DOCSLIB.ORG

Donald Duck Is the Fifth Most Published Comic Book Character After Superman, Batman, Spider-Man and Wolverine

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Donald Duck Is the Fifth Most Published Comic Book Character After Superman, Batman, Spider-Man and Wolverine Donald Duck Is The Fifth Most Published Comic Book Character After Superman, Batman, Spider-Man And Wolverine. Every year on September 25th, National Comic Book Day honors the art, artists, and the stories of comic books. Fans and collectors, readers, and artists come together to celebrate the day with events across the country. First popularized in the United States, comic books are also called comic magazines. Generally, comic books produce drawn sequential and opposing panels representing individual scenes. Each scene often includes descriptive prose and written narratives. When placed together, the panels form a complete story or a portion of a serial. The earliest comic strips, (which later gave birth to comic books), displayed dialogue in bubbles or balloons above characters’ heads. As an art form, the designs can be quite intricate. For example, text, dialogue, personalities, color, and imagery all enhance part of a storyline. Over time, these storylines also distinguish eras, artists, genres, and themes. People who collect comic books are known as pannapictagraphist. The term “comic book” comes from the first book sold as a book reprinted of humorous comic strips. Despite their name, comic books are not all humorous in tone and feature stories in all genres. One of the earliest known comics printed was The Adventures of Obadiah Oldbuck. The 1842 hardcover comic book became the first known American comic book. In 1896, a comic-book magazine was published in the United States featuring The Yellow Kid in a sequence titled “McFadden’s Row of Flats.” The 196-page book featured black and white print and measured 5×7 inches. It sold for 50 cents. In 1933, a comic book, Famous Funnies, appeared in the United States. Many believe the work to be the first real comic book. The reprinting of earlier newspaper comic strips established many of the story-telling devices used in comics. There are a lot of comics around the world that are incredibly popular. One of the most popular comics is One Piece, which has sold more than 473 million copies around the world. One Piece is a Japanese manga series, which has been illustrated and written by Eiichiro Oda. A comic book or comicbook is a publication that consists of comics art in the form of sequential juxtaposed panels that represent individual scenes It also called comic magazine or simply comic Panels are often accompanied by descriptive prose and written narrative Dialog is, usually, contained in word balloons emblematic of the comics art form Comics has some origins in 18th century Japan The largest comic book market is Japan Annual sales of 1.9 billion manga books/magazines in Japan This is the equivalent to 15 issues per person The smartphone and the tablet have turned out to be an ideal medium for online distribution On November 13, 2007, Marvel Comics launched Marvel Digital Comics Unlimited, a subscription service allowing readers to read many comics from Marvel’s history online With the release of Avenging Spider-Man #1, Marvel also became the first publisher to provide free digital copies as part of the print copy of the comic book American comic books first gained popularity after the 1938 publication of Action Comics. This included the debut of the superhero Superman After WW II, crime and horror comics became the most popular genres and garnered a lot of controversy for their depiction of larger than life criminals, revenge tales, and gore. They were heavily criticized by educators and librarians arguing that they were deteriorating the minds of young readers. There was a campaign against “crime comics” led by psychiatrist Fredric Werhtam who also testified at the 1954 U.S. Senate Subcommittee on Juvenile Delinquency. In 1951, the FBI investigated this industry and claimed that the horror and crime shown in these comics resulted in increased juvenile delinquency. Contrary to what you would believe, the most popular Marvel superhero isn’t the longest running one. So tough luck Captain America! While the Captain was introduced in 1941, there was someone who preceded him . it was Ka- Zar the Great, lord of the Jungle who was was supposed to make the most of the success of Tarzan. He first appeared in October 1936, three years before Marvel Comics was launched. What’s Jughead’s name? Move over DC and Marvel, the Archie Comics have their own secrets. So Jughead had a real name, it was Forsythe Pendleton Jones II. He also had sister named Forsythia “Jellybean” Jones. Disney’s Donald Duck sets the record for appearing in most film. He is also the fifth most published character after the popular ones like Superman, Batman, Spider-Man and Wolverine. Sources: National Day Calendar Days of the Year Useless Daily The Crazy Facts .
