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ROY THOMAS Chapter Four
Captain Marvel Jr. TM & © DC Comics DC © & TM Jr. Marvel Captain Introduction by ROY THOMAS Chapter Four Little Boy Blue Ed Herron had come to Fawcett with a successful track record of writing Explosive is the best way to describe this iconic, colorful cover (on opposite page) by and creating comic book characters that had gone on to greater popularity, Mac Raboy, whose renditions of a teen-age super-hero with a realistic physique was noth- including work on the earliest stories of Timely’s colorful Captain America— ing less than perfect. Captain Marvel Jr. #4, (Feb. 19, 1943). Inset bottom is Raboy’s first and his kid sidekick Bucky. It was during the fall of 1941 that Herron came cover for Fawcett and the first of the CMJr origin trilogy, Master Comics #21 (Dec. 1941). Below up with the idea of a new addition to the Fawcett family. With Captain is a vignette derived from Raboy’s cover art for Captain Marvel Jr. #26 (Jan. 1, 1945). Marvel sales increasing dramatically since his debut in February 1940, Fawcett management figured a teenage version of the “Big Red Cheese” would only increase their profits. Herron liked Raboy’s art very much, and wanted a more illustrative style for the new addition, as opposed to the C. C. Beck or Pete Costanza simplified approach on Captain Marvel. The new boy-hero was ably dubbed Captain Marvel Jr., and it was Mac Raboy who was given the job of visualizing him for the very first time. Jr.’s basic attire was blue, with a red cape. -
Alter Ego #78 Trial Cover
TwoMorrows Publishing. Celebrating The Art & History Of Comics. SAVE 1 NOW ALL WHE5% O N YO BOOKS, MAGS RDE U & DVD s ARE ONL R 15% OFF INE! COVER PRICE EVERY DAY AT www.twomorrows.com! PLUS: New Lower Shipping Rates . s r Online! e n w o e Two Ways To Order: v i t c e • Save us processing costs by ordering ONLINE p s e r at www.twomorrows.com and you get r i e 15% OFF* the cover prices listed here, plus h t 1 exact weight-based postage (the more you 1 0 2 order, the more you save on shipping— © especially overseas customers)! & M T OR: s r e t • Order by MAIL, PHONE, FAX, or E-MAIL c a r at the full prices listed here, and add $1 per a h c l magazine or DVD and $2 per book in the US l A for Media Mail shipping. OUTSIDE THE US , PLEASE CALL, E-MAIL, OR ORDER ONLINE TO CALCULATE YOUR EXACT POSTAGE! *15% Discount does not apply to Mail Orders, Subscriptions, Bundles, Limited Editions, Digital Editions, or items purchased at conventions. We reserve the right to cancel this offer at any time—but we haven’t yet, and it’s been offered, like, forever... AL SEE PAGE 2 DIGITIITONS ED E FOR DETAILS AVAILABL 2011-2012 Catalog To get periodic e-mail updates of what’s new from TwoMorrows Publishing, sign up for our mailing list! ORDER AT: www.twomorrows.com http://groups.yahoo.com/group/twomorrows TwoMorrows Publishing • 10407 Bedfordtown Drive • Raleigh, NC 27614 • 919-449-0344 • FAX: 919-449-0327 • e-mail: [email protected] TwoMorrows Publishing is a division of TwoMorrows, Inc. -
A Critical Method for Analyzing the Rhetoric of Comic Book Form. Ralph Randolph Duncan II Louisiana State University and Agricultural & Mechanical College
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1990 Panel Analysis: A Critical Method for Analyzing the Rhetoric of Comic Book Form. Ralph Randolph Duncan II Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Duncan, Ralph Randolph II, "Panel Analysis: A Critical Method for Analyzing the Rhetoric of Comic Book Form." (1990). LSU Historical Dissertations and Theses. 4910. https://digitalcommons.lsu.edu/gradschool_disstheses/4910 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS The most advanced technology has been used to photograph and reproduce this manuscript from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The qualityof this reproduction is dependent upon the quality of the copysubmitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. -
Supported Reading Software
