STAN LEE. ’Nuff Said
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Copyright 2013 Shawn Patrick Gilmore
Copyright 2013 Shawn Patrick Gilmore THE INVENTION OF THE GRAPHIC NOVEL: UNDERGROUND COMIX AND CORPORATE AESTHETICS BY SHAWN PATRICK GILMORE DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in English in the Graduate College of the University of Illinois at Urbana-Champaign, 2013 Urbana, Illinois Doctoral Committee: Professor Michael Rothberg, Chair Professor Cary Nelson Associate Professor James Hansen Associate Professor Stephanie Foote ii Abstract This dissertation explores what I term the invention of the graphic novel, or more specifically, the process by which stories told in comics (or graphic narratives) form became longer, more complex, concerned with deeper themes and symbolism, and formally more coherent, ultimately requiring a new publication format, which came to be known as the graphic novel. This format was invented in fits and starts throughout the twentieth century, and I argue throughout this dissertation that only by examining the nuances of the publishing history of twentieth-century comics can we fully understand the process by which the graphic novel emerged. In particular, I show that previous studies of the history of comics tend to focus on one of two broad genealogies: 1) corporate, commercially-oriented, typically superhero-focused comic books, produced by teams of artists; 2) individually-produced, counter-cultural, typically autobiographical underground comix and their subsequent progeny. In this dissertation, I bring these two genealogies together, demonstrating that we can only truly understand the evolution of comics toward the graphic novel format by considering the movement of artists between these two camps and the works that they produced along the way. -
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JACK KIRBY COLLECTOR THIRTY-NINE $9 95 IN THE US . c n I , s r e t c a r a h C l e v r a M 3 0 0 2 © & M T t l o B k c a l B FAN FAVORITES! THE NEW COPYRIGHTS: Angry Charlie, Batman, Ben Boxer, Big Barda, Darkseid, Dr. Fate, Green Lantern, RETROSPECTIVE . .68 Guardian, Joker, Justice League of America, Kalibak, Kamandi, Lightray, Losers, Manhunter, (the real Silver Surfer—Jack’s, that is) New Gods, Newsboy Legion, OMAC, Orion, Super Powers, Superman, True Divorce, Wonder Woman COLLECTOR COMMENTS . .78 TM & ©2003 DC Comics • 2001 characters, (some very artful letters on #37-38) Ardina, Blastaar, Bucky, Captain America, Dr. Doom, Fantastic Four (Mr. Fantastic, Human #39, FALL 2003 Collector PARTING SHOT . .80 Torch, Thing, Invisible Girl), Frightful Four (Medusa, Wizard, Sandman, Trapster), Galactus, (we’ve got a Thing for you) Gargoyle, hercules, Hulk, Ikaris, Inhumans (Black OPENING SHOT . .2 KIRBY OBSCURA . .21 Bolt, Crystal, Lockjaw, Gorgon, Medusa, Karnak, C Front cover inks: MIKE ALLRED (where the editor lists his favorite things) (Barry Forshaw has more rare Kirby stuff) Triton, Maximus), Iron Man, Leader, Loki, Machine Front cover colors: LAURA ALLRED Man, Nick Fury, Rawhide Kid, Rick Jones, o Sentinels, Sgt. Fury, Shalla Bal, Silver Surfer, Sub- UNDER THE COVERS . .3 GALLERY (GUEST EDITED!) . .22 Back cover inks: P. CRAIG RUSSELL Mariner, Thor, Two-Gun Kid, Tyrannus, Watcher, (Jerry Boyd asks nearly everyone what (congrats Chris Beneke!) Back cover colors: TOM ZIUKO Wyatt Wingfoot, X-Men (Angel, Cyclops, Beast, n their fave Kirby cover is) Iceman, Marvel Girl) TM & ©2003 Marvel Photocopies of Jack’s uninked pencils from Characters, Inc. -
Marvels--Chapter Three--Captain America
MARVELS SERIAL—CHAPTER THREE CAPTAIN AMERICA By Richard Ashcraft BASED ON MARVEL COMICS’ GOLDEN-AGE HEROES Written in 2012. [email protected] 1. ALL-AMERICAN GIRL I’d use this one. Namor falling in love with Betty Dean is . close to the truth. And Namor did gain his super-powers from Poseidon. ALL-AMERICAN GIRL (V.O.) In a roundabout way. VILLAIN TWO (V.O.) Now they’re talking about the girl we wanted to . see. VILLAIN ONE (V.O.) Oh, her. She would have been a great prisoner of war. OTTO Did Namor and Betty ever fall in love? ALL-AMERICAN GIRL They were at one time. But they lost touch with each other after the war. Like so many other people. OTTO That’s too bad. He hands her another paper-clipped set of papers. He smirks. OTTO (CONT’D) But this will make you smile. The secret origin of Captain America. She reads a few pages. Then she is puzzled. ALL-AMERICAN GIRL The shield of Lancelot? EXT. AN APARTMENT BUILDING – EARLY EVENING SUPER: NEW YORK CITY, SPRING 1941 2. AN UNINKED COMIC STRIP The title is JOE AND JACK. Respectively, they are CARICATURES OF JOE SIMON AND JACK KIRBY, Captain America’s creators. They are behind the small FORBUSH MAN. Bullets bounce off of the hero’s body, but some slugs almost hit Joe and Jack’s heads. STEVE (V.O.) (super-hero voice) Stand behind me, innocent bystanders! I can withstand their bullets! (now normal voice) We could stand this better if you would just stand up, Mystery Man! INT. -
