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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. -
Graphic Novels for Children and Teens
J/YA Graphic Novel Titles The 9/11 Report: A Graphic Adaptation Sid Jacobson Hill & Wang Gr. 9+ Age of Bronze, Volume 1: A Thousand Ships Eric Shanower Image Comics Gr. 9+ The Amazing “True” Story of a Teenage Single Mom Katherine Arnoldi Hyperion Gr. 9+ American Born Chinese Gene Yang First Second Gr. 7+ American Splendor Harvey Pekar Vertigo Gr. 10+ Amy Unbounded: Belondweg Blossoming Rachel Hartman Pug House Press Gr. 3+ The Arrival Shaun Tan A.A. Levine Gr. 6+ Astonishing X-Men Joss Whedon Marvel Gr. 9+ Astro City: Life in the Big City Kurt Busiek DC Comics Gr. 10+ Babymouse Holm, Jennifer Random House Children’s Gr. 1-5 Baby-Sitter’s Club Graphix (nos. 1-4) Ann M. Martin & Raina Telgemeier Scholastic Gr. 3-7 Barefoot Gen, Volume 1: A Cartoon Story of Hiroshima Keiji Nakazawa Last Gasp Gr. 9+ Beowulf (graphic adaptation of epic poem) Gareth Hinds Candlewick Press Gr. 7+ Berlin: City of Stones Berlin: City of Smoke Jason Lutes Drawn & Quarterly Gr. 9+ Blankets Craig Thompson Top Shelf Gr. 10+ Bluesman (vols. 1, 2, & 3) Rob Vollmar NBM Publishing Gr. 10+ Bone Jeff Smith Cartoon Books Gr. 3+ Breaking Up: a Fashion High graphic novel Aimee Friedman Graphix Gr. 5+ Buffy the Vampire Slayer (Season 8) Joss Whedon Dark Horse Gr. 7+ Castle Waiting Linda Medley Fantagraphics Gr. 5+ Chiggers Hope Larson Aladdin Mix Gr. 5-9 Cirque du Freak: the Manga Darren Shan Yen Press Gr. 7+ City of Light, City of Dark: A Comic Book Novel Avi Orchard Books Gr. -
Batman: Year One by Frank Miller and David Mazzucchelli Study Guide By
Graphic Novel Study Group Study Guides Batman: Year One By Frank Miller and David Mazzucchelli Study guide by 1. In 1986, Miller and Mazzucchelli were charged with updating the classic character of Batman. DC Comics wanted to give the origin story “depth, complexity, a wider context.” Did Miller and Mazzucchelli succeed? 2. Why or why not? Give specific examples. 3. We meet Jimmy Gordon and Bruce Wayne at roughly the same moment in the novel. How are they portrayed differently, right from the beginning? Are these initial impressions in line with what we come to know about both characters later? 4. In both Jimmy and Bruce’s initial scenes, how are color and drawing style used to create an atmosphere, or to set them apart – their characters and their surroundings? Give a specific example for each. 5. Batman’s origin story is a familiar one to most readers. How do Miller and Mazzucchelli embroider the basic story? 6. What effect do their additions or subtractions have on your understanding of Bruce Wayne? 7. What are the major plots and subplots contained in the novel? 8. Where are the moments of high tension in the novel? 9. What happens directly before and after each one? How does the juxtaposition of low-tension and high-tension scenes or the repetition of high-tension scenes affect the pacing of the novel? 10. How have Jimmy Gordon and Bruce Wayne/Batman evolved over the course of the novel? How do we as readers understand this? Give specific examples. . -
Bryan HITCH's Ultimate
v BRYan HITCH’S ULTIMATE FOREWORD BY JOSS WHEDON Press escape to return to normal view Bryan Hitch trademarks New York establishing shot It is inevitable that your own style and personality comes through in your work, Establishing shots make the location of the and that readers become familiar with that. I like my action to be ‘big’, and the action a key part of the story, be it a city, a building or a spaceship. The detailed devices I use for this have become known as my ‘trademarks’. To me, it’s all just panorama here provides a level of reality, and is also a useful tool to give the reader a part of conveying a story with as much impact as possible. moment of space to breathe and re-adjust. 24 Press escape to return to normal view 1. Establishing shots These widescreen shots really put the reader The superhero close-up Not all comics are keen to show the reality in the thick of the action. of the environment in which the story is 3. Close-up portraits This is a close-up of Doctor Impossible from the novel Soon I will be Invincible, rendered in a set, but to me it is an important part of the This is all about choosing a viewpoint to give classic foreshortened pose for the front cover. I storytelling process. It makes the reader feel you an angle of a face that you’ve never seen think this works really well as a good example of involved and helps to achieve verisimilitude. -
