What Comic Books Have to Do with Learning to Read

Total Page:16

File Type:pdf, Size:1020Kb

What Comic Books Have to Do with Learning to Read y iterac land L Y Cort nts... SUN Prese Volume 1, Issue 1 tment Depar October 2008 A Monthly Inside this issue: Publication on Trends, Practices, and Information Within the Global Literacy 2 Literacy Community Happenings Graphic Language: What Comic Top Ten Lists 5 Books Have to do With Learning to Read and Literacy Survey 7 SUNY Cortland’s 10 Picks Candidates on 11 Education Jewish-themed 13 Graphic Novels Certification 16 Information (Used with permission of Denis Kitchen Publishing Co., LLC www.deniskitchen.com) Dear Readers, “Things need not have happened to be The proposal that Graphic Novels be the theme for the first issue of the Literacy Department true. Tales and Newsletter lead me to pay more attention to this literary form for use in classrooms than I might dreams are the have. Interestingly, I was about to read two graphic novels when the theme was announced, Will shadow-truths that Eisner’s A Contract with God and Art Spiegelman’s Maus, A Survivors Tale. will endure when Growing up, comic books were taboo in my house so I read them when visiting friends. Archie mere facts are dust and ashes, and for- and Veronica were my favorites. There was something very compelling about comics before televi- sion, computers, and video games entered people’s lives. The “comic book with a spine” (phrase got.” coined by Scott McCloud) is experiencing a rise in popularity and becoming a respectable literary genre. Art Spiegelman was awarded a Pulitzer Prize for Maus I; both his and Eisner’s texts are - Dream, A Midsum- two of the graphic novels featured in the Jewish book discussion series being held this semester mer Night's Dream at the college. (Sandman by Neil In 2007, Marketwatch.com reported that sales of graphic novels in the U.S. and Canada had Gaiman) risen from “…$75 million in 2001 to $375 million in 2007.” Major publishers have clearly been responsive to this interest in graphic novels and have targeted the classroom teacher. Just last week, a subsidiary of Simon and Shuster’s Children’s Books, Alladin Graphics announced it was putting out a line of texts that will “… incorporate both new fiction and nonfiction subjects in a compelling graphic novel format.” (continued on page 17…) October 2008 Sun Mon Tue Wed Thu Fri Sat 1 2 3 4 Golden Age of Media Speaking for Them- Teen Writing Wksp Poetry Writing Class selves: Women of Mystery Lovers BC Seward House 5 6 7 8 9 10 11 Teen Writing Wksp Poetry Writing Class 12 13 14 15 16 17 18 Blood Lines Well-Rounded Book Teen Writing Wksp Poetry Writing Class Club Educator Open House 19 20 21 22 23 24 25 Positively Poetry Teen Writing Wksp Poetry Writing Class Club! 26 27 28 29 30 31 Teen Book Discussion Teen Writing Wksp Poetry Writing Class Halloween Group Syracuse Area Local Literacy Events • October 1 - “Mystery Lovers Book Club” (10:15 AM; Manlius Library, Cortland Area Manlius, NY; 315-682-6400) Bones to Ashes by Kathy Reichs. Nail • October 1- ”Teen Writing Workshop” ( $0; 4:00 PM, Tompkins biting suspense and characters that pop off the page. Copies of this County Public Library, 101 E. Green Street, Ithaca, NY; 607-272- book are available at the circulation desk. Manlius Library Conference 2292) A safe and supportive atmosphere for creative writing and Room. Call for more information. group sharing. Call to register. • October 4 - “Speaking for Themselves: Women of Seward • October 2 - “Poetry Writing Class” (10:00 AM - 11:30 AM; Lifelong, House” (1:00 PM; Seward House, 33 South St., Auburn, NY; 315-252- 119 W. Court Street, Ithaca, NY) 1283) Explore the lives of the 19th-century Seward women through this special tour that includes excerpts from their diaries and letters. • October 12 - “Blood Lines” (1:00 PM - 2:00 PM; The Common Field/ General admission. Tour begins at 1:00 PM. Please call to register. Reuse Recycle Center, 320 Peruville Rd., Lansing, NY; 533-3553) Ticket prices: $6 Adults; $5 AAA/Seniors; $2 Students; Free Chil- Monthly local history talks at Historical sites in Tompkins County. dren under 12. Binghamton Area • October 14 - “Well-Rounded Book Club” (12:00 PM—1:00 PM; Manlius Library Conference Room, Manlius, NY) An eclectic mix of great reads! • October 1- “Golden Age of Media” (The Bundy Museum, 129 Main Book for discussion is The Long Walk: The True Story of A Trek to Street, Binghamton, NY) A comprehensive of media technology and Freedom by Slavomir Rawicz. local broadcasting artifacts. On display through December 30. • October 21 - “Positively Poetry Club!” (7:00 PM—9:00 PM; Manlius • October 16 - “Educator Open House” ($0; 3:30 PM - 5:00 PM; Library Bookmark Café, Manlius, NY) A fun group for folks who enjoy Robertson Museum and Science Center, 30 Front