Mirage Studios - "TMNT" Volume One All Items Are Subject to Availability, and Supply Is Extremely Limited on Many Items
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ALEX ROSS' Unrealized
Fantastic Four TM & © Marvel Characters, Inc. All Rights Reserved. No.118 February 2020 $9.95 1 82658 00387 6 ALEX ROSS’ DC: TheLost1970s•FRANK THORNE’sRedSonjaprelims•LARRYHAMA’sFury Force• MIKE GRELL’sBatman/Jon Sable•CLAREMONT&SIM’sX-Men/CerebusCURT SWAN’s Mad Hatter• AUGUSTYN&PAROBECK’s Target•theill-fatedImpact rebootbyPAUL lost pagesfor EDHANNIGAN’sSkulland Bones•ENGLEHART&VON EEDEN’sBatman/ GREATEST STORIESNEVERTOLDISSUE! KUPPERBERG •with unpublished artbyCALNAN, COCKRUM, HA,NETZER &more! Fantastic Four Four Fantastic unrealized reboot! ™ Volume 1, Number 118 February 2020 EDITOR-IN-CHIEF Michael Eury Comics’ Bronze Age and Beyond! PUBLISHER John Morrow DESIGNER Rich Fowlks COVER ARTIST Alex Ross COVER DESIGNER Michael Kronenberg PROOFREADER Rob Smentek SPECIAL THANKS Brian Augustyn Alex Ross Mike W. Barr Jim Shooter Dewey Cassell Dave Sim Ed Catto Jim Simon GREATEST STORIES NEVER TOLD: Alex Ross and the Fantastic Four That Wasn’t . 2 Chris Claremont Anthony Snyder An exclusive interview with the comics visionary about his pop art Kirby homage Comic Book Artist Bryan Stroud Steve Englehart Roy Thomas ART GALLERY: Marvel Goes Day-Glo. 12 Tim Finn Frank Thorne Inspired by our cover feature, a collection of posters from the House of Psychedelic Ideas Paul Fricke J. C. Vaughn Mike Gold Trevor Von Eeden GREATEST STORIES NEVER TOLD: The “Lost” DC Stories of the 1970s . 15 Grand Comics John Wells From All-Out War to Zany, DC’s line was in a state of flux throughout the decade Database Mike Grell ROUGH STUFF: Unseen Sonja . 31 Larry Hama The Red Sonja prelims of Frank Thorne Ed Hannigan Jack C. Harris GREATEST STORIES NEVER TOLD: Cancelled Crossover Cavalcade . -
Why No Wonder Woman?
Why No Wonder Woman? A REPORT ON THE HISTORY OF WONDER WOMAN AND A CALL TO ACTION!! Created for Wonder Woman Fans Everywhere Introduction by Jacki Zehner with Report Written by Laura Moore April 15th, 2013 Wonder Woman - p. 2 April 15th, 2013 AN INTRODUCTION AND FRAMING “The destiny of the world is determined less by battles that are lost and won than by the stories it loves and believes in” – Harold Goddard. I believe in the story of Wonder Woman. I always have. Not the literal baby being made from clay story, but the metaphorical one. I believe in a story where a woman is the hero and not the victim. I believe in a story where a woman is strong and not weak. Where a woman can fall in love with a man, but she doesnʼt need a man. Where a woman can stand on her own two feet. And above all else, I believe in a story where a woman has superpowers that she uses to help others, and yes, I believe that a woman can help save the world. “Wonder Woman was created as a distinctly feminist role model whose mission was to bring the Amazon ideals of love, peace, and sexual equality to ʻa world torn by the hatred of men.ʼ”1 While the story of Wonder Woman began back in 1941, I did not discover her until much later, and my introduction didnʼt come at the hands of comic books. Instead, when I was a little girl I used to watch the television show starring Lynda Carter, and the animated television series, Super Friends. -
Exploiting Intellectual Property Assets: Overview of Licensing, Franchising and Merchandising
Exploiting Intellectual Property Assets: Overview of Licensing, Franchising and Merchandising Training of the Trainers Program on Effective Intellectual Property Asset Management by Small and Medium Sized Enterprises (SMEs) WIPO & IPOM, Mongolia Ulaanbaatar, October 8 to 10, 2013 Susanna H.S. LEONG Associate Professor & Vice Dean NUS Business School, National University of Singapore Commercial exploitation of a trade mark • Commercial exploitation of a trade mark generally takes the form of either an assignment or a licence of the mark by the trade mark proprietor. • These two forms of commercial exploitation may appear similar at times but they are in fact quite distinct. • Simply put, an assignment of a trade mark involves an outright sale under which there is a one-off transfer of the personal