Autobiographical Comic Books, Strips, Etc. | Autobiographical Fiction -- Comic Books, Strips, Etc
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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 -
Oktober 1968 CM # 005 (20 Seiten) Autor: Arnold Drake, Zeichner: Don Heck, Inker: John Tartaglione Hit Comics Nr. 203 , 1970 Rä
CAPTAIN MARVEL Checkliste (klassische Deutsche Ausgaben 1967-1977) Marvel Super-Heroes (Vol. 1) # 12-13 Oktober 1968 (Dezember 1967 - März 1968) CM # 005“The Mark Of The Metazoid!” (20 Seiten) Captain Marvel (Vol. 1) # 1-14 Autor: Arnold Drake, Zeichner: Don Heck, (Mai 1968 - Juli 1969) Inker: John Tartaglione Hit Comics Nr. 203 Dezember 1967 „Der Angriff des Metazoids“, 1970 MSH # 12“The Coming Of Captain Marvel!” (15 Seiten) Autor: Stan Lee, Zeichner: Gene Colan, Inker: Frank Giacoia Rächer Nr. 12-15„Das Los des Metazoiden!“ , (keine deutsche Veröffentlichung) Dezember 1974-März 1975 Übersetzung: Hartmut Huff, März 1968 Lettering: C. Raschke/U. Mordek/ MSH # 13“Where Stalks The Sentry!” (20 Seiten) M. Gerson/U. Mordek Autor: Roy Thomas, Zeichner: Gene Colan, Inker: Paul Reinman November 1968 (keine deutsche Veröffentlichung) CM # 006“In The Path Of Solam!” (20 Seiten) Autor: Arnold Drake, Zeichner: Don Heck, Mai 1968 Inker: John Tartaglione CM # 001“Out Of The Holocaust - - A Hero!” (21 Seiten) Hit Comics Nr. 203 Autor: Roy Thomas, Zeichner: Gene Colan, „Die Macht des Solams“, 1970 Inker: Vince Colletta Hit Comics Nr. 121 Rächer Nr. 16-18„Auf Solams Spur!“ , „Ein Sieger ohnegleichen“, 1969 April-Juni 1975 Übersetzung: Hartmut Huff, Rächer Nr. 1-3„Der Kampf der Titanen!“ , Lettering: Marlies Gerson, Januar-März 1974 Ursula Mordek (Rächer 16) Lettering: Ursula Mordek (nur Seite 1-7) (Originalseite 15 fehlt) Juli 1968 CM # 002 “From The Void Of Space Comes-- The Super Skrull!” (20 Seiten) Autor: Roy Thomas, Zeichner: Gene Colan, Inker: Vince Colletta Hit Comics Nr. 121 „Der Angriff des Super-Skrull“, 1969 Rächer Nr. -
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. -
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JACK KIRBY COLLECTOR THIRTY-NINE $9 95 IN THE US . c n I , s r e t c a r a h C l e v r a M 3 0 0 2 © & M T t l o B k c a l B FAN FAVORITES! THE NEW COPYRIGHTS: Angry Charlie, Batman, Ben Boxer, Big Barda, Darkseid, Dr. Fate, Green Lantern, RETROSPECTIVE . .68 Guardian, Joker, Justice League of America, Kalibak, Kamandi, Lightray, Losers, Manhunter, (the real Silver Surfer—Jack’s, that is) New Gods, Newsboy Legion, OMAC, Orion, Super Powers, Superman, True Divorce, Wonder Woman COLLECTOR COMMENTS . .78 TM & ©2003 DC Comics • 2001 characters, (some very artful letters on #37-38) Ardina, Blastaar, Bucky, Captain America, Dr. Doom, Fantastic Four (Mr. Fantastic, Human #39, FALL 2003 Collector PARTING SHOT . .80 Torch, Thing, Invisible Girl), Frightful Four (Medusa, Wizard, Sandman, Trapster), Galactus, (we’ve got a Thing for you) Gargoyle, hercules, Hulk, Ikaris, Inhumans (Black OPENING SHOT . .2 KIRBY OBSCURA . .21 Bolt, Crystal, Lockjaw, Gorgon, Medusa, Karnak, C Front cover inks: MIKE ALLRED (where the editor lists his favorite things) (Barry Forshaw has more rare Kirby stuff) Triton, Maximus), Iron Man, Leader, Loki, Machine Front cover colors: LAURA ALLRED Man, Nick Fury, Rawhide Kid, Rick Jones, o Sentinels, Sgt. Fury, Shalla Bal, Silver Surfer, Sub- UNDER THE COVERS . .3 GALLERY (GUEST EDITED!) . .22 Back cover inks: P. CRAIG RUSSELL Mariner, Thor, Two-Gun Kid, Tyrannus, Watcher, (Jerry Boyd asks nearly everyone what (congrats Chris Beneke!) Back cover colors: TOM ZIUKO Wyatt Wingfoot, X-Men (Angel, Cyclops, Beast, n their fave Kirby cover is) Iceman, Marvel Girl) TM & ©2003 Marvel Photocopies of Jack’s uninked pencils from Characters, Inc. -
Women's Experimental Autobiography from Counterculture Comics to Transmedia Storytelling: Staging Encounters Across Time, Space, and Medium
