DOCSLIB.ORG

Who Says Storm Is the Only Black Superheroine?": an Interpretative Textual Analysis of the Black Superheroine

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Who Says Storm Is the Only Black Superheroine? Georgia State University ScholarWorks @ Georgia State University African-American Studies Theses Department of African-American Studies Spring 5-11-2013 "Who Says Storm Is The Only Black Superheroine?": An Interpretative Textual Analysis Of The Black Superheroine Grace D. Gipson Georgia State University Follow this and additional works at: https://scholarworks.gsu.edu/aas_theses Recommended Citation Gipson, Grace D., ""Who Says Storm Is The Only Black Superheroine?": An Interpretative Textual Analysis Of The Black Superheroine." Thesis, Georgia State University, 2013. https://scholarworks.gsu.edu/aas_theses/19 This Thesis is brought to you for free and open access by the Department of African-American Studies at ScholarWorks @ Georgia State University. It has been accepted for inclusion in African-American Studies Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. “WHO SAYS STORM IS THE ONLY BLACK SUPERHEROINE?”: AN INTERPRETATIVE TEXTUAL ANALYSIS OF THE BLACK SUPERHEROINE by GRACE D. GIPSON Under the Direction of Jonathan Gayles ABSTRACT The study examines how race and gender stereotypes in popular culture shape the perception of the Black superheroine. This study also explores stereotypes and gender roles and how they impact Black female and male college students’ ages 18-38 and their imagination of the Black superheroine. As the sta- tus of popular culture grows, the generation of today’s college student still remains regular consumers. Thus it was necessary to use a convenience sample of thirty-two African American male and female col- lege-age students from four African American Studies undergraduate courses at Georgia State University that took part in a Superheroine questionnaire, in which they designed their own Black superheroine. This research employs an interpretative textual analysis research design to collect and analyze the data in which significant themes, phrases, and sentences are extracted. INDEX WORDS: Stereotypes, Popular culture, Black superheroine, Race, Gender, Black/African American “WHO SAYS STORM IS THE ONLY BLACK SUPERHEROINE?”: AN INTERPRETATIVE TEXTUAL ANALYSIS OF THE BLACK SUPERHEROINE by GRACE D. GIPSON A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts in the College of Arts and Sciences Georgia State University 2013 Copyright by Grace Deneice Gipson 2013 “WHO SAYS STORM IS THE ONLY BLACK SUPERHEROINE?”: AN INTERPRETATIVE TEXTUAL ANALYSIS OF THE BLACK SUPERHEROINE by GRACE D. GIPSON Committee Chair: Jonathan Gayles Committee: Sarita Davis Osizwe Raena Harwell Electronic Version Approved: Office of Graduate Studies College of Arts and Sciences Georgia State University May 2013 iv DEDICATION This project is dedicated to my two favorite ‘superheroines’, my Mama Doris Gipson and my Grandma Susie Gipson (RIP). First let me say, Mama thank you for taking this journey along with me!! Your love and dedication is a major part of why I am the budding scholar that I am today. Grandma, you believed in me from day one and made sure to let me know; this I will never forget. Your sweet spirit is a part of what got me through, and I am forever grateful. It soothes my spirit and soul to know that you are looking down on me SMILING!! Even though you are only here with me in spirit, you have never left my side. As I have matriculated through this program I am strengthening my voice, and as I move forward in my academic career I aim to give a true voice to these Black female superheroines. I also dedicate this to the ancestors whose soldiers, which I stand on. Thank you for your sacrifice, dedication, and commitment, which empowers me day after day. And to the Black women superheroines that exist, and those not yet created…THIS IS FOR YOU!! “Images and imagery have always played a major role in our lives. What we can imagine, we can often create. What we can imagine ourselves as, we can often become. Everything, even our concept of God, comes from the imagination. But what happens when our collective imagination is limited intentionally or vicariously? What happens when we are unable to see ourselves in the im- age of a mother, father, doctor, lawyer, plumber, hero, superhero, or a god? What happens when the