Street, Binghamton, reading, writing, hearing and reciting poetry of all kinds. NY; 772-0660 x-240) Administrators, teachers, student teachers and substitute teachers are welcome, certificates will be available to • October 27 - “Teen Book Discussion Group” (7:00 PM; OCPL Dewitt document attendance for in-service credit, light refreshments and Branch, Buckland Community Room; Dewitt, NY) Teens, entering 6th door prizes. Please register for this program and share great stories grade and up, are invited to join the DeWitt Community Library’s Teen with your peers. Instructor: Librarian Bill Hastings. (315)446-3578. Book Discussion Club. Page 2 Volume 1, Issue 1 Why Teach Graphic Novels? Graphic novels are experience a ren- aissance in the literature world. Although that reading graphic novels requires a Tips for Teaching they usually are not considered part of higher level of thinking to accurately Graphic Novels the accepted literary canon, they are translate all of the information held rising in popularity among students of all within them. • Always pre-read before you ages, and their teachers and parents. Graphic novels are also an untapped teach or recommend any One of the most prevalent arguments medium for learning about different cul- graphic novel! Some novels for the use of graphic novels in the tures. The more sophisticated novels use contain language and artwork classroom is the ever-increasing need to their illustrations to shine a light on that might be inappropriate teach inclusively. Struggling readers who stereotypes, and social problems. Others for your students. become frustrated with long texts can use the medium for educating in a non- • To combine your lesson with read a graphic novel version and become threatening, entertaining way. media literacy, you might want engrossed in the story. Those who would When teachers of any content area to have students look at par- argue that graphic novels do not supply a are looking for a way to teach a complex ticular frames to interpret student with the critical thinking skills or even dull concept to their students, facial expression, intent, per- that he or she would attain through graphic novels might be their answer. ception, and subtle suggestion reading plain print novels are sorely mis- There are graphic novels on every sub- techniques. taken. ject, including Math and Science. Graphic novels require much multimo- The images present in graphic novels • Study the artwork closely. dal processing capabilities on the part of also allows room for mnemonics to de- Look at color choice, shading, the reader. Not only does the dialogue velop. Students who associate an image setting, and even how the font and narration need to be absorbed and to a word, event, or concept, are more used in the print affect the analyzed for meaning and plot, but so do likely to remember it further down the story. the illustrations. Students must pay close line. attention to repeating images, facial ex- • Offer graphic novel versions The Literacy Department encourages pressions, body language, and use of set- of the literature, historical teachers to experience graphic novels on ting, color, and light. Some even argue events, or other class topics their own. They aren’t just for “nerds” being currently studied. This anymore! And who knows? Perhaps you will be a great tool for those might be inclined to include them in your students who are having trou- “While no one is expected to leap classroom libraries! ble keeping up. tall buildings in a single bound, • Have students look at social our aspiring heroes will be tested and cultural opinions through on their courage, integrity, self- comic books. Do the illustra- tions follow a stereotype? sacrifice, compassion and What about the plot? What resourcefulness - the stuff of all can you learn about a culture true superheroes.” through a graphic novel? - Stan Lee, creator of X-Men • Emphasize the power of im- agery. Discuss how the art- and Spiderman work helps tell the story. Look at visual symbolism, themes, and motifs. Page 3 Volume 1, Issue 1 Students Find Graphic Novels to be Page-Turners Educators Differ on Value of Popular Comic-Style Books By Sherry Parmet hubbub of literary activity. UNION-TRIBUNE STAFF WRITER "You've got to cater to what they want," she said. "They're not May 30, 2004 going to read as much if you only have things they don't like. If www.signonsandiego.com they're supposed to be reading a classic in class and they don't get it, then we have it in a comic form that will help them understand it." Andrew Oliver Literature? insists he loathes The books' popularity has been fueled by a new type of graphic reading, yet the novel called manga, which are Japanese comics. Among them are eighth-grader has Dragon Ball, Marmalade Boy, and more than 600 new manga titles last forsaken lunch year.