Load more

Recommended publications
  • Západočeská Univerzita V Plzni Fakulta Pedagogická
    Západočeská univerzita v Plzni Fakulta pedagogická Bakalářská práce VZESTUP AMERICKÉHO KOMIKSU DO POZICE SERIÓZNÍHO UMĚNÍ Jiří Linda Plzeň 2012 University of West Bohemia Faculty of Education Undergraduate Thesis THE RISE OF THE AMERICAN COMIC INTO THE ROLE OF SERIOUS ART Jiří Linda Plzeň 2012 Tato stránka bude ve svázané práci Váš původní formulář Zadáni bak. práce (k vyzvednutí u sekretářky KAN) Prohlašuji, že jsem práci vypracoval/a samostatně s použitím uvedené literatury a zdrojů informací. V Plzni dne 19. června 2012 ……………………………. Jiří Linda ACKNOWLEDGMENTS I would like to thank to my supervisor Brad Vice, Ph.D., for his help, opinions and suggestions. My thanks also belong to my loved ones for their support and patience. ABSTRACT Linda, Jiří. University of West Bohemia. May, 2012. The Rise of the American Comic into the Role of Serious Art. Supervisor: Brad Vice, Ph.D. The object of this undergraduate thesis is to map the development of sequential art, comics, in the form of respectable art form influencing contemporary other artistic areas. Modern comics were developed between the World Wars primarily in the United States of America and therefore became a typical part of American culture. The thesis is divided into three major parts. The first part called Sequential Art as a Medium discusses in brief the history of sequential art, which dates back to ancient world. The chapter continues with two sections analyzing the comic medium from the theoretical point of view. The second part inquires the origin of the comic book industry, its cultural environment, and consequently the birth of modern comic book.
    [Show full text]
  • The Portrayal of Women in American Superhero Comics By: Esmé Smith Junior Research Project Seminar
    Hidden Heroines: The Portrayal of Women in American Superhero Comics By: Esmé Smith Junior Research Project Seminar Introduction The first comic books came out in the 1930s. Superhero comics quickly became one of the most popular genres. Today, they remain incredibly popular and influential. I have been interested in superhero comics for several years now, but one thing I often noticed was that women generally had much smaller roles than men and were also usually not as powerful. Female characters got significantly less time in the story devoted to them than men, and most superhero teams only had one woman, if they had any at all. Because there were so few female characters it was harder for me to find a way to relate to these stories and characters. If I wanted to read a comic that centered around a female hero I had to spend a lot more time looking for it than if I wanted to read about a male hero. Another thing that I noticed was that when people talk about the history of superhero comics, and the most important and influential superheroes, they almost only talk about male heroes. Wonder Woman was the only exception to this. This made me curious about other influential women in comics and their stories. Whenever I read about the history of comics I got plenty of information on how the portrayal of superheroes changed over time, but it always focused on male heroes, so I was interested in learning how women were portrayed in comics and how that has changed.
    [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]
  • Mcwilliams Ku 0099D 16650
    ‘Yes, But What Have You Done for Me Lately?’: Intersections of Intellectual Property, Work-for-Hire, and The Struggle of the Creative Precariat in the American Comic Book Industry © 2019 By Ora Charles McWilliams Submitted to the graduate degree program in American Studies and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Co-Chair: Ben Chappell Co-Chair: Elizabeth Esch Henry Bial Germaine Halegoua Joo Ok Kim Date Defended: 10 May, 2019 ii The dissertation committee for Ora Charles McWilliams certifies that this is the approved version of the following dissertation: ‘Yes, But What Have You Done for Me Lately?’: Intersections of Intellectual Property, Work-for-Hire, and The Struggle of the Creative Precariat in the American Comic Book Industry Co-Chair: Ben Chappell Co-Chair: Elizabeth Esch Date Approved: 24 May 2019 iii Abstract The comic book industry has significant challenges with intellectual property rights. Comic books have rarely been treated as a serious art form or cultural phenomenon. It used to be that creating a comic book would be considered shameful or something done only as side work. Beginning in the 1990s, some comic creators were able to leverage enough cultural capital to influence more media. In the post-9/11 world, generic elements of superheroes began to resonate with audiences; superheroes fight against injustices and are able to confront the evils in today’s America. This has created a billion dollar, Oscar-award-winning industry of superhero movies, as well as allowed created comic book careers for artists and writers.
