The Resurrection File (Chambers of Justice Series #1) by Craig Parshall
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
COMIC BOOKS AS AMERICAN PROPAGANDA DURING WORLD WAR II a Master's Thesis Presented to College of Arts & Sciences Departmen
COMIC BOOKS AS AMERICAN PROPAGANDA DURING WORLD WAR II A Master’s Thesis Presented To College of Arts & Sciences Department of Communications and Humanities _______________________________ In Partial Fulfillment of the Requirements for the Master of Science Degree _______________________________ SUNY Polytechnic Institute By David Dellecese May 2018 © 2018 David Dellecese Approval Page SUNY Polytechnic Institute DEPARTMENT OF COMMUNICATIONS AND HUMANITIES INFORMATION DESIGN AND TECHNOLOGY MS PROGRAM Approved and recommended for acceptance as a thesis in partial fulfillment of the requirements for the degree of Master of Science in Information Design + Technology. _________________________ DATE ________________________________________ Kathryn Stam Thesis Advisor ________________________________________ Ryan Lizardi Second Reader ________________________________________ Russell Kahn Instructor 1 ABSTRACT American comic books were a relatively, but quite popular form of media during the years of World War II. Amid a limited media landscape that otherwise consisted of radio, film, newspaper, and magazines, comics served as a useful tool in engaging readers of all ages to get behind the war effort. The aims of this research was to examine a sampling of messages put forth by comic book publishers before and after American involvement in World War II in the form of fictional comic book stories. In this research, it is found that comic book storytelling/messaging reflected a theme of American isolation prior to U.S. involvement in the war, but changed its tone to become a strong proponent for American involvement post-the bombing of Pearl Harbor. This came in numerous forms, from vilification of America’s enemies in the stories of super heroics, the use of scrap, rubber, paper, or bond drives back on the homefront to provide resources on the frontlines, to a general sense of patriotism. -
From Stories to Worlds: the Continuity of Marvel Superheroes from Comics to Film
From Stories to Worlds: The Continuity of Marvel Superheroes from Comics to Film David Sweeney, June 2013 Before its 2011 re-launch as the ‘New 52’ DC Comics’ advertising campaigns regularly promoted their inter-linked superhero line as ‘The Original Universe’. As DC did indeed publish the first ‘superteam’, the JSA (in All-Star Comics 3, Winter 1940), this is technically correct; however, the concept of a shared fictional world with an on-going fictive history, what comic book fans and professionals alike refer to as ‘continuity’, was in fact pioneered by DC’s main competitor, Marvel Comics, particularly in the 1960s. In this essay I will discuss, drawing on theories and concepts from the narratologists David A. Brewer and Lubomir Dolezel and with particular focus on the comic book writer Roy Thomas, how Marvel Comics developed this narrative strategy and how it has recently been transplanted to cinema through the range of superhero films produced by Marvel Studios. Superhero Origins Like DC, Marvel emerged from an earlier publishing company, Timely Publications, which had produced its own range of superheroes during the so-called ‘Golden Age of superhero comics, ushered in by the debut of Superman in Action Comics 1 in June, 1938) and lasting until the end of World War II, including Namor the Submariner, Captain America, and The Human Torch. Superhero comics declined sharply in popularity after the War and none of these characters survived the wave of cancellations that hit the genre; however, they were not out of print for long. Although -
Golden Ag E W Estern Comics Golden
