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Queer Here: Poetry to Comic Emma Lennen Katie Jan
Queer Here: Poetry to Comic Emma Lennen Katie Jan Pull Quote: “For the new audience of queer teenagers, the difference between the public and the superhero resonates with them because they feel different from the rest of society.” Consider this: a superhero webcomic. Now consider this: a queer superhero webcomic. If you are anything like me, you were infinitely more elated at the second choice, despite how much you enjoy the first. I love reading queer webcomics because by being online, they bypass publishers who may shoot them down for their queerness. As a result, they manage to elude the systematic repression of the LGBTQA+ community. In the 1950s, when repression of the community was even more prevalent, Frank O’Hara wrote the poem “Homosexuality” to express his journey of acceptance as well as to give advice to future gay people. The changes I made in my translation of the poem “Homosexuality” into a modern webcomic demonstrate the different time periods’ expectations of queer content, while still telling the same story with the same purpose, just in a different genre. Despite the difference between the genres, the first two lines and the copious amount of imagery present in the poem allowed for some near-direct translation. The poem begins with “So we are taking off our masks, are we, and keeping / our mouths shut? As if we’d been pierced by a glance!” (O’Hara 1-2). While usually masks symbolize hiding your true self and therefore have a negative connotation, the poem instead considers it one’s pride. Similarly, for many superheroes, the mask does not represent shame, it represents power and responsibility. -
Dowload PAX 2010 Photo Book
PAX year book 2010 by Nickeledge Photography, Pixel Art, Layout, Introduction by: Tom Dougherty (NickelEdge) Introduction Edited by: Chris Caruso thanks for the help DantePendragon PAX year book 2010 SECOND EDITION FIRST PRINTING on Demand printing pax.nickeledge.com Photography & Pixel Art: © Thomas Dougherty 2011 Speciacl thanks: all of Metroid Metal Grant Henry Kirbby Danimal Cannon Dan Talylor Kevin Lawrence Paul & Storm Shota Nakama Video Game Orchestra Jonathan Coulton Mc Frontalot Minibosses Protomen Anamanaguchi Mike, Jerry, Kiko & Khoo the ENFORCERS you guys rock AND everyone I got to meet while at PAX PAX Changes Everything I have games to play & thousands of friends to talk with. -NickelEdge For a few days we come together free of judgment and undaunted by what those outside think. A shared passion for video games makes the long lines bearable and we bond over ques- tions like “what DS game is that?” or “Did you play this?” PAX is like a sand box game, there is no one right way to enjoy it. You can bring your rig and enjoy a massive LAN party, or hit up the free play area. Be a rock god up on stage with Rock Band. Or maybe your just taking a nap on a Sumo Bag. We the loyal fans can catch trailers and demos scattered around the exhibit halls in search of the one game we must play, only to discover ten more that enthrall us. Spread throughout, like so many random encounters are the opportunities to pick up the gathering swag and the merch that will weigh our suitcases down on the journey home. -
Reading Between the Panels: a Metadata Schema for Webcomics Erin Donohue Melanie Feinberg INF 384C: Organizing Infor
Reading Between the Panels: A Metadata Schema for Webcomics Erin Donohue Melanie Feinberg INF 384C: Organizing Information Spring 2014 Webcomics: A Descriptive Schema Purpose and Audience: This schema is designed to facilitate access to the oftentimes chaotic world of webcomics in a systematic and organized way. I have been reading webcomics for over a decade, and the only way I could find new comics was through word of mouth or by following links on the sites of comics I already read. While there have been a few attempts at creating a centralized listing of webcomics, these collections consist only of comic titles and artist names, devoid of information about the comics’ actual content. There is no way for users to figure out if they might like a comic or not, except by visiting the site of every comic and exploring its archive of posts. I wanted a more systematic, robust way to find comics I might enjoy, so I created a schema that could be used in a catalog of webcomics. This schema presents, at a glance, the most relevant information that webcomic fans might want to know when searching for new comics. In addition to basic information like the comic’s title and artist, this schema includes information about the comic’s content and style—to give readers an idea of what to expect from a comic without having to browse individual comic websites. The attributes are specifically designed to make browsing lots of comics quick and easy. This schema could eventually be utilized in a centralized comics database and could be used to generate recommendations using mood, art style, common themes, and other attributes. -
Icons of Survival: Metahumanism As Planetary Defense." Nerd Ecology: Defending the Earth with Unpopular Culture