Readers: Hardware & Software AMIS is a DAISY 2 & 3 playback software application for DTBs. Features include navigation by section, sub-section, page, and phrase; bookmarking; customize font, color; control voice rate and volume; navigation shortcuts; two views. http://www.daisy.org/amis?q=project/amis Balabolka is a text-to-speech (TTS) program. All computer voices installed on a system are available to Balabolka. On-screen text can be saved as a WAV, MP3, OGG or WMA file. The program can read clipboard content, view text from DOC, RTF, PDF, FB2 and HTML files, customize font and background color, control reading from the system tray or by global hotkeys. It can also be run from a flash drive. http://www.cross-plus- a.com/balabolka.htm BeBook offers four stand-alone e-book reader devices, from a mini model with a 5" screen to a wireless model with Wi-Fi capability. BeBook supports over 20 file formats, including Word, ePUB, PDF, Text, Mobipocket, HTML, JPG, and MP3. It has a patented Vizplex screen and 512 MB internal memory (which can store over 1,000 books) while external memory can be used with an SD card. Features include the ability to adjust fonts and font sizes, bookmarking, 9 levels of magnification with PDF sources, and menu support in 15 languages. http://mybebook.com/ Blio “is a reading application that presents e-books just like the printed version, in full color … with …features” and allows purchased books to be used on up to 5 devices with “reading views, including text-only mode, single page, dual page, tiled pages, or 3D ‘book view’” (from the web site). -
Manga As a Teaching Tool 1
Manga as a Teaching Tool 1 Manga as a Teaching Tool: Comic Books Without Borders Ikue Kunai, California State University, East Bay Clarissa C. S. Ryan, California State University, East Bay Proceedings of the CATESOL State Conference, 2007 Manga as a Teaching Tool 2 Manga as a Teaching Tool: Comic Books Without Borders The [manga] titles are flying off the shelves. Students who were not interested in EFL have suddenly become avid readers ...students get hooked and read [a] whole series within days. (E. Kane, personal communication, January 17, 2007) For Americans, it may be difficult to comprehend the prominence of manga, or comic books, East Asia.1. Most East Asian nations both produce their own comics and publish translated Japanese manga, so Japanese publications are popular across the region and beyond. Japan is well-known as a highly literate society; what is less well-known is the role that manga plays in Japanese text consumption (Consulate General of Japan in San Francisco). 37% of all publications sold in Japan are manga of one form or another, including monthly magazines, collections, etc. (Japan External Trade Organization [JETRO], 2006). Although Japan has less than half the population of the United States, manga in all formats amounted to sales within Japan of around 4 billion dollars in 2005 (JETRO, 2006). This total is about seven times the United States' 2005 total comic book, manga, and graphic novel sales of 565 million dollars (Publisher's Weekly, 2007a, 2007b). Additionally, manga is closely connected to the Japanese animation industry, as most anime2 television series and films are based on manga; manga also provides inspiration for Japan's thriving video game industry. -
Korean Webtoons' Transmedia Storytelling
International Journal of Communication 13(2019), 2094–2115 1932–8036/20190005 Snack Culture’s Dream of Big-Screen Culture: Korean Webtoons’ Transmedia Storytelling DAL YONG JIN1 Simon Fraser University, Canada The sociocultural reasons for the growth of webtoons as snack culture and snack culture’s influence in big-screen culture have received little scholarly attention. By employing media convergence supported by transmedia storytelling as a theoretical framework alongside historical and textual analyses, this article historicizes the emergence of snack culture. It divides the evolution of snack culture—in particular, webtoon culture—to big-screen culture into three periods according to the surrounding new media ecology. Then it examines the ways in which webtoons have become a resource for transmedia storytelling. Finally, it addresses the reasons why small snack culture becomes big-screen culture with the case of Along With the Gods: The Two Worlds, which has transformed from a popular webtoon to a successful big-screen movie. Keywords: snack culture, webtoon, transmedia storytelling, big-screen culture, media convergence Snack culture—the habit of consuming information and cultural resources quickly rather than engaging at a deeper level—is becoming representative of the Korean cultural scene. It is easy to find Koreans reading news articles or watching films or dramas on their smartphones on a subway. To cater to this increasing number of mobile users whose tastes are changing, web-based cultural content is churning out diverse subgenres from conventional formats of movies, dramas, cartoons, and novels (Chung, 2014, para. 1). The term snack culture was coined by Wired in 2007 to explain a modern tendency to look for convenient culture that is indulged in within a short duration of time, similar to how people eat snacks such as cookies within a few minutes. -
