DOCSLIB.ORG

Digital Comics Database Project Narrative

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Digital Comics Database Project Narrative Digital Comics Database Project Narrative For my project, I propose the creation of a crowd sourced digital comic book database that uses Comic Book Markup Language (CBML). This will be an online resource that allows users to search the database for comic books, learn about and create markup for each comic book, as well as be a forum to discuss and expand on CBML. The scholarly merits of comic books and graphic novels are beginning to be recognized and there are some resources available to contribute to the scholarly community. There are even online comic book databases, however there is minimal or no markup for these items. The databases that do provide metadata don’t provide the metadata to do the scholarly or critical analysis that my proposal would offer. There are also very limited resources on CBML. The first goal of this project is to have comics be accessible and usable as a scholarly resource, allowing users to be able to gather data and hopefully add to the discussion of the scholarly and literary merits of comic books and graphic novels. The second goal is to create a resource that would allow users to learn about CBML and to create a community that would allow them to expand and build on CBML. The ultimate project will ideally include three levels of interaction. First, users will be able do advanced searches of comic and graphic novels already available in the database. This will hopefully allow for meaningful and scholarly research on comic books and graphic novels. The second level of interaction would include an interface that would allow users will be able to upload images of a comic book or graphic novel and be able to easily add descriptive data. This would not require the user to know Comic Book Markup Language. The third level of interaction would be for users hoping to learn about, discuss and use CBML. This would include instruction on CBML, a forum for users to interact, a place for users to upload their data as well as access the full data records. Technical Requirements The purpose of this project is to create and make available CBML encoded comic books and graphic novels. This will allow them to be digitally published as well allows for the ability to analyze and study them. This means that initially several comic books will need to be encoded with CBML and both the encoded file and the images for the comic book will need to be made available online. A relational database will need to be created to store the data. There will also need to be a frontend interface using HTML/CSS and PHP to connect to the database so the items can be displayed and edited. This interface include search feature, as well as a system for users to upload the files they have created. A help section will also need to be created that include resources about CBML. Environmental Scan Comic books and graphic novels have begun to become viewed as serious scholarly subjects. They apply to a broad range of interdisciplinary studies, including American literature, popular culture studies, art, mass media, history and sociology. This means that there are many resources related to comics. There are scholarly journals, comics studies at universities, multiple digital databases, and a few resources directly related to the digital markup of comics. Comics Journals ImageTexT: Interdisciplinary Comics Studies is a peer-reviewed, open access journal dedicated to the study of comics. It is published by the English Department at the University of Florida. Image and Narrative is a peer-reviewed open access e-journal out of Belgium that focus to the study of visual narrative. This includes comics. International Journal of Comic Art is the premier comics studies journal that has been publishing articles since 1999. Their aim is to publish scholarly and readable research on any aspect of comic art. This includes animation, comic books, newspaper and magazine strips, caricature, political cartoons, humorous art and cartoon magazines. The journal does not maintain an online edition; however the table of contents is available online. The Comics Journal is an American magazine that takes comics seriously. The magazine has the view that comics are fine art and should be evaluated with a higher critical standard. It is known for its long interviews with creators, regular columns, and critical reviews. The Web site includes excerpts from recent issues and hosts an active message board. Comics Databases There are several online comic databases in existence. Some provide covers only of the comic books, while others provide the complete comic book in a PDF, image or compressed file version. Most of these do provide some level of metadata with the comics, with varying levels of completeness. These are primarily used as a cataloging and search tool. There are even some with markup of the text. However, these are used more for the digital presentation and accessibility of the comic books; this would primarily be seen in retailers of digital comic books. The Grand Comics Database (GCD), available at is an example of a large online database. The entire comic book is not included, but cover images are available. They are also extensively indexed with information on publications, credits, dates and more. This also an example of a crowd sourced database. Volunteers upload covers and index them. The Comic Book Database is another well-known database. Like the GCD this also a crowd sourced database with the goal of cataloging comics and graphic novels. This database also doesn’t provide access to the complete comic book. Examples of databases that provide access to public domain comics are The Digital