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The Dahl House
Microcosm Publishing PO Box 14332 Portland, OR 97293 www.microcosmpublishing.com Welcome to the Dahl House Alienation, Incarceration and Inebriation in the New American Rome by Ken Dahl The new Welcome to the Dahl House book collects 10 years of comic artist Ken Dahl’s best work. Dahl, winner of the Ignatz Award for best mini-comic for his STD nightmare Monsters #1 , gives the goods in equally hilarious and harrowing doses. His comics show a dirty, beaten down, drunk-as-hell America where the underdog always rules—even if he never wins. Dahl’s work is normal ol’ painful life with all the warts and scars and stretch-marks fully visible and well-lit. It’s heavy stuff, and decidedly not for the faint of heart, but Dahl’s caustic sense of humor, courage under fire, and strong undercurrent of hope balance out the dark with light and give his comics a well-rounded, triumphant epicness. Like a graphic novel mash up of Gummo, Jesus’ Son, and Married with Children, Welcome to the Dahl House tells it like it is, the existential American experience in 128 pages. “A double-barreled assault on American culture and consumerism and its dev - astatng results ... Dahl’s writing is simply brilliant. He successfully presents a view of America from the outside.” - Midnight Fiction “Ken Dahl’s comics are really well drawn, imaginative, spirited, and forthright, SUBJECT CATEGORY: Graphic Novel, Comic but best of all, painfully, painfully honest.” - Ivan Brunetti, author of Misery RELEASE: 7/1/08 Loves Company PRICE: Retail: $6 | Wholesale: $4.20 ISBN: 978-1-934620-02-1 FORMAT: paperback, 5.5 x 7”, 128 pgs, illustrated ABOUT THE AUTHOR: Born in Honolulu, raised on the roads of the MARKETING NOTES: continental US, Ken Dahl comes at comix- - Author winner of Ignatz Award for best mini-comic makin' with a wealth of world-weariness and - Book is featured on 25,000 postcards distributed wisdom under his belt. -
Graphic Novels for Children and Teens
J/YA Graphic Novel Titles The 9/11 Report: A Graphic Adaptation Sid Jacobson Hill & Wang Gr. 9+ Age of Bronze, Volume 1: A Thousand Ships Eric Shanower Image Comics Gr. 9+ The Amazing “True” Story of a Teenage Single Mom Katherine Arnoldi Hyperion Gr. 9+ American Born Chinese Gene Yang First Second Gr. 7+ American Splendor Harvey Pekar Vertigo Gr. 10+ Amy Unbounded: Belondweg Blossoming Rachel Hartman Pug House Press Gr. 3+ The Arrival Shaun Tan A.A. Levine Gr. 6+ Astonishing X-Men Joss Whedon Marvel Gr. 9+ Astro City: Life in the Big City Kurt Busiek DC Comics Gr. 10+ Babymouse Holm, Jennifer Random House Children’s Gr. 1-5 Baby-Sitter’s Club Graphix (nos. 1-4) Ann M. Martin & Raina Telgemeier Scholastic Gr. 3-7 Barefoot Gen, Volume 1: A Cartoon Story of Hiroshima Keiji Nakazawa Last Gasp Gr. 9+ Beowulf (graphic adaptation of epic poem) Gareth Hinds Candlewick Press Gr. 7+ Berlin: City of Stones Berlin: City of Smoke Jason Lutes Drawn & Quarterly Gr. 9+ Blankets Craig Thompson Top Shelf Gr. 10+ Bluesman (vols. 1, 2, & 3) Rob Vollmar NBM Publishing Gr. 10+ Bone Jeff Smith Cartoon Books Gr. 3+ Breaking Up: a Fashion High graphic novel Aimee Friedman Graphix Gr. 5+ Buffy the Vampire Slayer (Season 8) Joss Whedon Dark Horse Gr. 7+ Castle Waiting Linda Medley Fantagraphics Gr. 5+ Chiggers Hope Larson Aladdin Mix Gr. 5-9 Cirque du Freak: the Manga Darren Shan Yen Press Gr. 7+ City of Light, City of Dark: A Comic Book Novel Avi Orchard Books Gr. -
Batman: Year One by Frank Miller and David Mazzucchelli Study Guide By
Graphic Novel Study Group Study Guides Batman: Year One By Frank Miller and David Mazzucchelli Study guide by 1. In 1986, Miller and Mazzucchelli were charged with updating the classic character of Batman. DC Comics wanted to give the origin story “depth, complexity, a wider context.” Did Miller and Mazzucchelli succeed? 2. Why or why not? Give specific examples. 3. We meet Jimmy Gordon and Bruce Wayne at roughly the same moment in the novel. How are they portrayed differently, right from the beginning? Are these initial impressions in line with what we come to know about both characters later? 