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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. -
Captain America
The Star-spangled Avenger Adapted from Wikipedia, the free encyclopedia Captain America first appeared in Captain America Comics #1 (Cover dated March 1941), from Marvel Comics' 1940s predecessor, Timely Comics, and was created by Joe Simon and Jack Kirby. For nearly all of the character's publication history, Captain America was the alter ego of Steve Rogers , a frail young man who was enhanced to the peak of human perfection by an experimental serum in order to aid the United States war effort. Captain America wears a costume that bears an American flag motif, and is armed with an indestructible shield that can be thrown as a weapon. An intentionally patriotic creation who was often depicted fighting the Axis powers. Captain America was Timely Comics' most popular character during the wartime period. After the war ended, the character's popularity waned and he disappeared by the 1950s aside from an ill-fated revival in 1953. Captain America was reintroduced during the Silver Age of comics when he was revived from suspended animation by the superhero team the Avengers in The Avengers #4 (March 1964). Since then, Captain America has often led the team, as well as starring in his own series. Captain America was the first Marvel Comics character adapted into another medium with the release of the 1944 movie serial Captain America . Since then, the character has been featured in several other films and television series, including Chris Evans in 2011’s Captain America and The Avengers in 2012. The creation of Captain America In 1940, writer Joe Simon conceived the idea for Captain America and made a sketch of the character in costume. -
Queer Here: Poetry to Comic Emma Lennen Katie Jan
Queer Here: Poetry to Comic Emma Lennen Katie Jan Pull Quote: “For the new audience of queer teenagers, the difference between the public and the superhero resonates with them because they feel different from the rest of society.” Consider this: a superhero webcomic. Now consider this: a queer superhero webcomic. If you are anything like me, you were infinitely more elated at the second choice, despite how much you enjoy the first. I love reading queer webcomics because by being online, they bypass publishers who may shoot them down for their queerness. As a result, they manage to elude the systematic repression of the LGBTQA+ community. In the 1950s, when repression of the community was even more prevalent, Frank O’Hara wrote the poem “Homosexuality” to express his journey of acceptance as well as to give advice to future gay people. The changes I made in my translation of the poem “Homosexuality” into a modern webcomic demonstrate the different time periods’ expectations of queer content, while still telling the same story with the same purpose, just in a different genre. Despite the difference between the genres, the first two lines and the copious amount of imagery present in the poem allowed for some near-direct translation. The poem begins with “So we are taking off our masks, are we, and keeping / our mouths shut? As if we’d been pierced by a glance!” (O’Hara 1-2). While usually masks symbolize hiding your true self and therefore have a negative connotation, the poem instead considers it one’s pride. Similarly, for many superheroes, the mask does not represent shame, it represents power and responsibility. -
Activity Kit Proudly Presented By
ACTIVITY KIT PROUDLY PRESENTED BY: #BatmanDay dccomics.com/batmanday #Batman80 Entertainment Inc. (s19) Inc. Entertainment WB SHIELD: TM & © Warner Bros. Bros. Warner © & TM SHIELD: WB and elements © & TM DC Comics. DC TM & © elements and WWW.INSIGHTEDITIONS.COM BATMAN and all related characters characters related all and BATMAN Copyright © 2019 DC Comics Comics DC 2019 © Copyright ANSWERS 1. ALFRED PENNYWORTH 2. JAMES GORDON 3. HARVEY DENT 4. BARBARA GORDON 5. KILLER CROC 5. LRELKI CRCO LRELKI 5. 4. ARARBAB DRONGO ARARBAB 4. 3. VHYRAE TEND VHYRAE 3. 2. SEAJM GODORN SEAJM 2. 1. DELFRA ROTPYHNWNE DELFRA 1. WORD SCRAMBLE WORD BATMAN TRIVIA 1. WHO IS BEHIND THE MASK OF THE DARK KNIGHT? 2. WHICH CITY DOES BATMAN PROTECT? 3. WHO IS BATMAN'S SIDEKICK? 4. HARLEEN QUINZEL IS THE REAL NAME OF WHICH VILLAIN? 5. WHAT IS THE NAME OF BATMAN'S FAMOUS, MULTI-PURPOSE VEHICLE? 6. WHAT IS CATWOMAN'S REAL NAME? 7. WHEN JIM GORDON NEEDS TO GET IN TOUCH WITH BATMAN, WHAT DOES HE LIGHT? 9. MR. FREEZE MR. 9. 8. THOMAS AND MARTHA WAYNE MARTHA AND THOMAS 8. 8. WHAT ARE THE NAMES OF BATMAN'S PARENTS? BAT-SIGNAL THE 7. 6. SELINA KYLE SELINA 6. 5. BATMOBILE 5. 4. HARLEY QUINN HARLEY 4. 3. ROBIN 3. 9. WHICH BATMAN VILLAIN USES ICE TO FREEZE HIS ENEMIES? CITY GOTHAM 2. 1. BRUCE WAYNE BRUCE 1. ANSWERS Copyright © 2019 DC Comics WWW.INSIGHTEDITIONS.COM BATMAN and all related characters and elements © & TM DC Comics. WB SHIELD: TM & © Warner Bros. Entertainment Inc. (s19) WORD SEARCH ALFRED BANE BATMOBILE JOKER ROBIN ARKHAM BATMAN CATWOMAN RIDDLER SCARECROW I B W F P -
