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Bill Rogers Collection Inventory (Without Notes).Xlsx
Title Publisher Author(s) Illustrator(s) Year Issue No. Donor No. of copies Box # King Conan Marvel Comics Doug Moench Mark Silvestri, Ricardo 1982 13 Bill Rogers 1 J1 Group Villamonte King Conan Marvel Comics Doug Moench Mark Silvestri, Ricardo 1982 14 Bill Rogers 1 J1 Group Villamonte King Conan Marvel Comics Doug Moench Ricardo Villamonte 1982 12 Bill Rogers 1 J1 Group King Conan Marvel Comics Doug Moench Alan Kupperberg and 1982 11 Bill Rogers 1 J1 Group Ernie Chan King Conan Marvel Comics Doug Moench Ricardo Villamonte 1982 10 Bill Rogers 1 J1 Group King Conan Marvel Comics Doug Moench John Buscema, Ernie 1982 9 Bill Rogers 1 J1 Group Chan King Conan Marvel Comics Roy Thomas John Buscema and Ernie 1981 8 Bill Rogers 1 J1 Group Chan King Conan Marvel Comics Roy Thomas John Buscema and Ernie 1981 6 Bill Rogers 1 J1 Group Chan Conan the King Marvel Don Kraar Mike Docherty, Art 1988 33 Bill Rogers 1 J1 Nnicholos King Conan Marvel Comics Roy Thomas John Buscema, Danny 1981 5 Bill Rogers 2 J1 Group Bulanadi King Conan Marvel Comics Roy Thomas John Buscema, Danny 1980 3 Bill Rogers 1 J1 Group Bulanadi King Conan Marvel Comics Roy Thomas John Buscema and Ernie 1980 2 Bill Rogers 1 J1 Group Chan Conan the King Marvel Don Kraar M. Silvestri, Art Nichols 1985 29 Bill Rogers 1 J1 Conan the King Marvel Don Kraar Mike Docherty, Geof 1985 30 Bill Rogers 1 J1 Isherwood, Mike Kaluta Conan the King Marvel Don Kraar Mike Docherty, Geof 1985 31 Bill Rogers 1 J1 Isherwood, Mike Kaluta Conan the King Marvel Don Kraar Mike Docherty, Vince 1986 32 Bill Rogers -
The Complete Peanuts Volume I by Charles M. Schulz
NACAE National Association of Comics Art Educators STUDY GUIDE: THE COMPLETE PEANUTS by Charles M. Schulz Volume One: 1950-1952 Study guide written by Art Baxter Introduction America was in the throes of post-war transition in 1950. Soldiers had returned home, started families and abandoned the cities for the sprawling green lawns of newly constructed suburbia. They had sacrificed during the Great Depression and subsequent war effort and this was their reward. Television was beginning to replace the picture-less radio not to mention live theater, supper clubs and dance halls, as Americans stayed home and raised families. Despite all this “progress” an empty feeling still resided in the pit of the American soul. Psychology, that new science that had recently gone mainstream, tried to explain why. Then, Charles M. Schulz’s little filler comic strip, Peanuts, appeared in the funny pages. Schulz was born in 1922, the solitary child of a barber and his wife, in St. Paul, Minnesota. Sparky, his lifelong nickname, was given to him when he was an infant, by an uncle, after the comic strip character Barney Google’s racehorse Spark Plug. Schulz had an early love and talent for drawing. He enjoyed famous comic strips like Roy Crane’s Wash Tubbs/Captain Easy (1924- 1943), the prototype of the adventure strip; E. C. Segar’s Thimble Theater (1919-1938), and its diverse cast of colorful characters going in and out rollicking adventures; and Percy Crosby’s Skippy (1925-1945) with its wise-for-his-age perceptive child protagonist. Schulz was a bright student and skipped several grades, making him the youngest and smallest in his class. -
Copyright 2013 Shawn Patrick Gilmore
Copyright 2013 Shawn Patrick Gilmore THE INVENTION OF THE GRAPHIC NOVEL: UNDERGROUND COMIX AND CORPORATE AESTHETICS BY SHAWN PATRICK GILMORE DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in English in the Graduate College of the University of Illinois at Urbana-Champaign, 2013 Urbana, Illinois Doctoral Committee: Professor Michael Rothberg, Chair Professor Cary Nelson Associate Professor James Hansen Associate Professor Stephanie Foote ii Abstract This dissertation explores what I term the invention of the graphic novel, or more specifically, the process by which stories told in comics (or graphic narratives) form became longer, more