property in the trade mark to the new owner. • Thereafter, the original trade mark proprietor (the assignor) ceases to have any rights over the trade mark. • In contrast, a licence of a trade mark involves only a granting of a limited right to use the mark (duration of use and geographical restrictions) by the trade mark proprietor to a particular person or persons. Assignment of a Trade Mark • A registered trade mark is assignable and transmissible in the same way as other personal or movable property, and is so assignable or transmissible either in connection with the goodwill of a business or independently. • An assignment of a registered trade mark is essentially a contract under which property rights in the trade mark are transferred from the trade mark proprietor (assignor) to the new owner (assignee) and contract law applies to issues such as formation of contract, terms and conditions, discharge of contractual obligations and remedies for breach. -
Sandman, Aesthetics and Canonisation Today I Want To
Sandman, Aesthetics and Canonisation Today I want to examine the ways in which Neil Gaiman’s Sandman has used narrative, format and aesthetic to move ever closer to the notion of the literary text. Particularly going to consider how it exploits the author function and enacts the struggle for cultural worth that comics seem consistently engaged in. Sandman is an epic series rewriting a golden-age superhero into an immortal deity. It is best remembered for its mythological content and literary references, and these elements have allowed it to claim its place as a canonised graphic novel (despite not actually being a singular GN but a maxi-series across multiple trade paperbacks!). Neil Gaiman’s authorship and authority dominate the text and epitomise Michel Foucault’s author function. But Sandman also draws heavily on mixed media and artistic variation and these aspects are less often discussed. Far from supporting a singular author function, Sandman’s visual style is multiple and varied. But despite this, in paratexts the artistic contributions are frequently subsumed into Gaiman’s authorship. However, a closer reading demonstrates that in fact this artistic variety destabilises clear-cut authorship and enacts the particular status struggles of comics as a collaborative medium struggling against the graphic novel branding. SLIDE: literary pix Sandman was launched in 1989 and became the flagship title for DC’s new Vertigo imprint. Vertigo’s publications contributed heavily to the mainstream cultural revaluation of comics as graphic novels, and critics such as Candace West have argued that Sandman in particular was instrumental here due to the attention the series received from mainstream media such as Rolling Stone magazine. -
Arto Chapter1.Pdf
CLICK HERE FOR THE COMPLETE DIGITAL DOWNLOAD CLICK HERE FOR THE COMPLETE DIGITAL DOWNLOAD T M N T B O O K CLICK HERE FOR THE COMPLETE DIGITAL DOWNLOAD T M N T B O O K III FOR THE LOVE OF MY LIFE PAM MY AMAZING FAMILY PETER “BUCK” LAIRD AND THE OLD MIRAGE GANG CLICK HERE FOR THE COMPLETE DIGITAL DOWNLOAD T M N T B O O K CLICK HERE FOR THE COMPLETE DIGITAL DOWNLOAD T M N T B O O K V HISTORY I always felt my artistic inter- est and skill was inherited, but MISTER DARK AND MOODY I never knew to what depth until recently. I had seen many of my grand- mother Eastman’s watercolor paintings, and had traced over many car and motorcycle dra- wings of my Dad’s when I was younger. My mother was always doing something creative, and today paints better with oils and pastels than I ever will. It seems both sides of the family brought a piece to the table. It wasn’t until George Eastman contacted me through the “Ninja Turtles” web site in the PHOTO BY SYDNEY late ‘90s to confirm some facts for the Eastman family geneal- ogy web site that he was build- ing, did I get the full picture. It was there I first discovered Seth Eastman. Here are some of my favorite drawings, and ONE OF MY FIRST COVERS FOR CLAY GEERDES the man himself. HIGH SCHOOL MURAL CLICK HERE FOR THE COMPLETE DIGITAL DOWNLOAD 4 T M N T B O O K MY NEW HERO Arguably, the foremost pictorial of the American Indian, Seth Eastman was born in Brunswick, Maine on January 24, 1808. -
