancia de que uno de los ítems estuviera 1 La elaboración de este artículo se integra dentro del proyecto europeo Investigation on Comics and Graphic Novels in the Iberian Cultural Area (CA19119-iCOn-MICS) y de la red de docencia universitaria Coneixement del cànon artístic del còmic a les aules universitàries: possibilitats didàctiques. -
Karakter Lothar Dan Lobo Dalam Komik Amerika
Lingua XV (1) (2019) LINGUA Jurnal Bahasa, Sastra, dan Pengajarannya Terakreditasi Sinta 3 berdasarkan Keputusan Dirjend Penguatan Riset dan Pengembangan, Kemenristek Dikti No 21/E/KPT/2018 http://journal.unnes.ac.id/nju/index.php/lingua IDENTItaS dan REPRESEntaSI: KARAKTER LothaR dan LOBO dalam KomIK AMERIKA Tisna Prabasmoro Fakultas Ilmu Budaya Universitas Padjadjaran Jln. Raya Bandung-Sumedang KM 21 Jatinangor, Sumedang Jawa Barat, Indonesia Telepon (022)7796482 Faksimile (022) 7796482 Info Artikel Abstrak Sejarah artikel: Komik bergenre jawara adidaya dapat menjadi sumber inspirasi dan Diterima mendemonstrasikan penanda moral yang berfaedah bagi masyarakat. Mengabaikan September 2018 beberapa aspek identitas yang problematis akan menjauhkan usaha-usaha konstruktif Disetujui yang diperlukan. Sementara penggambaran karakter perempuan, kelompok minoritas, dan homoseksual terus meningkat dari waktu ke waktu dalam hal representasi dan Desember 2018 karakterisasi nonstereotip, kontrol baku karakter jawara adidaya tetap saja berkulit Dipublikasikan putih. Karakter dari kelompok minoritas yang muncul di era awal buku komik Januari 2019 Amerika diperankan sebagai penjahat, bukan jawara adidaya/pahlawan. Penelitian ini menceritakan dan mengkaji representasi rasial dan perusakan budaya jawara Kata Kunci: adidaya berkulit hitam bernama Lothar dan Lobo yang muncul pada komik-komik identitas; perdana jawara adidaya Amerika. Penelitian ini berargumen bahwa representasi representasi; berfungsi sebagai templat untuk menggambarkan bagaimana jawara adidaya yang jawara adidaya; tidak berwarna kulit putih terus menerus tidak dihargai dan dikendalikan terlepas Lothar; Lobo dari ingatan kolektif mereka yang dalam perspektif sejarahnya sangat kompleks. Bagian akhir penelitian ini menunjukkan bahwa Lothar dan Lobo secara retoris Keyword: mengalami perlakuan rasis agar tetap berterima dengan denyut konsep-konsep identity; supremasi. representation; superhero; Lothar; Lobo Abstract The superhero genre comics can be inspirational and demonstrate moral codes that benefit society. -
Legendary Pop Culture Innovator JIM STERANKO Joins Liquid Avatar to Create Digital Icons, New Format Comic Books with Augmented Reality, Nfts and More!