4. In both Jimmy and Bruce’s initial scenes, how are color and drawing style used to create an atmosphere, or to set them apart – their characters and their surroundings? Give a specific example for each. 5. Batman’s origin story is a familiar one to most readers. How do Miller and Mazzucchelli embroider the basic story? 6. What effect do their additions or subtractions have on your understanding of Bruce Wayne? 7. What are the major plots and subplots contained in the novel? 8. Where are the moments of high tension in the novel? 9. What happens directly before and after each one? How does the juxtaposition of low-tension and high-tension scenes or the repetition of high-tension scenes affect the pacing of the novel? 10. How have Jimmy Gordon and Bruce Wayne/Batman evolved over the course of the novel? How do we as readers understand this? Give specific examples. . -
Comics, Graphic Novels, Manga, & Anime
SAN DIEGO PUBLIC LIBRARY PATHFINDER Comics, Graphic Novels, Manga, & Anime The Central Library has a large collection of comics, the Usual Extra Rarities, 1935–36 (2005) by George graphic novels, manga, anime, and related movies. The Herriman. 741.5973/HERRIMAN materials listed below are just a small selection of these items, many of which are also available at one or more Lions and Tigers and Crocs, Oh My!: A Pearls before of the 35 branch libraries. Swine Treasury (2006) by Stephan Pastis. GN 741.5973/PASTIS Catalog You can locate books and other items by searching the The War Within: One Step at a Time: A Doonesbury library catalog (www.sandiegolibrary.org) on your Book (2006) by G. B. Trudeau. 741.5973/TRUDEAU home computer or a library computer. Here are a few subject headings that you can search for to find Graphic Novels: additional relevant materials: Alan Moore: Wild Worlds (2007) by Alan Moore. cartoons and comics GN FIC/MOORE comic books, strips, etc. graphic novels Alice in Sunderland (2007) by Bryan Talbot. graphic novels—Japan GN FIC/TALBOT To locate materials by a specific author, use the last The Black Diamond Detective Agency: Containing name followed by the first name (for example, Eisner, Mayhem, Mystery, Romance, Mine Shafts, Bullets, Will) and select “author” from the drop-down list. To Framed as a Graphic Narrative (2007) by Eddie limit your search to a specific type of item, such as DVD, Campbell. GN FIC/CAMPBELL click on the Advanced Catalog Search link and then select from the Type drop-down list. -
Beowulf: the Graphic Novel Created by Stephen L
ORIGINAL GRAPHIC NOVEL THE GRAPHIC NOVEL TUFSOtTUFJOJOHFSt4UVEBCBLFS Carlos Barrera (order #4973052) 71.204.91.28 THE GRAPHIC NOVEL Carlos Barrera (order #4973052) 71.204.91.28 THE GRAPHIC NOVEL Writer Stephen L. Stern Artist Christopher Steininger Letterer Chris Studabaker Cover Christopher Steininger For MARKOSIA ENTERPRISES, Ltd. Harry Markos Publisher & Managing Partner Chuck Satterlee Director of Operations Brian Augustyn Editor-In-Chief Tony Lee Group Editor Thomas Mauer Graphic Design & Pre-Press Beowulf: The Graphic Novel created by Stephen L. Stern & Christopher Steininger, based on the translation of the classic poem by Francis Gummere Beowulf: The Graphic Novel. TM & © 2007 Markosia and Stephen L. Stern. All Rights Reserved. Reproduction of any part of this work by any means without the written permission of the publisher is expressly forbidden. Published by Markosia Enterprises, Ltd. Unit A10, Caxton Point, Caxton Way, Stevenage, UK. FIRST PRINTING, October 2007. Harry Markos, Director. Brian Augustyn, EiC. Printed in the EU. Carlos Barrera (order #4973052) 71.204.91.28 Beowulf: The Graphic Novel An Introduction by Stephen L. Stern Writing Beowulf: The Graphic Novel has been one of the most fulfilling experiences of my career. I was captivated by the poem when I first read it decades ago. The translation was by Francis Gummere, and it was a truly masterful work, retaining all of the spirit that the anonymous author (or authors) invested in it while making it accessible to modern readers. “Modern” is, of course, a relative term. The Gummere translation was published in 1910. Yet it held up wonderfully, and over 60 years later, when I came upon it, my imagination was captivated by its powerful descriptions of life in a distant place and time. -
English-Language Graphic Narratives in Canada