complex, concerned with deeper themes and symbolism, and formally more coherent, ultimately requiring a new publication format, which came to be known as the graphic novel. This format was invented in fits and starts throughout the twentieth century, and I argue throughout this dissertation that only by examining the nuances of the publishing history of twentieth-century comics can we fully understand the process by which the graphic novel emerged. In particular, I show that previous studies of the history of comics tend to focus on one of two broad genealogies: 1) corporate, commercially-oriented, typically superhero-focused comic books, produced by teams of artists; 2) individually-produced, counter-cultural, typically autobiographical underground comix and their subsequent progeny. In this dissertation, I bring these two genealogies together, demonstrating that we can only truly understand the evolution of comics toward the graphic novel format by considering the movement of artists between these two camps and the works that they produced along the way. -
September 1, 1975 UOHMOND, C Ai.IFORNIA 35 Cents
\ - ige 3 Next deadline is September 10 POINT COUNTERPOINT A JOURNAL FOR CIVIC COMMUNICATION September 1, 1975 UOHMOND, C Ai.IFORNIA 35 cents i 10 0 0 0 El El El El El El El El El El El El El El El El El El El El El El El El El El El El El El El El El El SIElSIElElElElEIElEnEnE O BlEaBIBlBllalBlBIBlBlIllBlElBISIEIBlIaUgGlElBlElSlB l^i Early Days at Point Richmond from the Richmond Museum Association MIRROR, 1966 In its infant days, Richmond had much of the fla vor and excitement as well as the violence and frustra tions of a typical western frontier town. At the turn of the century, most of what is now Rich mond, San Pablo, and El Cerrito was owned by descendants and heirs of Don Francisco Maria Castro and by farmers and cattle ranchers who had trekked westward to the Promised Land after the close of the Civil War and purchased land without securing legal title. The Castro heirs were a bitter, disappointed lot. Prior to 189^# the great San Pablo Rancho, comprising a substantial por tion of what is now urban Richmond, had been theirs. But on that, fateful year, and after four long, weary decades of controversy, the court handed down a landmark decision which, in effect, broke up the former Spanish Land Grants into diverse ownerships, leav ing little to the Castro offspring. Painful as the decision was* the doors were opened for speedier land development. Among the beneficiaries of the great land partition was John Nicholl, a jovial but shrewd old country Irishman, who was awarded 152 acres of a rough, hilly peninsula jutting into San Francisco Bay and identified as Point Richmond on old United States geodetic survey maps. -
CFP-Essays on Librarians/Archives/Libraries in Graphic Novels, Comic Strips and Sequential Art
H-Announce CFP-Essays on Librarians/Archives/Libraries in Graphic Novels, Comic Strips and Sequential Art Announcement published by rob weiner on Wednesday, September 2, 2020 Type: Call for Papers Date: November 15, 2020 Location: Texas, United States Subject Fields: Art, Art History & Visual Studies, Cultural History / Studies, Film and Film History, Library and Information Science, Popular Culture Studies Call for Essays: Libraries, Archives, and Librarians in Graphic Novels, Comic Strips and Sequential Art edited by Carrye Syma, Donell Callender, and Robert G. Weiner. The editors of a new collection of articles/essays are seeking essays about the portrayal of libraries, archives and librarians in graphic novels, comic strips, and sequential art/comics. The librarian and the library have a long and varied history in sequential art.Steven M. Bergson’s popular website LIBRARIANS IN COMICS (http://www.ibiblio.org/librariesfaq/comstrp/comstrp.htm; http://www.ibiblio.org/librariesfaq/combks/combks.htm) is a useful reference source and a place to start as is the essay Let’s Talk Comics: Librarians by Megan Halsband (https://blogs.loc.gov/headlinesandheroes/2019/07/lets-talk-comics-librarians/). There are also other websites which discuss librarians in comics and provide a place for scholars to start. Going as far back as the Atlantean age the librarian is seen as a seeker of knowledge for its own sake. For example, in Kull # 6 (1972) the librarian is trying to convince King Kull that of importance of gaining more knowledge for the journey they about to undertake. Kull is unconvinced, however. In the graphic novel Avengers No Road Home (2019), Hercules utters “Save the Librarian” which indicates just how important librarians are as gatekeepers of knowledge even for Greek Gods. -