    [Show full text]
  • The JACK KIRBY COLLECTOR #69
    1 82658 00098 1 The JACK KIRBY COLLECTOR FALL 2016 FALL $10.95 #69 All characters TM & © Simon & Kirby Estates. THE Contents PARTNERS! OPENING SHOT . .2 (watch the company you keep) FOUNDATIONS . .3 (Mr. Scarlet, frankly) ISSUE #69, FALL 2016 C o l l e c t o r START-UPS . .10 (who was Jack’s first partner?) 2016 EISNER AWARDS NOMINEE: BEST COMICS-RELATED PERIODICAL PROSPEAK . .12 (Steve Sherman, Mike Royer, Joe Sinnott, & Lisa Kirby discuss Jack) KIRBY KINETICS . .18 (Kirby + Wood = Evolution) FANSPEAK . .22 (a select group of Kirby fans parse the Marvel settlement) JACK KIRBY MUSEUM PAGE . .29 (visit & join www.kirbymuseum.org) KIRBY OBSCURA . .30 (Kirby sees all!) CLASSICS . .32 (a Timely pair of editors are interviewed) RE-PAIRINGS . .36 (Marvel-ous cover recreations) GALLERY . .39 (some Kirby odd couplings) INPRINT . .49 (packaging Jack) INNERVIEW . .52 (Jack & Roz—partners for life) INCIDENTAL ICONOGRAPHY . .60 (Sandman & Sandy revamped) OPTIKS . .62 (Jack in 3-D Land) SCULPTED . .72 (the Glenn Kolleda incident) JACK F.A.Q.s . .74 (Mark Evanier moderates the 2016 Comic-Con Tribute Panel, with Kevin Eastman, Ray Wyman Jr., Scott Dunbier, and Paul Levine) COLLECTOR COMMENTS . .92 (as a former jazz bass player, the editor of this mag was blown away by the Sonny Rollins letter...) PARTING SHOT . .94 (never trust a dwarf with a cannon) Cover inks: JOE SINNOTT from Kirby Unleashed Cover color: TOM ZIUKO If you’re viewing a Digital Edition of this publication, PLEASE READ THIS: This is copyrighted material, NOT intended Direct from Roz Kirby’s sketchbook, here’s a team of partners that holds a for downloading anywhere except our website or Apps.
    [Show full text]
  • Committee on Evaluation of Comic Books Collection
    Mss. 126 COMMITTEE ON EVALUATION OF COMIC BOOKS COLLECTION Scope and Content: The Committee on Evaluation of Comic Books donated the comic book collection in the Rare Books & Special Collections Department of the Public Library of Cincinnati and Hamilton County. It contains the founder, Reverend Jesse Murrell’s, correspondence, lists and articles regarding the Committee on Evaluation of Comic Books. This committee was founded in Cincinnati in 1948 shortly after Reverend Murrell preached a scathing sermon regarding comic books in May. Reverend Jesse Murrell of Covington, Kentucky organized the Committee. Another founding member was Ernest Miller, then the associate director, later becoming the director of the Public Library of Cincinnati and Hamilton County. The bulk of the collection consists of over 500 comic books from 1948 to 1966 that were evaluated by the committee. In 1950 the committee’s evaluation list was published in the February and October issues of Parents’ Magazine. It was published in this magazine every year from 1950 to 1959. From 1948 to 1960 the committee produced the evaluation list at least once a year, sometimes twice. On May 21, 1970, Mr. Miller was appointed the archivist of the Committee and all materials were housed at the Public Library of Cincinnati and Hamilton County, Main Library. The Committee on the Evaluation of Comic Books continued to meet until 1979. “Our major purpose is to help the people formulate critical judgment as to the comics, then we try to help them buy and read selectively.” Reverend Murrell died in 1972; as did Mr. Miller. It was Mrs.
    [Show full text]
  • Feminist (And/As) Alternative Media Practices in Women’S Underground Comix in the 1970S1
    Małgorzata Olsza Feminist (and/as) Alternative Media Practices in Women’s Underground Comix in the 1970s1 Abstract: The American underground comix scene in general, and women’s comix that flourished as a part of that scene in the 1970s in particular, grew out of and in response to the mainstream American comics scene, which, from its “Golden Age” to the 1970s, had been ruled and construed in accordance with commercial business practices and “assembly-line” processes. This article discusses underground comix created by women in the 1970s in the wider context of alternative and second-wave feminist media practices. I explain how women’s comix used “activist aesthetics” and parodic poetics, combining a radical political and social message with independent publishing and distributive networks. Keywords: American comics, American comix, women’s comix, feminist art and theory, media practices Introduction Toughly mainly associated with popular culture, mass production, and thus consumerism, the history of comics also intertwines with the history of the American counterculture and feminism. In the present article, I examine women’s underground comix from the 1970s as a product and an integral element of a complex and dynamic network of historical, cultural, and social factors, including the mainstream comics industry, men’s underground comix, and alternative media practices, demonstrating how the media practices adopted by female comix authors were used to promote the ideals of second-wave feminism. As Elke Zobl and Ricarda Drüeke point out in Feminist Media, “[u]sing media to transport their messages, to disrupt social orders and to spin novel social processes, feminists have long recognized the importance of self-managed, alternative media” (11).