Drawing on the Margins of History: English-Language Graphic Narratives in Canada by Kevin Ziegler A thesis presented to the University of Waterloo in fulfilment of the thesis requirement for the degree of Doctor of Philosophy in English Waterloo, Ontario, Canada, 2013 © Kevin Ziegler 2013 Author’s Declaration I hereby declare that I am the sole author of this thesis. This is a true copy of the thesis, including any required final revisions, as accepted by my examiners. I understand that my thesis may be made electronically available to the public. ii Abstract This study analyzes the techniques that Canadian comics life writers develop to construct personal histories. I examine a broad selection of texts including graphic autobiography, biography, memoir, and diary in order to argue that writers and readers can, through these graphic narratives, engage with an eclectic and eccentric understanding of Canadian historical subjects. Contemporary Canadian comics are important for Canadian literature and life writing because they acknowledge the importance of contemporary urban and marginal subcultures and function as representations of people who occasionally experience economic scarcity. I focus on stories of “ordinary” people because their stories have often been excluded from accounts of Canadian public life and cultural history. Following the example of Barbara Godard, Heather Murray, and Roxanne Rimstead, I re- evaluate Canadian literatures by considering the importance of marginal literary products. Canadian comics authors rarely construct narratives about representative figures standing in place of and speaking for a broad community; instead, they create what Murray calls “history with a human face . the face of the daily, the ordinary” (“Literary History as Microhistory” 411). -
Check All That Apply)
Form Version: February 2001 EFFECTIVE TERM: Fall 2003 PALOMAR COLLEGE COURSE OUTLINE OF RECORD FOR DEGREE CREDIT COURSE X Transfer Course X A.A. Degree applicable course (check all that apply) COURSE NUMBER AND TITLE: ENG 290 -- Comic Books As Literature UNIT VALUE: 3 MINIMUM NUMBER OF SEMESTER HOURS: 48 BASIC SKILLS REQUIREMENTS: Appropriate Language Skills ENTRANCE REQUIREMENTS PREREQUISITE: Eligibility for ENG 100 COREQUISITE: NONE RECOMMENDED PREPARATION: NONE SCOPE OF COURSE: An analysis of the comic book in terms of its unique poetics (the complicated interplay of word and image); the themes that are suggested in various works; the history and development of the form and its subgenres; and the expectations of comic book readers. Examines the influence of history, culture, and economics on comic book artists and writers. Explores definitions of “literature,” how these definitions apply to comic books, and the tensions that arise from such applications. SPECIFIC COURSE OBJECTIVES: The successful student will: 1. Demonstrate an understanding of the unique poetics of comic books and how that poetics differs from other media, such as prose and film. 2. Analyze representative works in order to interpret their styles, themes, and audience expectations, and compare and contrast the styles, themes, and audience expectations of works by several different artists/writers. 3. Demonstrate knowledge about the history and development of the comic book as an artistic, narrative form. 4. Demonstrate knowledge about the characteristics of and developments in the various subgenres of comic books (e.g., war comics, horror comics, superhero comics, underground comics). 5. Identify important historical, cultural, and economic factors that have influenced comic book artists/writers. -
Yellow Nancy, a Graphic Narrative Susan Borchek Smith Eastern Illinois University
