Colorist Writer Title Page Design Assistant Editor

Total Page：16

File Type：pdf, Size：1020Kb

Colorist Writer Title Page Design Assistant Editor

COLORIST INKER PENCILER MATT YACKEY WRITER MARK FARMER ALAN DAVIS JIM STARLIN COVER LETTERER DAVIS, FARMER & YACKEY VC’S CORY PETIT VARIANT COVER DAN MORA & JESUS ABURTOV EDITOR ASSISTANT EDITOR TOM BREVOORT TITLE PAGE DESIGN ALANNA SMITH CARLOS LAO Editor in Chief: Axel Alonso Chief Creative Officer: Joe Quesada President: Dan Buckley Executive Producer: Alan Fine GUARDIANS OF THE GALAXY: MOTHER ENTROPY No. 1, July 2017. Published Monthly except in May by MARVEL WORLDWIDE, INC., a subsidiary of MARVEL ENTERTAINMENT, LLC. OFFICE OF PUBLICATION: 135 West 50th Street, New York, NY 10020. BULK MAIL POSTAGE PAID AT NEW YORK, NY AND AT ADDITIONAL MAILING OFFICES. © 2017 MARVEL No similarity between any of the names, characters, persons, and/or institu- tions in this magazine with those of any living or dead person or institution is intended, and any such similarity which may exist is purely coincidental. $3.99 per copy in the U.S. (GST #R127032852) in the direct mar - ket; Canadian Agreement #40668537. Printed in the USA. Subscription rate (U.S. dollars) for 12 issues: U.S. $26.99; Canada $42.99; Foreign $42.99. POSTMASTER: SEND ALL ADDRESS CHANGES TO GUARDIANS OF THE GALAXY: MOTHER ENTROPY, C/O MARVEL SUBSCRIPTIONS P.O. BOX 727 NEW HYDE PARK, NY 11040. TELEPHONE # (888) 511-5480. FAX # (347) 537-2649. [email protected]. DAN BUCKLEY, President, Marvel Entertainment; JOE QUESADA, Chief Creative Officer; TOM BREVOORT, SVP of Publishing; DAVID BOGART, SVP of Business Affairs & Operations, Publishing & Partnership; C.B. CEBULSKI, VP of Brand Management & Development, Asia; DAVID GABRIEL, SVP of Sales & Marketing, Publishing; JEFF YOUNGQUIST, VP of Production & Special Projects; DAN CARR, Executive Director of Publishing Technology; ALEX MORALES, Director of Publishing Operations; SUSAN CRESPI, Production Manager; STAN LEE, Chairman Emeritus. For information regarding advertising in Marvel Comics or on Marvel.com, please contact Vit DeBellis, Integrated Sales Manager, at [email protected]. For Marvel subscription inquiries, please call 888-511-5480. Manufactured between 04/07/2017 and 04/17/2017 by FRY COMMUNICATIONS, MECHANICSBURG, PA, USA. .

Copy Link

Recommended publications

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
[Show full text]
Myth, Metatext, Continuity and Cataclysm in Dc Comics’ Crisis on Infinite Earths
WORLDS WILL LIVE, WORLDS WILL DIE: MYTH, METATEXT, CONTINUITY AND CATACLYSM IN DC COMICS’ CRISIS ON INFINITE EARTHS Adam C. Murdough A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS August 2006 Committee: Angela Nelson, Advisor Marilyn Motz Jeremy Wallach ii ABSTRACT Angela Nelson, Advisor In 1985-86, DC Comics launched an extensive campaign to revamp and revise its most important superhero characters for a new era. In many cases, this involved streamlining, retouching, or completely overhauling the characters’ fictional back-stories, while similarly renovating the shared fictional context in which their adventures take place, “the DC Universe.” To accomplish this act of revisionist history, DC resorted to a text-based performative gesture, Crisis on Infinite Earths. This thesis analyzes the impact of this singular text and the phenomena it inspired on the comic-book industry and the DC Comics fan community. The first chapter explains the nature and importance of the convention of “continuity” (i.e., intertextual diegetic storytelling, unfolding progressively over time) in superhero comics, identifying superhero fans’ attachment to continuity as a source of reading pleasure and cultural expressivity as the key factor informing the creation of the Crisis on Infinite Earths text. The second chapter consists of an eschatological reading of the text itself, in which it is argued that Crisis on Infinite Earths combines self-reflexive metafiction with the ideologically inflected symbolic language of apocalypse myth to provide DC Comics fans with a textual "rite of transition," to win their acceptance for DC’s mid-1980s project of self- rehistoricization and renewal.
