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LEAPING TALL BUILDINGS American Comics SETH KUSHNER Pictures
LEAPING TALL BUILDINGS LEAPING TALL BUILDINGS LEAPING TALL From the minds behind the acclaimed comics website Graphic NYC comes Leaping Tall Buildings, revealing the history of American comics through the stories of comics’ most important and influential creators—and tracing the medium’s journey all the way from its beginnings as junk culture for kids to its current status as legitimate literature and pop culture. Using interview-based essays, stunning portrait photography, and original art through various stages of development, this book delivers an in-depth, personal, behind-the-scenes account of the history of the American comic book. Subjects include: WILL EISNER (The Spirit, A Contract with God) STAN LEE (Marvel Comics) JULES FEIFFER (The Village Voice) Art SPIEGELMAN (Maus, In the Shadow of No Towers) American Comics Origins of The American Comics Origins of The JIM LEE (DC Comics Co-Publisher, Justice League) GRANT MORRISON (Supergods, All-Star Superman) NEIL GAIMAN (American Gods, Sandman) CHRIS WARE SETH KUSHNER IRVING CHRISTOPHER SETH KUSHNER IRVING CHRISTOPHER (Jimmy Corrigan, Acme Novelty Library) PAUL POPE (Batman: Year 100, Battling Boy) And many more, from the earliest cartoonists pictures pictures to the latest graphic novelists! words words This PDF is NOT the entire book LEAPING TALL BUILDINGS: The Origins of American Comics Photographs by Seth Kushner Text and interviews by Christopher Irving Published by To be released: May 2012 This PDF of Leaping Tall Buildings is only a preview and an uncorrected proof . Lifting -
Manga Book Club Handbook
MANGA BOOK CLUB HANDBOOK Starting and making the most of book clubs for manga! STAFF COMIC Director’sBOOK LEGAL Note Charles Brownstein, Executive Director DEFENSE FUND Alex Cox, Deputy Director Everything is changing in 2016, yet the familiar challenges of the past continueBetsy to Gomez, Editorial Director reverberate with great force. This isn’t just true in the broader world, but in comics,Maren Williams, Contributing Editor Comic Book Legal Defense Fund is a non-profit organization Caitlin McCabe, Contributing Editor too. While the boundaries defining representation and content in free expression are protectingexpanding, wethe continue freedom to see to biasedread comics!or outmoded Our viewpoints work protects stifling those advances.Robert Corn-Revere, Legal Counsel readers, creators, librarians, retailers, publishers, and educa- STAFF As you’ll see in this issue of CBLDF Defender, we are working on both ends of the Charles Brownstein, Executive Director torsspectrum who byface providing the threat vital educationof censorship. about the We people monitor whose worklegislation expanded free exBOARD- Alex OF Cox, DIRECTORS Deputy Director pression while simultaneously fighting all attempts to censor creative work in comics.Larry Marder,Betsy Gomez, President Editorial Director and challenge laws that would limit the First Amendment. Maren Williams, Contributing Editor In this issue, we work the former end of the spectrum with a pair of articles spotlightMilton- Griepp, Vice President We create resources that promote understanding of com- Jeff Abraham,Caitlin McCabe,Treasurer Contributing Editor ing the pioneers who advanced diverse content. On page 10, “Profiles in Black Cartoon- Dale Cendali,Robert SecretaryCorn-Revere, Legal Counsel icsing” and introduces the rights you toour some community of the cartoonists is guaranteed. -
Graphic Novels
Maus: A Survivor’s Tale: My Father Bleeds Manga History by Art Spiegelman Library The author-illustrator traces his father’s Fullmetal Alchemist e Public by Hiromu Pewauke imprisonment in a Nazi concentration camp Arakawa through a series of cartoons. Edward and his brother Alphonse, who is trapped in a suit of armor, begin a quest The Arrival by Shaun Tan to recover the one thing that can restore Great Graphic Novels A man leaves his homeland and sets off for a their bodies: The Philosopher’s Stone. new country where he must build a life for xxxHolic by CLAMP himself and his family. Watanuki meets a mysterious witch who Do you love graphic claims that she can help him with his novels, comics, and Ghostopolis by Doug TenNapel problems, and then tricks him into manga? When Garth Hale is accidentally zapped into the working in her shop. ghost world by Frank Gallows, a washed-up ghost wrangler, he discovers that he has special Blue Exorcist by Kazue Kato powers. Soon he finds himself on the run from When Rin learns that his father is the the evil ruler of Ghostopolis, who wants to use Demon Lord Satan, he swears to defeat him and enters True Cross Academy to Garth's newfound abilities to tighten his grip on become an exorcist. the spirit world. Bakuman by Tsugumi Oba Trickster: Native American Tales Is becoming a successful manga artist an These 21 folktales, created by pairing Native achievable dream, or one big gamble? storytellers with a variety of artists, feature Black Butler by Yana Toboso creatures explaining how things came to be, like Chronicles the adventures of the 12-year- islands or stars, or animals playing tricks on one old Earl of Phantomhive and his loyal All of the following another. -
