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Class Reference

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Contents
Articles
Definitions and Basics
Comics Cartoon Trade paperback (comics) Graphic novel Webcomic Motion comic Comics Code Authority 1 1 16 20 22 29 35 37 43 43 44 63 65 79 84 84 105 116 129 130 142 144 144 148 150 151 152 161 164 165 169

Awards and Recognition


Harvey Award Ignatz Awards Eisner Award Inkpot Award Doug Wright Award

Literary Theory
Index of literary terms Monomyth Postmodernism Historicity (philosophy) New Journalism Memoir

Visual Theory
Scott McCloud Understanding Comics Reinventing Comics Infinite canvas Will Eisner Comics and Sequential Art Graphic Storytelling and Visual Narrative Fredric Wertham Seduction of the Innocent

Classic Super Heroes


Action Comics Action Comics 1 Superman Detective Comics Batman Stan Lee Spider-Man Fantastic Four

172 172 178 183 205 211 233 249 265 286 286 298 303 308 308 310 314 318 325 330 336 339 344 357 357 363 366 368 369 371 374 374 377 382

Postmodern Heroes
Frank Miller (comics) David Mazzucchelli Batman: Year One

Classic Innovations and Early Comics


Richard F. Outcault The Yellow Kid Frank King (cartoonist) Gasoline Alley Winsor McCay Little Nemo Gertie the Dinosaur George Herriman Krazy Kat

Postmodern Innovations
Chris Ware Acme Novelty Library Jimmy Corrigan, the Smartest Kid on Earth Here (comic) Kramers Ergot Paper Rad

Historicity, documentary, and memoir


Seth (cartoonist) Josh Neufeld A.D.: New Orleans After the Deluge

Jessica Abel La Perdida

387 390 391 391 397 402 408 410 415 419 422 433 435 437 445 447 447 451 452 456 462 462 468 478 485 490 494 512 523 540 547 561 571 585 590 595

More North American texts and writers for student's choice assignment
Daniel Clowes Ghost World Astro City Charles Burns (cartoonist) Art Spiegelman Maus James Sturm Fun Home Dash Shaw Ben Katchor Chester Brown Joe Matt Pascal Blanchet Adrian Tomine Steve Mumford Joe Sacco Harvey Pekar

UK authors and texts worth noting


Punch (magazine) Grant Morrison The Invisibles Warren Ellis Transmetropolitan Alan Moore V for Vendetta Watchmen Promethea Neil Gaiman The Sandman (Vertigo) Jack Kirby Bob Kane Jerry Siegel Joe Shuster

References
Article Sources and Contributors Image Sources, Licenses and Contributors 600 616

Article Licenses
License 621

Definitions and Basics


Comics
Comics (from the Greek , kmikos "of or pertaining to comedy" from - kmos "revel, komos",[1] via the Latin cmicus) denotes a hybrid medium having verbal side of its vocabulary tightly tied to its visual side in order to convey narrative or information only, the latter in case of non-fiction comics, seeking synergy by using both visual (non-verbal) and verbal side in interaction. Although some comics are picture-only, pantomime strips, such as The Little King, the verbal side usually expand upon the pictures, but sometimes act in counterpoint.[2] The term derives from the mostly humorous early work in the medium, and came to apply to that form of the medium including those far from comic. The sequential nature of the pictures, and the predominance of pictures over words, distinguishes comics from picture books, although some in comics studies disagree and claim that in fact what differentiates comics from other forms on the continuum from word-only narratives, on one hand, to picture-only narratives, on the other, is social context.[3]

Social context

William M. Conselman and Charles Plumb's Ella Cinders and Chris Crusty (January 24, 1932). Syndicated cartoonists during 1930s and 1940s were given entire pages in the sunday comics section and thus had space to create secondary strips known as toppers.

Comics as a real mass medium started to emerge in the United States in the early 20th century with the newspaper comic strip, where its form began to be standardized (image-driven, speech balloons, etc.), first in Sunday strips and later in daily strips. The combination of words and pictures proved popular and quickly spread throughout the world. Comic strips were soon gathered into cheap booklets and reprint comic books. Original comic books soon followed. Today, comics are found in newspapers, magazines, comic books, graphic novels and on the web. Historically, the form dealt with humorous subject matter, but its scope has expanded to encompass the full range of literary genres. Also see: Comic strip and cartoon. In some circles, comics are still seen as low art,[4] [5] [6] [7] [8] [9] though there are exceptions, such as Krazy Kat[10] and Barnaby. However, such an elitist "low art/high art" distinction doesn't exist in the French-speaking world (and, to some extent, continental Europe), where the bandes dessines medium as a whole is commonly accepted as "the Ninth Art", is usually dedicated a non-negligible space in bookshops and libraries, and is regularly celebrated in international events such as the Angoulme International Comics Festival. Such distinctions also do not exist in the Japanese manga, the world's largest comics culture.

Comics In the late 20th and early 21st century there has been a movement to rehabilitate the medium. Critical discussions of the form appeared as early as the 1920s,[10] [11] but serious studies were rare until the late 20th century.[12] Though practitioners may eschew formal traditions, they often use particular forms and conventions to convey narration and speech, or to evoke emotional or sensuous responses. Devices such as speech balloons and boxes are used to indicate dialogue and impart establishing information, while panels, layout, gutters and zip ribbons can help indicate the flow of the story. Comics use of text, ambiguity, symbolism, design, iconography, literary technique, mixed media and stylistic elements of art help build a subtext of meanings. Though comics are non-linear structures and can be hard to read sometimes, it is simply presented. However, it depends of the reader's "frame of mind" to read and understand the comic.[13] Different conventions were developed around the globe, from the manga of Japan to the manhua of China and the manhwa of Korea, the comic books of the United States, and the larger hardcover albums in Europe.

History
Early narratives in art
Comics as an art form established itself in the late 19th and early 20th century, alongside the similar forms of film and animation. The three forms share certain conventions, most noticeably the mixing of words and pictures, and all three owe parts of their conventions to the technological leaps made through the industrial revolution. Though newspapers and magazines first established and popularized comics in the late 1890s, narrative illustration has existed for many centuries. Early precursors of comic as they are known today include Trajan's Column and the work of William Hogarth. Rome's Trajan's Column, dedicated in 113 AD, is an early surviving example of a narrative told through sequential pictures, while Egyptian hieroglyphs, Greek friezes, medieval tapestries such as the Bayeux Tapestry and illustrated manuscripts also combine sequential images and words to tell a story. In medieval paintings, many sequential scenes of the same story (usually a Biblical one) appear simultaneously in the same painting (see illustration to left).

Sequential depictions on Trajan's Column

However, these works did not travel to the reader; it took the invention of modern printing techniques to bring the form to a wide audience and become a mass medium.[14] [15] [16]

Comics

In Lucas Cranach the Elder's "Adam and Eve" different scenes of the Biblical story are shown in the same painting: on the front, God is admonishing the couple for their sin; in the background to the right are shown the earlier scenes of Eve's creation from Adam's rib and of their being tempted to eat the forbidden fruit; on the left is the later scene of their expulsion from Paradise.

The 15th18th centuries and printing advances


The invention of the printing press, allowing movable type, established a separation between images and words, the two requiring different methods in order to be reproduced. Early printed material concentrated on religious subjects, but through the 17th and 18th centuries they began to tackle aspects of political and social life, and also started to satirize and caricature. It was also during this period that the speech bubble was developed as a means of attributing dialogue. William Hogarth is often identified in histories of the comics form. His work, A Rake's Progress, was composed of a number of canvases, each reproduced as a print, and the eight prints together Last image in William Hogarth's A Rake's Progress created a narrative. As printing techniques developed, due to the technological advances of the industrial revolution, magazines and newspapers were established. These publications utilized illustrations as a means of commenting on political and social issues, such illustrations becoming known as cartoons in the 1840s. Soon, artists were experimenting with establishing a sequence of images to create a narrative.

Comics

While surviving works of these periods such as Francis Barlow's A True Narrative of the Horrid Hellish Popish Plot (c.1682) as well as The Punishments of Lemuel Gulliver and A Rake's Progress by William Hogarth (1726), can be seen to establish a narrative over a number of images, it wasn't until the 19th century that the elements of such works began to crystallise into the comic strip. The speech balloon also evolved during this period, from the medieval origins of the phylacter, a label, usually in the form of a scroll, which French Liberty. British Slavery, James Gillray's identified a character either through naming them or using a short text 1792 caricature poking fun at the French to explain their purpose. Artists such as George Cruikshank helped Revolution, anticipates the modern comic strip in codify such phylacters as balloons rather than scrolls, though at this having both separate panels and charactes time they were still called labels. They now represented narative, but speaking via speech balloons. for identification purposes rather than dialogue within the work, and artists soon discarded them in favour of running dialogue underneath the panels. Speech balloons weren't reintroduced to the form until Richard F. Outcault used them for dialogue.[17]

The 19th century: a form established


Rodolphe Tpffer, a Francophone Swiss artist, is seen as the key figure of the early part of the 19th century. Though speech balloons fell from favour during the middle 19th century, Tpffer's sequentially illustrated stories, with text compartmentalized below images, were reprinted throughout Europe and the United States. The lack of copyright laws at the time allowed these pirated editions, and translated versions created a market on both continents for similar works.[18] In 1843 Tpffer formalised his thoughts on the picture story in his considered influential in shaping the comics Essay on Physiognomics: "To construct a picture-story does not mean form. you must set yourself up as a master craftsman, to draw out every potential from your materialoften down to the dregs! It does not mean you just devise caricatures with a pencil naturally frivolous. Nor is it simply to dramatize a proverb or illustrate a pun. You must actually invent some kind of play, where the parts are arranged by plan and form a satisfactory whole. You do not merely pen a joke or put a refrain in couplets. You make a book: good or bad, sober or silly, crazy or sound in sense."[19] [20] [21] In 1845 the satirical drawings, which regularly appeared in newspapers and magazines, gained a name: cartoons. (In art, a cartoon is a pencil or charcol sketch to be overpainted.) The British magazine Punch, launched in 1841, referred to its 'humorous pencilings' as cartoons in a satirical reference to the Parliament of the day, who were themselves organising an exhibition of cartoons, or preparatory drawings, at the time. This usage became common parlance, lasting to the present day.[22] Similar magazines containing cartoons in continental Europe included Fliegende Bltter and Le Charivari, while in the U.S. Judge and Puck were popular.[23] 1865 saw the publication of Max and Moritz by Wilhelm Busch by a German newspaper. Busch refined the conventions of sequential art, and his work was a key influence within the form, Rudolph Dirks was inspired by the strip to create The Katzenjammer Kids in 1897.[24]
A page by Rodolphe Tpffer, whose work is

Comics

5 It is around this time that Manhua, the Chinese form of comics, started to formalize, a process that lasted up until 1927.[25] The introduction of lithographic printing methods derived from the West was a critical step in expanding the form within China during the early 20th century. Like Europe and the United States, satirical drawings were appearing in newspapers and periodicals, initially based on works from those countries. One of the first magazines of satirical cartoons was based on the United Kingdom's Punch, snappily re-branded as "The China Punch".[25] The first piece drawn by a person of Chinese nationality was "The Situation in the Far East" from Tse Tsan-Tai, printed 1899 in Japan. By the 1920s, a market was established for palm-sized picture books like Lianhuanhua.[26]

In 1884, Ally Sloper's Half Holiday was published, a magazine whose selling point was a strip featuring the titular character, and widely regarded as the first comic strip magazine to feature a recurring character. In 1890, two more comic magazines debuted to the British public, Comic Cuts and Illustrated Chips, establishing the tradition of the British comic as an anthology periodical containing comic strips.[16]
Yellow Kid, created by Richard F. Outcault.

In the United States, R.F. Outcault's work in combining speech balloons and images on Hogan's Alley and The Yellow Kid has been credited as establishing the form and conventions of the comic strip,[27] though academics have uncovered earlier works that combine speech bubbles and a multi image narrative. However, the popularity of Outcalt's work and the position of the strip in a newspaper retains credit as a driving force of the form.[28] [29]

Comics

The 20th century and the mass medium


The 1920s and 1930s saw further booms within the industry. In China, a market was established for palm-sized picture books like [26] Lianhuanhua, while the market for comic anthologies in Britain had turned to targeting children through juvenile humor, with The Dandy and The Beano launched. In Belgium, Herg created the Tintin newspaper strip for a comic supplement; this was successfully collected in a bound album and created a market for further such works. The same period in the United States had seen newspaper strips expand their subject matter beyond humour, with action, adventure and mystery strips launched. The collection of such material also began, with The Funnies, a reprint collection of newspaper strips, published in tabloid size in 1929. A market for such comic books soon followed, and by 1938 publishers were printing original material in the format. It was at this point that Action Comics#1 launched, with Superman as Little Sammy Sneeze (190406) by Winsor McCay the cover feature. The popularity of the character swiftly enshrined the superhero as the defining genre of American comics. The genre lost popularity in the 1950s but re-established its domination of the form from the 1960s until the late 20th century. In Japan, a country with a long tradition for illustration and whose writing system evolved from pictures, comics were hugely popular. Referred to as manga, the Japanese form was established after World War II by Osamu Tezuka, who expanded the page count of a work to number in the hundreds, and who developed a filmic style, heavily influenced by the Disney animations of the time. The Japanese market expanded its range to cover works in many genres, from juvenile fantasy through romance to adult fantasies. Japanese manga is typically published in large anthologies, containing several hundred pages, and the stories told have long been used as sources for adaptation into animated film. In Japan, such films are referred to as anime, and many creators work in both forms simultaneously, leading to an intrinsic linking of the two forms. During the latter half of the 20th century comics have become a very popular item for collectors and from the 1970s American comics publishers have actively encouraged collecting and shifted a large portion of comics publishing and production to appeal directly to the collector's community.

Comics

7 Writing in 1972, Sir Ernst Gombrich felt Tpffer had evolved a new pictorial language, that of an abbreviated art style, which allowed the audience to fill in gaps with their imagination.[30] The modern double use of the term comic, as an adjective describing a genre, and a noun designating an entire medium, has been criticised as confusing and misleading. In the 1960s and 1970s, underground cartoonists used the spelling comix to distinguish their work from mainstream newspaper strips and juvenile comic books. Their work was written for an adult audience but was usually comedic, so the "comic" label was still appropriate.[31] The term graphic novel was popularized in the late 1970s, having been coined at least two decades previous, to distance the material from this confusion.[32]
Alan Moore, whose works have done much to popularise the medium.

In the 1980s, comics scholarship started to blossom in the U.S.,[33] and a resurgence in the popularity of comics was seen, with Alan Moore and Frank Miller producing notable superhero works and Bill Watterson's Calvin & Hobbes being syndicated.

In 2005, Robert Crumb's work was exhibited in galleries both sides of the Atlantic, and The Guardian newspaper devoted its tabloid supplement to a week long exploration of his work and idioms.[34]

Forms
Comics have been presented within a wide number of publishing and typographical formats, from the very short panel cartoon to the more lengthy graphic novel. The cartoon, traditionally containing satirical or humorous content in the manner of those seen in The New Yorker or Private Eye, originate from the mid nineteenth century. This form of comics is still popular, though the last few years has seen a reduction in the number of editorial cartoonists employed in the US media.[35] There is dispute as to whether the cartoon is a form of comics, a precursor, or a related formbut some argue that since the cartoon combines words with image and constructs a narrative, it is a form of comic. The comic strip is simply a sequence of cartoons that unite to tell a story. Originally, the term comic strip applied to any sequence of cartoons, no matter the venue of publication or length of the sequence, but now, mainly in the United States, the term refers to the strips Carl Barks, Donald Duck comics artist, signing published in newspapers as Sunday or daily strips. These strips are autographs in 1994. now typically humorous or satirical strips, such as Hgar the Horrible and Doonesbury, but have often been action themed, educational or even biographical. In the United States the term "comics" is sometimes used to describe the page of a newspaper upon which comic strips are found, with the term "comic" quickly adopting through popular usage to refer to the form rather than the content.[36] [37] Said pages are also referred to as the "funny pages", and comics are hence sometimes called "the funnies".[38] In the United Kingdom, the term comic strip still applies to longer stories that appear in comics, such as 2000 AD or The Beano.

Comics

Publication formats
Over time a number of formats have become closely associated with the form, from the comic book to the webcomic. The American comic book originated in the early part of the twentieth century, and grew from magazines that repackaged newspaper comic strips. Eventually, publishers commissioned original work, and the material developed from its humorous origins to encompass adventure stories, romance, war, and superheroes, with the latter genre dominating comic book publishing by the late twentieth century. Though called comic books, these publications are more like magazines, having soft covers printed on glossy paper, with interiors of newsprint or higher grade paper. In Europe, magazines were always a venue for original material in the form, and such comic magazines or comic books soon grew into anthologies that serialized a number of stories. In continental Europe a market soon established itself George Herriman's Krazy Kat (January 6, 1918) to support collections of these strips. All of these publications are generally referred to as "comics" for short, with typical American and British comic books or magazines running 32 pages, including advertisements and letter column. (These are sometimes known as 36-page books, counting the covers.) European comic magazines have wildly varying page numbers, currently ranging mostly between 52 and 120 pages, while European comic albums traditionally had between 32 and 62 pages. In the United States, when a publisher collects previously serialized stories, such a collection is commonly referred to as either a trade paperback or as a graphic novel. These are books, typically squarebound and published with a card cover, containing no advertisements. They generally collect a single story, which has been broken into a number of chapters previously serialized in comic books, with the issues collectively known as a story arc. Such trade paperbacks can contain anywhere from four issues (for example, there is Kingdom Come by Mark Waid and Alex Ross) to as many as twenty (The Death of Superman). In continental Europe, especially Belgium and France, such collections are usually somewhat larger in size and published with a hardback cover, a format established by the Tintin Graphic novels on display for sale in a specialist series in the 1930s. These are referred to as 'comic albums,[39] a term shop. that in the United States refers to anthology books. The United Kingdom has no great tradition of such collections, though during the 1980s Titan publishing launched a line collecting stories previously published in 2000 AD. The graphic novel format is similar to typical book publishing, with works being published in both hardback and paperback editions. The term has proved a difficult one to fully define, and refers not only to fiction but also factual works, and is also used to describe collections of previously serialised works as well as original material. Some publishers distinguish between such material, using the term "original graphic novel" for work commissioned especially for the form. Newspaper strips also get collected, both in Europe and in the United States. In the US, the selection of strips to be reprinted in books has often been somewhat haphazard, but there have been several recent efforts to produce

Comics complete collections of the more popular newspaper strips. In the UK, it is traditional for the children's comics market to release comic annuals, which are hardback books containing strips, as well as text stories and puzzles and games.[40] [41] [42] In the United States, the comic annual was a summer publication, typically an extended comic book, with storylines often linked across a publisher's line of comics. In Japan, comics are usually first serialized in manga magazines and latter compiled in tankbon format. In South Africa, Supa Strikas, a weekly comic book reaching more than a million readers worldwide, uses advertising embedded in each frame of the comic strip to generate revenue, rather than charging its readers. Webcomics, also known as online Bill Holman's Smokey Stover, an example of a popular American strip translated for publication in France. comics and web comics, are comics that are available on the Internet. Many webcomics are exclusively published online, while some are published in print but maintain a web archive for either commercial or artistic reasons. With the Internet's easy access to an audience, webcomics run the gamut from traditional comic strips to graphic novels and beyond. Webcomics are similar to self-published print comics in that almost anyone can create their own webcomic and publish it on the Web. Currently, there are thousands of webcomics available online, with some achieving popular, critical, or commercial success. The Perry Bible Fellowship is syndicated in print, while Brian Fies' Mom's Cancer won the inaugural Eisner Award for digital comics in 2005 and was subsequently collected and published in hardback. The comics form can also be utilized to convey information in mixed media. For example, strips designed for educative or informative purposes, notably the instructions upon an airplane's safety card. These strips are generally referred to as instructional comics. The comics form is also utilized in the film and animation industry, through storyboarding. Storyboards are illustrations displayed in sequence for the purpose of visualizing an animated or live-action film. A storyboard is essentially a large comic of the film or some section of the film produced beforehand to help the directors and cinematographers visualize the scenes and find potential problems before they occur. Often storyboards include arrows or instructions that indicate movement. Like many other media, comics can also be self-published. One typical format for self-publishers and aspiring professionals is the minicomic, typically small, often photocopied and stapled or with a handmade binding. These are a common inexpensive way for those who want to make their own comics on a very small budget, with mostly informal means of distribution. A number of cartoonists have started this way and gone on to more traditional types of publishing, while other more established artists continue to produce minicomics on the side.

Comics

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Artistic medium
Defining comics
Scholars disagree on the definition of comics; some claim its printed format is crucial, some emphasize the interdependence of image and text, and others its sequential nature. The term as a reference to the medium has also been disputed. In 1996, Will Eisner published Graphic Storytelling, in which he defined comics as "the printed arrangement of art and balloons in sequence, particularly in comic books."[43] Eisner's earlier, more influential definition from Comics and Sequential Art (1985) described the technique and structure of comics as sequential art, "the arrangement of pictures or images and words to narrate a story or dramatize an idea."[44] In Understanding Comics (1993) Scott McCloud defined sequential art and comics as "juxtaposed pictorial and other images in deliberate sequence, intended to convey information and/or to produce an aesthetic response in the viewer."[45] this definition excludes single-panel illustrations such as The Far Side, The Family Circus and most political cartoons from the category, classifying those as cartoons. By contrast, The Comics Journal's "100 Best Comics of the 20th Century",[46] included the works of several single-panel cartoonists and a caricaturist, and academic study of comics has included political cartoons.[47]

Will Eisner, who established the term sequential art and is considered to have popularized the graphic novel.

R. C. Harvey, in his essay Comedy at the Juncture of Word and Image, offered a competing definition in reference to McCloud's: "... comics consist of pictorial narratives or expositions in which words (often lettered into the picture area within speech balloons) usually contribute to the meaning of the pictures and vice versa."[48] This, however, ignores the existence of pantomime comics, such as Carl Anderson's Henry.[49] Most agree that animation, which creates the optical illusion of movement within a static physical frame, is a separate form, though ImageTexT, a peer-reviewed academic journal focusing on comics, accepts submissions relating to animation as well,[50] and the third annual Conference on Comics at the University of Florida focused on comics and animation.[51]

Comics

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Art styles
While almost all comics art is in some sense abbreviated, and also while every artist who has produced comics work brings their own individual approach to bear, some broader art styles have been identified. Comic strip artists Cliff Sterrett and Gus Arriola often used unusual, colorful backgrounds, sometimes veering into abstract art. The basic styles have been identified as realistic and cartoony, with a huge middle ground for which R. Fiore has coined the phrase liberal. Fiore has also expressed distaste with the terms realistic and cartoony, preferring the terms literal and freestyle, respectively.[52] Scott McCloud has created The Big Triangle [53][54] as a tool for thinking about comics art. He places the realistic representation in the bottom left corner, with iconic representation, or cartoony art, in the bottom right, and a third identifier, abstraction of image, at the apex of the triangle. This allows placement and grouping of artists by triangulation. The cartoony style uses comic effects and a variation of line widths for expression. Characters tend to have rounded, simplified anatomy. Noted exponents of this style are Carl Barks and Jeff Smith.[52]

Scott McCloud, whose work Understanding Comics identified the different styles of art used within comics.

The realistic style, also referred to as the adventure style is the one developed for use within the adventure strips of the 1930s. They required a less cartoony look, focusing more on realistic anatomy and shapes, and used the illustrations found in pulp magazines as a basis.[55] This style became the basis of the superhero comic book style, since Joe Shuster and Jerry Siegel originally worked Superman up for publication as an adventure strip.[56] McCloud also notes that in several traditions, there is a tendency to have the main characters drawn rather simplistic and cartoony, while the backgrounds and environment are depicted realistically. Thus, he argues, the reader easily identifies with the characters, (as they are similar to one's idea of self), whilst being immersed into a world, that's three-dimensional and textured.[54] Good examples of this phenomenon include Herge's The Adventures of Tintin (in his "personal trademark" Ligne claire style), Will Eisner's Spirit and Osamu Tezuka's Buddha, among many others.

Language
As noted above, two distinct definitions have been used to define comics as an art form: the combination of both word and image; and the placement of images in sequential order. Both definitions are lacking, in that the first excludes any sequence of wordless images; and the second excludes single panel cartoons such as editorial cartoons. The purpose of comics is certainly that of narration, and so that must be an important factor in defining the art form. Comics, as sequential art, emphasise the pictorial representation of a narrative. This means comics are not an illustrated version of standard literature, and while some critics argue that they are a hybrid form of art and literature, others contend comics are a new and separate art; an integrated whole, of words and images both, where the pictures do not just depict the story, but are part of the telling. In comics, creators transmit expression through arrangement and juxtaposition of either pictures alone, or word(s) and picture(s), to build a narrative. The narration of a comic is set out through the layout of the images, and while, as in films, there may be many people who work on one work, one vision of the narrative guides the work. Artists can use the layout of images on a page to convey passage of time, build suspense or highlight action.[57] For a fuller exploration of the language, see Comics vocabulary.

Comics

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Comic creation
Comics artists usually sketch a drawing in pencil before going over the drawing in India ink, using either a dip pen or a brush. Artists may also use a lightbox to create the final image in ink. Some artists, Brian Bolland for example,[58] use computer graphics, with the published work as the first physical appearance of the artwork. By many definitions (including McCloud's, above) the definition of comics extends to digital media such as webcomics and the mobile comic. The nature of the comics work being created determines the number of people who work on its creation, with successful comic strips and comic books being produced through a studio system, in which an artist assembles a team of assistants to help create the work. However, works from independent companies, self-publishers or those of a more personal nature can be produced by a single creator. Within the comic book industry of the United States, the studio system has come to be the main method of creation. Through its use by the industry, the roles have become heavily codified, and the managing of the studio has become the company's responsibility, with an editor discharging the management duties. The editor assembles a number of creators and oversees the work to publication. Any number of people can assist in the creation of a comic book in this way, from a plotter, a breakdown artist, a penciller, an inker, a scripter, a letterer and a colorist, with some roles being performed by the same person. In contrast, a comic strip tends to be the work of a sole creator, usually termed a cartoonist. However, it is not unusual for a cartoonist to employ the studio method, particularly when a strip become successful. Mort Walker employed a studio, while Bill Watterson eschewed the studio method, preferring to create the strip himself. Gag, political and editorial cartoonists tend to work alone as well, though a cartoonist may use assistants.

Tools
Artists use a variety of pencils, paper, typically Bristol board and a waterproof ink. When inking, many artists preferred to use a Winsor & Newton Series 7, #3 brush as the main tool, which could be used in conjunction with other brushes, dip pens, a fountain pen and/or a variety of technical pens or markers. Mechanical tints can be employed to add grey tone to an image. An artist might paint with acrylics, gouache, poster paints or watercolors. Color can also be achieved through crayons, pastels or colored pencils. Eraser, rulers, templates, set squares and a T-square assist in creating lines and shapes. A drawing table provides an angled work surface with lamps sometimes attached to the table. A light box allows an artist to trace his pencil work when inking, allowing for a looser finish. Knives and scalpels fill a variety of needs, including cutting board or scraping off mistakes. A cutting mat aids paper trimming. Process white is a thick opaque white material for covering mistakes. Adhesives and tapes help composite an image from different sources.

Computer generated comics


Computers dramatically changed the industry, and today many cartoonists and illustrators create digital illustrations using computers, graphics tablets and scanners. Digital art has replaced traditional pen-and-ink drawings on an increasing number of comic books and strips. Historically, the first fully computer-generated comics were Shatter by Peter B. Gillis and Mike Saenz in 1985, and Batman: Digital Justice by Pepe Moreno in 1990. Some illustrators do a pencil sketch, scan it and then use different software programs to execute the finished art, enlarging sections of the drawing for detailed close work. To create comic book covers, Jim McDermott transfers his drawings to his computer and then develops digital paintings simulating the appearance of acrylic or oil paintings. Dave McKean also has combined both traditional and digital methods. Lackadaisy creator Tracy Butler explained her method: When doing linework, my preference is to go about it the old-fashioned way with a simple mechanical pencil and some sturdy paper. Once a page is fully pencilled, I scan it and begin working digitally on the cleanup,

Comics lighting and toning. For this, I generally rely on Adobe Photoshop, a trusty tablet and pen, and a lot of coffee.[59] [60] In 1998, Pete Nash displayed fully digitized artwork on his Striker comic strip for The Sun.[61] Computers are now widely used for both coloring and lettering, forcing some comic book letterers to look elsewhere for work. Snuffy Smith cartoonist Fred Lasswell, a prolific inventor and early adopter of new technology, was one of the first cartoonists to email comic strips to King Features Syndicate and also pioneered the use of computer-generated lettering. On the comic strip Blondie, computer technology makes it possible for the writer Dean Young, the cartoonist John Marshall and the art assistant Frank Cummings to collaborate even though they live in three different states. Marshall's studio is in Binghamton, New York and Cummings lives in Birmingham, Alabama, while Young alternates between Vermont and Florida. To capture the finely polished inking details seen in Blondie, Marshall works on a Wacom tablet linked to his Macintosh. First he draws a rough, sent to Young for review, and then it's back to the computer for the finished art, delivered electronically to King Features.[62] Artist Sophy Khon from Up Up Down Down [63] uses Manga Studio, which is just one of a number of software packages specifically aimed at creating web comics in a fast and easy manner.

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In higher education
A growing number of universities around the world are recognizing the academic legitimacy of Comics studies, leading to a greater amount of comics courses being offered at the college level.[64]

Footnotes
[1] "comic adjective" The Oxford Dictionary of English (revised edition). Ed. Catherine Soanes and Angus Stevenson. Oxford University Press, 2005. Oxford Reference Online. Oxford University Press. Surrey Libraries. 21 April 2008 <http://www.oxfordreference.com/views/ENTRY.html?subview=Main&entry=t140.e15358> [2] Teresa Grainger (2004). "Art, Narrative and Childhood" Literacy 38 (1), 6667. doi:10.1111/j.0034-0472.2004.03801011_2.x [3] "Inventing Comics: Scott McClouds Definition of Comics (first published in the Comics Journal #234, June 2001) Chapter 5" (http:/ / www. hicksville. co. nz/ Inventing Comics 5. htm). Hicksville.co.nz. . Retrieved 2009-11-23. [4] Dowd, Douglas Bevan; Hignite, Todd (2006). Strips, Toons, and Bluesies: Essays in Comics and Culture. Princeton Architectural Press. ISBN1568986211. [5] Varnedoe, Kirk; Gopnik, Adam (1990). Modern Art and Popular Culture: Readings in High & Low. Abrams in association with the Museum of Modern Art. ISBN0870703560. [6] Bollinger, Tim (2000). Nga Pakiwaituhi o Aotearoa: New Zealand Comics, Horrocks, Dylan (ed.). ed. Comics in the Antipodes: a low art in a low place. Hicksville Press. ISBN0-473-06708-0. [7] Gold, Glen David (2005). Masters of American Comics, Carlin, John, Karasik, Paul & Walker, Brian (ed.). ed. Jack Kirby. Yale University Press. pp.262. ISBN030011317X. [8] Fielder, Leslie (2004) [1955]. Arguing Comics: Literary Masters on a Popular Medium, Heer, Jeet & Worcester, Kent (ed.). ed. The Middle Against Both Ends. Univ. Press of Mississippi. pp.132. ISBN1578066875. [9] Groensteen, Thierry (2000). Comics & Culture: Analytical and Theoretical Approaches to Comics, Anne Magnussen & Hans-Christian Christiansen (ed.). ed. Why are Comics Still in Search of Cultural Legitimization?. Museum Tusculanum Press. ISBN8772895802. [10] Gilbert Seldes, The 7 Lively Arts, Harper, 1924, ASIN B000M1MMBC [11] Martin Sheridan, Comics and their Creators, Ralph T. Hale and Company, 1942, ASIN B000Q8QGC2 [12] Dez Skinn, Comic Art Now, Collins Design, 2008, ISBN 978-0061447396. [13] Scott McCloud, Understanding Comics, Harper, 1994, ISBN 978-0060976255 [14] Perry & Aldridge, 1989. p.11 [15] McCloud, 1993. pp.11-14 [16] Sabin, 1993. pp.13-14 [17] Smolderen, Thierry (Summer, 2006) "Of Labels, Loops, and Bubbles: Solving the Historical Puzzle of the Speech Balloon". Comic Art 8. pp.90-112 [18] Beerbohm, Robert (2003) "The Adventures of Obadiah Oldbuck Part III" (http:/ / scoop. diamondgalleries. com/ scoop_article. asp?ai=2808& si=124). The Search For Tpffer In America. . Retrieved May 30, 2005. [19] Translated by Weiss, E. in Enter: The Comics, University of Nebraska Press, Lincoln, pp.4. (1969) [20] Original French, extract (http:/ / www. amazon. fr/ dp/ 2841620751)

Comics
[21] Original French, extract (http:/ / www. lekti-ecriture. com/ editeurs/ Essai-de-physiognomonie. html) [22] Varnum & Gibbons, 2001. pp.77-78 [23] Gordon, Ian (2002). "Comics" (http:/ / www. findarticles. com/ p/ articles/ mi_g1epc/ is_tov/ ai_2419100313). St James Encyclopedia of pop culture (2002). . Retrieved May 30, 2005. [24] "comic strip" (http:/ / www. bartleby. com/ 65/ co/ comicstr. html). The Columbia Encyclopedia, Sixth Edition. 2001. . Retrieved June 22, 2005. [25] Wong, Wendy Siuyi (2002). Hong Kong Comics: A History of Manhua. Princeton Architectural Press. ISBN1-56898-269-0. [26] Lent, John A. [2001] (2001) Illustrating Asia: Comics, Humor Magazines, and Picture Books. University of Hawaii Press. ISBN 0824824717 [27] Sabin, 1993. pp.133-134 [28] Marschall, Richard (February, 1989). "Oh You Kid". The Comics Journal 127, p. 72-7 [29] Walker, Brian (2004) the comics: Before 1945. Harry N. Abrams, Inc. (United States). ISBN 9780810949706 [30] Gombrich, E.H. (1972). Art and illusion: A study in the psychology of pictorial representation. London: Phaidon Press. ISBN0-691-01750-6. [31] Arnold, 2001. [32] Var. (2003-4) "The history of the term 'graphic novel' ..." (http:/ / web. archive. org/ web/ 20080323155517/ http:/ / www. geocities. com/ rucervine/ ). As Archived At . Archived from the original (http:/ / www. geocities. com/ rucervine/ ) on 2008-03-23. . Retrieved June 26, 2005. [33] Taylor, Laurie; Martin, Cathlena; & Houp, Trena (2004) "Introduction" (http:/ / www. english. ufl. edu/ imagetext/ archives/ exhibit1/ introduction. shtml). ImageTexT Exhibit 1 (Fall 2004). . Retrieved June 26, 2005. [34] Var. (March 711, 2005) "G2 in Crumbland" (http:/ / www. guardian. co. uk/ arts/ crumb/ 0,15829,1430764,00. html). The Guardian Newspaper Special Report (London). . Retrieved June 26, 2005. [35] Chris Lamb, Save the editorial cartoonists (http:/ / www. dmoma. org/ lobby/ exhibitions/ presidentially_speaking/ lamb_essay. html), February 18, 2004. The Digital Museum of Modern Art. Retrieved 2007-06-06. [36] Sabin, 1993. pp.137-139 [37] Bell, John and Viau, Michel (2002). "Emergence of the Comic Book, 1929-1940" (http:/ / www. collectionscanada. ca/ comics/ 027002-8200-e. html). Beyond the Funnies. . Retrieved May 30, 2005. [38] Harvey, R.C. (1994). The art of the funnies: An aesthetic history. University Press of Mississippi [39] Ferguson, Andrew (1999). "Tintin Books - US/English editions" (http:/ / web. archive. org/ web/ 20050212164152/ http:/ / www. princeton. edu/ ~ferguson/ adw/ tintin/ biblio. htm). Herg and Tintin. Archived from the original (http:/ / www. princeton. edu/ ~ferguson/ adw/ tintin/ biblio. htm) on February 12, 2005. . Retrieved June 25, 2005. [40] Ezard, John (December 24, 2005) "They dealt with Dan. Now Dana and Yasmin target Dennis" The Guardian. p.7 [41] Jones, Gwyn (February 18, 2006) "Beano! It's just Dandy to have an Eagle eye..." The Independent. p.20 [42] Brown, Michael (December 7, 2002) "Review: Children's history: Real life" The Guardian. p.36 [43] Eisner, Will (1996). Graphic Storytelling. Poorhouse Press. ISBN0-9614728-2-0. [44] Eisner, Will (1990 Expanded Edition, reprinted 2001). Comics & Sequential Art. Poorhouse Press. ISBN0-9614728-1-2. [45] McCloud, 1993. p.7-9 [46] Spurgeon, Tom et al. (February 1999) "Top 100 (English Language) Comics of the Century". The Comics Journal 210. [47] (http:/ / www. english. ufl. edu/ imagetext/ archives/ v3_1/ reviews/ mayne. shtml) [48] Varnum & Gibbons, 2001. p.76 [49] Markstein, Don. Don Markstein's Toonopedia (http:/ / www. toonopedia. com/ henry. htm). [50] (http:/ / www. english. ufl. edu/ imagetext/ about. shtml) [51] (http:/ / www. english. ufl. edu/ comics/ 2004/ ) [52] Fiore, 2005. p.1 (http:/ / www. tcj. com/ messboard/ ubb/ Forum2/ HTML/ 003611. html) [53] http:/ / www. scottmccloud. com/ 4-inventions/ triangle/ index. html [54] McCloud, 1993. [55] Fiore (http:/ / www. tcj. com/ messboard/ ubb/ Forum2/ HTML/ 003611. html). [56] Santos, 1998. The Golden Era... June 1938 to 1945, Part I (http:/ / www. dereksantos. com/ comicpage/ gold. html) [57] Driest, Joris (2005). " Subjective Narration in Comics (http:/ / asterix. library. uu. nl/ files/ scrol/ r66/ PDF-Subjective narration in comics. pdf)". Retrieved May 26, 2005. PDF [58] (2003), "The Moles Interview No 5: Brian Bolland" (http:/ / www. theresidents. co. uk/ articles/ interviews/ bolland. htm). . Retrieved June 26, 2005. [59] Brayshaw, Christopher (June, 1997) " The Dave McKean interview (http:/ / www. bulletsofautumn. com/ mckean-art/ readings/ 1997_Comics_Journal_Interview. html)" The Comics Journal 196. [60] net.com "Interview with Tracy Butler", March 2, 2009. (http:/ / www. netmag. co. uk/ zine/ home/ the-brains-behind-lackadaisy) [61] BBC Staff (2005-05-15). "Whistle blown on Striker magazine" (http:/ / news. bbc. co. uk/ 1/ hi/ england/ kent/ 4549375. stm). BBC News. . Retrieved January 2, 2010. [62] Young, Dean. "Blondie 75 Years", Tampa Bay Magazine, July-August 2006. (http:/ / books. google. com/ books?id=1fsDAAAAMBAJ& pg=PA66& lpg=PA66& dq=tampa+ "dean+ young"& source=bl& ots=c_mavy_Lc_& sig=93Q0MlXN5GVKVa_tXv4MAk1cj9g& hl=en& ei=FUMZS5a5BubJlQfwqvG2BA& sa=X& oi=book_result& ct=result& resnum=11& ved=0CDEQ6AEwCg#v=onepage& q=& f=false)

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Comics
[63] http:/ / upup-downdown. com/ [64] Cornwell, Lisa (2007-12-15). "Schools add, expand comics arts classes" (http:/ / www. usatoday. com/ news/ education/ 2007-12-15-comicsclasses_N. htm). USA Today. . Retrieved 2008-11-11.

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Bibliography
Fiore. R (2005). "Adventures in Nomenclature: Literal, Liberal and Freestyle" (http://www.tcj.com/messboard/ ubb/Forum2/HTML/003611.html). The Comics Journal Message Board. Retrieved June 14, 2005. Kunzle, David (1973). The Early Comic Strip; Narrative Strips and Picture Stories in the European Broadsheet from c.1450 to 1825. University of California Press. McCloud, Scott (1993). Understanding Comics: The Invisible Art. Kitchen Sink Press. ISBN0-87816-243-7. Perry, George; Aldridge, Alan (1989 reprint with introduction). The Penguin Book Of Comics. Penguin. ISBN0-14-002802-1. Sabin, Roger (1993). Adult Comics An Introduction. Routledge. ISBN0-415-04419-7. Santos, Derek (1998) "Comic History" (http://www.dereksantos.com/comicpage/index.html). The Comic Page. Retrieved June 26, 2005. Varnum, Robin & Gibbons, Christina T. editors (2001). The Language of Comics: Word and Image. University Press Mississippi. ISBN1-57806-414-7. Williams, Jeff. "Comics: A tool of subversion?" (http://www.albany.edu/scj/jcjpc/vol2is6/comics.html) Journal of Criminal Justice and Popular Culture, 2(6) (1994) 129-146

Further reading
David Carrier, The Aesthetics of Comics (http://www.psupress.psu.edu/books/titles/0-271-01962-X.html), Penn State Press, 2002 ISBN 0-271-02188-8 Will Eisner Comics and Sequential Art Poorhouse Press 1985 ISBN 0-9614728-0-4 Will Eisner Graphic Storytelling Poorhouse Press 1995 ISBN 0-9614728-3-9 Gary Groth & R. Fiore The New Comics Berkley Books 1988 ISBN 0425113663 Maurice Horn ed. The World Encyclopedia of Comics Avon 1977 ISBN 0877543232 Scott McCloud Understanding Comics - the Invisible Art HarperCollins 1994 ISBN 0-613-02782-5 Roger Sabin Comics, Comix and Graphic Novels: a History of Comic Art Phaidon 1996 ISBN 0714839930 Coulton Waugh The Comics The Macmillan Company 1947 ISBN 0878054995 Richard O'Brien The Golden Age of Comics, Ballantine Books, 1977. ISBN 0345255356

External links
Comics (http://www.dmoz.org/Arts/Comics//) at the Open Directory Project Billy Ireland Cartoon Library & Museum (http://cartoons.osu.edu/index.php) Michigan State University Comic Art Collection (http://www.lib.msu.edu/comics/) Comic Art Collection (http://mulibraries.missouri.edu/specialcollections/comic.htm) at the University of Missouri Comic Book Database (http://www.comicbookdb.com/) Grand Comics Database (http://comics.org/) Comics Archives and Editorial Cartoons (http://www.gocomics.com/) Cartoon Art Museum of San Francisco (http://www.cartoonart.org/) Time Archives' Collection of Comics (http://www.time.com/time/archive/collections/0,21428,c_comics,00. shtml/)

GetSlabbed Collector Guide: Information on collecting comics (http://getslabbed.com/index. php?option=com_content&view=category&layout=blog&id=29&Itemid=62)

Comics Historieta y Animacin (http://historietayanimacion.com) Download Comics for Free (http://pustaka-komik.blogspot.com) "Comics in the National Art Library" (http://www.vam.ac.uk/collections/prints_books/features/comics/ index.html). Prints & Books. Victoria and Albert Museum. Retrieved 2011-03-15. Dialy Fresh Comics Strips (http://goio.net/comics/)

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Cartoon
The word cartoon has various meanings, based on several very different forms of visual art and illustration. The artists who draw cartoons are known as cartoonists. The term has evolved over time. The original meaning was in fine art of the late Middle Ages and Renaissance, where it referred to a preparatory drawing for a piece of art, such as a painting or tapestry. In the 19th century, it came to refer to humorous illustrations in magazines and newspapers, and in the early 20th century it was sometimes used to refer to comic strips.[1] In modern usage, it commonly refers to single-panel drawings (also known as gag cartoons) and animation for film and television.

Fine art
A cartoon (from the Italian "cartone" and Dutch word "karton", meaning strong, heavy paper or pasteboard) is a full-size Example of a modern cartoon. The text was excerpted by cartoonist Greg Williams from the Wikipedia article Dr. Seuss. drawing made on sturdy paper as a study or modello for a painting, stained glass or tapestry. Cartoons were typically used in the production of frescoes, to accurately link the component parts of the composition when painted on damp plaster over a series of days (giornate).

Cartoon

17

Such cartoons often have pinpricks along the outlines of the design; a bag of soot was then patted or "pounced" over the cartoon, held against the wall to leave black dots on the plaster ("pouncing"). Cartoons by painters, such as the Raphael Cartoons in London and examples by Leonardo da Vinci, are highly prized in their own right. Tapestry cartoons, usually coloured, were followed by eye by the weavers on the loom.[1]

Cartoon for stained glass window of Daniel by Edward Burne-Jones, 1873.

Print media
In modern print media, a cartoon is a piece of art, usually humorous in intent. This usage dates from 1843 when Punch magazine applied the term to satirical drawings in its pages,[2] particularly sketches by John Leech. The first of these parodied the preparatory cartoons for grand historical frescoes in the then-new Palace of Westminster. The original title for these drawings was Mr Punch's face is the letter Q and the new title "cartoon" was intended to be ironic, a reference to the self-aggrandizing posturing of Westminster politicians. Modern single-panel gag cartoons, found in magazines, generally consist of a single drawing with a typeset caption positioned beneath or (much less often) a speech balloon. Newspaper syndicates have also distributed single-panel gag cartoons by Mel Calman, Bill Holman, Gary Larson, George Lichty, Fred Neher and others. Many consider New Yorker cartoonist Peter Arno the father of the modern gag cartoon (as did Arno himself). The roster of magazine gag cartoonists includes Charles Addams, Charles Barsotti and Chon Day.
John Leech's "Cartoon no.1: Substance and Shadow" (1843) satirized preparatory cartoons for frescoes in the Palace of Westminster, creating the modern meaning of "cartoon".

Bill Hoest, Jerry Marcus and Virgil Partch began as a magazine gag cartoonists and moved on to do syndicated comic strips. Noteworthy in the area of newspaper cartoon illustration is Richard Thompson, who illustrated numerous feature articles in The Washington Post before creating his Cul de Sac comic strip. Editorial cartoons are found almost exclusively in news publications and news websites. Although they also employ humor, they are more serious in tone, commonly using irony or satire. The art usually acts as a visual metaphor to illustrate a point of view on current social and/or political topics. Editorial cartoons often include speech balloons and, sometimes, multiple panels. Editorial cartoonists of note include Herblock, David Low, Jeff MacNelly, Mike

Cartoon Peters and Gerald Scarfe.[1] Comic strips, also known as "cartoon strips" in the United Kingdom, are found daily in newspapers worldwide, and are usually a short series of cartoon illustrations in sequence. In the United States they are not as commonly called "cartoons" themselves, but rather "comics" or "funnies". Nonetheless, the creators of comic stripsas well as comic books and graphic novelsare usually referred to as "cartoonists". Although humor is the most prevalent subject matter, adventure and drama are also represented in this medium. Noteworthy cartoonists of humor strips include Scott Adams, Steve Bell, Charles Schulz, E. C. Segar, Mort Walker and Bill Watterson.[1]

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Books
Books with cartoons are usually reprints of newspaper cartoons. On some occasions, new gag cartoons have been created for book publication, as was the case with Think Small, a 1967 promotional book distributed as a giveaway by Volkswagen dealers. Bill Hoest and other cartoonists of that decade drew cartoons showing Volkswagens, and these were published along with humorous automotive essays by such humorists as H. Allen Smith, Roger Price and Jean Shepherd. The book's design juxtaposed each cartoon alongside a photograph of the cartoon's creator.

Animation
Because of the stylistic similarities between comic strips and early animated movies, "cartoon" came to refer to animation, and the word "cartoon" is currently used to refer to both animated cartoons and gag cartoons. While "animation" designates any style of illustrated images seen in rapid succession to give the impression of movement, the word "cartoon" is most often used in reference to TV programs and short films for children featuring anthropomorphized animals, superheroes, the adventures of child protagonists and related genres. At the end of the 1980s, the word "cartoon" was shortened, and the word "toon" came into usage with the live action/animated feature Who Framed Roger Rabbit (1988), followed two years later by the TV series Tiny Toon Adventures (1990).
An animated cartoon horse, drawn by rotoscoping from Eadweard Muybridge's 19th-century photos.

References
[1] Becker, Stephen. Comic Art in America. Simon & Schuster, 1959. [2] Punch.co.uk. "History of the Cartoon" (http:/ / punch. co. uk/ cartoonhistory02. html). .

Cartoon

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Further reading
Robinson, Jerry, The Comics: An Illustrated History of Comic Strip Art (1974) G.P. Putnam's Sons Horn, Maurice, The World Encyclopedia of Comics (1976) Chelsea House, (1982) Avon Blackbeard, Bill, ed. The Smithsonian Collection of Newspaper Comics (1977) Smithsonian Inst. Press/Harry Abrams

External links
Dan Becker, History of Cartoons (http://xroads.virginia.edu/~MA96/PUCK/intro.html) Marchand collection (http://historyproject.ucdavis.edu/ic/index.php?region=-1&topic=-1& standard_cal=-1&collection=-1&index=0&per_page=24&query=cartoon) cartoons & photos Stamp Act 1765 (http://www.learner.org/biographyofamerica/prog04/index.html) with British & American cartoons Slavery (http://www.slaveryinamerica.org/scripts/sia/gallery.cgi) Lilly Library collection (http://www.indiana.edu/~liblilly/cartoon/monkey.html) pre 1865 Harper's Weekly (http://www.harpweek.com) 150 cartoons on elections 1860-1912; Reconstruction topics; Chinese exclusion; plus American Political Prints from the Library of Congress, 17661876 Elections 1860-1912 (http://elections.harpweek.com/) as covered by Harper's Weekly; news, editorials, cartoons (many by Thomas Nast) Thomas Nast cartoons (http://www.lib.ohio-state.edu/cgaweb/nast/) strongly pro-GOP, pro-Reconstruction, anti-South, anti-Irish, & anti-Catholic more Nast cartoons (http://www.thomasnast.com/TheCartoons/NastCartoons.htm) still more Nast (http://graphicwitness.org/group/harper.htm#nast1) "Graphic Witness" political caricatures in history (http://graphicwitness.org/ineye/sitemap.htm) Gilded Age & Progressive Era (http://www.cohums.ohio-state.edu/history/web.htm) Cartoons, industry, labor, politics, prohibition from Ohio State University political cartoons (http://xroads.virginia.edu/~MA96/PUCK/''Puck'') Hawaii editorial cartoons (http://library.kcc.hawaii.edu/~soma/cartoons/cartoon.html) Keppler cartoons (http://graphicwitness.org/group/keppler.htm) 1892 political cartoons (http://graphicwitness.org/group/election92.htm) Opper cartoons for 1900 election (http://graphicwitness.org/historic/opper.htm) ridiculing TR and McKinley as pawns of Trusts and Sen. Hanna WWI cartoons (http://rutlandhs.k12.vt.us/jpeterso/uboatcar.htm) Ding Darling editorial cartoons 1910-1950 (http://www.dingdarling.org/cartoons.html) New Deal Cartoons (http://www.nisk.k12.ny.us/fdr/) systematic collection of original editorial cartoons from many newspapers; research resource on New Deal by year and topic 1933-45 Lindbergh & America First (http://www.charleslindbergh.com/americanfirst/index.asp) with cartoons & graphics & audio speeches Dr Seuss cartoons from WW2 (http://orpheus.ucsd.edu/speccoll/dspolitic/) Harry Truman caricatured (http://www.trumanlibrary.org/whistlestop/cartoons/cartoon_central.htm) Oliphant's 1970s; political (http://www.muskiefoundation.org/oliphant.html) Herblock (http://www.washingtonpost.com/wp-srv/politics/herblock/5decades.htm) 1920-s 2000s; editorial cartoons from liberal perspective current editorial cartoons (http://cnn.com/ALLPOLITICS/analysis/)

Index of cartoonists in the Fred Waring Collection (http://www.libraries.psu.edu/waringcollections/cartoons/ toon.html#index) International Society for Humor Studies (http://www.hnu.edu/ishs/index.htm)

Trade paperback (comics)

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Trade paperback (comics)


In comics, a trade paperback (often shortened to TPB or trade) is a collection of stories originally published in comic books, reprinted in book format, usually capturing one story arc from a single title or a series of stories with a connected story arc or common theme from one or more titles. Although trade paperback is actually a publishing term that refers to any book with a flexible cardstock cover which is larger than the standard mass market paperback format, comics fans unfamiliar with that meaning have come to use the term to refer to the type of material traditionally sold in comics shops in that format: collected editions of previously-serialized stories. The term graphic novel is sometimes used interchangeably, but some people maintain that the terms are distinct, with the difference being that the latter term refers to a square-bound printing with largely original material.[1] Traditionally, a trade paperback will reproduce the stories at the same size as they were originally presented in comic book format; recently, however, certain trades have been published in a smaller, "digest-sized" format, similar in size to a paperback novel. Note that many comics collections are published in hardcover (or in both formats). The bulk of this article applies to both paperback and hardcover collections. In the comics industry, the term "trade paperback market" can be casually used to refer to the market for any collection, regardless of actual cover.

Additions and omissions


A trade paperback will sometimes feature additional artwork, such as alternate cover art or pinup galleries by guest artists, not released in the standard issues. Additional story material that was not available in the series itself may also be included, primarily "preview" or "extra" stories presented exclusively on the Internet or in comics-industry publications such as Wizard (or simply things that are unlikely to be reprinted anywhere else, such as Free Comic Book Day comics). Many feature introductions written by prominent figures, some from outside the world of comicsfor instance, The Sandman: Worlds' End features an introduction by Stephen King, the Ultimates 2 book has an introduction by Jonathan Ross and most Hellboy trade paperbacks have included introductions by prominent authors. A common practice is to include an art gallery featuring the artwork of the original comic book covers from which the series was compiled. While there have been exceptions, as a general rule of thumb, trade paperbacks will not feature advertisements, fan mail, special foil or embossed covers. Where the original serialized format included back-up stories not related to the main arc, these may also be omitted, and, in what is now a largely discontinued practice, it was common in older trade paperbacks to use only small excerpts from certain stories, or to omit pages from the main story related to other subplots.

Readers and collectors


For many years, trade paperbacks were mainly used to reprint older comic-book stories that were no longer available to the average reader, when original copies of those stories were scarce and hard to find, and often very expensive when found due to their rarity. However, in the first years of the 21st century, comic book publishers began releasing trade paperbacks of collected story arcs, often within a few months of those stories' publication in comic-book form (and in some cases, within the same month that the final issue was originally released). This was found to be an excellent way to draw new readers to a serieswhere before, one would have to hunt for individual back issues to catch up on a series, now a reader coming into an already established title could purchase the previous issues in trade paperback form and have access to the entire series' worth of stories to date. As the trade paperback versions are usually cheaper than buying the individual comics and presented without any advertisements, many comic book fans choose to hold off on purchasing the individual issues and only follow the stories when they come out in trade. This can sometimes help a series whose sales are flagging, much like how a film

Trade paperback (comics) that performed poorly in movie theaters can gain new popularity in home video formats; in a few instances, significant trade paperback sales have even revived a series that had been cancelled or slated for cancellation. However, only buying a series in trade format can also hurt a title; despite the growing popularity of the trade paperback, the serialized, individual issues are still considered the primary mode of sale by comics publishers, and if a series is not meeting sales criteria for individual issues, it may face cancellation no matter how well the collected editions are selling. A significant benefit of the trade paperback version is that it is often available in bookstores, from smaller booksellers to the larger suppliers, and other retailers that do not normally carry comic books. Unlike the individual issues, trade paperbacks usually have no particular value to collectors, as they are reprints (which lack the historical significance of the original publication), and they are often kept in print (thus readily available new). However, some trade paperbacks can themselves be noteworthy or scarce, and their value to collectors can go up substantially. Trade paperbacks and graphic novels are the preferred format for circulating library collections, since these collections are focused on patron use and do not have a mission to preserve in original condition for retention or increase in value.[2] [3] Attempts to catalogue and circulate single-issue comics can pose difficult problems [4] and the durability of the trade paperback format is an important consideration for longevity and collection development in public and school libraries. There are some criticisms of trade paperbacks by some writers and artists in recent years. They argue that because of the popularity of trades that they are forced to produce five or six issue arcs simply because this is the ideal size of a trade. In their perspective this can be quite limiting in the length of a story and pacing as the size is now set. This however is also countered by placing several short arcs in one volume and in the case of longer arcsthe Metal Gear Solid comic adaptation was released in two separate trades.