images to which we are exposed are those that limit our human potential?” ~A New Direction in Original American Mythology (1992) “Image is what colonizes the mind.” ~John Henrik Clark v ACKNOWLEDGEMENTS I must acknowledge my committee (known as the “Dream Team”) for their time and amazing efforts. Each of you may have played a different role in this project, but you all had the same goal in mind. Thank you Dr. Osizwe Harwell for your ongoing wisdom and knowledge. You definitely had the magic touch in making theory “crystal clear” for me. Thank you for helping me to achieve an outcome that not only reflects my capabilities, but one that also has the ability to cultivate change in others. Also I would like to thank Dr. Sarita Davis for being that listening ear, God knows you probably saw my name come up on your caller ID more times than you can remember. I truly enjoyed our ‘Dancing Goat’ sessions, one of my “homes away from home.” Finally, I must express a special thank you to my the- sis chair, Dr. Jonathan Gayles. You have seen my writing grow from having to “control my words” to “mastering my craft”. Thank you for your unwavering and enthusiastic support in this thesis project and for believing in me!! You all are truly my THESIS DREAM TEAM!! Your knowledge, commitment, and attention to detail were so very invaluable throughout this process. I also must give thanks to the following professors/faculty and staff Drs. Akinyele Umoja, Audrea Dunham, Makungu Akinyela, Maurice Hobson, and Lashawnda Pittman your guidance, support and wisdom is priceless!! Thank you to Tiffany Bullock, Marquel Mosby, and Mrs. Belinda Futrell you guys definitely worked many miracles for me, and I am FOREVER indebted to you!! And last, Kaniqua Robinson thank you for taking the time (during your doctoral program) to read and make suggestions to my document, trust me you are a God-send!! Also I am truly grateful to be able to have been in the midst of some awesome women, Lauren Fannin, Tiara Banks, Chloe Jackson, and Cynthia McKinney each and every one of you ROCK!! You guys just don’t know the im- pact that you had on my life during this thesis journey!! Those late nights truly paid off!! WE DID IT!! Finally, I would like to thank all of the Georgia State University students who took the time to create and share their personal creation stories with me; your superheroines have left an indelible mark on my life and I am sure the lives of others who read your stories. I could not have done this without you. vi TABLE OF CONTENTS ACKNOWLEDGEMENTS………………………………………………………………………………..v LIST OF TABLES…………………………………………………………………………………………ix CHAPTER 1: INTRODUCTION………………………………………………………………………….1 Background……………………………………………………………………………………..1 Problem Statement…………………………………………………………………………….4 Purpose…………………………………………………………………………………............6 Significance of the Study……………………………………………………………............6 Research Questions…………………………………………………………………………..8 Theoretical Conceptual Framework………………………………………………………..8 Chapter Summary……………………………………………………………………..……..11 Definition of Terms…………………………………………………………………..………12 CHAPTER 2: LITERATURE REVIEW………………………………………………………………..14 What is ‘Popular Culture’ and Why is it Important?..................................................14 Significance of the Comic Book………………………………………………..………....18 Examining the ‘Superhero’…………………………………………………………………19 Female & Black Superheroes: The Good, the Bad, and the Ugly…………………...21 Black Women (Gender) in Popular Culture…………………………………..…………23 Media & Racial Stereotyping…………………………………………………….………...27 Objectification & Misrepresentation (Depiction and Portrayal)………….………….31 Chapter Summary……………………………………………………………………………35 CHAPTER 3: METHODS………………………………………………………………………………36 Research Design………………………………………………...……………………..…....36 Participants……………………………………………………………………………………37 vii Procedure……………………………………………………………………...………………39 Instrument……………………………………………………………………………………..40 Preliminary Data Analysis…………………………………………………………………..41 Reliability & Validity……………………………………………………………………........42 Chapter Summary…………………………………………………………...…………........42 CHAPTER 4: FINDINGS………………………………………………………………….……………43 Participant Demographics…………………………………………….……………………43 Data Analysis…………………………………………………………………………………46 Major Properties Hair……………………………………………………………………………………48 Character Weight/Height………………………………………………………....50 Powers…………………………………………………………………..