GRAPHIC NOVELS in ADVANCED ENGLISH/LANGUAGE ARTS CLASSROOMS: a PHENOMENOLOGICAL CASE STUDY Cary Gillenwater a Dissertation Submi
GRAPHIC NOVELS IN ADVANCED ENGLISH/LANGUAGE ARTS CLASSROOMS: A PHENOMENOLOGICAL CASE STUDY Cary Gillenwater A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the School of Education. Chapel Hill 2012 Approved by: Madeleine Grumet James Trier Jeff Greene Lucila Vargas Renee Hobbs © 2012 Cary Gillenwater ALL RIGHTS RESERVED ii ABSTRACT CARY GILLENWATER: Graphic novels in advanced English/language arts classrooms: A phenomenological case study (Under the direction of Madeleine Grumet) This dissertation is a phenomenological case study of two 12th grade English/language arts (ELA) classrooms where teachers used graphic novels with their advanced students. The primary purpose of this case study was to gain insight into the phenomenon of using graphic novels with these students—a research area that is currently limited. Literature from a variety of disciplines was compared and contrasted with observations, interviews, questionnaires, and structured think-aloud activities for this purpose. The following questions guided the study: (1) What are the prevailing attitudes/opinions held by the ELA teachers who use graphic novels and their students about this medium? (2) What interests do the students have that connect to the phenomenon of comic book/graphic novel reading? (3) How do the teachers and the students make meaning from graphic novels? The findings generally affirmed previous scholarship that the medium of comic books/graphic novels can play a beneficial role in ELA classrooms, encouraging student involvement and ownership of texts and their visual literacy development. The findings also confirmed, however, that teachers must first conceive of literacy as more than just reading and writing phonetic texts if the use of the medium is to be more than just secondary to traditional literacy. -
The Evolution of Batman and His Audiences
Georgia State University ScholarWorks @ Georgia State University English Theses Department of English 12-2009 Static, Yet Fluctuating: The Evolution of Batman and His Audiences Perry Dupre Dantzler Georgia State University Follow this and additional works at: https://scholarworks.gsu.edu/english_theses Part of the English Language and Literature Commons Recommended Citation Dantzler, Perry Dupre, "Static, Yet Fluctuating: The Evolution of Batman and His Audiences." Thesis, Georgia State University, 2009. https://scholarworks.gsu.edu/english_theses/73 This Thesis is brought to you for free and open access by the Department of English at ScholarWorks @ Georgia State University. It has been accepted for inclusion in English Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. STATIC, YET FLUCTUATING: THE EVOLUTION OF BATMAN AND HIS AUDIENCES by PERRY DUPRE DANTZLER Under the Direction of H. Calvin Thomas ABSTRACT The Batman media franchise (comics, movies, novels, television, and cartoons) is unique because no other form of written or visual texts has as many artists, audiences, and forms of expression. Understanding the various artists and audiences and what Batman means to them is to understand changing trends and thinking in American culture. The character of Batman has developed into a symbol with relevant characteristics that develop and evolve with each new story and new author. The Batman canon has become so large and contains so many different audiences that it has become a franchise that can morph to fit any group of viewers/readers. Our understanding of Batman and the many readings of him gives us insight into ourselves as a culture in our particular place in history. -
The Reflection of Sancho Panza in the Comic Book Sidekick De Don