[Show full text]
Melissa Dejesus
Melissa DeJesus Mobile 646 344 2877 Website http://melissade.daportfolio.com/ Email [email protected] Passionate about motivating and inspiring children and teens in expression and critical thinking through the arts using the best in comics, animation, illustration, storytelling and design. Always looking to challenge myself, learn from others, and enjoy teaching others about self representation through art. My interests and skills extend over a vast array of genres and fields of professions. I'm looking to continue my career in education to offer the best of my experience and enthusiasm. Education The School of Visual Arts MAT Art Education 2013-2014 BFA Animation 1998-2002 Employment Harper Collins Publishing 2013-2014 Relevant Comic Illustrator Illustrated 7 page black and white comic excerpt for teen novel. Awesome Forces Productions Fall 2012 Assistant Animator Collaborated with partner in creating animation key frames for animated segments featured in TV series entitled The Aquabats! Super Show! Yen Press 2012-current Graphic Novel Illustrator Illustrated a full color chapters for a graphic novel entitled Monster Galaxy. Created and designed new characters along with existing characters in the online game franchise. Random House 2012-2013 Letterer / Retouch Artist Digitally retouched Japanese graphic novels for sub-division, Kodansha. Lettered 200+ comic pages and designed supplemental pages. Organized and prepared interior book files for print production. King Features Syndicate 2006-2010 Comic Strip Illustrator Digitally illustrated, colored and lettered daily comic strip, My Cage, for newspapers across the country from Hawaii to South Africa. Designed numerous characters on a day to day basis for growing cast.
[Show full text]
Beowulf: the Graphic Novel Created by Stephen L
ORIGINAL GRAPHIC NOVEL THE GRAPHIC NOVEL TUFSOtTUFJOJOHFSt4UVEBCBLFS Carlos Barrera (order #4973052) 71.204.91.28 THE GRAPHIC NOVEL Carlos Barrera (order #4973052) 71.204.91.28 THE GRAPHIC NOVEL Writer Stephen L. Stern Artist Christopher Steininger Letterer Chris Studabaker Cover Christopher Steininger For MARKOSIA ENTERPRISES, Ltd. Harry Markos Publisher & Managing Partner Chuck Satterlee Director of Operations Brian Augustyn Editor-In-Chief Tony Lee Group Editor Thomas Mauer Graphic Design & Pre-Press Beowulf: The Graphic Novel created by Stephen L. Stern & Christopher Steininger, based on the translation of the classic poem by Francis Gummere Beowulf: The Graphic Novel. TM & © 2007 Markosia and Stephen L. Stern. All Rights Reserved. Reproduction of any part of this work by any means without the written permission of the publisher is expressly forbidden. Published by Markosia Enterprises, Ltd. Unit A10, Caxton Point, Caxton Way, Stevenage, UK. FIRST PRINTING, October 2007. Harry Markos, Director. Brian Augustyn, EiC. Printed in the EU. Carlos Barrera (order #4973052) 71.204.91.28 Beowulf: The Graphic Novel An Introduction by Stephen L. Stern Writing Beowulf: The Graphic Novel has been one of the most fulfilling experiences of my career. I was captivated by the poem when I first read it decades ago. The translation was by Francis Gummere, and it was a truly masterful work, retaining all of the spirit that the anonymous author (or authors) invested in it while making it accessible to modern readers. “Modern” is, of course, a relative term. The Gummere translation was published in 1910. Yet it held up wonderfully, and over 60 years later, when I came upon it, my imagination was captivated by its powerful descriptions of life in a distant place and time.
