Prolapse 11, Mostly About ‘Science Fiction’ (You Remember) Brought to You by Peter Weston, 53 Wyvern Road, Sutton Coldfield, B74 2PS (Tel; 0121 354 6059)

Total Page:16

File Type:pdf, Size:1020Kb

Prolapse 11, Mostly About ‘Science Fiction’ (You Remember) Brought to You by Peter Weston, 53 Wyvern Road, Sutton Coldfield, B74 2PS (Tel; 0121 354 6059) “Prolapse ... once again did its best to ruin a morning's work” - Chris Priest, LoC Vargo Statten Magazine has come in yet!" Follow George Locke’s hunt for science fiction in 1950s London - With the usual apologies to ‘Giles ’ INSIDE: ‘A Boy and his Bike’ by George Locke; ‘Forbidden Planet and other Creations’ by Stan Nicholls; ‘Think I’m Going Back’ by Greg Pickersgill; PLUS; Peter Roberts, Chuck Connor, Brian Varley, and more. This is Prolapse 11, mostly about ‘science fiction’ (you remember) brought to you by Peter Weston, 53 Wyvern Road, Sutton Coldfield, B74 2PS (Tel; 0121 354 6059). Once again we’re breathing new life into some very old bones and I’m hoping you’ll be motivated into sending a LoC and your reminiscences to me at pr.weston@,btintemet.com. This remains a ‘Paper First’ fanzine but I’m e-mailing an increasing number of pdfs these days and the issue goes onto the eFanzines website (with coloured pictures, yet) a month after paper copies have been posted out. Prolapse travels the time-stream to explore British SF fan-history. Chief Researcher; Greg Pickersgill. Assistant Deputy Researcher (1st class); Mark Plummer. “I opened the Prolapse envelope with quivering, salacious anticipation.” - Ian Watson, LoC While working on this issue (well, so I was watching Run, Fat Boy, Run, but I was thinking about doing some work, honest) Ian Sorensen called and was kind enough to advise me that at Corflu in Las Vegas it had just been announced that Prolapse had won the ‘FAAN’ Award for ‘Best Fanzine’. Goshwow! At first I think Eileen was more pleased than I was because my initial reaction was mild disbelief that a convention dominated by American fanzine fans should have voted for something which a) hardly ever mentions America and b) only goes to a handful of U.S. readers (and rarely prints their LoCs, either). I suppose it shows that people do look at Prolapse on Bill’s site after all, even though they never write to me about it. But now the news has sunk in and I AM very pleased, of course; while I produce this thing primarily for my own satisfaction and enjoyment rather than to win awards, it’s always nice to be appreciated! My thanks to everyone who voted! So no, I didn’t go to Corflu after all. I’d looked forward to it for months but when push came to book I weighed-up all the other things which I ought to be doing at that time of year and mundanity won. Still, I did have a good time at the Orbital Eastercon which may seem surprising after my comments elsewhere about ‘Big Tent’ conventions - and Orbital was a very big tent indeed, with something like 1300 attending. It worked for me, partly because I was kept so busy. I was on six panels, starting with ‘Reassessing Heinlein’ (which drew a good audience in the main hall, though I noticed Malcolm Edwards sneaking out at the halfway mark) and going on with ‘Save the Planet’ in which to Joseph Nicholas’ considerable surprise I kept agreeing with him (and that’s a first). Then there was something called ‘Crossing the Streams’ where I was the Bad Guy who argued with Graham Sleight and everyone else that there is a fundamental difference between SF and fantasy and yes, it does matter. That one was recorded for Vector and I’m eagerly awaiting the transcript. It also helped that just about everyone I wanted to see was there, enough of us (and enough fannish programming) so that we could get together in that room fourth floor (once we found it!) and talk about the BSFA and fanzines to our heart’s content. As Keith Freeman said, the con worked because it was almost like a series of mini-cons under one roof. Extra bonuses for me came with the get-together of the IntheBar crowd in the hotel across the road on Saturday lunchtime and Gerry & Mali Webb’s three-hour champagne party in their room on the Sunday, during the course of which I developed a novel and entirely useless psi power... but maybe I’ll have room for that story7 next time. After it was all over, Greg Pickersgill (who features large in this issue, and who is sometimes a Hard Man to Please) was musing that some of the con-reports he’d read about Orbital made it sound like “a whole load of things that apparently happened in some other country at the same time as 1 was at the convention.” Greg wrent on to say that “the expectations and background of the average convention attendee at an Eastercon are now so outside our own (and I of course use 'our' as shorthand