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References
[1] "Creating Comics, Part 4: Comic Books vs. Graphic Novels | Writing Scraps" (http:/ / www. seanjjordan. com/ 2007/ 08/ 06/ creating-comics-part-4-comic-books-vs-graphic-novels/ ). Seanjjordan.com. 2007-08-06. . Retrieved 2010-09-10. [2] OEnglish, Lorena, J. Gregory Matthews, and Elizabeth Blakesley Lindsay. Graphic Novels in Academic Libraries: From Maus to Manga and Beyond. The Journal of Academic Librarianship 32.2 (2006): 178. [3] Bruggeman, Lora. Zap! Whoosh! Kerplow! Build High-Quality Graphic Novel Collections with Impact. School Library Journal 43.1 (1997): 27. [4] Markham, Gary W. Cataloging the Publications of Dark Horse Comics: One Publisher in an Academic Catalog. The Journal of Academic Librarianship 35:2, 162-169.

Graphic novel

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Graphic novel
A graphic novel is a narrative work in which the story is conveyed to the reader using sequential art in either an experimental design or in a traditional comics format.[1] The term is employed in a broad manner, encompassing non-fiction works and thematically linked short stories as well as fictional stories across a number of genres.[2] Graphic novels are typically bound in longer and more durable formats than familiar comic magazines, using the same materials and methods as printed books, and they are generally sold in bookstores and specialty comic book shops rather than at newsstands. Such books have gained increasing acceptance as desirable materials for libraries which once ignored comic books.

Definition
The term graphic novel is not strictly defined and is sometimes used, controversially, to imply subjective distinctions in artistic quality between graphic novels and other kinds of comics. It suggests a Trade paperback of Will Eisner's A Contract with complete story that has a beginning, middle and end, as opposed to an God (1978). Eisner is mistakenly credited with ongoing series. It can also imply a story that is outside the genres having coined the term "graphic novel". commonly associated with comic books, or that deals with more mature themes. It is sometimes applied to works that fit this description even though they are serialized in traditional comic book format. The term is sometimes used to disassociate works from the juvenile or humorous connotations of the terms comics and comic book, implying that the work is more serious, mature, or literary than traditional comics. Following this reasoning, the French term Bande Dessine is occasionally applied, by art historians and others schooled in fine arts, to dissociate comic books in the fine-art tradition from those of popular entertainment, even though in the French language the term has no such connotation and applies equally to all kinds of comic strips and books. However, the medium of bande dessine is considered a generally more respectable, at times even "high" art form in both France and Belgium, while in the United States "comics" are often considered "low" popular mass entertainment. In the publishing trade, the term graphic novel is sometimes extended to material that would not be considered a novel if produced in another medium. Collections of comic books that do not form a continuous story, anthologies or collections of loosely related pieces, and even non-fiction are stocked by libraries and bookstores as "graphic novels" (similar to the manner in which dramatic stories are included in "comic" books). It is also sometimes used to create a distinction between works created as stand-alone stories, in contrast to collections or compilations of a story arc from a comic book series published in book form.[3] [4] Whether manga, which has had a much longer history of both novel-like publishing and production of comics for adult audiences, should be included in the term is not always agreed upon. Likewise, in continental Europe, both original book-length stories such as La rivolta dei racchi (1967) by Guido Buzzelli,[5] and collections of comic strips have been commonly published in hardcover volumes, often called "albums", since the end of the 19th century (including Franco-Belgian comics series such as "The Adventures of Tintin" and "Lieutenant Blueberry", and Italian series such as "Corto Maltese").

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History
As the exact definition of graphic novel is debatable, the origins of the artform itself are open to interpretation. Cave paintings may have told stories, and artists and artisans beginning in the Middle Ages produced tapestries and illuminated manuscripts that told or helped to tell narratives. The first Western artist who interlocked lengthy writing with specific images was most likely William Blake (17571826). Blake created several books in which the pictures and the "storyline" are inseparable in his prophetic books such as Marriage of Heaven and Hell. The Adventures of Obadiah Oldbuck, the 1837 English translation of the 1833 Swiss publication Histoire de M. Vieux Bois by Swiss caricaturist Rodolphe Tpffer, is the oldest recognized American example of comics used to this end.[6] The United States has also had a long tradition of collecting comic strips into book form. While these collections and longer-form comic books are not considered graphic novels even by modern standards, they are early steps in the development of the graphic novel.

1920s to 1960s
The 1920s saw a revival of the medieval woodcut tradition, with Belgian Frans Masereel cited as "the undisputed king" of this revival.[7] Among Masereel's works were Passionate Journey (1926, reissued 1985 as Passionate Journey: A Novel in 165 Woodcuts ISBN 978-0-87286-174-9). American Lynd Ward also worked in this tradition, publishing the first wordless, woodcut-picture novel, Gods' Man, in 1929 and going on to publish more during the 1930s. Other prototypical examples from this period include American Milt Gross' He Done Her Wrong (1930), a wordless comic published as a hardcover book, and Une Semaine de Bont (1934), a novel in sequential images composed of collage by the surrealist painter Max Ernst. In 1941, author/illustrator Virginia Lee Burton published Calico the Wonder Horse, or the Saga of Stewy Slinker. Intrigued by her nine-year old son's fascination with comic books, she had tailored the book to his interest, creating an early graphic novel[8] The 1940s saw the launching of Classics Illustrated, a comic-book series that primarily adapted notable, public domain novels into standalone comic books for young readers. The 1950s saw this format broadened, with popular movies being similarly adapted. By the 1960s, British publisher IPC had started to produce a pocket-sized comic-book line, the "Super Library", that featured war and spy stories told over roughly 130 pages.[9] In 1950, St. John Publications produced the digest-sized, adult-oriented "picture novel" It Rhymes with Lust, a film noir-influenced slice of steeltown life starring a scheming, manipulative redhead named Rust. Touted as "an original full-length novel" on its cover, the 128-page digest by pseudonymous writer "Drake Waller" (Arnold Drake and Leslie Waller), penciler Matt Baker and inker Ray Osrin proved successful enough to lead to an unrelated second picture novel, The Case of the Winking Buddha by pulp novelist Manning Lee Stokes and illustrator Charles Raab.[10] [11] In 1955, EC Comics devised the label "Picto-Fiction" when it attempted to graduate from the conventional comic book format to typeset graphic stories with a line of experimental magazinesConfessions Illustrated, Terror Illustrated, Shock Illustrated and Crime Illustrated.

The digest-sized "picture novel" It Rhymes with Lust (1950), one precursor of the graphic novel. Cover art by Matt Baker and Ray Osrin.

Graphic novel By the late 1960s, American comic book creators were becoming more adventurous with the form. Gil Kane and Archie Goodwin self-published a 40-page, magazine-format comics novel, His Name is... Savage (Adventure House Press) in 1968 the same year Marvel Comics published two issues of The Spectacular Spider-Man in a similar format. Columnist and comic-book writer Steven Grant also argues that Stan Lee and Steve Ditko's Doctor Strange story in Strange Tales #130-146, although published serially from 19651966, is "the first American graphic novel".[12] Meanwhile, in continental Europe, the tradition of collecting serials of popular strips such as The Adventures of Tintin or Asterix had allowed a system to develop which saw works developed as long form narratives but pre-published as serials; in the 1970s this move in turn allowed creators to become marketable in their own right, auteurs capable of sustaining sales on the strength of their name. By 1969, the author John Updike, who had entertained ideas of becoming a cartoonist in his youth, addressed the Bristol Literary Society, on "the death of the novel". Updike offered examples of new areas of exploration for novelists, declaring "I see no intrinsic reason why a doubly talented artist might not arise and create a comic strip novel masterpiece".[13]

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Modern era
Gil Kane and Archie Goodwin's Blackmark (1971), a science fiction/sword-and-sorcery paperback published by Bantam Books, did not use the term originally; the back-cover blurb of the 30th-anniversary edition (ISBN 978-1-56097-456-7) calls it, retroactively, "the very first American graphic novel". The Academy of Comic Book Arts presented Kane with a special 1971 Shazam Award for what it called "his paperback comics novel". Whatever the nomenclature, Blackmark is a 119-page story of comic-book art, with captions and word balloons, published in a traditional book format. It is also the first with an original heroic-adventure character conceived expressly for this form. The first six issues of writer-artist Jack Katz's 1974 Comics and Comix Co. series The First Kingdom were collected as a trade paperback (Pocket Books, March 1978, ISBN 978-0-671-79016-5),[14] which described itself as "the first graphic novel". Issues of the comic had described themselves as "graphic prose", or simply as a novel. European creators were also experimenting with the longer narrative in comics form. In the United Kingdom, Raymond Briggs was producing works such as Father Christmas (1972) and The Snowman (1978), which he himself described as being from the "bottomless abyss of Detail from Blackmark (1971) by scripter Archie Goodwin and artist-plotter Gil Kane. strip cartooning", although they, along with such other Briggs works as the more mature When the Wind Blows (1982), have been re-marketed as graphic novels in the wake of the term's popularity. Briggs notes, however, "I don't know if I like that term too much".[15]

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First self-proclaimed graphic novels: 1976-1978


In 1976, the term "graphic novel" appeared in print to describe three separate works. Bloodstar by Richard Corben (adapted from a story by Robert E. Howard) used the term to define itself on its dust jacket and introduction. George Metzger's Beyond Time and Again, serialized in underground comics from 1967 to 1972, was subtitled "A Graphic Novel" on the inside title page when collected as a 48-page, black-and-white, hardcover book published by Kyle & Wheary. The digest-sized Chandler: Red Tide (1976) by Jim Steranko, designed to be sold on newsstands, used the term "graphic novel" in its introduction and "a visual novel" on its cover, although Chandler is more commonly considered an illustrated novel than a work of comics. The following year, Terry Nantier, who had spent his teenage years living in Paris, returned to the United States and formed Flying Buttress Publications, later to incorporate as NBM Publishing (Nantier, Beall, Minoustchine), and published Racket Rumba, a 50-page spoof of the noir-detective genre, written and drawn by the single-name French artist Loro. Nantier followed this with Enki Bilal's The Call of the Stars. The company marketed these works as "graphic albums".[16]

Cover of Bloodstar (1976) by Robert E. Howard and artist Richard Corben.

Similarly, Sabre: Slow Fade of an Endangered Species by writer Don McGregor and artist Paul Gulacy (Eclipse Books, August 1978) the first graphic novel sold in the newly created "direct market" of United States comic-book shops was called a "graphic album" by the author in interviews, though the publisher dubbed it a "comic novel" on its credits page. "Graphic album" was also the term used the following year by Gene Day for his hardcover short-story collection Future Day (Flying Buttress Press). Another early graphic novel, though it carried no self-description, was The Silver Surfer (Simon & Schuster/Fireside Books, August 1978), by Marvel Comics' Stan Lee and Jack Kirby. Significantly, this was published by a traditional book publisher and distributed through bookstores, as was cartoonist Jules Feiffer's Tantrum (Alfred A. Knopf, 1979)[17] described on its dustjacket as a "novel-in-pictures".

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Adoption of the term


Hyperbolic descriptions of longer comic books as "novels" appear on covers as early as the 1940s. Early issues of DC Comics' All-Flash Quarterly, for example, described their contents as "novel-length stories" and "full-length four chapter novels."[18] In its earliest known citation, Richard Kyle used the term "graphic novel" in CAPA-ALPHA #2 (November 1964), a newsletter published by the Comic Amateur Press Alliance, and again in Kyle's magazine Fantasy Illustrated #5 (Spring 1966).[19] Kyle, inspired by European and Japanese graphic albums, used the label to designate comics of an artistically "serious" sort.[20] Following this, Bill Spicer, with Kyle's acknowledgment, edited and published a periodical titled Graphic Story Magazine in the fall of 1967.[19] The Sinister House of Secret Love #2 (Jan. 1972), one of DC Comics' line of extra-length, 48-page comics, specifically used the phrase "a graphic novel of Gothic terror" on its cover.[21] The term "graphic novel" began to grow in popularity months after it appeared on the cover of the trade paperback edition (though not the hardcover edition) of Will Eisner's A Contract with God, and Other Tenement Stories (October 1978). This collection of short stories was a mature, complex work focusing on the lives of ordinary people in the real world, and the term "graphic novel" was intended to distinguish it from traditional comic books, with which it shared a storytelling medium. Eisner cited Lynd Ward's 1930s woodcuts (see above) as an inspiration. The critical and commercial success of A Contract with God helped to establish the term "graphic novel" in common usage, and many sources have incorrectly credited Eisner with being the first to use it. These included the Time magazine website in 2003, which said in its correction, "Eisner acknowledges that the term 'graphic novel' had been coined prior to his book. But, he says, 'I had not known at the time that someone had used that term before.' Nor does he take credit for creating the first graphic book."[22] One of the earliest contemporaneous applications of the term post-Eisner came in 1979, when Blackmark's sequel published a year after A Contract with God though written and drawn in the early 1970s was labeled a "graphic novel" on the cover of Marvel Comics' black-and-white comics magazine Marvel Preview #17 (Winter 1979), where Blackmark: The Mind Demons premiered its 117-page contents intact, but its panel-layout reconfigured to fit 62 pages. Following this, Marvel from 1982 to 1988 published the Marvel Graphic Novel line of 10"x7" trade paperbacks although numbering them like comic books, from #1 (Jim Starlin's The Death of Captain Marvel) to #35 (Dennis O'Neil, Mike Kaluta, and Russ Heath's Hitler's Astrologer, starring the radio and pulp fiction character the Shadow, and released in hardcover). Marvel commissioned original graphic novels from such creators as John Byrne, J. M. DeMatteis, Steve Gerber, graphic-novel pioneer McGregor, Frank Miller, Bill Sienkiewicz, Walt Simonson, Charles Vess, and Bernie Wrightson. While most of these starred Marvel superheroes, others, such as Rick Veitch's Heartburst featured original SF/fantasy characters; others still, such as John J. Muth's Dracula, featured adaptations of literary stories or characters; and one, Sam Glanzman's A Sailor's Story, was a true-life, World War II naval tale.
Sabre (1978), one of the first modern graphic novels. Art by Paul Gulacy.

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In the UK, Titan Books held the license to reprint strips from 2000 AD, including Judge Dredd, beginning in 1981, and Robo-Hunter, 1982. The company also published British collections of American graphic novelsincluding Swamp Thing, printed in black-and-white rather than in color as originallyand of British newspaper strips, including Modesty Blaise and Garth. Igor Goldkind was the marketing consultant who worked at Titan and moved to 2000 AD and by his own account helped to popularize the term "graphic novel" as a way to help sell the trade paperbacks they were publishing. He said he "stole the term outright from Will Eisner" and that his contribution was to "take the badge (today it's called a 'brand') and explain it, contextualise it and sell it convincingly enough so that bookshop keepers, book distributors and the book trade would accept a new category of 'spine-fiction' on their bookshelves".[23]

Cover art for the 1987 U.S. (right) and U.K. (left) collected editions of Watchmen, published by DC Comics and Titan Books

DC Comics likewise began collecting series and published them in book format. Two such collections garnered considerable media attention, and they, along with Art Spiegelman's Pulitzer Prize-winning Maus (1986), helped establish both the term and the concept of graphic novels in the minds of the mainstream public. These were Batman: The Dark Knight Returns (1986), a collection of Frank Miller's four-part comic-book series featuring an older Batman faced with the problems of a dystopian future; and Watchmen (1987), a collection of Alan Moore and Dave Gibbons' 12-issue limited series in which Moore notes he "set out to explore, amongst other things, the dynamics of power in a post-Hiroshima world".[24] These works and others were reviewed in newspapers and magazines, leading to increased coverage.[25] Sales of graphic novels increased, with Batman: The Dark Knight Returns, for example, lasting 40 weeks on a UK best-seller list.[26]

Criticism of the term


Some in the comics community have objected to the term, "graphic novel" on the grounds that it is unnecessary, or that its usage has been corrupted by commercial interests. Writer Alan Moore believes, "It's a marketing term... that I never had any sympathy with. The term 'comic' does just as well for me... The problem is that 'graphic novel' just came to mean 'expensive comic book' and so what you'd get is people like DC Comics or Marvel Comicsbecause 'graphic novels' were getting some attention, they'd stick six issues of whatever worthless piece of crap they happened to be publishing lately under a glossy cover and call it The She-Hulk Graphic Novel...."[27] Author Daniel Raeburn wrote, "I snicker at the neologism first for its insecure pretension the literary equivalent of calling a garbage man a 'sanitation engineer' and second because a 'graphic novel' is in fact the very thing it is ashamed to admit: a comic book, rather than a comic pamphlet or comic magazine."[28] Writer Neil Gaiman, responding to a claim that he does not write comic books but graphic novels, said the commenter "meant it as a compliment, I suppose. But all of a sudden I felt like someone who'd been informed that she wasn't actually a hooker; that in fact she was a lady of the evening."[29] Responding to writer Douglas Wolk's quip that the difference is between a graphic novel and a comic book is "the binding", Bone creator Jeff Smith said, "I kind of like that answer. Because 'graphic novel'... I don't like that name. It's trying too hard. It is a comic book. But there is a difference. And the difference is, a graphic novel is a novel in the sense that there is a beginning, a middle and an end."[30] Some alternative cartoonists have coined their own terms to describe extended comics narratives. The cover of Daniel Clowes' Ice Haven (2001) describes the book as "a comic-strip novel", with Clowes having noted that he "never saw anything wrong with the comic book".[31] The cover of Craig Thompson's Blankets calls it "an illustrated

Graphic novel novel." When The Comics Journal asked the cartoonist Seth why he added the subtitle "A Picture Novella" to his comic It's a Good Life, If You Don't Weaken, he responded, "I could have just put 'a comic book'... It goes without saying that I didn't want to use the term graphic novel. I just don't like that term".[32]

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Footnotes
[1] " graphic novel (http:/ / ed2. oed. com/ cgi/ entry/ 50097942), a and n." Oxford English Dictionary Additions Series, 1993, OED Online, Oxford University Press, 15 Mar. 2000. [2] Weiner, Stephen & Couch, Chris. Faster than a speeding bullet: the rise of the graphic novel, NBM, 2004, ISBN 978-1-56163-368-5 [3] Gertler, Nat; Steve Lieber (2004). The Complete Idiot's Guide to Creating a Graphic Novel. Alpha Books. ISBN978-1-59257-233-5. [4] Kaplan, Arie (2006). Masters of the Comic Book Universe Revealed!. Chicago Review Press. ISBN978-1-55652-633-6. [5] A complete edition was published in 1970 before being serialized in the French magazine Charlie Mensuel, as per "Dino Buzzati 1965-1975" (http:/ / www. chez. com/ buzzelli/ 1965-1975. html) (Italian website). Associazione Guido Buzzelli. 2004. . Retrieved 2006-06-21. ( WebCitation archive (http:/ / www. webcitation. org/ 5s3tzl5Pk)); Domingos Isabelinho (2004). "The Ghost of a Character: The Cage by Martin Vaughn-James" (http:/ / www. indyworld. com/ indy/ summer_2004/ isabelinho_cage/ ). Indy Magazine. . Retrieved 2006-04-06. ( WebCitation archive (http:/ / www. webcitation. org/ 5s3uH40uL)). [6] Coville, Jamie. "The History of Comic Books: Introduction and 'The Platinum Age 1897 - 1938'" (http:/ / web. archive. org/ web/ 20030415153354/ www. collectortimes. com/ ~comichistory/ Platinum. html). TheComicBooks.com. Archived from the original (http:/ / www. thecomicbooks. com/ old/ Platinum. html) on April 15, 2003. .. Originally published at defunct site CollectorTimes.com (http:/ / www. collectortimes. com) [7] Sabin, Roger. Adult Comics: An Introduction(Routledge New Accents Library Collection, 2005), p. 291 ISBN 978-0-415-29139-2, ISBN 978-0-415-29139-2 [8] Publisher's Note in the 1997 Houghton Mifflin Company edition, ISBN 978-0-395-85735-9 [9] Fleetway Publications (http:/ / www. comics. org/ publisher/ 608/ ) at the Grand Comics Database [10] Quattro, Ken (2006, n.d.). "Archer St. John & The Little Company That Could" (http:/ / www. webcitation. org/ 5ua9KWSn9). Comicartville Library. Archived from [ the original (http:/ / www. comicartville. com/ archerstjohn. htm) on November 28, 2010. . [11] It Rhymes with Lust (St. John, 1950 series) (http:/ / www. comics. org/ issue/ 317082/ ) at the Grand Comics Database [12] Grant, Steven. "Permanent Damage" (column) #224 (http:/ / www. comicbookresources. com/ ?page=article& id=15123), Comic Book Resources, December 28, 2005. Accessdate=2007-03-20. WebCitation archive (http:/ / www. webcitation. org/ 5s3vLeVvF). [13] Gravett, Paul (2005). Graphic Novels: Stories To Change Your Life (1st ed.). Aurum Press Limited. ISBN978-1-84513-068-8. [14] Grand Comics Database: The First Kingdom (http:/ / www. comics. org/ series. lasso?SeriesID=12642) [15] Nicholas, Wroe (December 18, 2004). "Bloomin' Christmas" (http:/ / books. guardian. co. uk/ review/ story/ 0,12084,1375227,00. html). London: The Guardian. . WebCitation archive (http:/ / www. webcitation. org/ 5s3vqF2Ix). [16] Company history page (http:/ / www. nbmpub. com/ history/ about3. html), NBM Publishing, n.d. Accessed August 18, 2010. WebCitation archive (http:/ / www. webcitation. org/ 5s3wkdoAn). [17] Tallmer, Jerry. "The Three Lives of Jules Feiffer" (http:/ / www. nyc-plus. com/ nycp1/ thethreelive. html), NYC Plus #1, April 2005. WebCitation archive (http:/ / www. webcitation. org/ 5s3xJVhrx). [18] Grand Comics Database: All-Flash (DC, 1941). (http:/ / www. comics. org/ covers. lasso?SeriesID=211) See Issues #2-10. [19] Per Time magazine letter (http:/ / www. time. com/ time/ columnist/ arnold/ article/ 0,9565,547796,00. html) ( WebCitation archive (http:/ / www. webcitation. org/ 5s3w0iCkD)) from comics historian and author R. C. Harvey in response to claims in Arnold, Andrew D., "The Graphic Novel Silver Anniversary" (http:/ / www. time. com/ time/ columnist/ arnold/ article/ 0,9565,542579,00. html) ( WebCitation archive (http:/ / www. webcitation. org/ 5s3wCDWDT)), Time.com, November 14, 2003 [20] Gravett, Graphic Novels, p. 3 [21] Cover, The Sinister House of Secret Love #2 (http:/ / www. comics. org/ issue/ 75432/ cover/ 4/ ?style=default) at the Grand Comics Database [22] Arnold, Andrew D. (2003-11-21). "A Graphic Literature Library TIME.comix responds" (http:/ / www. time. com/ time/ columnist/ arnold/ article/ 0,9565,547796,00. html). Time.com. . Retrieved 2006-06-21.. WebCitation archive (http:/ / www. webcitation. org/ 5s3w0iCkD) [23] "Igor Goldkind Interview" (http:/ / www. 2000adreview. co. uk/ features/ interviews/ 2006/ goldkind/ igor-goldkind. shtml), 2000AD Review, June 7, 2005. WebCitation archive (http:/ / www. webcitation. org/ 5s3yDv5Aw). [24] Moore letter, Cerebus217 (April 1997), Aardvark Vanaheim [25] Lanham, Fritz. "From Pulp to Pulitzer" (http:/ / www. chron. com/ disp/ story. mpl/ ae/ books/ news/ 2763392. html), Houston Chronicle, August 29, 2004. WebCitation archive (http:/ / www. webcitation. org/ 5s3z9TbDv). [26] Campbell, Eddie (2001). Alec:How to be an Artist (1st ed.). Eddie Campbell Comics. p.96. ISBN978-0-9577896-3-0. [27] Kavanagh, Barry (October 17, 2000). "The Alan Moore Interview: Northampton / Graphic novel" (http:/ / www. blather. net/ articles/ amoore/ northampton. html). Blather.net. . Retrieved 2007-03-20.. WebCitation archive (http:/ / www. webcitation. org/ 5s3zKe8Ot) [28] Raeburn, Daniel. Chris Ware (Monographics Series), Yale University Press, 2004, p. 110. ISBN 978-0-300-10291-8. [29] Bender, Hy (1999). The Sandman Companion. Vertigo. ISBN978-1-56389-644-6

Graphic novel
[30] Rogers, Vaneta. "Behind the Page: Jeff Smith, Part Two" (http:/ / forum. newsarama. com/ showthread. php?t=148242), Newsarama, February 26, 2008. WebCitation archive (http:/ / www. webcitation. org/ 5s406drEH). [31] Bushell, Laura (July 21, 2005). "Daniel Clowes Interview: The Ghost World Creator Does It Again" (http:/ / www. bbc. co. uk/ dna/ collective/ A4500820). BBC Collective. . Retrieved 2006-06-21. WebCitation archive (http:/ / www. webcitation. org/ 5s40K0lmP). [32] Groth, Gary. "Seth," The Comics Journal #193, February 1997, pp. 5893

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Further Reading
Graphic Novels: Everything You Need to Know by Paul Gravett Understanding Comics: The Invisible Art by Scott Mccloud

References
Arnold, Andrew D. "The Graphic Novel Silver Anniversary" (http://www.time.com/time/columnist/arnold/ article/0,9565,542579,00.html), Time, November 14, 2003 Tychinski, Stan. Brodart.com: "A Brief History of the Graphic Novel" (http://web.archive.org/web/ 20080603041720/http://www.graphicnovels.brodart.com/history.htm) (n.d., 2004) Couch, Chris. "The Publication and Formats of Comics, Graphic Novels, and Tankobon" (http://www. imageandnarrative.be/narratology/chriscouch.htm), Image & Narrative #1 (Dec. 2000)

External links
The Big Comic Book DataBase (http://www.comics-db.com/) "Welcome to Columbia University's Graphic Novels Page" (http://library.columbia.edu/eguides/ graphic_novels.html), Columbia University

Webcomic
Webcomics, online comics, or Internet comics are comics published on a website. While many are published exclusively on the web, others are also published in magazines, newspapers or often in self-published books. Webcomics can be compared to self-published print comics in that almost anyone can create their own webcomic and publish it. In January 2007, there were an estimated 38,000 webcomics being published.[1] Webcomics range from traditional comic strips to graphic novels and cover many genres and subjects.[2] Very few are financially successful.[3]

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Medium
Format
There are several differences between webcomics and print comics since the formal restrictions of the traditional newspaper or magazine format can be lifted, allowing cartoonists to take advantage of the web's unique capabilities. Scott McCloud, one of the first advocates of webcomics, has pioneered the idea of the infinite canvas where, rather than being confined to normal print dimensions, artists are free to spread out in any direction indefinitely with their comics.[4] [5] Other webcomics, such as Argon Zark! or the work of political cartoonist Mark Fiore, incorporate animations or even interactive elements into their comics.[3] However, the format and style of many, if not most, webcomics is still similar to that of traditional newspaper comic strips like Peanuts consisting of three or four panels. Similar to comic books, manga and graphic novels, other webcomics come in a page form rather than a strip form and tend to focus more on story than gags. Clip art or photo comics (also known as fumetti) are types of webcomics that do not use traditional artwork. A Softer World, for example, is made by overlaying photographs with strips of typewriter-style text.[6] As in the constrained comics tradition, a few webcomics, such as Dinosaur Comics by Ryan North, are created with most strips having art copied exactly from one (or a handful of) template comics and only the text changing.[7] Pixel art, such as that created by Richard Stevens of Diesel Sweeties, is similar to that of sprite comics but instead uses low-resolution images created by the artist himself.[8]

Many webcomics like Diesel Sweeties use non-traditional art styles.

The themes of webcomics like Eric Monster Millikin's have caused controversy.

Webcomic creators often publish print collections when their archive consists of a significant number of strips. However, artists who create webcomics in nonstandard formats may experience difficulties to come up with an adequate page layout.

Content
Webcomics that are independently published are not subject to the content restrictions of book publishers or newspaper syndicates, enjoying an artistic freedom similar to underground and alternative comics. Some webcomics stretch the boundaries of taste, taking advantage of the fact that internet censorship is virtually nonexistent in countries like the United States.[2] The content of webcomics can still cause problems, such as Leisure Town artist Tristan Farnon's legal trouble after creating a homoerotic Dilbert parody,[9] or the Catholic League's protest of artist Eric Monster Millikin's "blasphemous treatment of Jesus."[10]

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Early webcomics
The first online comic was Witches and Stitches, which was published on CompuServe in 1985.[11] It was followed by T.H.E. Fox, which was published on CompuServe and Quantum Link in 1986.[12] Other online comics followed in the early '90s. Where the Buffalo Roam was published on FTP and usenet in 1991,[13] Doctor Fun was published on the web in September 1993,[14] NetBoy began publishing on the web in the summer of 1994[15] and NetComics Weekly from Finnish Comics Society was started in mid 1994.[16] Among the longest-running webcomics, some of which are still being published, are Rogues of Clwyd-Rhan (a Dutch comic that started in November 1994) The Polymer City Chronicles (March 1995),[17] Art Comics Daily (March 1995), Argon Zark! (June 1995), Kevin and Kell (September 1995), Slow Wave (November 1995), and Eric Monster Millikin (Fall 1995). The term "webcomics" was used as early as April 1995.[18] [19] The late nineties saw the number of webcomics increase drastically. Melonpool first published in April 1996. In 1997, Goats appeared (in April), followed by Sluggy Freelance (in August), Roomies! (in September), Piled Higher and Deeper (in October), User Friendly (in November). Penny Arcade and Pokey the Penguin began a year later.

Webcomics collectives
In March 1995, Bebe Williams launched the webcomics portal Art Comics Daily, an online gallery of several webcomics, In March 2000, Chris Crosby, Crosby's mother Teri, and Darren Bleuel founded the webcomics portal Keenspot.[20] [21] Crosby and Bleuel also started a free webcomic hosting service in July 2000, originally called KeenSpace but renamed Comic Genesis in July 2005. In July 2000, Austin Osueke launched eigoMANGA a web portal that published original online manga "webmanga". Within this year, eigoMANGA brought comic book industry attention to webcomics after being featured in many comic book web magazine articles and later appearing in the March 2001 issue of Wizard Magazine. In 2001, the subscription webcomics site Cool Beans World was launched after a high profile publicity campaign including extensive print advertising. It won Internet Magazine's "Site of the Month" award in October 2001.[22] Contributors included, amongst others, UK-based comic book creators Pat Mills, Simon Bisley, John Bolton and Kevin O'Neill, and the author Clive Barker.[23] Serialised content included Scarlet Traces and Marshal Law. In March 2001, Shannon Denton and Patrick Coyle launched Komikwerks.com serving free strips from comics and animation professionals. The site launched with 9 titles including Astounding Space Thrills by Steve Conley, Buzzboy by John Gallagher, and Johnny Smackpants by Coyle. On March 2, 2002, Joey Manley founded Modern Tales, offering subscription-based webcomics.[24] The Modern Tales spin-off serializer followed in October 2002, then came girlamatic and Graphic Smash in March and September 2003 respectively. By 2005, webcomics hosting had become a business in its own right, with sites such as Comic Genesis, DrunkDuck, and Webcomics Nation.[25] While comic strip syndicates had been present online since the mid 1990s, traditional comic book publishers, such as Marvel Comics and Slave Labour Graphics, did not begin making serious digital efforts until 2006 and 2007.[26] DC Comics launched its web comic imprint, Zuda Comics in October 2007.[27] The site featured user submitted comics in a competition for a professional contract to produce web comics. In July 2010, it was announced that DC was closing down Zuda.[28]

Webcomic

32

Business
Further information: List of professional webcomic artists A growing number artists make a full-time living from their businesses and intellectual property, among them Mike Krahulik and Jerry Holkins of Penny Arcade,[29] Tim Buckley of Ctrl+Alt+Del, Pete Abrams of Sluggy Freelance, and Randall Munroe of xkcd.[30] Where webcomic creators were once considered a distinct group separate from traditional comics artists, this contrivance has blurred as traditional comic creators such as Warren Ellis, Karl Kerschl, Ramon Perez, Ethan Nicholle, and Doug TenNapel, to name a only a handful began moving online with their own independent work, following the lead of early adopters. Comics online generate revenue from advertising, original art, merchandising, print collections and exploitation of independently owned intellectual property, not dissimilar to avenues of income available to traditional artists. Several cartoonists like Phil and Kaja Foglio of Girl Genius have stopped publishing traditional comic books and instead serialise their content as a webcomic to reach a larger audience. Often, the webcomic is later published in the form of trade paperback collections.[31]
Only a few webcomics, such as xkcd, are financially successful.

Some webcomics, such as Helen, Sweetheart of the Internet, Macanudo, Van Von Hunter[32] and Diesel Sweeties[33] have been syndicated and published on daily newspapers' comics pages. Others such as The Perry Bible Fellowship and PartiallyClips have been published in smaller alternative newspapers, or printed in magazines, such as The Order of the Stick in Dragon Magazine[34] and Get Your War On in Rolling Stone.[35]

Awards
Many webcomics artists have received honors for their work. In 2006, Gene Luen Yang's graphic novel American Born Chinese, originally published as a webcomic on Modern Tales, was the first graphic novel to be nominated for a National Book Award.[36] Don Hertzfeldt's animated film based on his webcomics, Everything Will Be OK, won the 2007 Sundance Film Festival Jury Award in Short Filmmaking, a prize rarely bestowed on an animated film.[37] Many traditionally print-comics focused organizations have added award categories for comics published on the web. The Eagle Awards established a Favorite Web-based Comic category in 2000, and the Ignatz Awards followed the next year by introducing an Outstanding Online Comic category in 2001. After having nominated webcomics in several of their traditional print-comics categories, the Eisner Awards began awarding comics in the Best Digital Comic category in 2005. In 2006 the Harvey Awards established a Best Online Comics Work category, and in 2007 the Shuster Awards began an Outstanding Canadian Web Comic Creator Award. Other awards focus exclusively on webcomics. The Web Cartoonists' Choice Awards[38] [39] consist of a number of awards that have been handed out annually from 2001 to 2008. The Clickburg Webcomic Awards (also known as "the Clickies") has been handed out annually since 2005 at the Stripdagen Haarlem comic festival. The awards require the recipient to be active in the Benelux countries, with the exception of one international award.[40]

Webcomic

33

Books about webcomics


Further information: List of webcomics in print In August 2000, Scott McCloud's Reinventing Comics, half of which consisted of a treatise on webcomics, was published. Though sometimes controversial, McCloud was one of the first advocates of digital comics and remains an influential figure in the webcomics field. His theories have sometimes led to debates about where webcomics should go and what, precisely, they are. McCloud's early advocacy of micropayments has also been a source of debate.[41] [42] In June 2006, Universal Press Syndicate editorial cartoonist Ted Rall focused on webcomics for the third volume of the Attitude: The New Subversive Cartoonists series, and included comics such as The Perry Bible Fellowship, Cat and Girl, and A Lesson Is Learned But The Damage Is Irreversible.[43] In 2008, Brad Guigar, Dave Kellett, Scott Kurtz, and Kris Straub released How to Make Webcomics, published by Image Comics. The book covered many practical matters of making money through webcomics, including website design, publishing, and merchandising. [44]

References
[1] Manley, Joey (2007-01-03). "The Number of Webcomics in the World" (http:/ / blog. comicspace. com/ ?p=766). ComicSpace Blog. . Retrieved 2009-11-28. [2] Lacy, Steven (2007-11-21). "Webcomics are profane, explicit, humorous and influencing trends" (http:/ / www. charlestoncitypaper. com/ gyrobase/ Content?oid=oid:36337). Charleston City Paper. Noel Mermer. . Retrieved 2009-11-28. [3] Rall, Ted (2006). Attitude 3: The New Subversive Online Cartoonists. New York: Nantier Beall Minoustchine Publishing. p.9. ISBN1-56163-465-4. [4] McCloud, Scott (2000). Reinventing Comics. New York: Paradox Press. pp.200233. ISBN0-06-095350-0. [5] McCloud, Scott (July 2001). "McCloud in Stable Condition Following Review, Groth Still at Large". The Comics Journal (235): 7079. [6] Arrant, Chris (2006-04-25). "It's A Softer World After All" (http:/ / www. publishersweekly. com/ article/ CA6327720. html). Publisher's Weekly. Reed Elsevier. . Retrieved 2009-11-28. [7] Rall, Ted (2006). Attitude 3: The New Subversive Online Cartoonists. New York: Nantier Beall Minoustchine Publishing. pp.115121. ISBN1-56163-465-4. [8] Hodges, Michael H. (2007-01-08). "Diesel Sweeties tackles nuts, bolts of love". The Detroit News (Detroit: Jonathan Wolman): p.1E. [9] Crane, Jordan (April 2001). "A Silly Little Coat Hanger for Fart Jokes: Talkin' Comics with Leisuretown.com's Tristan A Farnon". The Comics Journal (232): 8089. [10] "Michigan State President Acts Presidential" (http:/ / www. catholicleague. org/ catalyst. php?year=2000& month=November& read=1108). Catalyst Journal of the Catholic League for Religious and Civil Rights. Catholic League for Religious and Civil Rights. November 2000. . Retrieved 2009-11-28. [11] Stratton, Erik. "A Brief History of Webcomics". The Rutgers Review, Vol. 40, Issue 1, Page 15 [12] "T.H.E.-FOX.TXT" (http:/ / cbmfiles. com/ wgenie/ geniefiles/ Information/ T. H. E. -FOX. TXT). The Commodore 64/128 RoundTable on GEnie. . Retrieved 2007-07-01. [13] Bordahl, Hans. "Where the Buffalo Roam -- First Comic on the Internet" (http:/ / www. shadowculture. com/ wtbr/ site. html). ShadowCulture. . Retrieved 2007-07-01. [14] (December 17, 2000). "Readers know how to find "Fun"". Chapel Hill Herald Pg. 9 [15] Silverman, Dwight . (August 24, 1994). "Cybertoons: Comic artists find an instant audience on the Internet". St. Louis Post-Dispatch. Pg. 5C [16] "What's New With NCSA Mosaic and the WWW (June, 1994)" (http:/ / www. kitchencloset. com/ realstuff/ ncsa/ whats_new-archive/ 1994/ whats-new-9406. html). . Retrieved 2006-11-03. [17] "Dr. Otto's Do-It-Yourself Bomb Disposal" (http:/ / www. gamezero. com/ team-0/ comics/ 031395a. html). Game Zero magazine. . Retrieved 2007-01-18. [18] "rec.arts.comics.strips (April, 1995)" (http:/ / groups. google. com/ group/ rec. arts. comics. strips/ browse_thread/ thread/ 782ae478668ac0ae/ 4dc2160356a71397). . Retrieved 2010-05-14. [19] "What's New With NCSA Mosaic and the WWW (July, 1995)" (http:/ / www. kitchencloset. com/ realstuff/ ncsa/ whats_new-archive/ 1995/ whats-new-9507. html). . Retrieved 2010-05-14. [20] Yim, Roger. (April 2, 2001). "DOT-COMICS: Online cartoons skip traditional syndication and draw loyal fans on the Internet". San Francisco Chronicle. Pg. D1 [21] Newman, Heather. (February 2, 2001). "See You In The Funny Pixels Michigan Cartoonists Draw On Web Sites To Find Readers". Detroit Free Press. Pg. 1H

Webcomic
[22] Rogers, Jean. "Comics and New Media" (http:/ / www. shadowgallery. co. uk/ home4. html). . Retrieved 2007-03-15. [23] Martin, Jessica. "Cool Beans or Dead Beans: can the comic barons cross onto the web?" (http:/ / web. archive. org/ web/ 20061018170131/ http:/ / www. sfcrowsnest. com/ library/ zones/ 2001/ nz5841. php). Archived from the original (http:/ / www. sfcrowsnest. com/ library/ zones/ 2001/ nz5841. php) on 2006-10-18. . Retrieved 2007-03-15. [24] Ho, Patricia Jiayi (July 8, 2003). "Online comic artists don't have to play panel games". Alameda Times-Star (Alameda, CA) [25] Walker, Leslie (June 16, 2005). "Comics Looking to Spread A Little Laughter on the Web". The Washington Post, p. D1. [26] Soponis, Trevor. "Publishers Look to Digital Comics" (http:/ / www. publishersweekly. com/ article/ CA6393781. html). Publishers' Weekly. . Retrieved 2007-05-02. [27] "PERAZZA ON THE LAUNCH OF ZUDACOMICS.COM" (http:/ / forum. newsarama. com/ showthread. php?t=134710& highlight=zuda). . [28] Perazza, Ron (July 1, 2010). "The Future of Zuda" (http:/ / zuda. blog. dccomics. com/ 2010/ 07/ 01/ the-future-of-zuda/ ). The Bleed. DC Comics.com. . Retrieved July 1, 2010. [29] Ctrl+Alt+Del (http:/ / ctrlaltdel-online. com/ index. php/ faq) [30] xkcd - A webcomic (http:/ / xkcd. com/ about/ ) [31] MacDonald, Heidi. "Webcomics: Page Clickers to Page Turners" (http:/ / www. publishersweekly. com/ pw/ print/ 20051219/ 35322-web-comics-page-clickers-to-page-turners-. html). Publisher's Weekly. . [32] Memmott, Carol (December 29, 2005). "Comics pages make room for manga; Newspapers target the young". USA Today, Pg. 1D. [33] Astor, Dave (January 2, 2007). " 'Lio' and 'Pearls' Among Comics Replacing Daily 'FoxTrot' (http:/ / www. editorandpublisher. com/ eandp/ article_brief/ eandp/ 1/ 1003526645)". editorandpublisher.com [34] Paizo Publishing Creates Strategic Alliance with The Order of the Stick creator Rich Burlew (http:/ / paizo. com/ paizo/ news/ v5748eaic9k1l), Paizo.com (http:/ / www. paizo. com/ ), September 30, 2005. Retrieved on November 10, 2007 [35] Balog, Kathy, et al. (September 9, 2004). "Our critics' top picks". USA TODAY, Pg. 6D [36] Bosman, Julie. (October 12, 2006). "National Book Award Finalists Chosen". The New York Times, Pg. E2 [37] De Benedetti, Chris. "Bay Area films keep it real at Sundance festival" (http:/ / findarticles. com/ p/ articles/ mi_qn4176/ is_20070116/ ai_n17130219/ pg_2/ ). Oakland Tribune. . Retrieved 2007-01-16. [38] Boxer, Sarah (August 17, 2005). "Comics Escape a Paper Box, and Electronic Questions Pop Out" (http:/ / www. nytimes. com/ 2005/ 08/ 17/ books/ 17comi. html?ex=1281931200& en=08e3777cc4943486& ei=5090& partner=geartest& emc=rss). New York Times. [39] "Attack of the Show" (http:/ / www. g4tv. com/ attackoftheshow/ episodes/ 4335/ Web_Toon_Awards_Picture_Podcasts_The_High_Speed_Scene. html). G4TechTV. Aired 12 August 2005. [40] Mirk, Jeroen. "comicbase.nl's blog" (http:/ / web. archive. org/ web/ 20060615175457/ http:/ / comixpedia. com/ blog/ comicbase_nl). Comixpedia. Archived from the original (http:/ / www. comixpedia. com/ blog/ comicbase_nl) on June 15, 2006. . Retrieved 2007-01-31. [41] McCloud, Scott. "Misunderstanding Micropayments" (http:/ / www. scottmccloud. com/ home/ essays/ 2003-09-micros/ micros. html). . Retrieved 2007-05-02. [42] Hammersley, Ben (2003-08-07). "Making the web pay" (http:/ / technology. guardian. co. uk/ online/ story/ 0,3605,1013313,00. html). London: The Guardian. . Retrieved 2007-05-02. [43] Rall, Ted (2006). Attitude 3: The New Subversive Online Cartoonists, New York: Nantier, Beall, Minoustchine. ISBN 1-56163-465-4. [44] Guigar, Kellett, Kurtz, and Straub. How to Make Webcomics, Berkeley, CA: Image Comics. ISBN 1-58240-870-X.

34

Motion comic

35

Motion comic
A motion comic is a form of comics combining elements of print comic books and animation.

History
The earliest examples of motion comics are found in independent creations such as Broken Saints. In 2005, Lions Gate released an animated version of the Saw: Rebirth comic, one of the first examples of an animated comic created to tie into a film franchise. The first major motion comics released, which is also the first use of the term "motion comic," were released by Warner Bros., the owner of DC Comics to coincide with the film premieres of The Dark Knight and Watchmen, releasing an adaption of Batman: Mad Love and Watchmen: Motion Comics, adapting the comic book of the same name.[1] [2] [3] Marvel Comics have also begun producing motion comics, beginning with an adaptation of Joss Whedon and John Cassaday's Astonishing X-Men and a Spider-Woman series by Brian Michael Bendis and Alex Maleev produced simultaneously in print comic and motion comic formats. They have also recently announced the addition of Extremis.[4] Examples from other companies include Peanuts Motion Comics, the Dead Space prequel comics and the "Lucy" element of the ABC News documentary Earth 2100.[5] A database of motion comics can be found online at Digital Motion Comics [6] Illustrated Films A sibling format to motion comics called illustrated films was developed by transmedia studio HALO 8 Entertainment with their Godkiller, which was produced at the same time as (but separately from) the Watchmen motion comic. As opposed to repurposing an existing comic book, Halo-8 created new sequential art that was designed from its inception to be transmedia art for both a comic book and an illustrated film. Godkiller creator Matt Pizzolo told Bloody Disgusting "Godkiller was just a slower production than Watchmen because we had to create 200 pages of art and story from the ground up first, rather than starting with one of the greatest comic books ever made as source material. Plus we had a dozen voice performers instead of just one." [7] Although aesthetically similar to motion comics, Pizzolo identifies illustrated film influences as including Liquid Television, the MTV cartoon adaptation of The Maxx, the Berserk anime series, Chris Marker's La jete, the motion comic Broken Saints, and the experimental cinema of Ralph Bakshi. [8] [9] According to Comics Alliance, Pizzolo stated "the difference between an illustrated film and a motion comic is kind of the difference between a movie that was shot in 3D versus a movie that was shot in 2D but got a 3D post-conversion. We're not repurposing an existing comic book here, we're building something unique from scratch." [10] Godkiller also diverged from motion comics with voice performances by a "genre-star-studded ensemble" (according to Fangoria [11] ) featuring Lance Henriksen (Aliens), Bill Moseley (The Devil's Rejects), Danielle Harris (Halloween franchise), Nicki Clyne (Battlestar Galactica), Lydia Lunch, Justin Pierre (singer Motion City Soundtrack), and Davey Havok (singer AFI). [12] [13] The 75-minute Godkiller feature was released theatrically in 11 cities before it was distributed on DVD and cable VOD. [14] [15] Upcoming illustrated films from Halo-8 include Ben Templesmith's original project Black Sky and an adaptation of Tim Seeley's Hack/Slash. [16] [17] [18]

Motion comic

36

Reception
Reception to motion comics has been mixed. NewTeeVee commented, "This first generation [of motion comics] is admittedly crude, but there is enough 'motion' in these motion comics to keep the viewers attention, and so far the music and voice acting have been great. Plus, the level of experimentation and sophistication will grow as more are produced."[19] Comics Worth Reading asked, "When you add camera tricks and a soundtrack to a comic, is it still a comic? Or just a poor excuse for a cartoon, done on the cheap? Are they reaching a new audience, attracted by a new format in more modern sales outlets (that come to them)? Will those hypothetical new readers eventually wind up buying traditional-format comics? Could this be just another way to try and make more money from the same, previously existing content?"[20] Artist John Cassaday described his experience with the motion comic adaptation of Astonishing X-Men, saying: "I'd seen some motion comic animation, and the quality varied. When Marvel approached me, I was initially hesitant, but after looking at some test footage and hearing how committed they were, I knew what direction they were wanting to go."[21] One of the bigger struggles the wider audience has had with receiving motion comics is that a select few of them appear to be half hearted attempts at a cartoon with many viewers complaining about lip movement and body movement being too overdone (but not executed well enough) for the work to be acceptable as a 'comic'. The level of motion varies greatly from title to title with some sticking closer to traditional comic styles but using motion and sound to enhance the story telling, whilst others have a greater emphasis on the motion, music, sound and animation.

References
[1] "Watchmen Motion Comic" (http:/ / www. watchmenmotioncomic. com/ ). Watchmenmotioncomic.com. . Retrieved April 6, 2010. [2] Howell, Peter (March 3, 2009). "Watchmen: The Complete Motion Comic" (http:/ / www. thestar. com/ Entertainment/ article/ 595402). Toronto Star. . Retrieved April 6, 2010. [3] McBride, Sarah (July 18, 2008). "Web Draws on Comics" (http:/ / online. wsj. com/ public/ article/ SB121634908179464605. html). Wall Street Journal. . Retrieved April 6, 2010. [4] "Marvel Motion Comics" (http:/ / www. marvel. com/ motion_comics). Marvel.com. . Retrieved April 6, 2010. [5] Marshall, Rick (June 2, 2009). "Comic Creators Play Big Role In Tonights Earth 2100. Another Example would be a four part Motion Comic based on the Uncharted video game series as a prequel called Eye of Indra and was released for the Playstation Network. Special" (http:/ / splashpage. mtv. com/ 2009/ 06/ 02/ comic-creators-play-big-role-in-tonights-earth-2100-special/ ). MTV. . Retrieved April 6, 2010. [6] http:/ / www. digitalmotioncomics. com [7] THEoDEAD. " MAY SPOTLIGHT: Halo-8 PLUS An Interview With Founder Matt Pizzolo! (http:/ / www. bloody-disgusting. com/ news/ comics/ 589)". Bloody Disgusting. May 4, 2010. [8] Anders, Jason. " The Making of Godkiller (http:/ / fullecirclestuff. blogspot. com/ 2009/ 11/ making-of-godkiller. html)". Fulle Circle Magazine. November 24, 2009. [9] Thill, Scott. " Post-Apocalyptic Comic Godkiller Emerges as Illustrated Film (http:/ / www. wired. com/ underwire/ 2009/ 10/ post-apocalyptic-godkiller/ )". Wired. October 6, 2009. [10] http:/ / www. comicsalliance. com/ 2010/ 12/ 02/ ben-templesmith-black-sky-illustrated-film-teaser/ [11] Gingold, Michael. " Genre Names Speaking Up For Godkiller (http:/ / fangoriaonline. com/ home/ news/ 9-film-news/ 1516-genre-names-speaking-up-for-godkiller. html)". Fangoria. February 25, 2009. [12] Staff Report. " Quartet voicing roles in 'Godkiller' film (http:/ / www. hollywoodreporter. com/ hr/ search/ article_display. jsp?vnu_content_id=1003944580)". Hollywood Reporter. February 24, 2009. [13] Rotten, Ryan. " Halloween, Battlestar Vets Enter Godkiller (http:/ / shocktillyoudrop. com/ news/ topnews. php?id=10038)". Shock Till You Drop. March 26, 2009. [14] Moore, Debi. " Details on the Godkiller Theatrical Tour and VOD Home Invasion (http:/ / www. dreadcentral. com/ news/ 37565/ details-godkiller-theatrical-tour-and-vod-home-invasion)". Dread Central. May 17, 2010. [15] THEoDEAD. " Halo-8 Announces Theatrical Tour For 'Godkiller' Including IMAX! (http:/ / www. bloody-disgusting. com/ news/ comics/ 616)". Dread Central. May 17, 2010. [16] Newsarama. " TEMPLESMITH/ PIZZOLO: Black Sky, God Killer & More @ C2E2 (http:/ / www. newsarama. com/ common/ media/ video/ player. php?aid=35313)". Newsarama. April 19, 2010.

Motion comic
[17] Marshall, Rick. " Hack/Slash To Get The Illustrated Film Treatment (http:/ / splashpage. mtv. com/ 2010/ 09/ 10/ hack-slash-illustrated-film-preview/ )". MTV Splash Page. September 10, 2010. [18] The Beat. " Nice Art: Ben Templesmiths BLACK SKY teaser (http:/ / www. comicsbeat. com/ 2010/ 12/ 02/ nice-art-ben-templesmiths-black-sky-teaser/ )". Comics Beat. December 2, 2010. [19] Albrecht, Chris (July 30, 2008). "The Rise of Motion Comics Online" (http:/ / newteevee. com/ 2008/ 07/ 30/ the-rise-of-motion-comics-online/ ). NewTeeVee. . Retrieved April 6, 2010. [20] Draper Carlson, Johanna; Carlson, KC. "What's the Point of a Motion Comic" (http:/ / comicsworthreading. com/ 2009/ 08/ 23/ whats-the-point-of-a-motion-comic/ ). Comicsworthreading.com. . Retrieved April 6, 2010. [21] Richards, Dave (October 23, 2009). "Cassaday on the "Astonishing X-Men" Motion Comic" (http:/ / www. comicbookresources. com/ ?page=article& id=23421). Comic Book Resources. . Retrieved April 6, 2010.

37

Comics Code Authority


The Comics Code Authority was a body created as part of the Comics Magazine Association of America, as a tool for the comics-publishing industry to self-regulate the content of comic books in the United States. Member publishers submitted comic books to the CCA, which screened them for adherence to its Comics Code, and authorized the use of their seal on the cover if the books complied. At the height of its influence, it was a de facto censor for the U.S. comic book industry. The last publishers discontinued their participation in 2011.

Founding
The Comics Magazine Association of America (CMAA) was formed in September 1954 in response to a widespread public concern over gory and horrific comic-book content.[1] It named New York The Comics Code seal. Magistrate Charles F. Murphy, 44, a specialist in juvenile delinquency, to head the organization and devise a self-policing "code of ethics and standards" for the industry.[1] He established the Comics Code Authority (CCA), basing its code upon the largely unenforced code drafted by the Association of Comics Magazine Publishers in 1948, which in turn had been modeled loosely after the 1930 Hollywood Production Code. This code banned graphic depictions of violence and gore in crime and horror comics, as well as the sexual innuendo of what aficionados refer to as good girl art. Fredric Wertham's 1954 book Seduction of the Innocent had rallied opposition to this type of material in comics, arguing that it was harmful to the children who made up a large segment of the comic book audience. The Senate Subcommittee on Juvenile Delinquency hearings in 1954, which focused specifically on comic books, had many publishers concerned about government regulation, prompting them to form a self-regulatory body instead. Before the CCA was adopted, some cities had already been organizing public burnings and bans on comic books.[2] The city councils of Oklahoma City, Oklahoma, and Houston, Texas, passed ordinances banning crime and horror comics, although an attempt by Los Angeles County, California was deemed unconstitutional by the courts.[1] Like the previous code, the CCA prohibited the presentation of "policemen, judges, government officials, and respected institutions ... in such a way as to create disrespect for established authority." But it added the requirements that "in every instance good shall triumph over evil" and discouraged "instances of law enforcement officers dying as a result of a criminal's activities." Specific restrictions were placed on the portrayal of kidnapping and concealed weapons. Depictions of "excessive violence" were forbidden, as were "lurid, unsavory, gruesome illustrations." Vampires, werewolves, ghouls and zombies could not be portrayed. In addition, comics could not use the words "horror" or "terror" in their titles. The use of the word "crime" was subject to numerous restrictions. Where the

Comics Code Authority previous code had condemned the publication of "sexy, wanton comics," the CCA was much more precise: depictions of "sex perversion", "sexual abnormalities", and "illicit sex relations" as well as seduction, rape, sadism, and masochism were specifically forbidden. In words echoing the Hollywood Production Code, love stories were enjoined to emphasize the "sanctity of marriage" and those portraying scenes of passion were advised to avoid stimulating "lower and baser emotions." Although the CCA had no official control over publishers, most distributors refused to carry comics that did not carry the seal.[3]

38

Criticism and enforcement


Some publishers thrived under these restrictions, others adapted by canceling titles and focusing on Code-approved content, and others went out of business. Publisher William Gaines believed that clauses forbidding the words "crime", "horror", and "terror" in comic book titles had been deliberately aimed at his own best-selling titles Crime SuspenStories, The Vault of Horror, and Tales from the Crypt.[4] [5] These restrictions, as well as those banning vampires, werewolves, and zombies, helped make EC Comics unprofitable; all of its titles except Mad were canceled in the year following the CCA's introduction. Wertham dismissed the Code as an inadequate half-measure.[6] Comics analyst Scott McCloud, on the other hand, later commented that it was as if, in drawing up the code, "the list of requirements a film needs to receive a G rating was doubled, and there were no other acceptable ratings!"[7]

"Judgment Day"
In one early confrontation between a comic-book publisher and Code authorities, EC Comics' William Gaines reprinted the story "Judgment Day", from the pre-Code Weird Fantasy #18 (April 1953), in Incredible Science Fiction #33 (Feb. 1956).[8] The reprint was a replacement for a Code-disapproved story "An Eye For an Eye", drawn by Angelo Torres[9] but was itself also "objected to" because of "the central character being black."[8] The story, by writer Al Feldstein and artist Joe Orlando,[9] was "a strong allegory on the evils of race prejudice," which point was necessarily "nullified if the lead character" was not black.[8] Following an order by Code administrator Judge Charles Murphy to change the final panel, which depicted a black astronaut, Gaines engaged in a heated contretemps with Murphy.[10] He informed Murphy that "if they did not give that issue the Code Seal, he would see that the world found out why", causing Murphy to reverse his initial decision and allow the story to run.[8] Soon after, however, facing the severe restrictions placed upon his comics by the CCA, and with his "New Direction" titles floundering, Gaines "quit comic book publishing to concentrate on Mad".[8]

1960s1970s
Underground comics
In the late 1960s, the underground comics scene arose, with artists creating comics that delved into subject matter explicitly banned by the Code. Since these comics were distributed largely through unconventional channels, such as head shops, they were able to skirt the problem of mainstream distributors who were leery of carrying non-CCA-approved comics. This allowed underground comics to achieve moderate success without CCA approval.

