Join thousands of book lovers
You can, at any time, unsubscribe from our newsletters.
Eight months have passed, and Ethorenn has been training with the elves, but he is falling behind his classmates. Struggling because of the physical differences between him and the elves.Ethorenn is fed up with the treatment he receives from the elves, which constantly bully him and bring him down. He decides to leave alongside Kipp and Neväida, and sets his sights on one of the largest human cities in Nevanion, South Emr. Ethorenn has heard rumors about a tournament that brings together competitors from all corners of the world, and he hopes to finally prove to both himself, and the elves that he is not worthless.
Neil Gaiman's award-winning masterpiece 'The Sandman' is one of the most popular and critically acclaimed graphic novels of all time. The series is a rich blend of modern and ancient mythology in which contemporary fiction, historical drama, and legend are seamlessly interwoven.
The first and only authorised celebration of the one and only King of Comics and his groundbreaking work--now in flexibind timed for Kirby's centenary.
This omnibus edition includes "Revenge of the Baby-Sat" and "Scientific Progress Goes "Boink"" as well as other cartoons, integrated throughout. Bill Watterson won the 1986 Reuben Award as Outstanding Cartoonist of the Year, nominated by the National Cartoonists' Society.
Comics Studies Here and Now marks the arrival of comics studies scholarship that no longer feels the need to justify itself within or against other fields of study. The essays herein move us forward, some in their re-diggings into comics history and others by analyzing comics-and all its transmedial and fan-fictional offshoots-on its own terms. Comics Studies stakes the flag of our arrival-the arrival of comics studies as a full-fledged discipline that today and tomorrow excavates, examines, discusses, and analyzes all aspects that make up the resplendent planetary republic of comics. This collection of scholarly essays is a testament to the fact that comic book studies have come into their own as an academic discipline; simply and powerfully moving comic studies forward with their critical excavations and theoretical formulas based on the common sense understanding that comics add to the world as unique, transformative cultural phenomena.
What exactly are comics? Can they be art, literature, or even pornography? How should we understand the characters, stories, and genres that shape them?Thinking about comics raises a bewildering range of questions about representation, narrative, and value. Philosophy of Comics is an introduction to these philosophical questions. In exploring the history and variety of the comics medium, Sam Cowling and Wesley D. Cray chart a path through the emerging field of the philosophy of comics.Drawing from a diverse range of forms and genres and informed by case studies of classic comics such as Watchmen, Tales from the Crypt, and Fun Home, Cowling and Cray explore ethical, aesthetic, and ontological puzzles, including: - What does it take to create-or destroy-a fictional character like Superman?- Can all comics be adapted into films, or are some comics impossible to adapt?- Is there really a genre of superhero comics ?- When are comics obscene, pornographic, and why does it matter? At a time of rapidly growing interest in graphic storytelling, this is an ideal introduction to the philosophy of comics and some of its most central and puzzling questions.
In The Secret Origins of Comics Studies, today's leading comics scholars turn back a page to reveal the founding figures dedicated to understanding comics art. Edited by comics scholars Matthew J. Smith and Randy Duncan, this collection provides an in-depth study of the individuals and institutions that have created and shaped the field of Comics Studies over the past 75 years. From Coulton Waugh to Wolfgang Fuchs, these influential historians, educators, and theorists produced the foundational work and built the institutions that inspired the recent surge in scholarly work in this dynamic, interdisciplinary field. Sometimes scorned, often underappreciated, these visionaries established a path followed by subsequent generations of scholars in literary studies, communication, art history, the social sciences, and more. Giving not only credit where credit is due, this volume both offers an authoritative account of the history of Comics Studies and also helps move the field forward by being a valuable resource for creating graduate student reading lists and the first stop for anyone writing a comics-related literature review.