Ian Gordon. Kid Comic Strips: a Genre Across Four Countries
Studies in 20th & 21st Century Literature Volume 42 Issue 1 A Planetary Republic of Comic Book Letters: Drawing Expansive Narrative Article 26 Boundaries 9-20-2017 Ian Gordon. Kid Comic Strips: A Genre Across Four Countries. New York: Palgrave Macmillan, 2017. ---. Superman: The Persistence of an American Icon. New Jersey: Rutgers UP, 2017. Cathy L. Ryan The Ohio State University, [email protected] Follow this and additional works at: https://newprairiepress.org/sttcl Part of the American Popular Culture Commons, Art Practice Commons, Australian Studies Commons, Comparative Literature Commons, Contemporary Art Commons, Cultural History Commons, French and Francophone Literature Commons, Modern Literature Commons, Other Arts and Humanities Commons, Printmaking Commons, Social History Commons, Theory and Criticism Commons, and the Visual Studies Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Ryan, Cathy L. (2017) "Ian Gordon. Kid Comic Strips: A Genre Across Four Countries. New York: Palgrave Macmillan, 2017. ---. Superman: The Persistence of an American Icon. New Jersey: Rutgers UP, 2017.," Studies in 20th & 21st Century Literature: Vol. 42: Iss. 1, Article 26. https://doi.org/10.4148/ 2334-4415.1962 This Book Review is brought to you for free and open access by New Prairie Press. It has been accepted for inclusion in Studies in 20th & 21st Century Literature by an authorized administrator of New Prairie Press. For more information, please contact [email protected]. Ian Gordon. Kid Comic Strips: A Genre Across Four Countries. New York: Palgrave Macmillan, 2017. ---. Superman: The Persistence of an American Icon. -
Englehart Steve
AE103Cover FINAL_AE49 Trial Cover.qxd 6/22/11 4:48 PM Page 1 BOOKS FROM TWOMORROWS PUBLISHING Roy Thomas’ Stainless Comics Fanzine $7.95 In the USA No.103 July 2011 STAN LEE UNIVERSE CARMINE INFANTINO SAL BUSCEMA MATT BAKER The ultimate repository of interviews with and PENCILER, PUBLISHER, PROVOCATEUR COMICS’ FAST & FURIOUS ARTIST THE ART OF GLAMOUR mementos about Marvel Comics’ fearless leader! Shines a light on the life and career of the artistic Explores the life and career of one of Marvel Comics’ Biography of the talented master of 1940s “Good (176-page trade paperback) $26.95 and publishing visionary of DC Comics! most recognizable and dependable artists! Girl” art, complete with color story reprints! (192-page hardcover with COLOR) $39.95 (224-page trade paperback) $26.95 (176-page trade paperback with COLOR) $26.95 (192-page hardcover with COLOR) $39.95 QUALITY COMPANION BATCAVE COMPANION EXTRAORDINARY WORKS IMAGE COMICS The first dedicated book about the Golden Age Unlocks the secrets of Batman’s Silver and Bronze OF ALAN MOORE THE ROAD TO INDEPENDENCE publisher that spawned the modern-day “Freedom Ages, following the Dark Knight’s progression from Definitive biography of the Watchmen writer, in a An unprecedented look at the company that sold Fighters”, Plastic Man, and the Blackhawks! 1960s camp to 1970s creature of the night! new, expanded edition! comics in the millions, and their celebrity artists! (256-page trade paperback with COLOR) $31.95 (240-page trade paperback) $26.95 (240-page trade paperback) $29.95 (280-page trade -
List of American Comics Creators 1 List of American Comics Creators