Women's Experimental Autobiography from Counterculture Comics to Transmedia Storytelling: Staging Encounters Across Time, Space, and Medium Dissertation Presented in partial fulfillment of the requirement for the Degree Doctor of Philosophy in the Graduate School of Ohio State University Alexandra Mary Jenkins, M.A. Graduate Program in English The Ohio State University 2014 Dissertation Committee: Jared Gardner, Advisor Sean O’Sullivan Robyn Warhol Copyright by Alexandra Mary Jenkins 2014 Abstract Feminist activism in the United States and Europe during the 1960s and 1970s harnessed radical social thought and used innovative expressive forms in order to disrupt the “grand perspective” espoused by men in every field (Adorno 206). Feminist student activists often put their own female bodies on display to disrupt the disembodied “objective” thinking that still seemed to dominate the academy. The philosopher Theodor Adorno responded to one such action, the “bared breasts incident,” carried out by his radical students in Germany in 1969, in an essay, “Marginalia to Theory and Praxis.” In that essay, he defends himself against the students’ claim that he proved his lack of relevance to contemporary students when he failed to respond to the spectacle of their liberated bodies. He acknowledged that the protest movements seemed to offer thoughtful people a way “out of their self-isolation,” but ultimately, to replace philosophy with bodily spectacle would mean to miss the “infinitely progressive aspect of the separation of theory and praxis” (259, 266). Lisa Yun Lee argues that this separation continues to animate contemporary feminist debates, and that it is worth returning to Adorno’s reasoning, if we wish to understand women’s particular modes of theoretical ii insight in conversation with “grand perspectives” on cultural theory in the twenty-first century. -
Emily Jones Independent Press Report Fall 2011
Emily Jones Independent Press Report Fall 2011 Table of Contents: Fact Sheet 3 Why I Chose Top Shelf 4 Interview with Chris Staros 5 Book Review: Blankets by Craig Thompson 12 2 Fact Sheet: Top Shelf Productions Web Address: www.topshelfcomix.com Founded: 1997 Founders: Brett Warnock & Chris Staros Editorial Office Production Office Chris Staros, Publisher Brett Warnock, Publisher Top Shelf Productions Top Shelf Productions PO Box 1282 PO Box 15125 Marietta GA 30061-1282 Portland OR 97293-5125 USA USA Distributed by: Diamond Book Distributors 1966 Greenspring Dr Ste 300 Timonium MD 21093 USA History: Top Shelf Productions was created in 1997 when friends Chris Staros and Brett Warnock decided to become publishing partners. Warnock had begun publishing an anthology titled Top Shelf in 1995. Staros had been working with cartoonists and had written an annual resource guide The Staros Report regarding the best comics in the industry. The two joined forces and shared a similar vision to advance comics and the graphic novel industry by promoting stories with powerful content meant to leave a lasting impression. Focus: Top Shelf publishes contemporary graphic novels and comics with compelling stories of literary quality from both emerging talent and known creators. They publish all-ages material including genre fiction, autobiographical and erotica. Recently they have launched two apps and begun to spread their production to digital copies as well. Activity: Around 15 to 20 books per year, around 40 titles including reprints. Submissions: Submissions can be sent via a URL link, or Xeroxed copies, sent with enough postage to be returned. -
English-Language Graphic Narratives in Canada
Drawing on the Margins of History: English-Language Graphic Narratives in Canada by Kevin Ziegler A thesis presented to the University of Waterloo in fulfilment of the thesis requirement for the degree of Doctor of Philosophy in English Waterloo, Ontario, Canada, 2013 © Kevin Ziegler 2013 Author’s Declaration I hereby declare that I am the sole author of this thesis. This is a true copy of the thesis, including any required final revisions, as accepted by my examiners. I understand that my thesis may be made electronically available to the public. ii Abstract This study analyzes the techniques that Canadian comics life writers develop to