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Eerie Archives: Volume 16 Free
FREE EERIE ARCHIVES: VOLUME 16 PDF Bill DuBay,Louise Jones,Faculty of Classics James Warren | 294 pages | 12 Jun 2014 | DARK HORSE COMICS | 9781616554002 | English | Milwaukee, United States Eerie (Volume) - Comic Vine Gather up your wooden stakes, your blood-covered hatchets, and all the skeletons in the darkest depths of your closet, and prepare for a horrifying adventure into the darkest corners of comics history. This vein-chilling second volume showcases work by Eerie Archives: Volume 16 of the best artists to ever work in the comics medium, including Alex Toth, Gray Morrow, Reed Crandall, John Severin, and others. Grab your bleeding glasses and crack open this fourth big volume, collecting Creepy issues Creepy Archives Volume 5 continues the critically acclaimed series that throws back the dusty curtain on a treasure trove of amazing comics art and brilliantly blood-chilling stories. Dark Horse Comics continues to showcase its dedication to publishing the greatest comics of all time with the release of the sixth spooky volume Eerie Archives: Volume 16 our Creepy magazine archives. Creepy Archives Volume 7 collects a Eerie Archives: Volume 16 array of stories from the second great generation of artists and writers in Eerie Archives: Volume 16 history of the world's best illustrated horror magazine. As the s ended and the '70s began, the original, classic creative lineup for Creepy was eventually infused with a slew of new talent, with phenomenal new contributors like Richard Corben, Ken Kelly, and Nicola Cuti joining the ranks of established greats like Reed Crandall, Frank Frazetta, and Al Williamson. This volume of the Creepy Archives series collects more than two hundred pages of distinctive short horror comics in a gorgeous hardcover format. -
East - West Laos Test of State Lottery Law ASBURY PARK — Nor Showdown Looms Man C
Weatfier Distribution Today Cloudy, with rain today, to. 17,800 night and tomorrow. High today, BEDBANK Mi. Low tonight near 40. High tomorrow, near St. Sea weathei 1 Independent Daily f page I. I HOUBAttHMXKIHHaDt.V-tSt.Ult J REGISTER SH 1-0010 Xnuad daily, Monday through Fridty. Second dm Puttgi • 7c PER COPY 35c PER WEEK VOL. 83, NO. 186 Paid lit R4d Buk and at Additional Malting Otticei. RED BANK, N. J., THURSDAY, MARCH 23,1961 BY CARRIER PAGE ONE Candidate Arrested on 'Request' Seeks Court East - West Laos Test of State Lottery Law ASBURY PARK — Nor Showdown Looms man C. Hansen, who seeks a Democratic nomination for the state Assembly on Joint Action ~a—platform advocating a U.S. Aid state lottery, had himself Is Mulled arrested here yesterday to fur- ther his cause. By SEATO The 42-year-old railroad station •gent from .Monmouth Beach, BANGKOK, Thailand after tipping off newspapers, walked into police headquarters, (AP)—Military advisers of presented the stub of a {3 Irish the Southeast Asia Treaty On Way Sweepstakes ticket to Desk Sgt, Organization kept hard at Thomas Flanagan, and said: "This belongs to me. It's a lot- work today on recommen- WASHINGTON (AP) — tery ticket. What do you propose dations for possible joint President Kennedy is ex- to do? actions to meet the Com- Flanagan, who had been tipped pected to make a major by newsmen to expect Hansen, munist threat in Laos. U.S. policy statement on was ready, "I'll have to book you The military leaders from the 1 the Laotian crisis today. -
FANTASY FAIRE 19 81 of Fc Available for $4.00 From: TRISKELL PRESS P
FANTASY FAIRE 19 81 of fc Available for $4.00 from: TRISKELL PRESS P. 0. Box 9480 Ottawa, Ontario Canada K1G 3V2 J&u) (B.Mn'^mTuer KOKTAL ADD IHHOHTAl LOVERS TRAPPED Is AS ASCIEST FEUD... 11th ANNUAL FANTASY FAIRS JULY 17, 18, 19, 1981 AMFAC HOTEL MASTERS OF CEREMONIES STEPHEN GOLDIN, KATHLEEN SKY RON WILSON CONTENTS page GUEST OF HONOR ... 4 ■ GUEST LIST . 5 WELCOME TO FANTASY FAIRE by’Keith Williams’ 7 PROGRAM 8 COMMITTEE...................... .. W . ... .10 RULES FOR BEHAVIOR 10 WALKING GUIDE by Bill Conlln 12 MAP OF AREA ........................................................ UPCOMING FPCI CONVENTIONS 14 ADVERTISERS Triskell Press Barry Levin Books Pfeiffer's Books & Tiques Dangerous Visions Cover Design From A Painting By Morris Scott Dollens GUEST OF HONOR FRITZ LEIBER was bom in 1910. Son of a Shakespearean actor, Fritz was at one time an actor himself and a mem ber of his father’s troupe. He made a cameo appearance in the film "Equinox." Fritz has studied many sciences and was once editor of Science Digest. His writing career began prior to World War 11 with some stories in Weird Tales. Soon Unknown published his novel "Conjure Wife, " which was made into a movie under the title (of all things) "Bum, Witch, Bum!" His Gray Mouser stories (which were the inspira tion for the Fantasy Faire "Fritz Leiber Fantasy Award") were started in Unknown and continued in Fantastic, which magazine devoted its entire Nov., 1959 issue to Fritz's stories. In 1959 Fritz was awarded a Hugo, by the World Science Fiction Convention for his novel "The Big Time." His novel "The Wanderer," about an interloper into our solar system, won the Hugo again in 1965.'-His novelettes Gonna Roll the Bones," "Ship of Shadows" and "Ill Met in Lankhmar” won the Hugo in 1968, 1970 and 1971 in that order. -
Argentuscon Had Four Panelists Piece, on December 17
Matthew Appleton Georges Dodds Richard Horton Sheryl Birkhead Howard Andrew Jones Brad Foster Fred Lerner Deb Kosiba James D. Nicoll Rotsler John O’Neill Taral Wayne Mike Resnick Peter Sands Steven H Silver Allen Steele Michael D. Thomas Fred Lerner takes us on a literary journey to Portugal, From the Mine as he prepared for his own journey to the old Roman province of Lusitania. He looks at the writing of two ast year’s issue was published on Christmas Eve. Portuguese authors who are practically unknown to the This year, it looks like I’ll get it out earlier, but not Anglophonic world. L by much since I’m writing this, which is the last And just as the ArgentusCon had four panelists piece, on December 17. discussing a single topic, the first four articles are also on What isn’t in this issue is the mock section. It has the same topic, although the authors tackled them always been the most difficult section to put together and separately (mostly). I asked Rich Horton, John O’Neill, I just couldn’t get enough pieces to Georges Dodds, and Howard Andrew Jones make it happen this issue. All my to compile of list of ten books each that are fault, not the fault of those who sent out of print and should be brought back into me submissions. The mock section print. When I asked, knowing something of may return in the 2008 issue, or it may their proclivities, I had a feeling I’d know not. I have found something else I what types of books would show up, if not think might be its replacement, which the specifics. -
Arthur Suydam: “Heroes Are What We Aspire to Be”
Ro yThomas’’ BXa-Ttrta ilor od usinary Comiics Fanziine DARK NIGHTS & STEEL $6.95 IN THE GOLDEN & SILVER AGES In the USA No. 59 June 2006 SUYDAM • ADAMS • MOLDOFF SIEGEL • PLASTINO PLUS: MANNING • MATERA & MORE!!! Batman TM & ©2006 DC Comics Vol. 3, No. 59 / June 2006 ™ 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 Editors Emeritus Jerry Bails (founder) Contents Ronn Foss, Biljo White, Mike Friedrich Writer/Editorial: Dark Nights & Steel . 2 Production Assistant Arthur Suydam: “Heroes Are What We Aspire To Be” . 3 Eric Nolen-Weathington Interview with the artist of Cholly and Flytrap and Marvel Zombies covers, by Renee Witterstaetter. Cover Painting “Maybe I Was Just Loyal” . 14 Arthur Suydam 1950s/60s Batman artist Shelly Moldoff tells Shel Dorf about Bob Kane & other phenomena. And Special Thanks to: “My Attitude Was, They’re Not Bosses, They’re Editors” . 25 Neal Adams Richard Martines Golden/Silver Age Superman artist Al Plastino talks to Jim Kealy & Eddy Zeno about his long Heidi Amash Fran Matera and illustrious career. Michael Ambrose Sheldon Moldoff Bill Bailey Frank Motler Jerry Siegel’s European Comics! . 36 Tim Barnes Brian K. Morris When Superman’s co-creator fought for truth, justice, and the European way—by Alberto Becattini. Dennis Beaulieu Karl Nelson Alberto Becattini Jerry Ordway “If You Can’t Improve Something 200%, Then Go With The Thing John Benson Jake Oster That You Have” . 40 Dominic Bongo Joe Petrilak Modern legend Neal Adams on the late 1960s at DC Comics. -
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. -
How Superman Developed Into a Jesus Figure