Critical Approaches to Comics offers students a deeper understanding of the artistic and cultural significance of comic books and graphic novels by introducing key theories and critical methods for analyzing comics. Each chapter explains and then demonstrates a critical method or approach, which students can then apply to interrogate and critique the meanings and forms of comic books, graphic novels, and other sequential art. The authors introduce a wide range of critical perspectives on comics, including fandom, genre, intertextuality, adaptation, gender, narrative, formalism, visual culture, and much more.As the first comprehensive introduction to critical methods for studying comics, Critical Approaches to Comics is the ideal textbook for a variety of courses in comics studies.Contributors: Henry Jenkins, David Berona, Joseph Witek, Randy Duncan, Marc Singer, Pascal Lefevre, Andrei Molotiu, Jeff McLaughlin, Amy Kiste Nyberg, Christopher Murray, Mark Rogers, Ian Gordon, Stanford Carpenter, Matthew J. Smith, Brad J. Ricca, Peter Coogan, Leonard Rifas, Jennifer K. Stuller, Ana Merino, Mel Gibson, Jeffrey A. Brown, Brian Swafford
This edited collection explores how graphic art and in particular Japanese manga represent Japanese history.The articles explore the representation of history in manga from disciplines that include such diverse fields as literary studies, politics, history, cultural studies, linguistics, narratology, and semiotics. Despite this diversity of approaches all academics from these respective fields of study agree that manga pose a peculiarly contemporary appeal that transcends the limitation imposed by traditional approaches to the study and teaching of history. The representation of history via manga in Japan has a long and controversial historiographical dimension. Thereby manga and by extension graphic art in Japanese culture has become one of the world's most powerful modes of expressing contemporary historical verisimilitude. The contributors to this volume elaborate how manga and by extension graphic art rewrites, reinvents and re-imagines the historicity and dialectic of bygone epochs in postwar and contemporary Japan. Manga and the Representation of Japanese History will be of interest to students and scholars of Asian studies, Asian history, Japanese culture and society, as well as art and visual culture
Over the last several decades, comic book superheroes have multiplied and, in the process, become more complicated. In this cutting edge anthology an international roster of contributors offer original research and writing on the contemporary comic book superhero, with occasional journeys into the film and television variation. As superheroes and their stories have grown with the audiences that consume them, their formulas, conventions, and narrative worlds have altered to follow suit, injecting new, unpredictable and more challenging characterizations that engage ravenous readers who increasingly demand more.
Since at least 1939, when daily-strip caveman Alley Oop time-traveled to the Trojan War, comics have been drawing (on) material from Greek and Roman myth, literature and history. At times the connection is cosmetic-as perhaps with Wonder Woman's Amazonian heritage-and at times it is almost irrelevant-as with Hercules' starfaring adventures in the 1982 Marvel miniseries. But all of these make implicit or explicit claims about the place of classics in modern literary culture. Classics and Comics is the first book to explore the engagement of classics with the epitome of modern popular literature, the comic book. This volume collects sixteen articles, all specially commissioned for this volume, that look at how classical content is deployed in comics and reconfigured for a modern audience. It opens with a detailed historical introduction surveying the role of classical material in comics since the 1930s. Subsequent chapters cover a broad range of topics, including the incorporation of modern theories of myth into the creation and interpretation of comic books, the appropriation of characters from classical literature and myth, and the reconfiguration of motif into a modern literary medium. Among the well-known comics considered in the collection are Frank Miller's 300 and Sin City, DC Comics' Wonder Woman, Jack Kirby's The Eternals, Neil Gaiman's Sandman, and examples of Japanese manga. The volume also includes an original 12-page "e;comics-essay,"e; drawn and written by Eisner Award-winning Eric Shanower, creator of the graphic novel series Age of Bronze.
Wonder Woman. Asterix the Gaul. Watchmen. These popular comics, and many others, use classical sources, narrative patterns, and references to enrich their imaginative worlds and deepen the stories they present. This volume explores that rich interaction. Son of Classics and Comics presents thirteen original studies of representations of the ancient world in the medium of comics. Building on the foundation established by their groundbreaking Classics and Comics (2011), George Kovacs and C. W. Marshall have gathered a wide range of essays with a new, global perspective. Chapters are helpfully grouped to facilitate classroom use, with sections on receptions of Homer, on manga, on Asterix, and on the sense of a "e;classic"e; in the modern world. All Greek and Latin passages are translated. Lavishly illustrated, the volume significantly widens the range of available studies on the reception of the Greek and Roman worlds in comics, and deepens our understanding of comics as a literary medium. Son of Classics and Comics will appeal to students and scholars of classical reception as well as comics fans.