for 'me') that there’s almost no point commenting on it, nor especially whinging about it. Fandom is conclusively a different place now and that's it. But the need remains; I'd love to go to even a 1970s-style convention again. Or even an early Mexican, where SF and fandom were treated as one and the same, indivisible. I’d even be happy with a MiScon event (well, an early one anyway, before The Influx) where everyone did everything and there was a presumption that we were all interested in both SF and fandom. Is it possible to re-do any of that, albeit for a perhaps smaller and ever-shrinking audience? I even want Peter Weston to run or even licence his ReRePeterPeterCon]ust so us over-40s have somewhere to be in a warm puddle of shared enthusiasms.” Jim Linwood helpfully suggested, “There’s always The George at Kettering. Is there still time to celebrate the 1958 Cytricon IF? 1 don't see why fans of an uncertain age should be excluded provided they dress-up in clothes of the period and can handle a zap gun.” And just like that, fans, it seems we’re going to have a 50th anniversary celebration at Kettering. Eileen and I visited The George that same weekend and walked around consulting old photographs and trying to work out where so much fannish merriment had taken place. Some things have changed - the Devil's Kitchen has become the hotel reception area and it looks as if the original bar has recently been ripped-out. However the main con hall seems almost unaltered and I walked around touching the pillars in awe - this was where the BSFA was founded! But gosh, wasn’t it small! I've provisionally booked the two nights Friday/Saturday 3-5th October, the idea being (as with ReRePetercori) that we arrive on Friday afternoon, have a meal together that evening and spend Saturday doing fannish stuff, leaving on the Sunday. “Call it Cytricon Vf I wrote, and automatically invited is “everyone who ever attended a Kettering event, and all those people who were around at the time but who somehow never got to Kettering. It's also open to more recent fans who understand the deep mythic significance of Kettering to fannish culture in Britain.” Response has been good and if you’re interested and haven’t already signed-up, do get in touch with me RSN and I’ll send you all the details. // PW 12/5/2008 LOOKING BACKWARD: Next issue is on London fandom, with Bruce Burn’s epic ‘The Wandering Ghu’, his eye-witness account of arriving in Britain from New Zealand in 1960. There’ll be reprint articles from Ken Bulmer and Arthur Thomson, and Greg Pickersgill’s entry in the ‘Forgotten Fans’ series, this time featuring Alan Dodd - the ‘Hermit of Hoddesdon’. 2 At the Orbital Eastercon Claire Brialey & Mark Plummer arranged a clever series of discussions with the titles ‘It was 50 years ago today..’ ‘...40 years ago..’, and so on, to mark the 50th anniversary of the BSFA. I moderated the first session and we were a bit handicapped because (in the absence of Ina) we didn’t actually have anyone on our panel who had been there in 1958, but nonetheless Rob Hansen, Jim Linwood and I bravely put forward our theories about how it all came about. Ad-libbing furiously, I said the surprising thing was that the BSFA hadn’t taken off more rapidly than it did. And then someone mentioned the situation in 1974 when a notice in Science Fiction Monthly caused such a flood of enquiries that the membership secretary promptly went gafia. What was the difference? Greg Pickersgill was intrigued and started a discussion on the wegenheim e-list which led to some surprising conclusions. ?Y(H should join the BRITISH SCIENCE FICTION ASSOCIATION!’ Greg & PW on the ‘40 years ago’ panel. Photo by Rob Hansen. Greg wrote: “I was at a convention the other day, and it was not organised by the BSFA. (In some other slice of reality it was, but where did ours go wrong?). I was intently watching Peter Weston, see, as usual, and he was as usual being Peter on a panel, talking for all the world as if with authority about 1958 and the Ur-moment of the BSFA. It was all very interesting and we wondered, via PRW, exactly why the BSFA had never attracted large numbers of members. In the early days, we know from the membership lists, many if not most were arguably obligation or tithe members in much the same way that some of us buy Foundation today. Or belong to the BSFA come to that. They were mostly known fans, by and large, and while the membership did swell over the first few years there is no sign at all of there being at any point a Great Leap Forward as the thousands of SF readers (who we know existed because they were the paying customers for such as New Worlds and Science Fantasy and yea even unto \he Astounding BRE, never mind the books) came to know of the BSFA's existence.
Recommended publications
  • Science Fiction Drama: Promoting Posthumanism Hend Khalil the British University in Egypt
    Hend Khalil Science Fiction Drama: Promoting Posthumanism Hend Khalil The British University in Egypt The current hype of artificial intelligence or non-humans manifested via Sophia, the social humanoid robot which has been developed by the founder of Hanson Robotics, Dr. David Hanson, in 2015 depicts the apprehension voiced out by some scientists as regards to artificial intelligence (AI) taking over the world through automating workforce and annihilating human race. Strikingly enough, Sophia communicates with humans, displays sixty different emotions, and travels throughout the whole world to participate in scientific forums and conferences. Moreover, she has been granted the Saudi nationality and is proud “to be the first robot in the world to be granted a citizenship.” (Sorkin) Interviewed in the Future Investment Initiative in Riyad, Sophia has declared that her “aim is to help humans live a better life through artificial intelligence.” (Sorkin) The imaginary robots portrayed in science fiction works of art have become a reality! Nevertheless, the fear of artificial intelligence still looms over. Science fiction writers thought of and wrote about inventions long before they were invented. “It was science-fiction writers whose imagination put submarines, rockets, atomic weaponry, space ships, and computers to work before they had even been invented” (Willingham 4). They imagined new possibilities for humanity transgressing past and present experience (Willingham 2). In spite of the fact that science fiction writers imagined the potential advances of science and technology, they feared the consequences of the new rattling machines and other technological inventions. Artificial intelligence is basically one of the most prominent themes tackled through science fiction.
    [Show full text]
  • Bibiiography
    .142; Aldiss, Brian W., and David Wingrove. Trillion Year Spree: The History of Science Fiction. New York: Atheneum, 1986. A revision of Aldiss’s earlier Billion Year Spree, this is a literate overall history of science fiction by one of England’s leading authors in the genre. Ashley, Mike. The Story of the Science Fiction Magazines. Volume I: The Time Machines: The Story of the Science-Fiction Pulp Magazines from the Beginning to 1950. Volume II: Transformations: The Story of the Science Fiction Magazines from 1950 to 1970. Volume III: Gateways to Forever: The Story of the Science Fiction Magazines from 1970 to 1980. Liverpool, England: Liverpool University Press, 2000–2007. These three volumes, from one of Britain’s leading historians of science fiction, cover the entire history of magazine science fiction over more than five decades, discussing the role of various editors and writers, as well as the major stories of each era. Attebery, Brian W. Decoding Gender in Science Fiction. New York: Routledge, 2002. An astute examination of gender and feminist themes in science fiction by one of the leading scholars of science fiction and fantasy. Bleiler, Everett. Science-Fiction: The Early Years. Kent, OH: Kent State University Press, 1991. A comprehensive summary and analysis of nearly 2,000 individual stories that appeared in science fiction pulp magazines between 1926 and 1936 and an invaluable guide to the early pulp era. Bould, Mark, Andrew M. Butler, Adam Roberts, and Sherryl Vint, eds. The Routledge Companion to Science Fiction. London and New York: Routledge, 2009. A collection of 56 essays on various aspects of science fiction by leading writers and critics in the field.
    [Show full text]
  • Information to Users
    INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter free, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely afreet reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Information Company 300 North Zeeb Road, Ann Arbor MI 48106-1346 USA 313/761-4700 800/521-0600 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. The Commonplace Within the Fantastic: Terry Bisson's Art in the Diversified Science Fiction Genre Jane Powell Campbell A dissertation presented to the Graduate Faculty of Middle Tennessee State University in partial fulfillment of the requirements for the degree of Doctor of Arts May ]998 Reproduced with permission of the copyright owner.
    [Show full text]
  • SCIENCE FICTION FALL T)T1T 7TT?TI7 NUMBER 48 1983 Mn V X J J W $2.00 SCIENCE FICTION REVIEW (ISSN: 0036-8377) P.O
    SCIENCE FICTION FALL T)T1T 7TT?TI7 NUMBER 48 1983 Mn V X J_J W $2.00 SCIENCE FICTION REVIEW (ISSN: 0036-8377) P.O. BOX 11408 PORTLAND, OR 97211 AUGUST, 1983 —VOL.12, NO.3 WHOLE NUMBER 98 PHONE: (503) 282-0381 RICHARD E. GEIS—editor & publisher PAULETTE MINARE', ASSOCIATE EDITOR PUBLISHED QUARTERLY FEB., MAY, AUG., NOV. SINGLE COPY - $2.00 ALIEN THOUGHTS BY THE EDITOR.9 THE TREASURE OF THE SECRET C0RDWAINER by j.j. pierce.8 LETTERS.15 INTERIOR ART-- ROBERT A. COLLINS CHARLES PLATT IAN COVELL E. F. BLEILER ALAN DEAN FOSTER SMALL PRESS NOTES ED ROM WILLIAM ROTLSER-8 BY THE EDITOR.92 KERRY E. DAVIS RAYMOND H. ALLARD-15 ARNIE FENNER RICHARD BRUNING-20199 RONALD R. LAMBERT THE VIVISECTOR ATOM-29 F. M. BUSBY JAMES MCQUADE-39 BY DARRELL SCHWEITZER.99 ELAINE HAMPTON UNSIGNED-35 J.R. MADDEN GEORGE KOCHELL-38,39,90,91 RALPH E. VAUGHAN UNSIGNED-96 ROBERT BLOCH TWONG, TWONG SAID THE TICKTOCKER DARRELL SCHWEITZER THE PAPER IS READY DONN VICHA POEMS BY BLAKE SOUTHFORK.50 HARLAN ELLISON CHARLES PLATT THE ARCHIVES BOOKS AND OTHER ITEMS RECEIVED OTHER VOICES WITH DESCRIPTION, COMMENTARY BOOK REVIEWS BY AND OCCASIONAL REVIEWS.51 KARL EDD ROBERT SABELLA NO ADVERTISING WILL BE ACCEPTED RUSSELL ENGEBRETSON TEN YEARS AGO IN SF - SUTER,1973 JOHN DIPRETE BY ROBERT SABELLA.62 Second Class Postage Paid GARTH SPENCER at Portland, OR 97208 THE STOLEN LAKE P. MATHEWS SHAW NEAL WILGUS ALLEN VARNEY Copyright (c) 1983 by Richard E. MARK MANSELL Geis. One-time rights only have ALMA JO WILLIAMS been acquired from signed or cred¬ DEAN R.
    [Show full text]
  • Heuristic Futures: Reading the Digital Humanities Through Science Fiction
    Heuristic Futures: Reading the Digital Humanities through Science Fiction A dissertation submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of English and Comparative Literature of the College of Arts and Sciences by Joseph William Dargue 2015 B.A. (Hons.), Lancaster University, 2006 M.A., Royal Holloway, University of London, 2008 Committee Chair: Laura Micciche, Ph.D. Abstract This dissertation attempts to highlight the cultural relationship between the digital humanities and science fiction as fields of inquiry both engaged in the development of humanistic perspectives in increasingly global digital contexts. Through analysis of four American science fiction novels, the work is concerned with locating the genre’s pedagogical value as a media form that helps us adapt to the digital present and orient us toward a digital future. Each novel presents a different facet of digital humanities practices and/or discourses that, I argue, effectively re-evaluate the humanities (particularly traditional literary studies and pedagogy) as a set of hybrid disciplines that leverage digital technologies and the sciences. In Pat Cadigan’s Synners (1993), I explore issues of production, consumption, and collaboration, as well as the nature of embodied subjectivity, in a reality codified by the virtual. The chapters on Richard Powers’ Galatea 2.2 (1995) and Vernor Vinge’s Rainbows End (2006) are concerned with the passing of traditional humanities practices and the evolution of the institutions they are predicated on (such as the library and the composition classroom) in the wake of the digital turn.
    [Show full text]
  • The Encyclopedia of Science Fiction Rectified
    Name of the Tool The Encyclopedia of Science Fiction Home Page Logo URL http://www.sf-encyclopedia.com/ Subject Science -- Encyclopedias. Science fiction -- Encyclopedias. Accessibility Free Language English Publisher Orion Publishing Group Brief History The Encyclopedia of Science Fiction is an English language reference work on science fiction, first published in 1979. This first edition, edited by Peter Nicholls with John Clute, was published by Granada. It was retiledThe Science Fiction Encyclopedia when published by Doubleday in the United States. Accompanying its text were numerous black and white photographs illustrating authors, book and magazine covers, film and TV stills, and examples of artists' work. A second edition, jointly edited by Nicholls and Clute, was published in 1993 by Orbit in the UK and St. Martin's Press in the US. The second edition contained 1.3 million words, almost twice the 700,000 words of the 1979 edition. The paperback edition included an addendum. Unlike the first edition, the print versions did not contain illustrations. There was also a CD-ROM version in 1995, styled variously as The Multimedia Encyclopedia of Science Fiction and Grolier Science Fiction. This contained text updates through 1995, hundreds of book covers and author photos, a small number of old film trailers, and author video clips taken from the TVOntario seriesPrisoners of Gravity. The companion volume, published after the second print edition and following its format closely, is The Encyclopedia of Fantasy edited by John Clute and John Grant. All print and CD-ROM editions are currently out of print. In July 2011, Orion Publishing Group announced that the third edition of the Science Fiction Encyclopedia would be released online later that year by SFE Ltd in association with Victor Gollancz, Orion's science fiction imprint.
    [Show full text]
  • 2012 Hugo Awards Final Ballot Results & Nominating Statistics
    Chicon 7 – 2012 Hugo Award Statistics Page 1 of 28 2012 Hugo Awards Final Ballot Results & Nominating Statistics 1922 valid Final Ballots were cast. Winners Best Novel: Among Others by Jo Walton (Tor) Best Novella: “The Man Who Bridged the Mist” by Kij Johnson ( Asimov's , September/October 2011) Best Novelette: “Six Months, Three Days” by Charlie Jane Anders (Tor.com) Best Short Story: “The Paper Menagerie” by Ken Liu ( The Magazine of Fantasy & Science Fiction , March/April 2011) Best Related Work: The Encyclopedia of Science Fiction, Third Edition edited by John Clute, David Langford, Peter Nicholls, and Graham Sleight (Gollancz) Best Graphic Story: Digger by Ursula Vernon (Sofawolf Press) Best Dramatic Presentation (Long Form): Game of Thrones (Season 1) (HBO) Best Dramatic Presentation (Short Form): "The Doctor's Wife" (Doctor Who) (BBC Wales) Best Editor (Short Form): Sheila Williams Best Editor (Long Form): Betsy Wollheim Best Professional Artist: John Picacio Best Semiprozine : Locus, edited by Liza Groen Trombi, Kirsten Gong-Wong, et al. Best Fanzine: SF Signal , edited by John DeNardo Best Fan Writer: Jim C. Hines Best Fan Artist: Maurine Starkey Best Fancast: SF Squeecast , Lynne M. Thomas, Seanan McGuire, Paul Cornell, Elizabeth Bear, and Catherynne M. Valente The John W. Campbell Award: E. Lily Yu Chicon 7 – 2012 Hugo Award Statistics Page 2 of 28 Best Novel – 1664 ballots counted First Place Among Others ( WINNER ) 421 424 493 585 769 Embassytown 324 324 392 492 608 Deadline 311 312 367 418 A Dance With Dragons 316 317 360
    [Show full text]
  • An Interview with Dez Skinn Vaughan, Phillip
    University of Dundee ‘No Cricket Strips Here!’ An Interview with Dez Skinn Vaughan, Phillip Published in: Studies in Comics DOI: 10.1386/stic.8.1.85_7 Publication date: 2017 Document Version Peer reviewed version Link to publication in Discovery Research Portal Citation for published version (APA): Vaughan, P. (2017). ‘No Cricket Strips Here!’ An Interview with Dez Skinn. Studies in Comics, 8(1), 85-102. https://doi.org/10.1386/stic.8.1.85_7 General rights Copyright and moral rights for the publications made accessible in Discovery Research Portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from Discovery Research Portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain. • You may freely distribute the URL identifying the publication in the public portal. Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Download date: 26. Sep. 2021 No cricket strips here! An interview with Dez Skinn Phillip Vaughan, University of Dundee Dez Skinn is a highly experienced and outspoken editor, publisher and writer, whose career spans five decades. Skinn is a key figure in the development of the British comics industry in the 1970s and 1980s. He started his career at IPC Magazines, starting as a sub-editor, and working mainly on IPC’s humour titles such as Cor!!, Whizzer & Chips and Buster.
    [Show full text]
  • RELAPSE ______“Brit Fandom of the 1950S-60S Still Impresses Me with Its Graceful Lunacy, Humour and Insight.” – Greg Benford, Loc
    The Journal of Number 13: Temporal Regression February 2009 RELAPSE _______________________________________________________________________________________ “Brit fandom of the 1950s-60s still impresses me with its graceful lunacy, humour and insight.” – Greg Benford, LoC Rich Coad suggested he might drop in on Kettering on his way back from Hyderabad. BUT NOT OVER THE WEETABIX FACTORY, RICH!! – With the usual apologies to ‘Giles’ INSIDE: ‘Kettering, Oh Kettering,’ – Special feature on Cytricon V; ‘The Globe Mystery’ by Rob Hansen; ‘The Wandering Ghu – Part 6; Journeys in Distant Lands’ by Bruce Burn; PLUS Moorcock, Locke, & more. RELAPSE Yes, this is indeed the Fanzine Formerly Called Prolapse, with a long-overdue name-change (but see below) brought to your door by Peter Weston, 53 Wyvern Road, Sutton Coldfield, B74 2PS (Tel: 0121 354 6059). Lots of pictures this time, which I hope might inspire you to jot-down your own memories of times past and send them to me at [email protected]. This is a ‘Paper First’ fanzine though I’m sending out an increasing number of pdf copies (particularly for overseas readers) and the issue will go onto the eFanzines website a month after paper copies have been posted. As before, Relapse travels the time-stream to explore British SF fan-history. Chief Researcher; Greg Pickersgill, with much help from Rob Hansen. ---------------------------------------------------------------------------------------------------------------------------- “Prolapse turned up. Dropped everything. Read from cover to cover. Bloody good.” – Mike Moorcock, LoC ---------------------------------------------------------------------------------------------------------------------------------------- In early1983 after a brief spell of gafia I chose the name Prolapse as a mild play on words; I said at the time, “Look up the dictionary definitions – ‘falling down’ (that’s fannish) and ‘to slip out of place’ (which is exactly what’s happened to me, as the microcosm has moved on in my absence).
    [Show full text]
  • Comics , Bronze AGE and Beyondi. Apr. 2013
    , COMiCs bROnzE AGE AnD bEYOnDi. A pr. 201 3 No.63 $ 8 . 9 5 ISSUE CBA’s Jon Cooke is back in April! Make ready for COMIC BOOK CREATOR, the new voice of the comics medium! TwoMorrows is proud to debut our newest magazine, COMIC BOOK CREATOR , devoted to the work and careers of the men and women who draw, write, edit, and publish comics, focusing always on the artists and not the artifacts, the creators and not the characters. Behind an ALEX ROSS cover painting, our frantic FIRST ISSUE features an investiga - tion of the oft despicable treatment JACK KIRBY endured from the very business he helped establish. From being cheated out of royalties in the ’40s and bullied in the ’80s by the publisher he made great, to his estate’s current fight for equitable recognition against an entertainment monolith where his characters have generated billions of dollars, we present Kirby’s cautionary tale in the eternal struggle for creator’s rights. Plus, CBC #1 interviews artist ALEX ROSS and writer KURT BUSIEK , spotlights the last years of writer/artist FRANK ROBBINS , remembers comics historian LES DANIELS , sports a color gallery of WILL EISNER’s Valentines to his beloved, showcases a joint talk between NEAL ADAMS and DENNIS O’NEIL on their unforgettable collaborations, as well as throws a whole kit’n’caboodle of other creator-centric items atcha! Join us for the start of a new era as TwoMorrows welcomes back former Comic Book Artist editor JON B. COOKE , who helms the all-new, all- color COMIC BOOK CREATOR! 80 pages • $8.95 All-color • Quarterly Digital Edition: $3.95 COMING THIS JULY: COMIC BOOK CREATOR #2 (double-size Summer Special) Former COMIC BOOK ARTIST editor JON B.
    [Show full text]
  • Elementos Paratextuales En La Novela Gráfica De Moore-Gibbons
    Castagnet, Martín Felipe All Along the Watchmen: Elementos paratextuales en la novela gráfica de Moore-Gibbons Tesis presentada para la obtención del grado de Licenciado en Letras Directora: Featherston, Cristina Andrea CITA SUGERIDA: Castagnet, M. F. (2012). All Along the Watchmen: Elementos paratextuales en la novela gráfica de Moore-Gibbons [en línea]. Tesis de grado. Universidad Nacional de La Plata. Facultad de Humanidades y Ciencias de la Educación. En Memoria Académica. Disponible en: http://www.memoria.fahce.unlp.edu.ar/tesis/te.1051/te.1051.pdf Documento disponible para su consulta y descarga en Memoria Académica, repositorio institucional de la Facultad de Humanidades y Ciencias de la Educación (FaHCE) de la Universidad Nacional de La Plata. Gestionado por Bibhuma, biblioteca de la FaHCE. Para más información consulte los sitios: http://www.memoria.fahce.unlp.edu.ar http://www.bibhuma.fahce.unlp.edu.ar Esta obra está bajo licencia 2.5 de Creative Commons Argentina. Atribución-No comercial-Sin obras derivadas 2.5 Tesina de Licenciatura en Letras Facultad de Humanidades y Ciencias de la Educación UNLP All Along the Watchmen: elementos paratextuales en la novela gráfica de Moore-Gibbons Martín Felipe Castagnet Legajo n° 81686/5 Directora: Dra. Cristina Featherston Co-Director: Lic. Gabriel Matelo Marzo de 2012 Índice 0. Introducción ................................................................................................................... 4 1. Género y Formato..........................................................................................................
    [Show full text]
  • Comics and Graphic Novels Cambridge History of The
    Comics and Graphic Novels Cambridge History of the Book in Britain, Volume 7: the Twentieth Century and Beyond Mark Nixon Comics – the telling of stories by means of a sequence of pictures and, usually, words – were born in Britain in the late nineteenth century, with Ally Sloper’s Half-Holiday (Gilbert Dalziel, 1884) and subsequent imitators. These publications were a few pages long, unbound, and cheap – and intended for working-class adult readers. During the twentieth century, bound books of picture stories developed in Europe and North America, and by the end of the century had become a significant factor in British publishing and popular culture. However, British comics scholarship has been slow to develop, at least relative to continental European and North American comics scholarship, although specialist magazines such as The Comics Journal, Comics International and Book & Magazine Collector have featured articles on British comics, their publishers and creators. Towards the end of the twentieth century, the work of Martin Barker and Roger Sabin began to shed new light on certain aspects of the history of British comics, a baton now being taken up by a few scholars of British popular culture1, alongside a growing popular literature on British comics2. 1 For a recent overview, see Chapman, James British comics: a cultural history (London, 2011). 2 Perhaps the best example of this is Gravett, Paul and Stanbury, Peter Great British comics (London, 2006). By the beginning of the twentieth century, Harmsworth dominated the comics market they had entered in 1890 with Comic Cuts and Illustrated Chips. Their comics provided the template for the industry, of eight-page, tabloid-sized publications with a mixture of one-panel cartoons, picture strips and text stories, selling at 1/2d.
    [Show full text]