Popular Culture Collection- Comic Books and Publications

Total Page:16

File Type:pdf, Size:1020Kb

Popular Culture Collection- Comic Books and Publications Popular Culture Collection- Comic Books and Publications Special Collections Department Contact Information: Special Collections Department Axinn Library, Room 032 123 Hofstra University Hempstead, NY 11549 Phone: (516) 463-6411, or 463-6404 Fax: (516) 463-6442 E-mail: LISI@hofstra.edu http://www.hofstra.edu/Libraries/SpecialCollections Compiled By: Dan Graves Updated By: Christian Carboy Box list by Caroline Rehnstedt Date Updated: 5/9/18 Popular Culture Collection The term “popular culture” evades easy definition. For some, it is any aspect of culture that is aimed at and appreciated by a large segment of a society. Some conceive of it as inherently unsophisticated, standing in opposition to higher forms of culture. Others consider it to be necessarily commercialized, and primarily existent to make money. Some have even referred to it as culture which reflects the genuine concerns and ideas of the general public. It is often associated with members of the lower classes, and its manifestations tend to be mass- produced. This collection specializes in items such as comic books, graphic novels, and science fiction, while also housing tabloid newspapers, cult magazines, realia, and more. Comic Books, 1964-current Pinpointing the precise origin of the comic book would prove a difficult task. Given the ambiguous definition of the medium (typically defined as a form of storytelling characterized by sequential images, often accompanied with text), precedents can be found throughout history. Examples of such include newspaper comic strips. However, the modern comic book is said to have begun in the United States in the early 1930s. From here, and especially following the success of Superman, first introduced in 1938, the medium has exploded in popularity and notable works have been published in Japan and Europe. Though the medium showcases a wide variety of genres, including science fiction, horror, westerns, romance, humor, memoir, avant-garde works, and even pornography, the genre most frequently associated with comic books is superheroes. Excluding a period from the late 1940s continuing throughout the ‘50s, in which superhero comics declined in popularity and many of the aforementioned genres flourished, superheroes have maintained their dominance in the medium. They have become an institution of American popular culture and provide a framework by which artists and authors express themselves, and fans can understand and connect with such expressions. Such comics vary from campy to dark, and have ranged widely regarding their moral, philosophical, and emotional sophistication, but the fact remains that something about these costumed heroes has strongly resonated with comic fans. They give us a standard to aspire towards, but at the same time serve as a reminder that even the most powerful individuals have their weaknesses. Even Superman suffers from kryptonite. Detective Stories, 1875-1938 Detective stories are defined by an emphasis on an investigative individual or collective, often attempting to unravel the details of a puzzling crime. Detectives and characters of a similarly interrogative temperament have appeared in fiction throughout recorded civilization, but the genre is generally considered to have formally been established around the mid-19th century, with the works of Edgar Allan Poe, particularly The Murders in the Rue Morgue (1841). Since its inception as a genre, Detective stories, typically grouped together with the highly related Mystery and Crime fiction, have remained one of the best-selling genres in literature. Detective character archetypes include cynical loners, genius amateurs, and even formally-employed officers of the law merely providing a public service, but they are unified by a focus on the utilization of their mental faculties in an attempt to solve a crime. The popularity of such stories demonstrate the public fascination with pathological behavior and its typically punitive consequences, as well as an appreciation for problem-solving that involves reason and investigation rather than physical force. Audiences are fascinated by criminal activity, and yet take comfort in seeing it both outsmarted and punished. Science Fiction, 1899-2007 Science Fiction is a genre characterized by its speculation on matters such as science, technology, and the future. The genre is considered to have been codified by the early 20th century, but numerous examples of precursors can be found in the preceding centuries, such as Mary Shelley’s Frankenstein (1818) or Thomas More’s Utopia (1516). Much of early 20th century Science Fiction was aimed at an adolescent demographic, but as the years passed, the genre expanded to embrace more mature themes and audiences, while still allowing for more juvenile works to be published. Science Fiction literature has penetrated mass consciousness and become a mainstay of popular culture. Some of the most recognizable properties of our time fall within the genre’s boundaries. As with all genres, there is a significant degree of variety with regard to tone and style in Science Fiction. Some works primarily focus on exploration of scientific concepts, while others merely use science as a vehicle to examine social issues. Some works take a profoundly optimistic view of humanity’s future, while others offer bleak and harrowing dystopias. Regardless of such diversity, works under this banner are unified by their aforementioned speculative content. Though the conclusions drawn by them can differ vastly, the simple fact that they muse on issues of science, technology, and the future, and