DOCSLIB.ORG

List of Superhero Debuts

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
List of Superhero Debuts List of SuperHero debuts The following is a list of the first known appearances of various superhero fictional characters and teams. A superhero (also known as a super hero) is a fictional character "of unprecedented physical prowess dedicated to acts of derring-do in the public interest."[1] Since the debut of the prototypal superhero Superman in 1938, stories of superheroes — ranging from brief episodic adventures to continuing years-long sagas — have dominated American comic books and crossed over into other media. A female superhero is sometimes called a superheroine or super heroine. By most definitions, characters need not have actual superhuman powers to be deemed superheroes, although sometimes terms such as costumed crimefighters[2] are used to refer to those without such powers who have many other common traits of superheroes. 1850-1900 Penny Dreadful Character / Team / Year Debuted Creator/s First Appearance Series George A. Sala or Spring-Heeled Jack, Spring Heeled Jack 1867 Alfred Burrage as the Terror of London "Charlton Lea" The folkloric Spring Heeled Jack came to be featured in a series of Penny Dreadfuls, first as a villain, then as a crime-fighter with a disguise, secret lair, and gadgets, hallmarks of superheroes.[3] 1900-1909 Play Character / Team / Year Debuted Creator/s First Appearance Series Baroness Emmuska The Scarlet Pimpernel 1903 The Scarlet Pimpernel Orczy The often cited as perhaps the earliest superhero akin to those to become popularized through American comic books.[4][5][6][7] 1910s Magazine Character / Team / Year Debuted Creator/s First Appearance Series Varick Vanardy[8] The Night Wind 1913 (Frederick Van Alias the Night Wind Rensselaer Dey) Doctor Syn: A Tale of The Scarecrow 1915 Russell Thorndike the Romney Marsh "The Curse of Zorro 1919 Johnston McCulley Capistrano" All Weekly Story 1920s Notable non-superhero characters that influenced the superhero genre Character Year Creator/s Media Comment / Team Debuted Adapted from the story Armageddon 2419 A.D. Buck that appeared in the August 1928 issue of the pulp Rogers in Philip magazine Amazing Stories. This issue was also January Newspaper the 25th Francis notable for the debut of Doc Smith's The Skylark 7, 1929 Comic Century Nowlan of Space, and the cover illustration of a man A.D flying through the use of a strange scientific apparatus. 1930s Radio Character / Team / First Year Debuted Creator/s Series Appearance The Shadow (as Maxwell Grant(Walter B. 1930 (July 31) Detective Stories announcer voice) Gibson) The Lone Ranger 1933 (January 30) George W. Trendle The Lone Ranger 1933 (February Tonto Fran Striker The Lone Ranger 25) The Green Hornet and George W. Trendle and Fran The Green 1936 (January 31) Kato Striker Hornet Pulp fiction Character / Team / Year Debuted Creator/s First Appearance Series The Shadow (as Maxwell Grant "The Living 1931 (April 1) character) (Walter B. Gibson) Shadow"The Shadow Magazine #1 Kenneth Robeson Doc Savage 1933 (March) The Man of Bronze (Lester Dent) Kenneth Robeson "Justice, Inc."The The Avenger 1939 (September 1) (Paul Ernst) Avenger Magazine #1 Newspaper comics Character / Team / Year Debuted Creator/s Series Series Mandrake the Mandrake the 1934 (June 11) Lee Falk Magician Magician The Phantom The Adventures of [9] 1935 (April 15) Mel Graff [10] Magician Patsy The Phantom 1936 (February 17) Lee Falk The Phantom Comic book Character / Team Year Debuted Creator/s First Appearance Doctor Occult (Doctor Jerry Siegel, Joe 1935 (October) New Fun Comics #6 Mystic) Shuster Funny Pages #6 The Clock 1936 (November) George Brenner orFunny Picture Stories #1 Sheena, Queen of the Will Eisner and S.M. 1937 Wags #1 Jungle "Jerry" Iger Jerry Siegel, Joe Superman 1938 (June) Action Comics #1 Shuster Zatara 1938 (June) Fred Guardineer Action Comics #1 Funny Pages vol. 2 Arrow 1938 (September) Paul Gustavson #10 (or #21) Crimson Avenger 1938 (October) Jim Chambers Detective Comics #20 Namor the Sub- Motion Picture 1939 (April) Bill Everett Mariner Funnies Weekly #1 Batman 1939 (May) Bob Kane, Bill Finger Detective Comics #27 Wonder Man (Fox) 1939 (May) Will Eisner Wonder Comics #1 The Flame (Gary Wonderworld Comics 1939 (June) Will Eisner Preston) #3 Gardner Fox, Bert World's Fair Comics The Sandman 1939 (July) Christman #1 Blue Beetle (Dan Mystery Men Comics 1939 (August) Charles Nicholas Garret) #1 Bozo the Iron Man 1939 (August) George Brenner Smash Comics #1 Amazing Man Amazing-Man Comics 1939 (September) Bill Everett (Centaur Publications) #5 The Angel 1939 (October) Paul Gustavson Marvel Comics #1 The Human Torch 1939 (October) Carl Burgos Marvel Comics #1 (original) Shock Gibson 1939 (October) Maurice Scott Speed Comics #1 Doll Man 1939 (December) Will Eisner Feature Comics #27 Other media Character / Team Year Debuted Creator/s Media Ôgon Batto (the Kamishibai 1930 Takeo Nagamatsu Golden Bat) (Japanese scroll show) Notable non-superhero characters that influenced the superhero genre Character / Team Year Debuted Creator/s Media Original Comic Book Dan Dunn 1933 Norman Marsh Character Dick Tracy 1931; October 4 Chester Gould Newspaper Comic Flash Gordon 1934; January 7 Alex Raymond Newspaper Comic 1940s Newspaper comics Character / Team / Year Debuted Creator/s Series Series The Spirit 1940 (June 2) Will Eisner The Spirit Invisible Scarlet Invisible Scarlet 1940 (June 3) Russell Stamm O'Neil O'Neil Comic book Character / Team / Series Year Debuted Creator/s First Appearance Gardner Fox, Harry Flash 1940 (January) Flash Comics #1 Lampert Hawkman 1940 (January) Gardner Fox Flash Comics #1 John W. Wentworth, Johnny Thunder 1940 (January) Flash Comics #1 Stan Asch Harry Shorten, Irv The Shield (Archie) 1940 (January) Pep Comics #1 Novick C. C. Beck, Bill Captain Marvel 1940 (February) Whiz Comics #2 Parker Electro (comics) 1940 (February) Steve Dahlman Marvel Mystery #4 More Fun Comics The Spectre 1940 (February) Jerry Siegel #52 Ken Fitch, Bernard Adventure Comics Hourman 1940 (March) Bailey #48 Black Marvel 1940 (March) Stan Lee, Al Gabriele Mystic Comics #5 Blazing Skull 1940 (March) Mystic Comics #5 Bill Finger, Bob Robin, the Boy Wonder 1940 (April) Detective Comics #38 Kane, Jerry Robinson Bulletman and Bulletgirl 1940 (May) Bill Parker Nickel Comics #1 Gardner Fox, More Fun Comics Doctor Fate 1940 (May) Howard Sherman #55 Uncle Sam (Quality 1940 (July) Will Eisner National Comics #1 Comics) Martin Nodell, Bill All-American Comics Green Lantern 1940 (July) Finger #16 All-American Comics Red Tornado 1940 (November) Sheldon Mayer #20 Justice Society of America 1940 (Winter) Gardner Fox All Star Comics #3 Daredevil (Gleason 1940 Jack Binder Silver Streak #6 Publications) Jack Cole, Chuck Quicksilver 1940 National Comics #5 Mazoujian