Neil Gaiman's the Sandman
Masaryk University Faculty of Arts Department of English and American Studies English Language and Literature Andrea Goldbergerová Themes as Characters: Neil Gaiman’s The Sandman Bachelor‟s Diploma Thesis Supervisor: Michael Matthew Kaylor, Ph. D. 2011 1 I declare that I have worked on this thesis independently, using only the primary and secondary sources listed in the bibliography. …………………………………………….. Author‟s signature 2 Acknowledgement I would like to thank my supervisor Michael Matthew Kaylor, Ph.D. for his kind and valuable advice, and for suggesting this topic to me in the first place. 3 Table of Contents 1. Introduction…………………………………………………………………….……..5 2. Comics as a Narrative Medium……………………………………………….………7 2.1 Defining Comics…………………………………………………….……….7 2.2 Vocabulary of Comics………………………………………………….…..14 2.2.1 Panels, Closure, and the “Gutter”…………………………….…..14 2.2.2 Word Balloons and Lettering…………………………….….……15 3. The Sandman: Analysis of the Endless……………………………………….……...16 3.1 Characterization and Visual Depiction of the Endless…………………..…18 3.1.1 Dream……………………………………………………………..18 3.1.2 Death……………………………………………………………...24 3.1.3 Destiny……………………………………………………………27 3.1.4 Destruction………………………………………………………..28 3.1.5 Desire……………………………………………………………..30 3.1.6 Despair…………………………………………………………....31 3.1.7 Delirium………………………………………………………..…32 3.2 Themes as Characters: Analyses of Endless-Centered Stories……….….…33 3.2.1 “The Sound of Her Wings”………………………………...….….33 3.2.2 The Wake……………………………………………………....….35 4. Portraying Personifications in Comics…………………………………………........38 5. Conclusion…………………………………………………………………………...43 6. Works Cited………………………………………………………………………….44 7. Résumés……………………………………………………………………………...46 4 1. Introduction As a boy growing up in the 1960s and early 1970s, Neil Gaiman1 had already been an avid reader – having taught himself to read at the age of three – when he discovered the medium of comics. -
The Metacomics of Alan Moore, Neil Gaiman, and Warren Ellis
University of Alberta Telling Stories About Storytelling: The Metacomics of Alan Moore, Neil Gaiman, and Warren Ellis by Orion Ussner Kidder A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfilment of the requirements for the degree of Doctor of Philosophy in English Department of English and Film Studies ©Orion Ussner Kidder Spring 2010 Edmonton, Alberta Permission is hereby granted to the University of Alberta Libraries to reproduce single copies of this thesis and to lend or sell such copies for private, scholarly or scientific research purposes only. Where the thesis is converted to, or otherwise made available in digital form, the University of Alberta will advise potential users of the thesis of these terms. The author reserves all other publication and other rights in association with the copyright in the thesis and, except as herein before provided, neither the thesis nor any substantial portion thereof may be printed or otherwise reproduced in any material form whatsoever without the author's prior written permission. Library and Archives Bibliothèque et Canada Archives Canada Published Heritage Direction du Branch Patrimoine de l’édition 395 Wellington Street 395, rue Wellington Ottawa ON K1A 0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre référence ISBN: 978-0-494-60022-1 Our file Notre référence ISBN: 978-0-494-60022-1 NOTICE: AVIS: The author has granted a non- L’auteur a accordé une licence non exclusive exclusive license allowing Library and permettant à la Bibliothèque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par télécommunication ou par l’Internet, prêter, telecommunication or on the Internet, distribuer et vendre des thèses partout dans le loan, distribute and sell theses monde, à des fins commerciales ou autres, sur worldwide, for commercial or non- support microforme, papier, électronique et/ou commercial purposes, in microform, autres formats. -
Mason 2015 02Thesis.Pdf (1.969Mb)