Recommended publications
  • The Dream of Morpheus: a Character Study of Narrative Power in Neil Gaiman’S the Sandman
    – Centre for Languages and Literatur e English Studies The Dream of Morpheus: A Character Study of Narrative Power in Neil Gaiman’s The Sandman Astrid Dock ENGK01 Degree project in English Literature Autumn Term 2018 Centre for Languages and Literature Lund University Supervisor: Kiki Lindell Abstract This essay is primarily focused on the ambiguity surrounding Morpheus’ death in Neil Gaiman’s The Sandman. There is a divide in the character that is not reconciled within the comic: whether or not Morpheus is in control of the events that shape his death. Shakespeare scholars who have examined the series will have Morpheus in complete control of the narrative because of the similarities he shares with the character of Prospero. Yet the opposite argument, that Morpheus is a prisoner of Gaiman’s narrative, is enabled when he is compared to Milton’s Satan. There is sufficient evidence to support both readings. However, there is far too little material reconciling these two opposite interpretations of Morpheus’ character. The aim of this essay is therefore to discuss these narrative themes concerning Morpheus. Rather than Shakespeare’s Prospero and Milton’s Satan serving metonymic relationships with Morpheus, they should be respectively viewed as foils to further the ambiguous characterisation of the protagonist. With this reading, Morpheus becomes a character simultaneously devoid of, and personified by, narrative power. ii Table of Contents Introduction ...........................................................................................................................
    [Show full text]
  • LEAPING TALL BUILDINGS American Comics SETH KUSHNER Pictures
    LEAPING TALL BUILDINGS LEAPING TALL BUILDINGS LEAPING TALL From the minds behind the acclaimed comics website Graphic NYC comes Leaping Tall Buildings, revealing the history of American comics through the stories of comics’ most important and influential creators—and tracing the medium’s journey all the way from its beginnings as junk culture for kids to its current status as legitimate literature and pop culture. Using interview-based essays, stunning portrait photography, and original art through various stages of development, this book delivers an in-depth, personal, behind-the-scenes account of the history of the American comic book. Subjects include: WILL EISNER (The Spirit, A Contract with God) STAN LEE (Marvel Comics) JULES FEIFFER (The Village Voice) Art SPIEGELMAN (Maus, In the Shadow of No Towers) American Comics Origins of The American Comics Origins of The JIM LEE (DC Comics Co-Publisher, Justice League) GRANT MORRISON (Supergods, All-Star Superman) NEIL GAIMAN (American Gods, Sandman) CHRIS WARE SETH KUSHNER IRVING CHRISTOPHER SETH KUSHNER IRVING CHRISTOPHER (Jimmy Corrigan, Acme Novelty Library) PAUL POPE (Batman: Year 100, Battling Boy) And many more, from the earliest cartoonists pictures pictures to the latest graphic novelists! words words This PDF is NOT the entire book LEAPING TALL BUILDINGS: The Origins of American Comics Photographs by Seth Kushner Text and interviews by Christopher Irving Published by To be released: May 2012 This PDF of Leaping Tall Buildings is only a preview and an uncorrected proof . Lifting
    [Show full text]
  • 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.