………......51 Secret Identity……………………………………………………………...………54 Weakness……………………………………………………………….…………..56 Sidekick………………………………………………………………..…...............60 Love Interest…………………………………………………………………...…...61 Main Enemy/Enemies……………………………………………………….…….64 Character Background…………………………..………………………………..67 Superhero Beginnings……………………………………………………..……..71 Hideout/Getaway……………………….…………………………………..……...76 Body Type…………………………………………………………………….……..78 Skin Complexion..………………………………………………………………….80 Costume………...…………………………………………………………………...82 Chapter Summary………………………………………………………………….85 viii CHAPTER 5: DISCUSSION………………………………………………………………………..…...87 IMPLICATIONS, LIMITATIONS, STRENGTHS, RECOMMENDATIONS FOR FUTURE RESEARCH AND CONCLUSION……………………………………………………………………...98 Implications………………………………………………………………………..….………..98 Limitations………………………………………………………………………………………98 Strengths………………………………………………………………………………………..99
Load more

Recommended publications
  • With a Particular Focus on the Saga of Grettir the Strong, Gisfi Surrson's
    Volume 3: 2010-2011 ISSN: 2041-6776 School of English Studies With a particular focus on The Saga of Grettir the Strong, Gisfi Surrson’s Saga and Nijar’s Saga, discuss the nature and role of the supernatural in Icelandic saga literature and assess the extent to which it reveals a religious significance. Georgina Georghiou At the end of the Viking Age, the Icelanders developed a literary tradition in the vernacular, Old Icelandic, in which the legendary tales of Iceland’s sogooki (the Saga Age, c. 9E1030 CE) were written.’ Hitherto sustained by the oral tradition (hence the designation saga, from segja, to say, tell’), the tales which constitute the islendrgasogur (Sagas of Icelanders, written between the twelfth and fourteenth centuries) journeyed through phases of Iceland’s cultural evolution, most notably its political movement from the Commonwealth to the Norwegian monarchy in 1262 CE, and its religious conversion from Norse paganism to Christianity under the sovereignty of King Olaf Tryggvason (995-1000 CE). Chronicling events which occurred during and after this cultural whirlwind, the sagas in their present form reflect a mystical synthesis of Norse-pagan and Christian conceptions of the sacred, both of which incited a conviction in the Supernatural’. Despite their differences, they commonly present the Scandinavian world as one which interacts with unworldly beings and forces, and whilst this ‘unworldliness’ has contributed to the modern view that the sagas are ‘pseudo- historical’,5 for the medieval Icelander, they were a record of historical truth. The truth’ invested in the supernatural involves it, inevitably, in sacred matters, and the affiliation between the supernatural and the religious has thus been a highly debated topic among saga scholarship.
    [Show full text]
  • All Batman References in Teen Titans
    All Batman References In Teen Titans Wingless Judd boo that rubrics breezed ecstatically and swerve slickly. Inconsiderably antirust, Buck sequinedmodernized enough? ruffe and isled personalties. Commie and outlined Bartie civilises: which Winfred is Behind Batman Superman Wonder upon The Flash Teen Titans Green. 7 Reasons Why Teen Titans Go Has Failed Page 7. Use of teen titans in batman all references, rather fitting continuation, red sun gauntlet, and most of breaching high building? With time throw out with Justice League will wrap all if its members and their powers like arrest before. Worlds apart label the bleak portentousness of Batman v. Batman Joker Justice League Wonder whirl Dark Nights Death Metal 7 Justice. 1 Cars 3 Driven to Win 4 Trivia 5 Gallery 6 References 7 External links Jackson Storm is lean sleek. Wait What Happened in his Post-Credits Scene of Teen Titans Go knowing the Movies. Of Batman's television legacy in turn opinion with very due respect to halt late Adam West. To theorize that come show acts as a prequel to Batman The Animated Series. Bonus points for the empire with Wally having all sorts of music-esteembody image. If children put Dick Grayson Jason Todd and Tim Drake in inner room today at their. DUELA DENT duela dent batwoman 0 Duela Dent ideas. Television The 10 Best Batman-Related DC TV Shows Ranked. Say is famous I'm Batman line while he proceeds to make references. Spoilers Ahead for sound you missed in Teen Titans Go. The ones you essential is mainly a reference to Vicki Vale and Selina Kyle Bruce's then-current.