"Wolfman" and credits


Writer Marv Wolfman's name was briefly a point of contention between DC Comics and the CCA. In House of Secrets #83 (Jan. 1970), the book's host introduces the story "The Stuff that Dreams are Made of" as one told to him by "a wandering wolfman". (All-capitals comics lettering made no distinction between "wolfman" and "Wolfman".) The CCA rejected the story and flagged the "wolfman" reference as a violation. Fellow writer Gerry Conway

Comics Code Authority explained to the CCA that the story's author was in fact named Wolfman, and asked whether it would still be in violation if that were clearly stated. The CCA agreed to that, so Wolfman received a writer's credit on the first page of the story (which led to DC beginning to credit creators in general).[11]

39

Updating the Code


The Code was revised a number of times during 1971, initially on January 28, 1971, to allow for, among other things, the sometimes "sympathetic depiction of criminal behavior... [and] corruption among public officials" ("as long as it is portrayed as exceptional and the culprit is punished"[8] ) as well as permitting some criminal activities to kill law-enforcement officers and the "suggestion but not portrayal of seduction."[8] Also newly allowed were "vampires, ghouls and werewolves... when handled in the classic tradition such as Frankenstein, Dracula, and other high calibre literary works written by Edgar Allan Poe, Saki, Conan Doyle and other respected authors whose works are read in schools around the world". Zombies, lacking the requisite "literary" background, remained taboo. Marvel in the mid-1970s called the apparently deceased, mind-controlled followers of various Haitian supervillains "zuvembies". This practice carried over to Marvel's superhero line: In The Avengers, when the reanimated superhero Wonder Man returned from the dead, he was also referred to as a "zuvembie".[12] Around this time, the United States Department of Health, Education and Welfare approached Marvel Comics editor-in-chief Stan Lee to do a story about drug abuse.[8] Lee agreed and wrote a three-part Spider-Man story, portraying drug use as dangerous and unglamorous. While the Code did not specifically forbid depictions of drugs, a general clause prohibited "All elements or techniques not specifically mentioned herein, but which are contrary to the spirit and intent of the code, and are considered violations of good taste or decency".[13] The CCA had approved at least one previous story involving drugs, the premiere of Deadman in Strange Adventures #205 (Oct. 1967), which clearly depicted the title character fighting an opium dealer.[13] But Code administrator Leonard Darvin "was ill" at the time of the Spider-Man story,[8] and acting administrator John L. Goldwater, publisher of Archie Comics, refused to grant Code approval based on the depiction of narcotics being used, regardless of the context,[8] whereas the Deadman story had depicted only a wholesale business transaction.[13] Confident that the original government request would give him credibility, and with the approval of his publisher Martin Goodman, Lee ran the story in The Amazing Spider-Man #9698 (MayJuly 1971), without CCA approval. The storyline was well-received and the CCA's argument for denying approval was deemed counterproductive. "That was the only big issue that we had" with the Code, Lee recalled in a 1998 interview: I could understand them; they were like lawyers, people who take things literally and technically. The Code mentioned that you mustn't mention drugs and, according to their rules, they were right. So I didn't even get mad at them then. I said, 'Screw it' and just took the Code seal off for those three issues. Then we went back to the Code again. I never thought about the Code when I was writing a story, because basically I never wanted to do anything that was to my mind too violent or too sexy. I was aware that young people were reading these books, and had there not been a Code, I don't think that I would have done the stories any differently.[14] Lee and Marvel drew criticism from DC head Carmine Infantino "for defying the code", stating that DC will not "do any drug stories unless the code is changed".[8] As a result of publicity surrounding the Department of Health, Education and Welfare's sanctioning of the storyline, however, the CCA revised the Code to permit the depiction of "narcotics or drug addiction" if presented "as a vicious habit". DC itself broached the topic in the Code-approved Green Lantern/Green Arrow #85 (Sept. 1971), with writer Denny O'Neil and artist Neal Adams beginning a story arc involving Green Arrow's teen sidekick Speedy as a heroin addict. A cover line read, "DC attacks youth's greatest problem... Drugs!"[13]

Comics Code Authority

40

1980s2010s
By the 1980s, greater depiction of violence had become acceptable. For example, Elvira's House of Mystery #2 (Feb. 1986) contained numerous decapitations but was still Code-approved. The following issue forwent the code and contained references to masturbation, but the Code seal was reinstated with issue #4. Periodic revisions were made to the Code to reflect changing attitudes about appropriate subject matter (e.g., the ban on referring to homosexuality was revised in 1989 to allow non-stereotypical depictions of gay men and lesbians), but its influence on the medium continued to wane, and publishers continued to gradually reduce the prominence of the seal on their covers. The development of new distribution channels, especially "direct market" comics specialty shops, provided additional means for publishers of non-Code books to reach a large audience, while newsstand distribution a shrinking component of industry sales became less important.

Abandonment
By the 2000s, advertisers no longer made decisions to advertise based on the appearance of the stamp.[15] Most new publishers to emerge during this time did not join the CCA, regardless of whether their content conformed to its standards.[15] DC Comics, Marvel Comics, and other CCA sponsors began publishing comics intended for adult audiences, without the CCA seal, and comics labeled for "mature readers" under imprints such as DC's Vertigo and Marvel's Epic Comics were not submitted to the CCA. In the 1990s, Milestone Media (published through DC Comics) submitted all its books to the CCA, but published them regardless of the ruling, placing the seal only on issues that received Code approval. In 2001, Marvel Comics withdrew from the CCA in favor of its own ratings system designating appropriate age groups. In 2010 Bongo Comics quietly discontinued using the Code.[16] In January 2011, DC Comics announced that it would discontinue participation, adopting a rating system similar to Marvel's.[17] The company noted that it submitted comics for approval through December 2010, but would not say to whom they were submitted.[15] A day later, Archie Comics, the only other publisher still participating in the Code, announced it also was discontinuing it,[18] rendering the Code defunct. The CMAA, at some point in the 2000s, was managed by the trade-organization management firm the Kellen Company, which ceased its involvement in 2009. In 2010, some publishers, including Archie, placed the seal on its comics without submitting them to the CMAA. Archie Comics President Mike Pellerito stated that the code did not affect his company the way that it did others as "we aren't about to start stuffing bodies into refrigerators".[15]

1954 Code criteria


Crimes shall never be presented in such a way as to create sympathy for the criminal, to promote distrust of the forces of law and justice, or to inspire others with a desire to imitate criminals. If crime is depicted it shall be as a sordid and unpleasant activity. Criminals shall not be presented so as to be rendered glamorous or to occupy a position which creates a desire for emulation. In every instance good shall triumph over evil and the criminal punished for his misdeeds. Scenes of excessive violence shall be prohibited. Scenes of brutal torture, excessive and unnecessary knife and gunplay, physical agony, gory and gruesome crime shall be eliminated. No comic magazine shall use the word horror or terror in its title. All scenes of horror, excessive bloodshed, gory or gruesome crimes, depravity, lust, sadism, masochism shall not be permitted. All lurid, unsavory, gruesome illustrations shall be eliminated. Inclusion of stories dealing with evil shall be used or shall be published only where the intent is to illustrate a moral issue and in no case shall evil be presented alluringly, nor so as to injure the sensibilities of the reader.

Comics Code Authority Scenes dealing with, or instruments associated with walking dead, torture, vampires and vampirism, ghouls, cannibalism, and werewolfism are prohibited. Profanity, obscenity, smut, vulgarity, or words or symbols which have acquired undesirable meanings are forbidden. Nudity in any form is prohibited, as is indecent or undue exposure. Suggestive and salacious illustration or suggestive posture is unacceptable. Females shall be drawn realistically without exaggeration of any physical qualities. Illicit sex relations are neither to be hinted at nor portrayed. Rape scenes as well as sexual abnormalities are unacceptable. Seduction and rape shall never be shown or suggested. Sex perversion or any inference to same is strictly forbidden. Nudity with meretricious purpose and salacious postures shall not be permitted in the advertising of any product; clothed figures shall never be presented in such a way as to be offensive or contrary to good taste or morals.

41

Allusions within stories


In the Marvel Comics universe, a fictional Marvel publishes comic books based on the "real-life" exploits of superheroes. In the 1990s Marvel series The Sensational She-Hulk, the title character is asked how, despite the fact her clothes are frequently being torn up, she always remains "decent". She responds by showing the label in her clothing: the Comics Code seal. The 2000s series She-Hulk established that the fictional Marvel submitted its publications to the Comics Code Authority for approval, until breaking with the CCA in 2001 as the real Marvel did. This fictional CCA is vaguely identified as a federal agency, and CCA comics based on "true" events are considered to be legal documents usable as evidence in a court of law. The fictional law firm of Goodman, Lieber, Kurtzberg & Holliway in She-Hulk has an extensive library of CCA-approved Marvel comics for reference purposes.

References
[1] "The Press: Horror on the Newsstands" (http:/ / www. time. com/ time/ magazine/ article/ 0,9171,820350,00. html), Time, September 27, 1954. WebCitation archive (http:/ / www. webcitation. org/ 5w9r9k7nU). [2] Costello, Matthew J. Secret Identity Crisis: Comic Books and the Unmasking of Cold War America (Continuum, 2009), ISBN 978-0-8264-2998-8, p. 32 [3] Silberkeilt, Michael, cited in Costello, page #? [4] Jacobs, F: "The Mad World of William M. Gaines", pages 112-114, Lyle Stuart, Inc, 1972 [5] "An Interview With William M. Gaines", Comics Journal #83 pages 76-78, Fantagraphics, Inc, 1983 [6] The New York Times (Feb. 5, 1955): "Whip, Knife, Shown as 'Comics' Lures", by Emma Harrison, p. 17, via ProQuest Historical Newspapers database [7] McCloud, Scott (2000). Reinventing Comics: How Imagination and Technology Are Revolutionizing an Art Form. New York: Perennial. ISBN0060953500. OCLC44654496. [8] Thompson, Don & Maggie, "Crack in the Code", Newfangles #44, February 1971 [9] Incredible Science Fiction #33 (http:/ / www. comics. org/ issue/ 12592/ #106097) at the Grand Comics Database [10] Diehl, Digby. Tales from the Crypt: The Official Archives (St. Martin's Press, New York, NY 1996) p. 85 [11] Comic Book Resources (Sept. 6, 2007): Comic Book Urban Legends Revealed (column) #119, by Brian Cronin (http:/ / goodcomics. comicbookresources. com/ 2007/ 09/ 06/ comic-book-urban-legends-revealed-119/ ) [12] Conway, Gerry (writer). "At Last: The Decision! Avengers #151 (September 1976). [13] Cronin, Brian. "Comic Legend: Green Lantern/Green Arrow #85 was the first Comics Code approved story involving drugs" (http:/ / goodcomics. comicbookresources. com/ 2009/ 09/ 24/ comic-book-legends-revealed-226/ ), Comic Book Resources, "Comic Book Legends Revealed" #226 (column), September 24, 2009 [14] "Stan the Man & Roy the Boy: A Conversation Between Stan Lee and Roy Thomas" (http:/ / twomorrows. com/ comicbookartist/ articles/ 02stanroy. html), Comic Book Artist #2 (Summer 1998). WebCitation archive (http:/ / www. webcitation. org/ 5lHwfKOI2). [15] Rogers, Vaneta. "The Comics Code Authority - Defunct Since 2009?" (http:/ / www. newsarama. com/ comics/ comics-code-authority-defunct-since-2009-110124. html), Newsarama, January 24, 2011. WebCitation archive (http:/ / www. webcitation. org/ 5w9t7DXvg).

Comics Code Authority


[16] Johnston, Rich. "Bongo Dropped Comics Code A Year Ago And No One Noticed" (http:/ / www. bleedingcool. com/ 2011/ 01/ 21/ bongo-dropped-comics-code-a-year-ago-and-no-one-noticed/ ), BleedingCool.com, January 21, 2011. WebCitation archive (http:/ / www. webcitation. org/ 5w9tMxQKI). [17] Lee, Jim. "From the Co-Publishers" (http:/ / dcu. blog. dccomics. com/ 2011/ 01/ 20/ from-the-co-publishers/ ), "The Source" (column), DC Comics, January 20, 2011. WebCitation archive (http:/ / www. webcitation. org/ 5w9tg57jI). [18] Rogers, Vaneta. "Archie Dropping Comics Code Authority Seal in February" (http:/ / www. newsarama. com/ comics/ archie-drops-CCA-in-february-110121. html), Newsarama, January 21, 2011. WebCitation archive (http:/ / www. webcitation. org/ 5w9rtZDZ0).

42

Bibliography
Dean, M. (2001) Marvel drops Comics Code, changes book distributor. The Comics Journal #234, p.19. Hajdu, David. The Ten-Cent Plague: The Great Comic-Book Scare and How it Changed America. New York: Farrar, Straus and Giroux, 2008. Nyberg, Amy Kiste. Seal of Approval: History of the Comics Code. Jackson: University Press of Mississippi, 1998. Original Comics Code 1971 Revision (http://www.reocities.com/Athens/8580/cca2.html) 1989 Revision (http://www.reocities.com/Athens/8580/cca3.html)

External links
Leopold, Todd. "The Pictures that Horrified America" (http://www.cnn.com/2008/SHOWBIZ/books/05/08/ comic.books), May 8, 2008 Vassallo, Dr. Michael J. "A Look at the Atlas Pre-Code Crime and Horror Work of Stan Lee" (http://www.ess. comics.org/ess/docvstan.html). The Buyer's Guide #1258 (December 26, 1997), via Live ForEverett. WebCite archive (http://www.webcitation.org/5lXOIlOSW).

43

Awards and Recognition


Harvey Award
Harvey Award
Presented by Country First awarded Fantagraphics United States 1988

Official website http:/ / www. harveyawards. org

The Harvey Awards, named for writer-artist Harvey Kurtzman (1924-1993) and founded by Gary Groth, President of the publisher Fantagraphics, are given for achievement in comic books. The Harveys were created as part of a successor to the Kirby Awards which were discontinued after 1987. The Harvey Awards are nominated by an open vote among comic-book professionals. The winners are selected from the top five nominees in each category by a final round of voting. Since their inception, the awards have been presented at various fan conventions such as the Chicago Comic-Con, the Dallas Fantasy Fair, Oakland, California's Wondercon, and the Pittsburgh Comicon. In 2004 and 2005, the presentation was held at the Museum of Comic and Cartoon Art (MoCCA) in New York City.[1] [2] In 2006 the awards' presentation was moved to Baltimore Comic-Con.[3]

Categories
Awards are given out in the following categories: Best Writer Best Artist or Penciller Best Cartoonist (Writer/Artist) Best Inker Best Letterer Best Colorist Best Cover Artist Best New Series Best Continuing or Limited Series Best Single Issue or Story Best Graphic Album (discontinued after 1990) Best Graphic Album of Original Work Best Graphic Album of Previously Published Work Best Anthology Best Syndicated Strip or Panel Best Biographical, Historical, or Journalistic Presentation Best American Edition of Foreign Material Best Domestic Reprint Project Best New Talent Best Online Comics Work

Harvey Award Special Award for Humor Special Award for Excellence in Production/Presentation The Hero Initiative Lifetime Achievement Award The Jack Kirby Hall of Fame

44

Footnotes
[1] HarveyAwards.org: "Museum of Comic and Cartoon Art Announces 2004 Harveys Nominees" (http:/ / www. harveyawards. org/ news_03. html) [2] Press release (May 13, 2005): "18th Annual Harvey Awards Winners to Be Announced in June 11 Ceremony in NYC" (http:/ / www. moccany. org/ press. html) [3] Greenberger, Robert. "Here are your 2011 Harvey Award nominees" (http:/ / l. wbx. me/ l/ ?p=1& instId=31475212-8b66-4de5-93cd-d30be501a8e2& token=8e37c6bf750e496a74ca3be67c98263eb8a0044600000130fdb234d5& u=http:/ / www. comicmix. com/ news/ 2011/ 07/ 05/ here-are-your-2011-harvey-award-nominees/ ), ComicMix, July 5, 2011

References
The Harvey Awards (http://www.harveyawards.org/) (official site)

Ignatz Awards
The Ignatz Awards are intended to recognize outstanding achievements in comics and cartooning by small press creators or creator-owned projects published by larger publishers. They have been awarded each year since 1997, but skipped a year in 2001 due to the show's cancellation after the September 11, 2001 attacks. Recipients of the award are determined by the votes of the attendees of the annual Small Press Expo (SPX, or The Expo its corporate name), a weekend convention and tradeshow showcasing creator-owned comics. Nominations for the Ignatz Awards are made by a five-member jury panel consisting of comic book professionals. The jury panel remains anonymous until the announcement of the awards. Jurors are prohibited from nominating their own work. However, there is no prohibition of one jury member's work being nominated for an award by his or her fellow jurors. The Ignatz Awards are named in honour of George Herriman and his strip Krazy Kat, which featured a brick-wielding mouse named Ignatz. SPX is currently held in Bethesda, Maryland, just outside the US capital, Washington DC. The Ignatz is awarded in the following categories: Outstanding Artist Outstanding Anthology or Collection (added in 2005) Outstanding Graphic Novel (added in 2005) Outstanding Story Promising New Talent Outstanding Series Outstanding Comic Outstanding Minicomic Outstanding Online Comic (added in 2001)

The following categories have been discontinued: Outstanding Graphic Novel or Collection (19972004, replaced in 2005 by two separate awards) Outstanding Debut Comic (20002008)

Ignatz Awards

45

Award winners and nominees


Outstanding Artist
2010 Eddie Campbell, Alec: The Years Have Pants (A Life-Sized Omnibus) (Top Shelf Productions) Al Columbia, Pim & Francie: The Golden Bear Days (Fantagraphics Books) Mike Dawson, Troop 142 (self-published & http://troop142.mikedawsoncomics.com) John Pham, Sublife #2 (Fantagraphics Books) Sully, The Hipless Boy (Conundrum Press)

2009 Nate Powell, Swallow Me Whole (Top Shelf) Tim Hensley, Mome (Fantagraphics), Kramer's Ergot #7 (Buenaventura) Richard Sala, Delphine (Fantagraphics/Coconino) Josh Simmons, Mome (Fantagraphics) Carol Tyler, Youll Never Know, Book One: A Good and Decent Man (Fantagraphics)

2008 Laura Park, Do Not Disturb My Waking Dream (self-published) Warren Craghead, How to Be Everywhere (self-published) Lat, Town Boy (First Second Books) Michel Rabagliati, Paul Goes Fishing (Drawn & Quarterly) Jillian Tamaki, Skim (Groundwood Books) 2007 Jaime Hernandez, Love & Rockets (Fantagraphics Books) Vanessa Davis, Papercutter #4 (Tugboat Press), Kramers Ergot #6 (Buenaventura Press) John Hankiewicz, Asthma (Sparkplug Comic Books) Rutu Modan, Exit Wounds (Drawn & Quarterly) Ted Stearn, Fuzz & Pluck in Splitsville #4 (Fantagraphics Books)

2006 Tony Millionaire, Billy Hazelnuts (Fantagraphics Books) Jordan Crane, The Clouds Above (Fantagraphics Books) Renee French, The Ticking (Top Shelf Productions) Anders Nilsen, Big Questions #7 and #8 (Drawn & Quarterly) Chris Ware, Acme Novelty Library #16 (Fantagraphics Books)

2005 David B, Epileptic (Pantheon), Babel (Drawn & Quarterly) Jeffrey Brown, Bighead (Top Shelf Productions) Roger Langridge, Fred the Clown (Fantagraphics) Seth, Clyde Fans Book 1 (Drawn & Quarterly) Craig Thompson, Carnet de Voyage (Top Shelf Productions)

2004 Craig Thompson, Blankets (Top Shelf Productions) Chester Brown, Louis Riel: A Comic-Strip Biography (Drawn and Quarterly) Daniel Clowes, Eightball #23 (Fantagraphics Books) Juanjo Guarnido, Blacksad (iBooks) Joe Sacco, The Fixer (Drawn and Quarterly)

2003 Jason Little, Shutterbug Follies (Doubleday Graphic Novels) Rene French, Rosetta (Alternative Comics), Tinka (Atheneum) Dean Haspiel, Aim to Dazzle (Alternative Comics) Lorenzo Mattotti, Dr. Jekyll & Mr. Hyde (NBM Publishing) Scott Mills, My Own Little Empire (AdHouse Books), Space Devil (ModernTales.com) 2002 Megan Kelso, Artichoke Tales #1, Non #5 (Highwater Books and Red Ink Press)

Ignatz Awards Rene French, The Soap Lady (Top Shelf) Paul Hornschemeier, Sequential, Forlorn Funnies (I Don't Get It Graphics and Absence Of Ink Press) John Kerschbaum, Homecoming, Petey & Pussy (Fontanelle Press) Thomas Ott, Greetings From Hellville (Fantagraphics Books)

46

2001 Ignatz Awards cancelled after 9-11 Attacks Donna Barr, The Desert Peach (A Fine Line Press) Jason Lutes, Berlin (Drawn & Quarterly) Carla Speed McNeil, Finder (Lightspeed Press) Tony Millionaire, Maakies (Fantagraphics Books), Sock Monkey (Dark Horse Comics) Jim Woodring, Frank (Fantagraphics Books)

2000 Dave Cooper, Weasel (Fantagraphics Books) Craig Thompson, Good-Bye, Chunky Rice (Top Shelf Productions) Rod Espinoza, The Courageous Princess (Antarctic Press) Francesca Ghermandi, Pastil (Phoenix Enterprise Publishing Co.) Bill Presing, Rex Steele-Nazi Smasher (Monkeysuit Press)

1999 Frank Cho, Liberty Meadows #1 (Insight Studios Group) Eric Shanower, Age of Bronze (Image Comics) Dylan Horrocks, Hicksville (Blackeye) Dave Choe, Slow Jams (Non #3 & 4, Red Ink) Pat McEown, Kissin' Cousin (Heart Throb #4)

1998 Dave Sim, Cerebus (Aardvark-Vanaheim) Joe Chiappetta, Silly Daddy (self-published) Nick Craine, Portrait of a Thousand Punks: Hard Core Logo (House of Anansi Press Ltd.) Gilbert Hernandez, Luba (Fantagraphics Books) Jaime Hernandez, Penny Century (Fantagraphics)

1997 Seth, Palookaville (Drawn & Quarterly) Gilbert Hernandez, New Love (Fantagraphics Books) Dylan Horrocks, Pickle (comics) (Black Eye Productions) C. S. Morse, Soulwind (Image Comics) Gary Panter, Jimbo (Zongo Comics)

Outstanding Anthology or Collection


2010 Masterpiece Comics, R. Sikoryak (Drawn & Quarterly) The Hipless Boy, Sully (Conundrum Press) Lemon Styles, David King (Sparkplug Comic Books) Red Snow, Susumu Katsumata (Drawn & Quarterly) Ten Thousand Things to Do, Jesse Reklaw (self-published)

2009 Kramers Ergot #7, ed. Sammy Harkham (Buenaventura) Abandoned Cars, Tim Lane (Fantagraphics) Against Pain, Ron Reg, Jr. (Drawn & Quarterly) Drawn & Quarterly Showcase Book 5, T. Edward Bak, Anneli Furmark, Amanda Vhmki (Drawn & Quarterly) Fuzz and Pluck: Splitsville by Ted Stearn (Fantagraphics) 2008 Papercutter #7, edited by Greg Means (Tugboat Press)

Ignatz Awards Inkweed, Chris Wright (Sparkplug Comic Books) Little Lulu Vol. 18, John Stanley (Dark Horse) Pond Life, John Broadley (PictureBox) Windy Corner #2, edited by Austin English (Sparkplug Comic Books)

47

2007 Curses by Kevin Huizenga (Drawn & Quarterly) Drawn & Quarterly Showcase Vol. 4 by Gabrielle Bell, Martin Cendrera, and Dan Zettwoch (Drawn & Quarterly) King-Cat Classix by John Porcellino (Drawn & Quarterly) Misery Loves Comedy by Ivan Brunetti (Fantagraphics Books) Moomin Book One by Tove Jansson (Drawn & Quarterly) 2006 Black Hole by Charles Burns (Pantheon) Castle Waiting by Linda Medley (Fantagraphics Books) Drawn and Quarterly Showcase #3 by Matt Broersma, Genevieve Elverum, and Sammy Harkham (Drawn & Quarterly) The Push Man and Other Stories by Yoshihiro Tatsumi (Drawn & Quarterly) Squirrel Mother by Megan Kelso (Fantagraphics Books) 2005 John Porcellino, Diary of a Mosquito Abatement Man (La Mano) James Sturm, Above and Below: Two Tales of the American Frontier (Drawn & Quarterly) Dead Herring Comics, edited by Actus (Actus Independent Comics) Roger Langridge, Fred the Clown (Fantagraphics) Tom Hart, Hutch Owen: Unmarketable (Top Shelf Productions)

Outstanding Graphic Novel


2010 Market Day, James Sturm (Drawn & Quarterly) The Complete Jack Survives, Jerry Moriarty (Buentaventura Press) Pim & Francie: The Golden Bear Days, Al Columbia (Fantagraphics Books) Summit of the Gods Vol. 1, Yumemakura Baku and Jiro Taniguchi (Fanfare/Ponent Mon) Years of the Elephant, Willy Linthout (Fanfare/Ponent Mon)

2009 Acme Novelty Library #19, Chris Ware (Drawn & Quarterly) Disappearance Diary, Hideo Azuma (Fanfare/Ponent Mon) Drop-In, Dave Lapp (Conundrum) Nicolas, Pascal Girard (Drawn & Quarterly) Youll Never Know, Book One: A Good and Decent Man, Carol Tyler (Fantagraphics)

2008 Skim, Mariko Tamaki and Jillian Tamaki (Groundwood Books) The Hot Breath of War, Trevor Alixopulos (Sparkplug Comic Books) Notes for a War Story, Gipi (First Second Books) Paul Goes Fishing, Michel Rabagliati (Drawn & Quarterly) Spent, Joe Matt (Drawn & Quarterly)

2007 Don't Go Where I Can't Follow by Anders Nilsen (Drawn & Quarterly) Aya by Marguerite Abouet and Clment Oubrerie (Drawn & Quarterly) Bookhunter by Jason Shiga (Sparkplug Comic Books) Exit Wounds by Rutu Modan (Drawn & Quarterly) House by Josh Simmons (Fantagraphics Books) 2006 Tricked by Alex Robinson (Top Shelf Productions)

Ignatz Awards The Clouds Above by Jordan Crane (Fantagraphics Books) Fun Home by Alison Bechdel (Houghton Mifflin) The Ticking by Renee French (Top Shelf Productions) Wimbledon Green by Seth (Drawn & Quarterly)

48

2005 Marjane Satrapi, Persepolis 2: The Story of a Return (Pantheon) Jeffrey Brown, Bighead (Top Shelf Productions) Craig Thompson, Carnet de Voyage (Top Shelf Productions) Thomas Ott, Cinema Panopticum (L'Association, Fantagraphics) Jason, Why Are You Doing This? (Fantagraphics Books)

Outstanding Story
2010 Monsters, Ken Dahl (Secret Acres) "John Wesley Harding", The Red Monkey Double Happiness Book, Joe Daly (Fantagraphics Books) Market Day, James Sturm (Drawn & Quarterly) "Turd Place", The Hipless Boy, Sully (Conundrum Press) "Untitled", Mome Vol. 16, Laura Park (Fantagraphics Books)

2009 "Willy," Papercutter #10, Damien Jay (Tugboat) "The Carnival," Mome #14, Lilli Carr (Fantagraphics) Disappearance Diary, Hideo Azuma (Fanfare/Ponent Mon) "Seeing Eye Dogs of Mars," Acme Novelty Library #19, Chris Ware (Drawn & Quarterly) "Untitled," Drawn & Quarterly Showcase Book 5, Amanda Vhmki (Drawn & Quarterly)

2008 The Thing About Madeleine, Lilli Carr (self-published) "Americus" by MK Reed and Jonathan Hill, Papercutter #7 (Tugboat Press) "The Candy Rod" by Onsmith, Hotwire Comics #2 (Fantagraphics Books) "The Galactic Funnels" by Dash Shaw, Mome #11 (Fantagraphics Books) "The Urn" by Chris Wright, Inkweed (Sparkplug Comic Books)

2007 "Felix" by Gabrielle Bell, Drawn & Quarterly Showcase Vol. 4 (Drawn & Quarterly) Delphine #1-2 by Richard Sala (Fantagraphics Books/Coconico Press) Don't Go Where I Can't Follow by Anders Nilsen (Drawn & Quarterly) The End #1 by Anders Nilsen (Fantagraphics Books/Coconico Press) "Martha Gregory" by John Hankiewicz, Asthma (Sparkplug Comic Books)

2006 Ganges #1 by Kevin Huizenga (Fantagraphics Books) "Prebaby" by Joe Daly, Scrublands (Fantagraphics Books) "Somersaulting" by Sammy Harkham, Drawn and Quarterly Showcase #3 (Drawn & Quarterly) "To Capt. Ayres" by Andrice Arp, MOME Winter 2006 (Fantagraphics Books) We Are On Our Own by Miriam Katin (Drawn & Quarterly)

2005 Anders Nilsen, Dogs and Water (Drawn and Quarterly) Gilbert Hernandez, "Dumb Solitaire", Love and Rockets #11 and #13 (Fantagraphics) David Collier, "Homme De Le Bois", The Frank Ritza Papers (Drawn & Quarterly) Dennis P. Eichhorn and J.R. Williams, The Legend of Wild Man Fischer (Top Shelf Productions) Joel Priddy, "Onion Jack" Superior Showcase #0 (AdHouse Books)

2004 Kevin Huizenga, "Glenn Ganges", Drawn and Quarterly Showcase Volume 1 (Drawn and Quarterly) Nick Bertozzi, "The Little Things", Rubber Necker #3 (Alternative Comics) Jaime Hernandez, Maggie, Love and Rockets v.2 #8 (Fantagraphics Books)

Ignatz Awards Michel Rabagliati, Paul in the Metro, Drawn & Quarterly #5 (Drawn and Quarterly) David Heatley, "Portrait of My Dad", McSweeneys Quarterly Concern #13 (McSweeney's, Ltd.) 2003 Jason Shiga, Fleep (Sparkplug Comic Books) Gilbert Hernandez, "30,000 Hours to Kill" Love & Rockets #6 (Fantagraphics Books) Charles Burns, Black Hole #10 (Fantagraphics Books) R. Crumb "Hipman" Mystic Funnies #3 (Fantagraphics Books) Jason, Untitled second story, Sshhhh! (Fantagraphics Books)

49

2002 Scott Mills, Trenches (Top Shelf Productions) Megan Kelso, "Retreat" Artichoke Tales #1 (Highwater Books) Mira Friedmann, "Royal Sable" Actus Box Series (Actus Tragicus) Kurt Wolfgang, "Where Hats Go" Non #5 (Red Ink Press) Ron Reg, Jr., "Wir Mussn Wissen, Wir Werden Wissen (We Must Know, We Will Know)" Drawn & Quarterly volume 4 (Drawn & Quarterly)

2001 Ignatz Awards cancelled after 9-11 Attacks Rutu Modan, "Bygone" Flipper Vol. 2 (Actus Tragicus/Top Shelf Productions) Mike Kunkel, Herobear and the Kid No. 2 (Astonish Comics) Lewis Trondheim, The Nimrod No. 5 (Fantagraphics Books) Sean Bieri, "Popeye the Savior Man" Jumbo Jape (self-published) Tom Hart, "Stocks Are Surging" The Collected Hutch Owen (Top Shelf Productions) 2000 Chris Ware, "Jimmy Corrigan, Smartest Kid On Earth" The Acme Novelty Library (Fantagraphics Books) Jason, "The Bridge" Mjau Mjau No. 6 (Jippi Forlag) Brian Ralph, Cave-In (Highwater Books) Alan Moore, Eddie Campbell, From Hell (Eddie Campbell Comics, distributed by Top Shelf Productions) Androo Robinson, Jug (self-published)

1999 Daniel Clowes, "David Boring" Eightball #20 (Fantagraphics) David Lapham, "Sex & Violence: part 2" Stray Bullets #18 (El Capitan Books) Budd Root, Cavewoman: Jungle Tales (Basement Comics) Scott Roberts, "Over the Line" Patty-Cake and Friends #13 (Slave Labor) David Choe, "Slow Jams" Non #3 & #4 (Red Ink)

1998 Daniel Clowes, "Ghost World" Eightball (Fantagraphics) Chris Ware, "Jimmy Corrigan" Acme Novelty Library (Fantagraphics) Gilbert Hernandez, "Letters from Venus" New Love (Fantagraphics) Julie Doucet, "New York City Diary" Dirty Plotte (Drawn & Quarterly) Joe Sacco, "Soba" Stories From Bosnia (Drawn & Quarterly)

1997 Alan Moore and Eddie Campbell, From Hell (Kitchen Sink Press) Joe Chiappetta, "A Death In the Family" Silly Daddy (self-published) Daniel Clowes, "Ghost World" Eightball (Fantagraphics) Dylan Horrocks[, "Hicksville" Pickle (Black Eye Productions) Seth, "It's a Good Life if You Don't Weaken" Palookaville (Drawn & Quarterly)

Ignatz Awards

50

Promising New Talent


2010 Matt Wiegle, "The Orphan Baiter", Papercutter #13 (Tugboat Press) Rina Ayuyang, Whirlwind Wonderland (Sparkplug Comic Books & Tugboat Press) Rami Efal, Never Forget, Never Forgive (Studio Namu) Blaise Larmee, Young Lions (self-published) Sully, The Hipless Boy (Conundrum Press)

2009 Colleen Frakes, Woman King (self-published) T. Edward Bak, Drawn & Quarterly Showcase Book 5 (Drawn & Quarterly) Hellen Jo, Jin & Jam #1 (Sparkplug), "Diamond Heights," Papercutter #9 (Tugboat) Ed Luce, Wuvable Oaf (self-published) Amanda Vhmki, Drawn & Quarterly Showcase Book 5 (Drawn & Quarterly)

2008 Sarah Glidden, How to Understand Israel in 60 Days or Less (self-published) Oliver East, Trains Are... Mint(Blank Slate) Austin English, Windy Corner #2 (Sparkplug Comic Books) Chuck Forsman, Snake Oil #1 (self-published) Lars Martinson, Tonoharu (Pliant Press/Top Shelf Productions)

2007 Tom Neely, The Blot (I Will Destroy You) Gabrielle Bell, Lucky, Drawn & Quarterly Showcase Vol. 4 (Drawn & Quarterly) Scott Campbell (artist), Flight Vol. 4 (Ballantine Books), Hickee vol. 3 #3 (Alternative Comics) Lilli Carr, Papercutter #3 (Tugboat Press), You Ain't No Dancer Vol. 2 (New Reliable Press) Brandon Graham, King City (TokyoPop)

2006 Hope Larson, Salamander Dream (AdHouse Books), Gray Horses (Oni Press) Andrice Arp, Mome Winter 2006 (Fantagraphics Books) Jonathan Bennett, Mome Fall 2005 (Fantagraphics Books) R. Kikuo Johnson, Night Fisher (Fantagraphics Books) Ben Jones, BJ & Da Dogs (Picturebox, Inc.)

2005 Andy Runton, Owly (Top Shelf Productions) Joshua W. Cotter, Skyscrapers of the Midwest (AdHouse Books) Rebecca Dart, RabbitHead (Alternative Comics) Vanessa Davis, Spaniel Rage (Buenaventura Press) Karl Stevens, Guilty (Karl Stevens Publishing, dist. by Alternative Comics)

2004 Lauren Weinstein, Kramer's Ergot #4 (Avodah Books) Martin Cendreda, Hi-Horse Omnibus (Alternative Comics, Hi-Horse Comics) Svetlana Chmakova, Chasing Rainbows (www.girlamatic.com, www.svetlania.com) Dan James, The Octopi and the Ocean (Top Shelf Productions) Leland Purvis, Suspended in Language (G.T. Labs)

2003 Derek Kirk Kim, Same Difference and Other Stories (self-published) Marc Bell, Rosetta (Alternative Comics), Shrimpy & Paul (Highwater Books) Ray Friesen, RQW (Don't Eat Any Bugs Comics) John Hankiewicz, Tepid, Eleanor E. Is Home (self-published) Raina Telgemeier, Take Out (self-published)

2002 Greg Cook, Catch as Catch Can (Highwater Books) Jeffrey Brown, Clumsy: A Novel (self-published) Mike Dawson, Cabaret, Gabagool! (self-published)

Ignatz Awards Sammy Harkham, "Study Group 12 #2" "Though I Slumber, My Heart Is Still Awake" (Study Group 12) Anders Brekhus Nilsen, Big Questions #4: Asomatognosia (self-published) Rick Smith and Tania Menesse, Shuck (Shuck Comics) 2001 Ignatz Awards cancelled after 9-11 Attacks Tomer and Asaf Hanuka, Bipolar, self-published Mike Kunkel, Herobear and the Kid, Astonish Comics Metaphrog, Louis: Red Letter Day, Metaphrog Rutu Modan, Flipper Vol. 2, Actus Tragicus/Top Shelf Productions Ben Steckler, Get BenT, self-published

51

2000 Nick Bertozzi, Boswash (Luxurious Comics) Ben Catmull, Paper Theater (self-published) Rod Espinosa, The Courageous Princess (Antarctic Press) Kevin Huizenga, Supermonster (self-published) Stephen Notley, Bob the Angry Flower (self-published)

1999 Brian Ralph, Fireball #7 (Fort Thunder) Leland Myrick, Sweet (Adept Books) Madison Clell, Cuckoo (Green Door Studios) Jason Little, Jack's Luck Runs Out (Top Shelf Productions) Dave Kiersh, Is Kissing a Girl Who Smokes Like Kissing an Ashtray, Non #4 (Red Ink) 1998 Carla Speed McNeil, Finder (Lightspeed Press) Tara Jenkins, Galaxion (Helikon Press) Matt Madden, Black Candy (Black Eye Books) Ron Rege, Skibber Bee Bye (self-published) Chris Oliveros, The Envelope Manufacturer (Drawn & Quarterly)

1997 Debbie Drechsler, Nowhere (Drawn & Quarterly) Tom Hart, The Sands (Black Eye Productions) C. S. Morse, Soulwind (Image Comics) Walt Holcombe, King of Persia (self published through Accordion Press) Steve Weissman, Yikes! (Alternative Press)

Outstanding Series
2010 Ganges, Kevin Huizenga (Fantagraphics Books) King-Cat Comics & Stories, John Porcellino (self-published) Sublife, John Pham (Fantagraphics Books) Summit of the Gods, Yumemakura Baku and Jiro Taniguchi (Fanfare/Ponent Mon) Troop 142, Mike Dawson (self-published)

2009 Uptight, Jordan Crane (Fantagraphics) Danny Dutch, David King (Sparkplug) Delphine, Richard Sala (Fantagraphics/Coconino) Interiorae, Gabriella Giandelli (Fantagraphics/Coconino) Reich, Elijah Brubaker (Sparkplug)

2008 Snake Oil by Chuck Forsman (self-published) Eye of the Majestic Creature, Leslie Stein (self-published) Injury, Ted May, Jason Robards, and Jeff Wilson (Buenaventura Press)

Ignatz Awards Paul series, Michel Rabagliati (Drawn & Quarterly) Reich, Elijah Brubaker (Sparkplug Comic Books) 2007 Mourning Star by Kazimir Strzepek (Bodega Distribution) Atlas by Dylan Horrocks (Drawn & Quarterly) Delphine by Richard Sala (Fantagraphics Books/Coconico Press) Dungeon by Lewis Trondheim, Joann Sfar, and various (NBM) Love & Rockets by Los Bros Hernandez (Fantagraphics Books)

52

2006 Owly by Andy Runton (Top Shelf Productions) Acme Novelty Library by Chris Ware (Fantagraphics Books) Big Questions by Anders Nilsen (Drawn and Quarterly) Love and Rockets by Los Bros. Hernandez (Fantagraphics Books) Optic Nerve by Adrian Tomine (Drawn & Quarterly)

2005 Carla Speed McNeil, Finder (Light Speed Productions) Tomer Hanuka, Asaf Hanuka, and Etgar Keret, Bipolar (Alternative Comics) David Heatley, Deadpan (self-published) Los Bros Hernandez, Love and Rockets vol. II (Fantagraphics) Joshua W. Cotter, Skyscrapers of the Midwest (AdHouse Books) 2004 Carla Speed McNeil, Finder (Light Speed Productions) Charles Burns, Black Hole (Fantagraphics Books) John Porcellino, King Cat (self-published) Nick Bertozzi, Rubber Necker (Alternative Comics) Kim Deitch, Stuff of Dreams (Fantagraphics Books)

2003 Charles Burns, Black Hole (Fantagraphics Books) Roger Langridge, Fred the Clown (Hotel Fred Press) Ted Stearn, Fuzz & Pluck in Splitsville (Fantagraphics Books) Scott Roberts, Patty Cake (Slave Labor Graphics) Gary Spencer Millidge, Strangehaven (Abiogenesis Press)

2002 James Kochalka Sketchbook Diaries (Top Shelf Productions) Chester Brown, Louis Riel (Drawn & Quarterly) Sam Henderson, Magic Whistle (Alternative Comics) David Hahn, Private Beach (Slave Labor Graphics) Dave Cooper, Weasel (Fantagraphics Books)

2001 Ignatz Awards cancelled after 9-11 Attacks Jason Lutes, Berlin (Drawn and Quarterly) Carla Speed McNeil, Finder (Lightspeed Press) Mike Kunkel, Herobear and the Kid (Astonish Comics) Sam Henderson, Magic Whistle, (Alternative Comics) Jason, Mjau Mjau (Jippi Forlag)

2000 Dave Cooper, Weasel (Fantagraphics Books) Jay Hosler, Clan Apis (Active Synapse Comics) Madison Clell, Cuckoo (Green Door Studios) Bryan Talbot, Heart of Empire (Dark Horse Comics) Jason, Mjau Mjau (Jippi Forlag) 1999 Max, The Extended Dream of Mr. D (Drawn & Quarterly)

Ignatz Awards Eric Shanower, Age of Bronze (Image Comics) Jay Hosler, Clan Apis (Active Synapse Comics) Gary Spencer Millidge, Strangehaven (Abiogenesis) Adam Warren, Gen 13: Magical Drama Queen Roxy (Wildstorm)

53

1998 Chris Ware, Acme Novelty Library (Fantagraphics) Daniel Clowes, Eightball (Fantagraphics) Debbie Drechsler, Nowhere (Drawn & Quarterly) Joe Chiappetta, Silly Daddy (self-published) Steve Weissman, Yikes! (Alternative Press)

1997 Chris Ware, Acme Novelty Library (Fantagraphics) Jason Lutes, Berlin (Black Eye Productions) Daniel Clowes, Eightball (Fantagraphics) Seth, Palookaville (Drawn & Quarterly) Gary Spencer Millidge, Strangehaven (Abiogenesis)

Outstanding Comic
2010 I Want You, Lisa Hanawalt (Buenaventura Press) Blammo #6, Noah Van Sciver (Kilgore Books) Eschew #2, Robert Sergel (Sparkplug Comic Books) Flesh and Bone, Julia Gfrrer (Sparkplug Comic Books) Sublife #2, John Pham (Fantagraphics Books)

2009 Uptight #3, Jordan Crane (Fantagraphics) Danny Dutch #1, David King (Sparkplug) Dead Ringer, Jason T. Miles (La Mano) Interiorae #3, Gabriella Giandelli (Fantagraphics/Coconino) Reich #6, Elijah Brubaker (Sparkplug)

2008 Snake Oil #1 by Chuck Forsman (self-published) Cryptic Wit #2, Gerald Jablonski (self-published) Department of Art, Dunya Jankovic (self-published) Lucky Vol. 2 #2, Gabrielle Bell (Drawn & Quarterly) Palooka-ville #19, Seth (Drawn & Quarterly)

2007 Optic Nerve #11 by Adrian Tomine (Drawn & Quarterly) Doctor Id by Adam McGovern and Paolo Leandri (Indie Ink Studios) Fuzz & Pluck in Splitsville #4 by Ted Stearn (Fantagraphics Books) Love & Rockets vol. 2 #18 by Los Bros Hernandez (Fantagraphics Books) Monster Parade #1 by Ben Catmull (Fantagraphics Books)

2006 Schizo #4 by Ivan Brunetti (Fantagraphics Books) Big Questions #7 by Anders Nilsen (Drawn & Quarterly) Ganges #1 by Kevin Huizenga (Fantagraphics Books) Optic Nerve #10 by Adrian Tomine (Drawn and Quarterly) Stuff of Dreams #3 by Kim Deitch (Fantagraphics Books)

2005 Kevin Huizenga, Or Else #1 (Drawn and Quarterly) Anders Nilsen, Dogs & Water (Drawn & Quarterly) Los Bros. Hernandez Love & Rockets #13 (Fantagraphics)

Ignatz Awards Los Bros. Hernandez, Love & Rockets #12 (Fantagraphics) Marc Bell, Worn Tuff Elbow #1 (Fantagraphics) 2004 Daniel Clowes, Eightball #23 (Fantagraphics Books) Charles Burns, Black Hole #11 (Fantagraphics Books) Kim Deitch, Stuff of Dreams #2 (Fantagraphics Books) John Hankiewicz, Tepid Summer 2003 (Tepid Comics) John Porcellino, King Cat #62 (Self-published)

54

2003 Nick Bertozzi, Rubber Necker #2, (Alternative Comics) Adam Suerte, Aprendiz Book 1 (self-published) Charles Burns, Black Hole #10 (Fantagraphics Books) David Collier, Collier's Vol. 2 #2 (Drawn & Quarterly) David Lasky and Greg Stump, Urban Hipster #2 (Alternative Comics)

2002 Daniel Clowes, Eightball #22 (Fantagraphics Books) Anders Brekhus Nilsen, Big Questions #4: Asomatognosia (self-published) Tony Consiglio, Double Cross: More or Less (Top Shelf Productions) James Kochalka, Sketchbook Diaries Volume 2 (Top Shelf Productions) Jon Lewis, True Swamp: Stoneground and Hillbound (Alternative Comics) 2001 Ignatz Awards cancelled after 9-11 Attacks Frank No. 4, Jim Woodring, Fantagraphics Books Herobear and the Kid No. 2, Mike Kunkel, Astonish Comics James Kochalka's Sketchbook Diaries, James Kochalka, Top Shelf Productions Mjau Mjau' No. 7, Jason, Jippi Forlag Sequential' No. 6, Paul Hornschemeier, I Don't Get It Press

2000 Chris Ware, The Acme Novelty Library No. 13 (Fantagraphics Books) Ron Rege and Joan Leidy, Boys (Highwater Books) Madison Clell, Cuckoo No. 10 (Green Door Studios) Pete Sickman-Garner, Hey Mister, The Trouble With Jesus (Top Shelf Productions) Jordan Crane, The Last Lonely Saturday (Red Ink)

1999 Frank Cho, Liberty Meadows #1 (Insight Studio Group) Pekar, Sacco, Stack & Warneford, American Splendor: Transatlantic Comics James Sturm, Hundreds of Feet Below Daylight (Drawn & Quarterly) Ben Katchor, The Jew of New York (Pantheon Books) Joe Zabel & Gary Dumm, Oracle (Amazing Montage)

1998 Chris Ware, Acme Novelty Library #9 (Fantagraphics) Bill Willingham, Coventry #1 (Fantagraphics) Daniel Clowes, Eightball #19 (Fantagraphics) Debbie Drechsler, Nowhere #3 (Drawn & Quarterly) Joe Sacco, Stories From Bosnia #1: Soba (Drawn & Quarterly)

1997 Daniel Clowes, Eightball #17 (Fantagraphics) Pete Sickman-Garner, Hey Mister #1 (Top Shelf Productions) Dean Haspiel and Josh Neufeld, Keyhole #2 (Modern) Walt Holcombe, King of Persia (self-published through Accordion Press) Seth, Palookaville #10 (Drawn & Quarterly)

Ignatz Awards

55

Outstanding Minicomic
2010 Rambo 3.5, Jim Rugg Don't Drink from the Sea, Lilli Carr Stories by... Vol. 1, Martin Cendreda Troop 142, Mike Dawson Water Column #3, Josh Frankel

2009 Stay Away From Other People, Lisa Hanawalt Claptrap #2, Onsmith Just So You Know #1, Joey Alison Sayers Stewbrew, Kelly Froh & Max Clotfelter Xoc #1, Matt Dembicki

2008 Bluefuzz, Jesse Reklaw Dorado Park, Lilli Carre How To Understand Israel in 60 Days or Less, Sarah Glidden Ochre Ellipse #2, Jonas Madden-Connor Swell, Juliacks

2007 P.S. Comics #3 by Minty Lewis Burning Building Comix by Jeff Zwirek The Monkey and the Crab by Shawn Cheng and Sara Edward-Corbett Noose by Mark Burrier Seven More Days of Not Getting Eaten by Matt Wiegle

2006 Monsters by Ken Dahl Comicore Jr. by Paulette Poullet Gaylord Phoenix # 4 by Edie Fake Trackrabbit by Geoff Vasile Window #8 by Dave Lapp

2005 Alec Longstreth, Phase 7 (self-published) Jesse Reklaw Couch Tag #2 (self-published) John Hankiewicz, Dance (self-published) Andy Hartzell, Monday (self-published) Sarah Becan, Ouija Interview #3 (self-published)

2004 Gabrielle Bell, Lucky #3 (self-published) Anders Brekhus Nilsen, Big Questions No. 6: Anoesia and the Matrideicidic Theophany (self-published) Jim Ottaviani and Roger Langridge, Quantum Entanglement, Spooky Action at a Distance, Teleportation and You (G.T. Labs) Pat Lewis, Thankless Job (Lunchbreak Comics) Matthew Bellisle, Underground: Souvenir (Gravity/DSN) 2003 Jeffrey Brown, I Am Going to Be Small (self-published) Josh Sullivan, Josh Comics David Lasky and Jesse Reklaw, Lo-Horse #1 Raina Telgemeier, Take Out Diana Tamblyn, That Thing You Fall Into 2002 Megan Kelso, Artichoke Tales #1 (Highwater Books) Tony Consiglio, Double Cross Assortment (self-published)

Ignatz Awards Kevin Huizenga, Gloriana: Super Monster #14 (self-published) John Kerschbaum, Homecoming (Fontanelle Press) Lark Pien, Long Tail Kitty: Heaven (self-published) 2001 Ignatz Awards cancelled after 9-11 Attacks Rachel Hartman, Amy Unbounded No. 12 (Pug House Press) Jesse Reklaw, Democracy: Mime Complaint No. 5 (self-published) Sean Bieri, Jumbo Jape (self-published) Low Jinx 3: The Big Rip-Off, edited by Kurt Wolfgang (Noe-Fie Mono-Media) John Hankiewicz, Tepid Spring 2001 (self-published)

56

2000 LowJinx # 2: Understanding the Horrible Truth About Reinventing Mini Comics (The Bastard Format), edited by Kurt Wolfgang (Noe-Fie Mono-Media) Johnny Ryan, Angry Youth Comics No. 11 (self-published) Androo Robinson, Jug (self-published) Jon Kerschbaum, Timberdoodle (self-published) Tom Beland, True Stories, Swear to God (self-published)

1999 Brian Ralph, Fireball #7 (Highwater Books) Aaron Augenblick, Tales of the Great Unspoken (self-published) Androo Robinson, Ped Xing (self-published) Mat Brinkman, Bolol Belittle (self-published) Kurt Wolfgang, Noe-Fie #8 (Noe-Fie Mono-Media)

1998 Rachel Hartman, Amy Unbounded (Pug House Press) Yvonne Mojica, Bathroom Girls John Porcellino, King Cat Comics James Kochalka, Magic Boy Does Laundry Matt Brinkman, Oaf

1997 James Kochalka, The Perfect Planet Pete Sickman-Garner, Hey Mister #4 John Porcellino, King-Cat Comics #52 Sam Henderson, Magic Whistle #9 Alan Hunt, Out There #5

Outstanding Online Comic


2010 Troop 142, Mike Dawson mikedawsomcomics.com [1] Callahan Online, John Callahan callahanonline.com [2] I Think You're Sauceome, Sarah Becan sauceome.com [3] The Lesttrygonians, Stephen Gilpin sgilpin.com [4] Reliable Comics, David King reliablecomics.com [5] Bodyworld, Dash Shaw dashshaw.com [7] Danny Dutch, David King Flickr [8] Thingpart, Joey Alison Sayers jsayers.com [9] Vanessa Daviss comics for Tablet tabletmag.com [10]

2009 Year of the Rat, Cayetano Garza magicinkwell.com [6]

2008 Achewood by Chris Onstad achewood.com [11] Danny Dutch by David King reliablecomics.com [12]

Ignatz Awards Slow Wave by Jesse Reklaw slowwave.com [13] Thingpart by Joey Sayers www.jsayers.com [9] Traced by Tracy White traced.com [14] 2007 Achewood by Chris Onstad, achewood.com [11] Grace by Kris Dresen, girlthrow.com [15] Persimmon Cup by Nick Bertozzi, act-i-vate.com [16] Thingpart by Joe Sayers, jsayers.com [9] Wondermark by David Malki !, wondermark.com [17]

57

2006 Nicholas Gurewitch, The Perry Bible Fellowship, www.pbfcomics.com [18] A Lesson Is Learned But The Damage Is Irreversible by David Hellman and Dale Beran, www.alessonislearned.com [19] Claviger by Ronnie Casson, www.girlamatic.com [20] Micrographica by Renee French, www.serializer.net [21] Thingpart by Joe Sayers, www.jsayers.com/thingpart/thingpart.html [9] 2005 Nicholas Gurewitch, The Perry Bible Fellowship, www.pbfcomics.com [18] deadmouse, Ballad, www.moderntales.com [22] Kazu Kibuishi, Copper, www.boltcity.com [23] Jenn Manley Lee, Dicebox, www.jennworks.com [24] Steven Manale, Superslackers, www.superslackers.com [25] 2004 James Kochalka, American Elf, www.americanelf.com [26] Patrick Farley, Apocamon, e-sheep.com [27] J.J. Naas, Desert Rocks, dr.ungroup.net [28] Timothy Kreider, The Pain When Will it End?, thepaincomics.com [29] Craig Boldman, Tailipoe, craigboldman.com [30] Gabrielle Bell, Bell's Home Journal, www.serializer.net [21] Ted Slampyak, Jazz Age, www.jazzagecomics.com [31] Nick Bertozzi, The Salon, www.serializer.net [21] Jesse Reklaw, Slow Wave, www.slowwave.com [13] Tom Hart, Hutch Owen: Public Relations, www.moderntales.com [22] Jordan Crane, Keeping Two, www.highwaterbooks.com [33] Derek Kirk Kim, Small Stories, www.smallstoriesonline.com [34] Tracy White, Traced, www.traced.com [14] Ben Jones, Future Genies of Mush Past, www.usscatastrophe.com [35] Scott McCloud, I Can't Stop Thinking, www.scottmccloud.com [36] Jonathan Morris, Jeremy, www.ape-law.com/jeremy [37] Demian5, When I Am King, www.demian5.com [38] Scott McCloud, Zot! Hearts and Minds, www.scottmccloud.com [36]