that the public is so receptive to these musings, indicates an intense concern with them. Science Fiction allows readers to confront these issues, and reveals their feelings and anxieties towards them. Fantasy Fiction, 1966-1976 Fantasy Fiction can be understood as a parallel to Science Fiction. Both genres are speculative in nature, but where Science Fiction is concerned with imaginative forms of science and technology, Fantasy extends beyond that reach and embraces magic and the supernatural. The genre naturally has significant crossover with Science Fiction with regard to the fictional devices explored in such works, authors working within the genres, and fandom. Fantasy has its precedents in works of mythology and folklore, which extend back to the beginnings of recorded history. By the 19th century, Fantasy as it is recognized today, was consolidated as a genre largely from the works of George Macdonald (1824-1905). Some of the most popular works of our times fall within the parameters of this genre. Such works can be grand in scale, taking place in elaborate magical worlds filled with wizards and mages, or can be relatively understated, set in a world generally akin to our own but with a few supernatural elements. Fantasy demonstrates the human fascination with what is unknown and unexplainable by conventional methods, as well as a yearning for something beyond the quotidian. Whether it be resplendent and medieval, or just divergent enough from reality to be noticeable, Fantasy provides viewers with a world other than their own to explore. Tarzan, 1914-1936 One of the most iconic figures of American popular culture is Tarzan. First published by Edgar Rice Burroughs in Tarzan of the Apes (1912), Tarzan has become one of the most enduring figures of our cultural landscape, appearing in numerous novels, films, and comics, and continuing to be relevant after the death of Burroughs. Tarzan is a feral child, brought up in the jungles of Africa. Burroughs, informed by the literary traditions preceding him, was heavily inspired by Rudyard Kipling’s Mowgli of The Jungle Book (1894), and also referenced writers of antiquity such as Homer and Ovid in these stories. The primitivism embedded in the tales of Tarzan depict a lifestyle in which virtue and heroism can be found away from civilization, which audiences, perhaps frustrated with the perceived limits of human society, found appealing. Westerns, 1902-1974 The Western is largely characterized by its setting in the American Frontier of the 19th century (though occasionally different regions and eras are utilized), and its character archetypes, including cowboys, Native Americans, bandits, and lawmen. The genre emerged in the very early 20th century, and maintained an upward trajectory of popularity for decades before largely falling out of favor with the public by the 1970s, though certain works since then have managed to breach public consciousness. This particular collection primarily showcases early 20th century examples of the genre. The Western exhibits many tropes which help explain its popularity with audiences for so long. Many of these works demonstrate mankind’s desire to surmount nature, often represented by arid landscapes, evil bandits, or ruthless Native Americans, devoid of what viewers deemed civilization. Westerns also commonly featured lone male heroes with a strong sense of honor, tackling and overcoming their obstacles, which reinforced ideas of law and order, morality, masculinity, and individualism. It is interesting to note that shortly after the genre reached its subversive heights, becoming increasingly critical of the values it once espoused, and became more of an international phenomenon, it began to decline in popularity. Manga Though thoroughly products of Japanese culture, Anime and Manga have found tremendous success among American audiences. Quite simply, Anime is defined as animated works of Japanese origin, and Manga is
Recommended publications
  • Myth, Metatext, Continuity and Cataclysm in Dc Comics’ Crisis on Infinite Earths
    WORLDS WILL LIVE, WORLDS WILL DIE: MYTH, METATEXT, CONTINUITY AND CATACLYSM IN DC COMICS’ CRISIS ON INFINITE EARTHS Adam C. Murdough A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS August 2006 Committee: Angela Nelson, Advisor Marilyn Motz Jeremy Wallach ii ABSTRACT Angela Nelson, Advisor In 1985-86, DC Comics launched an extensive campaign to revamp and revise its most important superhero characters for a new era. In many cases, this involved streamlining, retouching, or completely overhauling the characters’ fictional back-stories, while similarly renovating the shared fictional context in which their adventures take place, “the DC Universe.” To accomplish this act of revisionist history, DC resorted to a text-based performative gesture, Crisis on Infinite Earths. This thesis analyzes the impact of this singular text and the phenomena it inspired on the comic-book industry and the DC Comics fan community. The first chapter explains the nature and importance of the convention of “continuity” (i.e., intertextual diegetic storytelling, unfolding progressively over time) in superhero comics, identifying superhero fans’ attachment to continuity as a source of reading pleasure and cultural expressivity as the key factor informing the creation of the Crisis on Infinite Earths text. The second chapter consists of an eschatological reading of the text itself, in which it is argued that Crisis on Infinite Earths combines self-reflexive metafiction with the ideologically inflected symbolic language of apocalypse myth to provide DC Comics fans with a textual "rite of transition," to win their acceptance for DC’s mid-1980s project of self- rehistoricization and renewal.