HOW SUPERMAN DEVELOPED INTO A JESUS FIGURE CRISIS ON INFINITE TEXTS: HOW SUPERMAN DEVELOPED INTO A JESUS FIGURE By ROBERT REVINGTON, B.A., M.A. A Thesis Submitted to the School of Graduate Studies in Partial Fulfillment of the Requirements for the Degree of Master of Arts McMaster University © Copyright by Robert Revington, September 2018 MA Thesis—Robert Revington; McMaster University, Religious Studies McMaster University MASTER OF ARTS (2018) Hamilton, Ontario, Religious Studies TITLE: Crisis on Infinite Texts: How Superman Developed into a Jesus Figure AUTHOR: Robert Revington, B.A., M.A (McMaster University) SUPERVISOR: Professor Travis Kroeker NUMBER OF PAGES: vi, 143 ii MA Thesis—Robert Revington; McMaster University, Religious Studies LAY ABSTRACT This thesis examines the historical trajectory of how the comic book character of Superman came to be identified as a Christ figure in popular consciousness. It argues that this connection was not integral to the character as he was originally created, but was imposed by later writers over time and mainly for cinematic adaptations. This thesis also tracks the history of how Christians and churches viewed Superman, as the film studios began to exploit marketing opportunities by comparing Superman and Jesus. This thesis uses the methodological framework of intertextuality to ground its treatment of the sources, but does not follow all of the assumptions of intertextual theorists. iii MA Thesis—Robert Revington; McMaster University, Religious Studies ABSTRACT This thesis examines the historical trajectory of how the comic book character of Superman came to be identified as a Christ figure in popular consciousness. Superman was created in 1938, but the character developed significantly from his earliest incarnations. -
Annual Report 1995
19 9 5 ANNUAL REPORT 1995 Annual Report Copyright © 1996, Board of Trustees, Photographic credits: Details illustrated at section openings: National Gallery of Art. All rights p. 16: photo courtesy of PaceWildenstein p. 5: Alexander Archipenko, Woman Combing Her reserved. Works of art in the National Gallery of Art's collec- Hair, 1915, Ailsa Mellon Bruce Fund, 1971.66.10 tions have been photographed by the department p. 7: Giovanni Domenico Tiepolo, Punchinello's This publication was produced by the of imaging and visual services. Other photographs Farewell to Venice, 1797/1804, Gift of Robert H. and Editors Office, National Gallery of Art, are by: Robert Shelley (pp. 12, 26, 27, 34, 37), Clarice Smith, 1979.76.4 Editor-in-chief, Frances P. Smyth Philip Charles (p. 30), Andrew Krieger (pp. 33, 59, p. 9: Jacques-Louis David, Napoleon in His Study, Editors, Tarn L. Curry, Julie Warnement 107), and William D. Wilson (p. 64). 1812, Samuel H. Kress Collection, 1961.9.15 Editorial assistance, Mariah Seagle Cover: Paul Cezanne, Boy in a Red Waistcoat (detail), p. 13: Giovanni Paolo Pannini, The Interior of the 1888-1890, Collection of Mr. and Mrs. Paul Mellon Pantheon, c. 1740, Samuel H. Kress Collection, Designed by Susan Lehmann, in Honor of the 50th Anniversary of the National 1939.1.24 Washington, DC Gallery of Art, 1995.47.5 p. 53: Jacob Jordaens, Design for a Wall Decoration (recto), 1640-1645, Ailsa Mellon Bruce Fund, Printed by Schneidereith & Sons, Title page: Jean Dubuffet, Le temps presse (Time Is 1875.13.1.a Baltimore, Maryland Running Out), 1950, The Stephen Hahn Family p. -
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. -
JUDITH MERRIL-PDF-Sep23-07.Pdf (368.7Kb)
JUDITH MERRIL: AN ANNOTATED BIBLIOGRAPHY AND GUIDE Compiled by Elizabeth Cummins Department of English and Technical Communication University of Missouri-Rolla Rolla, MO 65409-0560 College Station, TX The Center for the Bibliography of Science Fiction and Fantasy December 2006 Table of Contents Preface Judith Merril Chronology A. Books B. Short Fiction C. Nonfiction D. Poetry E. Other Media F. Editorial Credits G. Secondary Sources About Elizabeth Cummins PREFACE Scope and Purpose This Judith Merril bibliography includes both primary and secondary works, arranged in categories that are suitable for her career and that are, generally, common to the other bibliographies in the Center for Bibliographic Studies in Science Fiction. Works by Merril include a variety of types and modes—pieces she wrote at Morris High School in the Bronx, newsletters and fanzines she edited; sports, westerns, and detective fiction and non-fiction published