DOCSLIB.ORG

Katedra Anglistiky a Amerikanistiky Magisterská Diplomová Práce 2020

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Katedra Anglistiky a Amerikanistiky Magisterská Diplomová Práce 2020 Masarykova univerzita Filozofická fakulta Katedra anglistiky a amerikanistiky Magisterská diplomová práce Bc. Ondřej Havlík 2020 Bc. Ondřej Havlík Hřbet 20 20 Masaryk University Faculty of Arts Department of English and American Studies English-language Translation Bc. Ondřej Havlík Translation of Comics Master’s Diploma Thesis Supervisor: Ing. Mgr. Jiří Rambousek, Ph. D. 2020 I declare that I have worked on this thesis independently, using only the primary and secondary sources listed in the bibliography. …………………………………………….. Author’s signature Acknowledgement I would like to thank my supervisor, Ing. Mgr. Jiří Rambousek, Ph.D., for his support, advice and patience during the writing process. Furthermore, I would like to thank my family for their continuous support during my studies as well as my friends who helped me when I most needed it. Table of Contents Introduction ....................................................................................................................... 1 1. The Inner Workings of Comics .................................................................................... 3 1.1. Definition of Comics .............................................................................................. 3 1.2. Comics as a Medium .............................................................................................. 4 1.3. Panel as a Symbol of Space and Time ................................................................... 5 1.4. Gutters, Closure and Time Jumps .......................................................................... 6 1.5. The Textual Side of Comics ................................................................................... 8 1.6. Text and Images Combined ................................................................................. 10 1.7. The Representation of Sound ............................................................................... 10 2. A Brief History of Comics .......................................................................................... 13 2.1. The Era of Superheroes and Female Characters .................................................. 15 2.2. World War II and the Growing Popularity Among Children .............................. 18 2.3. Diversification After World War II ...................................................................... 19 2.4. Comics in the Czech Republic ............................................................................. 21 3. Translation of Comics ................................................................................................. 24 3.1. Loci of Translation ............................................................................................... 24 3.2. Spatial Limitation and Similarity to Translating Subtitles ................................... 26 3.3. Translation of Names and Aliases........................................................................ 28 3.3.1. Superheroes’ Aliases ..................................................................................... 28 3.3.2. Names of Fables ............................................................................................ 30 3.4. Translation of Onomatopoeic Words ................................................................... 32 3.5. Special Symbols ................................................................................................... 34 4. Analysis of Comic Books’ Translations ..................................................................... 37 4.1. Batman: Arkham Asylum .................................................................................... 37 4.1.1. Spatial Limitation and Linguistic Paratext .................................................... 38 4.1.2. Wordplays and References ............................................................................ 40 4.1.3. Characters’ Names ......................................................................................... 42 4.1.4. Onomatopoeic Expressions ........................................................................... 44 4.2. Blacksad ............................................................................................................... 46 4.2.1. Storytelling and Spatial Limitation ............................................................... 46 4.2.2. Animal-themed Wordplays ........................................................................... 49 4.2.3. Characters’ Names and Nicknames ............................................................... 51 4.2.4. Songs ............................................................................................................. 52 4.2.5. Linguistic Paratext ......................................................................................... 54 4.2.6. Onomatopoeic Expressions ........................................................................... 56 4.3. V for Vendetta ...................................................................................................... 58 4.3.1. Spatial Limitation and Titles ......................................................................... 58 4.3.2. Character’s Names ......................................................................................... 62 4.3.3. Onomatopoeic Expressions ........................................................................... 63 4.3.4. Linguistic Paratext ......................................................................................... 64 4.3.5. Quotations, Poems and Songs ....................................................................... 