Comics Museum (DCM) and the collections at the University of Nebraska-Lincoln. The DCM is a collection of public domain comics from the Golden Age of Comics. The metadata in this collection is limited. The University of Nebraska-Lincoln has two collections that are part of their libraries image and multimedia collections. These are The Government Comics Collection, and The Educational Comics Collection. Both of these collections include public domain comics that were created by corporations, non-profit organizations and government agencies. Both of these databases provide access to a digital version of the comic books as well as descriptive metadata. Comixology is an example of a digital comic retailer. Many of the larger labels, including DC Comics and Marvel Comics, sell their digital comics through Comixology. Comixology provides metadata stored with each issue, allowing for a basic search function as well as connecting individual comics to larger story arcs. Markup Language There are limited resources on marking up comic books in particular. Comic Book Markup Language (CBML) was developed by John Walsh at Indian University. CBML is an XML vocabulary based on the Text Encoding Initiative (TEI). CBML attempts to address the issue of trying to encode images, text and those elements unique to comic books like panels and word balloons. Walsh provides resources on CBML on his website Comic Book Markup Language as well as a more detailed article, “Comic Book Markup Language: An Introduction and Rationale” (Walsh, 2012). There also the article by Suzanne Covey “Beyond the Balloon: Sound Effects and Background Text in Lynn Johnston’s For Better or Worse” (Covey, 2006), which discusses CBML as well as provides several examples. Prototype Below is an example a page from a comic book as well as a sample of the CBML markup. Figure 1. From Captain America Goes to War Against Drugs. [David 1990] Figure 2. CBML fragment illustrating an encoded page from Captain America Goes to War Against Drug. See Figure 1 above. I’ve also included several simple examples of what a potential frontend interface would look like. The first example (see Fig. 3) illustrates what a potential search interface would look like. Users would be able to enter a keyword and limit it to certain fields. These fields would include title, author, publisher, issue number, writer, artists etc. Figure 3. Example of Searching interface The next few examples illustrate what the inerface would look like for users uploading a comic book and adding CBML tags to individual pages. Users will be able to choose a PDF file of a comic book and upload it (see Fig. 4). They then can populate as much metadata as possible. Once the comic book has been added to the database. Each page can have the CBML created for it (see Fig. 5-7). This would be an interface that would allow the usre to select see the page they are working on and select specific elements and attributes that they wish to add. As each element is finished it will be added to the page as CBML so the user can see the document they are building as they go along. After changes to the comic have been saved to the database, any user can go in and add or edit the metadata. Ideally these changes will be tracked. Figure 4. Example of how users can upload comics and add metadata. Figure 5. Example of users can add CBML tags online. Figure 6. Example of the panel tag being added to the page. Figure 7. Example of a completed panel tag Meta-Critical Reflection Comic books and graphic novels have begun to become viewed as serious scholarly subjects. They apply to a broad range of interdisciplinary studies, including American literature, popular culture studies, art, mass media, history and sociology. This means that comic books are beginning to become a serious field of academic research. The goal of my project is to support that and help further the scholarly study and analysis of comic books.
Load more

Recommended publications
  • Relationality and Masculinity in Superhero Narratives Kevin Lee Chiat Bachelor of Arts (Communication Studies) with Second Class Honours
    i Being a Superhero is Amazing, Everyone Should Try It: Relationality and Masculinity in Superhero Narratives Kevin Lee Chiat Bachelor of Arts (Communication Studies) with Second Class Honours This thesis is presented for the degree of Doctor of Philosophy of The University of Western Australia School of Humanities 2021 ii THESIS DECLARATION I, Kevin Chiat, certify that: This thesis has been substantially accomplished during enrolment in this degree. This thesis does not contain material which has been submitted for the award of any other degree or diploma in my name, in any university or other tertiary institution. In the future, no part of this thesis will be used in a submission in my name, for any other degree or diploma in any university or other tertiary institution without the prior approval of The University of Western Australia and where applicable, any partner institution responsible for the joint-award of this degree. This thesis does not contain any material previously published or written by another person, except where due reference has been made in the text. This thesis does not violate or infringe any copyright, trademark, patent, or other rights whatsoever of any person. This thesis does not contain work that I have published, nor work under review for publication. Signature Date: 17/12/2020 ii iii ABSTRACT Since the development of the superhero genre in the late 1930s it has been a contentious area of cultural discourse, particularly concerning its depictions of gender politics. A major critique of the genre is that it simply represents an adolescent male power fantasy; and presents a world view that valorises masculinist individualism.
