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Popeye: Lets You and Him Fight! Volume 3 Free
FREE POPEYE: LETS YOU AND HIM FIGHT! VOLUME 3 PDF E. C. Segar | 168 pages | 02 Dec 2008 | Fantagraphics | 9781560979623 | English | Seattle, United States Popeye - Wikipedia This article is about the franchise as a whole. For the character, see Popeye. For other meanings, see Popeye disambiguation. Popeye the Sailor was created by E. Segar as a supporting character in the daily King Features comic strip Thimble Theatreappearing on January 17, The character has since continued to appear in comics and animated cartoons, in the cinema as well as on television. Popeye also became the strip's title in later years. Even though Segar's Thimble Theatre strip was in its 10th year when Popeye made his debut inthe sailor quickly became the main focus of the strip and Thimble Theatre became one of King Features's most popular properties during the s. Thimble Theatre was continued after Segar's death in by several writers and artists, most notably Segar's assistant Bud Sagendorf. The strip, now titled Popeyecontinues to appear in first-run installments in its Sunday edition, written and drawn by Hy Eisman. The daily strips are reprints of old Sagendorf stories. These cartoons proved to be among the most popular of the s, and the Fleischers — and later Paramount's own Famous Studios — continued production through Over the years, Popeye has also appeared in comic books, television cartoons, arcade and video gameshundreds of advertisements and peripheral products, and a live-action film directed by Robert Altman starring comedian Robin Williams as Popeye. Differences in Popeye 's story and characterization show up depending upon which medium he is presented in. -
Step Back in Time with Blake Hodge
Step Back In Time With Blake Hodge Approximately one ring the squinty-eyed year ago on December 3, sailor. In 1960 Popeye 2005 Blake Hodge, the The Sailor was the fi rst 12-year-old son of Matt show to feature Popeye and Carol Ann Hodge cartoons made just for started his journey back television. in time. Waiting for the POPEYE’S SONG Eagleville Christmas I’m Popeye the Sailor parade to make its ap- Man, I’m Popeye the pearance in downtown Sailor Man, I’m strong Eagleville, he along with to the fi nich, cause I eats Sonny Lonas was brows- me spinach, I’m Popeye ing in Ralston’s Antique the Sailor Man. Store. Blake happened I’m one tough gazookus, Blake’s favorite place to shop is Ralston’s Antiques in Eagleville. upon a Popeye water L-R: Sonny Lonas, Blake, Charles Ralston glass. Remembering the Which hates all paloo- re-runs of the Popeye kas, Wot ain’t on the up cartoons he had recently watched, decided he would really like to have the glass, so and square, I biffs’em he received it as a gift from Sonny. That one glass defi nitely started his journey to and buffs’em, An’ always the past. He has spent several hours in antique stores and fl ea markets searching for outroughs’em, An’ none Popeye memorabilia and learning the history of this funny looking sailor. of ‘em gets nowhere. Blake discovered that on January 17, 1929, was the fateful day, which would If anyone dasses to risk change the comic strip and cartoon worlds forever. -
Mukokuseki and the Narrative Mechanics in Japanese Games
Mukokuseki and the Narrative Mechanics in Japanese Games Hiloko Kato and René Bauer “In fact the whole of Japan is a pure invention. There is no such country, there are no such peo- ple.”1 “I do realize there’s a cultural difference be- tween what Japanese people think and what the rest of the world thinks.”2 “I just want the same damn game Japan gets to play, translated into English!”3 Space Invaders, Frogger, Pac-Man, Super Mario Bros., Final Fantasy, Street Fighter, Sonic The Hedgehog, Pokémon, Harvest Moon, Resident Evil, Silent Hill, Metal Gear Solid, Zelda, Katamari, Okami, Hatoful Boyfriend, Dark Souls, The Last Guardian, Sekiro. As this very small collection shows, Japanese arcade and video games cover the whole range of possible design and gameplay styles and define a unique way of narrating stories. Many titles are very successful and renowned, but even though they are an integral part of Western gaming culture, they still retain a certain otherness. This article explores the uniqueness of video games made in Japan in terms of their narrative mechanics. For this purpose, we will draw on a strategy which defines Japanese culture: mukokuseki (borderless, without a nation) is a concept that can be interpreted either as Japanese commod- ities erasing all cultural characteristics (“Mario does not invoke the image of Ja- 1 Wilde (2007 [1891]: 493). 