JESSICA ABEL Trish Trash: Rollergirl of Mars Omnibus
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LEAPING TALL BUILDINGS American Comics SETH KUSHNER Pictures
LEAPING TALL BUILDINGS LEAPING TALL BUILDINGS LEAPING TALL From the minds behind the acclaimed comics website Graphic NYC comes Leaping Tall Buildings, revealing the history of American comics through the stories of comics’ most important and influential creators—and tracing the medium’s journey all the way from its beginnings as junk culture for kids to its current status as legitimate literature and pop culture. Using interview-based essays, stunning portrait photography, and original art through various stages of development, this book delivers an in-depth, personal, behind-the-scenes account of the history of the American comic book. Subjects include: WILL EISNER (The Spirit, A Contract with God) STAN LEE (Marvel Comics) JULES FEIFFER (The Village Voice) Art SPIEGELMAN (Maus, In the Shadow of No Towers) American Comics Origins of The American Comics Origins of The JIM LEE (DC Comics Co-Publisher, Justice League) GRANT MORRISON (Supergods, All-Star Superman) NEIL GAIMAN (American Gods, Sandman) CHRIS WARE SETH KUSHNER IRVING CHRISTOPHER SETH KUSHNER IRVING CHRISTOPHER (Jimmy Corrigan, Acme Novelty Library) PAUL POPE (Batman: Year 100, Battling Boy) And many more, from the earliest cartoonists pictures pictures to the latest graphic novelists! words words This PDF is NOT the entire book LEAPING TALL BUILDINGS: The Origins of American Comics Photographs by Seth Kushner Text and interviews by Christopher Irving Published by To be released: May 2012 This PDF of Leaping Tall Buildings is only a preview and an uncorrected proof . Lifting -
Graphic Novels for Children and Teens
J/YA Graphic Novel Titles The 9/11 Report: A Graphic Adaptation Sid Jacobson Hill & Wang Gr. 9+ Age of Bronze, Volume 1: A Thousand Ships Eric Shanower Image Comics Gr. 9+ The Amazing “True” Story of a Teenage Single Mom Katherine Arnoldi Hyperion Gr. 9+ American Born Chinese Gene Yang First Second Gr. 7+ American Splendor Harvey Pekar Vertigo Gr. 10+ Amy Unbounded: Belondweg Blossoming Rachel Hartman Pug House Press Gr. 3+ The Arrival Shaun Tan A.A. Levine Gr. 6+ Astonishing X-Men Joss Whedon Marvel Gr. 9+ Astro City: Life in the Big City Kurt Busiek DC Comics Gr. 10+ Babymouse Holm, Jennifer Random House Children’s Gr. 1-5 Baby-Sitter’s Club Graphix (nos. 1-4) Ann M. Martin & Raina Telgemeier Scholastic Gr. 3-7 Barefoot Gen, Volume 1: A Cartoon Story of Hiroshima Keiji Nakazawa Last Gasp Gr. 9+ Beowulf (graphic adaptation of epic poem) Gareth Hinds Candlewick Press Gr. 7+ Berlin: City of Stones Berlin: City of Smoke Jason Lutes Drawn & Quarterly Gr. 9+ Blankets Craig Thompson Top Shelf Gr. 10+ Bluesman (vols. 1, 2, & 3) Rob Vollmar NBM Publishing Gr. 10+ Bone Jeff Smith Cartoon Books Gr. 3+ Breaking Up: a Fashion High graphic novel Aimee Friedman Graphix Gr. 5+ Buffy the Vampire Slayer (Season 8) Joss Whedon Dark Horse Gr. 7+ Castle Waiting Linda Medley Fantagraphics Gr. 5+ Chiggers Hope Larson Aladdin Mix Gr. 5-9 Cirque du Freak: the Manga Darren Shan Yen Press Gr. 7+ City of Light, City of Dark: A Comic Book Novel Avi Orchard Books Gr. -
Igncc18 Programme
www.internationalgraphicnovelandcomicsconference.com [email protected] #IGNCC18 @TheIGNCC RETRO! TIME, MEMORY, NOSTALGIA THE NINTH INTERNATIONAL GRAPHIC NOVEL AND COMICS CONFERENCE WEDNESDAY 27TH – FRIDAY 29TH JUNE 2018 BOURNEMOUTH UNIVERSITY, UK Retro – a looking to the past – is everywhere in contemporary culture. Cultural critics like Jameson argue that retro and nostalgia are symptoms of postmodernism – that we can pick and choose various items and cultural phenomena from different eras and place them together in a pastiche that means little and decontextualizes their historicity. However, as Bergson argues in Memory and Matter, the senses evoke memories, and popular culture artefacts like comics can bring the past to life in many ways. The smell and feel of old paper can trigger memories just as easily as revisiting an old haunt or hearing a piece of music from one’s youth. As fans and academics we often look to the past to tell us about the present. We may argue about the supposed ‘golden age’ of comics. Our collecting habits may even define our lifestyles and who we are. But nostalgia has its dark side and some regard this continuous looking to the past as a negative emotion in which we aim to restore a lost adolescence. In Mediated Nostalgia, Ryan Lizardi argues that the contemporary media fosters narcissistic nostalgia ‘to develop individualized pasts that are defined by idealized versions of beloved lost media texts’ (2). This argument suggests that fans are media dupes lost in a reverie of nostalgic melancholia; but is belied by the diverse responses of fandom to media texts. Moreover, ‘retro’ can be taken to imply an ironic appropriation. -
Writing About Comics
NACAE National Association of Comics Art Educators English 100-v: Writing about Comics From the wild assertions of Unbreakable and the sudden popularity of films adapted from comics (not just Spider-Man or Daredevil, but Ghost World and From Hell), to the abrupt appearance of Dan Clowes and Art Spiegelman all over The New Yorker, interesting claims are now being made about the value of comics and comic books. Are they the visible articulation of some unconscious knowledge or desire -- No, probably not. Are they the new literature of the twenty-first century -- Possibly, possibly... This course offers a reading survey of the best comics of the past twenty years (sometimes called “graphic novels”), and supplies the skills for reading comics critically in terms not only of what they say (which is easy) but of how they say it (which takes some thinking). More importantly than the fact that comics will be touching off all of our conversations, however, this is a course in writing critically: in building an argument, in gathering and organizing literary evidence, and in capturing and retaining the reader's interest (and your own). Don't assume this will be easy, just because we're reading comics. We'll be working hard this semester, doing a lot of reading and plenty of writing. The good news is that it should all be interesting. The texts are all really good books, though you may find you don't like them all equally well. The essays, too, will be guided by your own interest in the texts, and by the end of the course you'll be exploring the unmapped territory of literary comics on your own, following your own nose. -
Graphic Storytelling: Exploring Contemporary Comics (Issues and Problems in Twentieth-Century Literature and Culture)
1 Rutgers University, Department of English Spring 2013 Graphic Storytelling: Exploring Contemporary Comics (Issues and Problems in Twentieth-Century Literature and Culture) 03:350:393 Instructor: Tahneer Oksman Murray Hall, Room 301 Contact: [email protected] Tues./Thurs., 1:10 – 2:30 PM Office: Murray Hall, 036A Office Hour: Tues., 2:30 – 3:30 PM and by appointment COURSE DESCRIPTION In her introduction to The Best American Comics 2011, cartoonist Alison Bechdel writes, “Art and language are always in flux, of course, but the somewhat younger mode of comics seems to be in a particularly molten state. Close readers may observe rivulets of lava cooling into new conventions right before their eyes” (xv). In this course, we will read a variety of contemporary comics, mostly from North America, in order to examine how comics can help us rethink genre. Specifically, we will attempt to decipher what graphic narratives can teach us about the assumptions that we make about storytelling conventions, and how contemporary cartoonists play with or breach such conventions. Some forms of storytelling that we will consider through readings of comics of various lengths, including texts commonly referred to as “graphic novels,” are documentary, fantasy, diary, short story, and memoir. We will focus heavily on the formal complexities of reading visual-textual interactions, with the goal of developing a common vocabulary for thinking, discussing, and writing about comics. We will address questions such as, is there an equivalent, in comics, of what we commonly refer to as “voice” in works of prose? In what ways do comics differ from other media, including film and prose? We will also briefly consider digital comics, and the ways that they force us to rethink the possibilities of the medium. -