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 -
´ Los Comics De
LOS COMICS´ DE la plaga CUANDO LOS TEBEOS ERAN PELIGROSOS vol. 2 ANTOLOGÍA DE PORTADAS / 1942 - 1954 Selección y notas de Óscar Palmer Yáñez Es Pop EDICIONES 3 Los cómics de la plaga Cuando los tebeos eran peligrosos, vol. 2 1ª EDICIÓN: DICIEMBRE 2018 Publicado por ES POP EDICIONES Mira el río alta, 8 - 28005 Madrid www.espop.es © 2018 de esta edición: Es Pop Ediciones El material reunido en este libro apareció originalmente en diversos comic books publicados entre 1942 y 1954. La mayoría de ellos se encuentra en el dominio público, pero autor y editor están en deuda con las siguientes editoriales por su autorización para incluir materiales con copyright: Avon Books, Nueva York; Dell Publishing, Nueva York; Fawcett Publications es una división de Ballantine Books, Nueva York; Atlas Comics, Complete Photo Story Corp, Non-Pareil Publishing y Official Comics son divisiones de Marvel Comics, Nueva York. © Marvel Worldwide Inc.: pp. 39, 46 , 88, 91, 115, 125,126, 128, 129, 146, 147, 159, 160. Phantom Lady es © DC Comics: pp. 48, 49. Se ha realizado el máximo esfuerzo por identificar y rastrear a los propietarios del copyright. Cualquier error u omisión ha sido inadvertida y accidental y el autor y editor se comprometen a añadir cualquier tipo de reconocimiento o enmienda en futuras ediciones. Imágenes en páginas anteriores: portada de L. B. Cole para el nº 13 de Terrifying Tales (Star Publications; junio, 1953); portada de Charles Biro para el nº 25 de Crime Does Not Pay (Comic House Inc.; enero, 1943); portada de Lee Elias para el nº 21 de Chamber of Chills (Harvey Comics; enero, 1954). -
(King Philip's War), 1675-1676 Dissertation Presented in Partial
Connecticut Unscathed: Victory in The Great Narragansett War (King Philip’s War), 1675-1676 Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Major Jason W. Warren, M.A. Graduate Program in History The Ohio State University 2011 Dissertation Committee: John F. Guilmartin Jr., Advisor Alan Gallay, Kristen Gremillion Peter Mansoor, Geoffrey Parker Copyright by Jason W. Warren 2011 Abstract King Philip’s War (1675-1676) was one of the bloodiest per capita in American history. Although hostile native groups damaged much of New England, Connecticut emerged unscathed from the conflict. Connecticut’s role has been obscured by historians’ focus on the disasters in the other colonies as well as a misplaced emphasis on “King Philip,” a chief sachem of the Wampanoag groups. Although Philip formed the initial hostile coalition and served as an important leader, he was later overshadowed by other sachems of stronger native groups such as the Narragansetts. Viewing the conflict through the lens of a ‘Great Narragansett War’ brings Connecticut’s role more clearly into focus, and indeed enables a more accurate narrative for the conflict. Connecticut achieved success where other colonies failed by establishing a policy of moderation towards the native groups living within its borders. This relationship set the stage for successful military operations. Local native groups, whether allied or neutral did not assist hostile Indians, denying them the critical intelligence necessary to coordinate attacks on Connecticut towns. The English colonists convinced allied Mohegan, Pequot, and Western Niantic warriors to support their military operations, giving Connecticut forces a decisive advantage in the field. -
Department of Political Science Chair of Gender Politics Wonder Woman
Department of Political Science Chair of Gender Politics Wonder Woman and Captain Marvel as Representation of Women in Media Sara Mecatti Prof. Emiliana De Blasio Matr. 082252 SUPERVISOR CANDIDATE Academic Year 2018/2019 1 Index 1. History of Comic Books and Feminism 1.1 The Golden Age and the First Feminist Wave………………………………………………...…...3 1.2 The Early Feminist Second Wave and the Silver Age of Comic Books…………………………....5 1.3 Late Feminist Second Wave and the Bronze Age of Comic Books….……………………………. 9 1.4 The Third and Fourth Feminist Waves and the Modern Age of Comic Books…………...