2 Takahashi Tetsuya (Monolith Soft CEO) in Schreier (2017). 3 Funtime Happysnacks in Brian (@NE_Brian) (2017), our emphasis. 114 | Hiloko Kato and René Bauer pan” [Iwabuchi 2002: 94])4, or as a special way of mixing together elements of cultural origins, creating something that is new, but also hybrid and even ambig- uous. -
Cartoon Animation Free
FREE CARTOON ANIMATION PDF Preston Blair | 224 pages | 25 Oct 1996 | Walter Foster Publishing | 9781560100843 | English | Laguna Hills, CA, United States ToonyPhotos - Turn Photos into Cartoons Animation is a method in which figures are manipulated to appear as moving images. In traditional animation Cartoon Animation, images are drawn or painted by hand on transparent celluloid sheets to Cartoon Animation photographed and exhibited on film. Today, most animations are made with computer-generated imagery CGI. Computer animation can be very detailed 3D animationwhile 2D computer animation can be used for stylistic reasons, low bandwidth or faster real-time renderings. Other common animation methods apply a stop motion technique to two and three-dimensional objects like paper cutoutspuppets or clay figures. Commonly the effect of animation is achieved by a rapid succession of sequential images that minimally Cartoon Animation from each other. The illusion—as in motion pictures in general—is thought to rely on the phi phenomenon and beta movementbut the exact causes are still uncertain. Television and video are popular electronic animation media that originally were analog and now operate digitally. For display on the computer, techniques like animated GIF and Flash animation were developed. Animation is more pervasive than many people realize. Apart from short filmsfeature Cartoon Animationtelevision series, animated GIFs and other media dedicated to the display of moving images, animation is also prevalent in video gamesmotion graphicsuser interfaces and visual effects. The physical movement of image parts through simple mechanics—in for instance moving images in magic lantern shows—can also be considered animation. The mechanical manipulation of three-dimensional puppets and objects to emulate living beings has a very long history in automata. -
The Women Veterans of World War II
Hiding in Plain Site: The Women Veterans of World War II Gerri Wilson History 410 Dr. Halfond 2 Wilson Post WWII America settled in the cloud of the Red Scare, and the threat of a Cold War was pressing upon the nation. The Red Scare served to divide the nation by turning citizens against each other in America's fight against Communism and the Soviet Union. The world was drawn into the public sphere of influence of one of these two "superpowers". The women of post-World War II became unforeseen victims of the scare and the containment policies that followed, propelling them back to the private sphere. Anti-communist Congressional committee leaders became suspicious of anyone who was a liberal thinker or of suspected loose morals, someone who bucked the traditional values of the social norms, in other words the women veterans of WWII. Concerns about espionage and communist sympathizers prompted officials to initiate loyalty checks, and what was more loyal than the American housewife? Post-war Americans saw feminine stay-at-home moms cleaning, cooking, and taking care of children while masculine dads left home early and returned late each weekday, tending to their designated roles as lawnmowers and backyard BBQers on the weekend. They did not see their wives and mothers and daughters continuing as grease monkeys repairing planes or driving jeeps or ambulances in foreign countries. They needed their women to be lavished in soft full skirts and peterpan collars all soft and sweet. In addition, there was concern about women taking soldiers' jobs; worries about the effect on the family and anxiety about the breakdown of social values. -