    [Show full text]
  • Copyright 2013 Shawn Patrick Gilmore
    Copyright 2013 Shawn Patrick Gilmore THE INVENTION OF THE GRAPHIC NOVEL: UNDERGROUND COMIX AND CORPORATE AESTHETICS BY SHAWN PATRICK GILMORE DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in English in the Graduate College of the University of Illinois at Urbana-Champaign, 2013 Urbana, Illinois Doctoral Committee: Professor Michael Rothberg, Chair Professor Cary Nelson Associate Professor James Hansen Associate Professor Stephanie Foote ii Abstract This dissertation explores what I term the invention of the graphic novel, or more specifically, the process by which stories told in comics (or graphic narratives) form became longer, more complex, concerned with deeper themes and symbolism, and formally more coherent, ultimately requiring a new publication format, which came to be known as the graphic novel. This format was invented in fits and starts throughout the twentieth century, and I argue throughout this dissertation that only by examining the nuances of the publishing history of twentieth-century comics can we fully understand the process by which the graphic novel emerged. In particular, I show that previous studies of the history of comics tend to focus on one of two broad genealogies: 1) corporate, commercially-oriented, typically superhero-focused comic books, produced by teams of artists; 2) individually-produced, counter-cultural, typically autobiographical underground comix and their subsequent progeny. In this dissertation, I bring these two genealogies together, demonstrating that we can only truly understand the evolution of comics toward the graphic novel format by considering the movement of artists between these two camps and the works that they produced along the way.
    [Show full text]
  • Click Above for a Preview, Or Download
    JACK KIRBY COLLECTOR THIRTY-NINE $9 95 IN THE US . c n I , s r e t c a r a h C l e v r a M 3 0 0 2 © & M T t l o B k c a l B FAN FAVORITES! THE NEW COPYRIGHTS: Angry Charlie, Batman, Ben Boxer, Big Barda, Darkseid, Dr. Fate, Green Lantern, RETROSPECTIVE . .68 Guardian, Joker, Justice League of America, Kalibak, Kamandi, Lightray, Losers, Manhunter, (the real Silver Surfer—Jack’s, that is) New Gods, Newsboy Legion, OMAC, Orion, Super Powers, Superman, True Divorce, Wonder Woman COLLECTOR COMMENTS . .78 TM & ©2003 DC Comics • 2001 characters, (some very artful letters on #37-38) Ardina, Blastaar, Bucky, Captain America, Dr. Doom, Fantastic Four (Mr. Fantastic, Human #39, FALL 2003 Collector PARTING SHOT . .80 Torch, Thing, Invisible Girl), Frightful Four (Medusa, Wizard, Sandman, Trapster), Galactus, (we’ve got a Thing for you) Gargoyle, hercules, Hulk, Ikaris, Inhumans (Black OPENING SHOT . .2 KIRBY OBSCURA . .21 Bolt, Crystal, Lockjaw, Gorgon, Medusa, Karnak, C Front cover inks: MIKE ALLRED (where the editor lists his favorite things) (Barry Forshaw has more rare Kirby stuff) Triton, Maximus), Iron Man, Leader, Loki, Machine Front cover colors: LAURA ALLRED Man, Nick Fury, Rawhide Kid, Rick Jones, o Sentinels, Sgt. Fury, Shalla Bal, Silver Surfer, Sub- UNDER THE COVERS . .3 GALLERY (GUEST EDITED!) . .22 Back cover inks: P. CRAIG RUSSELL Mariner, Thor, Two-Gun Kid, Tyrannus, Watcher, (Jerry Boyd asks nearly everyone what (congrats Chris Beneke!) Back cover colors: TOM ZIUKO Wyatt Wingfoot, X-Men (Angel, Cyclops, Beast, n their fave Kirby cover is) Iceman, Marvel Girl) TM & ©2003 Marvel Photocopies of Jack’s uninked pencils from Characters, Inc.