Toni Blum, Charles The Red Bee 1940 Hit Comics #1 Nicholas Harry Shorten, Irv Scarlet Avenger 1940 Zip Comics #1 Novick Richard E. Hughes, Doc Strange 1940 Thrilling Comics #1 Alexander Kostuk John B. Wentworth, All American Comics Sargon the Sorcerer 1941 (May) Howard Purcell #26 Mr. 1941 (June) Action Comics #33 America(Americommando) 711 1941 (August) George Brenner Police Comics #1 Mort Weisinger, Paul More Fun Comics Aquaman 1941 (November) Norris #73 The Atom 1941 Ben Flinton, Bill All-American Comics O'Conner #19 Will Eisner, Chuck Blackhawk 1941 Military Comics #1 Cuidera Richard E. Hughes, Black Terror 1941 Exciting Comics #9 Don Gabrielson Joe Simon, Jack Captain America 1941 Captain America #1 Kirby Joe Blair, Lin Blue Ribbon Comics Captain Flag 1941 Streeter #16 Ed Herron, Mac Captain Marvel, Jr. 1941 Whiz Comics #25 Raboy Bill Finger, Bob Catwoman 1941 Batman #1 Kane Mort Weisinger, More Fun Comics Green Arrow and Speedy 1941 Greg Papp #73 The Human Bomb 1941 Paul Gustavson Police Comics #1 Mort Weisinger, More Fun Comics Johnny Quick 1941 Chad Grothkopf #71 Miss America (DC 1941 Quality Comics Military Comics #1 Comics) Professor Supermind and 1941 Dell Comics Popular Comics #60 Son Nelvana of the Northern 1941 Adrian Dingle Triumph Comics #1 Lights Phantom Lady 1941 Arthur Peddy Police Comics #1 Plastic Man 1941 Jack Cole (artist) Police Comics #1 Joe Simon and Jack Adventure Comics Sandy the Golden Boy 1941 Kirby #69 Seven Soldiers of Victory 1941 Mort Weisinger Leading Comics #1 Gardner Fox, Jack Adventure Comics Starman (Ted Knight) 1941 Burnley #61 Writer unknown; Al The Whizzer 1941 Avison & Al USA Comics #1 Gabriele, artists Writer and artist American Crusader 1941 (August) Thrilling Comics #19 unknown Writer and artist Liberator (Nedor) 1941 (December) Exciting Comics #15 unknown Murray Boltinoff or Air Wave 1942 (February) Mort Weisinger, and Detective Comics #60 Lee Harris Johnny Canuck (as 1942 (February) Leo Bachle Dime Comics #1 superhero) Manhunter (Dan Richards) 1942 (March) Police Comics #8 Jack Kirby, Joe Adventure Comics Manhunter (Paul Kirk) 1942 (April) Simon #73 Commando Yank 1942 (July) Wow Comics #6 S.M. "Jerry" Iger, Captain Commando [8] 1942 (August) Pep Comics #30 Alex Blum Otto Binder, Sheldon Kid Eternity 1942 Hit Comics #25 Moldoff Mister Terrific Chuck Reizenstein, 1942 Sensation Comics #1 (comics)(Terry Sloane) Hal Sharp Otto Binder, Marc Captain Marvel Mary Marvel 1942 Swayze Adventures #18 Jerry Siegel, Leo Star-Spangled Robotman 1942 Nowak Comics #7 Don Cameron, Jerry More Fun Comics Superboy 1944 Siegel, Joe Shuster #101 Bill Finger, Irwin Wildcat (comics) 1942 Sensation Comics #1 Hasen Charles Moulton(William All Star Comics #8 / Wonder Woman 1941 Moulton Marston), Sensation Comics #1 H. G. Peter George Menendez Canadian Heroes
Load more

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]
  • COMIC BOOKS AS AMERICAN PROPAGANDA DURING WORLD WAR II a Master's Thesis Presented to College of Arts & Sciences Departmen