Eastern Illinois University The Keep 2016 Awards for Excellence in Student Research 2016 Awards for Excellence in Student Research and Creative Activity - Documents and Creative Activity Spring 2016 Yellow Nancy, a graphic narrative Susan Borchek Smith Eastern Illinois University Follow this and additional works at: http://thekeep.eiu.edu/lib_awards_2016_docs Part of the Creative Writing Commons, and the Illustration Commons Recommended Citation Borchek Smith, Susan, "Yellow Nancy, a graphic narrative" (2016). 2016 Awards for Excellence in Student Research and Creative Activity - Documents. 3. http://thekeep.eiu.edu/lib_awards_2016_docs/3 This Article is brought to you for free and open access by the 2016 Awards for Excellence in Student Research and Creative Activity at The Keep. It has been accepted for inclusion in 2016 Awards for Excellence in Student Research and Creative Activity - Documents by an authorized administrator of The Keep. For more information, please contact [email protected]. Visual Styles: Yellow Nancy Borchek Smith, S. March 2016 Page 1 Bill Griffith (written) Nancy Eats Food Page 2, 4, 5 & 10 Nancy Images Ernie Bushmiller Page 6 Ernie Bushmiller self-portrait Comics Journal Magazine Page 8 Wally Wood Mad Magazine #35 Page 11 Robert Rini 7 Deadly Sinners Annotated Biography: Yellow Nancy Borchek Smith, S. March 2016 Bushmiller, E., & Kitchen, J. (1989). Nancy eats food. Princeton, WI: Kitchen Sink Press. Artist Bill Griffith, creator of the comic “Zippy,” is just one of the many fans of Ernie Bushmiller. In the introduction to “Nancy Eats Food” (Kitchen Sink Press, 1989), Griffith writes, “Never has a comic strip been more simply or subtly created, or more underrated than Nancy.” Griffith has been reading “Nancy” since he was a kid in 1949, and as a respected underground comic artist, appreciates Bushmiller’s ability to create his “Nancy” comic strips with a “Zen-like mastery of form.” Griffith can speak knowing the success of comic artists. -
Department of Political Science Chair of Gender Politics Wonder Woman
Department of Political Science Chair of Gender Politics Wonder Woman and Captain Marvel as Representation of Women in Media Sara Mecatti Prof. Emiliana De Blasio Matr. 082252 SUPERVISOR CANDIDATE Academic Year 2018/2019 1 Index 1. History of Comic Books and Feminism 1.1 The Golden Age and the First Feminist Wave………………………………………………...…...3 1.2 The Early Feminist Second Wave and the Silver Age of Comic Books…………………………....5 1.3 Late Feminist Second Wave and the Bronze Age of Comic Books….……………………………. 9 1.4 The Third and Fourth Feminist Waves and the Modern Age of Comic Books…………...………11 2. Analysis of the Changes in Women’s Representation throughout the Ages of Comic Books…..........................................................................................................................................................15 2.1. Main Measures of Women’s Representation in Media………………………………………….15 2.2. Changing Gender Roles in Marvel Comic Books and Society from the Silver Age to the Modern Age……………………………………………………………………………………………………17 2.3. Letter Columns in DC Comics as a Measure of Female Representation………………………..23 2.3.1 DC Comics Letter Columns from 1960 to 1969………………………………………...26 2.3.2. Letter Columns from 1979 to 1979 ……………………………………………………27 2.3.3. Letter Columns from 1980 to 1989…………………………………………………….28 2.3.4. Letter Columns from 19090 to 1999…………………………………………………...29 2.4 Final Data Regarding Levels of Gender Equality in Comic Books………………………………31 3. Analyzing and Comparing Wonder Woman (2017) and Captain Marvel (2019) in a Framework of Media Representation of Female Superheroes…………………………………….33 3.1 Introduction…………………………….…………………………………………………………33 3.2. Wonder Woman…………………………………………………………………………………..34 3.2.1. Movie Summary………………………………………………………………………...34 3.2.2.Analysis of the Movie Based on the Seven Categories by Katherine J. -
Info Fair Resources
………………………………………………………………………………………………….………………………………………………….………………………………………………….………………………………………………….………………………………………………….………………………………………………….………………………………………………….…………… Info Fair Resources ………………………………………………………………………………………………….………………………………………………….………………………………………………….………………………………………………….………………………………………………….………………………………………………….………………………………………………….…………… SCHOOL OF VISUAL ARTS 209 East 23 Street, New York, NY 10010-3994 212.592.2100 sva.edu Table of Contents Admissions……………...……………………………………………………………………………………… 1 Transfer FAQ…………………………………………………….…………………………………………….. 2 Alumni Affairs and Development………………………….…………………………………………. 4 Notable Alumni………………………….……………………………………………………………………. 7 Career Development………………………….……………………………………………………………. 24 Disability Resources………………………….…………………………………………………………….. 26 Financial Aid…………………………………………………...………………………….