    [Show full text]
  • NEDOR HEROES! $ NEDOR HEROES! In8 Th.E9 U5SA
    Roy Tho mas ’Sta nd ard Comi cs Fan zine OKAY,, AXIS—HERE COME THE GOLDEN AGE NEDOR HEROES! $ NEDOR HEROES! In8 th.e9 U5SA No.111 July 2012 . y e l o F e n a h S 2 1 0 2 © t r A 0 7 1 82658 27763 5 Vol. 3, No. 111 / July 2012 Editor Roy Thomas Associate Editors Bill Schelly Jim Amash Design & Layout Jon B. Cooke Consulting Editor John Morrow FCA Editor P.C. Hamerlinck Comic Crypt Editor Michael T. Gilbert Editorial Honor Roll Jerry G. Bails (founder) Ronn Foss, Biljo White, Mike Friedrich Proofreaders Rob Smentek, William J. Dowlding Cover Artist Shane Foley (after Frank Robbins & John Romita) Cover Colorist Tom Ziuko With Special Thanks to: Deane Aikins Liz Galeria Bob Mitsch Contents Heidi Amash Jeff Gelb Drury Moroz Ger Apeldoorn Janet Gilbert Brian K. Morris Writer/Editorial: Setting The Standard . 2 Mark Austin Joe Goggin Hoy Murphy Jean Bails Golden Age Comic Nedor-a-Day (website) Nedor Comic Index . 3 Matt D. Baker Book Stories (website) Michelle Nolan illustrated! John Baldwin M.C. Goodwin Frank Nuessel Michelle Nolan re-presents the 1968 salute to The Black Terror & co.— John Barrett Grand Comics Wayne Pearce “None Of Us Were Working For The Ages” . 49 Barry Bauman Database Charles Pelto Howard Bayliss Michael Gronsky John G. Pierce Continuing Jim Amash’s in-depth interview with comic art great Leonard Starr. Rod Beck Larry Guidry Bud Plant Mr. Monster’s Comic Crypt! Twice-Told DC Covers! . 57 John Benson Jennifer Hamerlinck Gene Reed Larry Bigman Claude Held Charles Reinsel Michael T.
    [Show full text]
  • When the Abyss Looks Back: Treatments of Human Trafficking in Superhero Comic Books
    When the Abyss Looks Back: Treatments of Human Trafficking in Superhero Comic Books BOND BENTON AND DANIELA PETERKA-BENTON Superheroes and Social Advocacy Superhero comic book characters have historically demonstrated a developed social awareness on national and international problems. Given that the audience for superhero characters is often composed of young people, this engagement has served as a vehicle for raising understanding of issues and as a tool for encouraging activism on the part of readers (McAllister, “Comic Books and AIDS”; Thibeault). As Palmer-Mehta and Hay succinctly state: (They) have addressed a number of pressing social and political issues in narratives through the years, including alcohol and drug abuse, racism, environmental devastation, gun control, and poverty. In the process, they have provided a rich tapestry of American cultural attitudes and philosophies that reflect varying approaches to issues that continue to haunt, confound, and rile the American public (390). The relationship of the superhero to topics of ongoing public concern appears to have been present even in the earliest days of the form. In Action Comics #1, Superman attacks a man abusing his partner stating “…tough is putting mildly the treatment you’re going to get! You’re not fighting a woman now!” (Siegel and Shuster 5). On the cover of Captain America Comics #1, the Captain is shown punching Adolf Hitler over a year before the Pearl Harbor attack at a time when non-intervention was a commonly held public sentiment (Jewett and Lawrence). In 1947, the popular Superman Radio Show produced the “Clan of the Fiery Cross.” Superman’s successful defeat of the KKK was heard by over five million The Popular Culture Studies Journal, Vol.