    COMIC BOOKS AS AMERICAN PROPAGANDA DURING WORLD WAR II A Master’s Thesis Presented To College of Arts & Sciences Department of Communications and Humanities _______________________________ In Partial Fulfillment of the Requirements for the Master of Science Degree _______________________________ SUNY Polytechnic Institute By David Dellecese May 2018 © 2018 David Dellecese Approval Page SUNY Polytechnic Institute DEPARTMENT OF COMMUNICATIONS AND HUMANITIES INFORMATION DESIGN AND TECHNOLOGY MS PROGRAM Approved and recommended for acceptance as a thesis in partial fulfillment of the requirements for the degree of Master of Science in Information Design + Technology. _________________________ DATE ________________________________________ Kathryn Stam Thesis Advisor ________________________________________ Ryan Lizardi Second Reader ________________________________________ Russell Kahn Instructor 1 ABSTRACT American comic books were a relatively, but quite popular form of media during the years of World War II. Amid a limited media landscape that otherwise consisted of radio, film, newspaper, and magazines, comics served as a useful tool in engaging readers of all ages to get behind the war effort. The aims of this research was to examine a sampling of messages put forth by comic book publishers before and after American involvement in World War II in the form of fictional comic book stories. In this research, it is found that comic book storytelling/messaging reflected a theme of American isolation prior to U.S. involvement in the war, but changed its tone to become a strong proponent for American involvement post-the bombing of Pearl Harbor. This came in numerous forms, from vilification of America’s enemies in the stories of super heroics, the use of scrap, rubber, paper, or bond drives back on the homefront to provide resources on the frontlines, to a general sense of patriotism.
    [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]
  • From Ms Marvel to Ms Shabash
    Paper prepared for the Fifth Euroacademia Forum of Critical Studies Asking Big Questions Again 11 – 12 November 2016 Lucca, Italy This paper is a draft Please do not cite or circulate From Ms. Marvel to Ms. Shabash: Sex and Power Distribution in Bangladeshi and Western Cultures Tahseen Salman Choudhury Arzoo Ismail Research and Publication Officer, Bangladesh Lecturer, School of Business Employers’ Federation Bangladesh University of Liberal Arts Bangladesh Abstract The medium of comics is a wonderful preserver of culture. Sequential art can effortlessly portray the latest trends and norms prevalent in any society. Comics from different parts of the world can help identify and analyze cultural differences across borders. Comic books talk about people, their dreams, their aspirations, their activities, and their ways of life. The depiction of norms, trends, traditions, celebrations, and conventions of different groups of people are well-contained in this art form. Western comics have been illustrating all these for years, securing their firm foothold in the world of sequential art. During the last few years, owing to various factors like the rise of comic-book based TV shows, superhero movies, and comic cons regularly happening in Bangladesh, the Bangladeshi comic book industry has experienced a boom. This paper aimed to identify and analyze the representation of cultures across a sample of Bangladeshi and western comics that were published during the last five years in order to determine the role of gender in the respective societies on the basis of Social Dominance Theory (SDT). While looking into societies via comics, Bangladesh remained the primary focus. Simultaneously, western comics aided in running a comparative study between the respective societies in terms of intergroup oppression, discrimination, and prejudice.
    [Show full text]
  • ABSTRACT the Pdblications of the Marvel Comics Group Warrant Serious Consideration As .A Legitimate Narrative Enterprise
    DOCU§ENT RESUME ED 190 980 CS 005 088 AOTHOR Palumbo, Don'ald TITLE The use of, Comics as an Approach to Introducing the Techniques and Terms of Narrative to Novice Readers. PUB DATE Oct 79 NOTE 41p.: Paper' presented at the Annual Meeting of the Popular Culture Association in the South oth, Louisville, KY, October 18-20, 19791. EDFS PRICE MF01/PCO2 Plus Postage." DESCRIPTORS Adolescent Literature:,*Comics (Publications) : *Critical Aeading: *English Instruction: Fiction: *Literary Criticism: *Literary Devices: *Narration: Secondary, Educition: Teaching Methods ABSTRACT The pdblications of the Marvel Comics Group warrant serious consIderation as .a legitimate narrative enterprise. While it is obvious. that these comic books can be used in the classroom as a source of reading material, it is tot so obvious that these comic books, with great economy, simplicity, and narrative density, can be used to further introduce novice readers to the techniques found in narrative and to the terms employed in the study and discussion of a narrative. The output of the Marvel Conics Group in particular is literate, is both narratively and pbSlosophically sophisticated, and is ethically and morally responsible. Some of the narrative tecbntques found in the stories, such as the Spider-Man episodes, include foreshadowing, a dramatic fiction narrator, flashback, irony, symbolism, metaphor, Biblical and historical allusions, and mythological allusions.4MKM1 4 4 *********************************************************************** * Reproductions supplied by EDRS are the best that can be made * * from the original document. * *********************************************************************** ) U SOEPANTMENTO, HEALD.. TOUCATiONaWELFARE NATIONAL INSTITUTE CIF 4 EDUCATION THIS DOCUMENT was BEEN N ENO°. DOCEO EXACTLY AS .ReCeIVED FROM Donald Palumbo THE PE aSON OR ORGANIZATIONORIGuN- ATING T POINTS VIEW OR OPINIONS Department of English STATED 60 NOT NECESSARILY REPRf SENT OFFICIAL NATIONAL INSTITUTE OF O Northern Michigan University EDUCATION POSITION OR POLICY CO Marquette, MI.
    [Show full text]
  • BERNARD BAILY Vol
    Roy Thomas’ Star-Bedecked $ Comics Fanzine JUST WHEN YOU THOUGHT 8.95 YOU KNEW EVERYTHING THERE In the USA WAS TO KNOW ABOUT THE No.109 May JUSTICE 2012 SOCIETY ofAMERICA!™ 5 0 5 3 6 7 7 2 8 5 Art © DC Comics; Justice Society of America TM & © 2012 DC Comics. Plus: SPECTRE & HOUR-MAN 6 2 8 Co-Creator 1 BERNARD BAILY Vol. 3, No. 109 / April 2012 Editor Roy Thomas Associate Editors Bill Schelly Jim Amash Design & Layout Jon B. Cooke Consulting Editor John Morrow FCA Editor P.C. Hamerlinck AT LAST! Comic Crypt Editor ALL IN Michael T. Gilbert Editorial Honor Roll COLOR FOR $8.95! Jerry G. Bails (founder) Ronn Foss, Biljo White Mike Friedrich Proofreader Rob Smentek Cover Artist Contents George Pérez Writer/Editorial: An All-Star Cast—Of Mind. 2 Cover Colorist Bernard Baily: The Early Years . 3 Tom Ziuko With Special Thanks to: Ken Quattro examines the career of the artist who co-created The Spectre and Hour-Man. “Fairytales Can Come True…” . 17 Rob Allen Roger Hill The Roy Thomas/Michael Bair 1980s JSA retro-series that didn’t quite happen! Heidi Amash Allan Holtz Dave Armstrong Carmine Infantino What If All-Star Comics Had Sported A Variant Line-up? . 25 Amy Baily William B. Jones, Jr. Eugene Baily Jim Kealy Hurricane Heeran imagines different 1940s JSA memberships—and rivals! Jill Baily Kirk Kimball “Will” Power. 33 Regina Baily Paul Levitz Stephen Baily Mark Lewis Pages from that legendary “lost” Golden Age JSA epic—in color for the first time ever! Michael Bair Bob Lubbers “I Absolutely Love What I’m Doing!” .
