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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 -
Complexity in the Comic and Graphic Novel Medium: Inquiry Through Bestselling Batman Stories
Complexity in the Comic and Graphic Novel Medium: Inquiry Through Bestselling Batman Stories PAUL A. CRUTCHER DAPTATIONS OF GRAPHIC NOVELS AND COMICS FOR MAJOR MOTION pictures, TV programs, and video games in just the last five Ayears are certainly compelling, and include the X-Men, Wol- verine, Hulk, Punisher, Iron Man, Spiderman, Batman, Superman, Watchmen, 300, 30 Days of Night, Wanted, The Surrogates, Kick-Ass, The Losers, Scott Pilgrim vs. the World, and more. Nevertheless, how many of the people consuming those products would visit a comic book shop, understand comics and graphic novels as sophisticated, see them as valid and significant for serious criticism and scholarship, or prefer or appreciate the medium over these film, TV, and game adaptations? Similarly, in what ways is the medium complex according to its ad- vocates, and in what ways do we see that complexity in Batman graphic novels? Recent and seminal work done to validate the comics and graphic novel medium includes Rocco Versaci’s This Book Contains Graphic Language, Scott McCloud’s Understanding Comics, and Douglas Wolk’s Reading Comics. Arguments from these and other scholars and writers suggest that significant graphic novels about the Batman, one of the most popular and iconic characters ever produced—including Frank Miller, Klaus Janson, and Lynn Varley’s Dark Knight Returns, Grant Morrison and Dave McKean’s Arkham Asylum, and Alan Moore and Brian Bolland’s Killing Joke—can provide unique complexity not found in prose-based novels and traditional films. The Journal of Popular Culture, Vol. 44, No. 1, 2011 r 2011, Wiley Periodicals, Inc. -
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. -
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. -
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. -
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. -
Digital Comics: Panel Structure in a Digital Environment
Digital Comics: Panel Structure in a Digital Environment A Thesis Submitted to the Faculty of Drexel University by Nathaniel Shaw in partial fulfillment of the requirements for the degree of Masters of Science in Digital Media May 2011 © Copyright 2011 Nathaniel Shaw. All Rights Reserved i Acknowledgements I would like to thank my thesis advisor, Troy Finamore, for all of the constructive criticism and support throughout the process of this thesis project. Without his suggestions and technical help the project would not have been possible. I would also like to thank the committee, Matt Kaufhold and Jervis Thompson, for their contributions, comments, and suggestions. If Matt hadn’t told me to make sure to have a beginning, middle, and end to my story I wouldn’t have thought to do the opposite. Special recognition goes to my sister, Nyssa Shaw, for her help when I was struggling with the story. Additionally, I would like to thank my fellow graduate students Dan Bodenstein, Bob Piscopo, Simon Littlejohn, and Greg Ruane for the support and sense of community. This thesis and Drexel Digital Media wouldn’t be the same without them. Thanks also goes to past Drexel students Evan Boucher, Dave Lally, Nick Avallone, Christian Hahn, Jessie Amadio, Justin Wilcott, and Tom Bergamini for their help throughout my education here at Drexel. I learned so much from each of them. Finally, I would like to thank the Drexel Digital Media faculty that helped me along the way. Dave Mauriello for his enthusiasm for teaching and dedication to the Digital Media program. Ted Artz for his interest in my thesis and creative input on other projects. -
Alter Ego #78 Trial Cover