2003 James Kochalka, American Elf, www.americanelf.com [26]

2002 Jason Little, Bee, www.beecomix.com [32]

2001 Ignatz Awards cancelled after 9-11 Attacks

Ignatz Awards

58

Outstanding Graphic Novel or Collection (discontinued)


2004 Craig Thompson, Blankets (Top Shelf Productions) Joe Sacco, The Fixer (Drawn and Quarterly) Chester Brown, Louis Riel (Drawn and Quarterly) McSweeneys Quarterly Concern #13, Edited by Chris Ware (McSweeney's, Ltd.) Matt Brinkman, Teratoid Heights (Highwater Books)

2003 Rich Koslowski, Three Fingers (Top Shelf Productions) Bob Fingerman, Beg The Question (Fantagraphics Books) David B, Epileptic (L'Association) Jim Woodring, The Frank Book (Fantagraphics Books) Spain Rodriguez and William Lindsay Gresham, Nightmare Alley (Fantagraphics Books)

2002 James Sturm, The Golem's Mighty Swing (Drawn & Quarterly) Fallout, edited by Jim Ottaviani (G.T. Labs) Ivan Brunetti, Haw! (Fantagraphics Books) Non #5, edited by Jordan Crane (Red Ink Press) Debbie Drechsler, Summer of Love (Drawn & Quarterly)

2001 Ignatz Awards cancelled after 9-11 Attacks Alex Robinson, Box Office Poison (Top Shelf Productions) Chris Ware, Jimmy Corrigan: The Smartest Kid On Earth (Pantheon Books) Mark Kalesniko, Mail Order Bride (Fantagraphics Books) Joe Sacco, Safe Area Gorazde: The War in Eastern Bosnia, 1992-1995 (Fantagraphics Books) Michael Kupperman, Snake 'n' Bacon's Cartoon Cabaret (Avon Books)

2000 Alan Moore and Eddie Campbell, From Hell (Eddie Campbell Comics, distributed by Top Shelf Productions) Tom Hart, Banks/Eubanks (Top Shelf Productions) Jay Hosler, Clan Apis (Active Synapse) Comix 2000 various, (L'Association) Drawn & Quarterly, Volume 3 various, (Drawn & Quarterly)

1999 Dave McKean, Cages (Kitchen Sink) Pete Sickman-Garner, Hey Mister: Celebrity Roast (Top Shelf Productions) Dylan Horrocks, Hicksville (Black Eye) Ed Hillyer, Time Warp (Slab-O-Concrete) James Kochalka, Tiny Bubbles (Highwater Books)

1998 Daniel Clowes, Ghost World (Fantagraphics) Martin Tom Dieck, Views of the Warehouse District (Westhampton House) Jim Woodring, Frank vol. 2 (Fantagraphics) Chester Brown, The Little Man (Drawn & Quarterly) Titanic Tales edited by Mark Wheatley (Insight Studios)

1997 Seth, It's A Good Life if You Don't Weaken (Drawn & Quarterly) Ed Brubaker, At The Seams (Alternative Press) Ben Katchor, Julius Knipl, Real Estate Photographer: Stories (Little, Brown) David B. , L'Ascension Du Haut Mal (L'Association) Cosey , Lost in the Alps (NBM)

Ignatz Awards

59

Outstanding Debut Comic (discontinued)


2008 Swallow Me Whole by Nate Powell (Top Shelf Productions) 2007 Papercutter #6 edited by Alec Longstreth (Tugboat Press) 2006 Class of '99 by Josh Eiserike (Self-Published) 2005 Will You Still Love Me if I Wet the Bed? by Liz Prince (Top Shelf Productions) 2004 Teen Boat #6: Vote Boat by Dave Roman and John Green (Cryptic Press) 2003 Studygroup12 #3 edited by Zack Soto 2002 Pulpatoon Pilgrimage by Joel Priddy (AdHouse Books) 2000 Dork #8 by Evan Dorkin (Slave Labor Graphics)

Ignatz Awards Jury


2010 Trevor Alixopulos Joshua Cotter Rob G David Kelly Anders Nilsen

2009 Lilli Carr Vanessa Davis Robert Kirby Scott Mills Laura Park

2008 Gabrielle Bell Farel Dalrymple Eleanor Davis John Hankiewicz Andy Hartzell

2007 Sara Edward-Corbett Paul Hornschemeier Steve MacIsaac Jesse Reklaw Zack Soto

2006 Jeffrey Brown Henry Chamberlain Justin Hall Laurenn McCubbin Jim Rugg

2005 Jennifer Daydreamer Shaenon Garrity

Ignatz Awards James Kochalka Jeff Parker Dan Zettwoch 2004 Kevin Huizenga Megan Kelso Rich Koslowski Layla Lawlor Steve Lieber

60

2003 Pam Bliss Ariel Bordeaux David Hahn Batton Lash Matt Madden

2002 Suzanne Baumann Nick Bertozzi David Lasky Alex Robinson

2001 Matt Feazell Roberta Gregory Jon "Bean" Hastings Sam Henderson James Sturm

2000 Donna Barr Sean Bieri Phil Foglio Dean Haspiel Jason Little

1999 Frank Cho Jordan Crane Jon Lewis Carla Speed McNeil Jim Ottaviani

1998 Michael Cohen Tom Devlin Tom Hart Marc Hempel Dylan Horrocks

Ignatz Awards 1997 Jessica Abel Chester Brown Ed Brubaker Mark Wheatley Joe Zabel

61

Ignatz Awards Committee


2011present Eden Miller, Coordinator Greg McElhatton Karon Flage 2007-2010 Greg McElhatton, Coordinator Jeff Alexander Karon Flage 2000-2006 Jeff Alexander, Coordinator Karon Flage Greg McElhatton 1999 Jeff Alexander, Coordinator 1998 Chris Oarr, Coordinator Jeff Alexander 1997 Chris Oarr, Coordinator

External links
Ignatz Awards Official Website [39]

References
[1] http:/ / troop142. mikedawsoncomics. com [2] http:/ / www. callahanonline. com/ calarc. html [3] http:/ / www. sauceome. com [4] http:/ / www. sgilpin. com/ 2010_site/ Weekly_Comic_Strip/ Weekly_Comic_Strip. html [5] http:/ / www. reliablecomics. com [6] http:/ / www. magicinkwell. com/ [7] http:/ / dashshaw. com/ [8] http:/ / www. flickr. com/ photos/ kingkomics/ sets/ 72157603500714748 [9] http:/ / www. jsayers. com/ thingpart/ thingpart. html [10] http:/ / www. tabletmag. com/ author/ vdavis/ [11] http:/ / www. achewood. com/ [12] http:/ / www. reliablecomics. com/ [13] http:/ / www. slowwave. com/ [14] http:/ / www. traced. com/

Ignatz Awards
[15] [16] [17] [18] [19] [20] [21] [22] [23] [24] [25] [26] [27] [28] [29] [30] [31] [32] [33] [34] [35] [36] http:/ / www. girlthrow. com/ grace http:/ / www. act-i-vate. com/ http:/ / www. wondermark. com/ http:/ / www. pbfcomics. com/ http:/ / www. alessonislearned. com/ http:/ / www. girlamatic. com/ http:/ / www. serializer. net/ http:/ / www. moderntales. com/ http:/ / www. boltcity. com/ http:/ / www. jennworks. com/ http:/ / www. superslackers. com/ http:/ / www. americanelf. com/ http:/ / e-sheep. com/ http:/ / dr. ungroup. net/ http:/ / thepaincomics. com/ http:/ / craigboldman. com/ http:/ / www. jazzagecomics. com/ http:/ / www. beecomix. com/ http:/ / www. highwaterbooks. com/ http:/ / www. smallstoriesonline. com/ http:/ / www. usscatastrophe. com/ http:/ / www. scottmccloud. com/

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[37] http:/ / www. ape-law. com/ jeremy [38] http:/ / www. demian5. com/ [39] http:/ / www. spxpo. com/ ?page_id=22

Eisner Award

63

Eisner Award
Will Eisner Comic Industry Award
Awarded for Country Creative Achievement in American comic books United States

Official website [1]

The Will Eisner Comic Industry Awards, commonly shortened to the Eisner Awards, and sometimes referred to as the Oscar Awards of the Comics Industry,[2] [3] are prizes given for creative achievement in American comic books. The Eisner Awards were first conferred in 1988, created in response to the discontinuation of the Kirby Awards after 1987.[4] [5] They are named in honor of the pioneering writer and artist Will Eisner, who was a regular participant in the award ceremony until his death in 2005.[4] The Eisner Awards include the Comic Industry's Hall of Fame. The nominations in each category are generated by a five-member panel, then voted on by comic-book professionals, and presented at the annual Comic-Con International convention held in San Diego, California, usually in July or August. Jackie Estrada has been the award administrator since 1990.[5]

Categories
Awards are given out in the following categories: Best Single Issue/Single Story Best Short Story Best Serialized Story Best Black-and-White Series Best Continuing Series Best Finite Series/Limited Series Best New Series Best Title for Younger Readers/Best Comics Publication for a Younger Audience Best Publication for Kids Best Publication for Teens Best Publication for Teens/Tweens Best Anthology Best Digital Comic (since 2005)[6] Best Webcomic Best Reality-Based Work Best Graphic Album Best Graphic Album: New Best Graphic Album: Reprint Best Archival Collection/Project Best Archival Collection/Project - Comic Strips Best Archival Collection/Project - Comic Books Best Humor Publication Best U.S. Edition of International Material Best U.S. Edition of International Material - Japan Best Comic Strip Collection Best Writer

Eisner Award Best Writer/Artist Best Writer/Artist: Drama Best Writer/Artist: Humor Best Painter/Multimedia Artist (Interior) Best Artist/Penciller/Inker or Penciller/Inker Team Best Art Team Best Colorist/Coloring Best Letterer/Lettering Best Cover Artist Talent Deserving of Wider Recognition Special Recognition Best Editor Best Comics-Related Periodical/Publication Best Comics-Related Periodical/Journalism Best Comics-Related Book Best Comics-Related Publication (Periodical or Book) Best Comics-Related Product/Item Best Comics-Related Sculpted Figures Spirit of Comics Retailer Award Bob Clampett Humanitarian Award Best Publication Design The Will Eisner Award Hall of Fame

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Notes
[1] http:/ / www. comic-con. org/ cci/ cci_eisners_main. php [2] "The Eisner Awards" (http:/ / www. worldofsuperheroes. com/ comics/ 4713/ ). worldofsuperheroes.com. April 8, 2011. . Retrieved May 14, 2011. [3] Albert, Aaron. "The Will Eisner Comic Industry Awards Profile" (http:/ / comicbooks. about. com/ od/ conventionsandevents/ p/ eisnerawards. htm). about.com. . Retrieved May 14, 2011. [4] "The Will Eisner Comic Industry Awards" (http:/ / www. comic-con. org/ cci/ cci_eisnersfaq. shtml#oscars), Comic-con.org. WebCitation archive (http:/ / www. webcitation. org/ 5wzOBvJo3) (requires scrolldown). [5] Estrada, Jackie . "The Eisner Awards: A Brief History" (http:/ / www. comic-con. org/ cci/ cci_eisnersfaq. shtml#history), Comic-con.org. WebCitation archive (http:/ / www. webcitation. org/ 5wzOBvJo3) (requires scrolldown). [6] Thorne, Amy (2010). "25 Webcomics and Libraries" (http:/ / books. google. com/ books?id=Xo-QYdfL9DoC). In Robert G. Weiner. Graphic Novels and Comics in Libraries and Archives: Essays on Readers, Research, History and Cataloging. Elizabeth (FRW) Figa and Derek Parker Royal (forewords); Stephen Weiner (afterword) (illustrated ed.). McFarland. p.211. ISBN9780786443024. . "Librarians also can consult ... the Eisner Awards, which have had a Best Digital Comic entry since 2005"

References
Eisner Awards from 1988 - 2007 (http://www.hahnlibrary.net/comics/awards/eisner). WebCitation archive (http://www.webcitation.org/5uEh09cBK). The Eisner Awards - The Oscars of the Comics Industry (http://www.worldofsuperheroes.com/comics/4713/ ). Archive of 2005 Eisner awards from Comic-Con.org (http://web.archive.org/web/20051221102602/www. comic-con.org/cci2005/cci_eisners_main.shtml). WebCitation archive (http://www.webcitation.org/ 5uEgaqBIT). Original page (http://www.comic-con.org/cci2005/cci_eisners_main.shtml). 2006 Eisner Award nominations (http://www.comic-con.org/cci/cci_eisners06nom.shtml), Comic-Con.org. WebCitation archive (http://www.webcitation.org/5uEgVZGNl).

Eisner Award 2006 Eisner Award winners (http://www.comic-con.org/cci/cci_eisners_06rcv.shtml), Comic-Con.org. WebCitation archive (http://www.webcitation.org/5uEgRUp7A). 2007 Eisner Award nominations (http://www.comic-con.org/cci/cci_eisners_07nom.shtml#nomlist), Comic-Con.org. WebCitation archive (http://www.webcitation.org/5uEgLFGmF). 2007 Eisner Award winners (http://www.comic-con.org/cci/cci_eisners_07win.shtml#winners), Comic-Con.org. WebCitation archive (http://www.webcitation.org/5uEgGb8UN). 2008 Eisner Award winners (http://www.comic-con.org/cci/cci_eisners_08win.shtml), Comic-Con.org. WebCitation archive (http://www.webcitation.org/5uEgBwnSa). 2009 Eisner Award winners (http://www.comic-con.org/cci/cci_eisners_09win.shtml), Comic-Con.org. WebCitation archive (http://webcitation.org/5ssO2JwcE). Bob Clampett Humanitarian Award winner (http://www.comic-con.org/cci/cci_clampett.shtml), Comic-Con.org. WebCitation archive (http://www.webcitation.org/5uEgqEPMN).

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External links
Nominations for 2011 Eisner awards, winners to be announced in July 2011 at Comic Con (http://www. comic-con.org/cci/cci_eisners_11nom.php#nominees)

Inkpot Award
The Inkpot Award, bestowed annually since 1974 by Comic-Con International, is given to some of the professionals in comic book, comic strip, animation, science fiction, and related pop-culture fields, who are guests of that organization's yearly multigenre fan convention, commonly known as Comic-Con or the San Diego Comic-Con. Also eligible are members of Comic-Con's Board of Directors and convention committee. In 1987, Steve Ditko was presented an Inkpot Award in absentia, accepted on his behalf by Renegade Press publisher Deni Loubert, who had published Ditko's World the previous year. Ditko refused the award, and returned it to Loubert after having phoned her to say, "Awards bleed the artist and make us compete against each other. They are the most horrible things in the world. How dare you accept this on my behalf". At his behest, Loubert returned the award to the convention organizers.[1] The recipients, listed below, are known primarily as comics creators (writers, artists, letterers, colorists), editors, or publishers, unless otherwise noted.

Awards by year
1974
Forrest J. Ackerman (magazine editor) Ray Bradbury (prose writer) Kirk Alyn (actor) Milton Caniff Frank Capra (filmmaker) Bob Clampett (animator) June Foray (voice actress) Eric Hoffman (film historian) Chuck Jones (animator)

Jack Kirby Stan Lee

Inkpot Award Bill Lund / William R. Lund (actor/writer/founding member of San Diego Comic-Con) Russ Manning Russell Myers (creator of 'Broom Hilda' comic strip) Charles Schulz Phil Seuling (Comic Art Convention founder) Roy Thomas Bjo Trimble (science-fiction fandom figure)

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1975
Barry Alfonso (writer/founding member of San Diego Comic-Con) Brad Anderson Robert Bloch (prose writer) Vaughn Bod Edgar Rice Burroughs (prose writer) Daws Butler (voice actor) Richard Butner (Comic-Con Chair-person; NO relation to prose writer) Shel Dorf ('Founding Father' of San Diego Comic-Con) Will Eisner Mark Evanier Gil Kane Alan Light Dick Moores George Pal (filmmaker) Rod Serling (screenwriter) Joe Shuster Jerry Siegel Barry Windsor-Smith Jim Starlin Jim Steranko Ted Sturgeon (prose writer) Larry ("Seymour") Vincent (TV horror-movie host)

1976
Neal Adams Sergio Aragons Mel Blanc (voice actor) Frank Brunner Rick Griffin Johnny Hart George Clayton Johnson (screenwriter) Vicky Kelso (long-time Secretary of San Diego Comic-Con) Mel Lazarus Sheldon Mayer Dale Messick

Alex Nio Don Rico Don Thompson

Inkpot Award Maggie Thompson

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1977
Alfredo Alcala Carl Barks C. C. Beck Howard Chaykin Lester Dent (prose writer) Jackie Estrada Hal Foster Walter Gibson (prose writer) Jim Harmon (writer/old radio & movie serial historian) Robert A. Heinlein (prose writer) Gene Henderson (San Diego Comic-Con's Historian & Director-at-Large) Michael Kaluta Joe Kubert Harvey Kurtzman George Lucas (filmmaker) Stan Lynde Byron Preiss Trina Robbins Stanley Ralph Ross Bill Scott David Scroggy Jay Ward (TV producer) Len Wein

1978
John Buscema Al Capp Gene Colan Gill Fox Tom French Steve Gerber Chester Gould Burne Hogarth Bob Kane Ken Krueger (founding member of San Diego Comic-Con) Bernie Lansky Gray Morrow Clarence Nash Grim Natwick Bill Rotsler Mike Royer

Gilbert Shelton Dave Sheridan Bil Stout

Inkpot Award Frank Thorne Boris Vallejo Mort Weisinger Elmer Woggon

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1979
Craig Anderson Steve Englehart Dale Enzenbacher Kelly Freas Virginia French H. R. Giger (painter) Gene Hazelton Carl Macek Victor Moscoso Larry Niven (prose writer) Dan O'Neill Virgil Partch Jerry Pournelle Nestor Redondo Marshall Rogers John Romita, Sr. Bill Spicer Mort Walker Marv Wolfman

1980
Terry Austin Murray Bishoff Pat Boyette John Byrne Canadian Film Board Ernie Chan Chris Claremont Shary Flenniken Mike Friedrich Rick Geary Don Glut S. Gross Al Hartley B. Kliban Jerry Muller George Olshevsky Joe Orlando

Fred Patten Don Phelps Richard Pini

Inkpot Award Wendy Pini David Raskin Scott Shaw! (artist/animator/founding member of San Diego Comic-Con) Jim Shooter John Stanley B. K. Taylor Osamu Tezuka (animator) Adam West (actor) Wally Wood

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1981
Jerry Bails L. B. Cole Jim Fitzpatrick Dick Giordano Dave Graue Paul Gulacy Mary Henderson Karl Hubenthal Bil Keane Frank Miller Doug Moench Monkey Punch Dennis O'Neil Gary Owens Richard Rockwell, also known as Dick Rockwell Allen Saunders Julius Schwartz Mike Sekowsky Bill Sienkiewicz Dave Sim Alex Toth Morrie Turner Bill Woggon

1982
Bob Bindig Brian Bolland Russ Cochran David Cockrum Max Allan Collins Chase Craig Archie Goodwin Mike Grell

Bruce Hamilton Jack Katz Howard Kazanjian

Inkpot Award Hank Ketcham Walter Koenig (actor) Richard Kyle Lee Marrs Frank Marshall John Pound(artist/founding member of San Diego Comic-Con) Tony Raiola Steven Spielberg (filmmaker) Leonard Starr Robert Williams

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1983
Douglas Adams (prose writer) Maeheah Alzmann Jim Aparo Don Bluth Floyd Gottfredson Norman Maurer George Prez Arn Saba Dan Spiegle Joe Staton James Van Hise Cat Yronwode

1984
Murphy Anderson Ramon Arambola Greg Bear (prose writer/founding member of San Diego Comic-Con) Fae (Gates) Desmond, Comic-Con Executive Director Stan Drake John Field Rick Hoberg Greg Jein Ollie Johnston Brant Parker Robert Shayne (actor) Curt Swan Frank Thomas Jim Valentino Al Williamson

Inkpot Award

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1985
Brent Anderson Ben Bova (book/magazine editor) David Brin Jack Cummings Jack Davis Alan Moore Dan O'Bannon (filmmaker) Tom Orzechowski John Rogers Alex Schomburg Walt Simonson

1986
Poul Anderson (prose writer) Marion Zimmer Bradley (prose writer) Dave Gibbons Jean ("Moebius") Giraud Gilbert Hernandez Jaime Hernandez Denis Kitchen Steve Leialoha Marty Nodell Harvey Pekar Mark Stadler Dave Stevens

1987
Harlan Ellison (prose writer) Larry Geeck Ward Kimball Deni Loubert Bill Messner-Loebs Mike Peters Bill Schanes Steve Schanes Robert Silverberg (prose writer) Art Spiegelman Bernie Wrightson Ray Zone (3-D historian)

Steve Ditko was presented an Inkpot Award in absentia, accepted on his behalf by Renegade Press publisher Deni Loubert, who had published Ditko's World in 1986. Ditko refused the award, and returned it to Loubert after having phoned her to say, "Awards bleed the artist and make us compete against each other. They are the most horrible things in the world. How dare you accept this on my behalf". At his behest, Loubert returned the award to the convention organizers.[2]

Inkpot Award

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1988
Frank Alison, Comic-Con Director-at-Large Robert Asprin (prose writer) Mike Baron Lynda Barry John Bolton Jules Feiffer Raymond Feist (prose writer) Matt Groening Gary Groth George R. R. Martin (prose writer) Mike Pasqua Steve Rude Marie Severin Matt Wagner

1989
Richard Alf (founding member of San Diego Comic-Con) R. Crumb Howard Cruse Kevin Eastman Lee Falk Ron Goulart (prose writer) Walt Kelly Peter Laird Syd Mead (industrial designer) Andre Norton (prose writer) Jerry Robinson Diana Schutz Janet Tait Ron Turner Gahan Wilson

1990
Karen Berger Bob Burden Tom DeFalco William Gaines Jim Henson (puppeteer) Randy and Jean-Marc Lofficier Grant Morrison Bob Overstreet Mary Reynante Bob Schreck

Ken Steacy Rick Sternbach (film/TV illustrator)

Inkpot Award Charles Vess

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1991
Alicia Austin Clive Barker (prose writer) Dan Barry Dan DeCarlo Creig Flessel Neil Gaiman Ted Geisel (Dr. Seuss) Keith Giffen George Gladir Joe Haldeman (prose novelist) Lynn Johnston Carol Kalish Don Maitz Sheldon Moldoff

Steve Oliff Julie Roloff Stan Sakai

1992
Carina Burns-Chenelle, Comic-Con treasurer Bob Chapman Francis Ford Coppola (filmmaker) Robin Doig Alan Grant Bill Griffith Ray Harryhausen (filmmaker) Marc Hempel Jim Lee Milo Manara Scott McCloud Todd McFarlane Rowena Morrill (book/magazine illustrator) Diane Noomin Louise Simonson Dick Sprang Vernor Vinge (prose writer) Mark Wheatley

Inkpot Award

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1993
Gary Carter (comics historian) Phil Foglio Robert Goodwin Ferd Johnson Don Martin Dave McKean Clydene Nee Paul Norris Paul Power P. Craig Russell Mark Schultz Vincent Sullivan Michael Whelan (artist) Roger Zelazny (prose writer)

1994
Mike Carlin Paul Chadwick Al Feldstein Stan Goldberg Roberta Gregory Chad Grothkopf Jerry Ordway Bud Plant Mike Richardson John Romita, Jr. Richard Rowell Lucius Shepard (prose writer) Mickey Spillane (prose writer) J. Michael Stracynski Rumiko Takahashi

1995
Roger Corman (filmmaker) Greg Hildbrandt Tim Hildebrant Ryuichi Ikegami Irv Novick Joe Sinnott

Inkpot Award

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1996
Donna Barr Mort Drucker Joe Giella Jim Mooney Kurt Schaffenberger Franois Schuiten David Siegel

1997
Dick Ayers Steve Bissette Terry Brooks (prose writer) Bob Haney Russ Heath Carol Lay Michael Moorcock (prose writer)

Janice Tobias George Tuska

1998
John Broome Eddie Campbell Nick Cardy David Glanzer, Comic-Con Director of Marketing and Publicity Fred Guardineer Lorenzo Mattotti Paul S. Newman John Severin Joe Simon Naoko Takeuchi Mark Yturralde (filmmaker)

1999
Tom Batiuk Chuck Cuidera Samuel R. Delany (prose writer) Arnold Drake Sam Glanzman Larry Gonick Irwin Hasen Sue Lord, Comic-Con HR/Guest Relations

Inkpot Award

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2000
Will Elder Ric Estrada, sometimes (incorrectly) referred to as Rick Estrada Phoebe Gloeckner Beth Holley, Comic-Con VP, Exhibits Carmine Infantino Jack Kamen Ben Katchor Harry Lampert Bryan Talbot Angelo Torres Lewis Trondheim

2001
Henry Boltinoff Irwin Donenfeld Brian and Wendy Froud Martin Jaquish, Comic-Con Director-at-Large Joe R. Lansdale Spider and Jeanne Robinson (prose writers) Alvin Schwartz [NOTE: Unclear which of two writers Alvin Schwartz] Jeff Smith Kim Thompson

2002
Eddie Ibrahim, Comic-Con Director of Programming Frank Jacobs Jason Paul Levitz Bob Lubbers Bob Oksner Lew Sayre Schwartz Hal Sherman Herb Trimpe William Woolfolk

2003
Charles Berberian Frank Bolle Sal Buscema John Davenport, Comic-Con Events staff Philippe Dupuy Steve Jackson (games manufacturer) Sid Jacobson

Larry Lieber Terry Moore

Inkpot Award Howard Post

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2004
Jack Adler Tom Gill Harry Harrison (prose writer) Bruce Jones Batton Lash Mike Mignola Bill Plympton (animator) Frank Springer John Totleben

2005
Lee Ames Sy Barry Taerie Bryant, Comic-Con Fandom Services Bob Bolling Bob Fujitani Dexter Taylor

2006
Peter S. Beagle (Outstanding Achievement in Science Fiction and Fantasy) Art Clokey (animator) Luis Dominguez Basil Gogos Everett Raymond Kinstler (former comics artist; presidential portrait painter) Kazuo Koike Bill Pittman, Comic-Con VP Operations Yoshihiro Tatsumi

2007
Allen Bellman Rene French Gary Friedrich Adam Hughes Miriam Katin Mel Keefer Joseph Michael Linsner David Morrell (prose writer) Lily Rene Phlllips Mike Ploog Mary Sturhann, Comic-Con Secretary Dan Vado

Mark Verheiden F. Paul Wilson (prose writer)

Inkpot Award

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2008
Kyle Baker Ralph Bakshi (animator) Mike W. Barr Ed Brubaker Kim Deitch Victor Gorelick Al Jaffee James Jira, Comic-Con Asst. to President Todd Klein (letterer) Dean Koontz (prose writer) Tite Kubo Noel Neill (actress) Floyd Norman Jeff Watts Bill Willingham Connie Willis

Jim Woodring

2009
Hayao Miyazaki John Lasseter Dwayne McDuffie Bob Wayne Paul Levitz

2010
Drew Struzan

2011
Anina Bennett Jordi Bernet Joyce Brabner Chester Brown Seymour Chwast Alan Davis Dick DeBartolo Dawn Devine Tony DeZuniga Eric Drooker Joyce Farmer Tsuneo Gda Paul Guinan John Higgins

Jamal Igle Peter Kuper

Inkpot Award Richard A. Lupoff Pat Lupoff Steve Sansweet Bill Schelly Frank Stack Jeff Walker

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Footnotes
[1] Bell, Blake. Strange and Stranger: The World of Steve Ditko (Fantagraphics Books, Seattle, Washington, 2008), pp. 165166. ISBN 9781560979310 [2] Bell, Blake. Strange and Stranger: The World of Steve Ditko (Fantagraphics Books, Seattle, Washington, 2008), pp. 165-166. ISBN 9781560979310

References
Comic-Con International's Inkpot Awards (http://www.comic-con.org/cci/cci_inkpot.shtml), the official site Inkpot Awards (http://www.hahnlibrary.net/comics/awards/inkpot.php) at the Comic Book Awards Almanac

Doug Wright Award


The Doug Wright Awards (founded December 2004) are literary awards handed out annually to Canadian cartoonists, honouring excellence in works published in English. The awards are named for Canadian cartoonist Doug Wright. Winners are selected by a jury of five Canadians who have made significant contributions to national culture, based on shortlisted selections provided by a nominating committee of five experts in the comics field. The Wrights are handed out in three categories, "Best Book", "Best Emerging Talent" and, since 2008, the "Pigskin Peters Award" for non-narrative or experimental works. The Wright Awards are modeled after traditional book prizes, with the intention of drawing attention to the comics medium from a broad range of demographics inside and outside of its traditional fanbase. The Wrights have garnered acclaim as well as earning the support of a diverse range of participating artists and jurors including Don McKellar, Bruce McDonald, Jerry Ciccoritti, Bob Rae, Andrew Coyne, Sara Quin, Greg Morrison, Chester Brown, Lorenz Peter, and Nora Young.

Awards
The Best Book and Best Emerging Talent awards are a large wood-and-glass trophy, engraved with images from Wright's comic strip. The award was designed by the cartoonist Seth, who admitted to some embarrassment at being the inaugural winner of the trophy he designed.[1] The Pigskin Peters Award, named in honour of a character from Jimmy Frise's Birdseye Center, is a custom, tailored derby hat with its own unique plaque that doubles as a hat post. It was also designed by Seth.

Doug Wright Award

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Nominees/Winners
2005
Juried by Chester Brown, Rebecca Caldwell, Nora Young, Jerry Ciccoritti and Don McKellar. Best Book Worn Tuff Elbow #1 by Marc Bell (Fantagraphics Books) Pamplemoussi by Genevive Castre (L'Oie de Cravan) The Frank Ritza Papers by David Collier (Drawn & Quarterly) DC: The New Frontier vol. 1 by Darwyn Cooke (DC Comics) Clyde Fans, Book One by Seth (D&Q)

Best Emerging Talent Rabbithead by Rebecca Dart (Alternative Comics) Revolver [2] #1 by Max Douglas / Salgood Sam (self-published) Canvas by Alex Fellows (Fantagraphics) Scott Pilgrim's Precious Little Life by Bryan Lee O'Malley (Oni Press)

2006
Juried by Justin Peroff, Alan Hunt and Ben Portis. Best Book Pyongyang: A Journey in North Korea by Guy Delisle (D&Q) Scott Pilgrim Versus the World by Bryan Lee OMalley (Oni) Dragonslippers: This Is What an Abusive Relationship Looks Like by Rosalind B. Penfold (Grove Press) Paul Moves Out by Michel Rabagliati (D&Q) Wimbledon Green by Seth (D&Q)

Best Emerging Talent Northwest Passage Vol. 1 by Scott Chantler (Oni) The Unexpurgated Tale of Lordie Jones by Marc Ngui (Conundrum Press) Dark Adaptation by Lorenz Peter Skim by Mariko Tamaki and Jillian Tamaki Nil: A Land Beyond Belief by James Turner (Slave Labor Graphics)

2007
Juried by Bruce McDonald, Mark Kingwell, Judy MacDonald, Lorenz Peter and Jessica Johnson. Best Book Shenzen: A Travelogue From China by Guy Delisle (D&Q) This Will All End in Tears by Joe Ollman (Insomniac Press) Scott Pilgrim & The Infinite Sadness by Bryan Lee O'Malley (Oni) Gilded Lilies by Jillian Tamaki (Conundrum Press) Nog-a-dod edited by Marc Bell (Conundrum Press)

Best Emerging Talent Gray Horses by Hope Larson (Oni) House of Sugar by Rebecca Kraatz (Tulip Tree Press) Was She Pretty? by Leanne Shapton (Farrar, Strauss & Giroux) Bacter-area by Keith Jones (D&Q)

Doug Wright Award Mendacity by Tamara Berger & Sophie Cossette (Kiss Machine)

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2008
Juried by Katrina Onstad, Ho Che Anderson, Marc Glassman, Mariko Tamaki and Helena Rickett. Best Book 365 Days: A Diary by Julie Doucet (D&Q) Spent by Joe Matt (D&Q) The Magical Life of Long Tack Sam by Ann Marie Fleming (Riverhead Books) Southern Cross by Laurence Hyde (D&Q)

Best Emerging Talent Essex County Vol. 1: Tales from the Farm and Vol. 2: Ghost Stories by Jeff Lemire (Top Shelf Productions) Pope Hats by Ethan Rilly (self-published) Kieffer #1 by Jason Kieffer (self-published) The Experiment by Nick Maandag (self-published)

2008 introduced a new category dedicated to works that fall outside the bounds of traditional storytelling. Named after a character in the classic Canadian comic strip Birdseye Center, the Pigskin Peters Award recognizes non-narrative (or nominally-narrative) comics. Pigskin Peters Award Milk Teeth by Julie Morstad (D&Q) Little Lessons in Safety by Emily Holton (Conundrum Press) Excelsior 1968 by John Martz (self-published) Fire Away by Chris von Szombathy (D&Q)

2009
Juried by Bob Rae, Andrew Coyne, Martin Levin, Joe Ollmann and Diana Tamblyn. Best Book Burma Chronicles by Guy Delisle (D&Q) Drop-in by Dave Lapp (Conundrum) Paul Goes Fishing by Michel Rabagliati (D&Q) Skim by Jillian & Mariko Tamaki (Groundwood)

Best Emerging Talent History Comics by Kate Beaton (self-published) Maids in the Mist by Caitlin Black (self-published) Blue Winter, Shapes in the Snow by Jesse Jacobs (self-published) Kieffer #2 by Jason Kieffer (self-published) Jack & Mandy by Nick Maandag (self-published)

Pigskin Peters Award Hall of Best Knowledge by Ray Fenwick (Fantagraphics) Ojingogo by Matthew Forsythe (D&Q) All We Ever Do is Talk About Wood by Tom Horacek (D&Q) Small Victories by Jesse Jacobs (self-published)

Winners of the 2009 Doug Wright Awards were announced on May 9, 2009 at the Art Gallery of Ontario during a ceremony hosted by actor and director Don McKellar.[3]

Doug Wright Award

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2010
Juried by Matt Forsythe, Geoff Pevere, Fiona Smyth, and Carl Wilson. Best Book Back + Forth by Marta Chudolinska (Porcupine's Quill) George Sprott: (18941975) by Seth (D&Q) Hot Potatoe by Marc Bell (D&Q) Kaspar by Diane Obomsawin (D&Q) Red: A Haida Manga by Michael Nicoll Yahgulanaas (D&Q)

Best Emerging Talent I'm Crazy by Adam Bourret (self-published) Lose #1, Cold Heat Special #7 by Michael DeForge (Koyama Press; Picturebox) Nicolas by Pascal Girard (D&Q) It's Snowing Outside, We Should Go for a Walk by John Martz (self-published) The Hipless Boy by Sully (Conundrum)

Pigskin Peters Award Bbte by Simon Boss (L'Oie de Cravan) Dirty Dishes by Amy Lockhart (D&Q) Hot Potatoe by Marc Bell (D&Q) Never Learn Anything from History by Kate Beaton (self-published) The Collected Doug Wright Volume One by Doug Wright (D&Q)

Winners of the 2010 Doug Wright Awards were announced on May 8, 2010 in the Bram & Bluma Appel Salon in the Toronto Reference Library, during a ceremony hosted by actor Peter Outerbridge.

2011
Juried by Sara Quin, Michael Redhill, Anita Kunz, Marc Bell, and Mark Medley. Best Book Bigfoot by Pascal Girard (Drawn and Quarterly) Chimo by David Collier (Conundrum Press) Lose #2 by Michael DeForge (Koyama Press) Moving Pictures by Kathryn Immonen, Stuart Immonen (Top Shelf Productions) Streakers by Nick Maandag

Best Emerging Talent Aaron Costain, Entropy # 5 Alex Fellows, Spain and Morocco Keith Jones, Catland Empire (Drawn and Quarterly) James Stokoe, Orc Stain Volume One (Image) Tin Can Forest (aka Marek Colek and Pat Shewchuk), Baba Yaga and the Wolf (Koyama Press)

Pigskin Peters Award Indoor Voice by Jillian Tamaki (Drawn and Quarterly) Stooge Pile by Seth Scriver (Drawn and Quarterly) So I've Been Told by Maryanna Hardy (Conundrum Press) Spotting Deer by Michael DeForge (Koyama Press)

Wowee Zonk #3 edited by Patrick Kyle, Ginette Lapalme and Chris Kuzma (Koyama Press)

Doug Wright Award

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References
[1] "Canadian cartoonists honoured in Toronto" (http:/ / www. cbc. ca/ arts/ story/ 2005/ 05/ 30/ dougwright050530. html). CBC Arts. May 30, 2005. . Retrieved September 20, 2006. [2] http:/ / salgoodsam. com/ revolver/ [3] Wong, Jessica (May 10, 2009). "Outsider tale Skim, quirky History Comics nab cartooning awards" (http:/ / www. cbc. ca/ arts/ books/ story/ 2009/ 05/ 10/ doug-wright-awards-winners. html). CBC News (cbcnews.ca). . Retrieved May 22, 2009.

External links
Wright Awards homepage (http://www.wrightawards.ca) "Doug Wright's family", CBC TV profile of Wright from 1968. (http://archives.cbc.ca/IDC-1-68-2352-13715/ arts_entertainment/canadian_comics/clip7) Artists honoured for comics hailing nostalgia, everyday life (http://www.cbc.ca/arts/books/story/2007/08/ 18/wright-cartoon-winners.html?ref=rss)

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Literary Theory
Index of literary terms
The following is a list of literary terms; that is, those words used in discussion, classification, criticism, and analysis of poetry, novels and picture books. See also: Glossary of poetry terms, Literary criticism, Literary theory This literature-related list is incomplete; you can help by of literary terms expanding it [1].

A
Abecedarius Academic drama Acatalectic Accent Accentual verse Acrostic Aisling Allegory Alliteration Allusion Anachronism Anacrusis Anadiplosis Anagnorisis Analects Analepsis Analogue Analogy Anapest Anaphora Anastrophe Anecdote Annal Annotation Antagonist Antanaclasis Antepenult Anthology Anticlimax Anti-hero Anti-masque Anti-romance Antimetabole

Index of literary terms Antinovel Antistrophe Antithesis Antonym Aphorism Apocope Apocrypha Apollonian and Dionysian Apologue Apology Apothegm Aposiopesis Apostrophe Apron stage Arcadia Archaism Archetype Aristeia Argument Arsis Art for art's sake Asemic writing Aside Assonance Asyndeton Atmosphere Attitude Aube Aubade Audience Autobiography Autotelic Avant-garde

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Index of literary terms

86

B
Ballad Ballade Ballad stanza Bard Baroque Bathos Beast fable (beast epic) Beast poetry Beat Generation Beginning rhyme Belles-lettres Bestiary Beta reader Bibliography Bildungsroman Biography Black comedy Blank verse Bloomsbury Group Body Bombast (fustian) Boulevard theatre Bourgeosis drama Bouts-Rims Bowdlerize Breviloquence Broadside Burlesque Burletta Burns stanza Buskin Byronic hero

"The Leopard" from the 13th-century bestiary "Rochester Bestiary."

C
Cadence Caesura Calligram Canon Canso Canticum Canto Canzone Capa y espada

Captivity narrative Caricature

Index of literary terms Carmen figuratum Carpe diem Catachresis Catalectic Catalexis Catastrophe Catharsis Caudate sonnet Cavalier drama Cavalier poetry Celtic Renaissance Celtic Twilight Caesura Chain of Being Chain verse Chanson de geste Chansonnier Chant royal Chantey Chanty Chapbook Character Characterization Charactonym Chaucerian stanza Chiasmus Chivalric romance Choriamb Choriambus Chorus Chronicle Chronicle play Cinquain Classicism Classification (literature) Classification of rhymes (Peter Dale) Clerihew Clich Climax Cloak-and-sword play Closed heroic couplet Closet drama Comdie larmoyante Colloquialism Comedy

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Comedy of errors Comedy of humors

Index of literary terms Comedy of intrigue Comedy of manners Comedic relief Commedia dell'arte Comic relief Common measure Commonplace book Common rhyme Comoedia erudate Comparative linguistics Compensation Complaint Conceit Concordance Concrete universal Confessional literature Confidant/confidante Conflict Connotation Consistency Consonance Contradiction Context Contrast Convention Copyright Counterplot Coup de thtre Couplet Courtesy book Courtly love Cowleyan ode Cradle books Craft cycle Crisis Criticism Cross acrostic Crown of sonnets Curtain raiser Curtal sonnet

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Index of literary terms

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D
Dactyl Dada Dale's classification of rhymes Dandyism Dbat Death poem Death of the novel Debut novel Decadence Decasyllabic verse Decorum Denotation Dnouement Description Descriptive linguistics Detective story Deus ex machina Deuteragonist Dialect Dialogue Dibrach Dicks Diction Didactic Digest Digression Dime novel Diameter Dipody Dirge Discourse Dissociation of sensibility Dissonance Distich Distributed Stress Dithyramb Diverbium Divine afflatus Doggerel Dolce stil nuove Domestic tragedy Donne Doppelgnger

Double Double rhyme Drama

Index of literary terms Drama of sensibility Dramatic character Dramatic irony Dramatic lyric Dramatic monologue Dramatic proverb Dramatis personae Dramaturgy Dream allegory Dream vision Droll Dumb show Duodecimo Duologue Duple meter/duple rhythm Dystopia Dynamic Character

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E
Echo verse Eclogue Edition Ekphrasis Elegiac couplet Elegiac meter Elegy Elision Emblem Emblem book Emendation Emotive language Encomiastic verse End rhyme End-stopped line English sonnet Enjambment Entr'acte Envoy/envoi pater le bourgeois Epic poetry Epic simile Epic Theater Epigraph Epilogue

Epiphany Episode Episteme

Index of literary terms Epistle Epistolary novel Epistrophe Epitaph Epithalamion Epithet Epizeuxis Epode Eponymous author Equivalence Erziehungsroman Essay Ethos Eulogy Euphony Euphuism Evidence Exegesis Exemplum Existentialism Exordium Experimental novel Explication de texte Exposition Expressionism Extended metaphor Extension Extrametrical verse Extravaganza Eye rhyme

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F
Fable Fabliau Falling action Falling rhythm Fancy and imagination Fantasy Farce Feeling Feminine ending Feminine rhyme Fiction Figurative language

Figure of speech Fin de sicle Flashback

Index of literary terms Flashforward Flat character Fleshly school Foil Folio Folk drama Folklore Folk tale Foot Foreshadowing Form Four levels of meaning Four meanings of a poem Fourteener Frame story Free indirect discourse Free verse French forms Freytag's pyramid Fugitives and Agrarians Fustian Futurism

92

G
Gallows humor Gamebooks Gathering Genetic fallacy Genius and talent Genre Georgian poetry Georgics Gesta Gloss Gnomic verse Golden line Goliardic verse Gongorism Gonzo journalism Gothic novel Grand Guignol Graveyard poetry Graveyard school Greek tragedy Grub Street Grundyism Guignol

From the 13th-century Carmina Burana, a collection of love and vagabond songs in Goliardic verse from Benediktbeurn Monastery.

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H
Hagiography Hagiology Haikai Haikai no renga Haiku Half rhyme Hamartia Handwaving Headless line Head rhyme Hebraism-Hellenism "The Hedgehog and the Fox" Hemistich Hendecasyllable Hendecasyllabic verse Heptameter Heptastrich Heresy of paraphrase Hero Heroic couplets Heroic drama Heroic quatrain Heroic stanza Hexameter Hexastich Hiatus High comedy Higher criticism Historical linguistics Historical novel Historic present History play Hokku Holograph Homeric epithet Homeric simile Homily Horatian ode Horatian satire Hornbook Hovering accent Hubris Hudibrastic

Humor Humours Hybris

Index of literary terms Hymn Hymnal stanza Hypallage Hyperbole Hypercatalectic Hypermetrical Hypocorism Hysteron-proteron Hypotactic

94

I
Iambic pentameter Ideology Idiom Idyll Imagery Imagism Impressionism Incipit Indeterminacy Inference In medias res Innuendo Internal conflict Internal rhyme Interpretation Intertextuality Intuitive description Irony

J
Jacobean era Jeremiad Journal Judicial criticism Juncture Juggernaut Juvenalian satire Juxtaposition

Index of literary terms

95

K
Kabuki Kafkaesque Katharsis Kenning Kigo "King's English" Kireji Kitsch Knstlerroman

L
Lai Lake Poets Lament Lampoon L'art pour l'art Laureate Lay Leaf Legend Legitimate theater Leonine rhyme Lexis Letters Level stress (even accent) Libretto Light ending Light poetry Light rhyme Light stress Light poetry Limerick Linguistics Linked rhyme Link sonnet Literary ballad Literary criticism Literary epic Literary realism Literary theory Literature Litotes Litterateur

Liturgical drama Living Newspaper

Index of literary terms Local color Logaoedic Logical fallacy Logical stress Logos Long metre Loose sentence Lost Generation Low comedy Lullaby Lyric

96

M
Macaronic language Madrigal Magic realism Malapropism Mrchen Marginalia Marinism Marivauge Marxist literary criticism Masculine ending Masculine rhyme Masked comedy Masque Maxim Meaning Medieval drama Meiosis Melic poetry Melodrama Memoir Menippean satire Mesostich Metaphor Metaphysical conceit Metaphorical language Metaphysical poets Meter Metonymy Metre Metrical accent Metrical foot

Metrical structure Middle Comedy Miles gloriosus

Index of literary terms Miltonic sonnet Mime Mimesis Minnesang Minstrel Mystery play (miracle play) Miscellanies Mise en scne Mixed metaphor Mock-heroic (mock epic) Mode Modernism Monodrama Monody Monograph Monologue Monometer (monopody) Monostich Monograph Mood Mora Moral Morality play Motif Motivation Movement Mummery Muses Musical comedy Mystery play Mythology

97

N
Narrative point of view Narrator Naturalism Neologism Non-fiction Non-fiction novel Novel Novelette Novella Novelle narrative poem

Index of literary terms

98

O
Objective correlative Objective criticism Obligatory scene Octameter Octave Ode Oedipus complex Oning Onomatopoeia Open couplet Oulipo Orchestra Ottava rima Oxymoron

P
Palinode Pantoum Pantun Parable Paraclausithyron Paradelle Paradox Paraphrase Pararhyme Paratactic Partimen Pastourelle Pathetic fallacy Pathya Vat Parallelism Parody Pastoral Pathos Pentameter Periodic sentence Peripetia Perspective Persona Personification Phronesis Pice bien faite Picaresque novel

Plain Style Platonic

Index of literary terms Plot Poem Poem and song Poetic diction Poetic transrealism Poetry Point of view Polysyndeton Post-colonialism Postmodernism Pound's Ideogrammic Method Primal scene Procatalepsis Prolepsis Prologue Progymnasmata Prose Prosimetrum Prosody (poetry) Protagonist Proverb Pruning poem Psychoanalytic literary criticism Psychoanalytic theory Pun Purple prose Purpose for Reading Pyrrhic

99

Q
Quatrain

R
Reader-response criticism Realism Redaction Red herring Refrain Regency novel Regionalism (literature) Renga Renku Repetition Resolution

Reverse chronology Rhapsodes

Index of literary terms Rhetoric Rhetorical agency Rhetorical device Rhetorical operations Rhetorical question Rhetorical tension Rhyme Rhymed prose Rhyme royal Robinsonade Romance (genre) Romance novel Romanticism Romanzo d' appendice Roman clef Round character Round-robin story

100

Ruritanian romance Russian formalism

S
Satire Scanning Scansion Scene a faire Sea shanty Semiotics Semiotic literary criticism Setting Shanty Sestet Shakespearean sonnet Sicilian octave Simile Slant rhyme Slice of life Sobriquet Soliloquy Sonnet Sonneteer Speaker Spenserian stanza Sprung rhythm Strambotto

Stanza Static character Stigma of print

Index of literary terms Stereotype Stream of consciousness Structuralism Subplot Syllogism Symbol Synecdoche Synaesthesia Syntax

101

T
Tone: very vague critical term usually designating the mood or atmosphere of a work, although in some more restricted uses it refers to the author's attitude to the reader (e.g. formal, intimate, pompous) or to the subject-matter (e.g. ironic, light, solemn, satiric, sentimental). Example: Theme: salient abstract idea that emerges from a literary work's treatment of its subject-matter; or a topic recurring in a number of literary works. Example: While the subject of a work is described concretely in terms of its action (e.g. 'the adventures of a newcomer in the big city'), its theme or themes will be described in more abstract terms (e.g. love, war, revenge, betrayal, fate, etc.). Tautology Tableau Tail rhyme Tagelied Tale Techne Telestich Tenor Tension Tercet Terza rima Tetrameter Tetrastich Text Textual criticism Textuality Texture Theater of Cruelty Theater of the Absurd Theme Thesis Thesis play Third person narrative Threnody Tirade

Tone Tract

Index of literary terms Tractarian Movement Tragedy Tragedy of blood Tragic flaw Tragic hero Tragic irony Tragicomedy Tranche de vie Transcendentalism Transferred epithet Transition Translation Travesty Triad Tribe of Ben Tribrach Trimeter Triolet Triple rhyme Triple meter Triple rhythm Triplet Tristich Tritagonist Trivium Trobar clus Trochee Trope (literature) Troubadour Trouvre Truncated line Tumbling verse Type character Type scene

102

U
Ubi sunt Underground culture Underground press Understatement Unities Unity Universality (disambiguation) University Wits

Unobtainium Utopia Utopian and dystopian fiction

Index of literary terms Unreliable narrator

103

V
Variable syllable Variorum Varronian satire (Menippean satire) Vates Vaudeville Vehicle Verb displacement Verbal irony Verisimilitude Verism Vers de socit Verse Verse paragraph Vers libre Verso Victorianism Viewpoint Vignette Villain Villanelle Virelay Virgule Voice (of the writer) Voice (in phonetics) Volta Vorticism Vulgate

W
Wardour Street English Weak ending Weak foot Well-made play Wellerism Western fiction Wimmering Wit Word accent Wrenched accent Watermark

Index of literary terms

104

References and further reading


M. H. Abrams. A Glossary of Literary Terms. Thomson-Wadsworth, 2005. ISBN 1-4130-0456-3. Chris Baldick. The Concise Dictionary of Literary Terms. Oxford Univ. Press, 2004. ISBN 0-19-860883-7. Chris Baldick. The Concise Oxford Dictionary of Literary Terms. Oxford Univ. Press, 2001. ISBN 0-19-280118-X. Edwin Barton & G. A. Hudson. Contemporary Guide To Literary Terms. Houghton-Mifflin, 2003. ISBN 0-618-34162-5. Mark Bauerlein. Literary Criticism: An Autopsy. Univ. of Pennsylvania Press, 1997. ISBN 0-8122-1625-3. Karl Beckson & Arthur Ganz. Literary Terms: A Dictionary. Farrar, Straus and Giroux, 1989. ISBN 0-374-52177-8. Peter Childs. The Routledge Dictionary of Literary Terms. Routledge, 2005. ISBN 0-415-34017-9. J. A. Cuddon. The Penguin Dictionary of Literary Terms and Literary Theory. Penguin Books, 2000. ISBN 0-14-051363-9 . Dana Gioia. The Longman Dictionary of Literary Terms: Vocabulary for the Informed Reader. Longman, 2005. ISBN 0-321-33194-X. Sharon Hamilton. Essential Literary Terms: A Brief Norton Guide with Exercises. W. W. Norton, 2006. ISBN 0-393-92837-3. William Harmon. A Handbook to Literature. Prentice Hall, 2005. ISBN 0-13-134442-0. X. J. Kennedy, et al. Handbook of Literary Terms: Literature, Language, Theory. Longman, 2004. ISBN 0-321-20207-4. V. B. Leitch. The Norton Anthology of Theory and Criticism. W. W. Norton, 2001. ISBN 0-393-97429-4. Frank Lentricchia & Thomas McLaughlin. Critical Terms for Literary Study. Univ. of Chicago Press, 1995. ISBN 0-226-47203-5. David Mikics. A New Handbook of Literary Terms. Yale Univ. Press, 2007. ISBN 0-300-10636-X. Ross Murfin & S. M. Ray. The Bedford Glossary of Critical and Literary Terms. Bedford/St. Martin's, 2006. ISBN 0-312-25910-7. John Peck & Martin Coyle. Literary Terms and Criticism. Palgrave Macmillan, 2002. ISBN 0-333-96258-3. Edward Quinn. A Dictionary of Literary And Thematic Terms. Checkmark Books, 2006. ISBN 0-8160-6244-7. Lewis Turco. The Book of Literary Terms: The Genres of Fiction, Drama, Nonfiction, Literary Criticism, and Scholarship. Univ. Press of New England, 1999. ISBN 0-87451-955-1.

References
[1] http:/ / en. wikipedia. org/ wiki/ :Index

Monomyth

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Monomyth
Joseph Campbell's term monomyth, also referred to as the hero's journey, is a basic pattern that its proponents argue is found in many narratives from around the world. This widely distributed pattern was described by Campbell in The Hero with a Thousand Faces (1949).[1] An enthusiast of novelist James Joyce, Campbell borrowed the term monomyth from Joyce's Finnegans Wake.[2] Campbell held that numerous myths from disparate times and regions share fundamental structures and stages, which he summarized in The Hero with a Thousand Faces:

A hero ventures forth from the world of common day into a region of supernatural wonder: fabulous forces are there encountered and a [3] decisive victory is won: the hero comes back from this mysterious adventure with the power to bestow boons on his fellow man.

Campbell and other scholars, such as Erich Neumann, describe narratives of Buddha, Moses, and Christ in terms of the monomyth and Campbell argues that classic myths from many cultures follow this basic pattern.[4]

Summary
In a monomyth, the hero begins in the ordinary world, and receives a call to enter an unknown world of strange powers and events. The hero who accepts the call to enter this strange world must face tasks and trials, either alone or with assistance. In the most intense versions of the narrative, the hero must survive a severe challenge, often with help. If the hero survives, the hero may achieve a great gift or "boon." The hero must then decide whether to return to the ordinary world with this boon. If the hero does decide to return, he or she often faces challenges on the return journey. If the hero returns successfully, the boon or gift may be used to improve the world. The stories of Osiris, Prometheus, Moses, Buddha, for example, follow this structure closely.[1]

A chart outlining the Hero's Journey.

Campbell describes some 17 stages or steps along this journey. Very few myths contain all 17 stagessome myths contain many of the stages, while others contain only a few; some myths may focus on only one of the stages, while other myths may deal with the stages in a somewhat different order. These 17 stages may be organized in a number of ways, including division into three sections: Departure (sometimes called Separation), Initiation, and Return. "Departure" deals with the hero's adventure prior to the quest; "Initiation" deals with the hero's many adventures along the way; and "Return" deals with the hero's return home with knowledge and powers acquired on the journey.