    [Show full text]
  • Why No Wonder Woman?
    Why No Wonder Woman? A REPORT ON THE HISTORY OF WONDER WOMAN AND A CALL TO ACTION!! Created for Wonder Woman Fans Everywhere Introduction by Jacki Zehner with Report Written by Laura Moore April 15th, 2013 Wonder Woman - p. 2 April 15th, 2013 AN INTRODUCTION AND FRAMING “The destiny of the world is determined less by battles that are lost and won than by the stories it loves and believes in” – Harold Goddard. I believe in the story of Wonder Woman. I always have. Not the literal baby being made from clay story, but the metaphorical one. I believe in a story where a woman is the hero and not the victim. I believe in a story where a woman is strong and not weak. Where a woman can fall in love with a man, but she doesnʼt need a man. Where a woman can stand on her own two feet. And above all else, I believe in a story where a woman has superpowers that she uses to help others, and yes, I believe that a woman can help save the world. “Wonder Woman was created as a distinctly feminist role model whose mission was to bring the Amazon ideals of love, peace, and sexual equality to ʻa world torn by the hatred of men.ʼ”1 While the story of Wonder Woman began back in 1941, I did not discover her until much later, and my introduction didnʼt come at the hands of comic books. Instead, when I was a little girl I used to watch the television show starring Lynda Carter, and the animated television series, Super Friends.
    [Show full text]
  • CAPTAIN MARVEL # History: the History of the Drug Supplier and Cult Leader Known As the Black Talon Is Currently Unrevealed
    BLACK TALON Villain Real Name: Unrevealed. Occupation: Cult leader, drug supplier. Identity: Secret. Legal Status: Citizen of the United States (Puerto Rico) with no criminal record. Other Aliases: The Living Loa, "Chicken-head". Place of Birth: Presumably somewhere in Puerto Rico. Marital Status: Single. Known Relatives: None. Group Affiliation: Head of his own voodoo cult. Base of Operations: A sugar/cocaine plantation in Puerto Rico. First Post-Reboot Appearance: CAPTAIN MARVEL # History: The history of the drug supplier and cult leader known as the Black Talon is currently unrevealed. At some point in the past, he learned the art of voodoo and put that talent to work in raising zombies to work a farm – in reality a Colonial-era plantation he either inherited or acquired – where he grew marijuana and coca plants alongside sugar cane (the plantation's legitimate crop). At the same time, he began a cult of voodoo worshippers who revered him as a "living loa" (the "loa" being the spirits or gods – the line between them is often blurred – invoked by voodoo practitioners.). In time, he became one of the largest suppliers of marijuana and cocaine in the Caribbean, with contacts in Miami, Havana, San Juan, and New Orleans. Black Talon's operations first came into conflict with the current generation of superheroes when a rocket launched by NASA carrying a payload of a powerful nerve gas to be disposed of by being sent into the sun was sabotaged and landed off the coast from his plantation. This brought him into conflict with Captain Marvel, who was under orders from his superior, Colonel Yon-Rogg, to release the nerve gas on a human settlement (see Captain Marvel; Yon-Rogg).
    [Show full text]
  • The Evolution of Batman and His Audiences
    Georgia State University ScholarWorks @ Georgia State University English Theses Department of English 12-2009 Static, Yet Fluctuating: The Evolution of Batman and His Audiences Perry Dupre Dantzler Georgia State University Follow this and additional works at: https://scholarworks.gsu.edu/english_theses Part of the English Language and Literature Commons Recommended Citation Dantzler, Perry Dupre, "Static, Yet Fluctuating: The Evolution of Batman and His Audiences." Thesis, Georgia State University, 2009. https://scholarworks.gsu.edu/english_theses/73 This Thesis is brought to you for free and open access by the Department of English at ScholarWorks @ Georgia State University. It has been accepted for inclusion in English Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. STATIC, YET FLUCTUATING: THE EVOLUTION OF BATMAN AND HIS AUDIENCES by PERRY DUPRE DANTZLER Under the Direction of H. Calvin Thomas ABSTRACT The Batman media franchise (comics, movies, novels, television, and cartoons) is unique because no other form of written or visual texts has as many artists, audiences, and forms of expression. Understanding the various artists and audiences and what Batman means to them is to understand changing trends and thinking in American culture. The character of Batman has developed into a symbol with relevant characteristics that develop and evolve with each new story and new author. The Batman canon has become so large and contains so many different audiences that it has become a franchise that can morph to fit any group of viewers/readers. Our understanding of Batman and the many readings of him gives us insight into ourselves as a culture in our particular place in history.
