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War Comics from Wikipedia, the Free Encyclopedia
War comics From Wikipedia, the free encyclopedia War comics is a genre of comic books that gained popularity in English-speaking countries following War comics World War II. Contents 1 History 1.1 American war comics 1.2 End of the Silver Age 1.3 British war comics 2 Reprints 3 See also 4 References 5 Further reading 6 External links History American war comics Battlefield Action #67 (March 1981). Cover at by Pat Masulli and Rocco Mastroserio[1] Shortly after the birth of the modern comic book in the mid- to late 1930s, comics publishers began including stories of wartime adventures in the multi-genre This topic covers comics that fall under the military omnibus titles then popular as a format. Even prior to the fiction genre. U.S. involvement in World War II, comic books such as Publishers Quality Comics Captain America Comics #1 (March 1941) depicted DC Comics superheroes fighting Adolf Hitler and the Nazis. Marvel Comics Golden Age publisher Quality Comics debuted its title Charlton Comics Blackhawk in 1944; the title was published more or less Publications Blackhawk continuously until the mid-1980s. Sgt. Fury and his Howling Commandos In the post-World War II era, comic books devoted Sgt. Rock solely to war stories began appearing, and gained G.I. Combat popularity the United States and Canada through the 1950s and even during the Vietnam War. The titles Commando Comics tended to concentrate on US military depictions, Creators Harvey Kurtzman generally in World War II, the Korean War or the Robert Kanigher Vietnam War. Most publishers produced anthologies; Joe Kubert industry giant DC Comics' war comics included such John Severin long-running titles as All-American Men of War, Our Russ Heath Army at War, Our Fighting Forces, and Star Spangled War Stories. -
Jack Kirby Collector Seventy-Four $ 10
95 1 82658 00143 8 $10 JACK KIRBY COLLECTOR SEVENTY-FOUR Bullseye TM & © Joe Simon Jack Kirby Estates. Contents THE The PAST! OPENING SHOT ................2 (the past is now, the future is then) KIRBY AS A GENRE ............3 (to pulp returnest, with Tom Scioli) ISSUE #74A, SPRING 2018 Collector FOUNDATIONS ................6 (not our first Kirby romance story...) BROTHER BOYD ..............16 ( Jerry’s bro shows us Wolf Waco’s two-shot appearances) STRIP CLUB .................19 (Davy Crockett, hiding in plain sight) KIRBY OBSCURA .............21 (what did Jack do best?) RE-FOUND ..................24 ( announcing the hardcover Jack Kirby Checklist: Centennial Edition) JACK KIRBY MUSEUM .........29 (visit & join www.kirbymuseum.org) INFLUENCEES ................30 (the terrific Roy Thomas remembers Jack Kirby) COLLECTOR COMMENTS .......44 INNER-VENTIONS .............46 (take a trip in Jack’s time machines) COLLAGE: “ABOUT TIME” ......48 THE FUTURE! ...... FLIP US OVER! Numerous images in this issue are courtesy of the Jack Kirby Museum and whatifkirby.com, which have our eternal(s) thanks! (right) This issue’s “Past” cover started life as a gorgeous late- 1960s Bullseye drawing. Bullseye cover inks & colors (Version A): BILL WRAY Don’t miss our alternate TIGER 21 cover (Version B)! COPYRIGHTS: Alarming Tales, Boy Explorers, Bullseye, Stuntman, “You’re Not The First!” TM & © Joe Simon & Jack Kirby Estates • Big Jim’s P.A.C.K. TM & © Mattel • Thundarr the Barbarian TM & © Ruby-Spears Productions • Conan the Barbarian TM & © RE Howard Estate • “About Time”, Captain Victory, Egghead, Limousine Drawing, Moses, Tiger 21 TM & © Jack Kirby Estate • Davy Crockett TM & © the respective owner • Avengers, Black Panther, Bucky, Captain America, Colossus, Dr. -
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. -
SFU Thesis Template Files