Despite--or because of--its huge popular culture status, Peanuts enabled cartoonist Charles Schulz to offer political commentary on the most controversial topics of postwar American culture through the voices of Charlie Brown, Snoopy, and the Peanuts gang.In postwar America, there was no newspaper comic strip more recognizable than Charles Schulz's Peanuts. It was everywhere, not just in thousands of daily newspapers. For nearly fifty years, Peanuts was a mainstay of American popular culture in television, movies, and merchandising, from the Macy's Thanksgiving Day Parade to the White House to the breakfast table. Most people have come to associate Peanuts with the innocence of childhood, not the social and political turmoil of the 1960s and 1970s. Some have even argued that Peanuts was so beloved because it was apolitical. The truth, as Blake Scott Ball shows, is that Peanuts was very political. Whether it was the battles over the Vietnam War, racial integration, feminism, or the future of a nuclear world, Peanuts was a daily conversation about very real hopes and fears and the political realities of the Cold War world. As thousands of fan letters, interviews, and behind-the-scenes documents reveal, Charles Schulz used his comic strip to project his ideas to a mass audience and comment on the rapidly changing politics of America. Charlie Brown's America covers all of these debates and much more in a historical journey through the tumultuous decades of the Cold War as seen through the eyes of Charlie Brown, Lucy, Linus, Peppermint Patty, Snoopy and the rest of the Peanuts gang.
In the years following 1975, a group of female-created comic strips came to national attention in a traditionally male-dominated medium. Typical Girls: The Rhetoric of Womanhood in Comic Strips uncovers the understudied and developing history of these strips, defining and exploring the ramifications of this expression of women's roles at a time of great change in history and in comic art. This impressive, engaging, and timely study illustrates how these comics express the complexities of women's experiences, especially as such experiences were shaped by shifting and often competing notions of womanhood and feminism. Including the comics of Lynn Johnston (For Better or For Worse), Cathy Guisewite (Cathy), Nicole Hollander (Sylvia), Lynda Barry (Ernie Pook's Comeek), Barbara Brandon-Croft (Where I'm Coming From), Alison Bechdel (Dykes to Watch Out For), and Jan Eliot (Stone Soup), Typical Girls is an important history of the representation of womanhood and women's rights in popular comic strips.
Engaging some of the most canonical and thought-provoking anime, manga, and science fiction films, Tokyo Cyberpunk offers insightful analysis of Japanese visual culture. Steven T. Brown draws new conclusions about the cultural flow of art, as well as important technological issues of the day.
Caleb is a middle-aged painter with a non-starter career and a checkered past. He also happens to be the only child of one of the world's most famous cartoonists, Jimmi Wyatt. Known for the internationally beloved father and son comic Sonny Side Up, Jimmi made millions drawing saccharine family stories while neglecting his own son. Now sober, Caleb is haunted by his wasted past and struggling to take responsibility for his present before it's too late. His always patient boyfriend, James, is reaching the end of his rope. When Caleb gets the chance to step out from his father's shadow and shape the most public aspect of the family business, he makes every bad decision and watches his life fall apart. Is it too late to repair the harm? Are we forever doomed to make the same mistakes our parents did?