    [Show full text]
  • Dc Comics: Wonder Woman: Wisdom Through the Ages Pdf, Epub, Ebook
    DC COMICS: WONDER WOMAN: WISDOM THROUGH THE AGES PDF, EPUB, EBOOK Mike Avila | 192 pages | 29 Sep 2020 | Insight Editions | 9781683834779 | English | San Rafael, United States DC Comics: Wonder Woman: Wisdom Through the Ages PDF Book Instead, she receives the ability to transform into the catlike Cheetah, gaining superhuman strength and speed; the ritual partially backfires, and her human form becomes frail and weak. Diana of Themyscira Arrowverse Batwoman. Since her creation, Diana of Themyscira has made a name for herself as one of the most powerful superheroes in comic book existence. A must-have for Wonder Woman fans everywhere! Through close collaboration with Jason Fabok, we have created the ultimate Wonder Woman statue in her dynamic pose. The two share a degree of mutual respect, occasionally fighting together against a common enemy, though ultimately Barbara still harbors jealousy. Delivery: 23rdth Jan. Published 26 November Maria Mendoza Earth Just Imagine. Wonder Girl Earth She returned to her classic look with help from feminist icon Gloria Steinem, who put Wonder Woman — dressed in her iconic red, white, and blue ensemble — on the cover of the first full-length issue of Ms. Priscilla eventually retires from her Cheetah lifestyle and dies of an unspecified illness, with her niece Deborah briefly taking over the alter ego. In fact, it was great to see some of the powers realized in live-action when the Princess of Themyscira made her big screen debut in the Patty Jenkins directed, Wonder Woman. Submit Review. Although she was raised entirely by women on the island of Themyscira , she was sent as an ambassador to the Man's World, spreading their idealistic message of strength and love.
    [Show full text]
  • Justice League Superman Action Figure Free
    FREE JUSTICE LEAGUE SUPERMAN ACTION FIGURE PDF Jack Mathews | none | 12 Dec 2012 | Diamond Comic Distributors | 9781605843308 | English | none Superman Figure Justice League 10 Inch Character Justice League Superman Action Figure. Justice League - 10" Figures Released in by Mattel Born in the underwater world of Atlantis, Arthur Curry leads a dual life as Aquaman, protector of the world's oceans. He is able to "breathe" water, swim at speeds up to miles per hour. As a detective, martial arts master, and so much more, Batman earns his status as the World's Gr. Green Lantern. Justice League - 10" Figures Released in by Mattel A mysterious woman with angelic wings, Shayera Hol claims to be an undercover detective from the planet Thanagar—a war-like world located in an unknown sector of the universe—who found her. Martian Manhunter. Justice League - 10" Figures Released in by Mattel As is common among telepaths, the Martian Manhunter is an intensely silent figure. Even in his darkest moments, his mood is often reflected only the expression in his eyes. When he speaks, others li. Justice League - 10" Figures Released in by Mattel Though genetically an alien conceived on the planet Krypton, Superman is an American by birth, born in a Kansas cornfield. Through his deeds, Superman has become earth's preeminent super hero. The Flash. He has few friends who don't move in superhuman circles. Wally West has a reputation among his peers as. Wonder Woman. The amazing Justice League Superman Action Figure princess can soar on the air currents, and can move at superhuman spee.