The 17 Stages of the Monomyth


Departure
The Call to Adventure The hero starts off in a mundane situation of normality from which some information is received that acts as a call to head off into the unknown. Campbell: "This first stage of the mythological journeywhich we have designated the 'call to adventure'signifies that destiny has summoned the hero and transferred his spiritual center of gravity from within the pale of his society to a zone unknown. This fateful region of both treasure and danger may be variously represented: as a distant land, a forest, a kingdom underground, beneath the waves, or above the sky, a secret island,

Monomyth lofty mountaintop, or profound dream state; but it is always a place of strangely fluid and polymorphous beings, unimaginable torments, superhuman deeds, and impossible delight. The hero can go forth of his own volition to accomplish the adventure, as did Theseus when he arrived in his father's city, Athens, and heard the horrible history of the Minotaur; or he may be carried or sent abroad by some benign or malignant agent as was Odysseus, driven about the Mediterranean by the winds of the angered god, Poseidon. The adventure may begin as a mere blunder ... or still again, one may be only casually strolling when some passing phenomenon catches the wandering eye and lures one away from the frequented paths of man. Examples might be multiplied, ad infinitum, from every corner of the world." .26.2358.3B Classic examples: Sometimes the call to adventure happens of the character's own volition. In Herman Hesse's Siddhartha, the titular character becomes weary of his way of life and decides he must venture away from his accustomed life in order to attain spiritual enlightenment. In narratives describing the Buddha's journey, he leaves his ordinary life in pursuit of spiritual awakening after observing three men: an old man, a sick man, and a dead man, and raising the question as to why misery exists in the human world. Other times, the hero is plunged into adventure by unforeseen events. In Homer's Odyssey, Odysseus is caught in the terrible winds of the angered god Poseidon and sent off to distant lands.[5] Refusal of the Call Often when the call is given, the future hero refuses to heed it. This may be from a sense of duty or obligation, fear, insecurity, a sense of inadequacy, or any of a range of reasons that work to hold the person in his or her current circumstances. Campbell: "Refusal of the summons converts the adventure into its negative. Walled in boredom, hard work, or 'culture,' the subject loses the power of significant affirmative action and becomes a victim to be saved. His flowering world becomes a wasteland of dry stones and his life feels meaninglesseven though, like King Minos, he may through titanic effort succeed in building an empire or renown. Whatever house he builds, it will be a house of death: a labyrinth of cyclopean walls to hide from him his minotaur. All he can do is create new problems for himself and await the gradual approach of his disintegration." .26.2359.3B Classic examples: Mythology is rife with examples of what happens to those who refuse the call too long or do not take it seriously. In Judeo-Christian belief, Lot's wife is turned into a pillar of salt for looking back with longing to her old life when she had been summoned forth from her city by Yahweh and is thus prevented from being the "hero". One of the clearest references to the refusal and its consequences comes in the voice of the personified Wisdom in Proverbs 1:24-27 and 32: Because I have called, and ye refused ... I also will laugh at your calamity; I will mock when your fear cometh; when your fear cometh as desolation, and your destruction cometh as a whirlwind; when distress and anguish cometh upon you. ... For the turning away of the simple shall slay them, and the prosperity of fools shall destroy them. Supernatural Aid Once the hero has committed to the quest, consciously or unconsciously, his or her guide and magical helper appears, or becomes known. More often than not, this supernatural mentor will present the hero with one or more talismans or artifacts that will aid them later in their quest. Campbell: "For those who have not refused the call, the first encounter of the herojourney is with a protective figure (often a little old crone or old man) who provides the adventurer with amulets against the dragon forces he is about to pass. What such a figure represents is the benign, protecting power of destiny. The fantasy is a reassurancepromise that the peace of Paradise, which was known first within the mother womb, is not to be lost; that it supports the present and stands in the future as well as in the past (is omega as well as alpha); that though omnipotence may seem to be endangered by the threshold passages and life awakenings, protective power is always

106

Monomyth and ever present within or just behind the unfamiliar features of the world. One has only to know and trust, and the ageless guardians will appear. Having responded to his own call, and continuing to follow courageously as the consequences unfold, the hero finds all the forces of the unconscious at his side. Mother Nature herself supports the mighty task. And in so far as the hero's act coincides with that for which his society is ready, he seems to ride on the great rhythm of the historical process." .26.2371.3BC.26.2372.3B Classic example: In Greek mythology, Ariadne gives Theseus a ball of string and a sword before he enters the labyrinth to confront the Minotaur. The Crossing of the First Threshold This is the point where the person actually crosses into the field of adventure, leaving the known limits of his or her world and venturing into an unknown and dangerous realm where the rules and limits are not known. Campbell: "With the personifications of his destiny to guide and aid him, the hero goes forward in his adventure until he comes to the 'threshold guardian' at the entrance to the zone of magnified power. Such custodians bound the world in four directionsalso up and downstanding for the limits of the hero's present sphere, or life horizon. Beyond them is darkness, the unknown and danger; just as beyond the parental watch is danger to the infant and beyond the protection of his society danger to the members of the tribe. The usual person is more than content, he is even proud, to remain within the indicated bounds, and popular belief gives him every reason to fear so much as the first step into the unexplored. The adventure is always and everywhere a passage beyond the veil of the known into the unknown; the powers that watch at the boundary are dangerous; to deal with them is risky; yet for anyone with competence and courage the danger fades." .26.2378.3BC.26.2382.3B Belly of The Whale The belly of the whale represents the final separation from the hero's known world and self. By entering this stage, the person shows willingness to undergo a metamorphosis. Campbell: "The idea that the passage of the magical threshold is a transit into a sphere of rebirth is symbolized in the worldwide womb image of the belly of the whale. The hero, instead of conquering or conciliating the power of the threshold, is swallowed into the unknown and would appear to have died. This popular motif gives emphasis to the lesson that the passage of the threshold is a form of self-annihilation. Instead of passing outward, beyond the confines of the visible world, the hero goes inward, to be born again. The disappearance corresponds to the passing of a worshipper into a templewhere he is to be quickened by the recollection of who and what he is, namely dust and ashes unless immortal. The temple interior, the belly of the whale, and the heavenly land beyond, above, and below the confines of the world, are one and the same. That is why the approaches and entrances to temples are flanked and defended by colossal gargoyles: dragons, lions, devil-slayers with drawn swords, resentful dwarfs, winged bulls. The devotee at the moment of entry into a temple undergoes a metamorphosis. Once inside he may be said to have died to time and returned to the World Womb, the World Navel, the Earthly Paradise. Allegorically, then, the passage into a temple and the hero-dive through the jaws of the whale are identical adventures, both denoting in picture language, the life-centering, life-renewing act." .26.2391.3BC.26.2392.3B Classical example: In the story of Dionysus, Hera sends hungry titans to devour the infant Dionysus. The Titans tear apart the child and consume his flesh. However Dionysus's heart is saved by Hestia, goddess of the hearth, allowing Dionysus to be reborn as a god.

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Monomyth

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Initiation
The Road of Trials The road of trials is a series of tests, tasks, or ordeals that the person must undergo to begin the transformation. Often the person fails one or more of these tests, which often occur in threes. Campbell: "Once having traversed the threshold, the hero moves in a dream landscape of curiously fluid, ambiguous forms, where he must survive a succession of trials. This is a favorite phase of the myth-adventure. It has produced a world literature of miraculous tests and ordeals. The hero is covertly aided by the advice, amulets, and secret agents of the supernatural helper whom he met before his entrance into this region. Or it may be that he here discovers for the first time that there is a benign power everywhere supporting him in his superhuman passage. The original departure into the land of trials represented only the beginning of the long and really perilous path of initiatory conquests and moments of illumination. Dragons have now to be slain and surprising barriers passedagain, again, and again. Meanwhile there will be a multitude of preliminary victories, unretainable ecstasies and momentary glimpses of the wonderful land." .26.2397.3BC.26.23109.3B The Meeting With the Goddess This is the point when the person experiences a love that has the power and significance of the all-powerful, all encompassing, unconditional love that a fortunate infant may experience with his or her mother. This is a very important step in the process and is often represented by the person finding the other person that he or she loves most completely. Campbell: "The ultimate adventure, when all the barriers and ogres have been overcome, is commonly represented as a mystical marriage of the triumphant hero-soul with the Queen Goddess of the World. This is the crisis at the nadir, the zenith, or at the uttermost edge of the earth, at the central point of the cosmos, in the tabernacle of the temple, or within the darkness of the deepest chamber of the heart. The meeting with the goddess (who is incarnate in every woman) is the final test of the talent of the hero to win the boon of love (charity: amor fati), which is life itself enjoyed as the encasement of eternity. And when the adventurer, in this context, is not a youth but a maid, she is the one who, by her qualities, her beauty, or her yearning, is fit to become the consort of an immortal. Then the heavenly husband descends to her and conducts her to his bedwhether she will or not. And if she has shunned him, the scales fall from her eyes; if she has sought him, her desire finds its peace." .26.23109.3BC.26.23119.3B Woman as Temptress This step is about those temptations that may lead the hero to abandon or stray from his or her quest, which does not necessarily have to be represented by a woman. Woman is a metaphor for the physical or material temptations of life, since the hero-knight was often tempted by lust from his spiritual journey. Campbell: "The crux of the curious difficulty lies in the fact that our conscious views of what life ought to be seldom correspond to what life really is. Generally we refuse to admit within ourselves, or within our friends, the fullness of that pushing, self-protective, malodorous, carnivorous, lecherous fever which is the very nature of the organic cell. Rather, we tend to perfume, whitewash, and reinterpret; meanwhile imagining that all the flies in the ointment, all the hairs in the soup, are the faults of some unpleasant someone else. But when it suddenly dawns on us, or is forced to our attention that everything we think or do is necessarily tainted with the odor of the flesh, then, not uncommonly, there is experienced a moment of revulsion: life, the acts of life, the organs of life, woman in particular as the great symbol of life, become intolerable to the pure, the pure, pure soul. The seeker of the life beyond life must press beyond (the woman), surpass the temptations of her call, and soar to the immaculate ether beyond." .26.23121.3BC.26.23122.3B

Monomyth Atonement with the Father In this step the person must confront and be initiated by whatever holds the ultimate power in his or her life. In many myths and stories this is the father, or a father figure who has life and death power. This is the center point of the journey. All the previous steps have been moving in to this place, all that follow will move out from it. Although this step is most frequently symbolized by an encounter with a male entity, it does not have to be a male; just someone or thing with incredible power. Campbell: "Atonement consists in no more than the abandonment of that self-generated double monsterthe dragon thought to be God (superego) and the dragon thought to be Sin (repressed id). But this requires an abandonment of the attachment to ego itself, and that is what is difficult. One must have a faith that the father is merciful, and then a reliance on that mercy. Therewith, the center of belief is transferred outside of the bedeviling god's tight scaly ring, and the dreadful ogres dissolve. It is in this ordeal that the hero may derive hope and assurance from the helpful female figure, by whose magic (pollen charms or power of intercession) he is protected through all the frightening experiences of the father's ego-shattering initiation. For if it is impossible to trust the terrifying father-face, then one's faith must be centered elsewhere (Spider Woman, Blessed Mother); and with that reliance for support, one endures the crisisonly to find, in the end, that the father and mother reflect each other, and are in essence the same. The problem of the hero going to meet the father is to open his soul beyond terror to such a degree that he will be ripe to understand how the sickening and insane tragedies of this vast and ruthless cosmos are completely validated in the majesty of Being. The hero transcends life with its peculiar blind spot and for a moment rises to a glimpse of the source. He beholds the face of the father, understandsand the two are atoned."
.26.23130.3BC.26.23131.3B

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Apotheosis When someone dies a physical death, or dies to the self to live in spirit, he or she moves beyond the pairs of opposites to a state of divine knowledge, love, compassion and bliss. A more mundane way of looking at this step is that it is a period of rest, peace and fulfillment before the hero begins the return. Campbell: "Those who know, not only that the Everlasting lies in them, but that what they, and all things, really are is the Everlasting, dwell in the groves of the wish fulfilling trees, drink the brew of immortality, and listen everywhere to the unheard music of eternal concord." .26.23167.3B The Ultimate Boon The ultimate boon is the achievement of the goal of the quest. It is what the person went on the journey to get. All the previous steps serve to prepare and purify the person for this step, since in many myths the boon is something transcendent like the elixir of life itself, or a plant that supplies immortality, or the holy grail. Campbell: "The gods and goddesses then are to be understood as embodiments and custodians of the elixir of Imperishable Being but not themselves the Ultimate in its primary state. What the hero seeks through his intercourse with them is therefore not finally themselves, but their grace, i.e., the power of their sustaining substance. This miraculous energy-substance and this alone is the Imperishable; the names and forms of the deities who everywhere embody, dispense, and represent it come and go. This is the miraculous energy of the thunderbolts of Zeus, Yahweh, and the Supreme Buddha, the fertility of the rain of Viracocha, the virtue announced by the bell rung in the Mass at the consecration, and the light of the ultimate illumination of the saint and sage. Its guardians dare release it only to the duly proven." .26.23181.3BC.26.23182.3B

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Return
Refusal of the Return Having found bliss and enlightenment in the other world, the hero may not want to return to the ordinary world to bestow the boon onto his fellow man. Campbell: "When the hero-quest has been accomplished, through penetration to the source, or through the grace of some male or female, human or animal, personification, the adventurer still must return with his life-transmuting trophy. The full round, the norm of the monomyth, requires that the hero shall now begin the labor of bringing the runes of wisdom, the Golden Fleece, or his sleeping princess, back into the kingdom of humanity, where the boon may redound to the renewing of the community, the nation, the planet or the ten thousand worlds. But the responsibility has been frequently refused. Even the Buddha, after his triumph, doubted whether the message of realization could be communicated, and saints are reported to have died while in the supernal ecstasy. Numerous indeed are the heroes fabled to have taken up residence forever in the blessed isle of the unaging Goddess of Immortal Being." .26.23192.3B The Magic Flight Sometimes the hero must escape with the boon, if it is something that the gods have been jealously guarding. It can be just as adventurous and dangerous returning from the journey as it was to go on it. Campbell: "If the hero in his triumph wins the blessing of the goddess or the god and is then explicitly commissioned to return to the world with some elixir for the restoration of society, the final stage of his adventure is supported by all the powers of his supernatural patron. On the other hand, if the trophy has been attained against the opposition of its guardian, or if the hero's wish to return to the world has been resented by the gods or demons, then the last stage of the mythological round becomes a lively, often comical, pursuit. This flight may be complicated by marvels of magical obstruction and evasion." .26.23196.3BC.26.23197.3B Classic examples: In many fairy tales and folktales, it is literally a magic flight, with the hero or heroine transforming objects to stop the pursuit (The Master Maid, The Water Nixie) or transforming himself and any companions to hide themselves (Farmer Weathersky or Foundling-Bird). Rescue from Without Just as the hero may need guides and assistants to set out on the quest, oftentimes he or she must have powerful guides and rescuers to bring them back to everyday life, especially if the person has been wounded or weakened by the experience. Campbell: "The hero may have to be brought back from his supernatural adventure by assistance from without. That is to say, the world may have to come and get him. For the bliss of the deep abode is not lightly abandoned in favor of the self-scattering of the wakened state. 'Who having cast off the world,' we read, 'would desire to return again? He would be only there.' And yet, in so far as one is alive, life will call. Society is jealous of those who remain away from it, and will come knocking at the door. If the hero. . . is unwilling, the disturber suffers an ugly shock; but on the other hand, if the summoned one is only delayedsealed in by the beatitude of the state of perfect being (which resembles death)an apparent rescue is effected, and the adventurer returns." .26.23207.3B

Monomyth The Crossing of the Return Threshold The trick in returning is to retain the wisdom gained on the quest, to integrate that wisdom into a human life, and then maybe figure out how to share the wisdom with the rest of the world. This is usually extremely difficult. Campbell: "The returning hero, to complete his adventure, must survive the impact of the world. Many failures attest to the difficulties of this life-affirmative threshold. The first problem of the returning hero is to accept as real, after an experience of the soul-satisfying vision of fulfillment, the passing joys and sorrows, banalities and noisy obscenities of life. Why re-enter such a world? Why attempt to make plausible, or even interesting, to men and women consumed with passion, the experience of transcendental bliss? As dreams that were momentous by night may seem simply silly in the light of day, so the poet and the prophet can discover themselves playing the idiot before a jury of sober eyes. The easy thing is to commit the whole community to the devil and retire again into the heavenly rock dwelling, close the door, and make it fast. But if some spiritual obstetrician has drawn the shimenawa across the retreat, then the work of representing eternity in time, and perceiving in time eternity, cannot be avoided" The hero returns to the world of common day and must accept it as real..26.23218.3BC.26.23225.3B Master of Two Worlds This step is usually represented by a transcendental hero like Jesus or Buddha. For a human hero, it may mean achieving a balance between the material and spiritual. The person has become comfortable and competent in both the inner and outer worlds. Campbell: "Freedom to pass back and forth across the world division, from the perspective of the apparitions of time to that of the causal deep and backnot contaminating the principles of the one with those of the other, yet permitting the mind to know the one by virtue of the otheris the talent of the master. The Cosmic Dancer, declares Nietzsche, does not rest heavily in a single spot, but gaily, lightly, turns and leaps from one position to another. It is possible to speak from only one point at a time, but that does not invalidate the insights of the rest. The individual, through prolonged psychological disciplines, gives up completely all attachment to his personal limitations, idiosyncrasies, hopes and fears, no longer resists the self-annihilation that is prerequisite to rebirth in the realization of truth, and so becomes ripe, at last, for the great at-one-ment. His personal ambitions being totally dissolved, he no longer tries to live but willingly relaxes to whatever may come to pass in him; he becomes, that is to say, an anonymity.".26.23236.3BC.26.23237.3B Biblical application: In the Christ story, Jesus is able to return to the ordinary world after resurrection. Freedom to Live Mastery leads to freedom from the fear of death, which in turn is the freedom to live. This is sometimes referred to as living in the moment, neither anticipating the future nor regretting the past. Campbell: "The hero is the champion of things becoming, not of things become, because he is. 'Before Abraham was, I AM.' He does not mistake apparent changelessness in time for the permanence of Being, nor is he fearful of the next moment (or of the 'other thing'), as destroying the permanent with its change. 'Nothing retains its own form; but Nature, the greater renewer, ever makes up forms from forms. Be sure there's nothing perishes in the whole universe; it does but vary and renew its form.' Thus the next moment is permitted to come to pass." .26.23243.3B Biblical application: Christ returns to the ordinary world after his resurrection, but not as an ordinary man. He can seem to be as others are and interact with them, but his body is a "glorified" body, capable of assuming visible and palpable form, but freed from the bonds of space and time. He is now able to give life to others through his own death and resurrection. Other traditional examples of something similar are Elijah, Enoch, and Khidr, the "immortal prophet" of the Sufis.

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Other formulations
Campbell's proposed structure has been expanded and modified since its conception. Many modern characterizations of it add in new steps (such as the hero having a miraculous birth) or combine or prune others. For instance, Phil Cousineau, in his book, The Hero's Journey, divides it up into the following eight steps: 1. 2. 3. 4. 5. 6. 7. 8. The Call to Adventure The Road of Trials The Vision Quest The Meeting with the Goddess The Boon The Magic Flight The Return Threshold The Master of Two Worlds[6]

Another eight-step formulation was given by David Adams Leeming in his book, Mythology: The Voyage of the Hero: 1. Miraculous conception and birth 2. Initiation of the hero-child 3. 4. 5. 6. 7. 8. Withdrawal from family or community for meditation and preparation Trial and Quest Death Descent into the underworld Resurrection and rebirth Ascension, apotheosis, and atonement[7]

The Hero's Journey


The phrase "the hero's journey," to describe the monomyth, first entered into popular discourse through two documentaries. The first, released in 1987, The Hero's Journey: The World of Joseph Campbell, was accompanied by a 1990 companion book, The Hero's Journey: Joseph Campbell on His Life and Work (with Phil Cousineau and Stuart Brown, eds.). The second was Bill Moyers's series of seminal interviews with Campbell, released in 1988 as the documentary (and companion book) The Power of Myth. The phrase was then referenced in the title of a popular guidebook for screenwriters, released in the 1990s, The Writer's Journey: Mythic Structure For Writers, by Christopher Vogler [8]. Though they used the phrase in their works, Cousineau, Moyers, and Vogler all attribute the phrase and the model of The Hero's Journey to Joseph Campbell.

Influence of the Monomyth


The monomyth has influenced a number of artists, musicians, poets, and filmmakers, including Bob Dylan and George Lucas. Mickey Hart, Bob Weir and Jerry Garcia of the Grateful Dead had long noted Campbell's influence and agreed to participate in a seminar with him in 1986 entitled From Ritual to Rapture.[9] Campbell's work has been consciously applied by a wide variety of modern writers and artists, for example, in creating screenplays for movies. The best known is perhaps George Lucas, who has acknowledged a debt to Campbell regarding both the original Star Wars trilogy and its prequels. J.R.R. Tolkien's novel The Lord of the Rings can be seen as another contemporary example of the monomyth.[10]

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George Lucas and Star Wars


George Lucas's deliberate use of Campbell's theory of the monomyth in the making of the Star Wars movies is well documented. In addition to the extensive discussion between Campbell and Bill Moyers broadcast in 1988 on PBS as The Power of Myth (Filmed at "Skywalker Ranch"), on Campbell's influence on the Star Wars films, Lucas, himself, gave an extensive interview for the biography Joseph Campbell: A Fire in the Mind (Larsen and Larsen, 2002, pages 541-543) on this topic. In this interview, Lucas states that in the early 1970s after completing his early film, American Graffiti, "it came to me that there really was no modern use of mythology...so that's when I started doing more strenuous research on fairy tales, folklore and mythology, and I started reading Joe's books. Before that I hadn't read any of Joe's books.... It was very eerie because in reading The Hero with A Thousand Faces I began to realize that my first draft of Star Wars was following classical motifs"(p.541). Twelve years after the making of The Power of Myth, Moyers and Lucas met again for the 1999 interview, the Mythology of Star Wars with George Lucas & Bill Moyers, to further discuss the impact of Campbell's work on Lucas's films.[11] In addition, the National Air and Space Museum of the Smithsonian Institution sponsored an exhibit during the late 1990s called Star Wars: The Magic of Myth which discussed the ways in which Campbell's work shaped the Star Wars films [12] A companion guide of the same name was published in 1997.

Chris Vogler, The Writer's Journey, and Hollywood films


Christopher Vogler, a Hollywood film producer and writer, created a now-famous 7-page company memo, A Practical Guide to The Hero With a Thousand Faces,[13] based on Campbell's work which inspired films such as Disney's 1994 film, The Lion King/ Vogler's memo was later developed into the late 1990s book, The Writer's Journey: Mythic Structure For Writers. This story structure is evident in a vast number of successful Hollywood films including the Matrix series.

Orson Scott Card and Ender's Game


Michael Collings claims in an article that was initially published in "The Leading Edge: Magazine of Science Fiction and Fantasy Vol. 16" that in the book, Ender's Game, Orson Scott Card gives a very complete example of the monomyth structure, with the main character, Ender Wiggin, fulfilling all eight primary stages of it (using Leeming's formulation): Miraculous Birth In a world where only two children are normally allowed, Ender is born as the third child by special government decree Initiation Ender shows remarkable intelligence at a young age Withdrawal Ender is removed from his family and sent to Battle School Trial and Quest Ender learns of the threat to humanity from the Buggers Death Ender grows despondent after his unit is broken up, and he is sent back to Earth Descent into the underworld Ender's sister helps him feel like part of humanity once again Resurrection and rebirth Ender refuses to play the simulations anymore, and ends the game by destroying the Buggers' homeworld Ascension, apotheosis, and atonement Ender learns that the simulations were in fact real and has to cope with this. He says that the narrative structure within Ender's Game doesn't follow this structure in a perfectly linear sense. Many elements of it are actually repeated throughout the book. In his opinion, the latter four steps can also describe the psychological states Ender went through after his realization of what he'd done to the Buggers.[14]

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The men's movement


Poet Robert Bly, Michael J. Meade, and others involved in the men's movement have applied and expanded the concepts of the hero's journey and the monomyth as a metaphor for personal spiritual and psychological growth, particularly in the mythopoetic men's movement.[15] [16] Characteristic of the mythopoetic men's movement is a tendency to retell fairy tales and engage in their exegesis as a tool for personal insight. Using frequent references to archetypes as drawn from Jungian analytical psychology, the movement focuses on issues of gender role, gender identity and wellness for modern men.[16] Advocates would often engage in storytelling with music, these acts being seen as a modern extension to a form of "new age shamanism" popularized by Michael Harner at approximately the same time. Among its most famous advocates were the poet Robert Bly, whose book Iron John: A Book About Men was a best-seller, being an exegesis of the fairy tale "Iron John" by the Brothers Grimm.[15] The mythopoetic men's movement spawned a variety of groups and workshops, led by authors such as Bly and Robert L. Moore.[16] Some serious academic work came out of this movement, including the creation of various magazines and non-profit organizations, such as the Mankind Project.[15]

Criticism
Scholars have questioned the very validity of the monomyth, its usefulness as a tool for critical investigation and interpretation of narrative, and its male bias. According to Lesley Northup, the theory does not have much support in the mainstream study of mythology, which currently tends to view highly general and universal claims with suspicion.[17] Donald J. Consentino remarks, "It is just as important to stress differences as similarities, to avoid creating a (Joseph) Campbell soup of myths that loses all local flavor."[18] Marta Weigle rejects the idea of a "monomyth" in which women appear only exceptionally, and then as indistinguishable from men.[19] Others have found the categories Campbell works with so vague as to be meaningless, and lacking the support required of scholarly argument: Muriel Crespi, writing in response to Campbell's filmed presentation of his model[20] characterized it as "...unsatisfying from a social science perspective. Campbell's ethnocentrism will raise objections, and his analytic level is so abstract and devoid of ethnographic context that myth loses the very meanings supposed to be embedded in the "hero." In Sacred Narrative: Readings in the Theory of Myth (1984), editor Alan Dundes dismisses Campbell's work, characterizing him as a popularizer: "like most universalists, he is content to merely assert universality rather than bother to document it. [] If Campbell's generalizations about myth are not substantiated, why should students consider his work?"[21] Thoughtless use of monomyth structure is often blamed for lack of originality and clichs in popular culture, especially big-budget Hollywood films. In addition to the popularity of Campbell-influenced guides such as The Writer's Journey, the influential book Screenplay by Syd Field also proposed an ideal three-act structure, which is easily compatible with modern screenwriters' attempts to craft a monomyth. The novelist David Brin has criticized the monomyth, arguing that it is anti-populist, and was used by kings and priests to justify tyranny. Brin also pointed out that the existence of a monomyth may reflect cross-cultural historical similarities, rather than some deeper "human insight". He points out that, until relatively recently, storytellers were dependent upon the oligarchy for their livelihood and that the aristocracy only recently lost its power to punish irreverence. Once those historical factors disappeared, science fiction emergeda story-telling mode Brin sees as the antithesis of Campbell's monomyth.[22] In a similar vein, American philosopher John Shelton Lawrence and American religious scholar Robert Jewett have discussed an "American Monomyth" in many of their books, The American Monomyth, The Myth of the American Superhero, and Captain America and the Crusade Against Evil: The Dilemma of Zealous Nationalism. They present this as an American reaction to the Campbellian monomyth. The "American Monomyth" storyline is: A community in a harmonious paradise is threatened by evil; normal institutions fail to contend with this threat; a selfless

Monomyth superhero emerges to renounce temptations and carry out the redemptive task; aided by fate, his decisive victory restores the community to its paradisiacal condition; the superhero then recedes into obscurity. [23]

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Notes
[1] Monomyth Website, ORIAS, UC Berkeley (http:/ / orias. berkeley. edu/ hero/ ) accessed 2009-11-03 [2] Joseph Campbell Foundation - Works: Skeleton Key to Finnegans Wake, A (http:/ / www. jcf. org/ works. php?id=331) and Joseph Campbell, The Hero with a Thousand Faces. Princeton: Princeton University Press, 1949. p. 30, n35. Campbell cites James Joyce, Finnegans Wake. NY: Viking, 1939, p. 581 [3] Campbell, Joseph. The Hero with a Thousand Faces. Princeton: Princeton University Press, 1949. p.23. [4] Heroic monomyth (http:/ / www. jrank. org/ cultures/ pages/ 5533/ Heroic-monomyth. html) [5] http:/ / www. bookrags. com/ notes/ od/ SUM. html [6] The hero's journey: Joseph Campbell on his life and work. Edited and with an Introduction by Phil Cousineau. Forward by Stuart L. Brown, Executive Editor. New York: Harper and Row, 1990. [7] Leeming, David Adams. Mythology: The Voyage of the Hero. New York: Harper & Row. 1981. [8] http:/ / www. thewritersjourney. com/ generic1. html [9] Pacifica Graduate Institute | Joseph Campbell & Marija Gimbutas Library | Joseph Campbell - Chronology (http:/ / www. online. pacifica. edu/ cgl/ Campbellchronology) [10] Jody G. Bower: The Lord of the Rings" An Archetypal Heros Journey (http:/ / greenbooks. theonering. net/ guest/ files/ 120101_02. html) [11] (http:/ / www. films. com/ id/ 11017/ The_Mythology_of_Star_Wars_with_George_Lucas_and_Bill_Moyers. htm) [12] (http:/ / www. nasm. si. edu/ exhibitions/ StarWars/ sw-unit1. htm) [13] The Writer's Journey (http:/ / www. thewritersjourney. com/ hero's_journey. htm#Practical) accessed 2011-03-26 [14] Ender's Game and the Hero's Quest (http:/ / www. starshineandshadows. com/ essays/ 2004-03-15. html) by Michael R. Collings, published in "In the Image of God: Theme, Characterization, and Landscape in the Fiction of Orson Scott Card." by Michael R. Collings, Westport CT: Greenwood, 1990. ISBN 978-0-313-26404-7, revised by Collings for his website. [15] Boston Globe (http:/ / www. boston. com/ news/ globe/ ideas/ articles/ 2005/ 06/ 19/ daddy_what_did_you_do_in_the_mens_movement/ ) accessed 2009-11-03 [16] Use by Bly of Campbell's monomyth work (http:/ / www. robertbly. com/ int_8. html) accessed 2009-11-03 [17] Northup, p. 8 [18] "African Oral Narrative Traditions" in Foley, John Miles, ed., "Teaching Oral Traditions." NY: Modern Language Association, 1998, p. 183 [19] "Women's Expressive Forms" in Foley, John Miles, ed., "Teaching Oral Traditions." NY: Modern Language Association, 1998, p. 306 [20] American Anthropologist, 92:4 (December 1990), p. 1104 [21] http:/ / google. com/ search?q=cache:90k2Yc5PbvYJ:www. raritanval. edu/ departments/ humanitiessocsci/ Part-Time/ Wheelock/ WC1religionbib9605. doc+ %22hero%27s+ journey%22+ %22dismisses+ campbell%22& hl=en& ct=clnk& cd=1& gl=us [22] Salon Arts & Entertainment | "Star Wars" despots vs. "Star Trek" populists (http:/ / www. salon. com/ ent/ movies/ feature/ 1999/ 06/ 15/ brin_main/ ) [23] Jewett, Robert and John Shelton Lawrence (1977) The American Monomyth. New York: Doubleday.

References
Campbell, Joseph. The Hero with a Thousand Faces. Novato, California: New World Library, 2008 ISBN 978-1-57731-593-3. Joyce, James. Finnegans wake. 1939. MacKey-Kallis, Susan. The hero and the perennial journey home in American film. University of Pennsylvania Press (2001). ISBN 0-8122-1768-3 Northup, Lesley. "Myth-Placed Priorities: Religion and the Study of Myth". Religious Studies Review 32.1(2006): 5-10. Vogler, Christopher. The writer's journey: mythic structure for writers. Studio City, CA: Michael Wiese Productions, 1998. Voytilla, Stuart and Vogler, Christopher. Myth & the Movies: Discovering the myth structure of 50 unforgettable films. Studio City, CA: Michael Wiese Productions, 1999. ISBN 0-941188-66-3 Amanieux Laureline, Ce hros qui est en chacun de nous, book in French on the monomyth of Campbell, Albin Michel, 2011.

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Books based upon interviews with Campbell


The Hero's Journey: Joseph Campbell on his Life and Work Edited and with an Introduction by Phil Cousineau. Forward by Stuart L. Brown, Executive Editor. New York: Harper and Row, 1990. The Power of Myth (with Bill Moyers and Betty Sue Flowers, ed.), 1988

DVD/Discography
Joseph Campbell and the power of myth (1988) The Hero's Journey: The World of Joseph Campbell (1987)

External links
Monomyth Website, ORIAS, UC Berkeley (http://orias.berkeley.edu/hero/) The Monomyth Cycle (http://www.wiu.edu/users/mudjs1/monomyth.htm) Examples of Each Stage of a Heros Journey (http://www.moongadget.com/origins/myth.html) in Star Wars and The Matrix Hero's Journey (http://www.mythichero.com/what_is_mythology.htm) The Hero's Journey Defined. Anthony Ubelhor for ENG 104: Fairy Tales, Myths, and Other Archetypal Stories (http://www.uky.edu/~aubel2/eng104/myth/hero.pdf)

Postmodernism
Postmodernism is a philosophical movement away from the viewpoint of modernism. More specifically it is a tendency in contemporary culture characterized by the problem of objective truth and inherent suspicion towards global cultural narrative or meta-narrative. It involves the belief that many, if not all, apparent realities are only social constructs, as they are subject to change inherent to time and place. It emphasizes the role of language, power relations, and motivations; in particular it attacks the use of sharp classifications such as male versus female, straight versus gay, white versus black, and imperial versus colonial. Rather, it holds realities to be plural and relative, and dependent on who the interested parties are and what their interests consist of. It attempts to problematise modernist overconfidence, by drawing into sharp contrast the difference between how confident speakers are of their positions versus how confident they need to be to serve their supposed purposes. Postmodernism has influenced many cultural fields, including religion, literary criticism, sociology, linguistics, architecture, anthropology, visual arts, and music. Postmodernist thought is an intentional departure from modernist approaches that had previously been dominant. The term "postmodernism" comes from its critique of the "modernist" scientific mentality of objectivity and progress associated with the Enlightenment. These movements, modernism and postmodernism, are understood as cultural projects or as a set of perspectives. "Postmodernism" is used in critical theory to refer to a point of departure for works of literature, drama, architecture, cinema, journalism, and design, as well as in marketing and business and in the interpretation of law, culture, and religion in the late 20th and early 21st centuries.[1] Indeed, postmodernism, particularly as an academic movement, can be understood as a reaction to modernism in the Humanities. Whereas modernism was primarily concerned with principles such as identity, unity, authority, and certainty, postmodernism is often associated with difference, plurality, textuality, and skepticism. Literary critic Fredric Jameson describes postmodernism as the "dominant cultural logic of late capitalism." "Late capitalism" refers to the phase of capitalism after World War II, as described by the Marxist theorist Ernest Mandel; the term refers to the same period sometimes described by "globalization", "multinational capitalism", or "consumer capitalism". Jameson's work studies the postmodern in contexts of aesthetics, politics, philosophy, and economics.[2]

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History and emergence


The term was first used around the 1870s in various areas. For example, John Watkins Chapman avowed "a Postmodern style of painting" to get beyond French Impressionism.[3] Then, J. M. Thompson, in his 1914 article in The Hibbert Journal (a quarterly philosophical review), used it to describe changes in attitudes and beliefs in the critique of religion: "The raison d'etre of Post-Modernism is to escape from the double-mindedness of Modernism by being thorough in its criticism by extending it to religion as well as theology, to Catholic feeling as well as to Catholic tradition."[4] In 1917 Rudolf Pannwitz used the term to describe a philosophically oriented culture. His idea of post-modernism came from Friedrich Nietzsche's analysis of modernity and its end results of decadence and nihilism. Overcoming the modern human would be the post-human. Contrary to Nietzsche, Pannwitz also includes nationalist and mythical elements.[5] The term was used later in 1926 by B. I. Bell in his "Postmodernism & other Essays". In 1921 and 1925 it had been used to describe new forms of art and music. In 1942 H. R. Hays used it for a new literary form, but as a general theory of an historical movement it was first used in 1939 by the historian Arnold J. Toynbee: "Our own Post-Modern Age has been inaugurated by the general war of 1914-1918."[6] In 1949 the term was used to describe a dissatisfaction with modern architecture, leading to the postmodern architecture movement.[7] Postmodernism in architecture is marked by the re-emergence of surface ornament, reference to surrounding buildings in urban architecture, historical reference in decorative forms, and non-orthogonal angles. It may be a response to the modernist architectural movement known as the International Style. The term was then applied to a whole host of movements, many in art, music, and literature, that reacted against a range of tendencies in the imperialist phase of capitalism called "modernism," and are typically marked by revival of historical elements and techniques.[8] Walter Truett Anderson identifies Postmodernism as one of four typological world views. These four worldviews are the Postmodern-ironist, which sees truth as socially constructed; the scientific-rational, in which truth is found through methodical, disciplined inquiry; the social-traditional, in which truth is found in the heritage of American and Western civilization; and the neo-romantic, in which truth is found through attaining harmony with nature and/or spiritual exploration of the inner self.[9] Postmodernist ideas in philosophy and the analysis of culture and society expanded the importance of critical theory and has been the point of departure for works of literature, architecture, and design, as well as being visible in marketing/business and the interpretation of history, law and culture, starting in the late 20th century. These developments re-evaluation of the entire Western value system (love, marriage, popular culture, shift from industrial to service economy) that took place since the 1950s and 1960s, with a peak in the Social Revolution of 1968 are described with the term Postmodernity,[10] as opposed to Postmodernism, a term referring to an opinion or movement. Whereas something being "Postmodernist" would make it part of the movement, its being "Postmodern" would place it in the period of time since the 1950s, making it a part of contemporary history.

Overview of ideas (see also Postmodern philosophy)


Martin Heidegger (18891976) rejected the philosophical basis of the concepts of "subjectivity" and "objectivity" and asserted that similar grounding oppositions in logic ultimately refer to one another. Instead of resisting the admission of this paradox in the search for understanding, Heidegger requires that we embrace it through an active process of elucidation he called the "Hermeneutic Circle". He stressed the historicity and cultural construction of concepts while simultaneously advocating the necessity of an atemporal and immanent apprehension of them. In this vein, he asserted that it was the task of contemporary philosophy to recover the original question of (or "openness to") Dasein (translated as Being or Being-in-the-World) present in the Presocratic philosophers but normalized, neutered and standardized since Plato. This was to be done, in part, by tracing the record of

Postmodernism Dasein's sublimation or forgetfulness through the history of philosophy which meant that we were to ask again what constituted the grounding conditions in ourselves and in the World for the affinity between beings and between the many usages of the term "being" in philosophy. To do this, however, a non-historical and, to a degree, self-referential engagement with whatever set of ideas, feelings or practices would permit (both the non-fixed concept and reality of) such a continuity was required - a continuity permitting the possible experience, possible existence indeed not only of beings but of all differences as they appeared and tended to develop. Such a conclusion led Heidegger to depart from the Phenomenology of his teacher Husserl and prompt instead an (ironically anachronistic) return to the yet-unasked questions of Ontology, a return that in general did not acknowledge an intrinsic distinction between phenomena and noumena or between things in themselves (de re) and things as they appear (see qualia): Being-in-the-world, or rather, the openness to the process of Dasein's/Being's becoming was to bridge the age-old gap between these two. In this latter premise, Heidegger shares an affinity with the late Romantic philosopher, Friedrich Nietzsche, another principal forerunner of Post-structuralist and Postmodernist thought. Influential to thinkers associated with Postmodernism are Heidegger's critique of the subject-object or sense-knowledge division implicit in Rationalism, Empiricism and Methodological Naturalism, his repudiation of the idea that facts exist outside or separately from the process of thinking and speaking them (however, Heidegger is not specifically a Nominalist), his related admission that the possibilities of philosophical and scientific discourse are wrapped up in the practices and expectations of a society and that concepts and fundamental constructs are the expression of a lived, historical exercise rather than simple derivations of external, apriori conditions independent from historical mind and changing experience (see Johann Gottlieb Fichte, Heinrich von Kleist, Weltanschauung and Social Constructionism), and his Instrumentalist and Negativist notion that Being (and, by extension, reality) is an action, method, tendency, possibility and question rather than a discreet, positive, identifiable state, answer or entity (see also Process Philosophy, Dynamism, Instrumentalism, Pragmatism and Vitalism). Thomas Samuel Kuhn (19221996) located the rapid change of the basis of scientific knowledge to a provisional consensus among scientists; coined the term "paradigm shift" in The Structure of Scientific Revolutions and in general contributed to the debate over the presumed neutrality and objectivity of empirical methodology in the Natural Sciences from disciplinarian or cultural bias. Jacques Derrida (19302004) re-examined the fundamentals of writing and its consequences on philosophy in general; sought to undermine the language of 'presence' or metaphysics in an analytical technique which, beginning as a point of departure from Heidegger's notion of Destruktion, came to be known as Deconstruction. Derrida utilized, like Heidegger, references to Greek philosophical notions associated with the Skeptics and the Presocratics, such as Epoch and Aporia to articulate his notion of implicit circularity between premises and conclusions, origins and manifestations, but - in a manner analogous in certain respects to Gilles Deleuze - presented a radical re-reading of canonical philosophical figures such as Plato, Aristotle and Descartes as themselves being informed by such "destabilizing" notions. Michel Foucault (19261984) introduced concepts such as 'discursive regime', or re-invoked those of older philosophers like 'episteme' and 'genealogy' in order to explain the relationship among meaning, power, and social behavior within social orders (see The Order of Things, The Archaeology of Knowledge, Discipline and Punish and The History of Sexuality). In direct contradiction to what have been typified as Modernist perspectives on epistemology, Foucault asserted that rational judgment, social practice and what he called 'biopower' are not only inseparable but co-determinant. While Foucault himself was deeply involved in a number of progressive political causes and maintained close personal ties with members of the far-Left, he was also controversial with Leftist

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Postmodernism thinkers of his day, including those associated with various strains of Marxism, proponents of Left libertarianism (e.g. Noam Chomsky) and Humanism (e.g. Jrgen Habermas), for his rejection of what he deemed to be Enlightenment-derived concepts of freedom, liberation, self-determination and human nature. Instead, Foucault focused on the ways in which such constructs can foster cultural hegemony, violence and exclusion. In line with his rejection of such 'positive' tenets of Enlightenment-era Humanism, he was active, with Gilles Deleuze and Flix Guattari, in the Anti-Psychiatry Movement, considering much of institutionalized psychiatry and, in particular, Freud's concept of repression central to Psychoanalysis (which was still very influential in France during the 1960s and 70s), to be both harmful and misplaced. Foucault was known for his controversial aphorisms, such as "language is oppression", meaning that language functions in such a way as to render nonsensical, false or silent tendencies that might otherwise threaten or undermine the distributions of power backing a society's conventions - even when such distributions purport to celebrate liberation and expression or value minority groups and perspectives. His writings have had a major influence on the larger body of Postmodern academic literature. Jean-Franois Lyotard (19241998) identified in The Postmodern Condition a crisis in the 'discourses of the Human Sciences' latent in Modernism but catapulted to the fore by the advent of the "computerized" or "telematic" era (see Information Revolution). This crisis, insofar as it pertains to academia, concerns both the motivations and justification procedures for making research claims: unstated givens or values that have validated the basic efforts of academic research since the late 18th Century might no longer be valid (particularly, in Social Science & Humanities research, though examples from Mathematics are given by Lyotard as well). As formal conjecture about real-world issues becomes inextricably linked to automated calculation, information storage and retrieval, such knowledge becomes increasingly "exteriorised" from its knowers in the form of information. Knowledge is materialized and made into a commodity exchanged between producers and consumers; it ceases to be either an idealistic end-in-itself or a tool capable of bringing about liberty or social benefit; it is stripped of its humanistic and spiritual associations, its connection with education, teaching and human development, being simply rendered as "data" - omnipresent, material, unending and without any contexts or pre-requisites.[11] Furthermore, the 'diversity' of claims made by various disciplines begins to lack any unifying principle or intuition as objects of study become more and more specialized due to the emphasis on specificity, precision and uniformity of reference that competitive, database-oriented research implies. The value-premises upholding academic research have been maintained by what Lyotard considers to be quasi-mythological beliefs about human purpose, human reason and human progress - large, background constructs he calls "Metanarratives". These Metanarratives still remain in Western society but are now being undermined by rapid Informatization and the commercialization of the University and its functions. The shift of authority from the presence and intuition of knowers - from the good-faith of Reason to seek diverse knowledge integrated for human benefit or truth fidelity - to the automated database and the market had, in Lyotard's view, the power to unravel the very idea of 'justification' or 'legitimation' and, with it, the rationale for research altogether - esp. in disciplines pertaining to human life, society and meaning. We are now controlled not by binding extra-linguistic value paradigms defining notions of collective identity and ultimate purpose, but rather by our automatic responses to different species of "language games" (a concept Lyotard imports from JL Austin's theory of Speech Acts). In his vision of a solution to this "vertigo," Lyotard opposes the assumptions of universality, consensus, and generality that he identified within the thought of Humanistic, Neo-Kantian philosophers like Jrgen Habermas and proposes a continuation of experimentation and diversity to be assessed pragmatically in the context of language games rather than via appeal to a resurrected series of transcendentals and metaphysical unities. Richard Rorty (19312007)

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Postmodernism argues in Philosophy and the Mirror of Nature that contemporary Analytic philosophy mistakenly imitates scientific methods. In addition, he denounces the traditional epistemological perspectives of Representationalism and Correspondence theory that rely upon the independence of knowers and observers from phenomena and the passivity of natural phenomena in relation to consciousness. As a proponent of anti-foundationalism and anti-essentialism within a Pragmatist framework, he echoes Postmodern strains of Conventionalism and Philosophical Relativism, but opposes much Postmodern thinking with his commitment to Social Liberalism. Jean Baudrillard (19292007), in Simulacra and Simulation, introduced the concept that reality or the principle of the "real" is short-circuited by the interchangeability of signs in an era whose communicative and semantic acts are dominated by electronic media and digital technologies. Baudrillard proposes the notion that, in such a state, where subjects are detached from the outcomes of events (political, literary, artistic, personal or otherwise), events no longer hold any particular sway on the subject nor have any identifiable context; they therefore have the effect of producing widespread indifference, detachment and passivity in industrialized populations. He claimed that a constant stream of appearances and references without any direct consequences to viewers or readers could eventually render the division between appearance and object indiscernible, resulting, ironically, in the "disappearance" of mankind in what is, in effect, a virtual or holographic state, composed only of appearances. Fredric Jameson (born 1934) set forth one of the first expansive theoretical treatments of Postmodernism as a historical period, intellectual trend and social phenomenon in a series of lectures at the Whitney Museum, later expanded as Postmodernism, or The Cultural Logic of Late Capitalism (1991). Eclectic in his methodology, Jameson has continued a sustained examination of the role that Periodization continues to play as a grounding assumption of critical methodologies in Humanities disciplines. He has contributed extensive effort to explicating the importance of concepts of Utopianism and Utopia as driving forces in the cultural and intellectual movements of Modernity, and outlining the political and existential uncertainties that may result from the decline or suspension of this trend in the theorized state of Postmodernity. Like Susan Sontag, Jameson served to introduce a wide audience of American readers to key figures of the 20th Century Continental European intellectual Left, particularly those associated with the Frankfurt School, Structuralism and Post-Structuralism. Thus, his importance as a 'translator' of their ideas to the common vocabularies of a variety of disciplines in the Anglo-American academic complex is equally as important as his own critical engagement with them.

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Contested definitions
The term "Postmodernism" is often used to refer to different, sometimes contradictory concepts. Conventional definitions include: Compact Oxford English Dictionary: "a style and concept in the arts characterized by distrust of theories and ideologies and by the drawing of attention to conventions."[12] Merriam-Webster: Either "of, relating to, or being an era after a modern one", or "of, relating to, or being any of various movements in reaction to modernism that are typically characterized by a return to traditional materials and forms (as in architecture) or by ironic self-reference and absurdity (as in literature)", or, finally "of, relating to, or being a theory that involves a radical reappraisal of modern assumptions about culture, identity, history, or language".[13] American Heritage Dictionary: "Of or relating to art, architecture, or literature that reacts against earlier modernist principles, as by reintroducing traditional or classical elements of style or by carrying modernist styles or practices to extremes: 'It [a roadhouse] is so architecturally interesting ... with its postmodern wooden booths and sculptural clock.'"[14]

Postmodernism While the term "Postmodern" and its derivatives are freely used, with some uses apparently contradicting others, those outside the academic milieu have described it as merely a buzzword that means nothing. Dick Hebdige, in his text Hiding in the Light, writes: When it becomes possible for a people to describe as postmodern the dcor of a room, the design of a building, the diegesis of a film, the construction of a record, or a scratch video, a television commercial, or an arts documentary, or the intertextual relations between them, the layout of a page in a fashion magazine or critical journal, an anti-teleological tendency within epistemology, the attack on the metaphysics of presence, a general attenuation of feeling, the collective chagrin and morbid projections of a post-War generation of baby boomers confronting disillusioned middle-age, the predicament of reflexivity, a group of rhetorical tropes, a proliferation of surfaces, a new phase in commodity fetishism, a fascination for images, codes and styles, a process of cultural, political or existential fragmentation and/or crisis, the de-centring of the subject, an incredulity towards metanarratives, the replacement of unitary power axes by a plurality of power/discourse formations, the implosion of meaning, the collapse of cultural hierarchies, the dread engendered by the threat of nuclear self-destruction, the decline of the university, the functioning and effects of the new miniaturised technologies, broad societal and economic shifts into a media, consumer or multinational phase, a sense (depending on who you read) of placelessness or the abandonment of placelessness (critical regionalism) or (even) a generalised substitution of spatial for temporal coordinates - when it becomes possible to describe all these things as Postmodern (or more simply using a current abbreviation as post or very post) then its clear we are in the presence of a buzzword.[15] British historian Perry Anderson's history of the term and its understanding, 'The Origins of Postmodernity', explains these apparent contradictions, and demonstrates the importance of "Postmodernism" as a category and a phenomenon in the analysis of contemporary culture.[16]

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Influence on art and aesthetics


Architecture
The movement of Postmodernism began with architecture, as a response to the perceived blandness, hostility, and Utopianism of the Modern movement. Modern Architecture, as established and developed by people such as Walter Gropius, Le Corbusier, and Philip Johnson, was focused on the pursuit of a perceived ideal perfection, and attempted harmony of form and function,[17] and dismissal of "frivolous ornament."[18] [19] Critics of modernism argued Detail of the postmodern Abteiberg Museum in Germany. that the attributes of perfection and minimalism themselves were subjective, and pointed out anachronisms in modern thought and questioned the benefits of its philosophy.[20] Definitive postmodern architecture such as the work of Michael Graves rejects the notion of a 'pure' form or 'perfect' architectonic detail, instead conspicuously drawing from all methods, materials, forms and colors available to architects. Postmodernist architecture was one of the first aesthetic movements to openly challenge Modernism as antiquated and "totalitarian", favoring personal preferences and variety over objective, ultimate truths or principles. It is this atmosphere of criticism, skepticism, and emphasis on difference over and against unity that distinguishes many postmodernisms.

Postmodernism

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Literature
Literary postmodernism was officially inaugurated in the United States with the first issue of boundary 2, subtitled "Journal of Postmodern Literature and Culture", which appeared in 1972. David Antin, Charles Olson, John Cage, and the Black Mountain College school of poetry and the arts were integral figures in the intellectual and artistic exposition of postmodernism at the time.[21] boundary 2 remains an influential journal in postmodernist circles today.[22] Although Jorge Luis Borges and Samuel Beckett are sometimes seen as Orhan Pamuk, winner of the 2006 Nobel Prize in Literature. important influences, novelists who are commonly counted to postmodern literature include Vladimir Nabokov, William Gaddis, John Hawkes, William Burroughs, Giannina Braschi, Kurt Vonnegut, John Barth, Donald Barthelme, E.L. Doctorow, Jerzy Kosinski, Don DeLillo, Thomas Pynchon, Ishmael Reed, Kathy Acker, Ana Lydia Vega, and Paul Auster. In 1971, the Arab-American scholar Ihab Hassan published The Dismemberment of Orpheus: Toward a Postmodern Literature, an early work of literary criticism from a postmodern perspective, in which the author traces the development of what he calls "literature of silence" through Marquis de Sade, Franz Kafka, Ernest Hemingway, Beckett, and many others, including developments such as the Theatre of the Absurd and the nouveau roman. In 'Postmodernist Fiction' (1987), Brian McHale details the shift from modernism to postmodernism, arguing that the former is characterized by an epistemological dominant, and that postmodern works have developed out of modernism and are primarily concerned with questions of ontology. In Constructing Postmodernism (1992), McHale's second book, he provides readings of postmodern fiction and of some of the contemporary writers who go under the label of cyberpunk. McHale's "What Was Postmodernism?" (2007)[23], follows Raymond Federman's lead in now using the past tense when discussing postmodernism.

Music
Postmodern music is either music of the postmodern era, or music that follows aesthetic and philosophical trends of postmodernism. As the name suggests, the postmodernist movement formed partly in reaction to the ideals modernist. Because of this, Postmodern music is mostly defined in opposition to modernist music, and a work can either be modernist, or postmodern, but not both. Jonathan Kramer posits the idea (following Umberto Eco and Jean-Franois Lyotard) that postmodernism (including musical postmodernism) is less a surface style or historical period (i.e., condition) than an attitude. The postmodern impulse in classical music arose in the 1970s with the advent of musical minimalism. Composers such as Terry Riley, Henryk Grecki, Bradley Joseph, John Adams, Steve Reich, Phillip Glass, Michael Nyman, and Lou Harrison reacted to the perceived elitism and dissonant sound of atonal academic modernism by producing music with simple textures and relatively consonant harmonies. Some composers have been openly influenced by popular music and world ethnic musical traditions.

Composer Henryk Grecki.

Postmodern Classical music as well is not a musical style, but rather refers to music of the postmodern era. It bears the same relationship to postmodernist music that postmodernity bears to postmodernism. Postmodern music, on the other hand, shares characteristics with postmodernist artthat is, art that comes after and reacts against modernism (see Modernism in Music).

Postmodernism Though representing a general return to certain notions of music-making that are often considered to be classical or romantic, not all postmodern composers have eschewed the experimentalist or academic tenets of modernism. The works of Dutch composer Louis Andriessen, for example, exhibit experimentalist preoccupation that is decidedly anti-romantic. Eclecticism and freedom of expression, in reaction to the rigidity and aesthetic limitations of modernism, are the hallmarks of the postmodern influence in musical composition.

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Theories and derivatives


Deconstruction
One of the most popular postmodernist tendencies within aesthetics is deconstruction. As it is currently used, "deconstruction" is a Derridean approach to textual analysis (typically literary critique, but variously applied). Deconstructions work entirely within the studied text to expose and undermine the frame of reference, assumptions, and ideological underpinnings of the text. Although deconstructions can be developed using different methods and techniques, the process typically involves demonstrating the multiple possible readings of a text and their resulting internal conflicts, and undermining binary oppositions (e.g. masculine/feminine, old/new). Deconstruction is fundamental to many different fields of postmodernist thought, including postcolonialism, as demonstrated through the writings of Gayatri Spivak.

Structuralism and post-structuralism


Further information: Manifestations of Postmodernism Structuralism was a broad philosophical movement that developed particularly in France in the 1950s, partly in response to French Existentialism, but is considered by many to be an exponent of High-Modernism, though its categorization as either a Modernist or Postmodernist trend is contested. Many Structuralists later moved away from the most strict interpretations and applications of "structure", and are thus called "Post-structuralists" in the United States (the term is uncommon in Europe). Though many Post-structuralists were referred to as Postmodern in their lifetimes, many explicitly rejected the term. Notwithstanding, Post-structuralism in much American academic literature in the Humanities is very strongly associated with the broader and more nebulous movement of Postmodernism. Thinkers most typically linked with Structuralism include anthropologist Claude Lvi-Strauss, linguist Ferdinand de Saussure, psychoanalyst Jacques Lacan, Marxist philosopher Louis Althusser and literary theorist Roland Barthes. Philosophers commonly referred to as Post-structuralists include Michel Foucault, Roland Barthes and Jean Baudrillard (who also began their careers with a Structuralist background), Jacques Derrida, Gilles Deleuze, Pierre Bourdieu, Jean-Franois Lyotard, Julia Kristeva, Hlne Cixous, Luce Irigaray and, sometimes, the American cultural theorists, critics and intellectuals they influenced (e.g. Judith Butler, Jonathan Crary, John Fiske, Rosalind Krauss). Though by no means a unified movement with a set of shared axioms or methodologies, Post-structuralism emphasizes the ways in which different aspects of a cultural order, from its most banal material details to its most abstract theoretical exponents, determine one another (rather than espousing a series of strict, uni-directional, cause and effect relationships see Reductionism or resorting to Epiphenomenalism). Like Structuralism, it places particular focus on the determination of identities, values and economies in relation to one another, rather than assuming intrinsic properties or essences of signs or components as starting points.[24] In this limited sense, there is a nascent Relativism and Constructionism within the French Structuralists that was consciously addressed by them but never examined to the point of dismantling their reductionist tendencies. Unlike Structuralists, however, the Post-structuralists questioned the division between relation and component and, correspondingly, did not attempt to reduce the subjects of their study to an essential set of relations that could be portrayed with abstract, functional schemes or mathematical symbols (as in Claude Lvi-Strauss's algebraic formulation of mythological transformation in "The Structural Study of Myth"[25] ).