    [Show full text]
  • Shields, Grounds and Microphone Cables
    Shields, grounds and microphone cables Shields, grounds and microphone cables By Bill Whitlock There is an old joke that the definition of a cable is “a source of potential trouble connecting two other sources of potential trouble” – that is worth chewing on. All signals accumulate noise as they flow through equipment and the connecting wires, and once noise has contaminated a signal it is essentially impossible to remove it without altering or degrading the original signal. For this reason no system can be quieter than its noisiest link. Noise and interference must be prevented from entering any part of the signal path, and the most vulnerable areas are usually the signal interfaces. The level of noise that is tolerable in an analogue pathway depends on many things but for a professional microphone – a primary signal Fig 1—The impedance of 3m (10ft) of 2.5 2mm (12#) copper wire source – most users would like it to be low enough to allow a dynamic range of >120dB. significant 0.015 Ω. In AC terms inductance will give This means that noise and interference the same wire an impedance of 30Ω at 1MHz. At components must be 120dB below the 25MHz it will become a radio antenna and look almost maximum undistorted signal capability of the like an open circuit. (Figure1) system. Microphones in professional use are almost in- Increasing the dimensions of the wire, even to variably connected using balanced cabling and ridiculous extents such as a 12mm solid copper rod so the many grave difficulties associated with will make remarkably little difference.
    [Show full text]
  • Crossmedia Adaptation and the Development of Continuity in the Dc Animated Universe
    “INFINITE EARTHS”: CROSSMEDIA ADAPTATION AND THE DEVELOPMENT OF CONTINUITY IN THE DC ANIMATED UNIVERSE Alex Nader A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2015 Committee: Jeff Brown, Advisor Becca Cragin © 2015 Alexander Nader All Rights Reserved iii ABSTRACT Jeff Brown, Advisor This thesis examines the process of adapting comic book properties into other visual media. I focus on the DC Animated Universe, the popular adaptation of DC Comics characters and concepts into all-ages programming. This adapted universe started with Batman: The Animated Series and comprised several shows on multiple networks, all of which fit into a shared universe based on their comic book counterparts. The adaptation of these properties is heavily reliant to intertextuality across DC Comics media. The shared universe developed within the television medium acted as an early example of comic book media adapting the idea of shared universes, a process that has been replicated with extreme financial success by DC and Marvel (in various stages of fruition). I address the process of adapting DC Comics properties in television, dividing it into “strict” or “loose” adaptations, as well as derivative adaptations that add new material to the comic book canon. This process was initially slow, exploding after the first series (Batman: The Animated Series) changed networks and Saturday morning cartoons flourished, allowing for more opportunities for producers to create content. References, crossover episodes, and the later series Justice League Unlimited allowed producers to utilize this shared universe to develop otherwise impossible adaptations that often became lasting additions to DC Comics publishing.