Classic Comics POPEYE CLASSICS VOL
#57 ® MICS CO ® $4.99 ® Classic Comics POPEYE CLASSICS VOL. 10 “Moon Rocket” AND MORE! Ahoy ya swabs! Popeye and his sweetie-patootie Olive Oyl, his littte boy child Swee’pea, his friend- who-will-pay-him Tuesday-for-a-hamburger-today Wimpy, and his “emenie” the dreadful Sea Hag. They’re all here in another stupendous volume of hilarious adventures! AHOY! “What a genius! Sagendorf’s comic books were classics, completely his own…brilliant stream of consciousness tales, with plenty of action and suspense, and clever, silly cartooning that carried BUY IT it beautifully!” —Potrezebie/Bill Pearson NOW! Grab and be entertained by this thick, beautiful volume of adult and kid friendly treasures! AHOY! ORDER NOW! Reprinted from Popeye #57, January-February 1961. Written and drawn by Bud Sagendorf. Published by: Ted Adams. Thanks! Greg Goldstein, Chuck Anders, Giovanna Anzaldi, and Donnie Pitchford. Hooray for our supporters, the Popeye Fan Club: popeyethesailor.com Editors: Ted Adams, Clizia Gussoni, and Craig Yoe. Visit: www.idwpublishing.com www.yoebooks.com CLASSIC POPEYE #57. APRIL 2017. FIRST PRINTING. Popeye © 2017 King Features Syndicate. TM Hearst Holdings, Inc. © 2017 Gussoni-Yoe Studio, Inc. All Rights Reserved, including the digital remastering of the material not held by copyright owners. Yoe Books is a trademark of Gussoni-Yoe Studio, Inc. Yoe is a registered trademark of Gussoni-Yoe Studio, Inc. IDW Publishing, a division of Idea and Design Works, LLC. Editorial offices: 2765 Truxtun Rd, San Diego, CA 92106. The IDW logo is registered in the U.S. Patent and Trademark Office. Any similarities to persons living or dead are purely coincidental. -
Frame by Frame
3 Pars Pro Toto Character Animation and the Work of the Anonymous Artist Everyone does his or her task on the conveyor belt, performing a partial function without grasping the totality. —Siegfried Kracauer1 The single frame is the basic unit of film just as bricks are the basic unit of brick houses. —Robert Breer2 DELIBERATE MISTAKES In late March 1937, in order to meet the booming demand for Popeye cartoons, the management at Fleischer Studios called for the production process to be sped up. In-betweeners, the animators tasked with drawing the stages of movement that come in between key poses, were expected to double their daily output, from twenty sketches per day to forty.3 But tensions between management and labor at the studio were running high, and the in-betweeners did not comply. Instead, they countered with a “slowdown” strike, which meant, effectively, continuing to produce drawings at the regular rate.4 In the month that followed, fifteen anima- tors were fired for participating in the slowdown, and on May 6 the Commercial Artists and Designers Union authorized a full walkout of the studio. The story of what happened next has already been told, as have the stories of other labor conflicts in the US animation industry—most notably, the 1941 strike at Walt Disney Studios.5 But I want to focus on what didn’t happen. By this I do not mean a counterfactual history, at least not in the traditional sense of the term. Rather, I wish to imagine what is left unsaid in these narratives, which tell us only what went on behind the scenes. -
Preview Book