    [Show full text]
  • 2News Summer 05 Catalog
    SAV THE BEST IN COMICS & E LEGO ® PUBLICATIONS! W 15 HEN % 1994 --2013 Y ORD OU ON ER LINE FALL 2013 ! AMERICAN COMIC BOOK CHRONICLES: The 1950 s BILL SCHELLY tackles comics of the Atomic Era of Marilyn Monroe and Elvis Presley: EC’s TALES OF THE CRYPT, MAD, CARL BARKS ’ Donald Duck and Uncle Scrooge, re-tooling the FLASH in Showcase #4, return of Timely’s CAPTAIN AMERICA, HUMAN TORCH and SUB-MARINER , FREDRIC WERTHAM ’s anti-comics campaign, and more! Ships August 2013 Ambitious new series of FULL- (240-page FULL-COLOR HARDCOVER ) $40.95 COLOR HARDCOVERS (Digital Edition) $12.95 • ISBN: 9781605490540 documenting each 1965-69 decade of comic JOHN WELLS covers the transformation of MARVEL book history! COMICS into a pop phenomenon, Wally Wood’s TOWER COMICS , CHARLTON ’s Action Heroes, the BATMAN TV SHOW , Roy Thomas, Neal Adams, and Denny O’Neil lead - ing a youth wave in comics, GOLD KEY digests, the Archies and Josie & the Pussycats, and more! Ships March 2014 (224-page FULL-COLOR HARDCOVER ) $39.95 (Digital Edition) $11.95 • ISBN: 9781605490557 The 1970s ALSO AVAILABLE NOW: JASON SACKS & KEITH DALLAS detail the emerging Bronze Age of comics: Relevance with Denny O’Neil and Neal Adams’s GREEN 1960-64: (224-pages) $39.95 • (Digital Edition) $11.95 • ISBN: 978-1-60549-045-8 LANTERN , Jack Kirby’s FOURTH WORLD saga, Comics Code revisions that opens the floodgates for monsters and the supernatural, 1980s: (288-pages) $41.95 • (Digital Edition) $13.95 • ISBN: 978-1-60549-046-5 Jenette Kahn’s arrival at DC and the subsequent DC IMPLOSION , the coming of Jim Shooter and the DIRECT MARKET , and more! COMING SOON: 1940-44, 1945-49 and 1990s (240-page FULL-COLOR HARDCOVER ) $40.95 • (Digital Edition) $12.95 • ISBN: 9781605490564 • Ships July 2014 Our newest mag: Comic Book Creator! ™ A TwoMorrows Publication No.
    [Show full text]
  • The Graphic Novel and the Age of Transition: a Survey and Analysis
    The Graphic Novel and the Age of Transition: A Survey and Analysis STEPHEN E. TABACHNICK University of Memphis OWING TO A LARGE NUMBER of excellent adaptations, it is now possible to read and to teach a good deal ot the Transition period litera- ture with the aid of graphic, or comic book, novels. The graphic novei is an extended comic book, written by adults for adults, which treats important content in a serious artistic way and makes use of high- quality paper and production techniques not available to the creators of the Sunday comics and traditional comic books. This flourishing new genre can be traced to Belgian artist Frans Masereel's wordless wood- cut novel. Passionate Journey (1919), but the form really took off in the 1960s and 1970s when creators in a number of countries began to employ both words and pictures. Despite the fictional implication of graphic "novel," the genre does not limit itself to fiction and includes numerous works of autobiography, biography, travel, history, reportage and even poetry, including a brilliant parody of T. S. Eliot's Waste Land by Martin Rowson (New York: Harper and Row, 1990) which perfectly captures the spirit of the original. However, most of the adaptations of 1880-1920 British literature that have been published to date (and of which I am aware) have been limited to fiction, and because of space considerations, only some of them can be examined bere. In addition to works now in print, I will include a few out-of-print graphic novel adap- tations of 1880-1920 literature hecause they are particularly interest- ing and hopefully may return to print one day, since graphic novels, like traditional comics, go in and out of print with alarming frequency.
    [Show full text]
  • PDF Download the Sandman Overture
    THE SANDMAN OVERTURE: OVERTURE PDF, EPUB, EBOOK J. H. Williams, Neil Gaiman | 224 pages | 17 Nov 2015 | DC Comics | 9781401248963 | English | United States The Sandman Overture: Overture PDF Book Writer: Neil Gaiman Artist: J. The lowest-priced brand-new, unused, unopened, undamaged item in its original packaging where packaging is applicable. This would have been a better first issue. Nov 16, - So how do we walk the line of being a prequel, but still feeling relevant and fresh today on a visual level? Variant Covers. By continuing to use this website, you agree to their use. Click on the different category headings to find out more. Presented by MSI. Journeying into the realm of his sister Delirium , he learns that the cat was actually Desire in disguise. On an alien world, an aspect of Dream senses that something is very wrong, and dies in flames. Most relevant reviews. Williams III. The pair had never collaborated on a comic before "The Sandman: Overture," which tells the story immediately preceding the first issue of "The Sandman," collected in a book titled, "Preludes and Nocturnes. Help Learn to edit Community portal Recent changes Upload file. It's incredibly well written, but if you are looking for that feeling you had when you read the first issue of the original Sandman series, you won't find it here. Retrieved 13 March Logan's Run film adaptation TV adaptation. Notify me of new posts by email. Dreams, and by extension stories as we talked about in issue 1 , have meaning. Auction: New Other. You won't get that, not in these pages.