construct personal histories. I examine a broad selection of texts including graphic autobiography, biography, memoir, and diary in order to argue that writers and readers can, through these graphic narratives, engage with an eclectic and eccentric understanding of Canadian historical subjects. Contemporary Canadian comics are important for Canadian literature and life writing because they acknowledge the importance of contemporary urban and marginal subcultures and function as representations of people who occasionally experience economic scarcity. I focus on stories of “ordinary” people because their stories have often been excluded from accounts of Canadian public life and cultural history. Following the example of Barbara Godard, Heather Murray, and Roxanne Rimstead, I re- evaluate Canadian literatures by considering the importance of marginal literary products. Canadian comics authors rarely construct narratives about representative figures standing in place of and speaking for a broad community; instead, they create what Murray calls “history with a human face . the face of the daily, the ordinary” (“Literary History as Microhistory” 411). -
Girls in Graphic Novels
Eastern Illinois University The Keep Masters Theses Student Theses & Publications 2017 Girls in Graphic Novels: A Content Analysis of Selected Texts from YALSA's 2016 Great Graphic Novels for Teens List Tiffany Mumm Eastern Illinois University This research is a product of the graduate program in English at Eastern Illinois University. Find out more about the program. Recommended Citation Mumm, Tiffany, "Girls in Graphic Novels: A Content Analysis of Selected Texts from YALSA's 2016 Great Graphic Novels for Teens List" (2017). Masters Theses. 2860. https://thekeep.eiu.edu/theses/2860 This is brought to you for free and open access by the Student Theses & Publications at The Keep. It has been accepted for inclusion in Masters Theses by an authorized administrator of The Keep. For more information, please contact [email protected]. The Graduate School� EASTERNILLINOIS UNIVERSlTY Thesis Maintenance and Reproduction Certificate FOR: Graduate Candidates Completing Theses in Partial Fulfillment of the Degree Graduate Faculty Advisors Directing the Theses RE: Preservation, Reproduction, and Distribution of Thesis Research Preserving, reproducing, and distributing thesis research is an important part of Booth Library's responsibility to provide access to scholarship. In order to further this goal, Booth Library makes all graduate theses completed as part of a degree program at Eastern Illinois University available for personal study, research, and other not-for-profit educational purposes. Under 17 U.S.C. § 108, the library may reproduce and distribute a copy without infringing on copyright; however, professional courtesy dictates that permission be requested from the author before doing so. Your signatures affirm the following: • The graduate candidate is the author of this thesis. -
Graphic Novels, Comics, and Indigenous Writing Sarah Henzi Mcgill Institute for the Study of Canada
“A Necessary Antidote”: Graphic Novels, Comics, and Indigenous Writing Sarah Henzi McGill Institute for the Study of Canada In February 2014, prior to the XLVIII Super Bowl, the National Congress of American 23 Indians created a 2-minute ad called “Proud to Be” as a response to the Washington football team’s unwillingness to change its offensive name of Washington Redskins. Dubbed “The Most Important Super Bowl Ad You Didn’t See” by Huffington Post journalist Ben Irwin, the ad “takes the seemingly complicated issue of Indian sports mascots and distills it with remarkable clarity” by “[highlighting] many aspects of Native American identity: Proud. Forgotten. Survivor. Mother. Father. Son. Daughter. Underserved. Struggling. Resilient. ‘Native Americans call themselves many things,’ the narrator concludes. ‘One thing they don’t call themselves, however, is Redskin’” (Irwin). Although the ad did not make the airwaves during the Super Bowl, it has since reached over 3 million views, bringing