Postmodernism Post-Structuralists tended to reject such formulations of essential relations in primitive cultures, languages or descriptions of psychological phenomena as subtle forms of Aristotelianism, Rationalism or Idealism or as more reflective of a mechanistic bias[26] inspired by bureaucratization and industrialization than of the inner-workings of primitive cultures, languages or the psyche. Generally, Post-structuralists emphasized the inter-determination and contingency of social and historical phenomena with each other and with the cultural values and biases of perspective. Such realities were not to be dissected, in the manner of some Structuralists, as a system of facts that could exist independently from values and paradigms (either those of the analysts or the subjects themselves), but to be understood as both causes and effects of each other.[27] For this reason, most Post-structuralists held a more open-ended view of function within systems than did Structuralists and were sometimes accused of circularity and ambiguity. Post-structuralists countered that, when closely examined, all formalized claims describing phenomena, reality or truth, rely on some form or circular reasoning and self-referential logic that is often paradoxical in nature. Thus, it was important to uncover the hidden patterns of circularity, self-reference and paradox within a given set of statements rather that feign objectivity, as such an investigation might allow new perspectives to have influence and new practices to be sanctioned or adopted. As would be expected, Post-structuralist writing tends to connect observations and references from many, widely varying disciplines into a synthetic view of knowledge and its relationship to experience, the body, society and economy - a synthesis in which it sees itself as participating. Stucturalists, while also somewhat inter-disciplinary, were more comfortable within departmental boundaries and often maintained the autonomy of their analytical methods over the objects they analyzed. Post-structuralists, unlike Structuralists, did not privilege a system of (abstract) "relations" over the specifics to which such relations were applied, but tended to see the notion of the relation or of systemization itself as part-and-parcel of any stated conclusion rather than a reflection of reality as an independent, self-contained state or object. If anything, if a part of objective reality, theorization and systemization to Post-structuralists was an exponent of larger, more nebulous patterns of control in social orders patterns that could not be encapsulated in theory without simultaneously conditioning it. For this reason, certain Post-structural thinkers were also criticized by more Realist, Naturalist or Essentialist thinkers of anti-intellectualism or anti-Philosophy. In short, Post-structuralists, unlike Structuralists, tended to place a great deal of skepticism on the independence of theoretical premises from collective bias and the influence of power, and rejected the notion of a "pure" or "scientific" methodology in social analysis, semiotics or philosophical speculation. No theory, they said especially when concerning human society or psychology was capable of reducing phenomena to elemental systems or abstract patterns, nor could abstract systems be dismissed as secondary derivatives of a fundamental nature: systemization, phenomena and values were part of each other. While many of the so-called Post-structuralists vehemently disagreed on the specifics of such fundamental categories as "the real", "society", "totality", "desire" and "history", many also shared, in contrast to their so-called Structuralist predecessors, the traits mentioned. Furthermore, a good number of them engaged in a re-assessment (positive or negative) of the philosophical traditions associated with Hegel, Marx, Nietzsche, and Freud. Because of its general skepticism of analytical objectivity and mutually exclusive oppositions in logic, its emphasis on the social production of knowledge and of knowledge paradigms, and its portrayal of the sometimes ambiguous inter-determination of material culture, values, physical practices and socio-economic life, Post-structuralism is often linked to Postmodernism.

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Post-postmodernism
Recently the notion of the "death of postmodernism" has been increasingly widely debated: in 2007 Andrew Hoborek noted in his introduction to a special issue of the journal Twentieth Century Literature titled "After Postmodernism" that "declarations of postmodernism's demise have become a critical commonplace". A small group of critics has put forth a range of theories that aim to describe culture and/or society in the alleged aftermath of postmodernism, most notably Raoul Eshelman (performatism), Gilles Lipovetsky (hypermodernity), Nicolas Bourriaud (Altermodern), and Alan Kirby (digimodernism, formerly called pseudo-modernism). None of these new

Postmodernism theories and labels has so far gained widespread acceptance.

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Criticism
Formal, academic critiques of postmodernism can be found in works such as Beyond the Hoax and Fashionable Nonsense. The term postmodernism, when used pejoratively, describes tendencies perceived as relativist, counter-enlightenment or antimodern, particularly in relation to critiques of rationalism, universalism or science. It is also sometimes used to describe tendencies in a society that are held to be antithetical to traditional systems of morality.

References
[1] Historians have generally not used postmodernist approaches in their work, as shown by Sigurdur Gylfi Magnusson, "The Singularization of History: Social History and Microhistory within the Postmodern State of Knowledge," Journal of Social History 2003 36(3): 701-735; Georg G. Iggers, Historiography in the Twentieth-Century: From Scientific Objectivity to the Postmodern Challenge (1997). Many historians engage with postmodernism (e.g. Perry Anderson), and several philosophers often associated with the postmodern movement have made important contributions to history and historiography (most prominently, Michel Foucault). [2] Jameson, Fredric. Postmodernism, or, the cultural logic of late capitalism, Durham, NC: Duke University Press, 1991. [3] The Postmodern Turn, Essays in Postmodern Theory and Culture, Ohio University Press, 1987. p12ff [4] Thompson, J. M. "Post-Modernism," The Hibbert Journal. Vol XII No. 4, July 1914. p. 733 [5] Pannwitz, Rudolf. Die Krisis der europischen Kultur, Nrnberg 1917 [6] OED long edition [7] Encyclopaedia Britannica, 2004 [8] Merriam Webster's Collegiate Dictionary 2004 [9] Walter Truett Anderson (1996). The Fontana Postmodernism Reader. [10] Influences on postmodern thought, Paul Ltzeler (St. Louis) (http:/ / www. inst. at/ trans/ 11Nr/ luetzeler11. htm) [11] Lyotard, Jean-Franois. The Postmodern Condition: A Report on Knowledge. Les ditions de Minuit, 1979. English Translation by Geoffrey Bennington and Brian Massumi. Manchester University Press, 1984. See Chapter 1, The Field: Knowledge in Computerised Societies. (http:/ / www. marxists. org/ reference/ subject/ philosophy/ works/ fr/ lyotard. htm)// [12] Askoxford.com (http:/ / www. askoxford. com/ concise_oed/ postmodernism?view=uk) [13] Merriam-Webster's definition of postmodernism (http:/ / www. merriam-webster. com/ dictionary/ postmodernism) [14] Ruth Reichl, Cook's November 1989; American Heritage Dictionary's definition of "postmodern" (http:/ / www. bartleby. com/ 61/ 26/ P0472600. html) [15] Postmodernism and the other side, in Cultural Theory and Popular Culture: A reader, edited by John Storey, London, : Pearson Education .2006 [16] Perry Anderson, 'The Origins of Postmodernity', London: Verso, 1998. [17] Sullivan, Louis. "The Tall Office Building Artistically Considered, published Lippincott's Magazine (March 1896). [18] Loos, Adolf. "Ornament and Crime, published 1908. [19] Manfredo Tafuri, 'Architecture and utopia: design and capitalist development', Cambridge: MIT Press, 1976. [20] Venturi, et al. [21] Anderson, The origins of postmodernity, London: Verso, 1998, Ch.2: "Crystallization". [22] boundary 2, Duke University Press, Boundary2.dukejournals.org (http:/ / boundary2. dukejournals. org/ ) [23] http:/ / www. electronicbookreview. com/ thread/ fictionspresent/ tense [24] Lvi-Strauss, Claude. Structural Anthropology. Trans. Claire Jacobson and Brooke Grundfest Schoepf (First published New York: Basic Books, 1963; New York: Anchor Books Ed., 1967), 324. Lvi-Strauss, quoting D'Arcy Westworth Thompson states - "To those who question the possibility of defining the interrelations between entities whose nature is not completely understood, I shall reply with the following comment by a great naturalist In a very large part of morphology, our essential task lies in the comparison of related forms rather than in the precise definition of each; and the deformation of a complicated figure may be a phenomenon easy of comprehension, though the figure itself has to be left unanalyzed and undefined. [25] Lvi-Strauss, Claude. Anthropologie Structurale. Paris: ditions Plon, 1958. Lvi-Strauss, Claude. Structural Anthropology. Trans. Claire Jacobson and Brooke Grundfest Schoepf (New York: Basic Books, 1963), 228 (http:/ / books. google. com/ books?id=RmeUknlauJAC& lpg=PP1& ots=NJWcwczLLV& dq=Structural Anthropology Basic Books& pg=PA228#v=onepage& q=Structural Anthropology Basic Books& f=false). [26] See the following (http:/ / www. anarchopedia. org/ mechanistic_bias) web reference for a common critique of from an "Anti-positivist" perspective.

Postmodernism
[27] Deleuze, Gilles and Flix Guattari. Capitalism and Schizophrenia, vol. II: A Thousand Plateaus. Trans. Brian Massumi (Minneapolis: Univ. of Minnesota Press, 1987), p. 101. Orig. published as Mille Plateaux, in 1980 by Les Editions de Minuit, Paris. Deleuze, here echoing the sentiments of Derrida's reflection on Foucault's "The History of Madness" (1961) in his essay "Cogito and the History of Madness" (1963), makes a very thinly veiled reference to semiological certainty of both Saussure and Lacan (who speaks of "The Unity of the Father" in his theory of semantic coherence), critiquing the premise of objectivity in their methodology "The scientific model taking language as an object of study is one with the political model by which language is homogenized, centralized, standardized, becoming a language of power, a major or dominant language. Linguistics can claim all it wants to be science, nothing but pure science -- it wouldn't be the first time that the order of pure science was used to secure the requirements of another order...The unity of language is fundamentally political. There is no mother tongue, only a power takeover by a dominant language that at times advances along a broad front, and at times swoops down on diverse centers simultaneously...The scientific enterprise of extracting constants and constant relations is always coupled with the political enterprise of imposing them on speakers and transmitting order-worlds."

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Further reading
Powell, Jim (1998). "Postmodernism For Beginners" (ISBN 978-1-934389-09-6) Alexie, Sherman (2000). "The Toughest Indian in the World" (ISBN 0-8021-3800-4) Anderson, Walter Truett. The Truth about the Truth (New Consciousness Reader). New York: Tarcher. (1995) (ISBN 0-87477-801-8) Anderson, Perry. The origins of postmodernity. London: Verso, 1998. Ashley, Richard and Walker, R. B. J. (1990) Speaking the Language of Exile. International Studies Quarterly v 34, no 3 259-68. Bauman, Zygmunt (2000) Liquid Modernity. Cambridge: Polity Press. Beck, Ulrich (1986) Risk Society: Towards a New Modernity. Benhabib, Seyla (1995) 'Feminism and Postmodernism' in (ed. Nicholson) Feminism Contentions: A Philosophical Exchange. New York: Routledge. Berman, Marshall (1982) All That Is Solid Melts Into Air: The Experience of Modernity (ISBN 0-14-010962-5). Bertens, Hans (1995) The Idea of the Postmodern: A History. London: Routledge. (ISBN 0-145-06012-5). Best, Steven Best and Douglas Kellner. Postmodern Theory (1991) excerpt and text search (http://www. amazon.com/dp/0898624185) Best, Steven Best and Douglas Kellner. The Postmodern Turn (1997) excerpt and text search (http://www. amazon.com/dp/1572302216) Bielskis, Andrius (2005) Towards a Postmodern Understanding of the Political: From Genealogy to Hermeneutics (Palgrave Macmillan, 2005). Braschi, Giannina (1994), Empire of Dreams, introduction by Alicia Ostriker, Yale University Press, New Haven, London. Brass, Tom, Peasants, Populism and Postmodernism (London: Cass, 2000). Butler, Judith (1995) 'Contingent Foundations' in (ed. Nicholson) Feminist Contentions: A Philosophical Exchange. New Yotk: Routledge. Callinicos, Alex, Against Postmodernism: A Marxist Critique (Cambridge: Polity, 1999). Drabble, M. The Oxford Companion to English Literature, 6 ed., article "Postmodernism". Farrell, John. "Paranoia and Postmodernism," the epilogue to Paranoia and Modernity: Cervantes to Rousseau (Cornell UP, 2006), 309-327. Featherstone, M. (1991) Consumer culture and postmodernism, London; Newbury Park, Calif., Sage Publications. Goulimari, Pelagia (ed.) (2007) Postmodernism. What Moment? Manchester: Manchester University Press (ISBN 978-0-7190-7308-3) Giddens, Anthony (1991) Modernity and Self Identity, Cambridge: Polity Press. Grebowicz, Margaret (ed.), Gender After Lyotard. NY: Suny Press, 2007. (ISBN 978-0-7914-6956-9) Greer, Robert C. Mapping Postmodernism. IL: Intervarsity Press, 2003. (ISBN 0-8308-2733-1) Groothuis, Douglas. Truth Decay. Downers Grove, Illinois: InterVarsity Press, 2000.

Postmodernism Harvey, David (1989) The Condition of Postmodernity: An Enquiry into the Origins of Cultural Change (ISBN 0-631-16294-1) Hicks, Stephen R. C. (2004) Explaining Postmodernism: Skepticism and Socialism from Rousseau to Foucault (ISBN 1-59247-646-5) Honderich, T., The Oxford Companion to Philosophy, article "Postmodernism". Hutcheon, Linda. The Politics of Postmodernism. (2002) online edition] (http://www.questia.com/read/ 107450059?title=The Politics of Postmodernism) Jameson, Fredric (1991) Postmodernism, or, the Cultural Logic of Late Capitalism (ISBN 0-8223-1090-2) Kirby, Alan (2009) Digimodernism. New York: Continuum. Lash, S. (1990) The sociology of postmodernism London, Routledge. Lyotard, Jean-Franois (1984) The Postmodern Condition: A Report on Knowledge (ISBN 0-8166-1173-4) --- (1988). The Postmodern Explained: Correspondence 1982-1985. Ed. Julian Pefanis and Morgan Thomas. (ISBN 0-8166-2211-6) --- (1993), "Scriptures: Diffracted Traces." In: Theory, Culture and Society, Vol. 21(1), 2004. --- (1995), "Anamnesis: Of the Visible." In: Theory, Culture and Society, Vol. 21(1), 2004. McHale,Brian, (1987) 'Postmodernist Fiction. London: Routledge. --- (1992), 'Constructing Postmodernism. NY & London: Routledge. --- (2008), "1966 Nervous Breakdown, or, When Did Postmodernism Begin?" Modern Language Quarterly 69, 3:391-413. --- (2007), "What Was Postmodernism?" electronic book review, (http://www.electronicbookreview.com/ thread/fictionspresent/tense) MacIntyre, Alasdair, After Virtue: A Study in Moral Theory (University of Notre Dame Press, 1984, 2nd edn.). Magliola, Robert, Derrida on the Mend (Lafayette: Purdue University Press, 1984; 1986; pbk. 2000, ISBN I-55753-205-2). ---, On Deconstructing Life-Worlds: Buddhism, Christianity, Culture (Atlanta: Scholars Press of American Academy of Religion, 1997; Oxford: Oxford University Press, 2000; ISBN 0-7885-0295-6, cloth, ISBN 0-7885-0296-4, pbk). Manuel, Peter. "Music as Symbol, Music as Simulacrum: Pre-Modern, Modern, and Postmodern Aesthetics in Subcultural Musics," Popular Music 1/2, 1995, pp.227239. Murphy, Nancey, Anglo-American Postmodernity: Philosophical Perspectives on Science, Religion, and Ethics (Westview Press, 1997). Natoli, Joseph (1997) A Primer to Postmodernity (ISBN 1-57718-061-5) Norris, Christopher (1990) What's Wrong with Postmodernism: Critical Theory and the Ends of Philosophy (ISBN 0-8018-4137-2) Pangle, Thomas L., The Ennobling of Democracy: The Challenge of the Postmodern Age, Baltimore, The Johns Hopkins University Press, 1991 ISBN 0-8018-4635-8 Park, Jin Y., ed., Buddhisms and Deconstructions (Lanham: Rowland & Littlefield, 2006, ISBN 978-0-7425-3418-6; ISBN 0-7425-3418-9. Sim, Stuart. (1999). "The Routledge critical dictionary of postmodern thought" (ISBN 0415923530) Sokal, Alan and Jean Bricmont (1998) Fashionable Nonsense: Postmodern Intellectuals' Abuse of Science (ISBN 0-312-20407-8) Vattimo, Gianni (1989). The Transparent Society (ISBN 0-8018-4528-9) Veith Jr., Gene Edward (1994) Postmodern Times: A Christian Guide to Contemporary Thought and Culture (ISBN 0-89107-768-5) Windshuttle, Keith (1996) The Killing of History: How Literary Critics and Social Theorists are Murdering our Past. New York: The Free Press.

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Postmodernism Woods, Tim, Beginning Postmodernism, Manchester: Manchester University Press, 1999,(Reprinted 2002)(ISBN 0-7190-5210-6 Hardback,ISBN 0-7190-5211-4 Paperback) .

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External links
Love and Hatred of French Theory in America. (http://www.borderlandsejournal.adelaide.edu.au/), Borderlands e journal. Rolando Prez. 4.1.2005. WSWS philosophy archives incl. critiques of postmodernist thought (http://wsws.org/category/feature/ philos.shtml) Stanford Encyclopedia of Philosophy's entry on postmodernism (http://plato.stanford.edu/entries/ postmodernism/) The Christian Cadre's Postmodernism Page (http://christiancadre.org/topics/postmodern.html) Discourses of Postmodernism. Multilingual Bibliography by Janusz Przychodzen (PDF file) (http://www.umass. edu/complit/aclanet/SyllPDF/JanuList.pdf) Modernity, postmodernism and the tradition of dissent, by Lloyd Spencer (1998) (http://www.tasc.ac.uk/ depart/media/staff/ls/Modules/Theory/PoMoDis.htm) Dueling Paradigms: Modernist v. Postmodernist Thought * Characterizing a Fogbank: What Is Postmodernism, and Why Do I Take Such a Dim View of it? (http://www.critcrim.org/critpapers/milovanovic_postmod.htm) Postmodernism and truth (http://www.butterfliesandwheels.com/articleprint.php?num=13) by philosopher Daniel Dennett Postmodernism is the new black (http://www.economist.com/world/displaystory.cfm?story_id=8401159): How the shape of modern retailing was both predicted and influenced by some unlikely seers (The Economist December 19, 2006) Gaining clarity: after postmodernism (http://acheret.co.il/en/?cmd=articles.326), Eretz Acheret (http:// acheret.co.il/en) Magazine

Historicity (philosophy)

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Historicity (philosophy)
Historicity in philosophy is the underlying concept of history, or the intersection of teleology (the concept and study of progress and purpose), temporality (the concept of time), and historiography (semiotics and history of history). Varying conceptualizations of historicity emphasize linear progress or the repetition or modulation of past events.

Concepts of historicity
In phenomenology, historicity is the history of constitution of any intentional object, both in the sense of history as tradition and in the sense where every individual has its own history. Of course, these two senses are often very similar: One individual's history is heavily influenced by the tradition the individual is formed in, but personal history can also produce an object that wouldn't be a part of any tradition. In addition, personal historicity doesn't develop in the same way as tradition. Martin Heidegger argued in Being and Time that it is temporality that gives rise to history. All things have their place and time, and nothing past is outside of history. Francis Fukuyama in The End of History and the Last Man famously argued that the collapse of Soviet communism brought humanity to the "end of history" whereby the world's global dialectical machinations had been resolved with the triumph of liberal capitalism. Before Fukuyama, Jean Baudrillard argued for a different concept of the "end of history". Baudrillard's most in-depth writings on the notion of historicity are found in the books Fatal Strategies and The Illusion of the End. It is for these writings that he received a full-chapter denunciation from the physicist Alan Sokal (along with Jean Bricmont), due to his alleged misuse of physical concepts of linear time, space and stability. In contrast to Fukuyama's argument, Baudrillard maintained that the "end of history", in terms of a teleological goal, had always been an illusion brought about by modernity's will towards progress, civilization and rational unification. And this was an illusion that to all intents and purposes vanished toward the end of the 20th century, brought about by the "speed" at which society moved, effectively 'destabilising' the linear progression of history (it is these comments, specifically, that provoked Sokal's criticism). History was, so to speak, outpaced by its own spectacular realisation. As Baudrillard himself caustically put it: The end of history is, alas, also the end of the dustbins of history. There are no longer any dustbins for disposing of old ideologies, old regimes, old values. Where are we going to throw Marxism, which actually invented the dustbins of history? (Yet there is some justice here since the very people who invented them have fallen in.) Conclusion: if there are no more dustbins of history, this is because History itself has become a dustbin. It has become its own dustbin, just as the planet itself is becoming its own dustbin.[1] This approach to history is what marks out Baudrillard's affinities with the postmodern philosophy of Jean-Franois Lyotard: the idea that society and Western society in particular has 'dropped out' of the grand narratives of history (for example the coming of Communism or the triumph of civilized modern society). But Baudrillard has supplemented this argument by contending that, although this 'dropping out' may have taken place, the global world (which in Baudrillard's writing is sharply distinct from a universal humanity) is, in accordance with its spectacular understanding of itself, condemned to 'play out' this illusory ending in a hyper-teleological way acting out the end of the end of the end, ad infinitum. Thus Baudrillard argues that in a manner similar to Giorgio Agamben's book Means without Ends Western society is subject to the political restriction of means that are justified by ends that do not exist. Michel-Rolph Trouillot offers a different insight into the meaning and uses of Historicity. Trouillot explains that "The ways in which what happened,and what is said to have happened are and are not the same may itself be historical".

Historicity (philosophy)

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References
[1] The Illusion of the End, or Selected Writings, p. 263

New Journalism
New Journalism was a style of 1960s and 1970s news writing and journalism which used literary techniques deemed unconventional at the time. The term was codified with its current meaning by Tom Wolfe in a 1973 collection of journalism articles he published as The New Journalism, which included works by himself, Truman Capote, Hunter S. Thompson, Norman Mailer, Joan Didion, Robert Christgau, and others. Articles in the New Journalism style tended not to be found in newspapers, but rather in magazines such as The Atlantic Monthly, Harper's, CoEvolution Quarterly, Esquire, New York, The New Yorker, Rolling Stone, and for a short while in the early 1970s, Scanlan's Monthly.

History
Various trends and tendencies throughout the history of American Journalism have been labeled "new journalism." Robert E. Park, for instance, in his Natural History of the Newspaper, referred to the advent of the penny press in the 1830s as "new journalism."[1] Likewise, the appearance of the yellow press, papers such as Joseph Pulitzer's New York World in the 1880s, led journalists and historians to proclaim that a "New Journalism" had been created. Ault and Emery, for instance, said "Industrialization and urbanization changed the face of America during the latter half of the Nineteenth century, and its newspapers entered an era known as that of the 'New Journalism.'"[2] In 1960, John Gay Talese, in 2006, at the Strand Bookstore in New York City. Hohenberg, in The Professional Journalist, called the interpretive reporting which developed after World War II a "new journalism which not only seeks to explain as well as to inform; it even dares to teach, to measure, to evaluate."[3] During the sixties and seventies, the term enjoyed widespread popularity, often with meanings bearing manifestly little or no connection with one another. Although James E. Murphy noted that "...most uses of the term seem to refer to something more specific than vague new directions in journalism",[4] Curtis D. MacDougal devoted the Preface of the Sixth Edition of his Interpretative Reporting to New Journalism and cataloged many of the contemporary definitions: "Activist, advocacy, participatory, tell-it-as-you-see-it, sensitivity, investigative, saturation, humanistic, reformist and a few more."[5] The Magic Writing MachineStudent Probes of the New Journalism, a collection edited and introduced by Everette E. Dennis, came up with six categories, labelled new nonfiction (reportage), alternative journalism ("modern muckraking"), advocacy journalism, underground journalism and precision journalism.[6] Michael Johnson's The New Journalism addresses itself to three phenomena: the underground press, the artists of nonfiction, and changes in the established media.[7]

New Journalism Journalists recognized as using the style include Norman Mailer, Joan Didion, Truman Capote, P. J. O'Rourke, George Plimpton, Terry Southern, and Gay Talese. Hunter S. Thompson was a major practitioner of new journalism and gonzo journalism, his own particular style. Thompson's first book, Hell's Angels: The Strange and Terrible Saga of the Outlaw Motorcycle Gangs, is a more conventional piece, and shows the beginnings of a more memoir-based approach to reportage. Gay Talese's 1966 article for Esquire, Frank Sinatra Has a Cold, was an influential piece of new journalism that gave a detailed portrait of Frank Sinatra without ever interviewing him. New journalism writers brought new approaches to areas already covered by the mainstream press. The psychedelic movement was something that many of the writers of the period covered, such as in Tom Wolfe's The Electric Kool-Aid Acid Test. The Vietnam War was another common topic, as was the political turmoil on the homefront. Terry Southern's Grooving in Chi [8] documented the 1968 Chicago National Democratic Convention for Esquire in new journalism manner. New journalism's techniques were also applied to less obvious subjects, such as financial markets (by George Goodman under the pseudonym Adam Smith, in essays originally published in New York magazine and later collected in a book called The Money Game.)

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Norman Mailer at the Miami Book Fair International of 1988

Some authors of conventional fiction switched to writing in the style of new journalism, such as Truman Capote's In Cold Blood, and Norman Mailer's Armies of the Night. However, neither author ever agreed to their style's comparison to Wolfe's school of narration, nor did many others who have been retrospectively promoted as being members and therein associated. Much to the contrary, many of these writers would deny that their work was generically relevant to other new journalists at the time.

Early development, the sixties


How and when the term New Journalism began to refer to a genre has not been clear.[9] Tom Wolfe, a practitioner and principal advocate of the form,[9] wrote in at least two articles[10] [11] in 1972 that he had no idea of where it began. Trying to shed light on the matter, literary critic Seymour Krim, offered his explanation in 1973. "I'm certain that [Pete] Hamill first used the expression. In about April of 1965 he called me at Nugget Magazine, where I was editorial director, and told me he wanted to February 14, 1972, article in New York, by Tom Wolfe, announcing the birth write an article about new New of New Journalism Journalism. It was to be about the exciting things being done in the old reporting genre by Talese, Wolfe and Breslin. He never wrote the piece, so far as I know, but I began using the expression in conversation and writing. It was picked up and stuck."[12] But wherever and whenever the term arose, there is evidence of some literary experimentation in the early 1960s, as when Norman Mailer broke away from fiction to write Superman Comes to the Supermarket.[13] A report of John F. Kennedy's nomination that year, the piece established a precedent which Mailer would later build on in his 1968

New Journalism convention coverage (Miami and the Siege of Chicago) and in other nonfiction as well. Wolfe wrote that his first acquaintance with a new style of reporting came in a 1962 Esquire article about Joe Louis by Gay Talese. "'Joe Louis at Fifty'a wasn't like a magazine article at all. It was like a short story. It began with a scene, an intimate confrontation between Louis and his third wife..."[14] Wolfe said Talese was the first to apply fiction techniques to reporting. Esquire claimed credit as the seedbed for these new techniques. Esquire editor Harold Hayes later wrote that "in the Sixties, events seemed to move too swiftly to allow the osmotic process of art to keep abreast, and when we found a good novelist we immediately sought to seduce him with the sweet mysteries of current events."[15] Soon others, notably New York, followed Esquire's lead, and the style eventually infected other magazines and then books.[16]

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The seventies
Much of the criticism favorable to this New Journalism came from the writers themselves. Talese and Wolfe, in a panel discussion cited earlier, asserted that, although what they wrote may look like fiction, it was indeed reporting: "Fact reporting, leg work." Talese called it.[17] Wolfe, in Esquire for December, 1972, hailed the replacement of the novel by the New Journalism as literature's "main event"[18] and detailed the points of similarity and contrast between the New Journalism and the novel. The four techniques of realism that he and the other New Journalists employed, he wrote, had been the sole province of novelists and other literati. They are scene-by-scene construction, full record of dialogue, third-person point of view and the manifold incidental details to round out character (i.e., descriptive incidentals).[19] the result ... is a form that is not merely like a novel. It consumes devices that happen to have originated with the novel and mixes them with every other device known to prose. And all the while, quite beyond matters of technique, it enjoys an advantage so obvious, so built-in, one almost forgets what power it has': the simple fact that the reader knows all this actually happened. The disclaimers have been erased. The screen is gone. The writer is one step closer to the absolute involvement of the reader that Henry James and James Joyce dreamed of but never achieved.[20] The essential difference between the new nonfiction and conventional reporting is, he said, that the basic unit of reporting was no longer the datum or piece of information but the scene. Scene is what underlies "the sophisticated strategies of prose."[21] The first of the new breed of nonfiction writers to receive wide notoriety was Truman Capote,[22] whose 1965 best-seller, In Cold Blood, was a detailed narrative of the murder of a Kansas farm family. Capote culled material from some 6,000 pages of notes.[22] The book brought its author instant celebrity.[23] Capote announced that he had created a new art form which he labelled the "nonfiction novel."[22] I've always had the theory that reportage is the great unexplored art form... I've had this theory that a factual piece of work could explore whole new dimensions in writing that would have a double effect fiction does not havethe every fact of its being true, every word of its true, would add a double contribution of strength and impact[24] Capote continued to stress that he was a literary artist, not a journalist, but critics hailed the book as a classic example of New Journalism.[22]
Truman Capote, as photographed by Roger Higgins in 1959.

New Journalism Wolfe's The Kandy-Kolored Tangerine-Flake Streamline Baby, whose introduction and title story, according to James E. Murphy, "emerged as a manifest of sorts for the nonfiction genre,"[22] was published the same year. In his introduction,[25] Wolfe wrote that he encountered trouble fashioning an Esquire article out of material on a custom car extravaganza in Los Angeles, in 1963. Finding he could not do justice to the subject in magazine article format, he wrote a letter to his editor, Byron Dobell, which grew into a 49-page reportb detailing the custom car world, complete with scene construction, dialogue and flamboyant description. Esquire ran the letter, striking out "Dear Byron." and it became Wolfe's maiden effort as a New Journalist.[22] In an article entitled "The Personal Voice and the Impersonal Eye", Dan Wakefield acclaimed the nonfiction of Capote and Wolfe as elevating reporting to the level of literature, terming that work and some of Norman Mailer's nonfiction a journalistic breakthrough: reporting "charged with the energy of art".[26] A review by Jack Newfield of Dick Schaap's Turned On saw the book as a good example of budding tradition in American journalism which rejected many of the constraints of conventional reporting: This new genre defines itself by claiming many of the techniques that were once the unchallenged terrain of the novelist: tension, symbol, cadence, irony, prosody, imagination.[27] A 1968 review of Wolfe's The Pump House Gang and The Electric Kool-Aid Acid Test said Wolfe and Mailer were applying "the imaginative resources of fiction"[28] to the world around them and termed such creative journalism "hystory" to connote their involvement in what they reported. Talese in 1970, in his Author's Note to Fame and Obscurity, a collection of his pieces from the 1960s, wrote: The new journalism, though often reading like fiction, is not fiction. It is, or should be, as reliable as the most reliable reportage although it seeks a larger truth than is possible through the mere compilation of verifiable facts, the use of direct quotations, and adherence to the rigid organizational style of the older form.[29] Seymour Krim's Shake It for the World, Smartass, which appeared in 1970, contained "An Open Letter to Norman Mailer"[30] which defined New Journalism as "a free nonfictional prose that uses every resource of the best fiction."[31] In "The Newspaper As Literature/Literature As [32] Leadership", he called journalism the de facto literature of the majority,[33] a synthesis of journalism and literature that the book's postscript called "journalit."[34] In 1972, in "An Enemy of the Novel", Krim identified his own fictional roots and Hunter S. Thompson at the Miami Book Fair International of 1988. declared that the needs of the time compelled him to move beyond fiction to a more "direct" communication to which he promised to bring all of fiction's resources.[35] David McHam, in an article titled "The Authentic New Journalists", distinguished the nonfiction reportage of Capote, Wolfe and others from other, more generic interpretations of New Journalism.[36] Also in 1971, William L. Rivers disparaged the former and embraced the latter, concluding, "In some hands, they add a flavor and a humanity to journalistic writing that push it into the realm of art."[37] Charles Brown in 1972 reviewed much that had been written as New Journalism and about New Journalism by Capote, Wolfe, Mailer and others and labelled the genre "New Art Journalism," which allowed him to test it both as art and as journalism. He concluded that the new literary form was useful only in the hands of literary artists of great talent.[38]

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New Journalism In the first of two pieces by Wolfe in New York detailing the growth of the new nonfiction and its techniques, Wolfe returned to the fortuitous circumstances surrounding the construction of Kandy-Kolored and added: Its virtue was precisely in showing me the possibility of there being something "new" in journalism. What interested me was not simply the discovery that it was possible to write accurate nonfiction with techniques usually associated with novels and short stories. It was thatplus. It was the discovery that it was possible in nonfiction, in journalism, to use any literary device, from the traditional dialogisms of the essay to stream-of-consciousness...

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The eighties
In the eighties, the use of New Journalism saw a decline, several of the old trailblazers still used fiction techniques in their nonfiction books.[39] However, younger writers in Esquire and Rolling Stone, where the style had flourished in the two earlier decades, shifted away from the New Journalism. Fiction techniques had not been abandoned by these writers, but they were used sparingly and less flamboyantly. "Whatever happened to the New Journalism?" wondered Thomas Powers in a 1975 issue of Commonweal. In 1981, Joe Nocera George Plimpton at the Miami Book Fair International, published a postmortem in the Washington Monthly blaming its November 11, 1987 demise on the journalistic liberties taken by Hunter S. Thompson. Regardless of the culprit, less than a decade after Tom Wolfe's 1973 New Journalism anthology, the consensus was that New Journalism was dead.[40]

Characteristics
As a literary genre, New Journalism has certain technical characteristics. It is an artistic, creative, literary reporting form with three basic traits: dramatic literary techniques; intensive reporting; and reporting of generally acknowledged subjectivity.[41]

As subjective journalism
Pervading many of the specific interpretations of New Journalism is a posture of subjectivity. Subjectivism is thus a common element among many (though not all) of its definitions.[42] In contrast to a conventional journalistic striving for an objectivity, subjective journalism allows for the writer's opinion, ideas or involvement to creep into his story. Much of the critical literature concerns itself with a strain of subjectivism which may be called activism in news reporting.[42] In 1970, Gerald Grant wrote disparagingly in Columbia Journalism Review of a "New Journalism of passion and advocacy"[43] and in the Saturday Review Hohenberg discussed "The Journalist As Missionary"[44] For Masterson in 1971, "The New Journalism" provided a forum for discussion of journalistic and social activism. In another 1971 article under the same title, Ridgeway called the counter-culture magazines such as The New Republic and Ramparts and the American underground press New Journalism. Another version of subjectivism in reporting is what is sometimes called participatory reporting. Robert Stein, in Media Power, defines New Journalism as "A form of participatory reporting that evolved in parallel with participatory politics..."[45]

New Journalism

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As form and technique


The above interpretations of New Journalism view it as an attitude toward the practice of journalism. But a significant portion of the critical literature deals with form and technique.[9] Critical comment dealing with New Journalism as a literary-journalistic genre (a distinct type of category of literary work grouped according to similar and technical characteristics[46] ) treats it as the new nonfiction. Its traits are extracted from the criticism written by those who claim to practice it and by others.[9] Admittedly it is hard to isolate from a number of the more generic meanings. The new nonfiction where sometimes taken for advocacy of subjective journalism.[9] A 1972 article by Dennis Chase[47] defines New Journalism as a subjective journalism emphasizing "truth" over "facts" but uses major nonfiction stylists as its example.

As intensive reportage
Although much of the critical literature discussed the use of literary or fictional techniques as the basis for a New Journalism, critics also referred to the form as stemming from intensive reporting.[48] Stein, for instance, found the key to New Journalism not its fictionlike form but the "saturation reporting" which precedes it, the result of the writer's immersion in his subject. Consequently, Stein concluded, the writer is as much part of his story as is the subject[49] and he thus linked saturation reporting with subjectivity. For him, New Journalism is inconsistent with objectivity or accuracy.[50] However, others have argued that total immersion enhances accuracy. As Wolfe put the case: I am the first to agree that the New Journalism should be as accurate as traditional journalism. In fact my claims for the New Journalism, and my demands upon it, go far beyond that. I contend that it has already proven itself more accurate than traditional journalismwhich unfortunately is saying but so much...[51] Wolfe coined "saturation reporting" in his Bulletin of the American Society of Newspaper Editors article. After citing the opening paragraphs of Talese's Joe Louis piece, he confessed believing that Talese had "piped" or faked the story, only later to be convinced, after learning that Talese so deeply delved into the subject, that he could report entire scenes and dialogues. The basic units of reporting are no longer who-what-when-where-how and why but whole scenes and stretches of dialogue. The New Journalism involves a depth of reporting and an attention to the most minute facts and details that most newspapermen, even the most experienced, have never dreamed of.[14] In his "Birth of the New Journalism" in New York, Wolfe returned to the subject, which he here described as a depth of information never before demanded in newspaper work. The New Journalist, he said, must stay with his subject for days and weeks at a stretch.[10] In Wolfe's Esquire piece, saturation became the "Locker Room Genre" of intensive digging into the lives and personalities of one's subject, in contrast to the aloof and genteel tradition of the essayists and "The Literary Gentlemen in the Grandstand."[11] For Talese, intensive reportage took the form of interior monologue to discover from his subjects what they were thinking, not, he said in a panel discussion reported in Writer's Digest, merely reporting what people did and said.[17] Wolfe identified the four main devices New Journalists borrowed from literary fiction:[52] Telling the story using scenes rather than historical narrative as much as possible Dialogue in full (Conversational speech rather than quotations and statements) Point-of-view (present every scene through the eyes of a particular character) Recording everyday details such as behavior, possessions, friends and family (which indicate the "status life" of the character) Despite these elements, New Journalism is not fiction. It maintains elements of reporting including strict adherence to factual accuracy and the writer being the primary source. To get "inside the head" of a character, the journalist

New Journalism asks the subject what they were thinking or how they felt.

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Practitioners
Writers
Which writer who are New Journalists is hard to define. In The New Journalism: A Critical Perspective Murphy writes, "A a literary genre, New Journalism [...] involves a more or less well defined group of writers [...]. Each is stylistically unique, but all sharing common formal elements."[41] Among the most prominent writers of New Journalism, Murphy lists: Jimmy Breslin, Truman Capote, Joan Didion, David Halberstam, Pete Hamill, Larry King, Norman Mailer, Joe McGinniss, Rex Reed, Mike Royko, John Sack, Dick Schaap, Terry Southern, Gail Sheehy, Gay Talese, Hunter S. Thompson, Dan Wakefield, and Tom Wolfe.[41] In The New Journalism, Johnson and Wolfe, also includes George Plimpton for his Paper Lion, Life writer James Mills, Robert Christgau and a few others. Christgau, however, stated in an 2001 interview that he did not see himself as a New Journalist.[53]

Editors
The editors Clay Felker and Harold Hayes also contributed to the rise of New Journalism.

Criticism
While many praised the New Journalist's style of writing, Wolfe et al., also received severe criticism from contemporary journalists and writers. Essentially two different charges were leveled against New Journalism: criticism against it as a distinct genre and criticism against it as a new form.[54] [55] Robert Stein believed that "In the New Journalism the eye of the beholder is allor almost all,"[56] and in 1971 Philip M. Howard, wrote that the new nonfiction writers rejected objectivity in favor of a more personal, subjective reportage.[57] This parallels much of what Wakefield said in his 1966 Atlantic article. The important and interesting and hopeful trend to me in the new journalism is its personal naturenot in the sense of personal attacks, but in the presence of the reporter himself and the significance of his own involvement. This is sometimes felt to be egotistical, and the frank identification of the author, especially as the "I" instead of merely the impersonal "eye" is often frowned upon and taken as proof of "subjectivity," which is the opposite of the usual journalistic pretense.[26] And in spite of the fact that Capote believed in the objective accuracy of In Cold Blood and strove to keep himself totally out of the narrative, one reviewer found in the book the "tendency among writers to resort to subjective sociology, on the other hand, or to super-creative reportage, on the other."[58] Charles Self[59] termed this characteristic of New Journalism as "admitted" subjectivity, whether first-person or third-person, and acknowledged the subjectivity inherent in his account. Lester Markel polemically criticized New Journalism in the Bulletin of the American Society of Newspaper Editors, he rejected the claim to greater in-depth reporting and labelled the writers "factual fictionists" and "deep-see reporters."[60] He feared they were performing as sociologists and psychoanalysts rather than as journalists. More reasoned, though still essentially negative, Arlen in his 1972 "Notes on the New Journalism," put the New Journalism into a larger socio-historical perspective by tracing the techniques from earlier writers and from the constraints and opportunities of the current age. But much of the more routine New Journalism "consists in exercises by writer . . . in gripping and controlling and confronting a subject within the journalist's own temperament. Presumably," he wrote, "this is the 'novelistic technique.'"[61] However, he conceded that the best of this work had "considerably expanded the possibilities of journalism."[61] Much negative criticism of New Journalism were directed at individual writers.[62] For example, Cynthia Ozick asserted in The New Republic, that Capote in In Cold Blood was doing little more than trying to devise a form: "One

New Journalism more esthetic manipulation."[63] Sheed offered, in "A Fun-House Mirror," a witty refutation of Wolfe's claim that he takes on the expression and the guise of whomever he is writing about. "The Truman Capotes may hold up a tolerably clear glass to nature," he wrote, "but Wolfe holds up a fun-house mirror, and I for one don't give a hoot whether he calls the reflection fact or fiction."[64]

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"Parajournalism" and the New Yorker affair


Among the hostile critics of the New Journalism were Dwight MacDonald,[65] whose most vocal criticism compromised a chapter in what became known as "the New Yorker affair" of 1965. Wolfe had written a two-part semi-fictional parody in New York[66] of The New Yorker and its editor, William Shawn. Reaction notably from New Yorker writers, was loud and prolonged,[67] c but the most significant reaction came from MacDonald, who counterattacked in two articles in the New York Review of Books.[68] [69] In the first, MacDonald termed Wolfe's approach "parajournalism" and applied it to all similar styles. "Parajournalism," MacDonald wrote, ... seems to be journalism"the collection and dissemination of current news"but the appearance is deceptive. It is a bastard form, having it both ways, exploiting the factual authority of journalism and the atmospheric license of fiction.[68] The New Yorker parody, he added, "... revealed the ugly side of Parajournalism when it tries to be serious."[68] In his second article, MacDonald addressed himself to the accuracy of Wolfe's report. He charged that Wolfe "takes a middle course, shifting gears between fact and fantasy, spoof and reportage, until nobody knows which end is, at the moment, up".[69] New Yorker writers Renata Adler and Gerald Jonas joined the fray in the Winter 1966 issue of Columbia Journalism Review.[70] Wolfe himself returned to the affair a full seven years later, devoting the second of his two February New York articles[71] (1972) to his detractors but not to dispute their attack on his factual accuracy. He argued that most of the contentions arose because for traditional literati nonfiction should not succeedwhich his nonfiction obviously had.[71]

Gail Sheehy and "Redpants"


In The New Journalism: A Critical Perspective, Murphy writes, "Partly because Wolfe took liberties with the facts in his New Yorker parody, New Journalism began to get a reputation for juggling the facts in the search for truth, fictionalizing some details to get a larger 'reality.'"[72] Widely criticized was the technique of the composite character,[72] the most notorious example of which was "Redpants," a presumed prostitute whom Gail Sheehy wrote about in New York in a series on that city's sexual subculture. When it later became known that the character was distilled from a number of prostitutes, there was an outcry against Sheehy's method and, by extension, to the credibility of all of New Journalism.[72] In the Wall Street Journal, one critic wrote: It's all part of the New Journalism, or the Now Journalism, and it's practiced widely these days. Some editors and reporters vigorously defend it. Others just as vigorously attack it. No one has polled the reader, but whether he approves or disapproves, it's getting harder and harder for him to know what he can believe.[73] Newsweek reported that critics felt Sheehy's energies were better suited to fiction than fact.[74] John Tebbel, in an article in Saturday Review,[75] although treating New Journalism in its more generic sense as new a trend, chided it for the fictional technique of narrative leads which the new nonfiction writers had introduced into journalism and deplored its use in newspapers.

New Journalism

138

Criticism against New Journalism as a distinct genre


Newfield, in 1972, changed his attitude since his earlier, 1967,[27] review of Wolfe. "New Journalism does not exist," the later article titled "Is there a 'new journalism'?"[76] says. "It is a false category. There is only good writing and bad writing, smart ideas and dumb ideas, hard work and laziness."[76] While the practice of journalism had improved during the past fifteen years, he argued, it was because of an influx of good writers notable for unique styles, not because they belonged to any school or movement.[76] Jimmy Breslin, who is often labelled a New Journalist, took the same view: "Believe me, there is no new journalism. It is a gimmick to say there is . . . Story telling is older than the alphabet and that is what it is all about."[77]

References and Notes


[1] [2] [3] [4] [5] [6] [7] [8] Park 1967 [1925], p. 93. Ault & Emery 1959, p. 11. Hohenberg 1960, p. 322. Murphy 1974, p. 2 MacDougal 1971, p. v. Dennis ed. The Magic Writing Machine.(1971) see also The New Journalism in America. Dennis & Rivers eds (1974). Johnson 1971 http:/ / www. pbs. org/ newshour/ convention96/ retro/ southern. html

[9] Murphy 1974, p. 4. [10] The Birth of 'The New Journalism'; Eyewitness Report by Tom Wolfe (http:/ / nymag. com/ news/ media/ 47353/ ) New York, February 14, 1972. p. 45 [11] Why They Aren't Writing the Great American Novel Anymore, Esquire, December, 1972, p. 152. [12] In a private letter to James E. Murphy, dated February 6, 1973 (see Murphy 1974, p. 5.) [13] Esquire, November, 1960. [14] Wolfe. The New Journalism Bulletin of the American Society of Newspaper Editors. September, 1970. [15] Hayes ed., 1970, p. xxi. [16] Murphy 1974, p. 5. [17] Hayes, Gay Talese and Wolfe, with Leonard W. Robinson, The New Journalism. Writer's Digest. January. 1970, p. 34. [18] Esquire, pp. 152-159: 272-280 [19] Esquire, p. 158. [20] Esquire, p. 272. [21] Esquire, p. 278. [22] Murphy 1974, p. 7. [23] See for example. J. Howard, Six Year Literary Virgil, Life, January 7, 1966: George Plimpton, Story behind a Nonfiction Novel, New York Times Book Review, January 16, 1966: G. Hicks, Story of an American Tragedy, Saturday Review, January 22, 1966: Neil Compton, Hyjinks' Journalism, Commentary, February, 1966. [24] Capote, as quoted by Roy Newquist, Counterpoint, (Rand McNally, 1964), p. 78. [25] Wolfe 1965, pp. ix-xii. [26] Dan Wakefield, The Personal Voice and the Impersonal Eye, The Atlantic, June, 1966, pp. 86-89. [27] Jack Newfield, Hooked and Dead, New York Times Book Review, May 7, 1967, p. 20. [28] Robert Scholes, Double Perspective on Hysteria, Saturday Review, August 24. 1968. p. 37. [29] Talese 1970, p. vii. [30] First published in Evergreen Review, February 1, 1967. [31] Krim 1970, p. 115. [32] First published in Evergreen Review, August 1, 1967. [33] Krim 1970, p. 359. Let once-mighty literature swallow its whitefaced pride and give its mythic propensity to journalismthe de facto literature of our time. [34] Krim 1970, p. 365. [35] Krim. An Enemy of the Novel. The Iowa Review, Winter 1972, pp. 60-62. [36] David McHam, The Authentic New Journalists, Quill, September, 1971, pp. 9-14. [37] William L. Rivers , The New Confusion, The Progressive, December, 1971, p. 28. [38] Charles Brown, New Art Journalism Revisited, Quill, March, 1972, pp. 18-23. [39] For example, Tom Wolfe (The Right Stuff, 1979), Gay Talese (Thy Neighbors Wife, 1980), and Hunter S. Thompson (The Curse of Lono, 1983) [40] Robert Boynton (January 23, 2005). "Whatever happened to New Journalism?". Los Angeles Times.

New Journalism
[41] Murphy 1974, p. 16. [42] Murphy 1974, p. 3. [43] 1970, pp. 12-17. [44] Saturday Review. February 11, 1970, pp. 76-77. [45] Stein 1972, p. 165. [46] The definition is based on that of William F. Thrall, et al., A Handbook to Literature (1960), p. 211. [47] Dennis Chase. From Lippmann to Irving to New Journalism, Quill August, 1972. pp. 19-21. [48] See, for example, Charles Self, The New Journalism? Quill and Scroll, DecemberJanuary, 1973, pp. 10-11: The new journalism requires days, weeks or even months of research for each story. The new journalist writes from a detailed knowledge of his subject. (p. 11) [49] Smith 1972, p. 167. [50] Murphy 1972, p. 10. [51] *Wolfe, Tom (February 21, 1972). "The New Journalism: A la Recherche des Whichy Thickets". New York Magazine (New York Media LLC): p.46. [52] Beuttler, Bill. "Whatever Happened to the New Journalism?" (http:/ / billbeuttler. com/ work50. htm). BillBeuttler.com. . Retrieved 2007-09-09. [53] Cartwright, Garth (May 12, 2001). "Master of the Rock Review" (http:/ / www. guardian. co. uk/ books/ 2001/ may/ 12/ music). The Guardian (Guardian Media Group). . "Being a reporter was another path I could have gone down, but the kind of journalism New Journalism requires is not only powers of observation but the ability to hang around people for hours and hours . . . the qualities of being a real asshole . . . and it's just not me." [54] Murphy 1974, p. 15 [55] See for example, Jack Newfield, Columbia Journalism Review, JulyAugust, 1972, p. 45., What is called the New Journalism is really a dozen different styles of writing. [56] Stein 1972, p. 168. [57] Philip M. Howard. Jr., The New Journalism: A Nonfiction Concept of Writing, unpublished master's thesis, University of Utah, August, 1971, 5 ff. (see Murphy 1974, p. 11.) [58] F. W. Dupre, Truman Capote's Score, New York Review of Books, February 3, 1966, p. 5. [59] Charles Self, The New Journalism? Quill and Scroll, DecemberJanuary, 1973, pp. 10-11 [60] Lester Markel, So What's New? Bulletin of the American Society of Newspaper Editors, January, 1972, p. 8. [61] Michael J. Arlen, Notes on the New Journalism, Atlantic, may, 1972, p. 47. [62] Murphy 1974, p. 14. [63] Cynthia Ozick, Reconsideration: Truman Capote, The New Republic, January 27, 1973, p. 34. [64] Wilfrid Sheed, A Fun-House Mirror, New York Times Book Review, December 3, 1972, p. 2. [65] Murphy 1974, p. 12. [66] Wolfe, Tiny Mummies! The True Story of the Ruler of 43rd Street's Land of the Walking Dead, New York, April 11, 1965, pp. 7-9: 24-29: and Lost in the Whichy Thicket, New York, April 18, 1965, 16 ff. At the time, New York was still the Sunday magazine for the now deceased New York Herald Tribune. [67] "The New Yorker Affair: From Other Angles" (http:/ / archives. cnn. com/ 2002/ SHOWBIZ/ News/ 04/ 16/ bellows. abc/ ). CNN.com. April 16, 2002. . Retrieved January 7, 2010. [68] Dwight MacDonald. Parajournalism, or Tom Wolfe and His Magic Writing Machine, New York Review of Books, August 26, 1965, pp. 3-5 [69] Parajournalism II: Wolfe and the New Yorker, New York Review of Books, February 3, 1966, pp. 18-24. [70] Leonard C. Lewin, with Renata Adler and Gerald Jonas, Is Fact Necessary?, Columbia Journalism Review, Winter, 1966, pp. 29-34. [71] New York, February 21, 1972, pp. 39-48 [72] Murphy 1974, p. 13. [73] W. Steward Pinkerton. Jr., The New Journalism is Something Less Than Meets the Eye. Wall Street Journal, August 13, 1971, p. 1. [74] Newsweek, December 4, 1972, p. 61. [75] John Tebbel, The Old New Journalism, Saturday Review, March 13, 1971, pp. 96-67. [76] Jack Newfield, Columbia Journalism Review, JulyAugust, 1972, pp. 45-47. [77] In a personal letter to Philip Howard, quoted on Howard's p. 9.

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Notes a The article Wolfe referred to was actually titled Joe Louisthe King As a Middle-Aged Man, Esquire, June, 1962. b Wolfe's letter had the original title There Goes (Varoom! Varoom!) That Kandy-Kolored (Thphhhhhh!) Tangerine-Flake Streamline Baby (Rahghhh!) Around the Bend (Brummmmmmmmmmmmmmm).... The title was later contracted to The Kandy-Kolored Tangerine-Flake Streamline Baby, which became the title of the book, published in 1965. c For example, J.D. Salinger wrote to Jock Whitney With the printing of the inaccurate and sub-collegiate and

New Journalism gleeful and unrelievedly poisonous article on William Shawn, the name of the Herald Tribune, and certainly your own will very likely never again stand for anything either respect-worthy or honorable. E. B. White's letter to Whitney, dated April 1965, contains the following passage: Tom Wolfe's piece on William Shawn violated every rule of conduct I know anything about. It is sly, cruel, and to a large extent undocumented, and it has, I think, shocked everyone who knows what sort of person Shawn really is[...], and Shawn's hand-delivered letter to Whitney, sent Thursday before publication on April 11, 1965, read To be technical for a moment, I think that Tom Wolfe's article on The New Yorker is false and libelous. But I'd rather not be technical ... I cannot believe that, as a man of known integrity and responsibility, you will allow it to reach your readers ... The question is whether you will stop the distribution of that issue of New York. I urge you to do so, for the sake of The New Yorker and for the sake of the Herald Tribune. In fact, I am convinced that the publication of that article will hurt you more than it will hurt me ... Bellows 2002, pp.34. Bibliography Ault, Philip H.; Emery, Edwin (1959). Reporting the News. Dodd, Mead and Company. Bellows, James G. (2002). The Last Editor: How I Saved the New York Times, the Washington Post, and the Los Angeles Times from Dullness and Complacency. Andrews McMeel Publishing. ISBN0-7407-1901-7. Burgess, Ernest W.; Park, Robert E., eds (1967) [1925]. "Natural History of the Newspaper". The City: Suggestions for Investigation of Human Behavior in the Urban Environment. University of Chicago Press. ISBN0226646114. Eason, David (Spring 1982). "New Journalism, Metaphor and Culture". Journal of Popular Culture 15: 142149. Dennis, Everette E., ed (1971). The Magic Writing MachineStudent Probes of the New Journalism. University of Oregon Press. Dennis, Everette E.; Rivers, William L., eds (1974). Other Voices: The New Journalism in America. Canfield Press. ISBN0063825627. Grant, Gerald (Spring 1970). "The "New Journalism" We Need". Columbia Journalism Review (Columbia University Press). Hohenberg, John (February 11, 1970). "The Journalist As Missionary". Saturday Review: pp.7677. Hayes, Harold, ed (1970). Smiling Through the ApocalypseEsquire's History of the Sixties. McCall.) Hohenberg, John (1960). The Professional Journalist: A Guide to the Practices and Principles of the News Media. Henry Holt and Company. ISBN0030182263. Johnson, Michael (1971). The New Journalism: The Underground Press, the Artists of Nonfiction, and Changes in the Established Media. University of Kansas Press. ISBN0023731109. Krim, Seymour (1970). Shake It for the World, Smartass. Dial Press. MacDougal, Curtis D. (1972). Interpretative Reporting (Sixth ed.). Macmillan. ISBN0023731109. Mailer, Norman (November, 1960). "Superman Comes to the Supermarket" (http://www.esquire.com/features/ superman-supermarket). Esquire (Hearst Corporation). McQuade, Donald, ed (1974). Popular Writing in America: The Interaction of Style and Audience. Oxford University Press. Murphy, James E. (May 1974). Westley, Bruce H.. ed. "The New Journalism: A Critical Perspective". Journalism Monographs (The Association for Education in Journalism) 34. Russello, Gerald J. (November 21, 2005). "How New Journalism Became Old News" (http://www.nysun.com/ arts/how-new-journalism-became-old-news/23300/). The New York Sun (ONE SL LLC). Stein, Robert (1972). Media Power; Who Is Shaping Your Picture of the World?. Houghton Mifflin. ISBN0395140064. Talese, Gay (1970). Fame and Obscurity. World Publishing Corporation. ISBN0030182263. Wolfe, Tom (July 14, 2008). "A City Built of Clay" (http://nymag.com/news/media/48341/index5.html). New York Magazine (New York Media LLC).