“To Fight the Battles We Never Could”: The Militarization of Marvel’s Cinematic Superheroes by Brett Pardy B.A., The University of the Fraser Valley, 2013 Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts in the School of Communication Faculty of Communication, Art, and Technology Brett Pardy 2016 SIMON FRASER UNIVERSITY Summer 2016 Approval Name: Brett Pardy Degree: Master of Arts Title: “To Fight the Battles We Never Could”: The Militarization of Marvel’s Cinematic Superheroes Examining Committee: Chair: Frederik Lesage Assistant Professor Zoë Druick Senior Supervisor Associate Professor Adel Iskander Supervisor Assistant Professor Michael Ma External Examiner Faculty Member Department of Criminology Kwantlen Polytechnic University Date Defended/Approved: June 16, 2016 ii Abstract The Marvel comics film adaptations have been some of the most successful Hollywood products of the post 9/11 period, bringing formerly obscure cultural texts into the mainstream. Through an analysis of the adaptation process of Marvel Entertainment’s superhero franchise from comics to film, I argue that a hegemonic American model of militarization has been used by Hollywood as a discursive formation with which to transform niche properties into mass market products. I consider the locations of narrative ambiguities in two key comics texts, The Ultimates (2002-2007) and The New Avengers (2005-2012), as well as in the film The Avengers (2012), and demonstrate the significant reorientation of the film franchise towards the American military’s “War on Terror”. While Marvel had attempted to produce film adaptations for decades, only under the new “militainment” discursive formation was it finally successful. -
142 APPENDIX 1: American and Australian Comics (Historical And
‘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 APPENDIX 1: American and Australian Comics (historical and process examples). All images and characters © Their respective copyright holders, and included as examples of concepts and ideas discussed within the body of thesis. For educational purposes only. Figure 1.01: The original comic page depiction of The Batman (circa 1940) by Bill Finger and Bob Kane. 142 Figure 1.02: One of the earliest pages from Superman (circa 1938) by Jerry Siegel and Joe Shuster. 143 Figure 1.03: Simon & Kirby’s Captain America (#3, May 1941). Note the dynamic figures that “explode” out of the panels. 144 1.04 Figure 1.04 & 1.05: Steve Ditko and Stan Lee’s The Amazing Spider-man (circa 1.05 1962-63). The 1960s Marvel Comics era ushered in a new take on the superhero: “Heroes with feet of clay”. 145 1.06 1.07 1.08 1.09146 1.11 1.10 1.12 1.13 147 1.14 1.15 Figures 1.06 – 1.16: Examples of Australian Action /Superhero comics over the years, including (but not limited to): 1.06: Captain Atom (circa 1948) 1.07: Phantom Commando (circa 1959) 1.08: Cyclone! Comics (Superhero anthology book circa 1985) 1.09: The Southern Squadron (circa 1987) 1.10: Captain Atom and Ghost Rider (circa 1947) 1.11: The Panther (circa 1958) 1.12: The Crimson Comet (circa 1953) 1.13: Captain Justice (circa 1955) 1.14: Silver Starr (circa 1949) 1.15: The Lone Avenger (circa 1949) 1.16: Phantom Commando (circa 1960) 1.16 148 Figure 1.17: Iron Outlaw – a parody Australian Superhero newspaper strip by Graeme Rutherford and Gregor MacAlpine (1971). -
2News Summer 05 Catalog
0 6 1 82658 27762 8 Volume 1, Number 81 July 2015 EDITOR-IN-CHIEF Michael Eury Comics’ Bronze Age and Beyond! PUBLISHER John Morrow DESIGNER Rich Fowlks COVER ARTIST Nick Cardy (E.N.B. headshot by Dave Manak) COVER COLORIST Glenn Whitmore COVER DESIGNER Michael Kronenberg PROOFREADER Rob Smentek SPECIAL THANKS Neal Adams Chris Marshall Sergio Aragonés David Michelinie Robert Beerbohm Martin Pasko Edgar Bercasio Jeff Rovin Jerry Boyd Bob Rozakis Pat Broderick Walter Simonson Gary Brown Steve Skeates Cary Burkett Prof. Manuela Soares Comic Book Artist Bryan D. Stroud BACK SEAT DRIVER: Remembering E. Nelson Bridwell . .2 DC