    [Show full text]
  • “I Am the Villain of This Story!”: the Development of the Sympathetic Supervillain
    “I Am The Villain of This Story!”: The Development of The Sympathetic Supervillain by Leah Rae Smith, B.A. A Thesis In English Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS Approved Dr. Wyatt Phillips Chair of the Committee Dr. Fareed Ben-Youssef Mark Sheridan Dean of the Graduate School May, 2021 Copyright 2021, Leah Rae Smith Texas Tech University, Leah Rae Smith, May 2021 ACKNOWLEDGMENTS I would like to share my gratitude to Dr. Wyatt Phillips and Dr. Fareed Ben- Youssef for their tutelage and insight on this project. Without their dedication and patience, this paper would not have come to fruition. ii Texas Tech University, Leah Rae Smith, May 2021 TABLE OF CONTENTS ACKNOWLEDGMENTS………………………………………………………….ii ABSTRACT………………………………………………………………………...iv I: INTRODUCTION……………………………………………………………….1 II. “IT’S PERSONAL” (THE GOLDEN AGE)………………………………….19 III. “FUELED BY HATE” (THE SILVER AGE)………………………………31 IV. "I KNOW WHAT'S BEST" (THE BRONZE AND DARK AGES) . 42 V. "FORGIVENESS IS DIVINE" (THE MODERN AGE) …………………………………………………………………………..62 CONCLUSION ……………………………………………………………………76 BIBLIOGRAPHY …………………………………………………………………82 iii Texas Tech University, Leah Rae Smith, May 2021 ABSTRACT The superhero genre of comics began in the late 1930s, with the superhero growing to become a pop cultural icon and a multibillion-dollar industry encompassing comics, films, television, and merchandise among other media formats. Superman, Spider-Man, Wonder Woman, and their colleagues have become household names with a fanbase spanning multiple generations. However, while the genre is called “superhero”, these are not the only costume clad characters from this genre that have become a phenomenon.
    [Show full text]
  • Read Book 1979 in Comics: 1979 Comic Debuts, Comics Characters
    [PDF] 1979 in comics: 1979 comic debuts, Comics characters introduced in 1979, Northstar, ABC Warriors, Black... 1979 in comics: 1979 comic debuts, Comics characters introduced in 1979, Northstar, ABC Warriors, Black Cat, War Machine, Doctor Who Magazine Book Review If you need to adding benefit, a must buy book. Better then never, though i am quite late in start reading this one. You will not truly feel monotony at at any time of your time (that's what catalogs are for concerning should you check with me). (K ay K irlin IV ) 1979 IN COMICS: 1979 COMIC DEBUTS, COMICS CHA RA CTERS INTRODUCED IN 1979, NORTHSTA R, A BC W A RRIORS, BLA CK CA T, W A R MA CHINE, DOCTOR W HO MA GA ZINE - To save 1979 in comics: 1979 comic debuts, Comics characters introduced in 1979, Northstar, A BC Warriors, Black Cat, War Machine, Doctor W ho Mag azine eBook, make sure you refer to the hyperlink listed below and save the file or gain access to other information which are related to 1979 in comics: 1979 comic debuts, Comics characters introduced in 1979, Northstar, ABC Warriors, Black Cat, War Machine, Doctor Who Magazine ebook. » Download 1979 in comics: 1979 comic debuts, Comics characters introduced in 1979, Northstar, A BC W arriors, Black Cat, W ar Machine, Doctor W ho Mag azine PDF « Our web service was introduced having a hope to work as a full online electronic digital local library that offers usage of large number of PDF e-book assortment. You could find many kinds of e-publication and other literatures from our files database.