English-Language Graphic Narratives in Canada
Drawing on the Margins of History: English-Language Graphic Narratives in Canada by Kevin Ziegler A thesis presented to the University of Waterloo in fulfilment of the thesis requirement for the degree of Doctor of Philosophy in English Waterloo, Ontario, Canada, 2013 © Kevin Ziegler 2013 Author’s Declaration I hereby declare that I am the sole author of this thesis. This is a true copy of the thesis, including any required final revisions, as accepted by my examiners. I understand that my thesis may be made electronically available to the public. ii Abstract This study analyzes the techniques that Canadian comics life writers develop to construct personal histories. I examine a broad selection of texts including graphic autobiography, biography, memoir, and diary in order to argue that writers and readers can, through these graphic narratives, engage with an eclectic and eccentric understanding of Canadian historical subjects. Contemporary Canadian comics are important for Canadian literature and life writing because they acknowledge the importance of contemporary urban and marginal subcultures and function as representations of people who occasionally experience economic scarcity. I focus on stories of “ordinary” people because their stories have often been excluded from accounts of Canadian public life and cultural history. Following the example of Barbara Godard, Heather Murray, and Roxanne Rimstead, I re- evaluate Canadian literatures by considering the importance of marginal literary products. Canadian comics authors rarely construct narratives about representative figures standing in place of and speaking for a broad community; instead, they create what Murray calls “history with a human face . the face of the daily, the ordinary” (“Literary History as Microhistory” 411). -
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. -
Fantastic Four Compendium
MA4 6889 Advanced Game Official Accessory The FANTASTIC FOUR™ Compendium by David E. Martin All Marvel characters and the distinctive likenesses thereof The names of characters used herein are fictitious and do are trademarks of the Marvel Entertainment Group, Inc. not refer to any person living or dead. Any descriptions MARVEL SUPER HEROES and MARVEL SUPER VILLAINS including similarities to persons living or dead are merely co- are trademarks of the Marvel Entertainment Group, Inc. incidental. PRODUCTS OF YOUR IMAGINATION and the ©Copyright 1987 Marvel Entertainment Group, Inc. All TSR logo are trademarks owned by TSR, Inc. Game Design Rights Reserved. Printed in USA. PDF version 1.0, 2000. ©1987 TSR, Inc. All Rights Reserved. Table of Contents Introduction . 2 A Brief History of the FANTASTIC FOUR . 2 The Fantastic Four . 3 Friends of the FF. 11 Races and Organizations . 25 Fiends and Foes . 38 Travel Guide . 76 Vehicles . 93 “From The Beginning Comes the End!” — A Fantastic Four Adventure . 96 Index. 102 This book is protected under the copyright laws of the United States of America. Any reproduction or other unauthorized use of the material or artwork contained herein is prohibited without the express written consent of TSR, Inc., and Marvel Entertainment Group, Inc. Distributed to the book trade in the United States by Random House, Inc., and in Canada by Random House of Canada, Ltd. Distributed to the toy and hobby trade by regional distributors. All characters appearing in this gamebook and the distinctive likenesses thereof are trademarks of the Marvel Entertainment Group, Inc. MARVEL SUPER HEROES and MARVEL SUPER VILLAINS are trademarks of the Marvel Entertainment Group, Inc. -
Dundee Comics Day 2011