‘Page 1, Panel 1…” Creating an Australian Comic Book Series Author Mason, Paul James Published 2015 Thesis Type Thesis (Professional Doctorate) School Queensland College of Art DOI https://doi.org/10.25904/1912/3741 Copyright Statement The author owns the copyright in this thesis, unless stated otherwise. Downloaded from http://hdl.handle.net/10072/367413 Griffith Research Online https://research-repository.griffith.edu.au ‘Page 1, Panel 1…” Creating an Australian Comic Book Series Paul James Mason s2585694 Bachelor of Arts/Fine Art Major Bachelor of Animation with First Class Honours Queensland College of Art Arts, Education and Law Group Griffith University Submitted in fulfillment for the requirements of the degree of Doctor of Visual Arts (DVA) June 2014 Abstract: What methods do writers and illustrators use to visually approach the comic book page in an American Superhero form that can be adapted to create a professional and engaging Australian hero comic? The purpose of this research is to adapt the approaches used by prominent and influential writers and artists in the American superhero/action comic-book field to create an engaging Australian hero comic book. Further, the aim of this thesis is to bridge the gap between the lack of academic writing on the professional practice of the Australian comic industry. In order to achieve this, I explored and learned the methods these prominent and professional US writers and artists use. Compared to the American industry, the creating of comic books in Australia has rarely been documented, particularly in a formal capacity or from a contemporary perspective. The process I used was to navigate through the research and studio practice from the perspective of a solo artist with an interest to learn, and to develop into an artist with a firmer understanding of not only the medium being engaged, but the context in which the medium is being created. -
Mcwilliams Ku 0099D 16650
‘Yes, But What Have You Done for Me Lately?’: Intersections of Intellectual Property, Work-for-Hire, and The Struggle of the Creative Precariat in the American Comic Book Industry © 2019 By Ora Charles McWilliams Submitted to the graduate degree program in American Studies and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Co-Chair: Ben Chappell Co-Chair: Elizabeth Esch Henry Bial Germaine Halegoua Joo Ok Kim Date Defended: 10 May, 2019 ii The dissertation committee for Ora Charles McWilliams certifies that this is the approved version of the following dissertation: ‘Yes, But What Have You Done for Me Lately?’: Intersections of Intellectual Property, Work-for-Hire, and The Struggle of the Creative Precariat in the American Comic Book Industry Co-Chair: Ben Chappell Co-Chair: Elizabeth Esch Date Approved: 24 May 2019 iii Abstract The comic book industry has significant challenges with intellectual property rights. Comic books have rarely been treated as a serious art form or cultural phenomenon. It used to be that creating a comic book would be considered shameful or something done only as side work. Beginning in the 1990s, some comic creators were able to leverage enough cultural capital to influence more media. In the post-9/11 world, generic elements of superheroes began to resonate with audiences; superheroes fight against injustices and are able to confront the evils in today’s America. This has created a billion dollar, Oscar-award-winning industry of superhero movies, as well as allowed created comic book careers for artists and writers. -
Also Make the Heavens
Skrifter utgivna av Avdelningen för litteratursociologi vid Litteraturvetenskapliga institutionen i Uppsala Publications from the Section for Sociology of Literature at the Department of Literature, Uppsala University 60 Also Make the Heavens 1 2 Svante Lovén Also Make the Heavens Virtual Realities in Science Fiction Uppsala 2010 Avdelningen för litteratursociologi vid Litteraturvetenskapliga institutionen i Uppsala The Section for Sociology of Literature at the Department of Literature, Uppsala University 3 Parts of the second chapter have previously been published in “Even better than the real thing? Counterfeit realities and twentieth century dystopian fic- tion”, Human IT. Tidskrift för studier av IT ur ett humanvetenskapligt per- spektiv, 2–3, 2001, pp. 233-289. Cover photograph by the author. Cover design by Martin Högvall. Printed at Kph Trycksaksbolaget, Uppsala, 2010. Copyright © Svante Lovén 2010 ISSN 0349-1145 ISBN 