Women in Comics II'
Contents Welcome to Comics Forum 2 Programme 3 Abstracts 5 Profiles 13 Contributor Comics 19 Message from the Chair of 'Women in Comics II' Last year the first 'Women in Comics' Conference was held at The New Hall Collection, Murray Edwards College, University of Cambridge. It was a great success and as I was told 'everyone loves a sequel', I am delighted to be chairing 'Women in Comics II', here in Leeds Art Gallery on 18th November 2010. This 'Women in Comics II' conference, like its predecessor, celebrates the growing interest in women in comics, in women reading comics, in women writing about comics, in women making comics. Our aim at these conferences is to be supportive of creative and academic endeavours in all these fields. The atmosphere we engender is one of mutual interest and encouragement, to benefit the continued growth in this community. There is wonderful array of speakers lined up for today's conference. I am particularly delighted by the range of nationalities present on the panels, and the opportunity to bring together different generations of women creators. Thanks go to those who have travelled extensively to be here, including Maureen Burdock from New Mexico, and The Danish Penneveninder (Penfriends), Monica Hee Eun Jensen, Rikke Hollaender, Karen Hansen and Ina Kjoelby Korneliussen. It is also a great honour to welcome Suzy Varty to 'Women in Comics II'. Her publication 'Heroine', was the first all women's comic to be published in the UK in 1977, and is the front cover of our programme. I want to take this opportunity to thank everyone on the 'Women in Comics' Committee, including Catriona MacLeod and Rikke Platz Cortsen, for expertly managing the call for papers, Nicola Streeten for her technical skills, Dr Laurence Grove for his advice and support, Dr Mel Gibson for her support and suggestions, and our volunteers Harriet Kennedy and Emily Rabone. -
Nominees Announced for 2017 Will Eisner Comic Industry Awards Sonny Liew’S the Art of Charlie Chan Hock Chye Tops List with Six Nominations
FOR IMMEDIATE RELEASE Contact: Jackie Estrada [email protected] Nominees Announced for 2017 Will Eisner Comic Industry Awards Sonny Liew’s The Art of Charlie Chan Hock Chye Tops List with Six Nominations SAN DIEGO – Comic-Con International (Comic-Con) is proud to announce the nominations for the Will Eisner Comic Industry Awards 2017. The nominees were chosen by a blue-ribbon panel of judges. Once again, this year’s nominees reflect the wide range of material being published in comics and graphic novel form today, with over 120 titles from some 50 publishers and by creators from all over the world. Topping the nominations is Sonny Liew’s The Art of Charlie Chan Hock Chye (Pantheon), originally published in Singapore. It is a history of Singapore from the 1950s to the present as told by a fictional cartoonist in a wide variety of styles reflecting the various time periods. It is nominated in 6 categories: Best Graphic Album–New, Best U.S. Edition of International Material–Asia, Best Writer/Artist, Best Coloring, Best Lettering, and Best Publication Design. Boasting 4 nominations are Image’s Saga and Kill or Be Killed. Saga is up for Best Continuing Series, Best Writer (Brian K. Vaughan), and Best Cover Artist and Best Coloring (Fiona Staples). Kill or Be Killed by Ed Brubaker and Sean Phillips is nominated for Best Continuing Series, Best Writer, Best Cover Artist, and Best Coloring (Elizabeth Breitweiser). Two titles have 3 nominations: Image’s Monstress by Marjorie Liu and Sana Takeda (Best Publication for Teens, Best Painter, Best Cover Artist) and Tom Gauld’s Mooncop (Best Graphic Album–New, Best Writer/Artist, Best Lettering), published by Drawn & Quarterly. -
Radio-Aig for PDF CS6.Indd 1 7/23/12 1:00 PM