List of American comics creators 1 List of American comics creators This is a list of American comics creators. Although comics have different formats, this list covers creators of comic books, graphic novels and comic strips, along with early innovators. The list presents authors with the United States as their country of origin, although they may have published or now be resident in other countries. For other countries, see List of comic creators. Comic strip creators • Adams, Scott, creator of Dilbert • Ahern, Gene, creator of Our Boarding House, Room and Board, The Squirrel Cage and The Nut Bros. • Andres, Charles, creator of CPU Wars • Berndt, Walter, creator of Smitty • Bishop, Wally, creator of Muggs and Skeeter • Byrnes, Gene, creator of Reg'lar Fellers • Caniff, Milton, creator of Terry and the Pirates and Steve Canyon • Capp, Al, creator of Li'l Abner • Crane, Roy, creator of Captain Easy and Wash Tubbs • Crespo, Jaime, creator of Life on the Edge of Hell • Davis, Jim, creator of Garfield • Defries, Graham Francis, co-creator of Queens Counsel • Fagan, Kevin, creator of Drabble • Falk, Lee, creator of The Phantom and Mandrake the Magician • Fincher, Charles, creator of The Illustrated Daily Scribble and Thadeus & Weez • Griffith, Bill, creator of Zippy • Groening, Matt, creator of Life in Hell • Guindon, Dick, creator of The Carp Chronicles and Guindon • Guisewite, Cathy, creator of Cathy • Hagy, Jessica, creator of Indexed • Hamlin, V. T., creator of Alley Oop • Herriman, George, creator of Krazy Kat • Hess, Sol, creator with -
Ahead of Their Time
NUMBER 2 2013 Ahead of Their Time About this Issue In the modern era, it seems preposterous that jazz music was once National Council on the Arts Joan Shigekawa, Acting Chair considered controversial, that stream-of-consciousness was a questionable Miguel Campaneria literary technique, or that photography was initially dismissed as an art Bruce Carter Aaron Dworkin form. As tastes have evolved and cultural norms have broadened, surely JoAnn Falletta Lee Greenwood we’ve learned to recognize art—no matter how novel—when we see it. Deepa Gupta Paul W. Hodes Or have we? When the NEA first awarded grants for the creation of video Joan Israelite Maria Rosario Jackson games about art or as works of art, critical reaction was strong—why was Emil Kang the NEA supporting something that was entertainment, not art? Yet in the Charlotte Kessler María López De León past 50 years, the public has debated the legitimacy of street art, graphic David “Mas” Masumoto Irvin Mayfield, Jr. novels, hip-hop, and punk rock, all of which are now firmly established in Barbara Ernst Prey the cultural canon. For other, older mediums, such as television, it has Frank Price taken us years to recognize their true artistic potential. Ex-officio Sen. Tammy Baldwin (D-WI) In this issue of NEA Arts, we’ll talk to some of the pioneers of art Sen. Sheldon Whitehouse (D-RI) Rep. Betty McCollum (D-MN) forms that have struggled to find acceptance by the mainstream. We’ll Rep. Patrick J. Tiberi (R-OH) hear from Ian MacKaye, the father of Washington, DC’s early punk scene; Appointment by Congressional leadership of the remaining ex-officio Lady Pink, one of the first female graffiti artists to rise to prominence in members to the council is pending. -
Art Spiegelman's Experiments in Pornography
ORE Open Research Exeter TITLE Art Spiegelman’s ‘Little Signs of Passion’ and the Emergence of Hard-Core Pornographic Feature Film AUTHORS Williams, PG JOURNAL Textual Practice DEPOSITED IN ORE 20 August 2018 This version available at http://hdl.handle.net/10871/33778 COPYRIGHT AND REUSE Open Research Exeter makes this work available in accordance with publisher policies. A NOTE ON VERSIONS The version presented here may differ from the published version. If citing, you are advised to consult the published version for pagination, volume/issue and date of publication Art Spiegelman’s ‘Little Signs of Passion’ and the emergence of hard-core pornographic feature film Paul Williams In 1973 Bob Schneider and the underground comix1 creator Art Spiegelman compiled Whole Grains: A Book of Quotations. One