[Show full text]
Jeff Lemire Writer Humberto Ramos Penciler Victor
STORM ICEMAN MAGIK COLOSSUS CEREBRA NIGHTCRAWLER JEAN GREY LOGAN IN PURSUIT OF 600 ARTIFICIALLY-CREATED MUTANT EMBRYOS, COLOSSUS AND HIS TEAM OF YOUNG X-MEN WERE TELEPORTED A THOUSAND YEARS INTO THE FUTURE…AND STRANDED ON A DYSTOPIC EARTH MADE IN APOCALYPSE’S IMAGE CALLED “OMEGA WORLD.” WHEN STORM AND HER X-MEN ARRIVED TO AID THEM, THEY FOUND A TRANSFORMED COLOSSUS FIGHTING ALONGSIDE THE HORSEMEN OF APOCALYPSE TO RECLAIM THE ARK. UNFORTUNATELY, THE COMBINED POWER OF THE TWO X-TEAMS WAS NOT ENOUGH TO MAINTAIN POSSESSION OF THE EMBRYOS. NOW, IN A LAST-DITCH EFFORT TO SAVE THEIR SPECIES, THE X-MEN HAVE WALKED DIRECTLY INTO APOCALYPSE’S DOMAIN…AND INTO THE CLUTCHES OF THE FOUR HORSEMEN. JEFF LEMIRE HUMBERTO RAMOS VICTOR OLAZABA EDGAR DELGADO WRITER PENCILER INKER COLOR ARTIST VC’s JOE CARAMAGNA HUMBERTO RAMOS & EDGAR DELGADO LETTERER COVER ARTISTS CHRIS ROBINSON DANIEL KETCHUM MARK PANICCIA AXEL ALONSO JOE QUESADA DAN BUCKLEY ALAN FINE ASSISTANT EDITOR EDITOR X-MEN GROUP EDITOR EDITOR IN CHIEF CHIEF CREATIVE OFFICER PUBLISHER EXECUTIVE PRODUCER EXTRAORDINARY X-MEN No. 11, August 2016. Published Monthly except in January by MARVEL WORLDWIDE, INC., a subsidiary of MARVEL ENTERTAINMENT, LLC. OFFICE OF PUBLICATION: 135 West 50th Street, New York, NY 10020. BULK MAIL POSTAGE PAID AT NEW YORK, NY AND AT ADDITIONAL MAILING OFFICES. © 2016 MARVEL No similarity between any of the names, characters, persons, and/or institutions in this magazine with those of any living or dead person or institution is intended, and any such similarity which may exist is purely coincidental. $3.99 per copy in the U.S.
[Show full text]
Mythology Crossword
Name: _____________________________________ Date: _______ Period: _______ Mythology Crossword 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 Across 26. images shown in very large view, often 9. large, full page illustration that introduces a 2. objects used to contain a characters thoughts focusing on a small portion of a larger story 6. comics of non-English origin object/character 11. person who does most/all of the art duties, 10. self contained, book length form of comics 27. The space between each panel/panels implies artist is also writer 15. text labels written on characters in comics Down 12. text that speaks directly to reader 16. text / icons that represent what’s going on in 1. objects used to contain words that character 13. images that are in reverse position from the the characters head speaks previous panel 17. images that show objects fully, from top to 3. rectangles where narrator or character shares 14. One drawing on a page containing a segment bottom special info w/ reader of action 18. person who fills speech balloons and captions 4. term popularized by cartoonists, the medium 19. words that indicate a sounds that accompanies with dialogue/other words is capable of mature, non-comedic content, aswell comic panel as to emphasize hybrid nature of the medium 21. Periodical, normally thin in size and stapled 20. A singular row of panels together 5. images that run outside the border of the panel 23. scripts the work in a way that artist can 22.
[Show full text]
Inker – Operation and Maintenance – 001070 Rev E
Operation and Maintenance Manual MiTek® Inker Wood Truss Component Marking System Matthews 5100, 5400, and 8400 001070 Revision E Copyright © 2002, 2005 MiTek®. All rights reserved. Operation and Maintenance Manual MiTek® Inker Wood Truss Component Marking System Matthews 5100, 5400, and 8400 Applicability: 78830-501, 78830-502, 78830-601, 78830-602, 90458KIT, 90483KIT-501, 90483KIT-601 MiTek 001070 Machinery Division Date Created 1/27/2004 Revision E 301 Fountain Lakes Industrial Drive Revision date 12/29/06 St. Charles, MO 63301 Print date 12/29/2006 phone: 800-523-3380 Written by R. Tucker fax: 636-328-9218 Approved by G. McNeelege www.mii.com Revised by R. Tucker INKER Operation and Maintenance Manual MiTek® Inker Wood Truss Component Marking System Reporting Errors and Recommending Improvements To report errors or if you wish to recommend improvements, please complete the form at the back of this document and mail or fax the form to: MiTek 301 Fountain Lakes Industrial Drive St. Charles, MO 63301 Attn: Engineering Manager Fax: (636) 328-9218 We appreciate your assistance in helping MiTek provide unsurpassed machinery and support. Copyright © 2002, 2005, 2006 MiTek. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. Printed in the United States of America. Return Goods Policy MiTek cannot accept return goods without prior authorization and are subject to a restocking charge. The Seller certifies the articles specified herein were produced in compliance with all provisions of the Fair Labor Standards Act of 1938, as amended, including Section 12 thereof.