Korean Webtoonist Yoon Tae Ho: History, Webtoon Industry, and Transmedia Storytelling
International Journal of Communication 13(2019), Feature 2216–2230 1932–8036/2019FEA0002 Korean Webtoonist Yoon Tae Ho: History, Webtoon Industry, and Transmedia Storytelling DAL YONG JIN1 Simon Fraser University, Canada At the Asian Transmedia Storytelling in the Age of Digital Media Conference held in Vancouver, Canada, June 8–9, 2018, webtoonist Yoon Tae Ho as a keynote speaker shared several interesting and important inside stories people would not otherwise hear easily. He also provided his experience with, ideas about, and vision for transmedia storytelling during in-depth interviews with me, the organizer of the conference. I divide this article into two major sections—Yoon’s keynote speech in the first part and the interview in the second part—to give readers engaging and interesting perspectives on webtoons and transmedia storytelling. I organized his talk into several major subcategories based on key dimensions. I expect that this kind of unusual documentation of this famous webtoonist will shed light on our discussions about Korean webtoons and their transmedia storytelling prospects. Keywords: webtoon, manhwa, Yoon Tae Ho, transmedia, history Introduction Korean webtoons have come to make up one of the most significant youth cultures as well as snack cultures: Audiences consume popular culture like webtoons and Web dramas within 10 minutes on their notebook computers or smartphones (Jin, 2019; Miller, 2007). The Korean webtoon industry has grown rapidly, and many talented webtoonists, including Ju Ho-min, Kang Full, and Yoon Tae Ho, are now among the most famous and successful webtoonists since the mid-2000s. Their webtoons—in particular, Yoon Tae Ho’s, including Moss (Ikki, 2008–2009), Misaeng (2012–2013), and Inside Men (2010–in progress)—have gained huge popularity, and all were successfully transformed into films, television dramas, and digital games. -
Xero Comics 3
[A/katic/Po about Wkatto L^o about ltdkomp5on,C?ou.l5on% ^okfy Madn.^5 and klollot.-........ - /dike U^eckin^z 6 ^Tion-t tke <dk<dfa............. JlaVuj M,4daVLi5 to Tke -dfec'iet o/ (2apta Ln Video ~ . U 1 _____ QilkwAMyn n 2t £L ......conducted byddit J—upo 40 Q-b iolute Keto.................. ............Vldcjdupo^ 48 Q-li: dVyL/ia Wklie.... ddkob dVtewait.... XERO continues to appall an already reeling fandom at the behest of Pat & Dick Lupoff, 21J E 7Jrd Street, New York 21, New York. Do you want to be appalled? Conies are available for contributions, trades, or letters of comment. No sales, no subs. No, Virginia, the title was not changed. mimeo by QWERTYUIOPress, as usual. A few comments about lay ^eam's article which may or lay not be helpful. I've had similar.experiences with readers joining fan clubs. Tiile at Penn State, I was president of the 3F‘Society there, founded by James F. Cooper Jr, and continued by me after he gafiated. The first meeting held each year packed them in’ the first meeting of all brought in 50 people,enough to get us our charter from the University. No subsequent meeting ever brought in more than half that, except when we held an auction. Of those people, I could count on maybe five people to show up regularly, meet ing after meeting, just to sit and talk. If we got a program together, we could double or triple that. One of the most popular was the program vzhen we invited a Naval ROTO captain to talk about atomic submarines and their place in future wars, using Frank Herbert's novel Dragon in the ~ea (or Under Pressure or 21 st Century Sub, depending upon where you read itj as a starting point. -
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. -
Llibres Electrònics Formats
Llibres electrònics Formats Si vols agafar en préstec un lector de llibres electrònics, demana informació al taulell Formats propietaris i formats oberts de llibres electrònics Quan parlem de formats d’ebook, un primer aspecte a considerar és si es tracta de formats propietaris o formats oberts . Els primers són creats per funcionar en un dispositiu determinat. Aquests formats normalment tenen restricció d’ús i estan subjectes al pagament de llicències. Alguns exemples són: Azw (Amazon-Kindle) i Aeh (Archos reader). En canvi els formats oberts, poden ser utilitzats en qualsevol lector sense restriccions legals d’ús, a no ser que suportin DRM. Els més comuns són: epub , Comic Book Archive , djvu i fb2. Azw: Format dissenyat per Amazon pel