of the aphorisms included in their book came from D. H. Lawrence: ‘What is pornography to one man is the laughter of genius to another’.2 Taking a cue from this I will explore how Spiegelman’s comic ‘Little Signs of Passion’ (1974) turned sexually explicit subject matter into an exuberant narratological experiment. This three-page text begins by juxtaposing romance comics against hard-core pornography,3 the former appearing predictable and artificial, the latter raw and shocking, but this initial contrast breaks down; rebutting the defenders of pornography who argued that it represented a welcome liberation from repressive sexual morality, ‘Little Signs of Passion’ reveals how hard-core filmmakers turned fellatio and the so-called money shot (a close-up of visible penile ejaculation) into standardised narrative conventions yielding lucrative returns at the box office. -
NEDOR HEROES! $ NEDOR HEROES! In8 Th.E9 U5SA
Roy Tho mas ’Sta nd ard Comi cs Fan zine OKAY,, AXIS—HERE COME THE GOLDEN AGE NEDOR HEROES! $ NEDOR HEROES! In8 th.e9 U5SA No.111 July 2012 . y e l o F e n a h S 2 1 0 2 © t r A 0 7 1 82658 27763 5 Vol. 3, No. 111 / July 2012 Editor Roy Thomas Associate Editors Bill Schelly Jim Amash Design & Layout Jon B. Cooke Consulting Editor John Morrow FCA Editor P.C. Hamerlinck Comic Crypt Editor Michael T. Gilbert Editorial Honor Roll Jerry G. Bails (founder) Ronn Foss, Biljo White, Mike Friedrich Proofreaders Rob Smentek, William J. Dowlding Cover Artist Shane Foley (after Frank Robbins & John Romita) Cover Colorist Tom Ziuko With Special Thanks to: Deane Aikins Liz Galeria Bob Mitsch Contents Heidi Amash Jeff Gelb Drury Moroz Ger Apeldoorn Janet Gilbert Brian K. Morris Writer/Editorial: Setting The Standard . 2 Mark Austin Joe Goggin Hoy Murphy Jean Bails Golden Age Comic Nedor-a-Day (website) Nedor Comic Index . 3 Matt D. Baker Book Stories (website) Michelle Nolan illustrated! John Baldwin M.C. Goodwin Frank Nuessel Michelle Nolan re-presents the 1968 salute to The Black Terror & co.— John Barrett Grand Comics Wayne Pearce “None Of Us Were Working For The Ages” . 49 Barry Bauman Database Charles Pelto Howard Bayliss Michael Gronsky John G. Pierce Continuing Jim Amash’s in-depth interview with comic art great Leonard Starr. Rod Beck Larry Guidry Bud Plant Mr. Monster’s Comic Crypt! Twice-Told DC Covers! . 57 John Benson Jennifer Hamerlinck Gene Reed Larry Bigman Claude Held Charles Reinsel Michael T. -
By JOHN WELLS a M E R I C a N C H R O N I C L E S
AMERICAN CHRONICLES THE 1965-1969 by JOHN WELLS Table of Contents Introductory Note about the Chronological Structure of American Comic Book Chronicles ................. 4 Note on Comic Book Sales and Circulation Data.......................................... 5 Introduction & Acknowledgements ............ 6 Chapter One: 1965 Perception................................................................8 Chapter Two: 1966 Caped.Crusaders,.Masked.Invaders.............. 69 Chapter Three: 1967 After.The.Gold.Rush.........................................146 Chapter Four: 1968 A.Hazy.Shade.of.Winter.................................190 Chapter Five: 1969 Bad.Moon.Rising..............................................232 Works Cited ...................................................... 276 Index .................................................................. 285 Perception Comics, the March 18, 1965, edition of Newsweek declared, were “no laughing matter.” However trite the headline may have been even then, it wasn’t really wrong. In the span of five years, the balance of power in the comic book field had changed dramatically. Industry leader Dell had fallen out of favor thanks to a 1962 split with client Western Publications that resulted in the latter producing comics for themselves—much of it licensed properties—as the widely-respected Gold Key Comics. The stuffily-named National Periodical Publications—later better known as DC Comics—had seized the number one spot for itself al- though its flagship Superman title could only claim the honor of