978-91-88300-49-2 4 Till Elisabeth, Magnus och Anna 5 6 Contents Acknowledgements 9 Introduction 11 1. The charm and danger of the illusion 1. Introduction 29 2. The seductive image and the weakness of our nature Plato 31 Christian iconophobia 34 The illusion as witchcraft: Two Renaissance allegories 39 3. The human demiurge The celebration of illusionist art 43 The man-made world and the dream of order 47 The Romantic poet as creator god 55 4. The technological spectacle Romantic mistrust of technology 59 The virtual reality of the panorama 60 The virtual reality as decadence: J.K. Huysmans’ Against Nature 70 2. The humanist reaction 1. The terror of direct experience 79 E.M. Forster, “The Machine Stops” 80 2. Escape of the masses The threat of film 84 Aldous Huxley, Brave New World 86 3. -
Waking up the Gods Sandman Series (And Legions of Other Similar Publications) Neil Gaiman Has Also Written Numerous Short Stories and Essays
BOOKWORLD INCWADI YELIZWE tion of the minds of these two authors here truly produces a hugely entertaining read. Besides his acclaim as the author of The Waking up the gods Sandman series (and legions of other similar publications) Neil Gaiman has also written numerous short stories and essays. An excel- The unusual world of Neil Gaiman lent selection of these may be found in the 1999 publication Smoke and mirrors: short fiction and illusions. As its title suggests, the ALEXANDER VAN DER POLL #19 became the first (and only) comic pieces collected within it are all about illusion. Correspondent (graphic novel) to be awarded a literary Often Gaiman uses traditional imagery and prize (The World Fantasy Award) in 1991, ideas, or even fables and then adds his unique ‘Saying Neil Gaiman is a writer, is like the ‘underground’ author took his first otherworldly touch to them. The text itself is saying Da Vinci dabbled in the arts.’ steps toward world acclaim. very varied, ranging from a mere paragraph to (Minneapolis Star Tribune) Today he is hailed by many as an excit- a dozen or more pages. Yet, whether long or ing new voice in English fiction, and even short, the stories, poems and essays included doll with hollowed out eyes is best-selling author Stephen King, has high are always stimulating and tend to linger in the pinned to the wall. An ‘expression’ praise for his work. The dictionary of liter- mind. A of horror fills its lifeless face. A tie ary biography lists Gaiman as one of the And not only in the mind of the reader! is wrapped around its neck. -
JM. Dematteis
BIBLIOGRAFIA ITALIANA DI J. M. DeMATTEIS A cura di: Gabriele ʿTermidoroʾ Perlini - mail: [email protected] Prima stesura: ottobre 2009 - Secondo aggiornamento: gennaio 2021 Ritenuto uno dei più grandi scrittori di Spider-Man, secondo solo a Stan Lee, il nome di J. M. DeMATTEIS è legato indissolubilmente alle gestioni ragnesche degli anni ʿ90 grazie ai cicli di storie in coppia con Sal Buscema e Mark Bagley, cui si annoverano i capolavori "The Child Within ", "Best Of Enemies " e "The Gift ". Scrivendo di un Peter Parker più adulto e massiccio come mai sino ad allora, l'autore si era aggiudicato qualche anno prima il successo grazie alla tragica saga "Kraven's Last Hunt " mentre, poco dopo, sarà la volta della miniserie "The Lost Years ". Sul fronte editoriale opposto si trovano lavori più divertenti ed ironici quali la Justice League International, scritta nella seconda metà degli anni ʿ80 insieme al fidato Keith Giffen, che ha valso alla coppia la nomination per l'Eisner Award come miglior albo singolo grazie al primo numero della loro gestione. Sempre per le più note case editrici americane di fumetti si ricordano gli indelebili cicli di Captain America e The Defenders per la Marvel ed i personaggi mistici della DC quali The Spectre, Dr. Fate, The Phantom Stranger e la Justice League Dark. Brevi incursioni si sono comunque avute anche in personaggi più classici come Batman e Superman. Per le case editrici minori citiamo la sfortunata Abadazad, The Stardust Kid, Hero Squared e The Life And Times Of Savior 28. Difficile poi dimenticare i progetti più personali dell'autore come l'evocativo Moonshadow, Blood: A Tale, Mercy, Seekers Into The Mystery e l'autobiografico Brooklyn Dreams.