in pulp magazines up to 1950; science fiction stories, novellas, and novels; book reviews; critical essays; edited anthologies; and both audio and video recordings of her fiction and non-fiction. Works about Merill cover over six decades, beginning shortly after her first science fiction story appeared (1948) and continuing after her death (1997), and in several modes— biography, news, critical commentary, tribute, visual and audio records. This new online bibliography updates and expands the primary bibliography I published in 2001 (Elizabeth Cummins, “Bibliography of Works by Judith Merril,” Extrapolation, vol. 42, 2001). It also adds a secondary bibliography. However, the reasons for producing a research- based Merril bibliography have been the same for both publications. Published bibliographies of Merril’s work have been incomplete and often inaccurate. -
Patrick Olliffe Interview & Demo Al Williamson the Man & His Work Remembered by Torres, Blevins, Schultz, Yeates, Ross, and Veitch
#23 SUMMER 2012 $7.95 In The US THE PROFESSIONAL “HOW-TO” MAGAZINE ON COMICS AND CARTOONING PATRICK OLLIFFE INTERVIEW & DEMO AL WILLIAMSON THE MAN & HIS WORK REMEMBERED BY TORRES, BLEVINS, SCHULTZ, YEATES, ROSS, AND VEITCH ROUGH STUFF’s BOB McLEOD CRITIQUES A Spider-Man TM Spider-Man & ©2012 Marvel Characters, Inc. NEWCOMER’S WORK PLUS: MIKE MANLEY AND BRET BLEVINS’ Contains nudity for demonstration of figure drawing • Mature Readers Only 0 2 1 82658 27764 2 THE PROFESSIONAL “HOW-TO” MAGAZINE ON COMICS & CARTOONING WWW.DRAW-MAGAZINE.BLOGSPOT.COM SUMMER 2012 TABLE OF CONTENTS VOL. 1, NO. 23 Editor-in-Chief • Michael Manley Designer • Eric Nolen-Weathington PAT OLLIFFE Publisher • John Morrow Mike Manley interviews the artist about his career and working with Al Williamson Logo Design • John Costanza 3 Copy-Editing • Eric Nolen- Weathington Front Cover • Pat Olliffe DRAW! Summer 2012, Vol. 1, No. 23 was produced by Action Planet, Inc. and published by TwoMorrows Publishing. ROUGH CRITIQUE Michael Manley, Editor. John Morrow, Publisher. Bob McLeod gives practical advice and Editorial address: DRAW! Magazine, c/o Michael Manley, 430 Spruce Ave., Upper Darby, PA 19082. 22 tips on how to improve your work Subscription Address: TwoMorrows Publishing, 10407 Bedfordtown Dr., Raleigh, NC 27614. DRAW! and its logo are trademarks of Action Planet, Inc. All contributions herein are copyright 2012 by their respective contributors. Action Planet, Inc. and TwoMorrows Publishing accept no responsibility for unsolicited submissions. All artwork herein is copyright the year of produc- THE CRUSTY CRITIC tion, its creator (if work-for-hire, the entity which Jamar Nicholas reviews the tools of the trade. -
Two-Color Technicolor, the Black Pirate, and Blackened Dyes in 1923
Two-Color Technicolor, The Black Pirate, and Blackened Dyes In 1923 Cecil B. DeMille had complained that “color movies diverted interest from narrative and action, offended the color sensitivities of many, and cost too much.”1 For DeMille, color—even “natural” color processes like Technicolor—was a veil that concealed the all-important expressions on an actor’s face. Yet DeMille was attracted to color and repeatedly employed it in his films of the 1920s, combining tinting and toning with footage either in Technicolor or in the Handshiegl process. Douglas Fairbanks voiced a similar objection to color, likening its use to putting “rouge on the lips of Venus de Milo.”2 Fairbanks argued that color took “the mind of the spectator away from the picture itself, making him conscious of the mechanics—the artificiality—of the whole thing, so that he no longer lived in the story with the characters.”3 At the same time, color motion pictures were said, by their critics, to cause retinal fatigue.4 Fairbanks had once written that color “would tire and distract the eye,” serving more as a distraction than an attraction.5 Indeed, a few years later, before deciding to make The Black Pirate (1926) in two-color Technicolor, Fairbanks hired two USC professors, Drs. A. Ray Irvine and M. F. Weyman, to conduct a series of tests to ascertain the relative amount of eye fatigue (as well as nausea and headaches) generated by viewing black and white vs. color films. Fatigue was calculated in terms of the decline in the viewer’s visual acuity as a result of these screenings.