    [Show full text]
  • DC Comics Jumpchain CYOA
    DC Comics Jumpchain CYOA CYOA written by [text removed] [text removed] [text removed] cause I didn’t lol The lists of superpowers and weaknesses are taken from the DC Wiki, and have been reproduced here for ease of access. Some entries have been removed, added, or modified to better fit this format. The DC universe is long and storied one, in more ways than one. It’s a universe filled with adventure around every corner, not least among them on Earth, an unassuming but cosmically significant planet out of the way of most space territories. Heroes and villains, from the bottom of the Dark Multiverse to the top of the Monitor Sphere, endlessly struggle for justice, for power, and for control over the fate of the very multiverse itself. You start with 1000 Cape Points (CP). Discounted options are 50% off. Discounts only apply once per purchase. Free options are not mandatory. Continuity === === === === === Continuity doesn't change during your time here, since each continuity has a past and a future unconnected to the Crises. If you're in Post-Crisis you'll blow right through 2011 instead of seeing Flashpoint. This changes if you take the relevant scenarios. You can choose your starting date. Early Golden Age (eGA) Default Start Date: 1939 The original timeline, the one where it all began. Superman can leap tall buildings in a single bound, while other characters like Batman, Dr. Occult, and Sandman have just debuted in their respective cities. This continuity occurred in the late 1930s, and takes place in a single universe.
    [Show full text]
  • Creating a Superheroine: a Rhetorical Analysis of the X-Men Comic Books
    CREATING A SUPERHEROINE: A RHETORICAL ANALYSIS OF THE X-MEN COMIC BOOKS by Tonya R. Powers A Thesis Submitted in Partial Fulfillment Of the Requirements for the Degree MASTER OF ARTS Major Subject: Communication West Texas A&M University Canyon, Texas August, 2016 Approved: __________________________________________________________ [Chair, Thesis Committee] [Date] __________________________________________________________ [Member, Thesis Committee] [Date] __________________________________________________________ [Member, Thesis Committee] [Date] ____________________________________________________ [Head, Major Department] [Date] ____________________________________________________ [Dean, Fine Arts and Humanities] [Date] ____________________________________________________ [Dean, Graduate School] [Date] ii ABSTRACT This thesis is a rhetorical analysis of a two-year X-Men comic book publication that features an entirely female cast. This research was conducted using Kenneth Burke’s theory of terministic screens to evaluate how the authors and artists created the comic books. Sonja Foss’s description of cluster criticism is used to determine key terms in the series and how they were contributed to the creation of characters. I also used visual rhetoric to understand how comic book structure and conventions impacted the visual creation of superheroines. The results indicate that while these superheroines are multi- dimensional characters, they are still created within a male standard of what constitutes a hero. The female characters in the series point to an awareness of diversity in the comic book universe. iii ACKNOWLEDGEMENTS I wish to thank my thesis committee chair, Dr. Hanson, for being supportive of me within the last year. Your guidance and pushes in the right direction has made the completion of this thesis possible. You make me understand the kind of educator I wish to be. You would always reply to my late-night emails as soon as you could in the morning.
    [Show full text]
  • Sage Fixed Assets Depreciation User Guide
    Sage Fixed Assets Depreciation 2018.1 User guide January 2018 Last updated: January 24, 2018 © 2018 The Sage Group plc or its licensors. All rights reserved. Sage, Sage logos, and Sage product and service names mentioned herein are the trademarks of The Sage Group plc or its licensors. All other trademarks are the property of their respective owners. Sage End User License Agreement (EULA): http://na.sage.com/sage-na/eula Contents Chapter 1. Introduction Welcome to Sage Fixed Assets . 1-1 Sage Fixed Assets Depreciation Network . 1-1 Verifying Your Computer’s Equipment . 1-1 Key Steps in Implementing the Application . 1-2 Understanding Databases . 1-4 Understanding Companies . 1-5 Why Use More than One Company . 1-5 When to Keep Assets in One Company? . 1-6 Understanding Groups . 1-6 Using Groups . 1-6 How the Application Updates Groups . 1-7 Understanding Asset Fields and SmartLists . 1-8 Chapter 2. Getting Started Starting the Application . 2-1 Entering a User Login and Password . 2-2 Changing Passwords . 2-3 Using Demonstration Data . 2-3 Opening an Existing Company . 2-4 Getting Help . 2-4 Using Online Help . 2-4 Viewing Sage Fixed Assets Depreciation Fundamentals . 2-5 Contacting Sage Fixed Assets . 2-5 Sage Live Connect . 2-5 Viewing Your Customer Number . 2-6 Updating Your Customer Number . 2-6 Setting User Security . 2-6 Assigning Supervisor Password and Enabling System Security . 2-7 Creating System Level Security Profiles . 2-9 Creating Company Level Security Profiles . 2-11 Assigning User Privileges . 2-12 Selecting a Security Mode .