    [Show full text]
  • Two Per Cent of What?: Constructing a Corpus of Typical American Comic Books Bart Beaty, Nick Sousanis, and Benjamin Woo This Is
    Two Per Cent of What?: Constructing a Corpus of Typical American Comic Books Bart Beaty, Nick Sousanis, and Benjamin Woo This is an uncorrected pre-print version of this paper. Please consult the final version for all citations: Beaty, Bart, Nick Sousanis, and Benjamin Woo. “Two Per Cent of What?: Constructing a Corpus of Typical American Comics Books.” In Wildfeuer, Janina, Alexander Dunst, Jochen Laubrock (Eds.). Empirical Comics Research: Digital, Multimodal, and Cognitive Methods (27-42). Routledge, 2018. 1 “One of the most significant effects of the transformations undergone by the different genres is the transformation of their transformation-time. The model of permanent revolution which was valid for poetry tends to extend to the novel and even the theatre […], so that these two genres are also structured by the fundamental opposition between the sub-field of “mass production” and the endlessly changing sub-field of restricted production. It follows that the opposition between the genres tends to decline, as there develops within each of them an “autonomous” sub- field, springing from the opposition between a field of restricted production and a field of mass production.” - Pierre Bourdieu, “The Field of Cultural Production” 1. Introduction Although it is asserted more strongly that it is demonstrated in his writing, Pierre Bourdieu’s notion of a “transformation of transformation-time” fruitfully points to an understanding of cultural change that seems both commonsensical and highly elusive. In the field of comic books, it is almost intuitively logical to suggest that there are stylistic, narrative, and generic conventions that are more closely tied to historical periodization than to the particularities of individual creators, titles, or publishers.
    [Show full text]
  • Mark Hibbett in Search of Doom. Tracking a Wandering Character
    [Table of Contents] Mark Hibbett In Search of Doom. Tracking a Wandering Character Through Data Abstract This paper will describe the process of generating a corpus of comics for an examination of the transmedial development of the character Doctor Doom during the period known as ›The Marvel Age‹. It will briefly define what ›The Marvel Age‹ means in these terms, and describe the rationale for choosing which items should be included in the corpus. It will then go into some detail about the use of online comics databases, notably The Grand Comics Data- base, and describe the many difficulties inherent in the use of a dataset that has been collaboratively generated over a long period of time without clear editorial guidance, and suggest data-cleaning methods by which these issues can be mitigated. Finally, it will discuss how this corpus will be used in future to analyse the progress of Doctor Doom’s characterisation through this period. 1. Introduction Ever since he was created in The Fantastic Four #5 (1962) Doctor Doom has been a recurring character in every aspect of Marvel’s transmedia universes. He has been the main villain in all four live action Fantastic Four films, including the unreleased Roger Corman movie (1994), featured in almost every Marvel cartoon series from The Marvel Superheroes (1966) to the current Avengers Assemble (2013), and has appeared in video games, trading cards, toy ranges, and even hip-hop tracks. In the core Marvel comics universe he has appeared in over a hundred separate series, but until the recent Infamous Iron Man series IMAGE | Issue 29 | Special Issue Recontextualizing Characters | 01/2019 81 Mark Hibbett: In Search of Doom (2016), he has only ever headlined one, short-lived, ongoing series of his own, set in the ›Marvel 2099‹ universe (2013).
    [Show full text]
  • VICTOR FOX? STARRING: EISNER • IGER BAKER • FINE • SIMON • KIRBY TUSKA • HANKS • BLUM Et Al
    Roy Tho mas ’ Foxy $ Comics Fan zine 7.95 No.101 In the USA May 2011 WHO’S AFRAID OF VICTOR FOX? STARRING: EISNER • IGER BAKER • FINE • SIMON • KIRBY TUSKA • HANKS • BLUM et al. EXTRA!! 05 THE GOLDEN AGE OF 1 82658 27763 5 JACK MENDELLSOHN [Phantom Lady & Blue Beetle TM & ©2011 DC Comics; other art ©2011 Dave Williams.] Vol. 3, No. 101 / May 2011 Editor Roy Thomas Associate Editors Bill Schelly Jim Amash Design & Layout Christopher Day Consulting Editor John Morrow FCA Editor P.C. Hamerlinck Comic Crypt Editor Michael T. Gilbert Editorial Honor Roll OW WITH Jerry G. Bails (founder) N Ronn Foss, Biljo White 16 PAGES Mike Friedrich LOR! Proofreader OF CO Rob Smentek Cover Artist David Williams Cover Colorist Contents Tom Ziuko Writer/Editorial – A Fanzine Is As A Fanzine Does . 2 With Special Thanks to: Rob Allen Allan Holtz/ The Education Of Victor Fox . 3 Heidi Amash “Stripper’s Guide” Richard Kyle’s acclaimed 1962 look at Fox Comics—and some reasons why it’s still relevant! Bob Andelman Sean Howe Henry Andrews Bob Hughes Superman Vs. The Wonder Man 1939 . 27 Ken Quattro presents—and analyzes—the testimony in the first super-hero comics trial ever. Ger Apeldoorn Greg Huneryager Jim Beard Paul Karasik “Cartooning Was Ultimately My Goal” . 59 Robert Beerbohm Denis Kitchen Jim Amash commences a candid conversation with Golden Age writer/artist Jack Mendelsohn. John Benson Richard Kyle Dominic Bongo Susan Liberator Mr. Monster’s Comic Crypt! The Mystery Of Bill Bossert & Ulla Edgar Loftin The Missing Letterer . 69 Neigenfind-Bossert Jim Ludwig Michael T.