PRESS RELEASE FROM THE UNIVERSITY OF DUNDEE ‘WOT COMICS TAUGHT ME…’ – DUNDEE COMICS DAY 2011 Judge Dredd creator John Wagner, and Frank Quietly, one of the world’s most sought-after comics artists, are among the top names appearing at this year’s Dundee Comics Day. They are just two of a number of star names from the world of comics lined up for the event, which will see talks, exhibitions, book signings and workshops take place as part of this year’s Dundee Literary Festival. Wagner started his long career as a comics writer at DC Thomson in Dundee before going on to revolutionise British comics in the late 1970s with the creation of Judge Dredd. He is the creator of Bogie Man, and the graphic novel A History of Violence, and has written for many of the major publishers in the US. Quietly has worked on New X-Men, We3, All-Star Superman, and Batman and Robin, as well as collaborating with some of the world’s top comics writers such as Mark Millar, Grant Morrison, and Alan Grant. His stylish artwork has made him one of the most celebrated artists in the comics industry. Wagner, Quietly and a host of other top industry talent will head to Dundee for the event, which will take place on Sunday, 30th October. Comics Day 2011 will be asking the question, what can comics teach us? Among the other leading industry figures giving their views on that subject will be former DC Thomson, Marvel, Dark Horse and DC Comics artist Cam Kennedy, Duncan of Jordanstone College of Art and Design graduate Colin MacNeil, who worked on various 2000AD and Marvel and DC Comics publications, such as Conan and Batman, and Robbie Morrison, creator of Nikolai Dante, one of the most beloved characters in recent British comics. -
Recommended Books from the Teen Collection
Recommended Books from the Teen Collection Action, Adventure, and Survival Crime, Espionage, Escape, and Heists TEEN BARDUGO Six of Crows by Leigh Bardugo (790L, series, grades 7+) TEEN CARRIGER Etiquette & Espionage by Gail Carriger (780L, series, grades 6+) TEEN CARTER Heist Society by Ally Carter (800L, series, grades 7+) TEEN CARTER I’d Tell You I Love You, But Then I’d Have to Kill You by Ally Carter (1000L, series, grades 6+) TEEN DUCIE The Rig by Joe Ducie (grades 6+) TEEN EVANS Michael Vey: the Prisoner of Cell 25 by Richard Paul Evans (500L, grades 6+) TEEN HOROWITZ Stormbreaker by Anthony Horowitz (670L, series, grades 6+) TEEN MAETANI Ink and Ashes by Valynne E. Maetani (740L, grades 7+) TEEN MCKENZIE In a Split Second by Sophie McKenzie (670L, grades 8+) TEEN SMITH Independence Hall by Roland Smith (660L, series, grades 5+) Survival TEEN BICK Ashes by Ilsa Bick (730L, series, grades 7+) TEEN CALAME Dan Versus Nature by Don Calame (660L, grades 8+) TEEN DELAPEÑA The Living by Matt De La Peña (700L, series, grades 9+) TEEN FULLER Our Endless Numbered Days by Claire Fuller (980L, grades 9+) TEEN GRIFFIN Adrift by Paul Griffin (580L, grades 9+) TEEN HAINES Girl in the Arena: a Novel Containing Intense Prolonged Sequences of Disaster and Peril by Lise Haines (grades 9+) TEEN HIRSCH Black River Falls by Jeff Hirsch (700L, grades 7+) TEEN HURWITZ The Rains by Gregg Andrew Hurwitz (770L, grades 7+) TEEN KEPHART This is the Story of You by Beth Kephart (850L, grades 7+) TEEN LEVEZ The Island by Olivia Levez (grades 7+) TEEN MALLORY -
The Authority: Earth Inferno and Other Stories V. 3 Free
FREE THE AUTHORITY: EARTH INFERNO AND OTHER STORIES V. 3 PDF Mark Millar,Frank Quitely,Chris Weston | 160 pages | 01 Aug 2002 | DC Comics | 9781563898549 | English | United States Earth Inferno for sale online | eBay This article is a list of story arcs for the Wildstorm comic book The Authority presented in chronological order of release. The Authority make their first public appearance to stop Kaizen Gamorraan old enemy of Stormwatchwho wants to take advantage of Stormwatch's breakup to take revenge upon the world. To do this he uses engineered supersoldiers to destroy first Moscow and then part of London. The Authority does not manage to stop the attack on London, then predicts the third and final attack in Los Angeles which is averted with heavy civilian casualties. Midnighter uses the Carrier to destroy the superhuman clone factory on Gamorra's island. The Authority have to stop an invasion by a parallel Earth, specifically a parallel Britain called Sliding Albion. As it turns out, Jenny Sparks has met them before when their The Authority: Earth Inferno and Other Stories v. 3 first appeared in Sliding Albion is a world where open contact between aliens the blues and humans during the 16th century led to interbreeding and an imperialist culture similar to the Victorian British Empire. After the Authority repel the initial wave of attacks, Jenny takes the Carrier to the Sliding Albion universe where they destroy London and Italy and what's left of the blues' regime along with it. In an all-frequencies message, she tells the people to take advantage of the second chance and "We are the Authority. -