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New Journalism Wolfe, Tom (February 14, 1972). "The Birth of 'The New Journalism'; Eyewitness Report by Tom Wolfe" (http:// nymag.com/news/media/47353/). New York Magazine (New York Media LLC): p.44. Wolfe, Tom (February 21, 1972). "The New Journalism: A la Recherche des Whichy Thickets". New York Magazine (New York Media LLC): p.46. Wolfe, Tom (December 1972). "Why They Aren't Writing the Great American Novel Anymore". Esquire (Hearst Corporation).

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Further reading
Flippen, Charles C. (1974). Liberating the Media: The New Journalism. Acropolis Books. ISBN0874913624. Hollowell, John (1977). Fact & Fiction: The New Journalism and the Nonfiction Novel. University of North Carolina Press. ISBN0807812811. Johnson, E. W.; Wolfe, Tom (1973). The New Journalism. Harper & Row. ISBN0060147075. Mills, Nicolaus (1974). The New Journalism: A Historical Anthology. McGraw-Hill. ISBN0070423504. Polsgrove, Carol (1995). It Wasn't Pretty, Folks, But Didn't We Have Fun?: Surviving the '60s with Esquire's Harold Hayes. W. W. Norton & Company. ISBN1-57143-091-1. Weber, Ronald (1974). The Reporter as Artist: A Look at the New Journalism Controversy. Hastings House. ISBN0803863306. Weingarten, Marc (2006). The Gang That Wouldn't Write Straight: Wolfe, Thompson, Didion, and the New Journalism Revolution. Crown Publishers. ISBN1400049148. Of honest men & good writers (http://blogs.villagevoice.com/runninscared/2011/02/jack_newfield_t. php#more) Jack Newfield making the case against New Journalism as a distinct genre in a Village Voice article published May 18, 1972

External links
"The 7 Greatest Stories in the History of Esquire Magazine" (http://www.esquire.com/features/page-75/ greatest-stories). Esquire (Hearst Corporation). November 30, 2009. Retrieved December 31, 2009. Biographical dictionary of 24,000+ British and Irish journalists who died between 1800 and 1960 (http://www. scoop-database.com/).

Memoir

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Memoir
A memoir (from French: mmoire/ Latin: memoria, meaning memory, or reminiscence), is a literary genre, forming a subclass of autobiography although the terms 'memoir' and 'autobiography' are almost interchangeable. Memoir is autobiographical writing, but not all autobiographical writing follows the criteria for memoir set out below. The author of a memoir may be referred to as a memoirist. Examples of memoirs now considered "classic" include Henry David Thoreau's Walden or Harriet Jacobs' Incidents in the Life of a Slave Girl.

The nature of memoirs


Memoirs are structured differently from formal autobiographies which tend to encompass the writer's entire life span, focusing on the development of his or her personality. The chronological scope of a memoir is determined by the work's context and is therefore more focused and flexible than the traditional arc of birth to old age as found in an autobiography. Memoirs tended to be written by politicians or people in court society, later joined by military leaders and businessmen, and often dealt exclusively with the writer's careers rather than their private life. Historically, memoirs have dealt with public matters, rather than personal. Many older memoirs contain little or no information about the writer, and are almost entirely concerned with other people. Modern expectations have changed this, even for heads of government. Like most autobiographies, memoirs are generally written from the first person point of view. Gore Vidal, in his own memoir Palimpsest, gave a personal definition: "a memoir is how one remembers one's own life, while an autobiography is history, requiring research, dates, facts double-checked." It is more about what can be gleaned from a section of one's life than about the outcome of the life as a whole. Humorist Will Rogers put it a little more pithily: "Memoirs means when you put down the good things you ought to have done and leave out the bad ones you did do." Contemporary practices of writing memoirs for recreational, family or therapeutic purposes are sometimes referred to as legacy writing or personal history. Such products may be assisted by professional or amateur genealogists, or by ghostwriters.

Types of memoir
The rhetor Libanius (ca. 314 ca. 394) framed his life memoir as one of his orations, not the public kind, but the literary kind that would be read aloud in the privacy of one's study. This kind of memoir refers to the idea in ancient Greece and Rome, that memoirs were like "memos," pieces of unfinished and unpublished writing which a writer might use as a memory aid to make a more finished document later on. In modern times, memoirs have often been written by politicians or military leaders as a way to record and publish their own account of their public exploits. Some contemporary women writers have combined the memoir form with historical non-fiction writing. Examples include Jung Chang's Wild Swans, Heda Margolius Kovaly's Under a Cruel Star and Helen Epstein's Where She Came From. Other professional contemporary writers such as David Sedaris and Augusten Burroughs have specialized in writing amusing essays in the form of memoirs. To some extent this is an extension of the tradition of newspaper columnists' regular accounts of their lives. (Cf. the work of James Thurber which often has a strong memoir-like content).

Memoir

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Memoir collection projects


With the expressed interest of preserving history through the eyes of those who lived it, there are many organizations that work with potential memoirists to bring their work to fruition. The Veterans History Project, for example, compiles the memoirs of those who have served in a branch of the US Military - especially those who have seen active combat.[1] Many public libraries give Memoir Writing classes that are geared towards senior citizens and some autobiographical service companies periodically publish memoir collections featuring clients that participated at no cost.[2]

References
[1] http:/ / www. loc. gov/ vets [2] e.g., http:/ / www. wickedlocal. com/ scituate/ news/ x529239934/ Library-offers-memoir-class

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Visual Theory
Scott McCloud
Scott McCloud

McCloud, RISD, March 2007. Born Scott McLeod June 10, 1960 Boston, Massachusetts, U.S. American cartoonist, theorist

Nationality Area(s)

Notable works Zot! Understanding Comics Reinventing Comics Making Comics Superman Awards Russ Manning Award, 1985 12-time nominee for [1] Eisner, Harvey awards Official website [2]

Scott McCloud (born Scott McLeod on June 10, 1960) is an American cartoonist and theorist on comics as a distinct literary and artistic medium.

Scott McCloud

145

Biography
McCloud was born in Boston, Massachusetts and spent most of his childhood in Lexington, Massachusetts. He obtained his Bachelor of Fine Arts in illustration from Syracuse University. McCloud created the light-hearted science fiction/superhero comic book series Zot! in 1984, in part as a reaction to the increasingly grim direction that superhero comics were taking in the 1980s. His other print comics include Destroy!! (a deliberately over-the-top, over-sized single-issue comic book, intended as a parody of formulaic superhero fights), the graphic novel The New Adventures of Abraham Lincoln (done with a mixture of computer-generated and manually-drawn digital images), 12 issues writing DC Comics' Superman Adventures, and the three-issue limited series Superman:

McCloud on the Making Comics Tour in Louisville, Kentucky

Strength.[3] He is best known as a comics theorist or as some say, the "Aristotle of comics",[4] following the publication in 1993 of Understanding Comics, a wide-ranging exploration of the definition, history, vocabulary, and methods of the medium of comics, itself in comics form.[5] He followed in 2000 with Reinventing Comics (also in comics form), in which he outlined twelve "revolutions" that he argued would be keys to the growth and success of comics as a popular and creative medium. Finally, in 2006, he released Making Comics. Following publication, he went on a tour with his family that included all 50 U.S. states and parts of Europe.[6] He was one of the earliest promoters of webcomics as a distinct variety of comics, and a vocal supporter of micropayments.[7] He was also an adviser to BitPass, a company that provided an online micropayment system, which he helped launch with the publication of The Right Number, an online graphic novella priced at US$0.25 for each chapter. McCloud maintains an active online presence on his web site where he publishes many of his ongoing experiments with comics produced specifically for the web. Among the techniques he explores is the "infinite canvas" permitted by a web browser, allowing panels to be spatially arranged in ways not possible in the finite, two-dimensional, paged format of a physical book.[5] His latest work is a comic book that formed the press release introducing Google's web browser, Google Chrome, which was published on September 1, 2008.[8] In 2009, McCloud was featured in The Cartoonist, a documentary film on the life and work of Jeff Smith, creator of Bone.[9]

Creator's Bill of Rights


McCloud was the principal author of the Creator's Bill of Rights, a 1988 document with the stated aim of protecting the rights of comic book creators and help aid against the exploitation of comic artists and writers by corporate work-for-hire practices.[10] The group that adopted the Bill also included artists Kevin Eastman, Dave Sim, and Stephen R. Bissette.[11] The Bill included twelve rights such as "The right to full ownership of what we fully create," and "The right to prompt payment of a fair and equitable share of profits derived from all of our creative work."[12]

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24-hour comic
In 1990, McCloud coined the idea of a 24-hour comic, a complete 24-page comic created by a single cartoonist in 24 consecutive hours. It was a mutual challenge with cartoonist Steve Bissette, intended to compel creative output with a minimum of self-restraining contemplation.[13] Thousands of cartoonists have since taken up the challenge. One of the notables to take up this challenge include Kevin Eastman, co-creator of Teenage Mutant Ninja Turtles. Rick Veitch also took up this challenge and used it as a springboard for his popular comic Rarebit Fiends [14]. Dave Sim used some of his work from this challenge in his comic.[15] Neil Gaiman finished his story in the 24 hours and created "The Gaiman Variation".[16] Gaiman's participation was later lampooned in "Ghastly's Ghastly Comic", calling him "Neil 'Eighteen Pages' Gaiman".

Bibliography
Zot! Zot!: Book One (Eclipse Books, 1991) ISBN 978-0913035047 Zot!: Book Two (Issues 11-15 & 17-18) (Kitchen Sink Press, 1998) ISBN 978-0878164288 Zot!: The Complete Black and White Collection: 1987-1991 (Harper Paperbacks, 2008) ISBN 0061537276 Understanding Comics Understanding Comics: The Invisible Art (1993, ISBN 0-613-02782-5) Reinventing Comics: How Imagination and Technology Are Revolutionizing an Art Form (2000, ISBN 0-06-095350-0) Making Comics: Storytelling Secrets of Comics, Manga and Graphic Novels (2006, ISBN 0-06-078094-0) The New Adventures of Abraham Lincoln (Image Comics, 1998) ISBN 978-1887279871 24 Hour Comics (editor) (About Comics, 2004) ISBN 978-0971633841

Notes
[1] [2] [3] [4] [5] [6] Lambiek Comiclopedia. "Scott McCloud" (http:/ / lambiek. net/ artists/ m/ mccloud. htm). . http:/ / www. ScottMcCloud. com Toko Buku Online. (http:/ / buku135. com/ detail_pengarang. php?ID=763) Wardrip-Fruin, Noah & Montfort, Nick (2003). The New Media Reader. The MIT Press. http:/ / www2. und. nodak. edu/ our/ uletter/ print_article. php?uletterID=2163 MIT news (September 20, 2006). "'Making Comics' author decodes cartoons" (http:/ / web. mit. edu/ newsoffice/ 2006/ mccloud-0920. html).

. [7] The Guardian (August 7, 2003). "Making the web pay" (http:/ / technology. guardian. co. uk/ online/ story/ 0,3605,1013313,00. html). . [8] McCloud, Scott (2008-09-01). "Google Chrome, behind the Open Source Browser Product" (http:/ / www. google. com/ googlebooks/ chrome/ ). Google. . Retrieved 2008-09-02. [9] http:/ / www. thecartoonistmovie. com [10] Coogan, Pete (September, 1990). "Creator's Rights". The Comics Journal p. 65-71 [11] McCloud, Scott (2000). Reinventing Comics, New York: Paradox Press. Pg. 62 [12] "Creator's Bill of Rights" (http:/ / www. scottmccloud. com/ inventions/ bill/ bill_of_rights. html). 2006-10-13. . [13] Brattleboro Museum. "The 24-Hour Comic Book Challenge" (http:/ / web. archive. org/ web/ 20070607194756/ http:/ / www. brattleboromuseum. org/ events/ ComicChallenge. html). Archived from the original (http:/ / www. brattleboromuseum. org/ events/ ComicChallenge. html) on 2007-06-07. . [14] http:/ / www. rickveitch. com/ 2008/ 06/ 22/ 24-hour-rare-bit-fiends [15] CerebusCerebus the Aardvark [16] The 24-Hour Comics Index (http:/ / www. scottmccloud. com/ inventions/ 24hr/ index)

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References
McCloud profile (http://web.archive.org/web/20080330020233/http://www.readyourselfraw.com/profiles/ mccloud/profile_mccloud.htm) on RAW's site Scott McCloud French publications (http://www.bedetheque.com/auteur-419-BD-McCloud-Scott.html) Bedetheque (French)

External links
Official website (http://www.scottmccloud.com) 24 Hour Comics (http://www.24hourcomics.com/) Scott McCloud biography (http://lambiek.net/artists/m/mccloud.htm) on Lambiek Comiclopedia TED Talks: Scott McCloud on comics (http://www.ted.com/talks/view/id/432) at TED in 2005 Scott McCloud's page on Comiclopedia (http://lambiek.net/artists/m/mccloud.htm)

Interviews
"Interview with Scott McCloud, artist behind Google Chrome comic" (http://www.nydailynews.com/money/ 2008/09/07/2008-09-07_interview_with_scott_mccloud_artist_behi.html) New York Daily News (Sept. 7, 2008). "Interview of McCloud by R.C. Harvey, excerpted from The Comics Journal #179" (http://www.tcj.com/ 2_archives/i_mccloud.html) "The Comics Journal" "Still Thinking: By Charles Hatfield" (http://www.tcj.com/232/i_mccloud.html) "The Comics Journal"

Understanding Comics

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Understanding Comics
Understanding Comics: The Invisible Art

Cover of the original Tundra Publishing edition of Understanding Comics: The Invisible Art Author(s) Cover artist Country Language Subject(s) Genre(s) Publisher Scott McCloud Scott McCloud United States English Comic books Nonfiction Tundra Publishing

Publication date 1993 Media type Pages ISBN OCLC Number Preceded by Followed by Paperback 215 0878162437 30351626 [1]

Zot!: Book One Reinventing Comics: How Imagination and Technology Are Revolutionizing an Art Form

Understanding Comics: The Invisible Art is a 215-page non-fiction comic book, written and drawn by Scott McCloud and originally published in 1993. It explores the definition of comics, the historical development of the medium, its fundamental vocabulary, and various ways in which these elements have been used. It discusses theoretical work on comics (or sequential art) as an artform and a communications medium. It also uses the comic medium for non-storytelling purposes. Understanding Comics received praise from notable comic and graphic novel authors such as Art Spiegelman, Will Eisner, Alan Moore, Neil Gaiman and Garry Trudeau (who reviewed the book for the New York Times), and was called one of the most insightful books about designing graphic user interfaces ever written by Apple Macintosh co-creator Andy Hertzfeld.[2] Although the book has prompted debate over many of McClouds conclusions,[3] its discussions of iconic art and the concept of closure between panels have become common reference points in discussions of the medium.

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Publication history
Understanding Comics was first published by Tundra Publishing; reprintings have been released by Kitchen Sink Press, DC Comics Paradox Press, DCs Vertigo line, and HarperPerennial. The book was edited by Mark Martin, with lettering by Bob Lappan. The title of Understanding Comics is an homage to Marshall McLuhan's seminal 1964 work Understanding Media.[4]

Editions
Softcover Tundra (1993): ISBN 1-56862-019-5 Paradox Press (1993): ISBN 1-56389-557-9 Kitchen Sink (1993): ISBN 0-87816-243-7 HarperCollins (2004): ISBN 0-06-097625-X

Hardcover Kitchen Sink: ISBN 0-87816-244-5 Vertigo: ISBN 1-56389-759-8

Sequels
Author McCloud has written two follow-up books in the same format: Reinventing Comics: How Imagination and Technology Are Revolutionizing an Art Form (2000), in which he suggested ways for the medium to change and grow, and Making Comics (2006), a study of the elemental methods of constructing comics.

Contents
Topics discussed in Understanding Comics include: Definitions, history, and potential Visual iconography and its effects Closure, reader participation between the panels Word-picture dynamics Time and motion The psychology of line styles and color Comics and the artistic process

The Six Steps


In the book's seventh chapter, "The Six Steps,"[5] McCloud outlines a six-part process of artistic creation (Idea/Purpose, Form, Idiom, Structure, Craft, Surface). He also notes that artists tend to fall into two classes, depending on which of the first two steps they emphasize more. Those who emphasize the second step "are often pioneers and revolutionaries artists who want to shake things up,"[6] while those who emphasize the first are "great storytellers, creators who ... devote all their energies to controlling their medium ... to convey messages effectively."[7] With these ideas, McCloud anticipates the artistic theory of David Galenson, which divides all artists into two groups with qualities similar to those McCloud notes.

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Awards and honors


The book was a finalist for the 1994 Hugo Award for Best Non-Fiction Book.

References
[1] http:/ / worldcat. org/ oclc/ 30351626 [2] Understanding Comics entry (http:/ / scottmccloud. com/ 2-print/ 1-uc/ ) at ScottMcCloud.com. Accessed April 5, 2011. [3] Horrocks, Dylan. "Inventing Comics: Scott McCloud's Definition of Comics," (http:/ / www. hicksville. co. nz/ Inventing Comics 6. htm) The Comics Journal #234 (June 2001). [4] McCloud, Scott, commenting on his own message board. "Journal: Archive: The Influencing Machine" (http:/ / scottmccloud. com/ 2011/ 05/ 17/ the-influencing-machine): ScottMcCloud.com (May 18, 2011): "... my books name was indeed a nod to Marshall McLuhans Understanding Media...." [5] McCloud, Scott. Understanding Comics: The Invisible Art.Northampton, MA: Kitchen Sink Press, Inc., 1993. 162-84. [6] McCloud, Scott. Understanding Comics: The Invisible Art.Northampton, MA: Kitchen Sink Press, Inc., 1993. 179. [7] McCloud, Scott. Understanding Comics: The Invisible Art.Northampton, MA: Kitchen Sink Press, Inc., 1993. 180.

External links
McCloud speaks at TEDtalks about Understanding Comics (http://www.youtube.com/watch?v=fXYckRgsdjI) Understanding Comics entry (http://www.scottmccloud.com/2-print/1-uc/index.html) at ScottMcCloud.com

Reinventing Comics
Reinventing Comics: How Imagination and Technology Are Revolutionizing an Art Form (ISBN 0-060-95350-0) is a 2000 book written by comic book writer and artist Scott McCloud. It was a thematic sequel to his critically acclaimed Understanding Comics, and was followed by Making Comics. Reinventing Comics (RC) explains twelve "revolutions" which McCloud predicts are necessary for the comic book to survive as a medium, focusing especially on online comics. The book caused considerable controversy in the comics industry, McCloud famously noting that it had been described as "dangerous".[1] As promised in the book, McCloud has offered annotations, addenda and his further-developing thoughts about the future of comics on his web site. In particular, he considers his web comic I Can't Stop Thinking [2] to be a continuation of RC, though he has continued to write about the future of comics in many different forms, as he acknowledges RC is "a product of its time".[3]

References
[1] Reinventing Comics (http:/ / www. scottmccloud. com/ store/ books/ rc. html) [2] http:/ / www. scottmccloud. com/ 1-webcomics/ icst/ index. html [3] scottmccloud.com - Links - Resources (http:/ / www. scottmccloud. com/ links/ resources/ resources. html)

Infinite canvas

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Infinite canvas
The infinite canvas is the idea that the size of a digital comics page is theoretically infinite, and that online comics are therefore not limited by conventional page sizes. An artist could conceivably display a complete comics story of indefinite length on a single "page". Scott McCloud introduced the concept in his book Reinventing Comics.[1] Artists known for their work in infinite canvas include McCloud, Cayetano Garza, demian5, Patrick Farley, David Hellman, and Aaron Diaz. The infinite canvas has been used in comics such as Dominic Deegan: Oracle for Hire, where artists are easily able to change their standard format from one line to two when desired. Likewise, Megatokyo made a smooth transition from traditional four-panel comic strip to full-page graphic novel.[2] Webcomics such as Narbonic take advantage of the medium on occasion for special effects (e.g. the time-shift effect in "Dave Davenport Has Come Unstuck in Time"), and even sometimes use the "gradualism" effect McCloud describes.[3] Even four-panel comics benefit by not having their comics "squeezed" onto a newspaper page to the point of illegibility, and thus can include more detail. (Part of this is also due to computer screens being much "cleaner" than newsprint.) Keeping comics in a more traditional page format eases the writer's transition into publishing their comics in print format, as expressed by at least one writer;[4] and limiting the size of comics makes them more accessible for readers who access the comic not through the regular site but, for example, through RSS readers or the Wii internet browser.[5]

References
[1] McCloud, Scott (July 25, 2000). "Reinventing Comics". Harper Paperbacks, Pg. 222 [2] Gallagher, Fred (2001-04-23). "1:1.5" (http:/ / www. megatokyo. com/ rant/ 152). Megatokyo (http:/ / www. megatokyo. com). . Retrieved 2008-09-19. [3] Described in Scott McCloud's I Can't Stop Thinking! #4 (http:/ / www. scottmccloud. com/ comics/ icst/ icst-4/ icst-4. html). Gradualism can be seen in Narbonic here (http:/ / www. webcomicsnation. com/ shaenongarrity/ narbonic/ series. php?view=archive& chapter=10316) and in Giant in the Playground here (http:/ / www. giantitp. com/ comics/ oots0443. html). [4] Tom Siddell, author of Gunnerkrigg Court. In Davies, Will (2008-08-14). "All Star Demon Tea Party" (http:/ / www. virb. com/ septagonstudios/ blog/ 880373). Fourth Panel Estate. Septagon Studios (http:/ / www. septagonstudios. com/ ). . Retrieved 2008-09-13. [5] Burleson, Danny (2007-07-16). "So much for "infinite canvas"" (http:/ / oycomics. com/ 2007/ 07/ 16/ so-much-for-infinite-canvas/ ). Oy: a daily comic (http:/ / www. oycomics. com). . Retrieved 2008-09-19.

External links
The Tarquin Engine (http://www.webcomicsnation.com/tarquin/) by Daniel Merlin Goodbrey Infinite Canvas (http://infinitecanvas.jgate.de/) web app from Microsoft Live Labs The Infinite Canvas: An Interview with Scott McCloud, the Google Chrome Comic Guy (http://www.xconomy. com/national/2008/09/10/the-infinite-canvas-an-interview-with-scott-mccloud-the-google-chrome-comic-guy/ ) at Xconomy (http://www.xconomy.com) Wormworldsaga - An online graphic novel (http://www.wormworldsaga.com/) by Daniel Lieske

Will Eisner

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Will Eisner
Will Eisner

Will Eisner, 1982 Born William Erwin Eisner March 6, 1917 Brooklyn, New York City, New York January 3, 2005 (aged87) Lauderdale Lakes, Florida American Cartoonist, Publisher

Died

Nationality Area(s)

Notable works The Spirit A Contract with God Awards full list

William Erwin "Will" Eisner (March 6, 1917 January 3, 2005) was an American comics writer, artist and entrepreneur. He is considered one of the most important contributors to the development of the medium and is known for the cartooning studio he founded; for his highly influential series The Spirit; for his use of comics as an instructional medium; for his leading role in establishing the graphic novel as a form of literature with his book A Contract with God and Other Tenement Stories; and for his educational work about the medium as exemplified by his book Comics and Sequential Art. The comics community paid tribute to Eisner by creating the Will Eisner Comic Industry Awards, more commonly known as "the Eisners", to recognize achievements each year in the comics medium. Eisner enthusiastically participated in the awards ceremony, congratulating each recipient. In 1987, with Carl Barks and Jack Kirby, he was one of the three inaugural inductees of the Will Eisner Comic Book Hall of Fame.

Early life and career


Eisner was born in Brooklyn, New York City, the son of Jewish immigrants. His parents provided a modest life for their son. His mother was from Romania and served as the more practical and realistic parent, firmly believing that her sons artistic tendencies would never amount to any kind of success in life. His father, an artist, was born in Vienna, Austria. He painted backdrops for vaudeville and the Jewish theater but was also a semi-successful entrepreneur and, at one point, a manufacturer in Manhattan's Seventh Avenue garment district. Believing his son should value creativity and art, the elder Eisners instilled in him a sense of duality, a balance between business and art.[1] [2] Eisner attended DeWitt Clinton High School. With influences that included the early 20th-century commercial artist J. C. Leyendecker,[3] he drew for the school newspaper (The Clintonian), the literary magazine (The Magpie) and the yearbook, and did stage design, leading him to consider doing that kind of work for theater.

Will Eisner Upon graduation, he studied under Canadian artist George Brandt Bridgman (18641943) for a year at the Art Students League of New York. Contacts made there led to a position as an advertising writer-cartoonist for the New York American newspaper. Eisner also drew $10-a-page illustrations for pulp magazines, including Western Sheriffs and Outlaws. In 1936, high-school friend and fellow cartoonist Bob Kane, of future Batman fame, suggested that the 19-year-old Eisner try selling cartoons to the new comic book Wow, What A Magazine! "Comic books" at the time were tabloid-sized collections of comic strip reprints in color. In 1935, they had begun to include occasional new comic strip-like material. Wow editor Jerry Iger bought an Eisner adventure strip called Captain Scott Dalton, an H. Rider Haggard-styled hero who traveled the world after rare artifacts. Eisner subsequently wrote and drew the pirate strip "The Flame" and the secret agent strip "Harry Karry" for Wow as well. Eisner said that on one occasion a man who Eisner described as "a Mob type straight out of Damon Runyon, complete with pinkie ring, broken nose, black shirt, and white tie, who claimed to have 'exclusive distribution rights for all Brooklyn" asked Eisner to draw Tijuana bibles for $3 a page. Eisner said that he declined the offer; he described the decision as "one of the most difficult moral decisions of my life."[4]

153

Wow, What a Magazine! #3 (Sept. 1936): Cover art by a teenage Eisner.

Eisner & Iger


Wow lasted four issues (cover-dated JulySeptember and November 1936). After it ended, Eisner and Iger worked together producing and selling original comics material, anticipating that the well of available reprints would soon run dry, though their accounts of how their partnership was founded differ. One of the first such comic-book "packagers", their partnership was an immediate success, and the two soon had a stable of comics creators supplying work to Fox Comics, Fiction House, Quality Comics (for whom Eisner co-created such characters as Doll Man and Blackhawk), and others. Turning a profit of $1.50 a page, Eisner claimed that he "got very rich before I was 22,"[5] later detailing that in Depression-era 1939 alone, he and Iger "had split $25,000 between us",[6] a considerable amount for the time. Eisner's original work even crossed the Atlantic, with Eisner drawing the new cover of the October 16, 1937 issue of Boardman Books' comic-strip reprint tabloid Okay Comics Weekly. In 1939, Eisner was commissioned to create Wonder Man for Victor Fox, an accountant who had previously worked at DC Comics and was becoming a comic book publisher himself. Following Fox's instructions to create a Superman-type character, and using the pen name Willis, Eisner wrote and drew the first issue of Wonder Comics. Eisner said in interviews throughout his later life that he had protested the derivative nature of the character and story, and that when subpoenaed after National Periodical Publications, the company that would evolve into DC Comics, sued Fox, alleging Wonder Man was an illegal copy of Superman, Eisner testified that this was so, undermining Fox's case;[7] Eisner even depicts himself doing so in his semi-autobiographical graphic novel The Dreamer.[8] However, a transcript of the proceeding, uncovered by comics historian Ken Quattro in 2010, indicates Eisner in fact supported Fox and claimed Wonder Man as an original Eisner creation.[9]

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The Spirit
In "late '39, just before Christmas time," Eisner recalled in 1979,[10] Quality Comics publisher Everett M. "Busy" Arnold "came to me and said that the Sunday newspapers were looking for a way of getting into this comic book boom," In a 2004 interview,[11] he elaborated on that meeting: "Busy" invited me up for lunch one day and introduced me to Henry Martin [sales manager of The Des Moines Register and Tribune Syndicate, who] said, "The newspapers in this country, particularly the Sunday papers, are looking to compete with comics books, and they would like to get a comic-book insert into the newspapers." ... Martin asked if I could do it. ... It meant that I'd have to leave Eisner & Iger [which] was making money; we were very profitable at that time and things were going very well. A hard decision. Anyway, I agreed to do the Sunday comic book and we started discussing the deal [which] was that we'd be partners in the 'Comic Book Section,' as they called it at that time. And also, I would produce two other magazines in partnership with Arnold.

A classic Eisner cover for The Spirit, Oct. 6, 1946.

Eisner negotiated an agreement with the syndicate in which Arnold would copyright The Spirit, but, "Written down in the contract I had with 'Busy' Arnold and this contract exists today as the basis for my copyright ownership Arnold agreed that it was my property. They agreed that if we had a split-up in any way, the property would revert to me on that day that happened. My attorney went to 'Busy' Arnold and his family, and they all signed a release agreeing that they would not pursue the question of ownership"[11] This would include the eventual backup features "Mr. Mystic" and "Lady Luck". Selling his share of their firm to Iger, who would continue to package comics as the S. M. Iger Studio and as Phoenix Features through 1955, for $20,000,[12] Eisner left to create The Spirit. "They gave me an adult audience", Eisner said in 1997, "and I wanted to write better things than superheroes. Comic books were a ghetto. I sold my part of the enterprise to my associate and then began The Spirit. They wanted an heroic character, a costumed character. They asked me if he'd have a costume. And I put a mask on him and said, 'Yes, he has a costume!'"[13] The Spirit, an initially eight- and later seven-page urban-crimefighter series, ran with the initial backup features "Mr. Mystic" and "Lady Luck" in a 16-page Sunday supplement (colloquially called "The Spirit Section") that was eventually distributed in 20 newspapers with a combined circulation of as many as five million copies.[14] It premiered June 2, 1940, and continued through 1952.[15]

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World War II and Joe Dope


Eisner was drafted into the U.S. Army in "late '41, early '42"[16] and then "had about another half-year which the government gave me to clean up my affairs before going off" to fight in World War II.[17] He was assigned to the camp newspaper in Aberdeen, where "there was also a big training program there, so I got involved in the use of comics for training. ... I finally became a warrant officer, which involved taking a test that way you didn't have to go through Officer Candidate School."[16] En route to Washington, D.C., he stopped at the Hollabird Depot in Baltimore, Maryland, where a mimeographed publication titled Army Motors was put together. "Together with the people there ... I helped develop its format. I began doing cartoons and we began fashioning a magazine that had the ability to talk to the G.I.s in their language. So I began to use comics as a teaching tool, and when I got to Washington, they assigned me to the business of teaching or selling preventive maintenance."[18] Eisner then created the educational comic strip and titular character Joe Dope for Army Motors, and spent four years working in The Pentagon editing the ordnance magazine Firepower and doing "all the general illustrations that is, cartoons" for Army Motors. He continued to work on that and its 1950 successor magazine, PS, The Preventive Maintenance Monthly.[18] While Eisner's later graphic novels were entirely his own work, he had a studio working under his supervision on The Spirit. In particular, letterer Abe Kanegson came up with the distinctive lettering style which Eisner himself would later imitate in his book-length works, and Kanegson would often rewrite Eisner's dialogue.[19] Eisner's most trusted assistant on The Spirit, however, was Jules Feiffer, later a renowned cartoonist, playwright and screenwriter in his own right. Eisner later said of their working methods "You should hear me and Jules Feiffer going at it in a room. 'No, you designed the splash page for this one, then you wrote the ending I came up with the idea for the story, and you did it up to this point, then I did the next page and this sequence here and...' And I'll be swearing up and down that 'he' wrote the ending on that one. We never agree".[19] So trusted were Eisner's assistants that Eisner allowed them to "ghost" The Spirit from the time that he was drafted into the U.S. Army in 1942 until his return to civilian life in 1945. The primary wartime artists were the uncredited Lou Fine and Jack Cole, with future Kid Colt, Outlaw artist Jack Keller drawing backgrounds. Ghost writers included Manly Wade Wellman and William Woolfolk. The wartime ghosted stories have been reprinted in DC Comics' hardcover collections The Spirit Archives Vols. 5 to 11 (20012003), spanning July 1942 - December 1944. On Eisner's return from service and resumption of his role in the studio, he created the bulk of the Spirit stories on which his reputation was solidified. The post-war years also saw him attempt to launch the comic-strip/comic-book series Baseball, John Law, Kewpies, and Nubbin the Shoeshine Boy; none succeeded, but some material was recycled into The Spirit.
Premiere issue of the U.S. Army publication PS (June 1951), designed to be a "postscript" to related publications. Art by Eisner.

American Visuals Corporation

During his World War II military service, Eisner had introduced the use of comics for training personnel in the publication Army Motors, for which he created the cautionary bumbling soldier Joe Dope, who illustrated various methods of preventive maintenance of various military equipment and weapons. In 1948, while continuing to do The Spirit and seeing television and other post-war trends eat at the readership base of newspapers, he formed the American Visuals Corporation in order to produce instructional materials for the government, related agencies, and businesses. One of his longest-running jobs was PS, The

Will Eisner Preventive Maintenance Monthly, a digest sized magazine with comic book elements that he started for the Army in 1951 and continued to work on until the 1970s with Klaus Nordling, Mike Ploog, and other artists. Other clients of his Connecticut-based company included RCA Records, the Baltimore Colts NFL football team, and New York Telephone.

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Graphic novels
In the late 1970s, Eisner turned his attention to longer storytelling forms. A Contract with God, and Other Tenement Stories (Baronet Books, October 1978) is an early example of an American graphic novel, combining thematically linked short stories into a single square-bound volume. Eisner continued with a string of graphic novels that tell the history of New York's immigrant communities, particularly Jews, including The Building, A Life Force, Dropsie Avenue and To the Heart of the Storm. He continued producing new books into his seventies and eighties, at an average rate of nearly one a year. Each of these books was done twice once as a rough version to show editor Dave Schreiner, then as a second, finished version incorporating suggested changes.[20] Some of his last work was the retelling in sequential art of novels and myths, including Moby-Dick. In 2002, at the age of 85, he published Sundiata, based on the part-historical, part-mythical stories of a West African king, "The Lion of Mali". Fagin the Jew is an account of the life of Dickens' character Fagin, in which Eisner tries to get past the Trade paperback edition of A Contract with God; stereotyped portrait of Fagin in Oliver Twist. His last graphic novel, the concurrent 1,500-copy hardcover release did The Plot: The Secret Story of The Protocols of the Elders of Zion , an not use the term "graphic novel" on its cover. account of the making of the anti-semitic hoax The Protocols of the Learned Elders of Zion, was completed shortly before his death and published in 2005 .

Academic work
In his later years especially, Eisner was a frequent lecturer about the craft and uses of sequential art. He taught at the School of Visual Arts in New York City, where he published Will Eisner's Gallery, a collection of work by his students and wrote two books based on these lectures, Comics and Sequential Art and Graphic Storytelling and Visual Narrative, which are widely used by students of cartooning. In 2002, Eisner participated in the Will Eisner Symposium of the 2002 University of Florida Conference on Comics and Graphic Novels.[21]

Death
Eisner died January 3, 2005, in Lauderdale Lakes, Florida, of complications from a quadruple bypass surgery performed December 22, 2004.[22] [23] DC Comics held a memorial service in Manhattan's Lower East Side, a neighborhood Eisner often visited in his work, at the Angel Orensanz Foundation on Norfolk Street.[24] Eisner was survived by his wife, Ann Weingarten Eisner, and their son, John.[25] [26] [27] In the introduction to the 2001 reissue of A Contract with God, Eisner revealed that the inspiration for the title story grew out of the 1970 death of his leukemia-stricken teenaged daughter, Alice, next to whom he is buried. Until then, only Eisner's closest friends were aware of his daughter's life and death.

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Awards and honors


Eisner has been recognized for his work with the National Cartoonists Society Comic Book Award for 1967, 1968, 1969, 1987 and 1988, as well as its Story Comic Book Award in 1979, and its highest accolade, the Reuben Award, for 1988. He was inducted into the Academy of Comic Book Arts Hall of Fame in 1971, and the Jack Kirby Hall of Fame in 1987. The following year, the Will Eisner Comic Industry Awards were established in his honor. He received in 1975 the second Grand Prix de la ville d'Angoulme. With Jack Kirby, Robert Crumb, Harvey Kurtzman, Gary Panter, and Chris Ware, Eisner was among the artists honored in the exhibition "Masters of American Comics" at the Jewish Museum in New York City, New York, from September 16, 2006 to January 28, 2007.[28] [29] On the 94th anniversary of Eisner's birth, in 2011, Google used an image featuring the Spirit as its logo.[30] [31]

Books
Odd Facts, Tempo Star Books, 1975, ISBN0-441-60918-X. A Contract with God, Baronet Books, 1978, ISBN0-89437-035-9; (reissue ed.), DC Comics, ISBN1-56389-674-5. Will Eisner Color Treasury, Kitchen Sink, 1981, ISBN0-87816-006-X. Robert's Rules of Order (paperback ed.), Poor House Press, 1982, ISBN0-553-22598-7. Spirit Color Album, Kitchen Sink, 1981, ISBN0-87816-002-7. Spirit Color Album, v2, Kitchen Sink, 1983, ISBN0-87816-010-8. Spirit Color Album, v3, Kitchen Sink, 1983, ISBN0-87816-011-6. Life on Another Planet, 1983, ISBN0-87816-370-0. Comics and Sequential Art, 1985, ISBN0-9614728-0-4. New York: The Big City (softcover ed.), 1986, ISBN0-87816-020-5; (hardcover ed.), ISBN0-87816-019-1; (reprint ed.), 2000, ISBN1-56389-682-6. The Dreamer, 1986, ISBN1-56389-678-8. The Building, 1987, ISBN0-87816-024-8. A Life Force, 1988, ISBN0-87816-038-8. Art of Will Eisner (2nd ed.), Kitchen Sink, 1989, ISBN0-87816-076-0. Outer Space Spirit, 1989 Kitchen Sink, ISBN0-87816-012-4. To the Heart of the Storm, 1991, ISBN1-56389-679-6. The Will Eisner Reader, 1991, ISBN0-87816-129-5. Invisible People, 1993, ISBN0-87816-208-9. Dropsie Avenue, 1995, ISBN0-87816-348-4. Will Eisner Sketchbook (softcover ed.), Kitchen Sink, 1995, ISBN0-87816-399-9 and idem (hardcover ed.), ISBN0-87816-400-6. Christmas Spirit, 1995 Kitchen Sink, ISBN0-87816-309-3. Spirit Casebook, 1990 Kitchen Sink, ISBN0-87816-094-9. Graphic Storytelling and Visual Narrative, 1996, ISBN0-9614728-3-9. The Princess and the Frog, 1996, ISBN1-56163-244-9. All About P'Gell: Spirit Casebook II, Kitchen Sink, 1998, ISBN0-87816-492-8. A Family Matter, 1998, ISBN0-87816-621-1. Last Day in Vietnam, 2000, ISBN1-56971-500-9.

The Last Knight, 2000, ISBN1-56163-251-1. Minor Miracles, 2000, ISBN1-56389-751-2.

Will Eisner , The Spirit Archives (no Eisner work in volumes 511) The Spirit Archives, 1, 2000 [Fall 1940], ISBN1-56389-673-7. The Spirit Archives, 2, 2000 [Spring 1941], ISBN1-56389-675-3. The Spirit Archives, 3, 2001 [Fall 1941], ISBN1-56389-676-1. The Spirit Archives, 4, 2001 [Spring 1942], ISBN1-56389-714-8. The Spirit Archives, 12, 2003 [Spring 1946], ISBN1-4012-0006-0. The Spirit Archives, 13, 2004 [Fall 1946], ISBN1-4012-0149-0. The Spirit Archives, 14, 2004 [Spring 1947], ISBN1-4012-0158-X. The Spirit Archives, 15, 2005 [Fall 1947], ISBN1-4012-0162-8. The Spirit Archives, 16, 2005 [Spring 1948], ISBN1-4012-0406-6. The Spirit Archives, 17, 2006 [Fall 1948], ISBN1-4012-0417-1. The Spirit Archives, 18, 2006 [Spring 1949], ISBN1-4012-0769-3. The Spirit Archives, 19, 2006 [Fall 1949], ISBN1-4012-0775-8. The Spirit Archives, 20, 2006 [Spring 1950], ISBN1-4012-0781-2. The Spirit Archives, 21, 2007 [Fall 1950], ISBN1-4012-1254-9. The Spirit Archives, 22, 2007 [Spring 1951], ISBN1-4012-1309-X.

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Will Eisner's Shop Talk, Dark Horse Comics, 2001, ISBN1-56971-536-X. Fagin the Jew, 2003, ISBN0-385-51009-8. Hawks of the Seas, Dark Horse Comics, 2003, ISBN1-56971-427-4. The Name of the Game, 2003, ISBN1-56389-869-1. Will Eisner's John Law: Dead Man Walking (softcover ed.), IDW, 2004, ISBN1-932382-27-5; idem (hardcover ed.), ISBN1-932382-83-6. The Plot: The Secret Story of The Protocols of the Elders of Zion, WW Norton, 2005, ISBN0-393-06045-4. The Contract With God Trilogy: Life on Dropsie Avenue, WW Norton, 2005, ISBN0-393-06105-1 (anthology collecting "A Contract With God", "A Life Force" and "Dropsie Avenue". New York: Life In the Big City, WW Norton, 2006, ISBN0-393-06106-X (anthology collecting "New York: the Big City", "The Building", "City People Notebook" and "Invisible People". Life, In Pictures, WW Norton, 2007, ISBN0-393-06107-8 (anthology collecting "The Dreamer", "To The Heart of The Storm", and "The Name of the Game", along with the short stories "A Sunset in Sunshine City" and "The Day I Became a Professional".

References
[1] "Will Eisner Comics Innovator" (http:/ / www. thecartoonists. ca/ Index_files/ 2008pages/ TC - Will Eisner, Creator of The Spirit and Comics Innovator. htm). CA, USA: The Cartoonists. . Retrieved 2008-07-05. [2] Moss, Charles. "Will Eisners Dual Identity: The Spirit of an Artist" (http:/ / www. popmatters. com/ pm/ feature/ 67080-will-eisners-dual-identity-the-spirit-of-an-artist). . Retrieved 2009-02-13. [3] Lovece, Frank (1974). "Cons: New York 1974!". The Journal Summer Special (Box 1286, Essex, ON, CA N0R 1E0)). [4] Spiegelman, Art. "Tijuana Bibles" (http:/ / www. salon. com/ books/ feature/ 1997/ 08/ 19/ spieg), Salon.com, August 19, 1997. p. 2 (http:/ / www. salon. com/ aug97/ spieg2970819. html). WebCitation archive, main page (http:/ / www. webcitation. org/ 5wzKXHLMl) and p. 2 (http:/ / www. webcitation. org/ 5wzKg7r7s). Retrieved on February 24, 2009. [5] Mercer, Marilyn, "The Only Real Middle-Class Crimefighter," New York (Sunday supplement, New York Herald Tribune), January 9, 1966; reprinted Alter Ego #48, May 2005 [6] Heintjes, Tom, The Spirit: The Origin Years #3 (Kitchen Sink Press, September 1992) [7] Andelman, Bob. Will Eisner: A Spirited Life (M Press: Milwaukie, Oregon, 2005) ISBN 1-59582-011-6A, pp. 4445 [8] The Dreamer: A Graphic Novella Set During the Dawn of Comic Books (DC Comics : New York City, 1986 edition) ISBN 9781563896781. Reissued by W. W. Norton & Company : New York City, London, 2008. ISBN 978-0393328080, p. 42 [9] Quattro, Ken. "DC vs. Victor Fox: The Testimony of Will Eisner" (http:/ / thecomicsdetective. blogspot. com/ 2010/ 07/ dc-vs-victor-fox-testimony-of-will. html), The Comics Detective, July 1, 2010. WebCitation archive (http:/ / www. webcitation. org/ 5r1gBXzMI).

Will Eisner
[10] "Art & Commerce: An Oral Reminiscence by Will Eisner." Panels #1 (Summer 1979), pp. 521, quoted in Quattro, Ken, "Rare Eisner" (http:/ / www. comicartville. com/ rareeisner. htm), Comicartville Library, 2003, n.d. WebCite archive (http:/ / www. webcitation. org/ 5mAYF8MXe). [11] Will Eisner interview, Alter Ego #48 (May 2005), p. 10 [12] Kitchen, Denis. "Annotations to The Dreamer, in Eisner, Will, The Dreamer (W.W. Norton & Company, New York, 2008), p. 52. ISBN 978-0-393-32808-0 [13] Will Eisner interview, Jack Kirby Collector #16 (June 1997) (http:/ / www. twomorrows. com/ kirby/ articles/ 16eisner. html) [14] Eisner, The Dreamer, "About the Author", p. 55 [15] Spirit, The (Register and Tribune Syndicate, 1940 Series) (http:/ / www. comics. org/ series/ 10295/ ) at the Grand Comics Database [16] "Will Eisner Interview", The Comics Journal #46 (May 1979), p. 45. Interview conducted October 13 and 17, 1978 [17] Eisner interview, The Comics Journal #46, p. 37 [18] Eisner interview, The Comics Journal #46, pp. 4546 [19] Sim, Dave, "My Dinner With Will & Other Stories," Following Cerebus #4 (May 2005) [20] Sim, Dave, "Advice & Consent: The Editing of Graphic Novels" (panel discussion with Eisner and Chester Brown) and Frank Miller interview, both Following Cerebus #5 (August 2005). [21] Eisner, Will. "Keynote Address from the 2002 'Will Eisner Symposium'" (http:/ / www. english. ufl. edu/ imagetext/ archives/ volume1/ issue1/ eisner/ ), ImageTexT, vol. 1, #1 (2004). University of Florida Department of English. Retrieved 2011-02-02. WebCitation archive (http:/ / www. webcitation. org/ 5yrKOYu2V). [22] "Gemstone Publishing: ''Industry News'' (January 7, 2005): "In Memoriam: Will Eisner"" (http:/ / scoop. diamondgalleries. com/ scoop_article. asp?ai=7363& si=121). Scoop.diamondgalleries.com. . Retrieved 2011-02-02. [23] "Will Eisner (19172005)" (http:/ / www. sfwa. org/ news/ weisner. htm), SF&F Publishing News, Science Fiction and Fantasy Writers of America, January 4, 2005. Retrieved 2011-02-02 WebCitation archive (http:/ / www. webcitation. org/ 5wzL6Tv5F). [24] ""DC Comics Celebrates Will Eisner" (http:/ / scoop. diamondgalleries. com/ public/ default. asp?t=1& m=1& c=34& s=259& ai=48748& ssd=3/ 19/ 2005& arch=y), "Scoop" (column), Gemstone Publishing, Inc. / Diamond International Galleries, March 19, 2005. Retrieved 2011-02-02. WebCitation archive (http:/ / www. webcitation. org/ 5wzJd2D3I). [25] Gravett, Paul. "Obituary: Will Eisner: He pioneered American comic books, and established the graphic novel as a literary genre" (http:/ / www. guardian. co. uk/ news/ 2005/ jan/ 08/ guardianobituaries. books), The Guardian, January 8, 2005. WebCitation archive (http:/ / www. webcitation. org/ 5wzKCxUEz). [26] Boxer, Sarah. "Will Eisner, a Pioneer of Comic Books, Dies at 87" (http:/ / www. nytimes. com/ 2005/ 01/ 05/ books/ 05eisner. html), The New York Times, January 5, 2005. WebCitation archive (http:/ / www. webcitation. org/ 5wzK5b4rH). [27] Obituaries: Will Eisner (http:/ / www. telegraph. co. uk/ news/ obituaries/ 1480482/ Will-Eisner. html), The Daily Telegraph, January 6, 2005. WebCitation archive (http:/ / www. webcitation. org/ 5wzJSRZUU). [28] "Exhibitions: Masters of American Comics" (http:/ / www. thejewishmuseum. org/ exhibitions/ Comics). The Jewish Museum. . Retrieved 2010-08-10.. WebCitation archive (http:/ / www. webcitation. org/ 5tDGL3Ci7). [29] Kimmelman, Michael. "See You in the Funny Papers" (http:/ / www. nytimes. com/ 2006/ 10/ 13/ arts/ design/ 13comi. html) (art review), The New York Times, October 13, 2006. WebCitation archive (http:/ / www. webcitation. org/ 5wzJM2bBi). [30] Seifert, Mark. "Google Celebrates Will Eisner's 94th Birthday with the Spirit Google Logo" (http:/ / www. bleedingcool. com/ 2011/ 03/ 06/ google-celebrates-will-eisners-94th-birthday-with-the-spirit-google-logo/ ), BleedingCool.com, March 6, 2011. WebCitation archive (http:/ / www. webcitation. org/ 5wyXnFHk9). [31] Archive of Google March 6, 2011, main page (http:/ / www. webcitation. org/ 5wzMbHDkL)

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External links
Official website (http://www.willeisner.com). WebCitation archive (http://www.webcitation.org/ 5xJGaIOtG). Will Eisner (http://www.dmoz.org/Arts/Comics/Creators/E/Eisner,_Will/) at the Open Directory Project Tumulka, Wes, ed. Wildwood Cemetery: The Spirit Database (http://www.wildwoodcemetery.com/). WebCitation archive (http://www.webcitation.org/5vlbRNSnx). Archive of Heintjes, Tom. "Will Eisner's The Spirit" (http://web.archive.org/web/20080506045259/www. adventurestrips.com/spirit/index.html), AdventureStrips.com, n.d.. Original page (http://www. adventurestrips.com/spirit/spirit_origin_heintjes_1.html). Fitzgerald, Paul E. "Every Picture Tells A Story: His Pen and Wit Sharper Than Ever, Graphic Novelist Will Eisner Takes On Religious Intolerance" (http://www.washingtonpost.com/wp-dyn/articles/A11308-2004Jun2. html), The Washington Post, June 3, 2004. WebCitation archive (http://www.webcitation.org/5xJH9sy47). Robinson, Tasha. "Interview: Will Eisner" (http://avclub.com/content/node/22822), The A.V. Club / The Onion, September 27, 2000. WebCitation archive (http://www.webcitation.org/5xJHIf7uc).

Will Eisner Will Eisner (http://comicbookdb.com/creator.php?ID=1411) at the Comic Book DB Jacks, Brian. "Veterans Day Exclusive: 'The Spirit' Creator Will Eisner's Wartime Memories" (http://splashpage. mtv.com/2008/11/11/veterans-day-exclusive-the-spirit-creator-will-eisners-wartime-memories/), MTV.com, November 11, 2000. WebCitation archive (http://www.webcitation.org/5xJH1V0Ax). Ohio State: Will Eisner Collection (http://cartoons.osu.edu/finding_aids/wee/eisner.html) Benton, John. "Will Eisner: Having Something to Say" (http://www.tcj.com/ will-eisner-having-something-to-say/), The Comics Journal #267, May 2005. WebCitation archive (http://www. webcitation.org/5xJGng2RQ). Archive of material trimmed from print-magazine interview (http://web.archive. org/web/20080429235436/www.tcj.com/267/i_eisner.html). Archive of interview excerpts originally posted online (http://web.archive.org/web/20080511195152/www.tcj.com/249/i_eisner.html). "Interview with Jerry Iger" (http://www.reocities.com/area51/aurora/2669/intrview.html), Cubic Zirconia Reader, 1985. WebCitation archive (http://www.webcitation.org/5qfDBUrIc).

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Further reading
Feiffer, Jules, The Great Comic-Book Heroes, ISBN 1-56097-501-6 Jones, Gerard, Men Of Tomorrow ISBN 0-434-01402-8 Steranko, Jim, The Steranko History of Comics 2 (Supergraphics, 1972)

Comics and Sequential Art

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Comics and Sequential Art


Comics and Sequential Art

Author(s) Illustrator Country Language Subject(s) Publisher

Will Eisner Will Eisner United States English Comics Poorhouse Press

Publication date 1985; 1990 (Expanded Edition) Pages ISBN OCLC Number Followed by 164 (Expanded Edition) 0-9614728-1-2 (Expanded Edition) 24083231 [1]

Graphic Storytelling and Visual Narrative

Comics and Sequential Art is a 1985 book by Will Eisner that provides an analytical overview of comics. It is based on a series of essays that appeared in The Spirit magazine, themselves based on Eisner's experience teaching a course in sequential art at the School of Visual Arts. It is not presented as a teaching guide, however, but as a series of demonstrations of principles and methods. Eisner draws examples from his own work, including several complete stories featuring The Spirit (listed below). A 1990 expanded edition of the book includes short sections on the print process and the use of computers in comics. Comics and Sequential Art is well regarded in the community of comics professionals, garnering praise from the likes of Michael Chabon, Neil Gaiman, Jeff Smith, and referenced and expanded on by Scott McCloud in Understanding Comics. Eisner wrote a companion volume to Comics and Sequential Art, Graphic Storytelling and Visual Narrative, which was published in 1996.

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Book contents
Foreword
"Traditionally, most practitioners with whom I worked and talked produced their art viscerally. Few ever had the time or inclination to diagnose the form itself... As I began to dismantle the complex components... I found that I was involved with an 'art of communication' more than simply an application of art."

Chapter 1: 'Comics' as reading


In the first chapter Eisner demonstrates that comics have a vocabulary and grammar in both prose and illustration. He refers to an article by Tom Wolfe in the Harvard Educational Review (August 1977), expanding the term "reading" to mean more than just "reading words".

Chapter 2: Imagery
This chapter includes the complete Spirit story, "Hoagy the Yogi, Part 2", originally published March 23, 1947, demonstrating the use of pure imagery (visual pantomime with only incidental text) to tell the story of Ebony's adventures with Hoagy the Yogi.

Chapter 3: "Timing"
Compositional and internal timing are demonstrated in the complete Spirit story, "Foul Play", originally published March 27, 1949. Compositional timing is used to determine when to reveal events in the story for maximum effect (e.g., surprise), whereas internal timing is used to suggest short or long periods of time within a panel (e.g., using a dripping faucet). This establishes a "time rhythm".

Chapter 4: The Frame


This is an extensive chapter devoted to the use of one of the basic tools of the comics artist: the frame. As well as many extracts, including examples of splash pages (an Eisner trademark), this chapter includes several complete stories and chapters: the Spirit story, "The Amulet of Osiris", originally published November 28, 1948, demonstrates the use of frame shapes and open frames, in an adventure starring the bumbling officer, Sam Klink a chapter from Life on Another Planet (Chapter 7: The Big Hit), originally published August 1980, demonstrating the use of the page as a metapanel, in this case supporting the narrative in following different threads in the story the Spirit story "Two Lives", originally published December 12, 1948, demonstrating the super-panel as a page in the parallel stories of Carboy T. Gretch and Cranfranz Qwayle the Spirit story "The Visitor", originally published February 13, 1949, demonstrating the use of perspective (where the panel is oriented in relation to the subject) for dramatic effect (in this case not going "hog-wild" before revealing the twist in a science fiction story)

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Chapter 5: Expressive Anatomy


This chapter covers gesture, posture and the face. "Hamlet on a Rooftop", originally published June 1981, demonstrates the use of all three, casting Shakespeare's famous soliloquy from Hamlet in a modern urban context. External links Wikisource - Hamlet's soliloquy

Chapter 6: Writing & Sequential Art


Eisner considers the relationship between text and image, and writer and artist, including the use of scripts and dummies.

Chapter 7: Application (The Use of Sequential Art)


Eisner divides sequential art into two broad categories: instruction and entertainment. (His further subdivisions are Entertainment Comics, The Graphic Novel, Technical Instruction Comics, Attitudinal Instruction Comics and Story Boards.)

Chapter 8: Teaching/Learning Sequential Art for Comics in the print and computer era
This chapter gives an overview of skills required for successful sequential art, including drawing skills (e.g., perspective), general knowledge (e.g., how everyday devices work) and comics-specific techniques (e.g., balloons). It also covers the printing process, the use of computers to create print comics, and electronic comics. (The latter is covered in more depth by McCloud in Reinventing Comics, including electronic publishing and payment.)