    [Show full text]
  • The Significance of Anime As a Novel Animation Form, Referencing Selected Works by Hayao Miyazaki, Satoshi Kon and Mamoru Oshii
    The significance of anime as a novel animation form, referencing selected works by Hayao Miyazaki, Satoshi Kon and Mamoru Oshii Ywain Tomos submitted for the degree of Doctor of Philosophy Aberystwyth University Department of Theatre, Film and Television Studies, September 2013 DECLARATION This work has not previously been accepted in substance for any degree and is not being concurrently submitted in candidature for any degree. Signed………………………………………………………(candidate) Date …………………………………………………. STATEMENT 1 This dissertation is the result of my own independent work/investigation, except where otherwise stated. Other sources are acknowledged explicit references. A bibliography is appended. Signed………………………………………………………(candidate) Date …………………………………………………. STATEMENT 2 I hereby give consent for my dissertation, if accepted, to be available for photocopying and for inter-library loan, and for the title and summary to be made available to outside organisations. Signed………………………………………………………(candidate) Date …………………………………………………. 2 Acknowledgements I would to take this opportunity to sincerely thank my supervisors, Elin Haf Gruffydd Jones and Dr Dafydd Sills-Jones for all their help and support during this research study. Thanks are also due to my colleagues in the Department of Theatre, Film and Television Studies, Aberystwyth University for their friendship during my time at Aberystwyth. I would also like to thank Prof Josephine Berndt and Dr Sheuo Gan, Kyoto Seiko University, Kyoto for their valuable insights during my visit in 2011. In addition, I would like to express my thanks to the Coleg Cenedlaethol for the scholarship and the opportunity to develop research skills in the Welsh language. Finally I would like to thank my wife Tomoko for her support, patience and tolerance over the last four years – diolch o’r galon Tomoko, ありがとう 智子.
    [Show full text]
  • Busiek • Dewey • Scharf • Farrell
    BUSIEK • DEWEY • SCHARF • FARRELL BONUS DIGITAL EDITION – DETAILS INSIDE! RATED RATED 0 0 5 1 1 $3.99 5 US T+ 7 5 9 6 0 6 2 0 0 0 8 5 NAMOR THE SUB-MARINER--SON OF AN ATLANTEAN PRINCESS FROM THE DEPTHS OF THE OCEAN AND A HUMAN SAILOR. BORN A MUTANT, WITH THE POWERS OF FLIGHT, INCREDIBLE STRENGTH AND DURABILITY. NOW THE RULER OF THE UNDERWATER EMPIRE OF ATLANTIS, HE HAS BEEN BOTH FRIEND AND FOE TO HUMANITY. CHAPTER 5 THE BREAKING WAVE OLDER THAN MEMORY AND IMPRISONED AT THE EDGE OF THE GALAXY FOR MILLENNIA, KNULL, THE GOD-KING OF THE SYMBIOTES, HAS BEEN FREED AND LED A HORDE OF MORE THAN ONE HUNDRED THOUSAND DRAGONS ACROSS THE COSMOS, WITH A TRAIL OF DEATH AND DESTRUCTION IN THEIR WAKE. THE KING IN BLACK HAS ARRIVED ON EARTH. BUT THE FIGHT TO STOP KNULL REACHES FAR INTO THE PAST, WHEN A YOUNG NAMOR ADMIRED THE GROUP OF ATLANTEAN WARRIORS KNOWN AS THE SWIFT TIDE. NAMOR, DORMA AND ATTUMA SET OUT ALONGSIDE THE SWIFT TIDE ON A MISSION TO RETRIEVE THE UNFORGOTTEN STONE, A POWERFUL MAGICAL RELIC. WHEN THE STONE RELEASED A BLAST OF DARK ELDRITCH ENERGY, THE SWIFT TIDE WAS CORRUPTED, TRANSFORMING INTO THE VICIOUS, MURDEROUS BLACK TIDE. NAMOR AND HIS ALLIES PURSUED THE WARRIORS AS THEY RAMPAGED ACROSS THE OCEAN. WITH THE BLACK TIDE NOW AT THE GATES OF ATLANTIS ITSELF, DORMA’S PET FISH, AMBROSE, REAPPEARED IN MONSTROUS, MUTATED FORM BUT WITH AN UNEXPECTED GIFT FOR NAMOR AND HIS ALLIES: THE UNFORGOTTEN STONE! KURT BUSIEK WRITER // BENJAMIN DEWEY ARTIST JONAS SCHARF PRESENT DAY SEQUENCE ARTIST TRÍONA FARRELL COLOR ARTIST KING IN BLACK: NAMOR No.