In a 2019 interview with the webzine DC in the 80s, Jeff Lemire (b. 1976) discusses the comics he read as a child growing up in Essex County, Ontario-his early exposure to reprints of Silver Age DC material, how influential Crisis on Infinite Earths and DC's Who's Who were on him as a developing comics fan, his first reading of Watchmen and The Dark Knight Returns, and his transition to reading the first wave of Vertigo titles when he was sixteen. In other interviews, he describes discovering independent comics when he moved to Toronto, days of browsing comics at the Beguiling, and coming to understand what was possible in the medium of comics, lessons he would take to heart as he began to establish himself as a cartoonist. Many cartoonists deflect from questions about their history with comics and the influences of other artists, while others indulge the interviewer briefly before attempting to steer the questions in another direction. But Lemire, creator of Essex County Trilogy, Sweet Tooth, The Nobody, and Trillium, seems to bask in these discussions. Before he was ever a comics professional, he was a fan. What can be traced in these interviews is the story of the movement from comics fan to comics professional. In the twenty-nine interviews collected in Jeff Lemire: Conversations, readers see Lemire come to understand the process of collaboration, the balancing act involved in working for different kinds of comics publishers like DC and Marvel, the responsibilities involved in representing characters outside his own culture, and the possibilities that exist in the comics medium. We see him embrace a variety of genres, using each of them to explore the issues and themes most important to him. And we see a cartoonist and writer growing in confidence, a working professional coming into his own.
This book explores anime auteur Hayao Miyazaki's films through the lens of the monomyth of the Heroic Quest Cycle. According to Joseph Campbell and other mythology researchers, the Quest is for boys and men, with women acting as either the Hero's mother or the Prize at the end of the journey. Miyazaki nearly exclusively portrays girls and young women as heroes, arguing that we must reassess Campbell's archetype. The text begins with a brief history of animation and anime, followed by Miyazaki's background and rise to prominence. The following chapters look at each of Miyazaki's films from the perspective of the Heroic Quest Cycle, with the last section outlining where Miyazaki and other animators can lead the archetype of the Hero in the future.
Comic books and superhero stories mirror essential societal values and beliefs. We can be Superman, Batman, Wonder Woman, Spider-Man, Black Panther or Rocket Raccoon through our everyday choices. We can't fly, fix hyper drives or hear human heartbeats a mile away, but we can think about what Matt Murdock would do in a conflict, how Superman would respond to natural disasters and how Captain America would handle humanitarian crises. This book analyzes the impact of dozens of comics by examining the noble personalities, traits and actions of the main characters. Chapters detail how superheroes, comic books and other pop culture phenomena offer more than pure entertainment, and how we can better model ourselves after our favorite heroes. Through our good deeds, quick thinking and positive choices, we can become more like superheroes than we ever imagined.
Comic books have presented fictional and fact-based stories of the Korean War, as it was being fought and afterward. Comparing these comics with events that inspired them offers a deeper understanding of the comics industry, America's "e;forgotten war,"e; and the anti-comics movement, championed by psychiatrist Fredric Wertham, who criticized their brutalization of the imagination. Comics--both newsstand offerings and government propaganda--used fictions to justify the unpopular war as necessary and moral. This book examines the dramatization of events and issues, including the war's origins, germ warfare, brainwashing, Cold War espionage, the nuclear threat, African Americans in the military, mistreatment of POWs, and atrocities.
Deep in the frozen plains of Barbaricum, the Sarmatians face a terrible threat. The Romans are approaching in huge numbers to capture the Griffin, a sacred and terrifying beast, and they've kidnapped the beloved niece of the wise old shaman, Fanciakuppov, to lead them to it. Determined to stop them, Fanciakuppov seeks the help of his Gaulish friends.Follow Asterix and Obelix as they fight alongside the fearless Amazon warrior women to rescue the prisoner and prevent the Romans reaching this formidable beast!Loved across the Known World, the multi-million bestselling series is back with its 39th adventure. Filled with jokes, new characters and bravely fought battles, Asterix and the Griffin will delight fans old and new.