Lioi, Anthony. "Icons of Survival: Metahumanism as Planetary Defense." Nerd Ecology: Defending the Earth with Unpopular Culture. London: Bloomsbury Academic, 2016. 169–196. Environmental Cultures. Bloomsbury Collections. Web. 25 Sep. 2021. <http:// dx.doi.org/10.5040/9781474219730.ch-007>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 25 September 2021, 20:32 UTC. Copyright © Anthony Lioi 2016. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 6 Icons of Survival: Metahumanism as Planetary Defense In which I argue that superhero comics, the most maligned of nerd genres, theorize the transformation of ethics and politics necessary to the project of planetary defense. The figure of the “metahuman,” the human with superpowers and purpose, embodies the transfigured nerd whose defects—intellect, swarm-behavior, abnormality, flux, and love of machines—become virtues of survival in the twenty-first century. The conflict among capitalism, fascism, and communism, which drove the Cold War and its immediate aftermath, also drove the Golden and Silver Ages of Comics. In the era of planetary emergency, these forces reconfigure themselves as different versions of world-destruction. The metahuman also signifies going “beyond” these economic and political systems into orders that preserve democracy without destroying the biosphere. Therefore, the styles of metahuman figuration represent an appeal to tradition and a technique of transformation. I call these strategies the iconic style and metamorphic style. The iconic style, more typical of DC Comics, makes the hero an icon of virtue, and metahuman powers manifest as visible signs: the “S” of Superman, the tiara and golden lasso of Wonder Woman. -
Henry Jenkins Convergence Culture Where Old and New Media
Henry Jenkins Convergence Culture Where Old and New Media Collide n New York University Press • NewYork and London Skenovano pro studijni ucely NEW YORK UNIVERSITY PRESS New York and London www.nyupress. org © 2006 by New York University All rights reserved Library of Congress Cataloging-in-Publication Data Jenkins, Henry, 1958- Convergence culture : where old and new media collide / Henry Jenkins, p. cm. Includes bibliographical references and index. ISBN-13: 978-0-8147-4281-5 (cloth : alk. paper) ISBN-10: 0-8147-4281-5 (cloth : alk. paper) 1. Mass media and culture—United States. 2. Popular culture—United States. I. Title. P94.65.U6J46 2006 302.230973—dc22 2006007358 New York University Press books are printed on acid-free paper, and their binding materials are chosen for strength and durability. Manufactured in the United States of America c 15 14 13 12 11 p 10 987654321 Skenovano pro studijni ucely Contents Acknowledgments vii Introduction: "Worship at the Altar of Convergence": A New Paradigm for Understanding Media Change 1 1 Spoiling Survivor: The Anatomy of a Knowledge Community 25 2 Buying into American Idol: How We are Being Sold on Reality TV 59 3 Searching for the Origami Unicorn: The Matrix and Transmedia Storytelling 93 4 Quentin Tarantino's Star Wars? Grassroots Creativity Meets the Media Industry 131 5 Why Heather Can Write: Media Literacy and the Harry Potter Wars 169 6 Photoshop for Democracy: The New Relationship between Politics and Popular Culture 206 Conclusion: Democratizing Television? The Politics of Participation 240 Notes 261 Glossary 279 Index 295 About the Author 308 V Skenovano pro studijni ucely Acknowledgments Writing this book has been an epic journey, helped along by many hands. -
Rocio Vega AI Dreams Is a Webcomic That Was Inspired by My Dreams. It Is
Rocio Vega AI Dreams is a webcomic that was inspired by my dreams. It is a vertical scroller comic for many people to enjoy on their phones. I was introduced to a product called webtoon which is a Korean based company that is now very popular in the USA. I became interested in these webcomics because it was a different way to interact with the viewer. This is especially true to the way I wanted my illustrations to have a more fluid like movement through the pages. This is representing more on how dreams move from one to the other. The reason I chose to make a comic for my dreams, was to create a story that my dreams can live in. This was my decision because I wanted people to enjoy a journey through my dream that's easier to follow along. The flow between dreams would be connected, instead of having it separate stories in a book. The story of AI Dreams is about an AI called Avi. This webcomic is based in the future where tech has been revolutionized. The new dream program made in that time is called AI Dreams which is an easy name to remember. This is a story about an AI forced through obstacles that were set in motion by a dark force at work. An adventure into the self discovery to what Avi is, through her dreams and emotions. The way I made this webcomic was more painterly with detail lines. Many of these comics are made to be fasted paced when making them. -
The Evolution of Batman and His Audiences