Golden Age Western Comics Western Golden Age he Wild West has been romanticized in American culture ever since the dime novels capturing the exploits of Jesse James were produced in the years directly Tfollowing the Civil War, and the Western genre continues to enthrall audiences to this day. The stories of frontiersmen, outlaws, cowboys, Indians, prospectors, and marksmen surviving the harshest of environments through wit, skill, and determination, or meeting their end by bullet, noose, or exposure speak to what it means to be American and play an essential part in how we define ourselves as a nation. These mythic stories have been captured and created in almost every popular mass medium of the past century and beyond from tabloids to novels, radio plays, television shows, and movies. Now, powerHouse Books is pleased to present a collection of these uniquely American stories as told through a uniquely American medium…the comic book! Golden Age Western Comics lovingly reproduces in full-color, restored, complete scans of over 40 of the best Western stories created between the years 1948 and 1956. These lavishly illustrated stories of guts and glory, violence and valor, intrigue, romance, and betrayal, on the range and in lawless frontier towns, were created by some of the best artists and writers of the era. The action flies off the page in stories such as “The Tragedy at Massacre Pass,” and “Breakout in Rondo Prison,” from the greatest earliest publishing houses, including: Fawcett, Charlton, Avon, Youthful, and more. Golden Age Western -
Invaders Sample.Pdf
Mark McDermott 4937 Stanley Ave. Downers Grove, IL 60515 [email protected] These excerpts are intended as “writing samples” for the author of the articles presented. They are not intended for reuse or re-publication without the consent of the publisher or the copyright holder. ©2009 Robert G. Weiner. All rights reserved McFarland & Company, Inc., Publishers Box 611, Jefferson, North Carolina 28640 www.mcfarlandpub.com Mark McDermott 4937 Stanley Ave. Downers Grove, IL 60515 [email protected] The Invaders and the All-Star Squadron Roy Thomas Revisits the Golden Age Mark R. McDermott Introduction By the mid-1970’s, many fans of the “Golden Age” of comic books had grown up to become writers and ultimately editors for the comics publishers, sometimes setting the nar- rative histories for their favorite childhood characters themselves. Many of these fans-turned- pro produced comics series that attempted to recapture the Golden Age’s excitement, patriotic fervor and whiz-bang attitude. The most successful of these titles were produced by Roy Thomas, who fashioned a coherent history of costumed heroes during World War II, and rec- onciled the wildly inconsistent stories of the 1940’s with tightly patrolled continuity initiated with the “Silver Age” of the 1960’s. With The Invaders (1975-1979), Thomas focused on the hitherto unrevealed wartime exploits of Marvel Comics’ early mainstays Captain America, the Human Torch, and Prince Namor, the Sub-Mariner. In 1980, he moved to DC Comics and launched All-Star Squadron, which juggled the histories of the Justice Society of Amer- ica and nearly a hundred secondary characters. -
The Eternal Green Lantern
Roy Tho mas ’ Mean & Green Comics Fan zine GREEN GROW THE LANTTEERRNNSS $7.95 NODELL, KANE, In the USA & THE CREATION OF A No.102 LEGEND— TIMES TWO! June 2011 06 1 82658 27763 5 Green Lantern art TM & ©2011 DC Comics Vol. 3, No. 102 / June 2011 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 TH Michael T. Gilbert NOW WI Editorial Honor Roll 16 PAGES Jerry G. Bails (founder) R! Ronn Foss, Biljo White OF COLO Mike Friedrich Proofreader Rob Smentek Cover Artists Mart Nodell, Gil Kane, & Terry Austin Contents Cover Colorists Writer/Editorial – “Caught In The Creative Act” . 2 Mart Nodell & Tom Ziuko The Eternal Green Lantern . 3 With Special Thanks to: Will Murray’s overview of the Emerald Gladiators of two comic book Ages. Heidi Amash Bob Hughes Henry Andrews Sean Howe “Marty Created ‘The Green Lantern’!” . 15 Finn Andreen Betty Tokar Jankovich Ger Apeldoorn Robert Kennedy Mart & Carrie Nodell interviewed about GL and other wonders by Shel Dorf. Terry Austin David Anthony Kraft Bob Bailey R. Gary Land “Life’s Not Over Yet!” . 31 Mike W. Barr Jim Ludwig Jim Beard Monroe Mayer Jack Mendelsohn on his comics and animation work (part 2), with Jim Amash. John Benson Jack Mendelsohn Jared Bond Raymond Miller Bob & Betty—& Archie & Betty . 44 Dominic Bongo Ken Moldoff An interview with the woman who probably inspired Betty Cooper—conducted by Shaun Clancy. Wendy Gaines Bucci Shelly Moldoff Mike Burkey Lynn Montana Glen Cadigan Brian K. -