TwoMorrows Publishing. Celebrating The Art & History Of Comics. SAVE 1 NOW ALL WHE5% O N YO BOOKS, MAGS RDE U & DVD s ARE ONL R 15% OFF INE! COVER PRICE EVERY DAY AT www.twomorrows.com! PLUS: New Lower Shipping Rates . s r Online! e n w o e Two Ways To Order: v i t c e • Save us processing costs by ordering ONLINE p s e r at www.twomorrows.com and you get r i e 15% OFF* the cover prices listed here, plus h t 1 exact weight-based postage (the more you 1 0 2 order, the more you save on shipping— © especially overseas customers)! & M T OR: s r e t • Order by MAIL, PHONE, FAX, or E-MAIL c a r at the full prices listed here, and add $1 per a h c l magazine or DVD and $2 per book in the US l A for Media Mail shipping. OUTSIDE THE US , PLEASE CALL, E-MAIL, OR ORDER ONLINE TO CALCULATE YOUR EXACT POSTAGE! *15% Discount does not apply to Mail Orders, Subscriptions, Bundles, Limited Editions, Digital Editions, or items purchased at conventions. We reserve the right to cancel this offer at any time—but we haven’t yet, and it’s been offered, like, forever... AL SEE PAGE 2 DIGITIITONS ED E FOR DETAILS AVAILABL 2011-2012 Catalog To get periodic e-mail updates of what’s new from TwoMorrows Publishing, sign up for our mailing list! ORDER AT: www.twomorrows.com http://groups.yahoo.com/group/twomorrows TwoMorrows Publishing • 10407 Bedfordtown Drive • Raleigh, NC 27614 • 919-449-0344 • FAX: 919-449-0327 • e-mail: [email protected] TwoMorrows Publishing is a division of TwoMorrows, Inc. -
(Mr) 3,60 € Aug18 0015 Citize
Συνδρομές και Προπαραγγελίες Comics Αύγουστος 2018 (για Οκτώβριο- Nοέμβριο 2018) Μέχρι τις 17 Αυγούστο, στείλτε μας email στο [email protected] με θέμα "Προπαραγγελίες Comics Αύγουστος 2018": Ονοματεπώνυμο Username Διεύθυνση, Πόλη, ΤΚ Κινήτο τηλέφωνο Ποσότητα - Κωδικό - Όνομα Προϊόντος IMAGE COMICS AUG18 0013 BLACKBIRD #1 CVR A BARTEL 3,60 € AUG18 0014 BLACKBIRD #1 CVR B STAPLES (MR) 3,60 € AUG18 0015 CITIZEN JACK TP (APR160796) (MR) 13,49 € AUG18 0016 MOTOR CRUSH TP VOL 01 (MAR170820) 8,49 € AUG18 0017 MOTOR CRUSH TP VOL 02 (MAR180718) 15,49 € AUG18 0018 DEAD RABBIT #1 CVR A MCCREA (MR) 3,60 € AUG18 0020 INFINITE HORIZON TP (FEB120448) 16,49 € AUG18 0021 LAST CHRISTMAS HC (SEP130533) 22,49 € AUG18 0022 MYTHIC TP VOL 01 (MAR160637) (MR) 15,49 € AUG18 0023 ERRAND BOYS #1 (OF 5) CVR A KOUTSIS 3,60 € AUG18 0024 ERRAND BOYS #1 (OF 5) CVR B LARSEN 3,60 € AUG18 0025 POPGUN GN VOL 01 (NEW PTG) (SEP071958) 26,99 € AUG18 0026 POPGUN GN VOL 02 (MAY082176) 26,99 € AUG18 0027 POPGUN GN VOL 03 (JAN092368) 26,99 € AUG18 0028 POPGUN GN VOL 04 (DEC090379) 26,99 € AUG18 0029 EXORSISTERS #1 CVR A LAGACE 3,60 € AUG18 0030 EXORSISTERS #1 CVR B GUERRA 3,60 € AUG18 0033 DANGER CLUB TP VOL 01 (SEP120436) 8,49 € AUG18 0034 DANGER CLUB TP VOL 02 REBIRTH (APR150581) 8,49 € AUG18 0035 PLUTONA TP (MAR160642) 15,49 € AUG18 0036 INFINITE DARK #1 3,60 € AUG18 0037 HADRIANS WALL TP (JUN170665) (MR) 17,99 € AUG18 0038 WARFRAME TP VOL 01 (O/A) 17,99 € AUG18 0039 JOOK JOINT #1 (OF 5) CVR A MARTINEZ (MR) 3,60 € AUG18 0040 JOOK JOINT #1 (OF 5) CVR B HAWTHORNE (MR) 3,60 -
Západočeská Univerzita V Plzni Fakulta Pedagogická
Západočeská univerzita v Plzni Fakulta pedagogická Bakalářská práce VZESTUP AMERICKÉHO KOMIKSU DO POZICE SERIÓZNÍHO UMĚNÍ Jiří Linda Plzeň 2012 University of West Bohemia Faculty of Education Undergraduate Thesis THE RISE OF THE AMERICAN COMIC INTO THE ROLE OF SERIOUS ART Jiří Linda Plzeň 2012 Tato stránka bude ve svázané práci Váš původní formulář Zadáni bak. práce (k vyzvednutí u sekretářky KAN) Prohlašuji, že jsem práci vypracoval/a samostatně s použitím uvedené literatury a zdrojů informací. V Plzni dne 19. června 2012 ……………………………. Jiří Linda ACKNOWLEDGMENTS I would like to thank to my supervisor Brad Vice, Ph.D., for his help, opinions and suggestions. My thanks also belong to my loved ones for their support and patience. ABSTRACT Linda, Jiří. University of West Bohemia. May, 2012. The Rise of the American Comic into the Role of Serious Art. Supervisor: Brad Vice, Ph.D. The object of this undergraduate thesis is to map the development of sequential art, comics, in the form of respectable art form influencing contemporary other artistic areas. Modern comics were developed between the World Wars primarily in the United States of America and therefore became a typical part of American culture. The thesis is divided into three major parts. The first part called Sequential Art as a Medium discusses in brief the history of sequential art, which dates back to ancient world. The chapter continues with two sections analyzing the comic medium from the theoretical point of view. The second part inquires the origin of the comic book industry, its cultural environment, and consequently the birth of modern comic book. -
Magazines V17N9.Qxd
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