    [Show full text]
  • 4 Howard Cruse's Stuck Rubber Baby: How 'Gay Is the New Black' Discourses Shape the White Gay Imaginary
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| Good White Queers? ject matters.
    [Show full text]
  • Decoding the Visual Rhetoric: Memory and Trauma in Lynda Barry's One! Hundred! Demons!
    http://wjel.sciedupress.com World Journal of English Language Vol. 8, No. 2; 2018 Decoding the Visual Rhetoric: Memory and Trauma in Lynda Barry’s One! Hundred! Demons! Partha Bhattacharjee & Priyanka Tripathi Department of Humanties and Social Sciences, Indian Institute of Technology Patna, India. Correspondence: E-mail: [email protected] Received: September 2, 2018 Accepted: September 20, 2018 Online Published: September 23, 2018 doi:10.5430/wjel.v8n2p37 URL: https://doi.org/10.5430/wjel.v8n2p37 Abstract Memory is an important tool in Lynda Barry’s One! Hundred! Demons! (2002) as she reconnoitres in non-linear fragments the personal trauma she faced while she was growing up. Layered into nineteen disjointed chapters, Barry’s graphic narrative is an amalgamation of images, collages and photographs, often following the pattern of a scrapbook style that justifies not only the events drawn in her narrative but also the motive of visual rhetoric in comics where visual images communicate and concretize meaning. Initially published as web comics (slate.com), each chapter consists of hand-painted vignettes of multifarious themes which are directly or indirectly linked to Barry’s life, covering from her childhood to adulthood. In the backdrop of these tools, techniques of visual rhetoric the objective of this paper is to investigate the form of the graphic narrative, the visual language employed in order to explore the traumatised childhood, memory and truth-telling in comics. Keywords: Trauma, Memory, Collage, Visual Language 1. Introduction Comics Studies emerges as a scholarly field in the second half of the 20th century and gains its boost to reach the acme in the current century.
    [Show full text]
  • 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).
    [Show full text]
  • The Sand-Man by Ernst T.A
    1 The Sand-Man By Ernst T.A. Hoffmann Translated by J.Y. Bealby, B.A. Formerly Scholar of Corpus Christi College, Cambridge Charles Scribner's Sons, New York, 1885 Nathanael to Lothair I KNOW you are all very uneasy because I have not written for such a long, long time. Mother, to be sure, is angry, and Clara, I dare say, believes I am living here in riot and revelry, and quite forgetting my sweet angel, whose image is so deeply engraved upon my heart and mind. But that is not so; daily and hourly do I think of you all, and my lovely Clara's form comes to gladden me in my dreams, and smiles upon me with her bright eyes, as graciously as she used to do in the days when I went in and out amongst you. Oh! how could I write to you in the distracted state of mind in which I have been, and which, until now, has quite bewildered me! A terrible thing has happened to me. Dark forebodings of some awful fate threatening me are spreading themselves out over my head like black clouds, impenetrable to every friendly ray of sunlight. I must now tell you what has taken place; I must, that I see well enough, but only to think upon it makes the wild laughter burst from my lips. Oh! my dear, dear Lothair, what shall I say to make you feel, if only in an inadequate way, that that which happened to me a few days ago could thus really exercise such a hostile and disturbing influence upon my life? Oh that you were here to see for yourself! but now you will, I suppose, take me for a superstitious ghost-seer.
