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Box 12 Page 1 of 1 Publisher Title Refs Date Marvel Models Inc. (Vol.1) #1 to #4 2009/2010 Marvel Stephen King’s N. #1 to #4 2010 Marvel New Exiles #1 to #18 2008/2009 Marvel New Mutants Unfinished Business Premiere #1 1st 2011 Marvel Newuniversal #1 to #6 2006 Marvel Newuniversal - Shockfront #1 to #2 2008 Marvel NYX #1 to #7 2003 Marvel NYX – No Way Home #1 to #6 2008/2009 Marvel 5 Ronin Psylocke (4 of 5) #4B 2011 Marvel Psylocke #1 to #4 2010 Icon Scarlet #1 to #7 2010 Marvel Scarlet – The Secret Service #1 to #6 2012 Marvel Six Guns #1 to #5 2012 Marvel Spellbinders #1 to #6 2004/2005 Marvel Stephen King – The Stand – Captain Trips #1 to #5 2008 Marvel Stephen King – The Stand – American Nightmares #1 to #5 2009 Marvel Stephen King – The Stand – Soul Survivors #1 to #5 2009/2010 Marvel Stephen King – The Stand – Hard Cases #1 to #5 2010 Marvel Stephen King – The Stand – No Man’s Land #1 to #5 2011 Marvel Stephen King – The Stand – The Night Has Come #1 to #6 2011 Marvel Trouble #2,#3,#4&#5 2003 Marvel Westerns Outlaw File #1 2006 Marvel Western Legends #1 2006 Marvel Strange Westerns – Black Rider #0 2006 Marvel Kid Colt #1 2009 Marvel Kid Colt and Arizona Girl #1 2006 Marvel Rawhide Kid – The Sensational Seven #1 to #4 2010 Marvel Two-Gun Kid #1 2006 Marvel Widowmaker with Black Widow & Hawkeye #1 to #4 2010 Marvel Xtreme X-men - Intifada #1 to #5 2003 Marvel Fear Itself – Uncanny X-Force #1 to #3 2011 Marvel Uncanny X-Force #1 to #35 2010 Marvel Uncanny X-Force (2nd Series) #1 to #17 2013/2014 Marvel Uncanny X-Men Marvel 462 to 544 2005/2011 Marvel Uncanny X-Men (2nd Series) #1 to #19 2012 Marvel Uncanny X-Men (3rd Series) #1 to #18 2013 Marvel Uncanny X-Men - #4 1st #1 2014 Marvel XForce #1 & #2 2014 Marvel All New X Men Marvel 020 2014 Marvel Now XMen – Join the Revolution 001 to 012 2013 Marvel XForce Marvel 2.com – 28.com 2008/2010 Marvel X-Men Origins – Emma Frost #1 2010 Marvel X-Men – Sword of the Braddocks #1 2009 Marvel X-Men – Die by the Sword #1 to #5 2007 Marvel X-Men #30 to #41 2012/2013 Women of Marvel X-23 (one shot) #23 2010 Marvel One-Shot X-Women #1 2010 Marvel The Forsaken World of YtHAQ #1 to #3 2008/2009 Marvel YtHAQ No Escape #1 to #3 2009 .

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Outlaw: Wilderness and Exile in Old and Middle
THE ‘BESTLI’ OUTLAW: WILDERNESS AND EXILE IN OLD AND MIDDLE ENGLISH LITERATURE A Dissertation Presented to the Faculty of the Graduate School of Cornell University In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Sarah Michelle Haughey August 2011 © 2011 Sarah Michelle Haughey THE ‘BESTLI’ OUTLAW: WILDERNESS AND EXILE IN OLD AND MIDDLE ENGLISH LITERATURE Sarah Michelle Haughey, Ph. D. Cornell University 2011 This dissertation, The ‘Bestli’ Outlaw: Wilderness and Exile in Old and Middle English Literature explores the reasons for the survival of the beast-like outlaw, a transgressive figure who highlights tensions in normative definitions of human and natural, which came to represent both the fears and the desires of a people in a state of constant negotiation with the land they inhabited. Although the outlaw’s shelter in the wilderness changed dramatically from the dense and menacing forests of Anglo-Saxon England to the bright, known, and mapped greenwood of the late outlaw romances and ballads, the outlaw remained strongly animalistic, other, and liminal, in strong contrast to premodern notions of what it meant to be human and civilized. I argue that outlaw narratives become particularly popular and poignant at moments of national political and ecological crisis—as they did during the Viking attacks of the Anglo-Saxon period, the epoch of intense natural change following the Norman Conquest, and the beginning of the market revolution at the end of the Middle Ages. Figures like the Anglo-Saxon resistance fighter Hereward, the exiled Marcher lord Fulk Fitz Waryn, and the brutal yet courtly Gamelyn and Robin Hood, represent a lost England imagined as pristine and forested.
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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.
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Fully $9.95 Authorized THE NEW By The In The US Kirby Estate SPOTLIGHTING KIRBY’S LEAST- KNOWN WORK! In The Days Of The Mob ISSUE #32, JULY 2001 Collector Dingbats of Danger Street Soul Love True Divorce Cases The Black Hole The Prisoner Marvel Westerns The Horde and more! A Long-Lost Kirby Interview Mark Evanier on the Fourth World Kirby Checklist UPDATE Unpublished Art including published pages Before They Were Inked, And Much More!! Contents OPENING SHOT . .2 THE NEW (to those who say “We don’t need no stinkin’ unknown Kirby work”, the editor politely says “Phooey”) UNDER THE COVERS . .4 (the story behind the somewhat Glen Campbell-looking fellow on our covers) JACK F.A.Q. s . .6 (Mark Evanier answers a reader’s ISSUE #32, JULY 2001 Collector Frequently Asked Questions about the Fourth World) ANIMATED GESTURES . .11 (Eric Nolen-Weathington begins his ongoing crusade to make sense of some of the animation art Kirby drew) IN HIS OWN WORDS . .12 (Kirby speaks in this long-lost interview from France—oui!) CREDIT CHECK . .22 (Kirby sets a new record, as we present the long-awaited update to the Kirby Checklist, courtesy of Richard Kolkman) GALLERY . .32 (some of Kirby’s least-known and/or never-seen art gets its day in the sun) KIRBY AS A GENRE . .44 (Adam McGovern takes another swat at those pesky Kirby homages that are swarming around his mailbox) INTERNATIONALITIES . .46 (this issue’s look at Jack’s international influence finds Jean-Marie Arnon owes the King a huge debt) TRIVIA .
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Twisted Trails of the Wold West by Matthew Baugh © 2006
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Jack Kirby Collector Seventy-Four $ 10
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Mason 2015 02Thesis.Pdf (1.969Mb)
‘Page 1, Panel 1…” Creating an Australian Comic Book Series Author Mason, Paul James Published 2015 Thesis Type Thesis (Professional Doctorate) School Queensland College of Art DOI https://doi.org/10.25904/1912/3741 Copyright Statement The author owns the copyright in this thesis, unless stated otherwise. Downloaded from http://hdl.handle.net/10072/367413 Griffith Research Online https://research-repository.griffith.edu.au ‘Page 1, Panel 1…” Creating an Australian Comic Book Series Paul James Mason s2585694 Bachelor of Arts/Fine Art Major Bachelor of Animation with First Class Honours Queensland College of Art Arts, Education and Law Group Griffith University Submitted in fulfillment for the requirements of the degree of Doctor of Visual Arts (DVA) June 2014 Abstract: What methods do writers and illustrators use to visually approach the comic book page in an American Superhero form that can be adapted to create a professional and engaging Australian hero comic? The purpose of this research is to adapt the approaches used by prominent and influential writers and artists in the American superhero/action comic-book field to create an engaging Australian hero comic book. Further, the aim of this thesis is to bridge the gap between the lack of academic writing on the professional practice of the Australian comic industry. In order to achieve this, I explored and learned the methods these prominent and professional US writers and artists use. Compared to the American industry, the creating of comic books in Australia has rarely been documented, particularly in a formal capacity or from a contemporary perspective. The process I used was to navigate through the research and studio practice from the perspective of a solo artist with an interest to learn, and to develop into an artist with a firmer understanding of not only the medium being engaged, but the context in which the medium is being created.
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