Comics Linda Sunshine Steve Englehart Laurie Sutton FLASHBACK: A Look at the Super Specs . .4 John Eury Roy Thomas Stephan Friedt Maggie Thompson FANTASY COVER GALLERY: The Super Spectaculars That Weren’t . .32 Carl Gafford Mike Tiefenbacher Mike Gold Anthony Tollin PRINCE STREET NEWS: History on the Spinner Rack . .34 Grand Comics John Trumbull FLASHBACK: Super DC Giant . .37 Database Michael Uslan Bob Greenberger Mark Waid BRING ON THE BAD GUYS: Wanted, the World’s Most Dangerous Villains . .42 Jack C. Harris Carolyn Wallace Karl Heitmueller, Jr. John Wells WHAT THE--?!: The Inferior Five . .46 Heritage Comics Bernie Wrightson Auctions FLASHBACK: Reprint Madness: DC’s Short-Lived Reprint Line of 1972–1973 . .47 Dedicated to the Dan Johnson FLASHBACK: Secret Origins . .53 Rob Kelly memory of E. Nelson Bridwell Jim Kingman FLASHBACK: DC’s Bronze Age Reprint Giants . .56 Paul Kupperberg Paul Levitz FLASHBACK: Terminated Classics: The DC Implosion . .67 FLASHBACK: DC’s Bronze Age Collected Editions . .69 If you’re viewing a Digital INTERVIEW: A Fireside (Books) Chat with Michael Uslan . -
American Comic Books & the Aids Crisis
FATAL ATTRACTIONS: AMERICAN COMIC BOOKS & THE AIDS CRISIS A MASTER’S FINAL PROJECT FOR THE DEPARTMENT OF AMERICAN STUDIES Sean A. Guynes FATAL ATTRACTIONS: AMERICAN COMIC BOOKS AND THE AIDS CRISIS A Master’s Final Project Presented by SEAN A. GUYNES Submitted to the Department of American Studies, University of Massachusetts Boston, in partial fulfillment of the requirements for the degree of MASTER OF ARTS June 2015 American Studies Program © 2015 by Sean A. Guynes All rights reserved Cover design after Alaniz (2014). Cover art by Richard Bennett, Uncanny X-Men #303 (August 1993), © Marvel Worldwide, Inc. Art below from 7 Miles A Second, story by David Wojnarowicz, art by James Romberger and Marguerite Van Cook (1996). ABSTRACT FATAL ATTRACTIONS: AMERICAN COMIC BOOKS AND THE AIDS CRISIS June 2015 Sean A. Guynes, B.A., Western Washington University M.A., University of Massachusetts Boston Advisor: Aaron Lecklider, Ph.D. Second Reader: Rachel Rubin, Ph.D. Between 1988 and 1994 American comic books engaged the politics, problematics, and crises of the AIDS epidemic by inserting the virus and its social, cultural, and epidemiological effects on gay men into the four-color fantasies of the superhero genre. As the comic-book industry was undergoing major internal changes that allowed for more mature, adult storylines, creators challenged the Comics Code Authority’s 1954 sanction against the representation of homosexuality to create, for the first time, openly gay characters. Creators’ efforts were driven by a desire to recognize the reality of gay men’s lived experiences, especially crucial in the epidemic time of the AIDS crisis. -
100 Top Creators Celebrate Jack Kirby's Greatest Work 100 Top Creators Celebrate Jack Kirby's Greatest Work 100 Top Creators
100100100 TopTopTop CreatorsCreatorsCreators CelebrateCelebrate JackJackJack Kirby’sKirby’sKirby’s GreatestGreatest WorkWork TABLE OF CONTENTS Introduction by John Morrow..... 6 27. Kyle Baker: 54. José Villarrubia: 80. Kevin Eastman: Captain America.................... 60 Captain America #109......... 112 Kamandi #16 ....................... 162 THE GOLDEN AGE 28. Shannon Wheeler: 55. Joe Sinnott: 81. Thomas Yeates: 1. Paris Cullins: Blue Beetle....... 8 The X-Men #8........................ 62 Fantastic Four #95 ............... 114 Kamandi #19 ....................... 164 2. Allen Bellman: 29. Larry Hama: Sgt. Fury #13... 64 82. Scott Shaw!: Captain America Comics #5 .... 10 DC AND THE FOURTH WORLD 30. Steve Mitchell: 1st Issue Special #6 ............. 166 56. Jerry Ordway: 3. Mike Vosburg: Sgt. Fury #13 ......................... 65 83. Alan Davis: OMAC #4 ....... 170 Stuntman #2 ............................ 12 Mister Miracle #1 ............... 