Georgia State University ScholarWorks @ Georgia State University English Theses Department of English 12-2009 Static, Yet Fluctuating: The Evolution of Batman and His Audiences Perry Dupre Dantzler Georgia State University Follow this and additional works at: https://scholarworks.gsu.edu/english_theses Part of the English Language and Literature Commons Recommended Citation Dantzler, Perry Dupre, "Static, Yet Fluctuating: The Evolution of Batman and His Audiences." Thesis, Georgia State University, 2009. https://scholarworks.gsu.edu/english_theses/73 This Thesis is brought to you for free and open access by the Department of English at ScholarWorks @ Georgia State University. It has been accepted for inclusion in English Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. STATIC, YET FLUCTUATING: THE EVOLUTION OF BATMAN AND HIS AUDIENCES by PERRY DUPRE DANTZLER Under the Direction of H. Calvin Thomas ABSTRACT The Batman media franchise (comics, movies, novels, television, and cartoons) is unique because no other form of written or visual texts has as many artists, audiences, and forms of expression. Understanding the various artists and audiences and what Batman means to them is to understand changing trends and thinking in American culture. The character of Batman has developed into a symbol with relevant characteristics that develop and evolve with each new story and new author. The Batman canon has become so large and contains so many different audiences that it has become a franchise that can morph to fit any group of viewers/readers. Our understanding of Batman and the many readings of him gives us insight into ourselves as a culture in our particular place in history. -
Dc Comics: Wonder Woman: Wisdom Through the Ages Pdf, Epub, Ebook
DC COMICS: WONDER WOMAN: WISDOM THROUGH THE AGES PDF, EPUB, EBOOK Mike Avila | 192 pages | 29 Sep 2020 | Insight Editions | 9781683834779 | English | San Rafael, United States DC Comics: Wonder Woman: Wisdom Through the Ages PDF Book Instead, she receives the ability to transform into the catlike Cheetah, gaining superhuman strength and speed; the ritual partially backfires, and her human form becomes frail and weak. Diana of Themyscira Arrowverse Batwoman. Since her creation, Diana of Themyscira has made a name for herself as one of the most powerful superheroes in comic book existence. A must-have for Wonder Woman fans everywhere! Through close collaboration with Jason Fabok, we have created the ultimate Wonder Woman statue in her dynamic pose. The two share a degree of mutual respect, occasionally fighting together against a common enemy, though ultimately Barbara still harbors jealousy. Delivery: 23rdth Jan. Published 26 November Maria Mendoza Earth Just Imagine. Wonder Girl Earth She returned to her classic look with help from feminist icon Gloria Steinem, who put Wonder Woman — dressed in her iconic red, white, and blue ensemble — on the cover of the first full-length issue of Ms. Priscilla eventually retires from her Cheetah lifestyle and dies of an unspecified illness, with her niece Deborah briefly taking over the alter ego. In fact, it was great to see some of the powers realized in live-action when the Princess of Themyscira made her big screen debut in the Patty Jenkins directed, Wonder Woman. Submit Review. Although she was raised entirely by women on the island of Themyscira , she was sent as an ambassador to the Man's World, spreading their idealistic message of strength and love. -
On Jack's Revisions and Transfictional Crossing from Fables To
Second-degree Rewriting Strategies: On Jack’s Revisions and Transfictional Crossing from Fables to Jack of Fables Christophe Dony Introduction Bill Willingham, Mark Buckingham, et al.’s Vertigo series Fables (2002-2015), as its name suggests, revolves around the present-day lives of known fables, legends, and folk- and fairytale characters such as Snow White, Mowgli, Cinderella, and the Big Bad Wolf (Bigby) after they have been forced to leave their magical “native” fairytale homelands. As a result of their forced migration, these folk- and fairytale characters—who are referred to as Fables in the series—have found refuge in “our reality,” in which they have established a New York stronghold. This refugee facility of sorts for fictional characters is known as Fabletown; it is magically protected and concealed from humans who are, consequently, unable to detect the presence of Fables in the “real world.” This process of re-narrativization1 governing Fables, i.e. how known characters and their attendant storyworlds are re-configured in a new narrative, goes hand in hand with genre- meshing practices. Fables’ characters are articulated in other “pulpy” genres and settings than those they are generally associated with, i.e. the fairytale and the marvelous. As comics critic and narratologist Karin Kukkonen explains at length in her examination of comics storytelling strategies (see Kukkonen, Contemporary Comics Storytelling 74-86), Fables meshes fairytale traditions and narratives with, for example, noir/detective fiction in the first story arc “Legends in Exile” (Fables #1-5), and with the political fable/thriller canvas of George Orwell’s Animal Farm in the series’ eponymous story arc (Fables # 6-10). -
Our Common Future