Graphic Novels & Trade Paperbacks
AUGUST 2008 GRAPHIC NOVELS & TRADE PAPERBACKS ITEM CODE TITLE PRICE AUG053316 1 WORLD MANGA VOL 1 TP £2.99 AUG053317 1 WORLD MANGA VOL 2 TP £2.99 SEP068078 100 BULLETS TP VOL 01 FIRST SHOT LAST CALL £6.50 FEB078229 100 BULLETS TP VOL 02 SPLIT SECOND CHANCE £9.99 MAR058150 100 BULLETS TP VOL 03 HANG UP ON THE HANG LOW £6.50 MAY058170 100 BULLETS TP VOL 04 FOREGONE TOMORROW £11.99 APR058054 100 BULLETS TP VOL 05 THE COUNTERFIFTH DETECTIVE (MR) £8.50 APR068251 100 BULLETS TP VOL 06 SIX FEET UNDER THE GUN £9.99 DEC048354 100 BULLETS TP VOL 07 SAMURAI £8.50 MAY050289 100 BULLETS TP VOL 08 THE HARD WAY (MR) £9.99 JAN060374 100 BULLETS TP VOL 09 STRYCHNINE LIVES (MR) £9.99 SEP060306 100 BULLETS TP VOL 10 DECAYED (MR) £9.99 MAY070233 100 BULLETS TP VOL 11 ONCE UPON A CRIME (MR) £8.50 STAR10512 100 BULLETS VOL 1 FIRST SHOT LAST CALL TP £6.50 JAN040032 100 PAINTINGS HC £9.99 JAN050367 100 PERCENT TP (MR) £16.99 DEC040302 1000 FACES TP VOL 01 (MR) £9.99 MAR063447 110 PER CENT GN £8.50 AUG052969 11TH CAT GN VOL 01 £7.50 NOV052978 11TH CAT GN VOL 02 £7.50 MAY063195 11TH CAT GN VOL 03 (RES) £7.50 AUG063347 11TH CAT GN VOL 04 £7.50 DEC060018 13TH SON WORSE THING WAITING TP £8.50 STAR19938 21 DOWN TP £12.99 JUN073692 24 NIGHTFALL TP £12.99 MAY061717 24 SEVEN GN VOL 01 £16.99 JUN071889 24 SEVEN GN VOL 02 £12.99 JAN073629 28 DAYS LATER THE AFTERMATH GN £11.99 JUN053035 30 DAYS OF NIGHT BLOODSUCKERS TALES HC VOL 01 (MR) £32.99 DEC042684 30 DAYS OF NIGHT HC (MR) £23.50 SEP042761 30 DAYS OF NIGHT RETURN TO BARROW HC (MR) £26.99 FEB073552 30 DAYS OF NIGHT -
File02.Introduction.Qxp Layout 1
Rebooting the Academy: Why Universities Need to Finally Start Taking Comic Books Seriously Gian Pagnucci and Alex Romagnoli Has the age of the comic book dawned at last? Comic book su- perheroes dominate movie theatres across the land. The Walking Dead scares millions on television, while others tune in to Gotham. Clothing stores are filled with t-shirts bearing Superman’s “S” and the Bat symbol. And bookstores now hold large graphic novel sec- tions, while comic book style novels like Captain Underpants (Pilkey, 1997) and The Diary of a Wimpy Kid (Kinney, 2007) are best sellers. Yet for all the excitement that comic books and comic book based ideas have generated in popular culture, there still remains skepti- cism about the scholarly value of studying comic books and graphic novels. If a person searches hard enough, it is possible to find a course about comic books here or there or a graphic novel on a few required course reading lists. A few departments have comics studies scholars laboring away in them, and there are more books and arti- cles about comic books and graphic novels now being published by academic presses. Yet job ads asking for knowledge of the comics studies field are rare, and the most prestigious academic journals contain few articles that discuss comic books and graphic novels. This means comics studies scholars are forever having to defend the genre they find so compelling. Every comics studies scholar knows how frustrating it is to always have to face the eyebrow rais- ing, snickering, questioning, and “Ohhh, you’re studying those things” comments from colleagues, administrators, and students. -
Contemporary American Comic Book Collection, Ca