From the backyard to outer space, Charles M. Schulz's Peanuts has been charming the world for more than 70 years. In this celebration of Schulz and his beloved work, explore rarely seen sketches, influential comic strips, and collectors' artifacts. Pore over evolving artworks of Snoopy, Charlie Brown, and the gang. Chart the rich history of Peanuts as it grew to become the world's favourite comic, and travel from 1950 to the present day, from California to Japan. Every page of this visual guide is an exhibition to treasure. Discover the enduring and nostalgic charm of Peanuts in this stunning anniversary book.With a foreword by Stephen Colbert. 2020 Peanuts Worldwide LLC
One of the most beloved characters in all of comics, Tintin won an enormous international following. Translated into dozens of languages, Tintin's adventures have sold millions of copies, and Steven Spielberg is presently adapting the stories for the big screen. Yet, despite Tintin's enduring popularity, Americans know almost nothing about his gifted creator, Georges Remi--better known as Herge. Offering a captivating portrait of a man who revolutionized the art of comics, this is the first full biography of Herge available for an English-speaking audience. Born in Brussels in 1907, Herg began his career as a cub reporter, a profession he gave to his teenaged, world-traveling hero. But whereas Tintin was "e;fully formed, clear-headed, and positive,"e; Assouline notes, his inventor was "e;complex, contradictory, inscrutable."e; For all his huge success--achieved with almost no formal training--Herg would say unassumingly of his art, "e;I was just happy drawing little guys, that's all."e; Granted unprecedented access to thousands of the cartoonist's unpublished letters, Assouline gets behind the genial public mask to take full measure of Herg's life and art and the fascinating ways in which the two intertwine. Neither sugarcoating nor sensationalizing his subject, he meticulously probes such controversial issues as Herg's support for Belgian imperialism in the Congo and his alleged collaboration with the Nazis. He also analyzes the underpinnings of Tintin--how the conception of the character as an asexual adventurer reflected Herg's appreciation for the Boy Scouts organization as well as his Catholic mentor's anti-Soviet ideology--and relates the comic strip to Herg's own place within the Belgian middle class. A profound influence on a generation of artists such as Andy Warhol and Roy Lichtenstein, the elusive figure of Herg comes to life in this illuminating biography--a deeply nuanced account that unveils the man and his career as never before.
Impossibly muscular men and voluptuous women parade around in revealing, skintight outfits, and their romantic and sexual entanglements are a key part of the ongoing drama. Such is the state of superhero comics and movies, a genre that has become one of our leading mythologies, conveying influential messages about gender, sexuality, and relationships. Love, Sex, Gender, and Superheroes examines a full range of superhero media, from comics to films to television to merchandising. With a keen eye for the genre's complex and internally contradictory mythology, comics scholar Jeffrey A. Brown considers its mixed messages. Superhero comics may reinforce sex roles with their litany of phallic musclemen and slinky femme fatales, but they also blur gender binaries with their emphasis on transformation and body swaps. Similarly, while most heroes have heterosexual love interests, the genre prioritizes homosocial bonding, and it both celebrates and condemns gendered and sexualized violence. With examples spanning from the Golden Ages of DC and Marvel comics up to recent works like the TV series The Boys, this study provides a comprehensive look at how superhero media shapes our perceptions of love, sex, and gender.
R. Sikoryak is the master of the pop culture pastiche. In Masterpiece Comics, he interpreted classic literature with defining twentieth-century comics. With Terms and Conditions, he made the unreadable contract that everyone signs, and no one reads, readable. He employs his magic yet again to investigate the very framework of the country with Constitution Illustrated. By visually interpreting the complete text of the supreme law of the land with more than a century of American pop culture icons, Sikoryak distills the very essence of the government legalese from the abstract to the tangible, the historical to the contemporary. Among Sikoryak's spot-on unions of government articles and amendments with famous comic-book characters: the Eighteenth Amendment that instituted prohibition is articulated with Homer Simpson running from Chief Wiggum; the Fourteenth Amendment that solidifies citizenship to all people born and naturalized in the United States is personified by Ms. Marvel; and, of course, the Nineteenth Amendment offering women the right to vote is a glorious depiction of Wonder Woman breaking free from her chains. American artists from George Herriman (Krazy Kat) and Charles Schulz (Peanuts) to Raina Telgemeier (Sisters) and Alison Bechdel (Dykes to Watch Out For) are homaged, with their characters reimagined in historical costumes and situations. We the People has never been more apt.