    [Show full text]
  • X-MEN $ Featuring Their First- 8.95 Decade Definers: in the USA LEE • KIRBY • ROTH No.120 THOMAS • ADAMS • HECK Sept
    Roy Thomas’ X-uberant Comics Fanzine A HALF-CENTURY SALUTE TO THE TM X-MEN $ Featuring Their First- 8.95 Decade Definers: In the USA LEE • KIRBY • ROTH No.120 THOMAS • ADAMS • HECK Sept. TUSKA • FRIEDRICH 2013 DRAKE • BUSCEMA KANE • COLAN COCKRUM NOSTALGICNOTE: KA-ZAR’S PROBABLY IN THIS ISSUE, TOO––BUT DON’T BLINK, OR YOU’LL MISS HIM! PLUS: X-MEN TM & ©Marvel Characters, Inc. 0 8 ED 1 82658 27763 5 Vol. 3, No. 120 / September 2013 Editor Roy Thomas Associate Editors Bill Schelly Jim Amash Design & Layout Christopher Day Consulting Editor John Morrow FCA Editor If you’re viewing a Digital P.C. Hamerlinck Edition of this publication, Comic Crypt Editor PLEASE READ THIS: This is copyrighted material, NOT intended Michael T. Gilbert for downloading anywhere except our Editorial Honor Roll website. If you downloaded it from another website or torrent, go ahead and read it, and if you decide to keep it, DO THE Jerry G. Bails (founder) RIGHT THING and buy a legal download, or a printed copy (which entitles you to the Ronn Foss, Biljo White free Digital Edition) at our website or your local comic book shop. Otherwise, DELETE Mike Friedrich IT FROM YOUR COMPUTER and DO Proofreaders NOT SHARE IT WITH FRIENDS OR POST IT ANYWHERE. If you enjoy our publications enough to download them, Rob Smentek please pay for them so we can keep producing ones like this. Our digital William J. Dowlding editions should ONLY be downloaded at Cover Artists www.twomorrows.com Jack Kirby & Chic Stone Contents Cover Colorist Writer/Editorial: Not X-actly X-static, But..
    [Show full text]
  • JIM SHOOTER! JIM GO BACK to the to BACK GO ComicsBY Legionnaires! Finding FATE of FATE 1960 1 S 8 2 6 5 8 2 7 7 6 3 in the USA the in $ 5 8.95 1 2
    LEGiONNAiRES! GO BACK TO THE 1960s AND ALTER THE FATE OF No.137 COMiCSBY FiNDiNG January 2016 JIM SHOOTER! $8.95 In the USA 1 2 Characters TM & © DC Comics 1 82658 27763 5 Vol. 3, No. 137 / January 2016 Editor Roy Thomas Associate Editors Bill Schelly Jim Amash Design & Layout Christopher Day Consulting Editor John Morrow FCA Editor P.C. Hamerlinck If you’re viewing a Digital J.T. Go (Assoc. Editor) Edition of this publication, Comic Crypt Editor PLEASE READ THIS: Michael T. Gilbert This is copyrighted material, NOT intended for downloading anywhere except our Editorial Honor Roll website or Apps. If you downloaded it from another website or torrent, go ahead and Jerry G. Bails (founder) read it, and if you decide to keep it, DO THE RIGHT THING and buy a legal down- Ronn Foss, Biljo White load, or a printed copy. Otherwise, DELETE Mike Friedrich IT FROM YOUR DEVICE and DO NOT SHARE IT WITH FRIENDS OR POST IT Proofreader ANYWHERE. If you enjoy our publications enough to download them, please pay for William J. Dowlding them so we can keep producing ones like this. Our digital editions should ONLY be Cover Artists downloaded within our Apps and at www.twomorrows.com Curt Swan & George Klein Cover Colorist Unknown With Special Thanks to: Paul Allen Paul Levitz Heidi Amash Mark Lewis Ger Apeldoorn Alan Light Contents Richard J. Arndt Doug Martin Bob Bailey Robert Menzies Writer/Editorial: “It Was 50 Years Ago Today…”. 2 Steven Barry Dusty Miller Alberto Becattini Will Murray “The Kid Who Wrote Comic Books” Speaks Out .