radio-aIG for PDF CS6.indd 1 7/23/12 1:00 PM radio-aIG for PDF CS6.indd 2 7/23/12 1:00 PM radio-aIG for PDF CS6.indd 3 7/23/12 1:00 PM radio-aIG for PDF CS6.indd 4 7/23/12 1:00 PM radio-aIG for PDF CS6.indd 5 7/23/12 1:00 PM radio-aIG for PDF CS6.indd 6 7/23/12 1:00 PM radio-aIG for PDF CS6.indd 7 7/23/12 1:00 PM radio-aIG for PDF CS6.indd 8 7/23/12 1:00 PM radio-aIG for PDF CS6.indd 9 7/23/12 1:00 PM radio-aIG for PDF CS6.indd 10 7/23/12 1:00 PM radio-aIG for PDF CS6.indd 11 7/23/12 1:00 PM radio-aIG for PDF CS6.indd 12 7/23/12 1:00 PM radio-aIG for PDF CS6.indd 13 7/23/12 1:00 PM radio-aIG for PDF CS6.indd 14 7/23/12 1:00 PM radio-aIG for PDF CS6.indd 15 7/23/12 1:00 PM radio-aIG for PDF CS6.indd 16 7/23/12 1:00 PM radio-aIG for PDF CS6.indd 17 7/23/12 1:00 PM radio-aIG for PDF CS6.indd 18 7/23/12 1:00 PM radio-aIG for PDF CS6.indd 19 7/23/12 1:00 PM radio-aIG for PDF CS6.indd 20 7/23/12 1:00 PM radio-aIG for PDF CS6.indd 21 7/23/12 1:00 PM radio-aIG for PDF CS6.indd 22 7/23/12 1:00 PM radio-aIG for PDF CS6.indd 23 7/23/12 1:00 PM radio-aIG for PDF CS6.indd 24 7/23/12 1:00 PM radio-aIG for PDF CS6.indd 25 7/23/12 1:00 PM radio-aIG for PDF CS6.indd 26 7/23/12 1:00 PM radio-aIG for PDF CS6.indd 27 7/23/12 1:00 PM radio-aIG for PDF CS6.indd 28 7/23/12 1:00 PM radio-aIG for PDF CS6.indd 29 7/23/12 1:00 PM radio-aIG for PDF CS6.indd 30 7/23/12 1:00 PM radio-aIG for PDF CS6.indd 31 7/23/12 1:00 PM radio-aIG for PDF CS6.indd 32 7/23/12 1:00 PM STAFF In April 1999 (when this comic was written) This American Life was produced by Ira Glass, Julie Snyder, Alix Spiegel and Nancy Updike, with help from Todd Bachmann, Jorge Just and Sylvia Lemus. -
WATSON-GUPTILL an Imprint of Ten Speed Press, a Division of Penguin Random House Visit Us at Tenspeed.Com @Tenspeedpress @Tenspeedpress UPCOMING RELEASES | DESIGN
WATSON-GUPTILL An imprint of Ten Speed Press, a division of Penguin Random House Visit us at tenspeed.com @tenspeedpress @tenspeedpress UPCOMING RELEASES | DESIGN HOUSE INDUSTRIES: THE PROCESS IS THE INSPIRATION HOUSE INDUSTRIES (ANDY CRUZ, RICH ROAT, AND KEN BARBER); FOREWORD BY J. J. ABRAMS A standard-bearer of American design since 1993, House Industries answers the burning question, “Where do you find inspiration?” with this illustrative collection of helpful lessons, stories, and case studies that demonstrate how to transform obsessive curiosity into personally satisfying and successful work. Presented in House’s honest, authentic, and often irreverent style, and covering topics ranging from fonts and fashion to ceramics and space technology, this beautifully useful 400-page volume features a textured and embossed cover, metallic inks, subtle spot varnishes, four paper stocks, and more than 600 new photographs of sketches, reference materials, and finished work. Known throughout the world for its eclectic font collections and far-reaching creative exploits, HOUSE INDUSTRIES has worked with a diverse list of collaborators including Jimmy Kimmel, Hermès, The New Yorker, John Mayer, Muji, the Estate of Charles and Ray Eames, and Heath Ceramics. “If there were any place I wish I worked that I don’t, it’s House. They’re artists; their work is extraordinary.” —J.J. Abrams On Sale: 5/30/2017 • $50.00 hardcover (Can $66.00) ISBN: 978- 0- 399- 57810- 6 8 1⁄2 x 10 inches; 400 pages 2 UPCOMING RELEASES | MANGA Also by Mark Crilley UPCOMING RELEASES | MANGA MANGA ART THE DRAWING LESSON THE REALISM CHALLENGE Inspiration and Techniques from A Graphic Novel That Teaches Drawing and Painting Secrets from an Expert Illustrator You How to Draw a Modern Master of Hyperrealism MARK CRILLEY In Manga Art, bestselling author and art instructor Mark Crilley presents a complete look at creative options in the world of manga. -
Comic Book Coloring Stricciones Y Creatividad” Titles Include: Bizarro Comics (DC), Nick- Festival ÑAM, Palencia, Spain, October 5, 2014
Matt Madden curriculum vitae areas of expertise contact • comics La maison des auteurs • art education 2 Bd Aristide Briand • comics criticism 16000 Angoulême • translation from French and Spanish France [email protected] +33 (0)6 80 67 55 80 teaching experience www.mattmadden.com faculty positions education Université de Picardie Jules Verne à Amiens University of Texas at Austin, May 1996 2013-2015 Austin, Texas USA Designed and led workshops teaching basics of cartooning language M.A., Foreign Language Education (TEFL) and skills to students in comics degree program. University of Michigan, May 1990 School of Visual Arts, 209 East 23 St., New York NY Ann Arbor, Michigan USA fall 2001-2012 B.A., Comparative Literature Classes taught include full year “Storytelling” class, a class on