[Show full text]
Give Your Letterer a Work-Ready Script!
Presents… The Paradigm I The Paradigm The Paradigm Auteurship in Comics It's been several decades since the late Brandon Tartikoff first identified comic books as the next big thing in dramatic narrative. He was right, of course, but unfortunately too ahead of the curve for three important reasons. One, the technical facility to recreate the fantastical nature of mainstream superhero comics on film or video--and let's not kid ourselves, that's the sort of comics he was talking about--simply didn't yet exist, and two, most of his fellow executives, his senior by ten to twenty five years on average, had little interest at best, and genuine contempt for the material at worst, and were unable to see its potential value. And three, of course, is the tragedy of a very young Tartikoff dropping dead--well before the world in which the comic book would be the driving force behind a billion dollar industry he knew it would come to be. Naturally, none of those billions trickle down to those of us who actually do comics. Rather, it's the descendants of those executives who didn't share Tartikoff's vision that reap the benefits. There are actually a number of people wielding power in Hollywood with an actual lifelong familiarity with comics--but there are far more men-- and a few women, but not many--who used to beat up guys like me in High School for reading comics, now making bank off the same shit they ridiculed. Who said irony was dead, right? And then there's that slew of all too good looking men and staggeringly beautiful women, who put on horn- rimmed glasses and similar paraphernalia so as to convey their "nerdishness" or "geekdom" in order to patronize a readily flattered and easily manipulated swarm of enthusiasts.
[Show full text]
Comic Books: Superheroes/Heroines, Domestic Scenes, and Animal Images
Curriculum Units by Fellows of the Yale-New Haven Teachers Institute 1980 Volume II: Art, Artifacts, and Material Culture Comic Books: Superheroes/heroines, Domestic Scenes, and Animal Images Curriculum Unit 80.02.03 by Patricia Flynn The idea of developing a unit on the American Comic Book grew from the interests and suggestions of middle school students in their art classes. There is a need on the middle school level for an Art History Curriculum that will appeal to young people, and at the same time introduce them to an enduring art form. The history of the American Comic Book seems appropriately qualiﬁed to satisfy that need. Art History involves the pursuit of an understanding of man in his time through the study of visual materials. It would seem reasonable to assume that the popular comic book must contain many sources that reﬂect the values and concerns of the culture that has supported its development and continued growth in America since its introduction in 1934 with the publication of Famous Funnies , a group of reprinted newspaper comic strips. From my informal discussions with middle school students, three distinctive styles of comic books emerged as possible themes; the superhero and the superheroine, domestic scenes, and animal images. These themes historically repeat themselves in endless variations. The superhero/heroine in the comic book can trace its ancestry back to Greek, Roman and Nordic mythology. Ancient mythologies may be considered as a way of explaining the forces of nature to man. Examples of myths may be found world-wide that describe how the universe began, how men, animals and all living things originated, along with the world’s inanimate natural forces.
[Show full text]
A Module Compiled By
A Module Compiled by: Dr. Ekawati Marhaenny Dukut, M.Hum. FACULTY OF LANGUAGE AND ARTS SOEGIJAPRANATA CATHOLIC UNIVERSITY SEMARANG 2016 ii GRAPHIC NOVELS MODULE FOREWORD In the Faculty of Language and Arts of Soegijapranata Catholic University, students majoring in Linguistics or Literature are not only required to speak English actively but also to write actively. There are a number of writing courses to be taken, but all of them are geared so their thesis writing meets the minimum academic standard. This module, however, is created for students who want to write creatively. Not only will students have a mastery of writing good narratives, but students can develop them in accordance to the theory of writing a story that is developed into a novel with an interesting plot like that learned from the Introduction of Literature course. As the name suggests, this Graphic Novels module aims to provide students the opportunity of creating their own graphics, too. For that purpose, students are advised to exercise their drawing skills either in free hand or by use of various electronic media and drawing softwares, such as the Adobe Flash or Coreldraw. I would like to thank the writer of this module for her time and effort of creating such a creative writing course and module. Finally, I do hope that students do benefit from this module. Angelika Riyandari Dean of the Faculty of Language and Arts GRAPHIC NOVELS MODULE iii SYLLABUS Course description: This course especially prepares students to make graphic novels/ comic books, i.e. a book that more or less follows the Manga cartoon drawing of the Japanese people.