    [Show full text]
  • The Secret Life of Comics: Socializing and Seriality Carol L. Tilley
    The Secret Life of Comics: Socializing and Seriality Carol L. Tilley, Presenter Sara Bahnmaier, Recorder Dr. Carol Tilley delivered a vision session to the 32nd annual meeting of NASIG in Indianapolis, Indiana, on the history of comics readership and libraries, particularly in the United States during the mid-twentieth century, and the relevance of comics to libraries in the present. It raised awareness for the audience about progress that has been made on comics collecting and programming, as well as the need for librarians to continue and heighten their enthusiasm for this work . It also reminded us that comics tell stories and communicate ideas. They are part of our cultural heritage and they have been for decades. In questions and answers, the audience discussed both the challenges and the rewards of acquiring and organizing comics at their own institutions. (After the introduction by Steve Kelley on behalf of NASIG): It helps me to acknowledge the ground on which I stand by connecting the personal with the professional. Let me start here: Steve mentioned that I’m a native of Indiana and I was born and raised in Vevay, Indiana, near to but a little cut off from Indianapolis by the hills and the river. I was really fortunate as a kid growing up to be living on the same block as the library. Because the library and my parents’ house were the only buildings in town with the same dark red wire-cut brick, and the same red Spanish clay tile roof, I assumed that it was a link between the library and me.
    [Show full text]
  • Quadrinhos E Teologia: O Demolidor Da Marvel Como Um Cavaleiro Cristão
    DOI - 10.23925/2236-9937.2019v9n18p104-132 QUADRINHOS E TEOLOGIA: O DEMOLIDOR DA MARVEL COMO UM CAVALEIRO CRISTÃO Comics and Theology: Marvel’s Daredevil as a Christian Knight Bem-aventurados os que têm fome e sede de justiça, porque serão fartos. (Mateus 5.6) Carlos Ribeiro Caldas Filho* Arquivo enviado em 30/03/2019 RESUMO e aprovado em A cultura pop (cinema e histórias em qua- 05/07/2019 drinhos, HQ’s) está presente no imaginário co- letivo de bilhões de pessoas em todo o mun- V. 9 - N. 18 - 2019 do. As HQ’s, com suas narrativas de aventu- ras de super-heróis, constituem-se como uma *Doutor em Ciências da das mais conhecidas expressões da cultura Religião pela Universidade pop. Recentemente alguns têm sugerido a Metodista de São Paulo assim chamada teologia nerd, que estabelece (2000), pós-doutor em a cultura pop como parceira de diálogo com a teologia. No entanto, muitas destas narra- Teologia (PNPD-CAPES) tivas quase sempre são apresentadas em pela Faculdade Jesuíta ambientes totalmente secularizados, sem re- de Filosofia e Teologia. ferência ao transcendente. Uma exceção é o Demolidor, da Marvel, herói assumidamente cristão. O presente artigo pretende apresentar o Demolidor como a versão moderna do cava- leiro medieval, que entende o combate ao mal e à injustiça como uma maneira de serviço a Deus e ao próximo. PALAVRAS-CHAVE: Cavalaria – Virtudes – Histórias em quadri- nhos – Teologia nerd – justiça ISSN - 2236-9937 Teoliterária V. 9 - N. 18 - 2019 ABSTRACT Pop culture (movies and comic books) is present in the collective imaginary of billions of people around the world.