66 Conclusion ...................................................................................................................... 70 Bibliography ................................................................................................................... 73 Primary Sources .......................................................................................................... 73 Secondary Sources ...................................................................................................... 73 Summary ......................................................................................................................... 76 Resumé ............................................................................................................................ 77 Appendix ......................................................................................................................... 78 Introduction Comics as a medium was often overlooked in research, as it was considered to be a medium focused mainly on children. It was also considered to be a literary genre rather than an independent medium. Because of its nature as a medium, comics has its own set of tools it uses for storytelling, and it is these tools that differentiate comics from other media. For this reason, comics also presents its own problems when it comes to translation, which translators should be aware of. Therefore, this thesis presents these problematic areas in order to show how exactly is comics different from other media (or in what ways it is the same) and how these problematic areas are often dealt with. It is important not only to know about the specific problems in regard to comics translation but also to understand how comics works in the first place, as without understanding the medium, its translation could turn out to be problematic. The first chapter of this thesis focuses on the definition of comics as a medium. It presents all the different tools comics uses and shows how it conveys message so that readers understand not only what is happening in the pictures but also what each presented element means. This chapter offers explanation of how comics represent time and sound and shows how text and images can work together to form a story. If one wants to understand this medium, it is also important to know how it began and how it developed throughout the years. The second chapter presents a brief history of comics. It speaks about why comics is popular nowadays and why it was popular in the past, highlighting important events and people that in some way participated in the development of this medium. Furthermore, one of the subchapters is dedicated to the history of Czech comics and its rises and falls together with its current state. 1 Chapter three then deals with the problematic areas of comics translation. This part of the thesis explains what areas translators should be aware of when translating this medium, why some of the areas are problematic and how they are usually dealt with. Even though some of the problematic areas presented in this chapter are not exclusively related to comics, for example characters’ names, they are still mentioned because they might be problematic in this medium more than in others. Chapter four then applies these problematic areas into practice and shows them on concrete examples. This chapter consists of analyses of three comic books and their translation into Czech by Richard Podaný: Batman: Arkham Asylum, Blacksad and V for Vendetta. The analysis focuses mainly on the problematic areas presented in the third chapter. The aim of the analysis is to determine if these problematic areas are really as problematic as they seem to be and to show how they are dealt with. The findings are then summarised in the last chapter that also concludes this thesis. 2 1. The Inner Workings of Comics In order to proceed, it must first be explained what comics is and how it works. This information will
Load more

Recommended publications
  • Batman Arkham Asylum Free
    FREE BATMAN ARKHAM ASYLUM PDF Dave McKean,Grant Morrison | 224 pages | 18 Nov 2014 | DC Comics | 9781401251246 | English | United States Arkham Asylum - Wikipedia Arkham Asylum first appeared in Batman Arkham Asylum Oct. Arkham Asylum serves as a psychiatric hospital for the Gotham City area, housing patients who are criminally Batman Arkham Asylum. Arkham's high-profile patients are often members of Batman's rogues gallery. Located in Gotham CityArkham Batman Arkham Asylum is where Batman's foes who are considered to be mentally ill are brought as patients other foes are incarcerated at Blackgate Penitentiary. Although it has had numerous administrators, some comic books have featured Jeremiah Arkham. Inspired by the works of H. Lovecraftand in particular his fictional city of Arkham, Massachusetts[2] [3] the asylum was introduced by Dennis O'Neil and Irv Novick and first appeared in Batman October ; much of its back-story was created by Len Wein during the s. Arkham Asylum has a poor security record and high recidivism rate, at least with regard to the high-profile cases—patients, such as Batman Arkham Asylum Joker, are frequently shown escaping at will—and those who are considered to no longer be mentally unwell and discharged tend to re-offend. Furthermore, several staff members, including its founder, Dr. Amadeus Arkhamand his nephew, director Dr. Jeremiah Arkhamas well as staff members Dr. Harleen QuinzelLyle Bolton and, in some incarnations, Dr. Jonathan Crane and Professor Hugo Strangehave become mentally unwell. In addition, prisoners with unusual medical conditions that prevent them from staying in a regular prison are housed in Arkham.