Report of the World Commission on Environment and Development: Our Common Future Table of Contents Acronyms and Note on Terminology Chairman's Foreword From One Earth to One World Part I. Common Concerns 1. A Threatened Future I. Symptoms and Causes II. New Approaches to Environment and Development 2. Towards Sustainable Development I. The Concept of Sustainable Development II. Equity and the Common Interest III. Strategic Imperatives IV. Conclusion 3. The Role of the International Economy I. The International Economy, the Environment, and Development II. Decline in the 1980s III. Enabling Sustainable Development IV. A Sustainable World Economy Part II. Common Challenges 4. Population and Human Resources I. The Links with Environment and Development II. The Population Perspective III. A Policy Framework 5. Food Security: Sustaining the Potential I. Achievements II. Signs of Crisis III. The Challenge IV. Strategies for Sustainable Food Security V. Food for the Future 6. Species and Ecosystems: Resources for Development I. The Problem: Character and Extent II. Extinction Patterns and Trends III. Some Causes of Extinction IV. Economic Values at Stake V. New Approach: Anticipate and Prevent VI. International Action for National Species VII. Scope for National Action VIII. The Need for Action 7. Energy: Choices for Environment and Development I. Energy, Economy, and Environment II. Fossil Fuels: The Continuing Dilemma III. Nuclear Energy: Unsolved Problems IV. Wood Fuels: The Vanishing Resource V. Renewable Energy: The Untapped Potential VI. Energy Efficiency: Maintaining the Momentum VII. Energy Conservation Measures VIII. Conclusion 8. Industry: Producing More With Less I. Industrial Growth and its Impact II. Sustainable Industrial Development in a Global Context III. -
MUNDANE INTIMACIES and EVERYDAY VIOLENCE in CONTEMPORARY CANADIAN COMICS by Kaarina Louise Mikalson Submitted in Partial Fulfilm
MUNDANE INTIMACIES AND EVERYDAY VIOLENCE IN CONTEMPORARY CANADIAN COMICS by Kaarina Louise Mikalson Submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy at Dalhousie University Halifax, Nova Scotia April 2020 © Copyright by Kaarina Louise Mikalson, 2020 Table of Contents List of Figures ..................................................................................................................... v Abstract ............................................................................................................................. vii Acknowledgements .......................................................................................................... viii Chapter 1: Introduction ....................................................................................................... 1 Comics in Canada: A Brief History ................................................................................. 7 For Better or For Worse................................................................................................. 17 The Mundane and the Everyday .................................................................................... 24 Chapter outlines ............................................................................................................. 30 Chapter 2: .......................................................................................................................... 37 Mundane Intimacy and Slow Violence: ........................................................................... -
Dowthwaite, Liz (2018) Crowdfunding Webcomics
CROWDFUNDING WEBCOMICS: THE ROLE OF INCENTIVES AND RECIPROCITY IN MONETISING FREE CONTENT Liz Dowthwaite Thesis submitted to the University of Nottingham for the degree of Doctor of Philosophy September 2017 Liz Dowthwaite Crowdfunding Webcomics: The Role of Incentives and Reciprocity in Monetising Free Content Thesis submitted to the School of Engineering, University of Nottingham, in partial fulfilment of the requirements for the degree of Doctor of Philosophy. © September 2017 Supervisors: Robert J Houghton Alexa Spence Richard Mortier i To my parents, and James. ii Doug Savage, 2007 http://www.savagechickens.com/2007/05/morgan-freeman.html “They’re not paying for the content. They’re paying for the people.” Jack Conte, founder of Patreon “We ascribe to the idealistic notion that audiences don’t pay for things because they’re forced to, but because they care about the stuff that they love and want it to continue to grow.” Hank Green, founder of Subbable iii CROWDFUNDING WEBCOMICS – LIZ DOWTHWAITE – AUGUST 2017 ABSTRACT The recent phenomenon of internet-based crowdfunding has enabled the creators of new products and media to share and finance their work via networks of fans and similarly-minded people instead of having to rely on established corporate intermediaries and traditional business models. This thesis examines how the creators of free content, specifically webcomics, are able to monetise their work and find financial success through crowdfunding and what factors, social and psychological, support this process. Consistent with crowdfunding being both a large-scale social process yet based on the interactions of individuals (albeit en mass), this topic was explored at both micro- and macro-level combining methods from individual interviews through to mass scraping of data and large-scale questionnaires.