116 31. Fred Hembeck: 84. Batton Lash: 57. Dustin Nguyen: THE 1950s Fantastic Four #34 ................. 66 Our Fighting Forces ............. 172 The Forever People #6......... 117 4. John Workman: 32. W alter Simonson: 85. Alex Ross: 58. Will Meugniot: Boys’ Ranch #3 ........................ 14 Journey Into Mystery #113 ... 68 The Sandman #4 ................. 174 Mattel Comic Game Cards ...118 5. Bill Black: Captain 3-D #1 .... 16 33. Adam Hughes: 59. Al Milgrom: Jimmy Olsen RETURN TO MARVEL 6. T revor Von Eeden: Tales of Suspense #66 .......... 70 Adventures .......................... 120 86. Evan Dorkin: Fighting American #1 .............. 18 34. P . Craig Russell: 60. Cliff Galbraith: Superman’s Captain America’s Fantastic Four #40–70........... 72 7. Bob Burden: Pal, Jimmy Olsen #134........ 123 Bicentennial Battles ............ 176 Fighting American ................... 20 35. Richard Howell: 61. Dan Jurgens: Superman’s 87. Bruce Timm: Fantastic Four #45 ................ -
Skyrack Trader 11
5fc±« *»mpr<hensive listing and advertising vehicle is published approximately every two. months by Ron Bennett, British School,B-7010 SHAPE, Belgium. Customers, subscribers, etc in the U.K. please write to Ron Bennett, British School, SHAPE, BFPO 26, using only a 3p stamp. American representative is Yandro publisher Robert ******* ***** **** *************j**j******************^.*^.* ALL COPIES MAILED SAME DAY ---- This issue is LATE!I Coulson, Route 3, Hartford City, Indiana 47348, USA. Subscription Rates: Surface printed matter single issues are 12 pence, 13 francs »r 30 cents. six issues for 50 pence, 50 francs or $1.20. Airmail(Not applicable to UK, Belgium, France or Germany);Single sample issues for 50p or $1.20. Six issues for £2.00 or U.S.$5.00 airmail to all parts of the world. Advertising. We are now able to accept advertising virtually up to the last moment before going to press. Can we take 20txi January as our deadline? Rates: Full page £1.25 or $3-00. Half page 85p or $2.00. Quarter page 50p or $1.25. Subscribers: Please note that your subscription expires with issue #_____ __ __ __ . Skyrack Book-Service customers automatically have their subscriptions extended. SKYRACK BOOK SERVICE, our favourite armchair bookshop, extends seasonal greetings and presents its December 1972 catalogue which commences on page 5. Our boast that we offer the widest range of specialist material from anywhere in Europe is reinforced with the pages in your hands. ****************************************** PRINTED MATTER/IMPRIMES Ron Bennett British School B-7010 SHAPE Belgique/BFPO 26. ROBERT SAMPSON (Wt ________________________________ ———-------- Robert Sampson. -
DCCOBENT RESUME RD 145 828 /R 005 227 a Subject Index to Comic Books and Related 59P,; Based,On the Holdings of The*Miahigan St
DCCOBENT RESUME RD 145 828 /R 005 227 AUTHOR ScOtt, Randall W. TITLE A Subject Index to Comic Books and Related Material. PUB DATE Jun 75. , NOTE 59p,; BASed,on the holdings of the*MiahiganSt ate University Library's COmic Art Collection *Childrens Literature; Comics (Publications); Indexing; Serials a EDRS PRICE MF-$0.83 HC-$3.50 Plus Postage. DESCLIIPTORS *Cataloging; *Childrens Literature; *Comics (PublidationA; Indexing; Serials ABSTRACT. t The original problem of the Special Collections 1- division of the Michigan State University Library (tISU)vas to establish a direction for the comic book section of the popular culture collection, and to state the holdings in the chosen area,'The COffiCS chosen as the target collection were the superherO comics of the 1960's through,1975, as this was the most nearly complete collection. The author's definition of a superhero\is'included. Through the study of the comic collection, a system for cataloging and indexing comics was developed. Information provided by the cataloging system includes a call number, title, publisher, issues