    [Show full text]
  • BEAM the OCCASIONAL UNOFFICIAL JOURNAL of the UNUSUAL SUSPECTS ISSUE #13 : APRIL 2018 May Tucker’S Ghost Be Smiling Upon Us
    2 BEAM THE OCCASIONAL UNOFFICIAL JOURNAL OF THE UNUSUAL SUSPECTS ISSUE #13 : APRIL 2018 May Tucker’s Ghost be Smiling Upon Us THE BITCH IS BACK Stone cold sober, as a matter of fact. I had other plans for this editorial, this issue, and my part in it. Nic and I were hoping to get this ish out before Easter, and Follycon, so I could encourage people to vote for Johan Anglemark for TAFF, and Nic could root equally ardently for No Preference. Happily, y’all took my advice without my having to bother to give it. Well done you. Hell, I was hoping to finish at least one more chapter of my own TAFF “A bit too early for trip report before Follycon, because hey, coffee. I’ll have a twenty years to write your trip report, That’s Not Too Many! Yes, it’s been twenty Scotch” years since Intuition happened in This issue of BEAM is edited by Nic Farey and Ulrika O’Brien. 3342 Cape Cod Drive, Las Vegas, NV 89122, USA, email : [email protected] 418 Hazel Avenue N., Kent, WA 98030, USA, email : [email protected] 2 Manchester. Twenty years since they declared Scott and carl, who share Randy’s taste for fizzy peace in Northern Ireland. In some ways, it vinegar. I’m especially sorry to miss a chance to seems like an eyeblink. hang with the Fishlifters, which is all too rare a But life, as they say, is what happens while you’re treat. And of course I’ll miss all you other fine busy making other plans.
    [Show full text]
  • Arkham Asylum: a Serious House on Serious Earth
    ARKHAM ASYLUM: A SERIOUS HOUSE ON SERIOUS EARTH Adapted to script by Pedro F. Lopez Jr. Based on the graphic novel by Grant Morrison & Dave McKean [email protected] FADE IN: TEXT: ‘But I don’t want to go among mad people’, Alice remarked. ‘Oh, you can’t help that,’ said the Cat, ‘We’re all mad here. I’m mad. You’re mad.” ‘How do you know I’m mad?’, Said Alice. ‘You must be’, said the Cat, ‘or you wouldn’t have come here.’ Lewis Carroll “Alice’s Adventures in Wonderland” Like a ghostly apparition, the TEXT withers away. FADE IN: EXT. ARKHAM HOUSE - ROOFTOP - 1901 We open with a shot of the moon, caught in between two back lit statues of ANUBIS. It’s stormy. The sky’s stressed. The puddles on the roof reflect a semi-circular window. Mirroring the moon. EXT. ARKHAM HOUSE - ESTABLISHING The mansion broods in Gothic silence. It’s uninviting. ARKHAM (V.O.) From the journals of Amadeus Arkham. We experience a long CROSS-FADE: INT. ARKHAM HOUSE - CORRIDOR A young BOY, Amadeus ARKHAM, walks through a large corridor carrying a tray of tea and food. He’s dwarfed by his shadow. ARKHAM (V.O.) In the years following my Father’s death, I think it’s true to say that the house became my whole world. He walks up the stairs. 2. ARKHAM (V.O.) During the long period of mother’s illness, the house often seemed so vast, so confidently real, that by comparison, I felt little more than a ghost, haunting its corridors scarcely aware that anything could exist beyond those melancholy walls.