To my ol’ pal GREG GOLDSTEIN without whom there wouldn’t be this book nor even YOE! Books... And the swab’s got a greak twisker sock! If you like this book, please blog, facebook, and tweet about it! Join the fun on Facebook on the “Celebrating Popeye” page! Check out our videos: YouTube.com/TheYoeTube. ISBN: 978-1-68405-051-2 20 19 18 17 1 2 3 4 Ted Adams is a big Popeye fan and a terrifc encouragement to me. Thanks, Ted! A special thank you to my good friend Jerry Beck. I deeply appreciate the help, consultation, and loans of materials from: Giovanna Anzaldi, Mykal Banta, Chuck Fiala, Fred Grandinetti, Susan Hack-Lane, Chuck Johnston, Hal Ottaway, Donnie Pitchford, Giuseppe Scapigliati, Robert Schaad, Stewart Silver, and Susan Allen Yonas. The offcal Popeye fan club Web site is popeyethesailor.com Craig Yoe & Clizia Gussoni, Chief Executive Offcers and Creative Directors • Jeff Trexler, Attorney • Mark Lerer, Peter Sanderson, and Steven Thompson, Proofreaders and Fact-checkers • Steven Thompson, Publicist www.IDWPUBLISHING.com Ted Adams, CEO & Publisher • Greg Goldstein, President & COO • Robbie Robbins, EVP/Sr. Graphic Artist • Chris Ryall, Chief Creative Offcer • David Hedgecock, Editor-in-Chief • Matthew Ruzicka, CPA, Chief Financial Offcer • Jerry Bennington, VP of New Project Development • Lorelei Bunjes, VP of Digital Services. December 2010. First printing. Popeye: The Great Comic Book Tales by Bud Sagendorf is © 2018 Gussoni-Yoe Studio, Inc. All Rights Reserved, including the digital remastering of the material not held by copyright owners. YOE Books is a trademark of Gussoni-Yoe Studio, Inc. -
Comic Strip Character Changes Diet for Radio Show
Comic Strip Character Changes Diet For Radio Show “Wheatena is his diet he asks you to try it with Popeye the sailor man.” --- Kelvin Beech Lincoln, Me. (DG)— Radio was a magical media for the children who heard it during its golden age. Just like the adults had their favorite programs, the small fry also had theirs. For the most part, these programs featured the children’s favorite comic strip characters. Not only could they read about them in the Sunday newspaper, the children could hear them live and in person over the airwaves. One of the comic strip characters is the subject of this article. On Tuesday, September 3, 1935, the stations of NBC’s Red Network debuted the first episode of POPEYE THE SAILOR. It was a serial program heard 3 times a week (believed to be Tuesday, Thursday, and Saturday) at 7:15 PM. It was the story of Popeye, who was all Navy from head to toe--- complete with the grizzled accent of an “Old Salt.” His girlfriend (for the most part) was Olive Oyl, who adored Popeye, but also had something of a fickle nature. Popeye’s friend was J. Wellington Wimpy, or “Wimpy” as he was referred to by his friends. His love was hamburgers--- and LOTS of them (too bad McDonald’s didn’t sponsor this program). Matey was a young boy who was adopted by Popeye. Swee’ Pea was a baby left on Olive’s doorstep. Last but certainly not least was Bluto, a big, rough, mean sailor who loved to stir up trouble--- and to beat the starch out of Popeye. -
La Miss Und Die Legionäre Sie Ist Die Einzige Frau, Die in Der Fremdenlegion Gedient Hat, Sie Kämpfte Im Wüstenkrieg Gegen Rommel, War Die Geliebte Eines Generals
Gesellschaft FRAUEN La Miss und die Legionäre Sie ist die einzige Frau, die in der Fremdenlegion gedient hat, sie kämpfte im Wüstenkrieg gegen Rommel, war die Geliebte eines Generals. Jahrelang hat sie diskret geschwiegen, jetzt erzählt die Engländerin Susan Travers ihre Geschichte. Von Barbara Supp Chauffeurin Travers in Beirut (1941): Bloß nicht als Krankenschwester an die Front 62 der spiegel 34/2001 ie hat gewartet, bis alle tot sind, der ben lassen; die Söhne sollten es endlich d’Azur: die Mutter müde, melancholisch, Geliebte, die Frau des Geliebten und wissen, die Enkel auch*. Jetzt verabschie- der Vater hart und überstreng. Dazwischen Sihr eigener Ehemann auch. Jetzt gibt det sich das Gedächtnis allmählich, aber sie, die erfolglos um die Aufmerksamkeit es nur noch sie, die von dieser verrückten das macht nichts mehr. des mürrischen Vaters buhlt. Zeit erzählen kann. Sie, die sich in diesen Es ist besser jetzt, sie muss sich nicht Also geht sie den anderen Weg. Will Tagen kaum rühren kann, es geht ihr nicht mehr erinnern. Sie kann, wenn sie will. Sie „verrucht“ sein. Spaß haben. Wartet dar- gut, im Moment bleibt ihr nur das Denken. liegt im Bett einer Klinik südlich von Paris auf, endlich ihre Unschuld zu verlieren, es Und das Reden, wenn sie mag. „Sie wollen und sieht sich die Bilder in ihrem Kopf an, geschieht schließlich auf einer Bildungs- mich sehen?“, fragt sie ihre Besucher. die stellen sich scharf und verschwimmen reise in Rom: nachts im Hotelbett, mit dem „Das, was noch von mir übrig ist?“ wieder: Koenig, der geliebte General. Ami- Empfangschef, der sie mit einer Flasche Sie: Das ist Adjutantin Susan Travers, lakvari, der armenische Prinz. -