experimental comics, and a continuing education class, “Comics memberships & distinctions Storytelling” as well as a monthly seminar. Develop own syllabi and course materials. Chevalier dans l’Ordre des Arts et des Lettres Paid consultant on curriculum development for Division of 2012 Continuing Education comics classes. Conseil d’Orientation de la Cité Internatio- nale de la Bande Dessinée et de l’Image Eugene Lang College, The New School, 65 West 11th Street, New 2013-present York NY Comics Committee, Brooklyn Book Festival Spring 2007 2011-present Taught intensive workshop class on comics storytelling to Advisor, Sequential Artists Workshop humanities and art students. 2010-present Member, OuBaPo, Workshop for Potential Comics Yale University, New Haven CT 2002- present summer 2004 National Association of Comics Art Educators Created and taught five-week intensive course called “Comics 2002-present Storytelling” taught in the English Department as part of Yale Graphic Artists Guild Summer Programs. -
A Guide to Dark Horse Manga T Able of Contents
A GUIDE TO DARK HORSE MANGA T ABLE OF CONTENTS APPLESEED & THE WORKS OF SHIROW MASAMUNE . 5 ASTRO BOY . 7 BERSERK . 8 BLADE OF THE IMMORTAL . 9 BLOOD+ . 10 THE WORKS OF CLAMP . 11 EDEN . 13 GANTZ . 14 GUNSMITH CATS . 15 HELLSING & THE WORKS OF KOHTA HIRANO . 16 THE KUROSAGI CORPSE DELIVERY SERVICE . 18 LONE WOLF AND CUB & THE WORKS OF KAZUO KOIKE . 19 MPD-PSYCHO . 22 NEON GENESIS EVANGELION . 23 OH MY GODDESS! . 24 OLD BOY . 25 OREIMO . 26 TRIGUN & THE WORKS OF YASUHIRO NIGHTOW . 27 OTHER NOTABLE JAPANESE WORKS FROM DARK HORSE THE WORKS OF YOSHITAKA AMANO . 30 BLADE OF THE IMMORTAL ART BOOK & NOVEL . 33 BLOOD+ ILLUSTRATED NOVELS . 34 THE DIRTY PAIR ILLUSTRATED NOVELS . 35 GUNGRAVE . 36 OH MY GODDESS! FIRST END NOVEL . 37 SAMURAI CHAMPLOO . 38 VAMPIRE HUNTER D ILLUSTRATED NOVELS . 39 GLOSSARY anime—A general term for animated Japanese television shows and movies. BUNKobon—A small manga format, about 4 x 6 inches. FLopped—A format in which the manga artwork has been flopped to read left to right. This adjustment to fit the reading style of Western audiences was often made in the days when manga were targeted to the direct market. Josei—Manga intended for adult women. MANGa—A general term for Japanese comics, sometimes used incorrectly to refer to all Asian titles. MANGA-KA—Creator of manga. MANHWa—Korean comics. Although often grouped with manga, these titles have a distinct culture and style that differs from Japanese books. OTaku—A self-imposed term for a die-hard manga fan. seinen—Manga intended for adult men. -
Why Graphic Novels?
Why Graphic Novels? Graphic novels may be a new format for your store, but they’re still all about telling stories. The way graphic novels tell their stories – with integrated words and pictures – looks different from traditional novels, poetry, plays, and picture books, but the stories they tell have the same hearts. Bone, by Jeff Smith, is a fantastical adventure with a monstrous villain and endearing heroes, like Harry Potter. American Born Chinese, by Gene Luen Yang, is a coming-of-age novel, like Catcher in the Rye. Fun Home, by Alison Bechdel, is a powerful memoir, like Running With Scissors. When people ask, ‘why graphic novels?’ the easiest answer you can give is, graphic novels tell stories that are just as scary and funny and powerful and heartwarming as prose. Here are two more sophisticated answers you can also try out. Education Graphic novels are a great way to go for kids making the transition from image-centric books to more text-based books, and for adults just learning English. Because of the combination of image and text in a graphic novel, readers get visual clues about what’s going on in the story even if their vocabulary isn’t quite up to all the words yet. And because graphic novels are told as a series of panels, reading graphic novels also forces readers to think and become actively involved each time they move between one panel and the next. What’s happening in that space? How do the story and the characters get from panel 1 to panel 2? Both television and the internet play a large part in our culture – images are becoming more and more integrated into everyone’s everyday life.