Dragon Con Progress Report 2021 | Published by Dragon Con All Material, Unless Otherwise Noted, Is © 2021 Dragon Con, Inc
WWW.DRAGONCON.ORG INSIDE SEPT. 2 - 6, 2021 • ATLANTA, GEORGIA • WWW.DRAGONCON.ORG Announcements .......................................................................... 2 Guests ................................................................................... 4 Featured Guests .......................................................................... 4 4 FEATURED GUESTS Places to go, things to do, and Attending Pros ......................................................................... 26 people to see! Vendors ....................................................................................... 28 Special 35th Anniversary Insert .......................................... 31 Fan Tracks .................................................................................. 36 Special Events & Contests ............................................... 46 36 FAN TRACKS Art Show ................................................................................... 46 Choose your own adventure with one (or all) of our fan-run tracks. Blood Drive ................................................................................47 Comic & Pop Artist Alley ....................................................... 47 Friday Night Costume Contest ........................................... 48 Hallway Costume Contest .................................................. 48 Puppet Slam ............................................................................ 48 46 SPECIAL EVENTS Moments you won’t want to miss Masquerade Costume Contest ........................................ -
Manga As a Teaching Tool 1
Manga as a Teaching Tool 1 Manga as a Teaching Tool: Comic Books Without Borders Ikue Kunai, California State University, East Bay Clarissa C. S. Ryan, California State University, East Bay Proceedings of the CATESOL State Conference, 2007 Manga as a Teaching Tool 2 Manga as a Teaching Tool: Comic Books Without Borders The [manga] titles are flying off the shelves. Students who were not interested in EFL have suddenly become avid readers ...students get hooked and read [a] whole series within days. (E. Kane, personal communication, January 17, 2007) For Americans, it may be difficult to comprehend the prominence of manga, or comic books, East Asia.1. Most East Asian nations both produce their own comics and publish translated Japanese manga, so Japanese publications are popular across the region and beyond. Japan is well-known as a highly literate society; what is less well-known is the role that manga plays in Japanese text consumption (Consulate General of Japan in San Francisco). 37% of all publications sold in Japan are manga of one form or another, including monthly magazines, collections, etc. (Japan External Trade Organization [JETRO], 2006). Although Japan has less than half the population of the United States, manga in all formats amounted to sales within Japan of around 4 billion dollars in 2005 (JETRO, 2006). This total is about seven times the United States' 2005 total comic book, manga, and graphic novel sales of 565 million dollars (Publisher's Weekly, 2007a, 2007b). Additionally, manga is closely connected to the Japanese animation industry, as most anime2 television series and films are based on manga; manga also provides inspiration for Japan's thriving video game industry. -
Violent Comic Books and Perceptions of Ambiguous Provocation Situations
MEDIAPSYCHOLOGY, 2, 47–62. Copyright © 2000, Lawrence Erlbaum Associates, Inc. Violent Comic Books and Perceptions of Ambiguous Provocation Situations Steven J. Kirsh Paul V. Olczak Department of Psychology State University of New York-Geneseo This study investigated the effects of reading very violent versus mildly violent comic books on the interpretation of ambiguous provocation situations, independent of trait hostility. 119 introductory psychology students read either a violent comic book, Curse of the Spawn, or a mildly violent comic book, Archie & Friends. After reading the comic books, participants read six short stories in which a child caused a negative event to happen to another child, but the intent of the peer causing this negative event was ambiguous. After each story, participants were asked a series of questions about the harmdoer’s intent, potential retaliation toward the harmdoer, and about the harmdoer’s emotional state. Responses were coded in terms of amount of negative and violent content. Results indicate that those male participants reading the violent comic books responded more negatively on the ambiguous provocation story questions than male participants reading the mildly violent comic books. For females, responding was primarily governed by trait hostility. These data suggest that hostile attributional bias may be influenced by gender, trait hostility, and exposure to violent media. Over the past two decades, voluminous research has focused on media influences (e.g., television, video games) on aggression. These studies consistently find that exposure to violent themes in media is significantly related to aggressive behavior and thoughts (Anderson, 1997, Berkowitz, 1984, Cesarone, 1998). An additional, yet understudied, source of media violence to which individuals are frequently exposed is comic books. -