seu DjVu : Format lliure i obert, lector de llibres Kindle. Té el seu propi DRM. que permet emmagatzemar imatges escanejades en alta Aeh : creat per Archos Diffusion per l’Archos resolució. És un format bastant estès en el reader. Basat en XML, utilitza DRM i xifrat món del còmic. per ser llegits en ereaders propis. Epub : Format específic per a Comic Book Archive : dissenyat per la llibres electrònics. És un visualització de còmics en ebooks. Són arxius estàndard obert de llibre comprimits d’imatges que permeten la seva electrònic. Els fitxers d'aquest tipus tenen visualització ordenada a partir del nom de l'extensió .epub i permeten contenir text i l’arxiu. Les extensions depenen del imatges en un format que s'adapta a les compressor utilitzat, les més comuns: .cbr pantalles dels lectors, també es pot canviar (rar) i .cbz (zip) el tipus i mida de la lletra per tal de facilitar- ne la seva lectura. -
Tools and Methodologies for Developing Interactive Electronic Books
Tools and Methodologies for Developing Interactive Electronic Books Case Study: A Physics Textbook for High School Students MARTINA BRAJKOVIĆ FACULTAD DE INFORMÁTICA UNIVERSIDAD COMPLUTENSE DE MADRID Proyecto de Sistemas Informáticos Ingeniería Informática ERASMUS program June 2014 Advisor: Prof. Federico Peinado Co-advisor: doc.dr.sc. Lidija Mandić I would like to thank my advisor Federico Peinado and co-advisor Lidija Mandić for their help and support throughout this work. Martina Brajkovć autoriza a la Universidad Complutense a difundir y utilizar con fines académicos, no comerciales mencionando expresamente a su autor, tanto la propia memoria, como él código, los contenidos audiovisuales incluso si incluyen imágenes de los autores, la documentación y/o el prototipo desarrollado. Martina Brajković ABSTRACT Electronic books are electronic copy of a book or a book-length digital publication. In the past decade they have become very popular and widely used. Each day more and more publishers digitalize their textbooks and more and more devices are suitable for reading of the electronic books. Huge changes in human communication happened in the late 20th and early 21st century. Due to invention of Internet, information became widely available which changed every segment of human life, especially education. One of the most important applications of electronic books is electronic learning. Electronic learning includes various types of media, such as video, audio, text, images and animations. Interactivity of an electronic book can increase the attention in the classroom and result with better educational performance In this work the process of creation of an interactive electronic book is researched and analyzed. The process includes use of popular Adobe software: InDesign, Photoshop, Illustrator, Captivate and Edge Animate. -
Consuming Japan Early Korean Girls Comic Book Artists’ Resistance and Empowerment
CHAPTER 6 CONSUMING JAPAN EARLY KOREAN GIRLS COMIC BOOK ARTISTS’ RESISTANCE AND EMPOWERMENT Kukhee Choo, National University of Singapore / University of Tokyo Kukhee Choo is a Postdoctoral Fellow at the Asian Research Institute, National University of Singapore and an Exchange Research Fellow at the University of Tokyo. INTRODUCTION The recent popularity of Japanese anime and manga in the global market has sparked a variety of academic research. In Japan, both media fall under the term kontentsu (‘content’), and the Japanese government passed the Content Industry Promotion Law bill in 2004 in order to ‘offi- cially’ promote anime and manga as a Japanese product globally.1 This change has come with the growth of the United States market since the mid-1990s. However, before the Japanese gov- ernment decided to support the anime and manga industries, there was a wave of Japanese products – which included music, television dramas, manga, anime and video games – popularly consumed in Asia throughout the 1990s (Iwabuchi 2002). South Korea (henceforth Korea) was no exception. Although the Korean government only officially allowed Japanese cultural products into the Korean market after 1998, a continuous backdoor for such products, mostly manga, had existed for many decades prior to Korea’s ‘open door’ policy. The Korean military government constantly tried to prevent the public from ‘expos- ure’ to Japanese products throughout the 1970s and 1980s due to a concern that they would corrupt Korean morals and sentiment. The primary concern arose from the colonial past: Koreans had a deep-rooted fear of Japanese cultural products as they reminded them of Japan’s Occupation.