    [Show full text]
  • April-June 2017 a NOTE from the DIRECTOR
    ADVEN TURES IN ART & HISTO RY April-June 2017 A NOTE FROM THE DIRECTOR Friends, Spring at The MATT means exhibition If you’re feeling inspired by the Peanuts gang, openings! This May we are thrilled to host I invite you to get your art on by checking out Heartbreak in Peanuts on loan from the Charles the new Studio Art Workshops (pg. 13) M. Shultz Museum and Research Center. I our Director of Education, Heather performed the role of Charlie Brown in my Whitehouse has planned. For everyone from high school’s spring musical so this comic budding artist to experienced pro, these legend has a special place in my heart. In workshops provide an opportunity to create fact, this weekly cartoon spans multiple artwork while having fun and honing skills. generations of fans and offers our visitors an opportunity to reconnect with the beloved Waterbury is what inspires me! You Peanuts characters from their childhood, and may have noticed I end my letters with will offer young children an introduction to #IBelieveInWaterbury. We have launched a these great American icons. call to artists (pg. 7) to invite them to share what inspires them about the Brass City. This exhibition also resonates with The September 2017 exhibit and collateral Waterbury's history. Did you know that The programming will feature works submitted Eastern Color Printing Company, which was by artists from across the State working owned by the Republican-American, produced in all media—including visual arts, sound what is considered by many to be the first art, spoken word, theatre, dance, music American comic book!! Famous Funnies, No.
    [Show full text]
  • The Jewish Comic Book Industry, 1933-1954
    “THE WHOLE FURSHLUGGINER OPERATION”: THE JEWISH COMIC BOOK INDUSTRY, 1933-1954 By Sebastian T. Mercier A DISSERTATION Submitted to Michigan State University in partial fulfillment of the requirements for the degree of History – Doctor of Philosophy 2018 ABSTRACT “THE WHOLE FURSHLUGGINER OPERATION”: THE JEWISH COMIC BOOK INDUSTRY, 1933-1954 By Sebastian T. Mercier Over the course of the twentieth century, the comic book industry evolved from an amateur operation into a major institution of American popular culture. Comic books, once considered mere cultural ephemera or quite simply “junk,” became a major commodity business. The comic book industry emerged out of the pulp magazine industry. According to industry circulation data, new comic book releases increased from 22 in 1939 to 1125 titles by the end of 1945. Comic book scholars have yet to adequately explain the roots of this historical phenomenon, particularly its distinctly Jewish composition. Between the years of 1933 and 1954, the comic book industry operated as a successful distinct Jewish industry. The comic book industry emerged from the pulp magazine trade. Economic necessity, more than any other factor, attracted Jewish writers and artists to the nascent industry. Jewish publishers adopted many of the same business practices they inherited from the pulps. As second-generation Jews, these young men shared similar experiences growing up in New York City. Other creative industries actively practiced anti-Semitic hiring procedures. Many Jewish artists came to comic book work with very little professional experience in cartooning and scripting. The comic book industry allowed one to learn on the job. The cultural world comic books emerged out of was crucially important to the industry’s development.
