Miracleman by Gaiman & Buckingham Book 1
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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. -
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. -
Wendy in the Sandbag
Wendy in the Sandbag By Robert Flanagan The 1st Radio Research Company (Aviation), euphemistic moniker for an Army Security Agency airborne operation which deployed to Viet Nam in 1967 under the code name CRAZY CAT and was, in a confusing interplay of cover names, re-named CEFLIEN LION (Sea-Flying Lion) by NSA. The “Crazy Cats” flew bastard step-child aircraft—the Navy’s cast off P-2V “Neptune,” six of which were acquired from the “boneyard” of military aircraft in Tucson, Ariz. The platform, flown out of Naval Air Facility/Air Force Base, Cam Ranh Bay in II Corps, was an intelligence collection project (initially manual Morse; later voice) which was to provide good intel to XXIV Corps and III MAF for some five years. Untold numbers of ARC LIGHT strikes and myriad tactical air attacks fell on targets acquired and “worked” by Crazy Cat. When I arrived in-country in September 1968 for my second tour, I came on orders for the 1RRC as Mission Controller on the P-2 flights. Initially hijacked by my own 224th Aviation Bn. headquarters to head up a job at Tan Son Nhut for four months, I finally reached CRB on New Year’s Day, 1969. After reporting in, getting briefed by a hung-over Exec, I was squired about the compound by a warrant officer pilot with an ulterior motive. First thing he showed me—before my billet room, before the latrine, before the messhall—was The Sandman Lounge. 1RRC had been in-country more than a year and had firmly established its priorities. -
PDF Download the Sandman Overture
THE SANDMAN OVERTURE: OVERTURE PDF, EPUB, EBOOK J. H. Williams, Neil Gaiman | 224 pages | 17 Nov 2015 | DC Comics | 9781401248963 | English | United States The Sandman Overture: Overture PDF Book Writer: Neil Gaiman Artist: J. The lowest-priced brand-new, unused, unopened, undamaged item in its original packaging where packaging is applicable. This would have been a better first issue. Nov 16, - So how do we walk the line of being a prequel, but still feeling relevant and fresh today on a visual level? Variant Covers. By continuing to use this website, you agree to their use. Click on the different category headings to find out more. Presented by MSI. Journeying into the realm of his sister Delirium , he learns that the cat was actually Desire in disguise. On an alien world, an aspect of Dream senses that something is very wrong, and dies in flames. Most relevant reviews. Williams III. The pair had never collaborated on a comic before "The Sandman: Overture," which tells the story immediately preceding the first issue of "The Sandman," collected in a book titled, "Preludes and Nocturnes. Help Learn to edit Community portal Recent changes Upload file. It's incredibly well written, but if you are looking for that feeling you had when you read the first issue of the original Sandman series, you won't find it here. Retrieved 13 March Logan's Run film adaptation TV adaptation. Notify me of new posts by email. Dreams, and by extension stories as we talked about in issue 1 , have meaning. Auction: New Other. You won't get that, not in these pages. -
J a C K Kirb Y C Olle C T Or F If T Y- Nine $ 10
JACK KIRBY COLLECTOR FIFTY-NINE $10 FIFTY-NINE COLLECTOR KIRBY JACK IT CAN’T BE! BUT IT IS! I’VE DISCOVERED... ...THE AND NOTHING WILL EVER BE THE SAME AGAIN!! 95 A TREASURE TROVE OF RARITIES BY THE “KING” OF COMICS! Contents THE OLD(?) The Kirby Vault! OPENING SHOT . .2 (is a boycott right for you?) KIRBY OBSCURA . .4 (Barry Forshaw’s alarmed) ISSUE #59, SUMMER 2012 C o l l e c t o r JACK F.A.Q.s . .7 (Mark Evanier on inkers and THE WONDER YEARS) AUTEUR THEORY OF COMICS . .11 (Arlen Schumer on who and what makes a comic book) KIRBY KINETICS . .27 (Norris Burroughs’ new column is anything but marginal) INCIDENTAL ICONOGRAPHY . .30 (the shape of shields to come) FOUNDATIONS . .32 (ever seen these Kirby covers?) INFLUENCEES . .38 (Don Glut shows us a possible devil in the details) INNERVIEW . .40 (Scott Fresina tells us what really went on in the Kirby household) KIRBY AS A GENRE . .42 (Adam