    [Show full text]
  • Contemporary American Comic Book Collection, Ca
    http://oac.cdlib.org/findaid/ark:/13030/ft567nb3sc No online items Guide to the Contemporary American Comic Book Collection, ca. 1962 - ca. 1994PN6726 .C66 1962 Processed by Peter Whidden Department of Special Collections and University Archives 2002 ; revised 2020 Green Library 557 Escondido Mall Stanford 94305-6064 [email protected] URL: http://library.stanford.edu/spc PN6726 .C66 19621413 1 Language of Material: English Contributing Institution: Department of Special Collections and University Archives Title: Contemporary American Comic Book Collection Identifier/Call Number: PN6726 .C66 1962 Identifier/Call Number: 1413 Physical Description: 41 box(es)41 comic book boxes ; 28 x 38 cm.(ca. 6000 items) Date (inclusive): circa 1962 - circa 1994 Abstract: The collection consists of a selection of nearly 6000 issues from approximately 750 titles arranged into three basic components by publisher: DC Comics (268 titles); Marvel Comics (224 titles); and other publishers (280 titles from 72 publishers). Publication dates are principally from the early 1960's to the mid-1990's. Collection Scope and Content Summary The collection consists of a selection of nearly 6000 issues from approximately 750 titles arranged into three basic elements: DC Comics, Marvel Comics, and various other publishers. Publication dates are principally from the mid-1960's to the early 1990's. The first part covers DC titles (268 titles), the second part covers Marvel titles (224 titles), and the third part covers miscellaneous titles (280 titles, under 72 publishers). Parts one and two (DC and Marvel boxes) of the list are marked with box numbers. The contents of boxes listed in these parts matches the sequence of titles on the lists.
    [Show full text]
  • Jabliss Dissertation Deposit
    Copyright 2014 Jennifer Anderson Bliss PICTURING THE UNSPEAKABLE: TRAUMA, MEMORY, AND VISUALITY IN CONTEMPORARY COMICS BY JENNIFER ANDERSON BLISS DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Comparative Literature with a minor in Cinema Studies in the Graduate College of the University of Illinois at Urbana-Champaign, 2014 Urbana, Illinois Doctoral Committee: Associate Professor Brett Kaplan, Chair Professor Michael Rothberg Associate Professor James Hansen Professor Nancy Blake ii Abstract This dissertation explores the intersections of memory and trauma in comics, arguing that the interrelations of the visual and the textual elements of this medium allow for an expanded understanding of how representations of trauma and memory function. This project argues for the centrality of trauma studies in comics and graphic narratives, as well as the centrality of visuality—that is, how we see and how we understand what we see—in trauma studies. Moving away from a model of literary trauma studies that focuses on “the unspeakable,” this dissertation proposes that we look instead at the intersections of the visible and invisible, the speakable and the unspeakable, through the manipulation of space and time in the comics medium. Investigating these possibilities, my research spans national and generic boundaries in order to tease out the inherent qualities of traumatic representations in the medium itself. This analysis moves from superheroes to 9/11to epilepsy to family photographs, and from America to France to Rwanda, showing the ways in which comics’ juxtapositions of words and images, past, present, and future, and presence and absence, create possibilities for representing trauma and memory.
    [Show full text]
  • Suicide Squad: Vol 3 Free
    FREE SUICIDE SQUAD: VOL 3 PDF John Ostrander | 280 pages | 19 Apr 2016 | DC Comics | 9781401260910 | English | United States Suicide Squad, Volume 3: Burning Down The House by Rob Williams Ask seller a question. To contact our Customer Service Team, simply click the button here and our Customer Service team will be happy to assist. Skip to main content. Email to friends Share on Facebook - opens in a new window or tab Share on Twitter - opens in a new window or tab Share on Pinterest - opens in a new window or tab. Add to Watchlist. Suicide Squad: Vol 3 listing was ended by the seller because the item is no longer available. Ships to:. This amount is subject to change until you Suicide Squad: Vol 3 payment. For additional information, see the Global Shipping Program terms and conditions - opens in a new window or tab This amount includes applicable customs duties, taxes, brokerage and other fees. For additional information, see the Global Shipping Program terms and conditions - opens in a new window or tab. Estimated Delivery within business days. Please note the delivery estimate is greater than 13 business days. Start of add to list layer. Add to Watchlist Add to wish list. Sign in for more lists. Oct 14, PDT. Seller's other items. Sell one like this. Related sponsored items Feedback on our suggestions - Related sponsored items. Rob Sikoryic The Walking Dead Compendium Volume 4. Last one. Similar sponsored items Feedback on our suggestions - Similar sponsored items. Suicide Squad 1 A - 8. Seller Suicide Squad: Vol 3 all responsibility for this listing.