UNIVERSIDAD DE OVIEDO FACULTAD DE FILOSOFÍA Y LETRAS MEMORIA DE LICENCIATURA From Don Quixote to The Tick: The Reflection of Sancho Panza in the Comic Book Sidekick ____________ De Don Quijote a The Tick: El Reflejo de Sancho Panza en el sidekick del Cómic Autor: José Manuel Annacondia López Directora: Dra. María José Álvarez Faedo VºBº: Oviedo, 2012 To comic book creators of yesterday, today and tomorrow. The comics medium is a very specialized area of the Arts, home to many rare and talented blooms and flowering imaginations and it breaks my heart to see so many of our best and brightest bowing down to the same market pressures which drive lowest-common-denominator blockbuster movies and television cop shows. Let's see if we can call time on this trend by demanding and creating big, wild comics which stretch our imaginations. Let's make living breathing, sprawling adventures filled with mind-blowing images of things unseen on Earth. Let's make artefacts that are not faux-games or movies but something other, something so rare and strange it might as well be a window into another universe because that's what it is. [Grant Morrison, “Grant Morrison: Master & Commander” (2004: 2)] TABLE OF CONTENTS 1. Acknowledgements v 2. Introduction 1 3. Chapter I: Theoretical Background 6 4. Chapter II: The Nature of Comic Books 11 5. Chapter III: Heroes Defined 18 6. Chapter IV: Enter the Sidekick 30 7. Chapter V: Dark Knights of Sad Countenances 35 8. Chapter VI: Under Scrutiny 53 9. Chapter VII: Evolve or Die 67 10. -
An Examination of Superhero Tropes in My Hero Academia
The University of San Francisco USF Scholarship: a digital repository @ Gleeson Library | Geschke Center Master's Projects and Capstones Theses, Dissertations, Capstones and Projects Spring 5-29-2020 The World’s Greatest Hero: An Examination of Superhero Tropes in My Hero Academia Jerry Waller [email protected] Follow this and additional works at: https://repository.usfca.edu/capstone Part of the Comparative Literature Commons, Japanese Studies Commons, Modern Literature Commons, and the Visual Studies Commons Recommended Citation Waller, Jerry, "The World’s Greatest Hero: An Examination of Superhero Tropes in My Hero Academia" (2020). Master's Projects and Capstones. 1006. https://repository.usfca.edu/capstone/1006 This Project/Capstone is brought to you for free and open access by the Theses, Dissertations, Capstones and Projects at USF Scholarship: a digital repository @ Gleeson Library | Geschke Center. It has been accepted for inclusion in Master's Projects and Capstones by an authorized administrator of USF Scholarship: a digital repository @ Gleeson Library | Geschke Center. For more information, please contact [email protected]. The World’s Greatest Hero: An Examination of Superhero Tropes in My Hero Academia Jerry Waller APS 650: MAPS Capstone Seminar May 17, 2020 1 Abstract In this paper the author explores the cross-cultural transmission of genre archetypes in illustrated media. Specifically, the representation of the archetype of American superheroes as represented in the Japanese manga and anime series, My Hero Academia. Through examination of the extant corpus of manga chapters and anime episodes for the franchise, the author draws comparison between characters and situations in the manga series with examples from American comic books by Marvel Comics and DC Comics. -
The Incredible Hulk
The Incredible Hulk Monster, Man, Hero Dana McKnight Texas Christian University hen Marvel Comics introduced The Incredible Hulk in 1962, the following question was displayed prominently within a bold yellow question mark on W the front page: “Is he man or monster or…is he both?”1 Today, it seems easy to dismiss questions about the Incredible Hulk being a monster by merit of the popular Marvel Universe films, which brought the Incredible Hulk to a wide audience. I suspect that most Americans recognize the Incredible Hulk as a member of the Avengers: a hero, not a monster. However, when the Incredible Hulk first made his debut, Stan Lee expected his readers to wonder whether or not the Hulk would be a villain or a hero.2 Drawing from the first six issues of The Incredible Hulk I will discuss how the Incredible Hulk is simultaneously a hero and a monster, both an allegory of the military might of the United States in the atomic age and of the tenuous relationship between security and safety manifest in the uncontrolled destructive power of nuclear weapons. I will close with a glimpse into the contemporary post-9/11 Hulk. Man or Monster? First, it is cogent to get back to the “man or monster” question posed by Stan Lee in the very first issue of The Incredible Hulk, because the Hulk was both a man, Bruce Banner, and a monster, the Hulk. The “man-or-monster” question is not new and was 1 Stan Lee and Jack Kirby, “The Coming of the Hulk,” The Incredible Hulk, no. -
Limits, Malice and the Immortal Hulk