    [Show full text]
  • In 193X, Constance Rourke's Book American Humor Was Reviewed In
    OUR LIVELY ARTS: AMERICAN CULTURE AS THEATRICAL CULTURE, 1922-1931 DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Jennifer Schlueter, M.A. ***** The Ohio State University 2007 Dissertation Committee: Approved by Professor Thomas Postlewait, Adviser Professor Lesley Ferris Adviser Associate Professor Alan Woods Graduate Program in Theatre Copyright by Jennifer Schlueter c. 2007 ABSTRACT In the first decades of the twentieth century, critics like H.L. Mencken and Van Wyck Brooks vociferously expounded a deep and profound disenchantment with American art and culture. At a time when American popular entertainments were expanding exponentially, and at a time when European high modernism was in full flower, American culture appeared to these critics to be at best a quagmire of philistinism and at worst an oxymoron. Today there is still general agreement that American arts “came of age” or “arrived” in the 1920s, thanks in part to this flogging criticism, but also because of the powerful influence of European modernism. Yet, this assessment was not, at the time, unanimous, and its conclusions should not, I argue, be taken as foregone. In this dissertation, I present crucial case studies of Constance Rourke (1885-1941) and Gilbert Seldes (1893-1970), two astute but understudied cultural critics who saw the same popular culture denigrated by Brooks or Mencken as vibrant evidence of exactly the modern American culture they were seeking. In their writings of the 1920s and 1930s, Rourke and Seldes argued that our “lively arts” (Seldes’ formulation) of performance—vaudeville, minstrelsy, burlesque, jazz, radio, and film—contained both the roots of our own unique culture as well as the seeds of a burgeoning modernism.
    [Show full text]
  • Voice Actor) Next Month Some Reviews, Pictures from ICFA and Wendee Lee (Faye, Cowboy Bebop) Maybe from Some Other Events
    Volume 24 Number 10 Issue 292 March 2012 Events A WORD FROM THE EDITOR Megacon was fun but tiring. I got see some people I Knighttrokon really respect and admire. It felt bigger than last year. I heard March 3 from the Slacker and the Man podcast that the long lines from University of Central Florida Student Union previous Megacons were not there this year. Checkout the report $5 per person in this issue. Guests: Kyle Hebert (voice actor) Next month some reviews, pictures from ICFA and Wendee Lee (Faye, Cowboy Bebop) maybe from some other events. knightrokon.com Sun Coast: CGA show (gaming and comics) March 31 Tampa Bay Comic Con Charlotte Harbor Event and Conference Center March 3-4 75 Taylor Street Double Tree Hotel Punta Gorda, Florida 33950 4500 West Cypress Street $8 or $6 with a can of food per person Tampa, FL 33607 $15 per day ICFA 33 (professional conference) Guests: Jim Steranko (comic writer and artist) March 21-25 Mike Grell(comic writer and artist) Orlando Airport Marriott, Orlando, Florida and many more Guest of Honor: China Miéville www.tampabaycomiccon.com/ Guest of Honor: Kelly Link Guest Scholar: Jeffrey Cohen Anime Planet Special Guest Emeritus : Brain Aldiss March 16 www.iafa.org Seminole State College Heathrow Campus Heathrow, Florida 32746 The 2011Nebula Awards nominees $10 entry badge, $15 event pass (source Locus & SFWA website) Edwin Antionio Figueroa III (voice actor) The Science Fiction and Fantasy Writers of America announced theanimeplanet.com the nominees for the 2011 Nebula Awards (presented 2012), the nominees for the Ray Bradbury Award for Outstanding Dramatic Hatsumi Fair (anime) Presentation, and the nominees for the Andre Norton Award for March 17-18 Young Adult Science Fiction and Fantasy Book.
    [Show full text]
  • Hawkman in the Bronze Age!