    [Show full text]
  • A New Chapter
    December 7 - 13, 2019 A new chapter Jacqueline Toboni stars in “The L Word: Generation Q” www.southernheatingandac.biz/ $10.00 OFF any service call one per customer. 910-738-70002105-A EAST ELIZABETHTOWN RD CARDINAL HEART AND VASCULAR PLLC Suriya Jayawardena MD. FACC. FSCAI Board Certified Physician Heart Disease, Leg Pain due to poor circulation, Varicose Veins, Obesity, Erectile Dysfunction and Allergy clinic. All insurances accepted. Same week appointments. Friendly Staff. Testing done in the same office. Plan for Healthy Life Style 4380 Fayetteville Rd. • Lumberton, NC 28358 Tele: 919-718-0414 • Fax: 919-718-0280 • Hours of Operation: 8am-5pm Monday-Friday Page 2 — Saturday, December 7, 2019 — The Robesonian Love is all around: Showtime reboots an old favorite with ‘The L Word: Generation Q’ By Breanna Henry open-mindedness and forward- about their daily lives in West would be pleased as punch if they to work, everyone seemed to be really understand the pain of TV Media thinking have turned those shows Hollywood trying to navigate did). The fictional characters of rich (even Shane, the drug-taking, those who watched it when it into mainstream cultural sensa- their many (often disastrous) re- “The L Word” were living the hypersexual hairdresser), and ev- aired. howtime has always been up tions. On Sunday, Dec. 8, Show- lationships. Showtime has never kinds of vastly differing lives and eryone was involved in some kind There is a whole lot to catch up Sfor taking a risk. A drug-deal- time is taking a new kind of been one to shy away from sexu- partaking in the different types of of affair all of the time, usually on: the series began with an affair, ing suburban mom and an awk- chance.
    [Show full text]
  • Front & Back Matter.Pages
    “It’s a Batman’s World”: Regulations of Gender, Sanity, and Justice in Batman Comics, 1986-2011 Batman, or Bruce Wayne, is a famous DC Comics superhero without superpowers who fights crime at night in the guise of a bat after his parents’ murder. He has starred in dozens of animated and live-action films and TV shows, graced YouTube with a fan-written musical, and been continuously published in comics since his first appearance in 1939. While many readers and viewers can likely re- call iconic moments, such as Batman: The Animated Series’ “I am vengeance! I am the night! I am Batman!”1, it is less likely that they have considered the full weight of those words, and the institutions and infrastructures Batman has enacted and regulates in Gotham City. In this thesis, I examine three modes through which Batman/Bruce Wayne exerts control over Gotham City: first, by performing and enforcing specific standards of masculine and heterosexual gender identity and sexual orientation; second, by hypocritically designing and implementing systems of regulation for the insane; and third, by challenging his system of justice and crime-fighting through the per- son and experiences of Jason Todd. This project is implicitly Foucauldian, and draws heavily from Michel Foucault’s writings in Madness and Civilization and “About the Concept of the ‘Dangerous Individual’ in 19th Century Legal Psychia- try,” as well as existing scholarship on masculinity and superhero comics, specifi- cally those focusing on Batman. 1 Gilroy, Henry, et al. (Writer), and Kirkland, Boyd (Director). 15 Sept. 1992. “Nothing to Fear.” In Bruce Timm (Producer), Batman: The Animated Series.