Sample File to E.C
POPEYE SECOND EDITION Sample file To E.C. Segar, who created Popeye; to Max Fleischer, who brought him to the screen; and to Jack Mercer, who gave the sailor personality and life with his wonderful vocal characterization Sample file POPEYE An Illustrated Cultural History FRED M. GRANDINETTI SECOND EDITION Sample file McFarland & Company, Inc., Publishers Jefferson, North Carolina, and London ACKNOWLEDGMENTS I am grateful to the following people for their help in making this book possible: Frank Caruso, Ita Golzman, and Mark Johnson of King Features Syndicate; Bill Maling, Craig Davison, Tim Hollis, Jackson Beck, Gordon Sheehan, Leonard Kohl, Mike and Debbie Brooks of the International Popeye Fanclub; Jerry Beck, Steve Bierly, Donnie Pitchford, and Barry I. Grauman. Special thanks go to my family and friends for all their support. All opinions in this book are those of the author and do not represent the opinions of anyone else who has been connected with the Popeye character over the years. Popeye cartoons and images are reprinted throughout this book by permission of King Features Syndicate. The cover drawing is by the author. LIBRARY OF CONGRESS CATALOGUING-IN-PUBLICATION DATA Grandinetti, Fred M. Popeye : an illustrated Samplecultural history / Fredfile M. Grandinetti.—2nd ed. p. cm. Includes index. ISBN-¡3: 978-0-7864-1605-9 softcover : 50# alkaline paper ¡. Popeye (Fictitious character) in mass media. I. Title. P96.P65G73 2004 74¡.5'0973—dc22 2003027765 British Library cataloguing data are available ©2004 Fred M. Grandinetti. All rights reserved No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying or recording, or by any information storage and retrieval system, without permission in writing from the publisher. -
Jeff Koons Selected Bibliography
G A G O S I A N Jeff Koons Selected Bibliography Books and Catalogues: 2017 Koons, Jeff. Gazing Ball Paintings. New York: Gagosian. ----------. Masters: A Collaboration with Jeff Koons. France: Louis Vuitton. 2016 Koons, Jeff. Jeff Koons: Now. London: Other Criteria. Risaliti, Sergio. Jeff Koons in Florence. Florence: Forma. 2015 Holzwarth, Hans Werner. Jeff Koons. Basic Art Series. Cologne: Taschen. Pissarro, Joachim. Jeff Koons: The Gazing Ball or the Eye of Janus. Brussels: Almine Rech Gallery. Rothkopf, Scott. Jeff Koons: Retrospectiva. Bilbao: Guggenheim Museum Bilbao. Speyer, Jerry and Nicholas Baume and Jerome de Noirmont and Lauren Le Bon and Larry Gagosian. Jeff Koons: Split Rocker. New York: Gagosian Gallery. Tinari, Philip. Jeff Koons: Hulk Elvis. Hong Kong: Gagosian Gallery. 2014 Champion, Julie and Caroline Edde. Jeff Koons: La Retrospective: The Album of the Exhibition. Belgium: Centre Pompidou. Champion, Julie and Nicolas Liucci-Goutnikov. Jeff Koons: La Retrospective: The Portfolio of the Exhibition. France: Centre Pompidou. Koons, Jeff and Norman Rosenthal. Jeff Koons: Conversations with Norman Rosenthal. Hove, England: Thames & Hudson. Koons, Jeff and Norman Rosenthal, Jeff Koons: Entretiens avec Norman Rosenthal. Hove, England: Thames & Hudson. Rothkopf, Scott, supervised by Bernard Blistène. Jeff Koons: La Retrospective. Exhibition catalogue. France: Centre Pompidou. Rothkopf, Scott. Jeff Koons: A Retrospective. New York: Whitney Museum of American Art. ----------. Jeff Koons: Split-Rocker. New York: Gagosian Gallery. ----------.Jeff Koons: Gazing Ball. New York: David Zwirner. 2012 Koons, Jeff, Matthias Ulrich, Vinzenz Brinkmann, Joachim Pissarro, and Max Hollein. Jeff Koons: The Painter & The Sculptor. Ostfildern, Germany: Hatje Cantz. Koons, Jeff, and Theodora Vischer. Jeff Koons. Fondation Beyeler.