………11 2. Analysis of the Changes in Women’s Representation throughout the Ages of Comic Books…..........................................................................................................................................................15 2.1. Main Measures of Women’s Representation in Media………………………………………….15 2.2. Changing Gender Roles in Marvel Comic Books and Society from the Silver Age to the Modern Age……………………………………………………………………………………………………17 2.3. Letter Columns in DC Comics as a Measure of Female Representation………………………..23 2.3.1 DC Comics Letter Columns from 1960 to 1969………………………………………...26 2.3.2. Letter Columns from 1979 to 1979 ……………………………………………………27 2.3.3. Letter Columns from 1980 to 1989…………………………………………………….28 2.3.4. Letter Columns from 19090 to 1999…………………………………………………...29 2.4 Final Data Regarding Levels of Gender Equality in Comic Books………………………………31 3. Analyzing and Comparing Wonder Woman (2017) and Captain Marvel (2019) in a Framework of Media Representation of Female Superheroes…………………………………….33 3.1 Introduction…………………………….…………………………………………………………33 3.2. Wonder Woman…………………………………………………………………………………..34 3.2.1. Movie Summary………………………………………………………………………...34 3.2.2.Analysis of the Movie Based on the Seven Categories by Katherine J. -
Comic Artist Shares the Science of a Superhero Holley Website Has
DIMENSION Holley Central School District February 2015 Comic Artist Shares the Science of a Superhero o draw superheroes, one doesn’t his knowledge of anatomy enabled need to be a mutant or have an him to draw body parts in the correct TAlfred at their disposal. Pencil and size and proportion to each other. paper combined with math and He used shading to give definition science can turn anyone into a super to the muscles on characters such as artist. On Jan. 13, Marvel comic artist Captain America, Batman and Thor. Jerry DeCaire visited the Holley “Real artists use erasers … it’s your MS/HS auditorium and showed best friend,” DeCaire told Nicole elementary, middle and high school Rowley’s Drawing and Painting class. students how he uses math and The eraser is key to getting rid of the science to draw popular comic book grid lines he starts his drawings with. characters. After he completed pencil The students loved guessing which sketches of various characters, he character he was drawing next and a Jerry DeCaire shows his signed them and gave them away to few were able to guess correctly within portfolio to Nicole Rowley’s students in the audience. He left his just a few strokes of DeCaire’s pencil. Drawing and Painting class Wolverine and Hulk portfolio pieces behind to be posted in the main office DeCaire gave the example of Leonardo and in the art room at Holley MS/HS. DaVinci as an artist who combined math and science in his art. While DeCaire’s workshop, entitled “Science most modern day artists don’t use a of the Superhero,” showed students mathematical approach to art, DeCaire how he sketches various characters does. -
(“Spider-Man”) Cr
PRIVILEGED ATTORNEY-CLIENT COMMUNICATION EXECUTIVE SUMMARY SECOND AMENDED AND RESTATED LICENSE AGREEMENT (“SPIDER-MAN”) CREATIVE ISSUES This memo summarizes certain terms of the Second Amended and Restated License Agreement (“Spider-Man”) between SPE and Marvel, effective September 15, 2011 (the “Agreement”). 1. CHARACTERS AND OTHER CREATIVE ELEMENTS: a. Exclusive to SPE: . The “Spider-Man” character, “Peter Parker” and essentially all existing and future alternate versions, iterations, and alter egos of the “Spider- Man” character. All fictional characters, places structures, businesses, groups, or other entities or elements (collectively, “Creative Elements”) that are listed on the attached Schedule 6. All existing (as of 9/15/11) characters and other Creative Elements that are “Primarily Associated With” Spider-Man but were “Inadvertently Omitted” from Schedule 6. The Agreement contains detailed definitions of these terms, but they basically conform to common-sense meanings. If SPE and Marvel cannot agree as to whether a character or other creative element is Primarily Associated With Spider-Man and/or were Inadvertently Omitted, the matter will be determined by expedited arbitration. All newly created (after 9/15/11) characters and other Creative Elements that first appear in a work that is titled or branded with “Spider-Man” or in which “Spider-Man” is the main protagonist (but not including any team- up work featuring both Spider-Man and another major Marvel character that isn’t part of the Spider-Man Property). The origin story, secret identities, alter egos, powers, costumes, equipment, and other elements of, or associated with, Spider-Man and the other Creative Elements covered above. The story lines of individual Marvel comic books and other works in which Spider-Man or other characters granted to SPE appear, subject to Marvel confirming ownership. -
Fantastic Four Volume 3: Back in Blue Free