    [Show full text]
  • “War of the Worlds Special!” Summer 2011
    “WAR OF THE WORLDS SPECIAL!” SUMMER 2011 ® WPS36587 WORLD'S FOREMOST ADULT ILLUSTRATED MAGAZINE RETAILER: DISPLAY UNTIL JULY 25, 2011 SUMMER 2011 $6.95 HM0811_C001.indd 1 5/3/11 2:38 PM www.wotw-goliath.com © 2011 Tripod Entertainment Sdn Bhd. All rights reserved. HM0811_C004_WotW.indd 4 4/29/11 11:04 AM 08/11 HM0811_C002-P001_Zenescope-Ad.indd 3 4/29/11 10:56 AM war of the worlds special summER 2011 VOlumE 35 • nO. 5 COVER BY studiO ClimB 5 Gallery on War of the Worlds 9 st. PEtERsBuRg stORY: JOE PEaRsOn, sCRiPt: daVid aBRamOWitz & gaVin YaP, lEttERing: REmY "Eisu" mOkhtaR, aRt: PuPPEtEER lEE 25 lEgaCY WRitER: Chi-REn ChOOng, aRt: WankOk lEOng 59 diVinE Wind aRt BY kROmOsOmlaB, COlOR BY maYalOCa, WRittEn BY lEOn tan 73 thE Oath WRitER: JOE PEaRsOn, aRtist: Oh Wang Jing, lEttERER: ChEng ChEE siOng, COlORist: POPia 100 thE PatiEnt WRitER: gaVin YaP, aRt: REmY "Eisu" mOkhtaR, COlORs: ammaR "gECkO" Jamal 113 thE CaPtain sCRiPt: na'a muRad & gaVin YaP, aRt: slaium 9. st. PEtERsBuRg publisher & editor-in-chief warehouse manager kEVin Eastman JOhn maRtin vice president/executive director web development hOWaRd JuROFskY Right anglE, inC. managing editor translators dEBRa YanOVER miguEl guERRa, designers miChaEl giORdani, andRiJ BORYs assOCiatEs & JaCinthE lEClERC customer service manager website FiOna RussEll WWW.hEaVYmEtal.COm 413-527-7481 advertising assistant to the publisher hEaVY mEtal PamEla aRVanEtEs (516) 594-2130 Heavy Metal is published nine times per year by Metal Mammoth, Inc. Retailer Display Allowances: A retailer display allowance is authorized to all retailers with an existing Heavy Metal Authorization agreement.
    [Show full text]
  • THE COMIX BOOK LIFE of DENIS KITCHEN Spring 2014 • the New Voice of the Comics Medium • Number 5 Table of Contents
    THE COMIX BOOK LIFE OF DENIS KITCHEN 0 2 1 82658 97073 4 in theUSA $ 8.95 ADULTS ONLY! A TwoMorrows Publication TwoMorrows Cover art byDenisKitchen No. 5,Spring2014 ™ Spring 2014 • The New Voice of the Comics Medium • Number 5 TABLE OF CONTENTS HIPPIE W©©DY Ye Ed’s Rant: Talking up Kitchen, Wild Bill, Cruse, and upcoming CBC changes ............ 2 CBC mascot by J.D. KING ©2014 J.D. King. COMICS CHATTER About Our Bob Fingerman: The cartoonist is slaving for his monthly Minimum Wage .................. 3 Cover Incoming: Neal Adams and CBC’s editor take a sound thrashing from readers ............. 8 Art by DENIS KITCHEN The Good Stuff: Jorge Khoury on artist Frank Espinosa’s latest triumph ..................... 12 Color by BR YANT PAUL Hembeck’s Dateline: Our Man Fred recalls his Kitchen Sink contributions ................ 14 JOHNSON Coming Soon in CBC: Howard Cruse, Vanguard Cartoonist Announcement that Ye Ed’s comprehensive talk with the 2014 MOCCA guest of honor and award-winning author of Stuck Rubber Baby will be coming this fall...... 15 REMEMBERING WILD BILL EVERETT The Last Splash: Blake Bell traces the final, glorious years of Bill Everett and the man’s exquisite final run on Sub-Mariner in a poignant, sober crescendo of life ..... 16 Fish Stories: Separating the facts from myth regarding William Blake Everett ........... 23 Cowan Considered: Part two of Michael Aushenker’s interview with Denys Cowan on the man’s years in cartoon animation and a triumphant return to comics ............ 24 Art ©2014 Denis Kitchen. Dr. Wertham’s Sloppy Seduction: Prof. Carol L. Tilley discusses her findings of DENIS KITCHEN included three shoddy research and falsified evidence inSeduction of the Innocent, the notorious in-jokes on our cover that his observant close friends might book that almost took down the entire comic book industry ....................................
    [Show full text]