to the forefront questions of appro- priateness, appropriation, and the continued predominance of racist stereotypes in many icons linked to popular culture and mainstream mass media. Some examples include Chicago Blackhawks, Cleveland Indians, Ottawa Tomahawks, and Edmonton Eskimos; there is an undeniable history of the use of inappropriate sporting mascots and names across North America. “Comics, games, movies, and television,” states Michael Sheyahshe, author of Native Americans in Comic Books, “have always been a way to gauge how we, as a culture, are viewed by the dominant culture in America. Whether it’s the whoop- ing, attacking horde of Indians in the early ‘cowboy’ movies, the notion of Native American as a crack-shot and/or expert tracker in comics, or the continued (mis) representation in video games […] pop culture media serves to mirror the emotional consensus of how mainstream America sees us” (LaPensée). -
Graphic Novel Titles
Comics & Libraries : A No-Fear Graphic Novel Reader's Advisory Kentucky Department for Libraries and Archives February 2017 Beginning Readers Series Toon Books Phonics Comics My First Graphic Novel School Age Titles • Babymouse – Jennifer & Matthew Holm • Squish – Jennifer & Matthew Holm School Age Titles – TV • Disney Fairies • Adventure Time • My Little Pony • Power Rangers • Winx Club • Pokemon • Avatar, the Last Airbender • Ben 10 School Age Titles Smile Giants Beware Bone : Out from Boneville Big Nate Out Loud Amulet The Babysitters Club Bird Boy Aw Yeah Comics Phoebe and Her Unicorn A Wrinkle in Time School Age – Non-Fiction Jay-Z, Hip Hop Icon Thunder Rolling Down the Mountain The Donner Party The Secret Lives of Plants Bud : the 1st Dog to Cross the United States Zombies and Forces and Motion School Age – Science Titles Graphic Library series Science Comics Popular Adaptations The Lightning Thief – Rick Riordan The Red Pyramid – Rick Riordan The Recruit – Robert Muchamore The Nature of Wonder – Frank Beddor The Graveyard Book – Neil Gaiman Miss Peregrine’s Home for Peculiar Children – Ransom Riggs House of Night – P.C. Cast Vampire Academy – Richelle Mead Legend – Marie Lu Uglies – Scott Westerfeld Graphic Biographies Maus / Art Spiegelman Anne Frank : the Anne Frank House Authorized Graphic Biography Johnny Cash : I See a Darkness Peanut – Ayun Halliday and Paul Hope Persepolis / Marjane Satrapi Tomboy / Liz Prince My Friend Dahmer / Derf Backderf Yummy : The Last Days of a Southside Shorty -
Nieuwigheden Anderstalige Strips 2013 Week 3
NIEUWIGHEDEN ANDERSTALIGE STRIPS 2013 WEEK 3 Engels Batman Incorporated 19,99 (Yanick Paquette & Grant Morrison – DC Comics) Dorothy and the Wizard in Oz 19,99 (Skottie Young & Eric Shanower – Marvel) Dungeon & Dragons: Forgotten Realms 24,99 (Lee Ferguson & Ed Greenwood – IDW Publishing) The Complete Dick Tracy 14: 1951-53 39,99 (Chester Gould – IDW Publishing) Woodwork: 1927-1981 59,99 (Wallace Wood – IDW Publishing) Manga – Engelstalig: Bleach 54 9,99 (Tite Kubo – Viz Media) WEEK 4 Engels: Absolute Batman & Robin: Batman Reborn 99,99 (Grant Morrison - DC Comics) Batman: Trough the Looking Glass 14,99 (Sam Kieth & Bruce Jones - DC Comics) Captain America: Land of the Free 19,99 (Andy Kubert & Marc Waid - Marvel) Cherubs 19,99 (Bryan Talbot - Dark Horse) Comics About Cartoonists 39,99 (Editor: Craig Yoe - IDW) Delphine 24,99 (Richard Sala – Fantagraphics) Nancy 2: Nancy Likes Christmas 26,95 (Ernie Bushmiller – Fantagraphics) Northlanders 7: The Icelandic Trilogy 16,99 (Paul Azaceta & Brian Wood - Vertigo) Reset 15,99 (Peter Bagge - Dark Horse) The Amaing Spider-Man: Ends of the Earth 24,99 (Stefano Caselli & Dan Slott - Marvel) The Complete Pogo 2: Bona Fide Balderdash 39,99 (Walt Kelly – IDW Publishing) Zorro: The Complete Dell Comics Adventures 49,99 (Alex Toth / Hermes Press) Franstalig: La veritable histoire de Spirou 1937-1946 55 (Christelle et Bertrand Pissavy-Yvernault / Dupuis) Spirou intégrale 0: 1938-1943 24 (Rob-Vel / Dupuis) Manga – Engels: Message to Adolf 2 26,95 (Osamu Tezuka – Vertical) WEEK 5 Engelstalig: Batwoman 1: