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BREAKING Newsrockville, MD August 19, 2019
MEDIA KIT BREAKING NEWS Rockville, MD August 19, 2019 THE BOYS by Garth Ennis and Darick Robertson Coming to GraphicAudio® A Movie in Your Mind® in Early 2020 GraphicAudio® is thrilled to announce a just inked deal with DYNAMITE COMICS to produce and publish all 6 Omnibus Volumes of THE BOYS directly from the comics and scripted and produced in their unique audio entertainment format. The creative team at GraphicAudio® plans to make the adaptations as faithful as possible to the Graphic Novel series. The series is set between 2006–2008 in a world where superheroes exist. However, most of the su- perheroes in the series' universe are corrupted by their celebrity status and often engage in reckless behavior, compromising the safety of the world. The story follows a small clandestine CIA squad, informally known as "The Boys", led by Butcher and also consisting of Mother's Milk, the French- man, the Female, and new addition "Wee" Hughie Campbell, who are charged with monitoring the superhero community, often leading to gruesome confrontations and dreadful results; in parallel, a key subplot follows Annie "Starlight" January, a young and naive superhero who joins the Seven, the most prestigious– and corrupted – superhero group in the world and The Boys' most powerful enemies. Amazon Prime released THE BOYS Season 1 last month. Joseph Rybandt, Executive Editor of Dynamite and Editor of The Boys says, “While I did not grow up anywhere near the Golden Age of Radio, I have loved the medium of radio and audio dramas almost my entire life. Podcasts make my commute bearable to this day. -
‚Every Day Is 9/11!•Ž: Re-Constructing Ground Zero In
JUCS 4 (1+2) pp. 241–261 Intellect Limited 2017 Journal of Urban Cultural Studies Volume 4 Numbers 1 & 2 © 2017 Intellect Ltd Article. English language. doi: 10.1386/jucs.4.1-2.241_1 MARTIN LUND Linnaeus University ‘Every day is 9/11!’: Re-constructing Ground Zero in three US comics ABSTRACT KEYWORDS This article analyses three comics series: writer Brian K. Vaughan and artist Tony comics Harris’ Ex Machina (August 2004–August 2010); writer Brian Wood and artist Ground Zero Riccardo Burchielli’s DMZ (November 2005–February 2012); and writer Garth 9/11 Ennis and artist Darick Robertson’s The Boys (October 2006–November 2012). archifictions Taking literary critic Laura Frost’s concept of ‘archifictions’ as its starting point, the War on Terror article discusses how these series frame the September 11 attacks on New York and architecture their aftermath, but its primary concern is with their engagement with the larger social ramifications of 9/11 and with the War on Terror, and with how this engage- ment is rooted in and centred on Ground Zero. It argues that this rooting allows these comics’ creators to critique post-9/11 US culture and foreign policy, but that it also, ultimately, serves to disarm the critique that each series voices in favour of closure through recourse to recuperative architecture. The attacks on September 11 continue to be felt in US culture. Comics are no exception. Comics publishers, large and small, responded immediately and comics about the attacks or the War on Terror have been coming out ever since. Largely missing from these comics, however, is an engagement with Ground Zero; after depicting the Twin Towers struck or falling, artists and writers rarely give the area a second thought. -
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Growing up with Vertigo: British Writers, Dc, and the Maturation of American Comic Books
CORE Metadata, citation and similar papers at core.ac.uk Provided by ScholarWorks @ UVM GROWING UP WITH VERTIGO: BRITISH WRITERS, DC, AND THE MATURATION OF AMERICAN COMIC BOOKS A Thesis Presented by Derek A. Salisbury to The Faculty of the Graduate College of The University of Vermont In Partial Fulfillment of the Requirements For the Degree of Master of Arts Specializing in History May, 2013 Accepted by the Faculty of the Graduate College, The University of Vermont, in partial fulfillment of the requirements for the degree of Master of Arts, specializing in History. Thesis Examination Committee: ______________________________________ Advisor Abigail McGowan, Ph.D ______________________________________ Melanie Gustafson, Ph.D ______________________________________ Chairperson Elizabeth Fenton, Ph.D ______________________________________ Dean, Graduate College Domenico Grasso, Ph.D March 22, 2013 Abstract At just under thirty years the serious academic study of American comic books is relatively young. Over the course of three decades most historians familiar with the medium have recognized that American comics, since becoming a mass-cultural product in 1939, have matured beyond their humble beginnings as a monthly publication for children. However, historians are not yet in agreement as to when the medium became mature. This thesis proposes that the medium’s maturity was cemented between 1985 and 2000, a much later point in time than existing texts postulate. The project involves the analysis of how an American mass medium, in this case the comic book, matured in the last two decades of the twentieth century. The goal is to show the interconnected relationships and factors that facilitated the maturation of the American sequential art, specifically a focus on a group of British writers working at DC Comics and Vertigo, an alternative imprint under the financial control of DC. -
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The Boys: Get Some V. 2 Free
FREE THE BOYS: GET SOME V. 2 PDF Garth Ennis,Darick Robertson | 160 pages | 23 May 2008 | Titan Books Ltd | 9781845769246 | English | London, United Kingdom The Boys: Get Some #1 - Vol. 2 (Issue) The story here deals not only with a superhero sidekick who went on his own and supports the gay community. But it also deals with his mentor, and his big problem now. Living or inanimate, he just gets The Boys: Get Some v. 2 urges and goes to town. He is deeply ashamed of this, and is trying to stop, but his life is falling apart. He even sends his current sidekick away to try to protect him. He wonders if his previous sidekick, the aforementioned supporter of the gay community, Swingwing by name, turned him gay. Well Billy and Hughie investigate and through many steps find out that it was actually Swingwing who killed the guy when he came onto him. I guess Swingwing was putting on an act for the PR. Billy and Hughie let him go after he confesses to them. Later Swingwing dies while his rocket pack malfunctions, but Hughie knows the truth but does nothing because justice was served. The next mission take the team to Russia to investigate something going on with super villains showing up and then just exploding. The team goes and meets up with an old Russian superhero named Love Sausage who now runs a bar. Through some investigation and some run ins with the Russian mob, they find out that the US was backing a mobstress named Nina who is running a program collecting all the supervillains to give this extra boost of power. -
British Writers, DC, and the Maturation of American Comic Books Derek Salisbury University of Vermont
University of Vermont ScholarWorks @ UVM Graduate College Dissertations and Theses Dissertations and Theses 2013 Growing up with Vertigo: British Writers, DC, and the Maturation of American Comic Books Derek Salisbury University of Vermont Follow this and additional works at: https://scholarworks.uvm.edu/graddis Recommended Citation Salisbury, Derek, "Growing up with Vertigo: British Writers, DC, and the Maturation of American Comic Books" (2013). Graduate College Dissertations and Theses. 209. https://scholarworks.uvm.edu/graddis/209 This Thesis is brought to you for free and open access by the Dissertations and Theses at ScholarWorks @ UVM. It has been accepted for inclusion in Graduate College Dissertations and Theses by an authorized administrator of ScholarWorks @ UVM. For more information, please contact [email protected]. GROWING UP WITH VERTIGO: BRITISH WRITERS, DC, AND THE MATURATION OF AMERICAN COMIC BOOKS A Thesis Presented by Derek A. Salisbury to The Faculty of the Graduate College of The University of Vermont In Partial Fulfillment of the Requirements For the Degree of Master of Arts Specializing in History May, 2013 Accepted by the Faculty of the Graduate College, The University of Vermont, in partial fulfillment of the requirements for the degree of Master of Arts, specializing in History. Thesis Examination Committee: ______________________________________ Advisor Abigail McGowan, Ph.D ______________________________________ Melanie Gustafson, Ph.D ______________________________________ Chairperson Elizabeth Fenton, Ph.D ______________________________________ Dean, Graduate College Domenico Grasso, Ph.D March 22, 2013 Abstract At just under thirty years the serious academic study of American comic books is relatively young. Over the course of three decades most historians familiar with the medium have recognized that American comics, since becoming a mass-cultural product in 1939, have matured beyond their humble beginnings as a monthly publication for children. -
1. Over 50 Years of American Comic Books [Hardcover]
1. Over 50 Years of American Comic Books [Hardcover] Product details Publisher: Bdd Promotional Book Co Language: English ISBN-13: 978-0792454502 Publication Date: November 1, 1991 A half-century of comic book excitement, color, and fun. The full story of America's liveliest, art form, featuring hundreds of fabulous full-color illustrations. Rare covers, complete pages, panel enlargement The earliest comic books The great superheroes: Superman, Batman, Wonder Woman, and many others "Funny animal" comics Romance, western, jungle and teen comics Those infamous horror and crime comics of the 1950s The great superhero revival of the 1960s New directions, new sophistication in the 1970s, '80s and '90s Inside stories of key Artist, writers, and publishers Chronicles the legendary super heroes, monsters, and caricatures that have told the story of America over the years and the ups and downs of the industry that gave birth to them. This book provides a good general history that is easy to read with lots of colorful pictures. Now, since it was published in 1990, it is a bit dated, but it is still a great overview and history of comic books. Very good condition, dustjacket has a damage on the upper right side. Top and side of the book are discolored. Content completely new 2. Alias the Cat! Product details Publisher: Pantheon Books, New York Language: English ISBN-13: 978-0-375-42431-1 Publication Dates: 2007 Followers of premier underground comics creator Deitch's long career know how hopeless it's been for him to expunge Waldo, the evil blue cat that only he and other deranged characters can see, from his cartooning and his life. -
Deadpool: Evil Deadpool Vol. 10 Free
FREE DEADPOOL: EVIL DEADPOOL VOL. 10 PDF Daniel Way,Salvador Espin,John McCrea | 136 pages | 03 Oct 2012 | Marvel Comics | 9780785160113 | English | New York, United States Deadpool Vol. Evil Deadpool TPB (Trade Paperback) | Comic Issues | Comic Books | Marvel Wade Wilson has become one of the most addictive Marvel superheroes in the world, thanks to Ryan Reynolds, who is absolutely the perfect guy to play The Regenerating Degenerate. Surprisingly, though, the Marvel Comics didn't like the fact that they had only one Wade Wilson in the Marvel Multiverse, so they decided to make alternate versions of The Merc with a Mouth. There are so many versions of Deadpool in the Marvel Multiverse, much like Spider-Man, but only a bit too dark. While some of these versions turned out to be huge hits, some just didn't click with the comic reading fans. Here are some of them, ranked. Headpool is a very funny name when one thinks about it but he is rather an intimidating alternate version of The Regenerative Degenerate. It's a zombie form of Deadpool, one that loves to eat human flesh and remains alive, even if all his body parts are smashed to pieces. But, it seems, Headpool doesn't have the regenerative abilities of the Deadpool: Evil Deadpool Vol. 10 continuity Wade Wilson. About now, everyone knows that Deadpool's inspiration was none other than DC's Deathstroke. While Red Tool wasn't exactly similar to Wade Wilson, some of his mannerisms, especially his witty nature was very similar to the main continuity Deadpool. -
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Challenged Books and Magazines List Updated February 2012 2011
Challenged Books and Magazines List Updated February 2012 This selective list provides information on numerous books and some magazines and newspapers that have been challenged in the past decades. Each challenge sought to limit public access to these publications in schools, libraries and elsewhere. Some challenges were upheld; others were rejected. We have tried to update our research on unresolved challenges. Because some challenges are dismissed, the publications remain on library shelves or curriculum lists. We think it is worthwhile to include such instances because the effect of a controversy over publications can spread even though the would-be banners lose. A book or magazine with a controversial reputation can be quietly dropped from reading lists and curricula. This interference can be most insidious—quiet acquiescence to the scare tactics that would-be censors know how to employ. Because organizations and community groups that ask for book and magazine bans usually want to avoid public controversies, it is often difficult to discover why challenges are launched or what becomes of them. If you know of book or magazine or newspaper challenges or, better still, satisfactory resolutions anywhere in Canada, please use the accompanying case study form to give us details. 2011 Brunetti, Ivan, Lilli Carré, et al. Black Eye 1: Graphic Transmissions to Cause Ocular Hypertension. 2011—Officials of the Canada Border Services Agency (CBSA) seized five copies of this comic book anthology in Buffalo, New York, while artist Tom Neely and a colleague were travelling to the Toronto Comic Arts Festival. Objection—The customs officers found images of sex and violence in the book. -
COMICS+Scifinow+Feature+On+
Comics-wise, France's Metal Hurlantand the pre-superhero American tradition (Weird, Eerie) provided his inspiration. During this remarkably long gestation period - partly the result of missing a launch deadline, partly Sanders apprehending Mills was cooking up "something special" - a hiccup occurred when a public outcry followed not long after the February '76 launch of Mills's revolutionarily gory and anti-authority Action. That October, Action was briefly taken off the stands to be cleaned up. "The disastrous press obviously had an effect on 2000 AD and stories that were originally much tougher and much harder suddenly had to be toned down," says Mills. Nonetheless, 2000 AD would remain an edgy concoction: "Action had very much a street consciousness and there's a spillover of that into 2000 AD." Additionally, "You wrote a character with some humanity in, it would bomb. You wrote a character who was totally brutal and totally ruthless, the readers would love it. John Wagner and I had both observed this trend in reader taste, so what you might call a traditional hero just didn't cut it." He happily found that the nature of the new comic gave him something of a get-out from higher-ups' disapproval: the sci-fi backdrops served to make the violence and harsh ambience seem less 'real'. An indication of just how much thought went into 2000 AD is Mills's work on the comic's look. He admired the high standards of Spaniards like Carlos Ezquerra and Italians like Massimo Belardinelli. However, though he commissioned Continental artists, he also felt them to be a little dull compared to technically inferior British ones.