pdblished, notes, MSU holdings, and additional holdings as reprints. This information,is tabulated for the _superhero comics in the collection and also for' the western comics, war and military comics; romance comics, and others. The card catalog for thecomic collection contains Author-Title cards and Subject Index cards for each item in. the collection. A list of subject headings and an author-title list of all holdings in tiie MSU collection are included'. (JAB) 1 *************************4**************************4*********$******** * Documents acquired by .ERIC include many informal unpublished * materials not available from other sources. -
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JACK KIRBY COLLECTOR THIRTY-EIGHT $9 95 IN THE US Jack Kirby (right) Burne Hogarth’s classic Dynamic Figure Drawing was a revelation to me as a budding teenage artist, but deep down I always wondered what a “how-to” book by Kirby would be like. Jack DYNAMIC never produced such a book, and if he had, it’s a safe bet nobody would’ve bought it for the words anyway. So here’s my take on what the cover might’ve FIGURE looked like. Hulk, Thing TM & ©2003 Marvel Characters, Inc. Big Barda TM & ©2003 DC Comics. DRAWING COPYRIGHTS: Atlas, Big Barda, Boy Commandos, Challengers of the Unknown, Darkseid, Demon, Dingbats of Danger Street, Dr. Fate, Forager, Forever People, Green Lantern, Jimmy Olsen, Kamandi, Lightray, Losers, Mr. Miracle, Negative Man, New Gods, Newsboy Legion, OMAC, Orion, Promethea, Pyra, Spectre, Superman, Toxl the World Killer, Wonder Woman, Young Romance TM & ©2003 DC Comics • Black Bolt, Black Panther, Bucky, Capt. America, Crystal, Dr. Doom, Dr. Strange, Dragon Man, Enchantress, Fantastic Four, Galactus, Gorgon, Hercules, Hulk, Human Torch, Infant Terrible, Inhumans, Invisible Girl, Iron Man, Karnak, Liberty Legion, Magneto, Makarri, Medusa, Melter, Modok, Mr. Fantastic, Nick Fury, Rawhide Kid, Red Skull, Sgt. Fury, Silver Surfer, Spider-Man, Sub-Mariner, Super Skrull, Thing, Thor, Triton, Two-Gun Kid, Warlock TM & ©2003 Marvel Characters, Inc. • Enchantra, Silver Star, The Family, Capt. Glory, Capt. Victory, Satan's Six, Inky, Galaxy Green TM & Spotlighting the artist of ©2003 Jack Kirby Estate • Boys' Ranch, Police Trap TM & ©2003 Simon & Kirby • THE FOURTH WORLD TRILOGY Thundarr TM & ©2003 Ruby-Spears Productions, Inc. -
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FIGHTING AMERICANS Captain America TM & ©2002 Marvel Characters, Inc. N M O 2 0 A . 0 R 2 34 . T H E N E W C o l l e c t o r I n $ 9 T h . 9 e 5 U S Contents OPENING SHOT . .2 THE NEW (a salute to the fighting Americans who saved United Flight #93 from terrorists) UNDER THE COVERS . .4 (the inimitable Alex Toth drops us a card about this issue’s cover art) JACK F.A.Q. s . .6 (Mark Evanier solves a Frequently Asked Question about how inkers were ISSUE #34, MAR. 2002 Collector chosen at Marvel in the 1960s) R.L. BRYANT . .11 (our semi-regular columnist surveys a certain Scientific American) RETROSPECTIVE . .12 (Keith Hammond takes aim at Kirby’s run on Green Arrow) LOOKING BACK . .16 (Carmine Infantino reminisces about Joe, Jack, and all kinds of heroes) INNERVIEW . .21 (a brief chat with Jack, circa 1974) BATTLE LINES . .22 (Kirby’s 12-issue run was a winner for the Losers) OLD PANELING . .29 (some unseen ’50s Kirby comic strips) GALLERY . .30 (a selection of Captain America’s greatest hits, kicks, and wallops, shown at our giant tabloid size) KIRBY AS A GENRE . .46 (Adam McGovern dips into a grab-bag of Kirby homages) INTERNATIONALITIES . .48 (French comics legend Philippe Druillet learns that the Kirby influence speaks a universal language) PULPED . .54 (get your fingers dirty on these torrid, lusty Simon & Kirby illos) SHIELD . .58 (Spies, Hydra, Intrigue, and Espionage in a Lengthy Dissertation) COLLABORATORS . .66 (Simon says, “Read this article!”) EXTRA! .