Friday, October 29Th
fridayprogramming fridayprogramming FRIDAY, OCTOBER 29TH 2 p.m.-2:45 p.m. Jackendoff as he talks with comic kingpin Marv WEBCOMICS: LIGHTING ROUND! Wolfman (Teen Titans), veteran comic writer WRITERS WORKSHOP PRESENTED by Seaside Lobby and editor Barbara Randall Kesel (Watchman, ASPEN Comics Thinking of starting a webcomic, or just curious Hellboy), comic writer Jimmy Palmiotti (Jonah Room 301 as to how the world of webcomics differs Hex), Tom Pinchuk (Hybrid Bastards) and Mickey Join comic book writers J.T. Krul, Scott Lobdell, from print counter-parts? Join these three Neilson (World of Warcraft). David Schwartz, David Wohl, Frank Mastromauro, webcomics pros [Harvey-nominated Dave Kellett and Vince Hernandez as they discuss the ins and (SheldonComics.com /DriveComic.com), Eisner- HOW TO SURVIVE AS AN ARTIST outs of writing stories for comics. Also, learn tips nominated David Malki (Wondermark.com) and WITH Scott Koblish of the trade firsthand from these experienced Bill Barnes (Unshelved.com / NotInventedHere. Room 301 writers as they detail the pitfalls and challenges of com)] as they take you through a 25-minute A panel focusing on the lifelong practical questions breaking into the industry. Also, they will answer guided tour of how to make webcomics work an artist faces. Scott Koblish gives you tips on questions directly in this special intimate workshop as a hobby, part-time job, or full-time career. how to navigate a career that can be fraught with that aspiring writers will not want to miss. Then the action really heats up: 20 minutes of unusual stress. With particular attention paid to fast-paced Q&A, designed to transmit as much thinking about finances in a realistic way, stressing 5 p.m.-7 p.m. -
Comic Book Reading, Reading Enjoyment, and Pleasure Reading Among Middle Class and Chapter 1 Middle School Students
Comic Book Reading, Reading Enjoyment, and Pleasure Reading Among Middle Class and Chapter 1 Middle School Students Joanne Ujiie and Stephen D. Krashen Seventh grade boys in two schools, one middle class and one in which 82% of the students were eligible for Chapter 1 funding were asked about comic book reading. Those who reported more comic book reading also reported more pleasure reading in general, greater reading enjoyment, and tended to do more book reading. There was no difference in frequency of comic book reading between the two schools. Contrary to the view of some writers (Wertham, 1954), research shows that comic book readings does not replace other kinds of reading. Comic book readers, in gerneral, read as much as non-comic book readers (Witty, 1941; Heisler, 1947; Bailyn, 1959; Swain, 1978) and the results of one study suggest they read more (Blakely, 1958). Krashen (1993) suggests that comic book reading and other kinds of light reading may serve as an important bridge from everyday "conversational" language to what Cummins (1991) terms "academic language." This view is supported by studies showing that comic book texts contain more rare words than ordinary conversation does (Hayes and Ahrens, 1988), as well as case histories of readers who credit comic books with providing them with the linguistic basis for reading more difficult texts (e.g. Mathabane, 1986). To our knowledge, all previous studies of comic book reading have been done with middle class children. In this paper, we examine comic book reading in two middle schools of different socio-economic class, one middle class and one less affluent, in order to determine the extent to which comic book reading varies with social class. -
Webtoons: the Next Frontier in Global Mobile Content
Media Webtoons: The next frontier in global mobile content Overweight (Maintain) Webtoons: No. 1 in Korea = No. 1 in the world Korea is the birthplace of webtoons. As a “snack-culture” format optimized to Industry Report smartphones, Korea’s webtoons have made significant progress over the years and September 20, 2019 now boast the strongest platform/content competitiveness in the world. As demand for mobile entert ainment continues to grow, webtoons are capturing the eyes and wallets of an increasing number of users, presenting a significant opportunity for Korean platform providers. Mirae Asset Daewoo Co., Ltd. Webtoons to take shape as a distinct market [Media ] Webtoons are more than just an online conversion of paper-based comic books. They Jeong -yeob Park represent a new form of content created by the mobile internet ecosystem. Not only is +822 -3774 -1652 the potential audience larger, but the time spent on webtoons tends to be longer than [email protected] time spent reading paper comics. In Kor ea, webtoons already account for the second largest share of time spent on apps, after videos. When assuming full monetization, the size of the webtoon market is on a completely different level than the traditional comic book market. Webtoons are also gai ning traction among younger people in the global market, similar to what we saw in Korea five to 10 years ago. With the help of marketing and a well-established user/writer base, webtoons look likely to take root as a new culture in overseas markets. Of note, LINE Webtoon has seen impressive user growth in the US , with 8mn monthly active users (MAU). -