FREE FANTASTIC FOUR VOLUME 3: BACK IN BLUE PDF Leonard Kirk,James Robinson | 120 pages | 05 May 2015 | Marvel Comics | 9780785192206 | English | New York, United States Fantastic Four Vol. 3: Back in Blue (Trade Paperback) | Comic Issues | Comic Books | Marvel Uh-oh, it looks like your Internet Explorer is out of date. For a better shopping experience, please upgrade now. Javascript is not enabled in your browser. Enabling JavaScript in your browser will allow you to Fantastic Four Volume 3: Back in Blue all the features of our site. Learn how to enable JavaScript on your browser. Home 1 Books 2. Add to Wishlist. Sign in to Purchase Instantly. Explore Now. Buy As Gift. Overview Collects Fantastic Four The Fantastic Four must deal with the Council of Dooms, who treat that event as their nativity - and who have trevaled there to witness it! To make matters worse, Mr. Fantastic's sickness spreads to the Fantastic Four Volume 3: Back in Blue - and someone may be behind the illness that's befallen the First Family! The team must mastermind a planetary heist for technology that could save their lives, but spacetime has had enough of their traveling back and forth across it - and they soon find themselves trapped in a universe where the only five things left alive are themselves Product Details About the Author. About the Author. He lives in Portland, OR. Related Searches. The time-displaced young X-Men continue to adjust to a present day that's simultaneously more awe-inspiring The time-displaced young X-Men continue to adjust to a present day that's simultaneously more awe-inspiring and more disturbing than any future the young heroes had ever imagined for themselves. -
DIE RPG Beta Manual V1.Pdf
DIE: A ROLE-PLAYING GAME KIERON GILLEN ©2019 ART BY STEPHANIE HANS COVER DESIGN BY RIAN HUGHES Copyright © 2019 Kieron Gillen Ltd & Stéphanie Hans. All rights reserved. DIE, the Die logos, and the likenesses of all characters herein or hereon are trademarks of Kieron Gillen Ltd & Stéphanie Hans. No part of this publication may be reproduced or transmitted in any form or by any means (except for short excerpts for journalistic or review purposes) without the express written permission of Kieron Gillen Ltd or Stéphanie Hans. All names, characters, events, and places herein are entirely fictional. Any resemblance to actual persons (living or dead), events, or places is coincidental. Representation: Law Offices of Harris M. Miller II, P.C. ([email protected]) CONTENTS 1) INTRODUCTION 2) THE WORLD OF DIE 3) PREPARATION 4) THE FIRST SESSION 5) PREPARING THE SECOND SESSION 6) THE SECOND SESSION 7) THE RULES 8) RUNNING THE ARCHETYPES 9) ADVICE FOR GAMESMASTERS 10) OTHER RESOURCES WELCOME I have a habit of being a little extra around my comics. I fear this is the most extra thing I’ve ever done. Alongside creating the comic DIE with Stephanie Hans, I developed the role-playing game you hold in your hands. Er… figure of speech. “PDF on your hard drive” doesn’t quite have the same ring. This RPG creates, in a miniaturized form, your own version of the first arc of DIE. As such, there’s some possible structural spoilers for the comic. I say “possible” because it really is your own version of the comic. -
Pain, Opioids and The
HIGHLANDS NEWS-SUN Monday, June 11, 2018 VOL. 99 | NO. 162 | $1.00 YOUR HOMETOWN NEWSPAPER SINCE 1919 AN EDITION OF THE SUN Summer reading DUI citations rocks! jump up this year By MELISSA MAIN STAFF WRITER SEBRING — DUI citations from law enforcement agents in Highlands County have risen dramatically since last year. From January 2017 through April 2017, Highlands County Sheriff’s Office dep- uties issued 16 DUI citations. However, that rose to 49 for the same period in 2018 — a 206 percent increase. Sheriff’s Office spokesman Scott Dressel said, “The difference in the numbers can be attributed to MELISSA MAIN/STAFF SOBERING some new depu- FACTS ABOUT ties we have who Sebring Public Library rocks its summer reading program designed to keep students’ reading skills sharp during the summer. are very vigilant DUIS when it comes to •Drunk driving costs the looking for drivers Sebring Public Library’s fun activities United States $132 billion that may be a year. impaired.” •About 1 in 7 teens binge- Lake and reading programs get children busy drinks, but only 1 in 100 Placid Police parents believes his or her Department saw By MELISSA MAIN child binge-drinks. a 133 percent STAFF WRITER •Fifty-seven percent of increase in DUI fatally injured drivers citations from SEBRING—The summer rocks at had alcohol and/or other January 2017 Sebring Public Library with loads of drugs in their system, and through April fun summer activities and a reading 17 percent had both. 2017 compared program designed with incentives •The rate of drunk driving to the same time to keep children reading throughout is highest among 26- to this year.