    [Show full text]
  • Wolverine & the X-Men: Volume 7 Free
    FREE WOLVERINE & THE X-MEN: VOLUME 7 PDF Jason Aaron,Pasqual Ferry | 136 pages | 12 Nov 2013 | Marvel Comics | 9780785166009 | English | New York, United States Wolverine and the X-Men Vol 2 7 | Marvel Database | Fandom Goodreads helps you keep track of books you want to read. Want to Read saving…. Want to Read Currently Reading Read. Other editions. Enlarge cover. Error rating book. Refresh and try again. Open Preview See a Problem? Details if other :. Thanks for telling us about the problem. Return to Book Page. Nick Bradshaw Wolverine & the X-Men: Volume 7. Pasqual Ferry Illustrations. Meanwhile, Beast goes to the S. The storyline that's been building for over a year is finally, explosively he Students at the Jean Grey School are missing, and a furious Wolverine and Rachel Summers intensify their search for the all-new Hellfire Club. The storyline that's been building for over a year is finally, explosively here! The Hellfire Saga begins now! Collecting : Wolverine and the X-Men Get A Copy. Paperbackpages. More Details Original Title. Other Editions 3. Friend Reviews. To see what your friends thought of this book, please sign up. To ask other readers questions about Wolverine and the X-Men, Volume 7please sign up. Be the first to ask a question about Wolverine and the X-Men, Volume 7. Lists with This Book. Community Reviews. Showing Average rating 3. Rating details. More filters. Sort order. Start your review of Wolverine and the X-Men, Volume 7. May 17, Jeff rated it it was ok Shelves: comix. Can I get off the donkey now? The kiddie Hellfire Club has been an ongoing plot line in this series since Stan Lee was in diapers the baby kind.
    [Show full text]
  • The Dynamic Jerry Robinson
    Inspicio the last laugh Jerry Robinson, 1972. Photo: Kristen Robinson. The Dynamic Jerry Robinson By Jens Robinson y father, Sherrill David Robinson, known as Jerry Rob- inson, was born in New York on New Year’s Day in 1922 Mand died on Pearl Harbor Day in 2011. In between, he did a lot of historic things. BATMAN Jerry was a 17-year-old journalism student at Columbia Uni- versity in 1939 when he was discovered by Batman co-creator Bob Kane, who hired him to work on that fledgling comic as an inker and letterer. Kane, with writer Bill Finger, had just created the character Batman for National Comics, the future DC Com- ics. Within a year, Jerry became Batman’s primary inker, with George Roussos inking backgrounds. Batman quickly became a hit character and Kane rented space for Robinson and Rous- sos in Times Square’s Times Tower. By early 1940, Finger and Kane discussed adding a sidekick. Jerry suggested the name “Robin” after Robin Hood books he had read during his boyhood, saying, in a 2005 interview, that he was inspired by one book’s N.C. Wyeth illustrations. The new character, orphaned circus performer Dick Grayson, came to live with Bruce Wayne (Batman) as his young ward in Detec- tive Comics #38 (April 1940). Robin would inspire many similar sidekicks throughout the remainder of the Golden Age of comic books. Jerry Robinson and his startling invention -- The Joker Batman’s nemesis, the Joker, was introduced around the same time, in Batman #1 (Spring 1940). Most comic historians credit my father for the iconic villain, modeled after Conrad Veidt in the 1928 movie, The Man Who Laughs.
    [Show full text]