http://oac.cdlib.org/findaid/ark:/13030/ft567nb3sc No online items Guide to the Contemporary American Comic Book Collection, ca. 1962 - ca. 1994PN6726 .C66 1962 Processed by Peter Whidden Department of Special Collections and University Archives 2002 ; revised 2020 Green Library 557 Escondido Mall Stanford 94305-6064 [email protected] URL: http://library.stanford.edu/spc PN6726 .C66 19621413 1 Language of Material: English Contributing Institution: Department of Special Collections and University Archives Title: Contemporary American Comic Book Collection Identifier/Call Number: PN6726 .C66 1962 Identifier/Call Number: 1413 Physical Description: 41 box(es)41 comic book boxes ; 28 x 38 cm.(ca. 6000 items) Date (inclusive): circa 1962 - circa 1994 Abstract: The collection consists of a selection of nearly 6000 issues from approximately 750 titles arranged into three basic components by publisher: DC Comics (268 titles); Marvel Comics (224 titles); and other publishers (280 titles from 72 publishers). Publication dates are principally from the early 1960's to the mid-1990's. Collection Scope and Content Summary The collection consists of a selection of nearly 6000 issues from approximately 750 titles arranged into three basic elements: DC Comics, Marvel Comics, and various other publishers. Publication dates are principally from the mid-1960's to the early 1990's. The first part covers DC titles (268 titles), the second part covers Marvel titles (224 titles), and the third part covers miscellaneous titles (280 titles, under 72 publishers). Parts one and two (DC and Marvel boxes) of the list are marked with box numbers. The contents of boxes listed in these parts matches the sequence of titles on the lists. -
Marvel Comics
Marvel comics Continue Company that publishes comics and related media This article is about the comic book company using this name from 1961. For the previous comic book series, see Marvel Mystery Comics. Marvel ComicsParent companyMarvel Entertainment, LLCStatusActiveFounded1939; 81 years ago (1939) (as Timely Comics)1947; 73 years ago (1947) (as Magazine Management)1961; 59 years ago (1961) (under the name Marvel Comics)FounderMartin GoodmanCountry of originUnited StatesHeadquarters location135 W. 50th Street, New York CityDistributionDiamond Comic DistributorsHachette Client Services[1]Key peopleC. B. Cebulski (EIC)John Nee (Editor)Stan Lee (Former EIC, Editor, Writer)Publication typesComics/See List of Marvel Comics publicationsFiction genres Superhero Science Fiction Adventure Imprintsimprint listOfficial websitewww.marvel.com Marvel Comics is the brand name and primary imprint of Marvel Worldwide Inc., formerly Marvel Publishing, Inc. and Marvel Comics Group, a publisher of American comic books. In 2009, The Walt Disney Company acquired Marvel Entertainment, the parent company of Marvel Worldwide. Marvel was launched in 1939 by Martin Goodman under a number of companies and footprints, but now known as Timely Comics,[2] and in 1951 had generally become known as Atlas Comics. The Marvel era began in 1961, the year the company launched The Fantastic Four and other superhero titles created by Stan Lee, Jack Kirby, Steve Ditko and many others. The Marvel brand, which had been used over the years, has been solidified as the company's main brand. Marvel's characters include well-known superheroes such as Spider-Man, Iron Man, Hulk, Thor, Captain America, Ant-Man, the Wasp, Black Widow, Wolverine, Captain Marvel, Black Panther, Doctor Strange, Ghost Rider, Blade, Daredevil, the Punisher and Deadpool. -
39155 369E8e52840f888dd93c
Age of Ultron (AU) (crossover Amazing Spider-Man Annual, The. Anole 698 series) 698 See Spider-Man, Amazing Spider- Ant-Man (1st) 225, 226, 229, 231, Index Agent X 679 Man Annual, The 235, 236–37, 240–41, 300, 305, Agents of S. H. I. E. L. D. (TV Amazing Spider-Man Special, The. 317, 325, 485, 501–03, 628, 681. Italic numerals refer to pages of the series) 699. See also Captain See Spider-Man, Amazing Spider- See also Giant-Man; Goliath (1st); TASCHEN book 75 Years of Marvel America, Captain America: Man Special, The Henry (Hank) Pym; Wasp, The which include images. The Winter Soldier (movie); Amazing Spider-Man, The (book). See (1st); Yellowjacket (1st) S. H. I. E. L. D. Spider-Man, Amazing Spider- Ant-Man (2nd) 581, 591, 628, 653. A Aggamon 281 Man, The (book) See also Scott Lang “Amazing Case of the Human Torch, Aja, David 685, 697 “Amazing Spider-Man, The” (comic Ant-Man (3rd) 691 