    [Show full text]
  • Ottawa (Ontario, Canada) SELLER MANAGED Reseller Online Auction - Starwood Road
    09/28/21 11:23:31 Ottawa (Ontario, Canada) SELLER MANAGED Reseller Online Auction - Starwood Road Auction Opens: Mon, Jun 29 5:00pm ET Auction Closes: Wed, Jul 8 7:30pm ET Lot Title Lot Title 0001 Gordie Howe Autographed Photo Framed with 0020 1999 Upper Deck Wayne Gretzky 22 karat Certificate of Authenticity A Gold Cards in original holder A 0002 1968 Marvel Comic Nick Fury Agent of 0021 1997-98 Kraft Hockey Card Set in Original S.H.I.E.L.D. # 1 Issue A Album A 0003 Box lot of 350+ sports cards hockey football 0022 1994 Upper Deck hockey Card Wax Box 24 baseball golf 1970's to Current A Packs 0004 1982 Empire Strikes Back Movie Poster A Maurice Richard Picture on box 1956-57 Parkhurst A 0005 Lot of 16 Older Rock Albums Zeppelin, Queen, Genesis, King Crimson A 0023 1992 Sporting News Conlin Collection Wax Box 36 Packs Vintage Baseball Players Babe 0006 1950's Original Davy Crockett Metal Thermos Ruth, Ty Cobb etc. A by Holtemp A 0024 1948 Maurice Richard Original Playing Card 0007 1960's Jello Automobile Coin Lot of 200 with Montreal Canadiens A Original Plastic Carousel A 0025 Bobby Orr Autographed Hockey Card Blue 0008 Lot of 650 + Red Rose Tea Cards from the Sharpie A 1960's A 0026 Mini Louisville slugger Baseball Bat from 0009 1983-84 OPC Hockey EMPTY Wax Pack Cooperstown New York A Display Box A 0027 1969 Marvel Comic The Incredible Hulk # 118 0010 1993 OPC Hockey Card Wax Box with A Original Seal A 0028 1966 Marvel Comic Fantastic Four # 58 A 0011 1992 Future Trends 1976 Canada Cup Hockey Card Wax Box 36 Packs with Original Seal
    [Show full text]
  • Relationality and Masculinity in Superhero Narratives Kevin Lee Chiat Bachelor of Arts (Communication Studies) with Second Class Honours
    i Being a Superhero is Amazing, Everyone Should Try It: Relationality and Masculinity in Superhero Narratives Kevin Lee Chiat Bachelor of Arts (Communication Studies) with Second Class Honours This thesis is presented for the degree of Doctor of Philosophy of The University of Western Australia School of Humanities 2021 ii THESIS DECLARATION I, Kevin Chiat, certify that: This thesis has been substantially accomplished during enrolment in this degree. This thesis does not contain material which has been submitted for the award of any other degree or diploma in my name, in any university or other tertiary institution. In the future, no part of this thesis will be used in a submission in my name, for any other degree or diploma in any university or other tertiary institution without the prior approval of The University of Western Australia and where applicable, any partner institution responsible for the joint-award of this degree. This thesis does not contain any material previously published or written by another person, except where due reference has been made in the text. This thesis does not violate or infringe any copyright, trademark, patent, or other rights whatsoever of any person. This thesis does not contain work that I have published, nor work under review for publication. Signature Date: 17/12/2020 ii iii ABSTRACT Since the development of the superhero genre in the late 1930s it has been a contentious area of cultural discourse, particularly concerning its depictions of gender politics. A major critique of the genre is that it simply represents an adolescent male power fantasy; and presents a world view that valorises masculinist individualism.
    [Show full text]
  • Disentangling Dense Multi-Cable Knots
    Disentangling Dense Multi-Cable Knots Vainavi Viswanath∗1, Jennifer Grannen∗1, Priya Sundaresan∗1, Brijen Thananjeyan1, Ashwin Balakrishna1, Ellen Novoseller1, Jeffrey Ichnowski1, Michael Laskey2, Joseph E. Gonzalez1, Ken Goldberg1 Abstract— Disentangling two or more cables requires many steps to remove crossings between and within cables. We formal- ize the problem of disentangling multiple cables and present an algorithm, Iterative Reduction Of Non-planar Multiple cAble kNots (IRON-MAN), that outputs robot actions to remove crossings from multi-cable knotted structures. We instantiate this algorithm with a learned perception system, inspired by prior work in single-cable untying that given an image input, can disentangle two-cable twists, three-cable braids, and knots of two or three cables, such as overhand, square, carrick bend, sheet bend, crown, and fisherman’s knots. IRON-MAN keeps track of task-relevant keypoints corresponding to target cable endpoints and crossings and iteratively disentangles the cables by identifying and undoing crossings that are critical to knot structure. Using a da Vinci surgical robot, we experimentally evaluate the effectiveness of IRON-MAN on untangling multi- cable knots of types that appear in the training data, as well as generalizing to novel classes of multi-cable knots. Results suggest that IRON-MAN is effective in disentangling knots involving up to three cables with 80.5% success and generalizing to knot types that are not present during training, with cables of both distinct or identical colors. Fig. 1: Overview of IRON-MAN: IRON-MAN (Iterative Reduction Of Non-planar Multiple cAble kNots) is an algorithm for disentanglement of I.