[Show full text]
The Dynamic Jerry Robinson
Inspicio the last laugh Jerry Robinson, 1972. Photo: Kristen Robinson. The Dynamic Jerry Robinson By Jens Robinson y father, Sherrill David Robinson, known as Jerry Rob- inson, was born in New York on New Year’s Day in 1922 Mand died on Pearl Harbor Day in 2011. In between, he did a lot of historic things. BATMAN Jerry was a 17-year-old journalism student at Columbia Uni- versity in 1939 when he was discovered by Batman co-creator Bob Kane, who hired him to work on that fledgling comic as an inker and letterer. Kane, with writer Bill Finger, had just created the character Batman for National Comics, the future DC Com- ics. Within a year, Jerry became Batman’s primary inker, with George Roussos inking backgrounds. Batman quickly became a hit character and Kane rented space for Robinson and Rous- sos in Times Square’s Times Tower. By early 1940, Finger and Kane discussed adding a sidekick. Jerry suggested the name “Robin” after Robin Hood books he had read during his boyhood, saying, in a 2005 interview, that he was inspired by one book’s N.C. Wyeth illustrations. The new character, orphaned circus performer Dick Grayson, came to live with Bruce Wayne (Batman) as his young ward in Detec- tive Comics #38 (April 1940). Robin would inspire many similar sidekicks throughout the remainder of the Golden Age of comic books. Jerry Robinson and his startling invention -- The Joker Batman’s nemesis, the Joker, was introduced around the same time, in Batman #1 (Spring 1940). Most comic historians credit my father for the iconic villain, modeled after Conrad Veidt in the 1928 movie, The Man Who Laughs.
[Show full text]
Andrew Wendel Artist Resume
Andrew Wendel 183 Franklin Street, Apt 6 Brooklyn, NY 11222 (347) 228-6082 [email protected] Obiective Freelance, long-term and short-term contract work in illustration, particularly storyboarding, comics, and editorial. Open to the possibility of a full-time or part-time position in illustration, art direction, or creative direction. Qualifications Highly skilled in rendering the human figure, with emphasis on mood, lighting, credible body language and anatomical accuracy. Expert at composition, design, and storytelling. Production artwork has been fully digital since 2011, but I remain proficient in a variety of traditional media: pencil, pen and ink, marker, oil, and gouache. Excellent conceptual and language abilities. Familiar with art history, cinema, and underground/countercultural esthetics. Experience Storyboard, Advertising, and Production Artist Brooklyn Roasting Company 2017-present Wayart, Inc. 2015-present Famous Frames New York, NY 1999-2015 Black & white and color storyboards and comps for a variety of clients, including Barbarian Group, Barker DZP, Mustache Agency, PMI, Humble, Darren Aranofsky, BBDO, Big Picture, Bradley and Montgomery, New Science, Totem, 360i, Lippincott, Wee Beastie, AdPeople, Saatchi & Saatchi, Publicis, Viewpoint Studios, Curious Pictures, Digital Kitchen, Comedy Central, EyebalINYC, and many others. Emphasis on quick turnaround, high productivity, and ability to meet deadlines. Freelance Illustrator, Cartoonist, and Designer Ongoing From the age of fifteen, l have worked for a variety of clients in many capacities, from "big-foot" cartoons to painted album covers, logo and label designs, photorealistic portraiture, and virtually every visual art application. Clients have included Brown University, Polygram Records, Nascar, The New Yorker, DC Comics, Crusade Comics, Doig Eliot Schur, Phoenix Design, Coca-Cola, Mercedes, and numerous rock bands and concert promoters.
[Show full text]