    [Show full text]
  • Alter Ego #78 Trial Cover
    Roy Tho mas ’ Earth-Two Comics Fan zine No.93 JUSTICE May 2010 ON TWO $ 7.95 WORLDS! In the USA WE’RE COMING! WE’RE t r a o COMING! n & r i e t h n M t a . T o f h n s ; s I s e a c o e i r m n e i m A h o m r C m A a i L J C C J D & 0 & 1 0 0 A 1 2 S 0 J 2 © © QUICK, WHY DON’T GARDNER! YOU JUST EDIT WRITE US OUT US OUT OF IT, OF THIS JULIE? CRISIS! PPLLUUSS:: 05 1 82658 27763 5 & GEORGE KASHDAN Vol. 3, No. 93 / May 2010 Editor Roy Thomas Associate Editors Bill Schelly Jim Amash Design & Layout Christopher Day Consulting Editor John Morrow FCA Editor P.C. Hamerlinck Comic Crypt Editor Michael T. Gilbert WITH Editorial Honor Roll NOW Jerry G. Bails (founder) 16 PAGES Ronn Foss, Biljo White ! Mike Friedrich OF COLOR Cover Artist Carmine Infantino & Jim Amash Cover Colorist Tom Ziuko With Special Thanks to: Jack Adams Wendy Hunt Heidi Amash Carmine Infantino Dave Armstrong Terence Kean Mark Arnold Jim Kingman Contents Bob Bailey Paul Kupperberg Kevin Barber Bruce Mason Writer/Editorial: All In Color For A Crime . 2 Jerry Beck Kevin McConnell Earth-Two: A Mini-History . 3 Jon Berk Clifford Meth Kurt Mitchell shines the spotlight on every true comics fan’s second-favorite planet. Dominic Bongo Kurt Mitchell Rich Buckler Sheldon Moldoff Justice on Two Worlds . 6 Mike Burkey Brian K.
    [Show full text]
  • Adult Author's New Gig Adult Authors Writing Children/Young Adult
    Adult Author's New Gig Adult Authors Writing Children/Young Adult PDF generated using the open source mwlib toolkit. See http://code.pediapress.com/ for more information. PDF generated at: Mon, 31 Jan 2011 16:39:03 UTC Contents Articles Alice Hoffman 1 Andre Norton 3 Andrea Seigel 7 Ann Brashares 8 Brandon Sanderson 10 Carl Hiaasen 13 Charles de Lint 16 Clive Barker 21 Cory Doctorow 29 Danielle Steel 35 Debbie Macomber 44 Francine Prose 53 Gabrielle Zevin 56 Gena Showalter 58 Heinlein juveniles 61 Isabel Allende 63 Jacquelyn Mitchard 70 James Frey 73 James Haskins 78 Jewell Parker Rhodes 80 John Grisham 82 Joyce Carol Oates 88 Julia Alvarez 97 Juliet Marillier 103 Kathy Reichs 106 Kim Harrison 110 Meg Cabot 114 Michael Chabon 122 Mike Lupica 132 Milton Meltzer 134 Nat Hentoff 136 Neil Gaiman 140 Neil Gaiman bibliography 153 Nick Hornby 159 Nina Kiriki Hoffman 164 Orson Scott Card 167 P. C. Cast 174 Paolo Bacigalupi 177 Peter Cameron (writer) 180 Rachel Vincent 182 Rebecca Moesta 185 Richelle Mead 187 Rick Riordan 191 Ridley Pearson 194 Roald Dahl 197 Robert A. Heinlein 210 Robert B. Parker 225 Sherman Alexie 232 Sherrilyn Kenyon 236 Stephen Hawking 243 Terry Pratchett 256 Tim Green 273 Timothy Zahn 275 References Article Sources and Contributors 280 Image Sources, Licenses and Contributors 288 Article Licenses License 290 Alice Hoffman 1 Alice Hoffman Alice Hoffman Born March 16, 1952New York City, New York, United States Occupation Novelist, young-adult writer, children's writer Nationality American Period 1977–present Genres Magic realism, fantasy, historical fiction [1] Alice Hoffman (born March 16, 1952) is an American novelist and young-adult and children's writer, best known for her 1996 novel Practical Magic, which was adapted for a 1998 film of the same name.
    [Show full text]