McGovern & an occult fave) CUT-UPS . .45 (Steven Brower on Jack’s collages) GALLERY 1 . .49 (Kirby collages in FULL-COLOR) UNEARTHED . .54 (bootleg Kirby album covers) JACK KIRBY MUSEUM PAGE . .55 (visit & join www.kirbymuseum.org) GALLERY 2 . .56 (unused DC artwork) TRIBUTE . .64 (the 2011 Kirby Tribute Panel) GALLERY 3 . .78 (a go-go girl from SOUL LOVE) UNEARTHED . .88 (Kirby’s Someday Funnies) COLLECTOR COMMENTS . .90 PARTING SHOT . .100 Front cover inks: JOE SINNOTT Back cover inks: DON HECK Back cover colors: JACK KIRBY (an unused 1966 promotional piece, courtesy of Heritage Auctions) This issue would not have been If you’re viewing a Digital possible without the help of the JACK Edition of this publication, KIRBY MUSEUM & RESEARCH CENTER (www.kirbymuseum.org) and PLEASE READ THIS: www.whatifkirby.com—thanks! This is copyrighted material, NOT intended for downloading anywhere except our The Jack Kirby Collector, Vol. -
All Nine Lives Are Precious Lucca Has It All an Act Of
all nine lives are precious An Act of Mercy ~ Heaven Smiles on Hazel In this issue we would like you to meet some of our very On a foggy Saturday morn- special cats and kittens. Each of them has had chal- ing, a Woodinville couple lenges to endure and overcome. All of them are worthy could not have imagined of our commitment and our care. Their stories serve to being called upon to inter- remind us all that we are indeed still committed to and vene in a struggle between resolved in our motto that inspired us so many years life and death. ago. We live it every day and we want to share a little bit of it with you, our MEOW friends and family. Thank About an hour into a road you for supporting our work and the belief that anchors trip, Jamie saw what he and guides us today and every day that all nine lives thought was road kill as he are precious. zipped by at 75mph. Did it move? He knew he wouldn’t Lucca Has it All sleep that night if he didn’t make sure. He pulled over about a half mile past and walked back. The woman on the phone sounded stressed. “We have some barn kittens that need homes. I can keep the He discovered a little kitten with a bloody face and foot, mama cat because she’s not very friendly, but I haven’t but alive. Jamie rushed her back to the car. Arriving at been able to find homes for the last three kittens.” Then MEOW, she was sent immediately to Animal Emergency she said, almost apologetically, “One of them is missing Services – East. -
Sandman, Aesthetics and Canonisation Today I Want To
Sandman, Aesthetics and Canonisation Today I want to examine the ways in which Neil Gaiman’s Sandman has used narrative, format and aesthetic to move ever closer to the notion of the literary text. Particularly going to consider how it exploits the author function and enacts the struggle for cultural worth that comics seem consistently engaged in. Sandman is an epic series rewriting a golden-age superhero into an immortal deity. It is best remembered for its mythological content and literary references, and these elements have allowed it to claim its place as a canonised graphic novel (despite not actually being a singular GN but a maxi-series across multiple trade paperbacks!). Neil Gaiman’s authorship and authority dominate the text and epitomise Michel Foucault’s author function. But Sandman also draws heavily on mixed media and artistic variation and these aspects are less often discussed. Far from supporting a singular author function, Sandman’s visual style is multiple and varied. But despite this, in paratexts the artistic contributions are frequently subsumed into Gaiman’s authorship. However, a closer reading demonstrates that in fact this artistic variety destabilises clear-cut authorship and enacts the particular status struggles of comics as a collaborative medium struggling against the graphic novel branding. SLIDE: literary pix Sandman was launched in 1989 and became the flagship title for DC’s new Vertigo imprint. Vertigo’s publications contributed heavily to the mainstream cultural revaluation of comics as graphic novels, and critics such as Candace West have argued that Sandman in particular was instrumental here due to the attention the series received from mainstream media such as Rolling Stone magazine. -
Kirby: the Wonderthe Wonderyears Years Lee & Kirby: the Wonder Years (A.K.A
Kirby: The WonderThe WonderYears Years Lee & Kirby: The Wonder Years (a.k.a. Jack Kirby Collector #58) Written by Mark Alexander (1955-2011) Edited, designed, and proofread by John Morrow, publisher Softcover ISBN: 978-1-60549-038-0 First Printing • December 2011 • Printed in the USA The Jack Kirby Collector, Vol. 18, No. 58, Winter 2011 (hey, it’s Dec. 3 as I type this!). Published quarterly by and ©2011 TwoMorrows Publishing, 10407 Bedfordtown Drive, Raleigh, NC 27614. 919-449-0344. John Morrow, Editor/Publisher. Four-issue subscriptions: $50 US, $65 Canada, $72 elsewhere. Editorial package ©2011 TwoMorrows Publishing, a division of TwoMorrows Inc. All characters are trademarks of their respective companies. All artwork is ©2011 Jack Kirby Estate unless otherwise noted. Editorial matter ©2011 the respective authors. ISSN 1932-6912 Visit us on the web at: www.twomorrows.com • e-mail: [email protected] All rights reserved. No portion of this publication may be reproduced in any manner without permission from the publisher. (above and title page) Kirby pencils from What If? #11 (Oct. 1978). (opposite) Original Kirby collage for Fantastic Four #51, page 14. Acknowledgements First and foremost, thanks to my Aunt June for buying my first Marvel comic, and for everything else. Next, big thanks to my son Nicholas for endless research. From the age of three, the kid had the good taste to request the Marvel Masterworks for bedtime stories over Mother Goose. He still holds the record as the youngest contributor to The Jack Kirby Collector (see issue #21). Shout-out to my partners in rock ’n’ roll, the incomparable Hitmen—the best band and best pals I’ve ever had. -
Absolute Swamp Thing by Alan Moore Volume 2 Ebook, Epub
ABSOLUTE SWAMP THING BY ALAN MOORE VOLUME 2 PDF, EPUB, EBOOK Alan Moore | 464 pages | 27 Oct 2020 | DC Comics | 9781779502827 | English | United States Absolute Swamp Thing by Alan Moore Volume 2 PDF Book Bissette , John Totleben , Various. Taking off from the end of Brightest Day , the series follows a resurrected Alec Holland who wants to put the memories of the Swamp Thing behind him. The supplemental material for this volume is reprinted from the limited edition Watchmen hardcover published by Graphitti Designs in Marshall McCune rated it really liked it Jan 31, Add to Watchdog. He never will be Alec Holland. Release date: TBA. Alan Moore is an English writer most famous for his influential work in comics, including the acclaimed graphic novels Watchmen, V for Vendetta and From Hell. Released on December 7, Arcane returns and arranges an abduction of Abby to force Tefe to use her powers to grow him a healthy body. Satyajit Chetri rated it really liked it Nov 16, Geraldine Viswanathan and Dacre Montgomery star in this romantic comedy written and directed by Natalie Krinsky. Hendrik rated it it was amazing Oct 24, Gabriel Morato rated it really liked it Oct 18, After the completion of this storyline, the Swamp Thing sought to resolve his need for vengeance against those who had "killed" him during his showdown in Gotham City, culminating in a showdown with Lex Luthor and Superman in Swamp Thing vol. Moore resides in central England. Jamie Delano. Currently out of print. Shop Now. The Swamp Thing would not appear again until Mike Carey 's run on Hellblazer in issues — and —, leading into the fourth Swamp Thing series. -
Miracleman Alan Moore Et Alii
Miracleman Alan Moore et alii. Panini, 2015 n 1982 Alan Moore y Garry Leach crearon para el primer número de la revista británica Warrior la serie “Marvelman”, una vuelta de tuerca sobre Eel antiguo personaje creado por Mick Anglo en los años 60, un nada disimulado Shazam/Superman. En ese mis- mo número dio comienzo “V de Vendetta”, también de Moore y con dibujo de David Lloyd. Un año después Moore sería contratado por DC para guionizar La Cosa del Pantano y comenzaría a forjarse su fama a nivel mun- dial. Marvelman (rebautizado Miracleman en Estados Unidos) sufrió de una historia editorial accidentada que culminó con una serie de problemas legales que impe- dían su reedición, dando como resultado el encumbra- miento de este trabajo como una obra “de culto”. Baste decir que los quince comic books que comprenden la etapa guionizada por Moore tardaron siete años largos en ver la luz, y que transcurrieron casi 25 años entre su prime- ra recopilación en tomo por Eclipse y la nueva edición realizada recientemente por Marvel.12 La ausencia prolongada de este título en el mercado provocó que toda una generación de aficionados desconociese una obra que, ateniéndonos a la identidad y posteriores trabajos de sus creadores, prometía unos importantes niveles artísticos y de densidad narrativa. ¿Estaban fundadas esas esperanzas? La respuesta corta es sí, y la larga trataré de desarrollarla en las próximas líneas. Hacer un resumen argumental de la serie es relativamente complicado por lo alambicado de su desarrollo, de manera que apuntaré aquí tan solo algunos detalles relevantes. -
MLJ's Silver Age Revivals
ASK MR. SHUTTSILVER AGE “Too Many Super Heroes” doesn’t really do this group justice MLJ’s Silver Age revivals by CRAIG SHUTT Dear Mr. Silver Age, I’m a big fan of The Fly and Fly Girl, and I understand they were members of a super-hero team. Do you know who else was a member? Betty C. Riverdale Mr. Silver Age says: I sure do, Bets, and you’ll be happy to hear that a few of those stalwart super-heroes are returning to the pages of DC’s comic books. The first to arrive are The Shield, The Web, The Hangman, and Inferno. They’re being touted as the heroes from Archie Comics’ short-lived Red Circle line of the 1980s, but they all got their start much earlier than that, including brief appearances in the Silver Age. During those halcyon days, they all were members of (or at least tried out for) The Mighty Crusaders! And, if the new adventures prove popular, there are plenty more heroes awaiting their own revival. The Mighty Crusaders, Archie’s response to the mid-1960s success of super-hero teams, got their start in Fly Man #31 (May 65). The team consisted of The Shield, Black Hood, The Comet, Fly Man (né The Fly), and Fly Girl. The first three were revived versions of Golden Age characters, while the latter two starred in their own Silver Age series. The heroes teamed up for several issues and then began individual back-up adventures through #39. They also starred in seven issues of Mighty Crusaders starting with #1 (Nov 65) and then took over Fly Man in various combinations, when it became Mighty Comics with #40 (Nov 66). -
Predicting Human Performance for Face Recognition
Predicting Human Performance for Face Recognition1 Alice J. O’Toole Fang Jiang The University of Texas at Dallas The University of Texas at Dallas Email: [email protected] Email: [email protected] Dana Roark Hervé Abdi The University of Texas at Dallas The University of Texas at Dallas Email: [email protected] Email: [email protected] Abstract The ability of humans to recognize faces provides an implicit benchmark for gauging the performance of automatic face recognition algorithms. In this chapter we review the factors that affect human accuracy. These factors can be classified into facial stucture constraints and viewing parameters. The former include factors such as face typicality, gender, and ethnicity. The latter include changes in illumination and viewpoint, as well as the perceptual complications introduced when we see faces and people in motion. The common thread of the chapter is that human experience and familiarity with faces can overcome many, if not all, of these challenges to face recognition. A goal of computional algorithms should be to emulate the ways in which humans acquire familiarity with faces. It may then be possible to apply these principles to the design of algorithms to meet the pressing challenges of face recognition in naturalistic vieiwng conditions. 9.1 Introduction Human face recognition abilities are impressive by comparison to the performance of many current automatic face recognition systems. Such is the belief of many psy- chologists and computer scientists. This belief, however, is supported more by anec- dotal impression than by scientific evidence. In fact, there are relatively few system- atic and direct comparisons between the performance of humans and automatic face recognition algorithms, (though see [84], for exceptions).