    [Show full text]
  • Saturday Evening February 20, 2021
    SATURDAY EVENING FEBRUARY 20, 2021 B’CAST SPECTRUM 7 PM 7:30 8 PM 8:30 9 PM 9:30 10 PM 10:30 11 PM 11:30 12 AM 12:30 1 AM 2 2NCIS: Los Angeles ’ 48 Hours ’ 48 Hours ’ CBS 2 News at 10PM NCIS ’ NCIS: New Orleans ’ Game Time 4 83 Ellen’s Game of Games Weakest Link ’ Saturday Night Live (N) News (:29) Saturday Night Live (N) ’ (Live) Kenan ’ Grace Paid Prog. 5 5Ellen’s Game of Games Weakest Link ’ Saturday Night Live (N) News (:29) Saturday Night Live (N) ’ (Live) 1st Look In Touch Hollywood 6 69-1-1 ’ Name That Tune ’ FOX 6 News at 9 (N) News I Can See Your Voice (:35) TMZ ’ (:35) Extra (N) ’ 7 7NBA NBA Basketball Miami Heat at Los Angeles Lakers. (N) (Live) News at 10pm Castle “Still” ’ Castle ’ Paid Prog. 9 9Friends ’ Friends ’ Friends ’ Friends ’ Weekend News WGN News Potash Two Men Two Men Two Men Mom ’ Mom ’ 9.2 986 Hazel Hazel Jeannie Jeannie Bewitched Bewitched That Girl That Girl McHale McHale Burns Burns Benny 10 10 Father Brown ’ Frankie Drake Death in Paradise ’ Austin City Limits ’ Doctor Who “The Deadly Assassin” Burt Wolf Father 11 Father Brown ’ Death in Paradise ’ The Mallorca Files ’ Miss Scarlet All Creatures Great The Long Song Doc Martin 12 12 NBA NBA Basketball Miami Heat at Los Angeles Lakers. (N) (Live) News Big 12 Sp Entertainment Tonight (12:05) Nightwatch ’ Forensic 18 18 FamFeud FamFeud Central Central Goldbergs Goldbergs Last Man Last Man King King Funny You Funny You Secrets 24 24 Heartland ’ Murdoch Mysteries ’ Ring of Honor Wrestling World Poker Tour Game Time World 414 Video Spotlight Music 26 Burgers Burgers Family Guy Family Guy Family Guy Burgers Burgers Burgers Family Guy Family Guy Jokers Jokers ThisMinute 32 13 9-1-1 ’ Name That Tune ’ News Flannery I Can See Your Voice Mod Fam Extra (N) ’ Grace Emeril 36 974 Great British ›››‡ “Avalon” (1990) Armin Mueller-Stahl, Aidan Quinn.
    [Show full text]
  • The Damned, the Bad, and the Ugly: Our Society's
    Eastern Michigan University DigitalCommons@EMU Master's Theses, and Doctoral Dissertations, and Master's Theses and Doctoral Dissertations Graduate Capstone Projects 3-3-2014 The ad mned, the bad, and the ugly: Our society's bad (and occasionally sinister) habit of using villains to label, deter, and other Lacey Danielle Hoffman Follow this and additional works at: http://commons.emich.edu/theses Part of the American Film Studies Commons Recommended Citation Hoffman, Lacey Danielle, "The ad mned, the bad, and the ugly: Our society's bad (and occasionally sinister) habit of using villains to label, deter, and other" (2014). Master's Theses and Doctoral Dissertations. 572. http://commons.emich.edu/theses/572 This Open Access Thesis is brought to you for free and open access by the Master's Theses, and Doctoral Dissertations, and Graduate Capstone Projects at DigitalCommons@EMU. It has been accepted for inclusion in Master's Theses and Doctoral Dissertations by an authorized administrator of DigitalCommons@EMU. For more information, please contact [email protected]. The Damned, the Bad, and the Ugly: Our Society’s Bad (and occasionally sinister) Habit of Using Villains to Label, Deter, and Other by Lacey Hoffman Thesis Submitted to the Department of English Language and Literature Eastern Michigan University in partial fulfillment of the requirements for the degree of MASTER OF ARTS in Children’s Literature Thesis Committee: Ramona Caponegro, PhD, Chair Annette Wannamaker, PhD, Second Chair March 3, 2014 Ypsilanti, MI i Dedication To every villain in every story I ever read. ii Acknowledgment In spite of the fascinating characters I was able to evaluate, this effort would not have been possible without the enormous amount of help that I received from a number of people.