Legendary Pop Culture Innovator JIM STERANKO Joins Liquid Avatar to Create Digital Icons, New Format Comic Books with Augmented Reality, NFTs and more! From cinema to comic books, the visionary artist, designer, author, illusionist, and storyteller—who electrified the Marvel and DC universes—now brings his legendary touch to the digital world! Toronto, Canada / New York, NY – May 4, 2021 –Liquid Avatar Technologies Inc. (CSE: LQID / OTC:TRWRF / FRA:4T51) (“Liquid Avatar Technologies” or the “Company”,), a global blockchain, digital identity and fintech solutions company is teaming up with Jim Steranko, legendary artist, comic book creator, storyteller, illusionist, and contributor to films, including Steven Spielberg’s Raiders of the Lost Ark and Francis Ford Coppola’ s Bram Stoker’s Dracula. Steranko is bringing his iconic talents which have reached millions of fans in the Marvel and DC universes over the past 50 years, to Liquid Avatar. Steranko will create new, integrated, multi-media programs consisting of custom Liquid Avatar icons, Augmented Reality, alongside conventional media programs to the Liquid Avatar Mobile App. Steranko will also be creating a series of original digital artwork for Non-Fungible Tokens (NFTs) for the comic book, pop-culture, and blockchain community through Oasis Digital Studios. This Summer, Steranko is scheduled to focus his talents on the Liquid Avatar Marketplace, and will engage in a series of projects, including Augmented Reality, 3D Avatars, and NFTs. His massive international fanbase has been anxiously anticipating his next venture into narrative art, and Steranko promises to deliver compelling characters, dynamic imagery, and a format unique in comic book history. -
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. -
Captain America and the Struggle of the Superhero This Page Intentionally Left Blank Captain America and the Struggle of the Superhero Critical Essays
Captain America and the Struggle of the Superhero This page intentionally left blank Captain America and the Struggle of the Superhero Critical Essays Edited by ROBERT G. WEINER Foreword by JOHN SHELTON LAWRENCE Afterword by J.M. DEMATTEIS McFarland & Company, Inc., Publishers Jefferson, North Carolina, and London ALSO BY ROBERT G. WEINER Marvel Graphic Novels and Related Publications: An Annotated Guide to Comics, Prose Novels, Children’s Books, Articles, Criticism and Reference Works, 1965–2005 (McFarland, 2008) LIBRARY OF CONGRESS CATALOGUING-IN-PUBLICATION DATA Captain America and the struggle of the superhero : critical essays / edited by Robert G. Weiner ; foreword by John Shelton Lawrence ; afterword by J.M. DeMatteis. p. cm. Includes bibliographical references and index. ISBN 978-0-7864-3703-0 softcover : 50# alkaline paper ¡. America, Captain (Fictitious character) I. Weiner, Robert G., 1966– PN6728.C35C37 2009 741.5'973—dc22 2009000604 British Library cataloguing data are available ©2009 Robert G. Weiner. All rights reserved No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying or recording, or by any information storage and retrieval system, without permission in writing from the publisher. Cover images ©2009 Shutterstock Manufactured in the United States of America McFarland & Company, Inc., Publishers Box 6¡¡, Je›erson, North Carolina 28640 www.mcfarlandpub.com Dedicated to My parents (thanks for your love, and for putting up with me), and Larry and Vicki Weiner (thanks for your love, and I wish you all the happiness in the world). JLF, TAG, DW, SCD, “Lizzie” F, C Joyce M, and AH (thanks for your friend- ship, and for being there). -
Fantastic Four Volume 4: the End Is Fourever Free
FREE FANTASTIC FOUR VOLUME 4: THE END IS FOUREVER PDF Leonard Kirk,James Robinson | 144 pages | 09 Jul 2015 | Marvel Comics | 9780785197447 | English | New York, United States Fantastic Four, Volume 4: The End is Fourever by James Robinson Account Options Sign in. Top charts. New arrivals. Fantastic Four Vol. The internet-wrecking end of the Fantastic Four is here! Meanwhile, the mastermind behind everything unveils his ultimate plan With the villain's plans revealed, the invasion of Earth begins -using Fantastic Four Volume 4: The End is Fourever creatures from the "Franklinverse" as well as corrupted versions of the heroes from Heroes Reborn! Will the Fantastic Four have enough power to fight them on the streets of New York? Meanwhile, Sue, Namor and Jim Hammond travel to the Franklinverse to combat this threat at its source -but find something more terrifying than they expected! And how does all of this add up to Guest-starring the all-new Captain America, the Hulk, and Sleepwalker! Collecting: Fantastic Four Reviews Review Policy. Published on. Original pages. Best for. Web, Tablet. Content protection. Learn more. Learn More. Flag as inappropriate. It syncs automatically with your account and allows you to read online or offline wherever you are. Please follow the detailed Help center instructions to transfer the files to supported eReaders. Fantastic Four: The End Is Fourever #1 - Volume 4 (Issue) Goodreads helps you keep track of books you want to read. Want to Read saving…. Want to Read Currently Reading Read. Other editions. Enlarge cover. Fantastic Four Volume 4: The End is Fourever rating book. -