The” (short story) 55 Alascia, Vince 29, 63, 68, 100 strip). See Spider-Man, “Amazing Antonioni, Michelangelo 468 A.I.M. (Advanced Idea Alcala, Alfredo 574 Spider-Man, The” (comic strip) Apache Kid 120. See also Western Mechanics) 381 Alderman, Jack 73 Amazing Spider-Man, The (movie). Gunfighters (vols. 1–2) Aaron Stack 596. See also Machine Aldrin, Edwin (“Buzz”) 453 See Spider-Man, Amazing Spider- Apache Kid, The 106 Man Alex Summers 475. See also Havok Man, The (movie) Apocalypse 654 Aaron, Jason 691, 694 Alf 649 Amazing Spider-Man, The (TV Apollo 11 453 ABC (American Broadcasting Alias (live TV version) 699 series) (1977–79). -
COF5-68V12 N6.Qxd 5/16/2002 1:03 PM Page 5
COF5-68v12 n6.qxd 5/16/2002 1:03 PM Page 5 Order PREVIEWS Form V12#6 For New Publications Scheduled to Ship in August, 2002 ORDER DEADLINE: JUNE 15, 2002 PLACE STORE STAMP HERE Name _______________________________ Address _____________________________ City _________________State ___________ Zip ___________ Phone# _______________ Signature (Required) __________________ Your signature indicates that you are authorized to order items that are designated as “Adult,” and you are at least 18 years old. PLEASE PRINT CLEARLY! QTY TITLE PRICE Please note that the toy items on this order form may not be available at every store. Shipping times and prices may vary. For items sold by assortment (marked with an "*"), retailers cannot guarantee receiving specific items. Ask your retailer for more information when you order. PAGE 21 PREVIEWS PUBLICATIONS ____________JUN02 0001 PRIMO FLYER VOL XII #8 ..................................................................................................SRP: PI = $ ____________ ____________JUN02 0002 PREVIEWS VOL XII #8 ..............................................................................................MSRP: $3.25 = $ ____________ ____________JUN02 0003 PREVIEWS VOL XII CONSUMER ORDER FORM #8 ............................................................SRP: PI = $ ____________ ____________JUN02 0005 PREVIEWS ADULT VOL XII #8 ............................................................................................SRP: PI = $ ____________ PAGE 27 PREMIER PUBLISHERS DARK HORSE __________JUN02 0014 DARK -
Comics Universes As Fiction Networks Jason Craft, M.A., the University of Texas at Austin 2004 PCA/ACA Conference, San Antonio, TX
Comics Universes as Fiction Networks Jason Craft, M.A., The University of Texas at Austin 2004 PCA/ACA Conference, San Antonio, TX Today I’d like to talk about persistent, interconnected, large-scale, corporate fiction systems. That’s, without a doubt, a complex and abstract term, so let me ground it: Star Wars, a fiction over 25 years old and instantiated in multiple media, is such a system. EverQuest, a massively multiplayer game instantiated on shards and clients around the world, is another. These forms are significantly different from one another, but, without being too totalizing, we can identify some common characteristics: both are constituted by artifacts in aggregate, but both exceed or subsume the linear narratives or artifacts that constitute them. Both, taken at a macroscopic level, are of a shape and scale – both material and diegetic – that it is difficult to describe their boundaries on either level. Both are interacted with by markedly coherent affinity groups, fans who engage actively with the fictional spaces and, increasingly, play a participatory role in their ongoing unfolding, not in a small part because of Internet technologies that, in many cases, are necessary for the fiction to even exist. Both are produced by groups and controlled as intellectual property by private organizations but, in their dispersal and open-endedness, must negotiate the ongoing pressures of consumer response in the market, response which, thanks to Internet technologies of communication, are increasingly amplified, directed, and influential. Both reflect all these characteristics, not just on the level of paratextual communication or cultural context but in the sphere of the fiction itself.