…………………… 30 Financial Aid Resources for International Students……………...…………….…………… 32 International Students Office………………………….………………………………………………. 33 Registrar………………………….………………………………………………………………………………. 34 Residence Life………………………….……………………………………………………………………... 37 Student Accounts………………………….…………………………………………………………………. 41 Student Engagement and Leadership………………………….………………………………….. 43 Student Health and Counseling………………………….……………………………………………. 46 SVA Campus Store Coupon……………….……………….…………………………………………….. 48 Undergraduate Admissions 342 East 24th Street, 1st Floor, New York, NY 10010 Tel: 212.592.2100 Email: [email protected] Admissions What We Do SVA Admissions guides prospective students along their path to SVA. Reach out -
Graphic Novel Titles
Comics & Libraries : A No-Fear Graphic Novel Reader's Advisory Kentucky Department for Libraries and Archives February 2017 Beginning Readers Series Toon Books Phonics Comics My First Graphic Novel School Age Titles • Babymouse – Jennifer & Matthew Holm • Squish – Jennifer & Matthew Holm School Age Titles – TV • Disney Fairies • Adventure Time • My Little Pony • Power Rangers • Winx Club • Pokemon • Avatar, the Last Airbender • Ben 10 School Age Titles Smile Giants Beware Bone : Out from Boneville Big Nate Out Loud Amulet The Babysitters Club Bird Boy Aw Yeah Comics Phoebe and Her Unicorn A Wrinkle in Time School Age – Non-Fiction Jay-Z, Hip Hop Icon Thunder Rolling Down the Mountain The Donner Party The Secret Lives of Plants Bud : the 1st Dog to Cross the United States Zombies and Forces and Motion School Age – Science Titles Graphic Library series Science Comics Popular Adaptations The Lightning Thief – Rick Riordan The Red Pyramid – Rick Riordan The Recruit – Robert Muchamore The Nature of Wonder – Frank Beddor The Graveyard Book – Neil Gaiman Miss Peregrine’s Home for Peculiar Children – Ransom Riggs House of Night – P.C. Cast Vampire Academy – Richelle Mead Legend – Marie Lu Uglies – Scott Westerfeld Graphic Biographies Maus / Art Spiegelman Anne Frank : the Anne Frank House Authorized Graphic Biography Johnny Cash : I See a Darkness Peanut – Ayun Halliday and Paul Hope Persepolis / Marjane Satrapi Tomboy / Liz Prince My Friend Dahmer / Derf Backderf Yummy : The Last Days of a Southside Shorty -
Graphic Novel Collections in Academic ARL Libraries
Graphic Novel Collections in Academic ARL Libraries Cassie Wagner This study examines the extent to which ARL academic libraries collect graphic novels. Using a core list of 176 titles developed from winners of major comics industry awards and a library-focused “best of” list, the holdings of 111 ARL academic libraries were searched using the librar- ies’ online catalogs. Results suggest that most of the libraries studied do not aggressively collect graphic novels. Also examined were associations between date of publication, prior serialization, overall collection size, monograph budget, and ARL ranking and graphic novel holdings. To better serve scholarly research in this area of increasing interest, libraries will need to reexamine their collecting policies. ne of a handful of art forms Comics have undergone a renaissance whose development began in recent years. Since the mid-1980s, an in the United States, comic increasing number of comics have focused strips appeared around the on stories that appeal to readers outside turn of the twentieth century. The first the stereotypical demographic of young generally recognized comic book, Famous men and boys.1 Comics imported from Funnies, appeared in 1934. The success of Japan—manga—and stories in genres this work, a compendium of previously other than superheroics and science fiction published newspaper comic strips, led have appeared. This broader approach other comic strip syndicates to create their has reaped dividends. Trade comics and own collections and quickly commission graphic novels are a fast-growing area of new material for the new format. The publishing, with sales topping $250 million genre most commonly associated with in 2005, more than triple the amount sold comic books, superhero adventures, be- in 2001.2 In addition, a number of major gan in earnest with the first appearance recent movies based on comic books have of Superman in 1938.