https://lthj.qut.edu.au/ LAW, TECHNOLOGY AND HUMANS Volume 2 (2) 2020 https://doi.org/10.5204/lthj.1581 Before the Law: Limits, Malice and The Immortal Hulk Neal Curtis The University of Auckland, New Zealand Abstract This article uses Kafka's short story 'Before the Law' to offer a reading of Al Ewing's The Immortal Hulk. This is in turn used to explore our desire to encounter the Law understood as a form of completeness. The article differentiates between 'the Law' as completeness or limitlessness and 'the law' understood as limitation. The article also examines this desire to experience completeness or limitlessness in the work of George Bataille who argued such an experience was the path to sovereignty. In response it also considers Francois Flahault's critique of Bataille who argued Bataille failed to understand limitlessness is split between a 'good infinite' and a 'bad infinite', and that it is only the latter that can ultimately satisfy us. The article then proposes The Hulk, especially as presented in Al Ewing's The Immortal Hulk, is a study in where our desire for limitlessness can take us. Ultimately it proposes we turn ourselves away from the Law and towards the law that preserves and protects our incompleteness. Keywords: Law; sovereignty; comics; superheroes; The Hulk Introduction From Jean Bodin to Carl Schmitt, the foundation of the law, or what we more readily understand as sovereignty, is marked by a significant division. The law is a limit in the sense of determining what is permitted and what is proscribed, but the authority for this limit is often said to derive from something unlimited. -
Comics and Webcomics: Super-Heroes, Over-Heroes and Poser-Heroes
H-ermes. Journal of Communication H-ermes, J. Comm. 19 (2021), 249-262 ISSN 2284-0753, DOI 10.1285/i22840753n19p249 http://siba-ese.unisalento.it Comics and webcomics: super-heroes, over-heroes and poser-heroes Heraldo Aparecido Silva Comics and webcomics: super-heroes, over-heroes and poser-heroes. This article aims to analyse the superhero subgenre in comic books and webcomics. First, the study focuses on the characteristics of hero, superhero and antihero categories. Then we briefly describe some contemporary aspect of the history of the stories in superhero comics to propose the inclusion of two new sub-categories: the over-hero and the poser-hero. The theoretical foundation is based on authors such as: Moya (1977; 1994; 2003), Eco (1993), Mix (1993), Beirce (1993), Bloom (2002; 2003), McLauglin (2005), Knowles (2008), Irwin (2009), Mazur; Danner (2014), among others. The literature specializing in comic books and philosophical perspectives functions as analytical and theoretical support for the interpretation of themes taken from the superhero universe.With the advent of computer graphics and the internet, comic books have conquered new formats, new technologies and new audiences from a democratized distribution. In addition, two factors are important to understand the relevance of webcomics to the history of comics. First, as comics in print are scanned, the comics/webcomics distinction is not exclusive. In this text, we discuss about heroes and superheroes that can be found and read in both printed and digital formats. Second, webcomics have enabled many artists to achieve more visibility for their work through social media. From this perspective, we argue that the notion of webcomics evolve from the notion of comics. -
Heroes and Superheroes: from Myth to the American Comic Book
Heroes and superheroes: from myth to the American comic book Hougaard Winterbach Faculty of Arts, Tshwane University of Technology, Pretoria. E-mail: [email protected] This article demonstrates that the mythological hero who appears in myth, legend and folklore has resurfaced in the twentieth century as the American comic book superhero. First, the differences between the hero and the superhero are explained. Then the characteristics of the archaic hero are discussed to show its parallels with the modern superhero. The argument is based on Joseph Campbell’s formulation of the complex pattern in the stages of the adventure of the hero. An analysis of a superhero comic book, Daredevil: Born Again, serves to show how these different stages, as distinguished by Campbell, form the basis for both the archaic and the American comic book superhero. Helde en superhelde: van mite tot die Amerikaanse strokiesprent Hierdie artikel demonstreer dat die mitologiese held wat in mites, legendes en volksverhale verskyn, sy herverskyning maak in die twintigste eeu in die vorm van die Amerikaanse strokiesprent superheld. Die verskille tussen die held en die superheld word eerstens bespreek. Vervolgens word die eienskappe van die argaïese held bespreek om die ooreenkomste met die moderne superheld aan te toon. Die argument is gebaseer op Joseph Campbell se formulering van die komplekse patroon in die fases van die held se avontuur. 'n Analise van 'n superheld strokiesprent (Daredevil: Born Again) toon hoe hierdie verskillende fases, soos deur Campbell onderskei, die basis vir sowel die argaïese held as vir die Amerikaanse strokiesprent vorm. he superhero1 has been a key character in the comic book, published largely in the United States of America, since 1938.