    [Show full text]
  • Ivar, Timewalker: Making History Volume 1: Making History Free
    FREEIVAR, TIMEWALKER: MAKING HISTORY VOLUME 1: MAKING HISTORY EBOOK Clayton Henry,Fred Van Lente | 128 pages | 02 Jun 2015 | Valiant Entertainment | 9781939346636 | English | New York, United States ComicAlly: Ivar Timewalker, Volume 1: Making History Review (Fred Van Lente, Clayton Henry) You can unsubscribe from our emails at any time, and we'll still let you know when this product is available. See our policy statement. Everything Title. Help Help Center Contact Us. Music Categories. Movies Categories. More Novelties. We're still shipping orders. Email Me When Available. Also send emails for our other sales. Book Details. Other Ideas. Without it, any well-stocked comics library should be considered incomplete. Club "Absolutely outstanding art by Zulli. The visuals are eye-popping. Written by Stephen Murphy, the most prolific Teenage Mutant Ninja Turtles author of all time, and illustrated by Michael Zulli, artist on many of Timewalker: Making History Volume 1: Making History most popular Sandman comicsThe Puma Blues unveils "a near-future world kissed by terrorist assaults…and Ivar threat of ecological ruin. Zulli's wildlife art is utterly breathtaking. Suggested for mature readers. Lamont Cranston seeks to resume Ivar old life, and his heroic alter-ego is ready to stand once more Ivar an enemy to evil. But while he slept, his foes have remained vigilant, and the most dangerous Ivar that The Shadow has ever faced prepares to rise once more It's the shocking beginning to a new era for the Shadow! David Liss Writer Commentary: "The Shadow is, without doubt, one of the coolest pulp characters of all time, so I was thrilled to get a chance to add something to the legend.
    [Show full text]
  • ARCHIE COMICS Random House Adult Blue Omni, Summer 2012
    ARCHIE COMICS Random House Adult Blue Omni, Summer 2012 Archie Comics Archie Meets KISS Summary: A highly unexpected pairing leads to a very Alex Segura, Dan Parent fun title that everyone’s talking about. Designed for both 9781936975044 KISS’s and Archie’s legions of fans and backed by Pub Date: 5/1/12 (US, Can.), On Sale Date: 5/1 massive publicity including promotion involving KISS $12.99/$14.99 Can. cofounders Gene Simmons and Paul Stanley, Archie 112 pages expects this title to be a breakout success. Paperback / softback / Trade paperback (US) Comics & Graphic Novels / Fantasy From the the company that’s sold over 1 billion comic books Ctn Qty: 0 and the band that’s sold over 100 million albums and DVDs 0.8lb Wt comes this monumental crossover hit! Immortal rock icons 363g Wt KISS join forces ... Author Bio: Alex Segura is a comic book writer, novelist and musician. Alex has worked in comics for over a decade. Before coming to Archie, Alex served as Publicity Manager at DC Comics. Alex has also worked at Wizard Magazine, The Miami Herald, Newsarama.com and various other outlets and websites. Author Residence: New York, NY Random House Adult Blue Omni, Summer 2012 Archie Comics Archie Meets KISS: Collector's Edition Summary: A highly unexpected pairing leads to a very Alex Segura, Dan Parent, Gene Simmons fun title that everyone’s talking about. Designed for both 9781936975143 KISS’s and Archie’s legions of fans and backed by Pub Date: 5/1/12 (US, Can.), On Sale Date: 5/1 massive publicity including promotion involving KISS $29.99/$34.00 Can.
    [Show full text]