    [Show full text]
  • Cat-Tales Book 1
    CCAATT--TTAALLEESS BBOOK 11 CCAATT--TTAALLEESS BBOOK 11 By Chris Dee Edited by David L. Forward by MyklarCure Cover Art by Remidar COPYRIGHT © 2001 BY CHRIS DEE ALL RIGHTS RESERVED.. COVER ART BY REMIDAR BATMAN,, CATWOMAN,, GOTHAM CITY,, ET AL CREATED BY BOB KANE,, PROPERTY OF DC ENTERTAINMENT.. USED WITHOUT PERMISSION.. FORWARD Writing comedy is hard. Writing good comedy is extremely difficult. Then there is the daunting task of writing comedic material that is not only funny, but smart, witty, classy, poignant, thoughtful, emotional and, most importantly, fun to read. There are only a few people in this world that can accomplish this task. Chris Dee is one of those few. Fan fiction writing is, at its best, a homage to the characters and ideas expressed in a mainstream body of work; be it a movie, a television show, or even a comic book. It is also a chance for a creative writer to expand the limits normally associated with the original, whether those limitations lie in the medium itself, or in the original's creator. In a time when many of the older Batman and Catwoman fans have become increasingly disenfranchised from the “official” product being released, Chris Dee's Cat Tales offers a refreshing return to the one thing these fans fell in love with in the first place: the characters. In the earliest incarnations, mainstream comics relied on the heroic deeds of its heroes to define the characters. When it's done right, the result is an action-packed, enjoyable piece of escapist entertainment. However, somewhere along the line, the fans of most comic books grew up and started asking for a more in-depth look at the people behind the superhero personas.
    [Show full text]
  • Batwoman Episode Guide Episodes 001–038
    Batwoman Episode Guide Episodes 001–038 Last episode aired Sunday June 27, 2021 www.cwtv.com © © 2021 www.cwtv.com © 2021 comicbook.com © 2021 www. © 2021 www.imdb.com celebdirtylaundry.com The summaries and recaps of all the Batwoman episodes were downloaded from http://www.imdb.com and http: //www.cwtv.com and http://comicbook.com and http://www.celebdirtylaundry.com and processed through a perl program to transform them in a LATEX file, for pretty printing. So, do not blame me for errors in thetext ! This booklet was LATEXed on June 29, 2021 by footstep11 with create_eps_guide v0.68 Contents Season 1 1 1 Pilot ...............................................3 2 The Rabbit Hole . .5 3 Down Down Down . .7 4 Who Are You? . 11 5 Mine Is a Long and a Sad Tale . 13 6 I’ll Be Judge, I’ll Be Jury . 15 7 Tell Me the Truth . 19 8 A Mad Tea-Party . 21 9 Crisis on Infinite Earths: Part 2 . 25 10 How Queer Everything Is Today! . 27 11 An Un-Birthday Present . 31 12 Take Your Choice . 35 13 Drink Me . 37 14 Grinning from Ear to Ear . 39 15 Off With Her Head . 43 16 Through the Looking-Glass . 45 17 A Narrow Escape . 49 18 If You Believe in Me, I’ll Believe in You . 51 19 A Secret Kept from All the Rest . 53 20 O, Mouse! . 55 Season 2 59 1 What Happened to Kate Kane? . 61 2 Prior Criminal History . 63 3 Bat Girl Magic! . 65 4 Fair Skin, Blue Eyes . 67 5 Gore on Canvas .
    [Show full text]