Club Add 2 Page Designoct07.Pub
H M. ADVS. HULK V. 1 collects #1-4, $7 H M. ADVS FF V. 7 SILVER SURFER collects #25-28, $7 H IRR. ANT-MAN V. 2 DIGEST collects #7-12,, $10 H POWERS DEF. HC V. 2 H ULT FF V. 9 SILVER SURFER collects #12-24, $30 collects #42-46, $14 H C RIMINAL V. 2 LAWLESS H ULTIMATE VISON TP collects #6-10, $15 collects #0-5, $15 H SPIDEY FAMILY UNTOLD TALES H UNCLE X-MEN EXTREMISTS collects Spidey Family $5 collects #487-491, $14 Cut (Original Graphic Novel) H AVENGERS BIZARRE ADVS H X-MEN MARAUDERS TP The latest addition to the Dark Horse horror line is this chilling OGN from writer and collects Marvel Advs. Avengers, $5 collects #200-204, $15 Mike Richardson (The Secret). 20-something Meagan Walters regains consciousness H H NEW X-MEN v5 and finds herself locked in an empty room of an old house. She's bleeding from the IRON MAN HULK back of her head, and has no memory of where the wound came from-she'd been at a collects Marvel Advs.. Hulk & Tony , $5 collects #37-43, $18 club with some friends . left angrily . was she abducted? H SPIDEY BLACK COSTUME H NEW EXCALIBUR V. 3 ETERNITY collects Back in Black $5 collects #16-24, $25 (on-going) H The End League H X-MEN 1ST CLASS TOMORROW NOVA V. 1 ANNIHILATION A thematic merging of The Lord of the Rings and Watchmen, The End League follows collects #1-8, $5 collects #1-7, $18 a cast of the last remaining supermen and women as they embark on a desperate and H SPIDEY POWER PACK H HEROES FOR HIRE V. -
List of American Comics Creators 1 List of American Comics Creators
List of American comics creators 1 List of American comics creators This is a list of American comics creators. Although comics have different formats, this list covers creators of comic books, graphic novels and comic strips, along with early innovators. The list presents authors with the United States as their country of origin, although they may have published or now be resident in other countries. For other countries, see List of comic creators. Comic strip creators • Adams, Scott, creator of Dilbert • Ahern, Gene, creator of Our Boarding House, Room and Board, The Squirrel Cage and The Nut Bros. • Andres, Charles, creator of CPU Wars • Berndt, Walter, creator of Smitty • Bishop, Wally, creator of Muggs and Skeeter • Byrnes, Gene, creator of Reg'lar Fellers • Caniff, Milton, creator of Terry and the Pirates and Steve Canyon • Capp, Al, creator of Li'l Abner • Crane, Roy, creator of Captain Easy and Wash Tubbs • Crespo, Jaime, creator of Life on the Edge of Hell • Davis, Jim, creator of Garfield • Defries, Graham Francis, co-creator of Queens Counsel • Fagan, Kevin, creator of Drabble • Falk, Lee, creator of The Phantom and Mandrake the Magician • Fincher, Charles, creator of The Illustrated Daily Scribble and Thadeus & Weez • Griffith, Bill, creator of Zippy • Groening, Matt, creator of Life in Hell • Guindon, Dick, creator of The Carp Chronicles and Guindon • Guisewite, Cathy, creator of Cathy • Hagy, Jessica, creator of Indexed • Hamlin, V. T., creator of Alley Oop • Herriman, George, creator of Krazy Kat • Hess, Sol, creator with -
Relationality and Masculinity in Superhero Narratives Kevin Lee Chiat Bachelor of Arts (Communication Studies) with Second Class Honours
i Being a Superhero is Amazing, Everyone Should Try It: Relationality and Masculinity in Superhero Narratives Kevin Lee Chiat Bachelor of Arts (Communication Studies) with Second Class Honours This thesis is presented for the degree of Doctor of Philosophy of The University of Western Australia School of Humanities 2021 ii THESIS DECLARATION I, Kevin Chiat, certify that: This thesis has been substantially accomplished during enrolment in this degree. This thesis does not contain material which has been submitted for the award of any other degree or diploma in my name, in any university or other tertiary institution. In the future, no part of this thesis will be used in a submission in my name, for any other degree or diploma in any university or other tertiary institution without the prior approval of The University of Western Australia and where applicable, any partner institution responsible for the joint-award of this degree. This thesis does not contain any material previously published or written by another person, except where due reference has been made in the text. This thesis does not violate or infringe any copyright, trademark, patent, or other rights whatsoever of any person. This thesis does not contain work that I have published, nor work under review for publication. Signature Date: 17/12/2020 ii iii ABSTRACT Since the development of the superhero genre in the late 1930s it has been a contentious area of cultural discourse, particularly concerning its depictions of gender politics. A major critique of the genre is that it simply represents an adolescent male power fantasy; and presents a world view that valorises masculinist individualism.