    [Show full text]
  • Secret Identities: Graphic Literature and the Jewish- American Experience Brian Klotz University of Rhode Island, [email protected]
    University of Rhode Island DigitalCommons@URI Senior Honors Projects Honors Program at the University of Rhode Island 2009 Secret Identities: Graphic Literature and the Jewish- American Experience Brian Klotz University of Rhode Island, [email protected] Follow this and additional works at: http://digitalcommons.uri.edu/srhonorsprog Part of the Arts and Humanities Commons Recommended Citation Klotz, Brian, "Secret Identities: Graphic Literature and the Jewish-American Experience" (2009). Senior Honors Projects. Paper 127. http://digitalcommons.uri.edu/srhonorsprog/127http://digitalcommons.uri.edu/srhonorsprog/127 This Article is brought to you for free and open access by the Honors Program at the University of Rhode Island at DigitalCommons@URI. It has been accepted for inclusion in Senior Honors Projects by an authorized administrator of DigitalCommons@URI. For more information, please contact [email protected]. Klotz 1 Brian Klotz HPR401 Spring 2009 Secret Identities: Graphic Literature and the Jewish-American Experience In 1934, the comic book was born. Its father was one Maxwell Charles Gaines (né Ginsberg), a down-on-his-luck businessman whose previous career accomplishments included producing “painted neckties emblazoned with the anti-Prohibition proclamation ‘We Want Beer’” (Kaplan 2). Such things did not provide a sufficient income, and so a desperate Gaines moved himself and his family back in to his mother’s house in the Bronx. It was here, in a dusty attic, that Gaines came across some old newspaper comic strips and had his epiphany. Working with Eastern Color Printing, a “company that printed many of the Sunday newspaper comics sections in the Northeast” (Kaplan 2-3), Gaines began publishing pamphlet-sized collections of old comic strips to be sold to the public (this concept had been toyed with previously, but only as premiums or giveaways, not as an actual retail product).
    [Show full text]
  • Visualizing Superman: Artistic Strategizing in Early Representations of the Archetypal Man in Comic Books
    arts Article Visualizing Superman: Artistic Strategizing in Early Representations of the Archetypal Man in Comic Books Bar Leshem Department of the Arts, Faculty of Humanities and Social Sciences, Ben-Gurion University of the Negev, Be’er Sheva 8410501, Israel; [email protected] Abstract: In 1933, Jerry Siegel and Joe Shuster, two Jewish teenagers from Ohio, fashioned an ideal personality called Superman and a narrative of his marvelous deeds. Little did they suspect that several years after conceptualizing the figure and their many vain attempts to sell the story to various comic book publishers, their creation would give rise to the iconic genre of comic book superheroes. There is no doubt that the Superman character and the accompanying narrative led to Siegel and Shuster, the writer and artist, respectively, becoming famous. However, was it only the appealing character and compelling narrative that accounted for the story’s enormous popularity, which turned its creators into such a celebrated pair, or did the visual design play a major part in that phenomenal success? Recent years have seen a burgeoning interest in the comic book medium in several disciplines, including history, philosophy, and literature. However, little has been written about its visual aspect, and comic book art has not yet been accorded much recognition among art historians. Since the integration of storyline and art is what allow the comic book medium to be unique and interesting, I contend that there should be a focus on the art as well as on the narrative of works in comic books. In the present study, I explore the significance of the visual image in the prototype of the Superman figure that Siegel and Schuster sold to DC Comics and its first appearance in the series American Comic Books.
    [Show full text]
  • “Vulgarizing American Children”: Navigating Respectability and Commercial Appeal in Early Newspaper Comics
    “VULGARIZING AMERICAN CHILDREN”: NAVIGATING RESPECTABILITY AND COMMERCIAL APPEAL IN EARLY NEWSPAPER COMICS by Ralph D. Suiter III A Dissertation Submitted to the Graduate Faculty of George Mason University in Partial Fulfillment of The Requirements for the Degree of Doctor of Philosophy History Committee: ___________________________________________ Director ___________________________________________ ___________________________________________ ___________________________________________ Department Chairperson ___________________________________________ Program Director ___________________________________________ Dean, College of Humanities and Social Sciences Date: _____________________________________ Spring Semester 2016 George Mason University Fairfax, VA “Vulgarizing American Children”: Navigating Respectability and Commercial Appeal in Early Newspaper Comics A Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy at George Mason University by Ralph D. Suiter III Master of Arts University of Massachusetts, Boston, 2006 Bachelor of Arts Simon’s Rock College of Bard, 1999 Director: Paula Petrik, Professor Department of History Spring Semester 2016 George Mason University Fairfax, VA This work is licensed under a creative commons attribution-noderivs 3.0 unported license. ii DEDICATION This dissertation is dedicated my parents, Ralph and Dianne Suiter, from whose example I learned to love learning, to value the life of the mind above all else, and to never give up on my goals. I love you both so much. I would also like to dedicate it to my nephew, Theo Kuruvilla, because a family’s only ever as good as its next generation. Go do cool things, little man. iii ACKNOWLEDGEMENTS There are many people to whom I owe a sincere thank you for helping me get to this point. To my wife, Greta—thank you so much for your love and support, for your encouragement, and for the occasional push when I got lazy.
    [Show full text]