T Cartoonists
Publisher of the Worl d’sG r eatest Car toon ists SUMMER 2019 SUMMER 2019 7563 lake city way ne • seattle, wa 98115 • usa telephone: 206-524-1967 • fax: 206-524-2104 customer service: 800-657-1100 [email protected] • www.fantagraphics.com Distributed to the book trade in the In Japan: In Singapore, Malaysia: Distributed to the comic book special- United States by: ty market by Diamond Comics Distrib- Rockbook – Gilles Fauveau Pansing Distribution Pte Ltd utors (www.diamondcomics.com). W.W. NORTON AND COMPANY, INC. Expirime 5F 10-10 Ichibancho 1 New Industrial Road 500 Fifth Avenue Chiyoda-ku Times Centre For information on distribution New York, NY 10110 102-0082 Tokyo Singapore 536196 elsewhere, please contact Martin Tel.: 212-354-5500 Japan Tel (65) 6319 9939 Bland. Fax: 212-869-0856 Tel: (81) 90 9700 2481 Fax (65) 6459 4930 Order Dept. Tel.: 800-233-4830 Tel: (81) 90 3962 4650 email: [email protected] email: [email protected] Order Dept. Fax: 800-458-6515 General Inquiries email: [email protected] Customer Service Dept.: 800-233-4830 In Thailand, Cambodia, Laos, Vietnam, [email protected] Special Sales Dept.: Myanmar: Sales & Distribution Martin Bland 800-286-4044 In Taiwan and Korea: [email protected] www.wwnorton.com Hardy Bigfoss International Co., Ltd. Publicity & Marketing Jacq Cohen B. K. Norton Ltd. 293 Maenam Kwai Road, Tambol Tha [email protected] In the United Kingdom & Europe: 5F, 60 Roosevelt Road Makham Print Buyer Jason Miles Sec. 4, Taipei 100 Amphur Muang [email protected] -
Comics and Controversy: a Brief History of Comic Book Publishing
A supplement to The Pocket Lawyer for Comic Book Creators by Thomas A. Crowell, Esq., (Focal Press, 2014). © 2014 Thomas A. Crowell, Esq. Comics and Controversy: A Brief History of Comic Book Publishing by Thomas A. Crowell, Esq. The great comic book artist, Will Eisner, defined the comic as a form of “sequential art.”1 Indeed, the narrative use of a series of images is as old as art itself: Cave paintings, Egyptian hieroglyphics, and medieval tapestries are all precursors to the comic book. Yet comics and controversy have been linked from the very start: Founder of the Protestant movement, Martin Luther, was an early target of editorial cartoons (well, engravings anyway); his critics created caricatures of him as a tool of the devil2 (so in a sense, Spider-Man can trace his origins, not just from a radioactive spider, but also from the Reformation). With the advent of the printing press and the proliferation of newspapers and broadsheets, satirical political cartoons soon began to appear. By the eighteenth and nineteenth centuries, editorial cartoons were a staple in the newspapers of the day. Benjamin Franklin’s famous “Join, or Die” is acknowledged as the first political cartoon in America, and served to galvanize support for colonial unity. In 1837 the first graphic novel was published by Swiss cartoonist Rudolphe Töpffer and was serialized in the American newspapers as “The Adventures of Mr. Obadiah Oldbuck.”3 Although conspicuously missing our now-familiar word balloons and sound effects, the comic book panel 1 Comics & Sequential Art. Eisner, W. (1990 Poorhouse Press (Expanded Edition)). -
Consuming Japan Early Korean Girls Comic Book Artists’ Resistance and Empowerment
CHAPTER 6 CONSUMING JAPAN EARLY KOREAN GIRLS COMIC BOOK ARTISTS’ RESISTANCE AND EMPOWERMENT Kukhee Choo, National University of Singapore / University of Tokyo Kukhee Choo is a Postdoctoral Fellow at the Asian Research Institute, National University of Singapore and an Exchange Research Fellow at the University of Tokyo. INTRODUCTION The recent popularity of Japanese anime and manga in the global market has sparked a variety of academic research. In Japan, both media fall under the term kontentsu (‘content’), and the Japanese government passed the Content Industry Promotion Law bill in 2004 in order to ‘offi- cially’ promote anime and manga as a Japanese product globally.1 This change has come with the growth of the United States market since the mid-1990s. However, before the Japanese gov- ernment decided to support the anime and manga industries, there was a wave of Japanese products – which included music, television dramas, manga, anime and video games – popularly consumed in Asia throughout the 1990s (Iwabuchi 2002). South Korea (henceforth Korea) was no exception. Although the Korean government only officially allowed Japanese cultural products into the Korean market after 1998, a continuous backdoor for such products, mostly manga, had existed for many decades prior to Korea’s ‘open door’ policy. The Korean military government constantly tried to prevent the public from ‘expos- ure’ to Japanese products throughout the 1970s and 1980s due to a concern that they would corrupt Korean morals and sentiment. The primary concern arose from the colonial past: Koreans had a deep-rooted fear of Japanese cultural products as they reminded them of Japan’s Occupation.