    HAWKMAN IN THE BRONZE AGE! July 2017 No.97 ™ $8.95 Hawkman TM & © DC Comics. All Rights Reserved. BIRD PEOPLE ISSUE: Hawkworld! Hawk and Dove! Nightwing! Penguin! Blue Falcon! Condorman! featuring Dixon • Howell • Isabella • Kesel • Liefeld McDaniel • Starlin • Truman & more! 1 82658 00097 4 Volume 1, Number 97 July 2017 EDITOR-IN-CHIEF Michael Eury PUBLISHER John Morrow Comics’ Bronze Age and Beyond! DESIGNER Rich Fowlks COVER ARTIST George Pérez (Commissioned illustration from the collection of Aric Shapiro.) COVER COLORIST Glenn Whitmore COVER DESIGNER Michael Kronenberg PROOFREADER Rob Smentek SPECIAL THANKS Alter Ego Karl Kesel Jim Amash Rob Liefeld Mike Baron Tom Lyle Alan Brennert Andy Mangels Marc Buxton Scott McDaniel John Byrne Dan Mishkin BACK SEAT DRIVER: Editorial by Michael Eury ............................2 Oswald Cobblepot Graham Nolan Greg Crosby Dennis O’Neil FLASHBACK: Hawkman in the Bronze Age ...............................3 DC Comics John Ostrander Joel Davidson George Pérez From guest-shots to a Shadow War, the Winged Wonder’s ’70s and ’80s appearances Teresa R. Davidson Todd Reis Chuck Dixon Bob Rozakis ONE-HIT WONDERS: DC Comics Presents #37: Hawkgirl’s First Solo Flight .......21 Justin Francoeur Brenda Rubin A gander at the Superman/Hawkgirl team-up by Jim Starlin and Roy Thomas (DCinthe80s.com) Bart Sears José Luís García-López Aric Shapiro Hawkman TM & © DC Comics. Joe Giella Steve Skeates PRO2PRO ROUNDTABLE: Exploring Hawkworld ...........................23 Mike Gold Anthony Snyder The post-Crisis version of Hawkman, with Timothy Truman, Mike Gold, John Ostrander, and Grand Comics Jim Starlin Graham Nolan Database Bryan D. Stroud Alan Grant Roy Thomas Robert Greenberger Steven Thompson BRING ON THE BAD GUYS: The Penguin, Gotham’s Gentleman of Crime .......31 Mike Grell Titans Tower Numerous creators survey the history of the Man of a Thousand Umbrellas Greg Guler (titanstower.com) Jack C.
    [Show full text]
  • Backup Series Issue! 0 8 Green Lantern • Green Arrow & Black Canary 2 6 7 7
    0 4 No.64 May 201 3 $ 8 . 9 5 1 82658 27762 8 METAMORPHO • GOODWIN & SIMONSON’S MANHUNTER GREEN LANTERN • GREEN ARROW & BLACK CANARY COMiCs PASKO & GIFFEN’S DR. FATE & more! , WHATEVER HAPPENED TO…? BACKUP SERIES ISSUE! bROnzE AGE AnD bEYOnD i . Volume 1, Number 64 May 2013 Celebrating the Best Comics of Comics’ Bronze Age and Beyond! the '70s, '80s, '90s, and Beyond! EDITOR-IN-CHIEF Michael Eury PUBLISHER John Morrow DESIGNER Rich Fowlks COVER ARTISTS Mike Grell and Josef Rubinstein COVER COLORIST Glenn Whitmore COVER DESIGNER Michael Kronenberg BACK SEAT DRIVER: Editorial by Michael Eury . .2 PROOFREADER Rob Smentek FLASHBACK: The Emerald Backups . .3 Green Lantern’s demotion to a Flash backup and gradual return to his own title SPECIAL THANKS Jack Abramowitz Robert Greenberger FLASHBACK: The Ballad of Ollie and Dinah . .10 Marc Andreyko Karl Heitmueller Green Arrow and Black Canary’s Bronze Age romance and adventures Roger Ash Heritage Comics Jason Bard Auctions INTERVIEW: John Calnan discusses Metamorpho in Action Comics . .22 Mike W. Barr James Kingman The Fab Freak of 1001-and-1 Changes returns! With loads of Calnan art Cary Bates Paul Levitz BEYOND CAPES: A Rose by Any Other Name … Would be Thorn . .28 Alex Boney Alan Light In the back pages of Lois Lane—of all places!—sprang the inventive Rose and the Thorn Kelly Borkert Elliot S! Maggin Rich Buckler Donna Olmstead FLASHBACK: Seven Soldiers of Victory: Lost in Time Again . .33 Cary Burkett Dennis O’Neil This Bronze Age backup serial was written during the Golden Age Mike Burkey John Ostrander John Calnan Mike Royer BEYOND CAPES: The Master Crime-File of Jason Bard .
    [Show full text]