Apollo Investment Corporation (“AINV” Or the “Company”) for the Fiscal Year Ended March 31, 2020
2020 ANNUAL REPORT Dear Fellow Shareholders, We are pleased to present you with the annual report for Apollo Investment Corporation (“AINV” or the “Company”) for the fiscal year ended March 31, 2020. As we write this year's letter, the world is facing both a significant health and economic crisis due to the outbreak of the novel coronavirus (“COVID-19”, “coronavirus”, or “pandemic”). We hope this letter finds you safe and in good health. In our annual shareholder letters, we typically review our results for the year and provide our outlook for the next fiscal year. In this year’s letter, we will also focus on how AINV was positioned entering this challenging period, and how we are navigating the current environment. First and foremost, on behalf of everyone at AINV, we want to express our appreciation to all those who are working tirelessly to keep us safe and maintain essential services. We offer our deepest sympathy to all those who have been affected by the coronavirus. Our priority continues to be the health and well-being of our stakeholders and the employees of the Company’s Investment Adviser, Apollo Investment Management, L.P., an affiliate of Apollo Global Management, Inc., (together with its affiliates, “Apollo Global”). Apollo has fully transitioned to a remote work environment while ensuring full business continuity. A Review of Fiscal Year 2020 Looking back at fiscal year 2020, we continued to make significant progress executing our de-risking investment strategy to prepare for potential headwinds, if not an economic downturn such as the one we are currently experiencing. -
Graphic Narrative in Contemporary Literature & Art: Evolution of Comic Book to Graphic Novel
An Elective Course for Undergraduate and Graduate Students of any discipline and for English Language Students GRAPHIC NARRATIVE IN CONTEMPORARY LITERATURE & ART: EVOLUTION OF COMIC BOOK TO GRAPHIC NOVEL ✓ Basic Requirements: Appropriate language skills required by the University. ➢ This course should be of interest to anyone concerned with verbal & visual communications, popular forms, mass culture, history and its representation, colonialism, politics, journalism, writing, philosophy, religion, mythology, mysticism, metaphysics, cultural exchanges, aesthetics, post-modernism, theatre, film, comic art, collections, popular art & culture, literature, fine arts, etc. ➢ This course may have a specific appeal to fans and/or to those who are curious about this vastly influential, widely popular, most complex and thought-provoking work of contemporary literature and art form, the ‘Comics’; however it does not presume a prior familiarity with graphic novels and/or comics, just an overall enthusiasm to learn new things from a new angle and an open mind. ✓ Prerequisites: ➢ FA489: ‘By consent’ selection of students. ➢ FA490: Upon successful completion of FA489. ✓ Co-requisites: ➢ FA489: Freshmen who graduated from a high school with an English curriculum or passed BU proficiency test with an A; & sophomore, junior, senior students. ➢ FA490: Successful completion of FA 489. ✓ No requisites: FA49V. ✓ Recommended Preparation: Reading all of the required readings and as many from the suggested reading list. Idea Description: Is ‘comics’ a form of both literature and art? Certainly the answer is “yes” but there are many people who reject the idea, yet many other people call those people old-school intellectuals. However, in recent years, many scholars, critics and faculty alike have accepted ‘comics’, often dubbed by many publishers as ‘graphic novel’, as a respected form of both literature and art.