External links
Comics and Sequential Art (Simply Comics) [2], a short, mostly critical review of Comics and Sequential Art

References
[1] http:/ / worldcat. org/ oclc/ 24083231 [2] http:/ / www. simpleweblog. com/ comics/ archives/ 000900. php

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Graphic Storytelling and Visual Narrative


Graphic Storytelling and Visual Narrative

Author(s) Illustrator Country Language Subject(s) Publication date Pages ISBN OCLC Number Preceded by

Will Eisner Will Eisner United States English Comics 1996 164 039333127X 227191897 [1]

Comics and Sequential Art

Graphic Storytelling and Visual Narrative is a 1996 book by Will Eisner that provides an academic overview of comics, a companion to his earlier book Comics and Sequential Art.

References
[1] http:/ / worldcat. org/ oclc/ 227191897

Fredric Wertham

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Fredric Wertham
Fredric Wertham

Fredric Wertham reads EC Comics' Shock Illustrated Born Died Munich, Germany November 18, 1981 (aged 86) Kempton, Pennsylvania Psychiatry Florence Hesketh (1902-1987)

Occupation Spouse

Fredric Wertham (March 20, 1895 November 18, 1981) was a Jewish[1] German-American psychiatrist and crusading author who protested the purportedly harmful effects of violent imagery in mass media and comic books on the development of children.[2] His best-known book was Seduction of the Innocent (1954), which purported that comic books are dangerous to children. Wertham's criticisms of comic books helped spark a U.S. Congressional inquiry into the comic book industry and the creation of the Comics Code. He called television "a school for violence," and said "If I should meet an unruly youngster in a dark alley, I prefer it to be one who has not seen Bonnie and Clyde."[3]

Early life
Fredric Wertham was born on March 20, 1895 in Munich.[2] [3] He studied medicine in Germany and England and after corresponding with Sigmund Freud chose psychiatry as his specialty.

Career
In 1922 he was invited to come to the United States and to join the Phipps Psychiatric Clinic at Johns Hopkins Hospital in Baltimore, Maryland. He became a United States citizen in 1927.[2] He moved to New York City in 1932 to direct the psychiatric clinic connected with the New York Court of General Sessions in which all convicted felons received a psychiatric examination that was used in court.[2] In 1935 he testified for the defense in the trial of Albert Fish, declaring him insane.[4]

Fredric Wertham

166

Seduction of the Innocent and Senate hearings


Seduction of the Innocent described overt or covert depictions of violence, sex, drug use, and other adult fare within "crime comics"a term Wertham used to describe not only the popular gangster/murder-oriented titles of the time but also superhero and horror comics as welland asserted, based largely on undocumented anecdotes, that reading this material encouraged similar behavior in children. Comics, especially the crime/horror titles pioneered by EC Comics, were not lacking in gruesome images; Wertham reproduced these extensively, pointing out what he saw as recurring morbid themes such as "injury to the eye" (as depicted in Plastic Man creator Jack Cole's "Murder, Morphine and Me", which he illustrated and probably wrote for publisher Magazine Village's True Crime Comics Vol. 1, #2 (May 1947); it involved dope-dealing protagonist Mary Kennedy nearly getting stabbed in the eye "by a junkie with a hypothermic needle" in her dream sequence[5] ). Many of his other conjectures, particularly about hidden sexual themes (e.g. images of female nudity concealed in drawings of muscles and tree bark, or Batman and Robin as gay partners), were met with derision within the comics industry. (Wertham's claim that Wonder Woman had a bondage subtext was somewhat better documented, as her creator William Moulton Marston had admitted as much; however, Wertham also claimed that Wonder Woman's strength and independence made her a lesbian.) Given the subsequent emergence of organized fandom for comic books among adults who grew up reading them during Comics' Golden Age, it is ironic Wertham at one point in Seduction (pp.8990) asserts "I have known many adults who have treasured throughout their lives some of the books they read as children. I have never come across any adult or adolescent who had outgrown comic-book reading who would ever dream of keeping any of these 'books' for any sentimental or other reason." What is often overlooked in discussions of Seduction of the Innocent is Wertham's analysis of the advertisements that appeared in 1950s comic books and the commercial context in which these publications existed. Wertham objected to not only the violence in the stories but also the fact that air rifles and knives were advertised alongside them. Also rarely mentioned in summaries or reviews of Seduction of the Innocent are Wertham's claims that retailers who did not want to sell material with which they were uncomfortable, such as horror comics, were essentially held to ransom by the distributors. According to Wertham, news vendors were told by the distributors that if they did not sell the objectionable comic books, they would not be allowed to sell any of the other publications being distributed. The splash made by this book and Wertham's previous credentials as an expert witness, made it inevitable that he would appear before the Senate Subcommittee on Juvenile Delinquency led by anti-crime crusader Estes Kefauver. In extensive testimony before the committee, Wertham restated arguments from his book and pointed to comics as a major cause of juvenile crime. Beaty notes "Wertham repeated his call ... [for] national legislation based on the public health ideal that would prohibit the circulation and display of comic books to children under the age of fifteen." The committee's questioning of their next witness, EC publisher William Gaines, focused on violent scenes of the type Wertham had decried. Though the committee's final report did not blame comics for crime, it recommended that the comics industry tone down its content voluntarily; possibly taking this as a veiled threat of potential censorship, publishers developed the Comics Code Authority to censor their own content. The Code banned not only violent images but also entire words and concepts (e.g. "terror" and "zombies") and dictated that criminals must always be punishedthus destroying most EC-style titles, and leaving a sanitized subset of superhero comics as the chief remaining genre. Wertham described the Comics Code as inadequate, while most in the industry found it draconian.

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Later career
Wertham's views on mass media have largely overshadowed his broader concerns with violence and with protecting children from psychological harm. His writings about the effects of racial segregation were used as evidence in the landmark Supreme Court case Brown v. Board of Education, and part of his 1966 book A Sign for Cain dealt with the involvement of medical professionals in the Holocaust. To promote this book Wertham made two memorable appearances on the Mike Douglas Show where he ended up debating his theories with the co-hosts, Barbara Feldon (April 10, 1967) and Vincent Price (June 19, 1967). Excerpts were shown at the 2003 Comic-Con International: San Diego[6] Beaty reveals in 1959 Wertham tried to sell a follow-up to Seduction on the effects of television on Children, to be titled The War on Children. Much to Wertham's frustration, no publishers were interested in publishing it. Wertham always denied that he favored censorship or had anything against comic books in principle, and in the 1970s he focused his interest on the benign aspects of the comic fandom subculture; in his last book, The World of Fanzines (1974), he concluded that fanzines were "a constructive and healthy exercise of creative drives". This led to an invitation for Wertham to address the New York Comic Art Convention. Still infamous to most comics fans of the time, Wertham encountered suspicion and heckling at the convention, and stopped writing about comics thereafter. Before retirement he became a professor of psychiatry at New York University, a senior psychiatrist in the New York City Department of Hospitals, and a psychiatrist and the director of the Mental Hygiene Clinic at the Bellevue Hospital Center.[2] He died on November 18, 1981 at his retirement home in Kempton, Pennsylvania. He was 86 years old.[2] [3]

Legacy
Wertham's papers (including the manuscript to the unpublished The War on Children) were donated to the Library of Congress and are held by the Manuscript Division. They were made available for use by scholars for research on May 20, 2010.[7] A register of the papers has been prepared that displays the eclectic reach of Wertham's interests.[8] His activism was cited in 2011 U. S. Supreme Court decision Brown v. Entertainment Merchants Association.

Selected bibliography
1948: "The Comics, Very Funny", Saturday Review of Literature, May 29, 1948, p.6. (condensed version in Reader's Digest, August 1948, p.15) 1953: "What Parents Don't Know About Comic Books". Ladies' Home Journal, Nov. 1953, p.50. 1954: "Blueprints to Delinquency". Reader's Digest, May 1954, p.24. 1954: Seduction of the Innocent. Amereon Ltd. ISBN 0-8488-1657-9 1955: "It's Still Murder". Saturday Review of Literature, April 9, 1955, p.11. 1956: The Circle of Guilt. Rinehart & Company. 1968: A Sign for Cain: An Exploration of Human Violence. Hale. ISBN 0-7091-0232-1 1973: The World of Fanzines: A Special Form of Communication. Southern Illinois University Press. ISBN 0-8093-0619-0 1973: "Doctor Wertham Strikes Back!" The Monster Times no. 22, May 1973, p.6.

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Further reading
(1954). "Are Comics Horrible?" Newsweek, May 3, 1954, p.60. Decker, Dwight. (1987). "The Strange Case of Dr. Wertham" Amazing Heroes #123 (August 15, 1987); "The Return of Dr. Wertham" Amazing Heroes #124 (Sept. 1, 1987); "From Dr. Wertham With Love" Amazing Heroes #125 (Sept. 15, 1987) [three part series, see below for link to condensed version posted online under title "Fredric Wertham - Anti-Comics Crusader Who Turned Advocate"]. Gibbs, Wolcott. (1954). "Keep Those Paws to Yourself, Space Rat!" The New Yorker, May 8, 1954. Beaty, Bart. (2005). Fredric Wertham and the Critique of Mass Culture. Bart Beaty. Fredric Wertham and the Critique of Mass Culture. University Press of Mississippi, 2005. ISBN 1578068193 David Hajdu. The Ten-Cent Plague: The Great Comic-Book Scare and How It Changed America. Farrar, Straus and Giroux, 2008. ISBN 0374187673 James Bowman. "In Defense of Snobbery." August 26, 2008. [9] Amy Kiste Nyberg. "Seal of Approval: The History of the Comics Code." University Press of Mississippi, 1998. ISBN 087805975X

References
[1] "Jews and American Comics from Another Angle" (http:/ / comicscomicsmag. com/ 2010/ 04/ jews-and-american-comics-from-another-angle. html) [2] Webster, Bayard (December 1, 1981). "Fredric Wertham, 86, Dies. Foe of Violent TV and Comics" (http:/ / www. nytimes. com/ 1981/ 12/ 01/ obituaries/ fredric-wertham-86-dies-foe-of-violent-tv-and-comics. html). New York Times. . Retrieved 2010-03-29. "Dr. Fredric Wertham, an internationally known psychiatrist who believed that comic books, movies and television shows that featured crime, violence and horror exerted a damaging influence on many juveniles and young adults, died November 18 at his retirement home in Kempton, Pennsylvania. He was 86 years old." [3] "Death Revealed" (http:/ / www. time. com/ time/ magazine/ article/ 0,9171,925122,00. html#ixzz0jYgn3682). Time magazine. December 14, 1981. . Retrieved 2010-03-29. "Fredric Wertham, 86, author and psychiatrist who crusaded against violence in comic books, movies and television; on Nov. 18; in Kempton, Pa. Wertham, a Munich-born authority on criminal psychology, argued that violence is a product of cultural influences." [4] "Fish Held Insane By Three Experts. Defense Alienists Say Budd Girl's Murderer Was And Is Mentally Irresponsible" (http:/ / select. nytimes. com/ gst/ abstract. html?res=F70817FF355B107A93C3AB1788D85F418385F9). New York Times. May 21, 1935. . Retrieved 2010-03-29. "Three psychiatrists testified in Supreme Court today that Albert H. Fish, on trial for the murder of Grace Budd in June, 1928, was legally insane when he committed the murder and has been insane since that date." [5] Spiegelman, Art and Kidd, Chip (2001). Jack Cole and Plastic Man: Forms Stretched to their Limits, p.91. Retrieved on 2008-12-31. [6] News From Me (http:/ / www. newsfromme. com/ archives/ 2003_07_18. html) [7] "Wertham's Locked Vault" (http:/ / www. michaelbarrier. com/ Home Page/ WhatsNewArchivesJuly08. htm#werthamslockedvault) [8] Fredric Wertham: A Register of His Papers at the Library of Congress (http:/ / www. governmentattic. org/ 2docs/ LOC_Wertham-Papers_1992_2007. pdf) [9] http:/ / www. jamesbowman. net/ articleDetail. asp?pubID=1915

External links
Fredric Wertham (http://lambiek.net/artists/w/wertham_fredric.htm) - on Lambiek Comiclopedia Fredric Wertham - Anti-Comics Crusader Who Turned Advocate (http://art-bin.com/art/awertham.html) condensed online version of Dwight Decker three part series listed above The End of Seduction (http://www.sequart.com/columns/index.php?col=2&column=715) - lengthy history of Wertham and censorship of comics Comics Reporter: "Let's You and Him Fight" Part 1 (http://www.comicsreporter.com/index.php/briefings/ commentary/3607/), Part 2 (http://www.comicsreporter.com/index.php/briefings/commentary/3619/), Part 3 (http://www.comicsreporter.com/index.php/briefings/commentary/3631/), Part 4 (http://www. comicsreporter.com/index.php/briefings/commentary/3651/), Part 5 (http://www.comicsreporter.com/ index.php/briefings/commentary/3659/) - Bart Beaty and Craig Fischer discuss Beaty's "Fredric Wertham and

Fredric Wertham the Critique of Mass Culture"

169

Seduction of the Innocent


Seduction of the Innocent

First edition cover Author(s) Subject(s) Fredric Wertham Comic books

Publication date 1954

Seduction of the Innocent is a book by German-American psychiatrist Fredric Wertham, published in 1954, that warned that comic books were a negative form of popular literature and a serious cause of juvenile delinquency. The book was a minor bestseller that created alarm in parents and galvanized them to campaign for censorship. At the same time, a U.S. Congressional inquiry was launched into the comic book industry. Subsequent to the publication of Seduction of the Innocent, the Comics Code Authority was voluntarily established by publishers to self-censor their titles.

Content and themes


Seduction of the Innocent cited overt or covert depictions of violence, sex, drug use, and other adult fare within "crime comics" a term Wertham used to describe not only the popular gangster/murder-oriented titles of the time, but superhero and horror comics as well. The book asserted, largely based on undocumented anecdotes, that reading this material encouraged similar behavior in children. Comics, especially the crime/horror titles pioneered by EC, were not lacking in gruesome images; Wertham reproduced these extensively, pointing out what he saw as recurring morbid themes such as "injury to the eye".[1] Many of his other conjectures, particularly about hidden sexual themes (e.g. images of female nudity concealed in drawings or Batman and Robin as gay partners), met with derision within the comics industry. Wertham's claim that Wonder Woman had a bondage subtext was somewhat better documented, as her creator William Moulton Marston had admitted as much; however, Wertham also claimed Wonder Woman's strength and independence made her a lesbian[2] Wertham also claimed that Superman was un-American and was a fascist.

Seduction of the Innocent

170 Wertham critiqued the commercial environment of comic book publishing and retailing, objecting to air rifles and knives advertised alongside violent stories. Wertham sympathized with retailers who didn't want to sell horror comics, yet were compelled to by their distributors' table d'hte product line policies. Seduction of the Innocent was illustrated with comic-book panels offered as evidence, each accompanied by a line of Wertham's sardonic commentary. The first printing contained a bibliography listing the comic book publishers cited, but fears of lawsuits compelled the publisher to tear the bibliography page from any copies available, so copies with an intact bibliography are rare. Early complete editions of Seduction of the Innocent often sell for high figures among book and comic book collectors.

First U.K. printing, 1954.

Influence

The fame of Seduction of the Innocent added to Wertham's previous celebrity as an expert witness and made him an obvious choice to appear before the Senate Subcommittee on Juvenile Delinquency led by anti-crime crusader Estes Kefauver. In extensive testimony before the committee, Wertham restated arguments from his book and pointed to comics as a major cause of juvenile crime. The committee's questioning of their next witness, EC publisher William Gaines, focused on violent scenes of the type Wertham had decried. Though the committee's final report did not blame comics for crime, it recommended that the comics industry tone down its content voluntarily. Possibly taking this as a veiled threat of potential censorship, publishers developed the Comics Code Authority to censor their own content. The new code not only banned violent images, but entire words and concepts (e.g. "terror" and "zombies"), and dictated that criminals must always be punished. This destroyed most EC-style titles, leaving a sanitized subset of superhero comics as the chief remaining genre. Wertham nevertheless considered the Comics Code inadequate to protect youth. Among comic-book collectors any comic book with a story or panel referred to in Seduction of the Innocent is known as a "Seduction issue", and is usually more valued than other issues in the same run of a title. Seduction of the Innocent is one of the few non-illustrative works to be listed in the Overstreet Comic Book Price Guide as a collectible in its own right. In the documentary film Comic Books Unbound, Stan Lee and other industry figures state that the book caused comic book sales to plunge as well as lead to mass public burnings of comics.[3]

Seduction of the Innocent

171

References
Notes
[1] as notably seen in Jack Cole's "Murder, Morphine and Me" which appeared in True Crime Comics Vol.1 #2 in May 1947. [2] Wertham, Fredric (1954) Seduction of the Innocent., p. 192, 234-235, Reinhart & Company, Inc. [3] Comic Books Unbound

Further reading
Beaty, Bart (2005). Fredric Wertham and the Critique of Mass Culture. University Press of Mississippi, ISBN 1-57806-819-3. Nyberg, Ami Kiste (1998). Seal of Approval: The History of the Comics Code, University Press of Mississippi, ISBN 0-87805-975-X. Warshow, Robert S. Commentary (June 1954). "The Study of Man: Paul, the Horror Comics, and Dr. Wertham" (http://www.commentarymagazine.com/viewarticle.cfm/ -em-the-study-of-man-em--paul--the-horror-comics--and-dr--wertham-1958) Wright, Bradford W. (2001). Comic Book Nation: The Transformation of Youth Culture in America, Johns Hopkins University Press, ISBN 0-8018-7450-5.

172

Classic Super Heroes


Action Comics
Action Comics

Action Comics #1 (June 1938), the debut of Superman. Cover art by Joe Shuster. Publication information Publisher Schedule Format Genre Publication date Number of issues Main character(s) DC Comics Monthly (Weekly 198889) Ongoing series Superhero June 1938 present 904 (plus issues numbered 0 and 1,000,000; as well as 13 Annuals) Superman Collected editions Superman Chronicles Vol 1 ISBN 1-4012-0764-2 Superman Chronicles Vol 2 ISBN 1-4012-1215-8 Superman in the Forties Archives Vol 1 Archives Vol 2 Archives Vol 3 Archives Vol 4 Archives Vol 5 ISBN 1-4012-0457-0 ISBN 1-5638-9335-5 ISBN 1-5638-9426-2 ISBN 1-5638-9710-5 ISBN 1-4012-0408-2 ISBN 1-4012-1188-7

Action Comics is an American comic book series that introduced Superman, the first major superhero character as the term is popularly defined. The publisher was originally known as Detective Comics, Inc., and later as National Comics and as National Periodical Publications, before taking on its current name of DC Comics, a subsidiary of Time Warner.

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Publication history
Superman
Jerry Siegel and Joe Shuster saw their creation, Superman (also known as Kal-El, originally Kal-L), launched in Action Comics #1 in April 1938 (cover-dated June). Siegel and Shuster had tried for years to find a publisher for their Superman character (originally conceived as a newspaper strip) without success. Superman was originally a bald madman created by Siegel and Shuster who used his telepathic abilities to wreak havoc on mankind. He appeared in Siegel and Shuster's book Science Fiction.[1] Siegel then commented, "What if this Superman was a force for good instead of evil?" The writer and artist had worked on several features for National Periodical Publications' other titles (Slam Bradley in Detective Comics, for example[2] ) and were asked to contribute a feature for National's newest publication. They submitted Superman for consideration and, after re-pasting the sample newspaper strips they had prepared into comic book page format, National decided to make Superman the cover feature of their new magazine.[3]

Early anthology
Originally, Action Comics was an anthology title featuring a number of other stories in addition to the Superman story. Zatara, a magician, was one of the other characters who had their own stories in early issues. (Zatanna, a heroine introduced in the 1960s, is Zatara's daughter.) There was also the hero Tex Thompson, who eventually became Mr. America and later the Americommando. Vigilante also enjoyed a lengthy run in this series. Sometimes stories of a more humorous nature were included, such as those of Hayfoot Henry, a policeman who talked in rhyme. Gradually, the size of the issues was decreased as the publisher was reluctant to raise the cover price from the original 10 cents, so there were fewer stories. For a while, Congo Bill and Tommy Tomorrow were the two features in addition to Superman (Congo Bill eventually gained the ability to swap bodies with a gorilla and his strip was renamed Congorilla), but soon after the introduction of Supergirl in issue #252 (May 1959) the non-Superman-related strips were crowded out of Action altogether. Since then, it has generally been an all-Superman comic, though other backup stories such as the Human Target occasionally appear.

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Hiatus, name changes, publication changes, and special numbering


In number of issues, Action Comics is the longest running DC Comics series, followed by Detective Comics; however, it cannot claim to have had an uninterrupted run, due in large part to two separate occasions on which the title was put on a three-month hiatus. The first of these occurred during the summer of 1986, with issue #583 bearing a cover date of September, and issue #584 listing January 1987. The regular Superman titles were suspended during this period to allow for the post-Crisis revising of the Superman story through the publication of John Byrne's six-issue The Man of Steel limited series.[4] Publication was again suspended between issues #686 and #687 (February and June 1993) following the "Death of Superman" and "Funeral for a Friend" storylines, before Action Comics returned in June with the "Reign of the Supermen" arc.[4] (The two "Funeral for a Friend" issues, #685 and #686, featured the cover announcement of "Supergirl in Action Comics", highlighting the passing of Superman.[5] ) For slightly less than a year in 19881989, the publication frequency was changed to weekly and the title became Action Comics Weekly, and Cover of Action Comics #800 (April 2003). A modern take on the cover of Action Comics #1. was an anthology format series; After May 1988's landmark issue #600, Art by Drew Struzan. issues #611-615 all bore August cover dates.[4] The Action Comics Weekly experiment lasted only until the beginning of March 1989, however, and after a short break, July's issue #643 brought the title back onto a monthly schedule.[4] (However, the temporarily increased frequency of issues allowed Action to further surpass the older Detective Comics in the number of individual issues published. It originally passed Detective Comics in the 1970s when that series was bi-monthly for a number of years.) This change lasted from issue #601 to issue #642. During this time, Superman appeared only in a two-page story per issue; however, he was still the only character to appear in every issue of the run. Due to going weekly for this period, Action Comics was able to surpass the issue total of Detective Comics, despite that title being older by a year. Prior to its launch, DC cancelled its ongoing Green Lantern title Green Lantern Corps, and made Green Lantern Hal Jordan and his adventures exclusive to Action Comics Weekly. During the Action Comics Weekly run, a Green Lantern Special was published in 1988, tying in with the events happening in Action Comics Weekly. Green Lantern was soon moved out of the title, with Green Lantern Special #2 (1989) published concluding the story plots from Action Comics Weekly, and the character was relaunched with a limited series in 1989 (Green Lantern: Emerald Dawn), followed up by a new ongoing series in June 1990 (Green Lantern vol. 3). The rest of these issues featured rotating serialized stories of other, mostly minor, DC heroes, as try-outs that led to their own limited series. Characters with featured stories in the run included Black Canary, Blackhawk, Captain Marvel, Catwoman, Deadman, Nightwing, Phantom Lady (Dee Tyler), Phantom Stranger, Secret Six, Speedy, and Wild Dog. Each issue also featured a two-page Superman serial, a feature which, according to an editorial in the first weekly issue, was intended as a homage to the Superman newspaper strips of the past. The final issue of the weekly was originally intended to feature a book-length encounter between Clark Kent and Hal Jordan penned by writer Neil Gaiman.[6] While Gaiman's story primarily teamed up Green Lantern and Superman, it also featured other characters from Action Comics Weekly, including the Blackhawks (in flashback), Deadman, and the Phantom Stranger. The story ran counter to DC editorial policy at the time as it portrayed Hal Jordan and Clark Kent as old friends who knew each other's secret identities. This was not considered canon in 1989 (though other issues of Action Comics Weekly implied Hal and Clark were friends) and Gaiman was unwilling to change this

Action Comics aspect of the story.[6] The story was pulled and a different story was run. Gaiman's story was finally published as a one-shot in Green Lantern/Superman: Legend of the Green Flame in November 2000. Another departure from a strict monthly schedule were the giant-size Supergirl reprint issues of the 1960s (published as a 13th issue annually): issues #334 (March 1966), #347 (March/April 1967), #360 (March/April 1968), and #373 (March/April 1969). An issue #0 (October 1994) was published between issues #703 and #704 as part of the Zero Month after the "Zero Hour" crossover event. There was also an issue #1,000,000 (November 1998) during the "DC One Million" crossover event in October 1998 between issues #748 and #749.

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2000s
After the "One Year Later" company-wide storyline, Action Comics had a crossover arc with the series Superman, titled "Up, Up and Away!" and which told of Clark Kent attempting to protect Metropolis without his powers and eventually regaining his powers. Afterward, he leaves Earth and is replaced by the new Nightwing and Flamebird as the starring characters of the book. Starting with issue #875, Thara Ak-Var and Chris Kent, two characters introduced in the "New Krypton" story arc, took Superman's place as the main protagonists of the comic, while Superman left Earth to live on New Krypton. These are written by Greg Rucka with artist Eddy Barrows, who left the art duties on Teen Titans to pencil Action.[7]
[8]

Starting in July 2009, Action Comics includes back-up stories featuring Captain Atom. On February 22, 2010, a copy of Action Comics #1 (June 1938) sold at auction for $1 million, besting the $317,000 record for a comic book set by a different copy, in lesser condition, the previous year. The sale, by an anonymous seller to an anonymous buyer, was through the Manhattan-based auction company ComicConnect.com.[9] Although DC had initially announced that Marc Guggenheim would take over writing of the title following the War of the Supermen limited series,[10] he was replaced by Paul Cornell.[11] Cornell has stated that Lex Luthor would feature as the main character in Action Comics from issues #890-900[12] and Death would appear in issue #894, with the agreement of the character's creator, Neil Gaiman.[13] In April 2011, the 900th Action Comics issue was released. It served as a conclusion for Luthor's Black Ring storyline and a continuation for the Reign of Doomsday storyline.

Relaunch
On June 1, DC announced that it would relaunch 52 titles[14] with all-new numbering and Action Comics would be one of them. It was announced on June 10 that Action Comics would be relaunched with issue #1 and the new series would be written by Grant Morrison and drawn by Rags Morales.[15] [16]

Collected editions
The Action Comics series is included in a number of trade paperbacks and hardcovers. These generally reprint only the Superman stories from the given issues. The Superman Chronicles Volume 1: reprints issues #1-13; New York World's Fair Comics #1; Superman #1; January 2006; ISBN 978-1-4012-0764-9 Volume 2: reprints issues #14-20; Superman #2-3; February 2007; ISBN 978-1-4012-1215-5 Volume 3: reprints issues #21-25; New York World's Fair Comics #2; Superman #4-5; August 2007; ISBN 978-1-4012-1374-9 Volume 4: reprints issues #26-31; Superman #6-7; February 2008; ISBN 978-1-4012-1658-0

Action Comics Volume 5: reprints issues #32-36; Superman #8-9; World's Best Comics #1; August 2008; ISBN 978-1-4012-1851-5 Volume 6: reprints issues #37-40; Superman #10-11; World's Finest Comics #2-3; February 2009; ISBN 978-1-4012-2187-4 Volume 7: reprints issues #41-43; Superman #12-13; World's Finest Comics #4; July 2009; ISBN 978-1-4012-2288-8 Volume 8: reprints issues #44-47; Superman #14-15; April 2010; ISBN 978-1-4012-2647-3 Superman in the Forties, includes issues #1-2, 14, 23, 64, 93, 107; November 2005; ISBN 978-1-4012-0457-0 Superman in the Fifties, includes issues #151, 242, 252, 254-255; October 2002; ISBN 978-1-56389-826-6 Superman in the Sixties, includes issue #289; October 1999; ISBN 978-1-56389-522-7 Superman in the Seventies, includes issue #484; November 2000; ISBN 978-1-56389-638-5 Superman in the Eighties, includes issues #507-508, 554, 595, 600, 644; April 2006; ISBN 978-1-4012-0952-0 Superman: The Action Comics Archives Volume 1: reprints issues #1, 7-20, and summarizes #2-6; May 1998; ISBN 978-1-56389-335-3 Volume 2: reprints issues #21-36; December 1998; ISBN 978-1-56389-426-8 Volume 3: reprints issues #37-52; August 2001; ISBN 978-1-56389-710-8 Volume 4: reprints issues #53-68; June 2005; ISBN 978-1-4012-0408-2

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Volume 5: reprints issues #69-85; March 2007; ISBN 978-1-4012-1188-2

Awards
Action Comics #687-689 were part of The Reign of the Supermen storyline, which won the 1993 Comics Buyer's Guide Fan Award for Favorite Comic Book Story that year.

References
[1] [2] [3] [4] Jones, Gerard (July 2006). Men of Tomorrow. Arrow Books. pp.8284. ISBN978-0-09-948706-7. Jones, p. 120. Jones, p. 124. Miller, J. J.; Maggie Thompson, Peter Bickford, Brent Frankenhoff (September 2005). "Action Comics". The Comic Buyer's Guide Standard Catalog of Comic Books (4 ed.). Krause Publications. pp.3544. ISBN978-0-87349-993-4. [5] "Action Comics covers" (http:/ / comics. org/ covers. lasso?seriesID=97& skip=600& show=50). Grand Comics Database. . Retrieved July 18, 2008. [6] Gaiman, Neil(w)."Introduction" Green Lantern/Superman: Legend of the Green Flame (November 2000), DC Comics [7] "Greg Rucka on being named new Acton Comics writer" (http:/ / www. supermanhomepage. com/ news. php?readmore=5767#comments). Supermanhomepage.com. January 1, 2007. . Retrieved June 17, 2010. [8] "Greg Rucka: Man of 'Action'" (http:/ / www. comicbookresources. com/ ?page=article& id=20543). Comic Book Resources. March 24, 2009. . [9] "Superman's debut sells for $1M at auction" (http:/ / www. webcitation. org/ 5nlh9imNu). Crain's New York Business. Associated Press. February 22, 2010. Archived from the original (http:/ / www. crainsnewyork. com/ article/ 20100222/ FREE/ 100229983) on February 23, 2010. . [10] Segura, Alex (December 10, 2009). "DCU in 2010: Marc Guggenheim Steps in as Writer on Action Comics" (http:/ / dcu. blog. dccomics. com/ 2009/ 12/ 10/ dcu-in-2010-marc-guggenheim-steps-in-as-writer-on-action-comics/ ). The Source. DC Comics.com. . Retrieved April 12, 2010. [11] Segura, Alex (April 12, 2010). "Paul Cornell Steps in as New Action Comics Writer" (http:/ / dcu. blog. dccomics. com/ 2010/ 04/ 12/ paul-cornell-steps-in-as-new-action-comics-writer/ ). The Source. DC Comics.com. . Retrieved April 12, 2010. [12] Phegley, Kiel (June 22, 2010). "Paul Cornell: A DC Exclusive" (http:/ / www. comicbookresources. com/ ?page=article& id=26828). Comic Book Resources. . Retrieved February 8, 2011. [13] Phegley, Kiel (July 8, 2010). "Lex Luthor Faces Death" (http:/ / www. comicbookresources. com/ ?page=article& id=27068). Comic Book Resources. . Retrieved July 10, 2010. [14] DC Comics Announces Historical Renumbering Of All Superhero Titles And Landmark Day-And-Date Digital Distribution (http:/ / dcu. blog. dccomics. com/ 2011/ 05/ 31/ dc-comics-announces-historic-renumbering-of-all-superhero-titles-and-landmark-day-and-date-digital-distribution), DC Universe, May 31, 2011

Action Comics
[15] History Happens Now (http:/ / dcu. blog. dccomics. com/ 2011/ 06/ 10/ history-happens-now), DC Universe, June 10, 2011 [16] The New Superman Titles Are Here, Grant Morrison on "Action Comics" (http:/ / www. comicsalliance. com/ 2011/ 06/ 10/ new-superman-comics), Comics Alliance, June 10, 2011

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External links
Action Comics (http://www.comics.org/series/97) at the Grand Comics Database Action Comics (http://comicbookdb.com/title.php?ID=34) at the Comic Book DB Action Comics cover gallery (http://www.comic-covers.com/DC/DCA-B/Action/index.html) Action Comics (http://www.worldofsuperheroes.com/comics/action-comics-900/)

Action Comics 1

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Action Comics 1
Action Comics #1

Cover of Action Comics 1(April 18, 1938). Art by Joe Shuster. Publication information Publisher Publication date DC Comics June 1938

Action Comics #1 (June 1938) is the first issue of the comic book series Action Comics. It features the first appearance of several comic book heroes, most notably the Jerry Siegel/Joe Shuster creation Superman.

Contents
Action Comics #1 was an anthology, and contained eleven features: "Superman" (pp. 113) by Siegel and Shuster. "Chuck Dawson" (pp. 1419) by H. Fleming. "Zatara Master Magician" (pp. 2031) by Fred Guardineer. "South Sea Strategy" (text feature, pp. 3233) by Captain Frank Thomas. "Sticky-Mitt Stimson" (pp. 3437) by Alger. "The Adventures of Marco Polo" (pp. 3841) by Sven Elven. "'Pep' Morgan" (pp. 4245) by Fred Guardineer. "Scoop Scanlon Five Star Reporter" (pp. 4651) by Will Ely. "Tex Thompson" (pp. 5263) by Bernard Baily. "Stardust" (p. 64) by "The Star-Gazer". "Odds 'N Ends" (inside back cover) by "Moldoff" (Sheldon Moldoff).

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Publication
Published on April 18, 1938 (cover-dated June),[1] by National Allied Publications, a corporate predecessor of DC Comics, it is considered the first true superhero comic; and though today Action Comics is a monthly title devoted to Superman, it began, like many early comics, as an anthology.[2] Action Comics was started by publisher Jack Liebowitz. The first issue had a print run of 200,000 copies, although sales of the series would soon approach 1,000,000 a month.[3] Jerry Siegel and Joe Shuster were paid $10 per page, for a total of $130 for their work on this issue. They effectively signed away millions in future rights and royalties payments. Starting in 1978, Siegel and Shuster were provided with a $20,000 a month annuity which was later raised to $30,000. Liebowitz would later say that selecting Superman to run in Action Comics #1 was "pure accident" based on deadline pressure and that he selected a "thrilling" cover, depicting Superman lifting a car over his head.[4] Christopher Knowles, author of Our Gods Wear Spandex: The Secret History of Comic Book Heroes, compared the cover to Hercules Clubs the Hydra by Antonio del Pollaiolo.[5] [6]

The cover has been compared to Hercules Clubs the Hydra by Antonio del Pollaiolo.

Superman
In January 1933, Jerry Siegel wrote a story entitled "The Reign of the Super-Man." Siegel and Joe Shuster then created a comic book entitled The Superman later in 1933. A Chicago publisher expressed interest, but did not follow through, and in frustration, Shuster tore up all the pages of this comic except for the cover. Later, in 1934, Siegel had trouble falling asleep and decided to pass the time creating dramatic elements for a comic strip. Building on his previous ideas, he envisioned a child on a far-off planet named Krypton, where all the residents had super-powers. Because Krypton would soon explode, the boy was sent to Earth by his father, where he became Superman.[7] The Superman section of Action Comics was made up of a cut up comic strip. Siegel and Shuster had shopped Superman around as a comic strip, but were continually turned down. National Publications was looking for a hit to accompany their success with Detective Comics, and did not have time to solicit new material. Jack Liebowitz, co-owner of National Publications, told editor Vin Sullivan to create their fourth comic book. Because of the tight deadline, Sullivan was forced to make it out of inventory and stockpile pages. He found a number of adventurer stories, but needed a lead feature. Sullivan asked former coworker Sheldon Mayer if he could help. Mayer found the rejected Superman comic strips, and Sullivan told Siegel and Shuster that if they could paste them into 13 comic book pages, he would buy them.[8] The original panels were rewritten and redrawn to create the first page of Action Comics #1: 1. Baby Superman is sent to Earth by his scientist father in a "hastily-devised space ship" from "a distant planet" which "was destroyed by old age". 2. After the space ship lands on Earth, "a passing motorist, discovering the sleeping baby within, turned the child over to an orphanage". 3. The baby Superman lifts a large chair overhead with one hand, astounding the orphanage attendants with "his feats of strength".

Action Comics 1 4. When Superman (now named Clark) reaches maturity, he discovers that he can leap 1/8 of a mile, hurdle 20-story buildings, "raise tremendous weights", out-run a train, and "that nothing less than a bursting shell could penetrate his skin". 5. Clark decides that "he must turn his titanic strength into channels that would benefit mankind, and so was created 'Superman', champion of the oppressed...."[9] Siegel rewrote and extended the fourth panel into panels 4, 5, and 6 on the first page; and Shuster created three new drawings for them. Instead of racing the train in his costume, Siegel and Shuster decided that they would not show him in his costume until he had officially adopted his Superman alter-ego. Shuster also redrew panel 7. Two new panels offering a "scientific explanation of Clark Kent's amazing strength" were added. The panels do not identify Superman's home planet by name or explain how he was named Clark Kent.[9] The next 12 pages showed Superman attempting to save an innocent woman about to be executed while delivering the real murderess, bound and gagged, and leaving her on the lawn of the state Governor's mansion after breaking through the door into his house with a signed confession; coming to the aid of a woman being beaten up by her husband, who faints when his knife shatters on Superman's skin; rescuing Lois Lane (who also debuts in this issue) from a gangster who abducted her after she rebuffed him at a nightclub (and after Clark had refused to stand up to him, earning Lois's ire) which leads to the cover scene with the car; and going to Washington, D.C., instead of South America, to "stir up news" as his editor wants, to investigate a Senator that he suspects is corrupt, and prompting a confession by leaping around high buildings with the terrified man, which leads into the next issue. All the while, Clark tries to keep Superman out of the papers.[9] [10]

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Collectibility
Action Comics #1 is considered the most valuable comic for a given condition, followed by Detective Comics #27 (the first appearance of Batman) and Superman #1.[11] [12] On February 22, 2010, a copy of Action Comics #1 sold at auction for USD $1 million, besting the $317,000 record for a comic book set by a different copy, in lesser condition, the previous year. The sale, by an anonymous seller to an anonymous buyer, was through the Manhattan-based auction company ComicConnect.com.[13] There are five known Comic Guaranty LLC (CGC)-graded copies with a grade above VG (CGC 4.0), with a single issue having the best grade of VF+ (CGC 8.5). There is one known uncertified copy in higher grade, the famous Edgar Church/Mile High copy.[14] [15] EC and Mad publisher William Gaines, whose father was also a comic book publisher and had business dealings with DC Comics at the time Action Comics #1 was published, claimed in a Comics Journal interview that he at one point had dozens of copies of the issue around his house, but they were probably all thrown out.[16] [17] Another copy, rated CGC 5 ("Very Good/Fine"), was discovered in July 2010 by a family facing foreclosure on their home while packing their possessions. ComicConnect.com estimated the comic may sell as high as $250,000 once auctioned, saving the family's home.[18] On March 29, 2010, ComicConnect.com sold another copy for USD $1.5 million, making it the most expensive and most valuable comic book of all time.[19] The copy sold is currently the highest-graded copy from the CGC, which stands at 8.5 VF+ grade.[20] The highest price ever received for a mid-grade example was $625,000, when a CGC 6.5 sold on ComicLink.com in 2011. One copy was stolen from American actor Nicolas Cage, an avid comic book collector, in 2000. In March 2011, it was found in a storage locker in the San Fernando Valley and was verified by ComicConnect.com to be the exact same copy that they sold to him previously. Valued at more than $1 million, the comic is currently in the possession of the Los Angeles Police Department. Cage had previously received an insurance payment for the item, so it is unclear if it will be returned to him.[21]

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Reprints
In the mid-1970s, DC reissued several of its most popular Golden Age comics under the "Famous First Editions" series, including Action Comics #1 C-26. These reprints were oversized, roughly double the size of the original editions. A cardboard-like cover was placed over these copies, showing that they were a part of the Famous First Edition series. However, there have been many reports over the years of the outer cover being removed and these reprints being sold as legitimate first issues to unsuspecting buyers.[22] DC reprinted Action Comics #1 in 1988 as part of the 50th anniversary celebration of Superman that year. This edition reprinted only the Superman story, with a 50 U.S.A. cover price. The complete issue was reprinted in 1998 with an additional half-cover featuring the Superman stamp from the U.S. Postal Service's "Celebrate the Century" commemorative stamp series along with a "First Day of Issue" cancellation. It was sold by the U.S. Postal Service, shrinkwrapped, for $7.95. The complete issue, except for the inside front, inside back, and outside back cover, was reprinted in 2000 as part of DC Comics' Millennium Edition series of reprints of famous DC comics. Here is a complete list of the Action Comics #1 Reprints provided by AWOwens. 1974 Famous First Edition C-26 $1.00 price tag Oversized Soft Cover 1974 Famous First Edition C-26 $1.00 price tag Oversized Hard Cover 1976 reprint Sleeping Bag Offer on back cover, 10 cover price. Paper cover, 16 pages. 1976 reprint Safeguard giveaway (Safeguard Coupon on back cover). Paper cover, 16 pages. 1983 reprint Superman Peanut Butter (often confused for a 1983 Nestle Quik edition which did not come out until 1987), 10 cover price. Superman holding Peanut Butter jar. 1987 reprint Nestle Quik, 10 cover price. Nestle rabbit on back cover. Interior front cover gives year of 1983 and 1987 (often confused for 1983 as well because people don't finish reading to find the 1987 date which is the publishing date). 1988 reprint, 50 cover price. Price in white box. Direct Sale no UPC. 1988 reprint, 50 cover price. Price in white box. Newsstand edition with UPC. 1990 reprint , 50 cover price. Price in black box. (I am not sure where this reprint came from at this time). 1993 reprint, $1.00 cover price. Distributed with Death Of Superman trade paperback 1993. 1993 reprint, $1.00 cover price. Signed By Jerry Siegel, 2000 copies Distributed by DNY Forces. 1993 reprint, 10 cover price (I am not sure where this reprint came from at this time). 1998 reprint, USPS Extra outer half-cover with first day issuance of Superman stamp. 2000 reprint. Millenium Edition w/Gold stamp. Mini Reprint included in DC Direct's First Appearance Series 2: Superman Action Figure Other Reprints known are the Unauthorized "Copied Edition" which has unknown origins and the famous Unauthorized "Exact Copy" which had every detection point as the Original 1938 issue but was to big until later cut down and put back up for auction.

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2011 version
In the spring of 2011, DC Comics announced plans to reboot and reset 52 of its ongoing titles. This included ending the original 73-year run of Action Comics with issue #904, scheduled for publication in late August 2011. The title Action Comics is being retained for a new publication, which is scheduled to launch on September 2011, with a new issue #1.

References
[1] Muir, John Kenneth (July 2008). The Encyclopedia of Superheroes on Film and Television (http:/ / books. google. com/ books?id=kdMzAQAAIAAJ). McFarland & Co. p.539. ISBN978-0786437559. . Retrieved 2011-05-31. [2] "Action Comics" (http:/ / comics. ign. com/ objects/ 740/ 740475. html). IGN. . Retrieved 2007-04-25. [3] Miller, John Jackson (February 22, 2010). "Million-dollar Action #1 copy was once one-in-200,000" (http:/ / blog. comichron. com/ 2010/ 02/ million-dollar-action-1-copy-was-once. html). The Comics Chronicles. . Retrieved 2010-02-23. [4] Nash, Eric P. (December 13, 2000). "Jack Liebowitz, Comics Publisher, Dies at 100" (http:/ / query. nytimes. com/ gst/ fullpage. html?res=940CE0DD103FF930A25751C1A9669C8B63). The New York Times. . Retrieved 2008-08-01. [5] Knowles, Chris (November 28, 2007). "The Action Comics #1 Cover Debate Part 1" (http:/ / www. comicbookresources. com/ ?page=article& id=12056). Comic Book Resources. . Retrieved 2008-08-01. [6] Knowles, Chris (November 29, 2007). "The Action Comics #1 Cover Debate Part 2" (http:/ / www. comicbookresources. com/ ?page=article& id=12067). Comic Book Resources. . [7] "Happy Anniversary, Superman!" (http:/ / superman. nu/ a/ siegel. php). Superman.nu. . Retrieved 2007-04-25. [8] Cronin, Brian (December 28, 2006). "Comic Book Urban Legends Revealed #83" (http:/ / goodcomics. comicbookresources. com/ 2006/ 12/ 28/ comic-book-urban-legends-revealed-83/ ). Comic Book Resources. . Retrieved 2007-04-25. [9] "Action Comics, No. 1" (http:/ / xroads. virginia. edu/ ~UG02/ yeung/ actioncomics/ page1. html). Xroads.virginia.edu. . Retrieved 2010-02-22. [10] "From Papers to Comics to Papers" (http:/ / scoop. diamondgalleries. com/ scoop_article. asp?ai=1119& si=126). Diamond Galleries. . Retrieved 2007-04-26. [11] "Nostomania's 100 Most Valuable Comic Books" (http:/ / www. nostomania. com/ servlets/ com. nostomania. CatPage?name=Top100ComicsMain). Nostomania. . Retrieved 2007-04-26. [12] "Worlds Most Valuable Comic Books" (http:/ / www. neatorama. com/ 2006/ 09/ 20/ worlds-most-valuable-comic-books/ ). Neatorama. September 20, 2006. . Retrieved 2007-04-26. [13] "Superman's debut sells for $1M at auction" (http:/ / www. webcitation. org/ 5nlh9imNu). Associated Press via Crain's New York Business. February 22, 2010. Archived from the original (http:/ / www. crainsnewyork. com/ article/ 20100222/ FREE/ 100229983) on 2010-02-23. . [14] "Mastro to Offer 'Forgotten' Action #1" (http:/ / scoop. diamondgalleries. com/ scoop_article. asp?ai=14803& si=123). Diamond Galleries. . Retrieved 2007-04-26. [15] "The Most Valuable Comic Books in the World" (http:/ / web. archive. org/ web/ 20080522091739/ http:/ / comics. drunkenfist. com/ the-most-valuable-comic-books-in-the-world/ ). It's All Just Comics. Archived from the original (http:/ / comics. drunkenfist. com/ the-most-valuable-comic-books-in-the-world/ ) on 2008-05-22. . Retrieved 2008-07-18. [16] "An Interview with William M. Gaines". The Comics Journal (81): 55. May 1983. [17] "The Online Marketplace for Comic Buyers & Sellers" (http:/ / www. comicconnect. com/ ). ComicConnect. . Retrieved 2010-06-17. [18] Sanchez, Ray (August 3, 2010). "Superman Comic Saves Family Home From Foreclosure Unexpected Find of Action" (http:/ / abcnews. go. com/ Business/ superman-comic-saves-familys-home/ story?id=11306997). ABC News. . Retrieved 2010-08-04. [19] "Comic with first Superman story sells for $1.5m" (http:/ / www. independent. co. uk/ news/ world/ americas/ comic-with-first-superman-story-sells-for-15m-1930852. html). The Independent. March 30, 2010. . Retrieved 2010-03-30. [20] "Rare comic of Superman debut fetches $1.5 million" (http:/ / www. cnn. com/ 2010/ SHOWBIZ/ 03/ 30/ superman. comic/ index. html). CNN. March 30, 2010. . Retrieved 2010-03-30. [21] Harris, Mike (April 10, 2011). "Simi man helps recover $1 million comic book stolen from Nicolas Cage" (http:/ / www. vcstar. com/ news/ 2011/ apr/ 10/ simi-man-helps-recover-1-million-comic-book-from/ ). Ventura County Star. . Retrieved 2011-06-14. [22] "Beware of 1st Superman reprints" (http:/ / reviews. ebay. com/ ACTION-COMICS-1-1st-Superman-BEWARE-OF-REPRINTS_W0QQugidZ10000000000083834QQ_trksidZp3286. c0. m17). eBay. . Retrieved 2008-08-06.

Superman

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Superman
Superman

Promotional art for Superman No.204 (vol. 2, April 2004) by Jim Lee and Scott Williams Publication information Publisher First appearance Created by DC Comics Action Comics #1 (published April 18, 1938, cover-dated June) Jerry Siegel and Joe Shuster In-story information Alter ego Place of origin Team affiliations Kal-El/Clark Kent Krypton The Daily Planet Justice League Legion of Super-Heroes Batman Wonder Woman

Partnerships

Notable aliases Gangbuster, Jordan Elliot, Nightwing, Supernova, Superboy, The (Red Blue) Blur, Superman Prime, Commander El Abilities Superhuman strength, speed, stamina, invulnerability, senses, reflexes, regeneration, longevity, super breath, freeze breath, heat vision, x-ray vision, microscopic vision, telescopic vision, and flight

Superman is a fictional comic book superhero appearing in publications by DC Comics, widely considered to be an American cultural icon.[1] [2] [3] [4] Created by American writer Jerry Siegel and Canadian-born American artist Joe Shuster in 1932 while both were living in Cleveland, Ohio, and sold to Detective Comics, Inc. (later DC Comics) in 1938, the character first appeared in Action Comics #1 (June 1938) and subsequently appeared in various radio serials, television programs, films, newspaper strips, and video games. With the success of his adventures, Superman helped to create the superhero genre and establish its primacy within the American comic book.[1] The character's appearance is distinctive and iconic: a blue, red and yellow costume, complete with cape, with a stylized "S" shield on his chest.[5] [6] [7] This shield is now typically used across media to symbolize the character.[8] The original story of Superman relates that he was born Kal-El on the planet Krypton, before being rocketed to Earth as an infant by his scientist father Jor-El, moments before Krypton's destruction. Discovered and adopted by a Kansas farmer and his wife, the child is raised as Clark Kent and imbued with a strong moral compass. Very early he started to display superhuman abilities, which upon reaching maturity he resolved to use for the benefit of humanity.

Superman Superman has fascinated scholars, with cultural theorists, commentators, and critics alike exploring the character's impact and role in the United States and the rest of the world. Umberto Eco discussed the mythic qualities of the character in the early 1960s, and Larry Niven has pondered the implications of a sexual relationship the character might enjoy with Lois Lane.[9] The character's ownership has often been the subject of dispute, with Siegel and Shuster twice suing for the return of legal ownership. Superman placed 1st on IGN's Top 100 Comic Book Heroes in May 2011.[10]

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Publication history
Creation and conception
Jerry Siegel and Joe Shuster had initially created a bald telepathic villain bent on dominating the world, in the short story "The Reign of the Super-Man" in Science Fiction #3, a fanzine Siegel published in 1933.[11] Siegel re-envisioned the character later that year as a hero bearing no resemblance to his villainous namesake, visually modeling Superman on Douglas Fairbanks Sr. and his bespectacled alter ego, Clark Kent, on Harold Lloyd.[12] [13] Siegel and Shuster then began a six-year quest to find a publisher. Titling it The Superman, Siegel and Shuster offered it to "The Reign of the Super-Man" in the fanzine Science Fiction, No.3 Consolidated Book Publishing, who had published a (June 1933). 48-page black-and-white comic book entitled Detective Dan: Secret Operative No. 48. Although the duo received an encouraging letter, Consolidated never again published comic books. Shuster took this to heart and burned all pages of the story, the cover surviving only because Siegel rescued it from the fire. Siegel and Shuster each compared this character to Slam Bradley, an adventurer the pair had created for Detective Comics No.1 (March 1937).[14] Siegel contacted other artists to collaborate on the strip, according to Gerard Jones feeling that "Superman was going nowhere with Joe".[15] Tony Strobl, Mel Graff and Russell Keaton were all contacted as potential collaborators by Siegel.[15] Artwork produced by Keaton based on Siegel's treatment shows the concept evolving. Superman is now sent back in time as a baby by the last man on Earth, where he is found and raised by Sam and Molly Kent.[16] However Keaton did not pursue the collaboration, and soon Siegel and Shuster were back working together on the character.[15] The pair re-envisioned the character, who became more of a hero in the mythic tradition, inspired by such characters as Samson and Hercules,[17] who would right the wrongs of Siegel and Shuster's times, fighting for social justice and against tyranny. It was at this stage the costume was introduced, Siegel later recalling that they created a "kind of costume and let's give him a big S on his chest, and a cape, make him as colorful as we can and as distinctive as we can."[5] The design was based in part on the costumes worn by characters in outer space settings published in pulp magazines, as well as comic strips such as Flash Gordon,[18] and also partly suggested by the traditional circus strong-man outfit, which comprised a pair of shorts worn over a contrasting bodysuit.[5] [19] However, the cape has been noted as being markedly different from the Victorian tradition. Gary Engle described it as without "precedent in popular culture" in Superman at Fifty: The Persistence of a Legend.[20] The circus performer's shorts-over-tights outfit was soon established as the basis for many future superhero outfits. This third version of the character was given extraordinary abilities, although this time of a physical nature as opposed to the mental abilities of the villainous Superman.[5]

Superman The locale and the hero's civilian names were inspired by the movies, Shuster said in 1983. "Jerry created all the names. We were great movie fans, and were inspired a lot by the actors and actresses we saw. As for Clark Kent, he combined the names of Clark Gable and Kent Taylor. And Metropolis, the city in which Superman operated, came from the Fritz Lang movie [Metropolis, 1927], which we both loved".[21] Although they were by now selling material to comic book publishers, notably Malcolm Wheeler-Nicholson's National Allied Publishing, the pair decided to feature this character in a comic strip format, rather than in the longer comic book story format that was establishing itself at this time. They offered it to both Max Gaines, who passed, and to United Feature Syndicate, who expressed interest initially but finally rejected the strip in a letter dated February 18, 1937. However, in what historian Les Daniels describes as "an incredibly convoluted turn of events", Max Gaines ended up positioning the strip as the lead feature in Wheeler-Nicholson's new publication, Action Comics. Vin Sullivan, editor of the new book, wrote to the pair requesting that the comic strips be refashioned to suit the comic book format, requesting "eight panels a page". However Siegel and Shuster ignored this, utilizing their own experience and ideas to create page layouts, with Siegel also identifying the image used for the cover of Action Comics No.1 (June 1938), Superman's first appearance.[22] In February 2010, an original Action Comics #1 was sold at auction for $1,000,000.[23] Siegel may have been inspired to create the Superman character due to the death of his father. Mitchell Siegel was an immigrant who owned a clothing store on Cleveland's near-east side. He died during a robbery attempt in 1932, a year before Superman was created. Although Siegel never mentioned the death of his father in interviews, both Gerard Jones and Brad Meltzer believe it must have affected him. "It had to have an effect," says Jones. "There's a connection there: the loss of a dad as a source for Superman." Meltzer states: "Your father dies in a robbery, and you invent a bulletproof man who becomes the world's greatest hero. I'm sorry, but there's a story there."[24]

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Publication
Superman's first appearance was in Action Comics #1, published on April 18, 1938 (cover-dated to June 1938).[25] In 1939, a self-titled series was launched. The first issue mainly reprinted adventures published in Action Comics, but despite this the book achieved greater sales.[26] The year 1939 also saw the publication of New York World's Fair Comics, which by summer of 1942 became World's Finest Comics. With issue No.7 of All Star Comics, Superman made the first of a number of infrequent appearances, on this occasion appearing in cameo to establish his honorary membership in the Justice Society of America.[27] Initially Jerry Siegel and Joe Shuster provided the story and art for all the strips published. However, Shuster's eyesight began to deteriorate, and the increasing appearances of the character meant an increase in the workload. This led Shuster to establish a studio to assist in the production of the art,[26] although he insisted on drawing the face of every Superman the studio produced. Outside the studio, Jack Burnley Superman making his debut in Action Comics No.1 (June 1938). Cover art by Joe Shuster. began supplying covers and stories in 1940,[28] and in 1941 artist Fred Ray began contributing a stream of Superman covers, some of which, such as that of Superman No.14 (February 1942), became iconic and much reproduced. Wayne Boring, initially employed in Shuster's studio, began working for DC in his own right in 1942 providing pages for both Superman and Action Comics.[29] Al Plastino was hired initially to copy Wayne Boring but was eventually allowed to create his own style and became one of the most prolific Superman artists during the Gold and Silver Ages of comics.[30]

Superman The scripting duties also became shared. In late 1939 a new editorial team assumed control of the character's adventures. Whitney Ellsworth, Mort Weisinger and Jack Schiff were brought in following Vin Sullivan's departure. This new editorial team brought in Edmond Hamilton, Manly Wade Wellman, and Alfred Bester, established writers of science fiction.[31] By 1943, Jerry Siegel was drafted into the army in a special celebration, and as a result his contributions diminished. Don Cameron and Alvin Schwartz joined the writing team, Schwartz teaming up with Wayne Boring to work on the Superman comic strip, which had been launched by Siegel and Shuster in 1939.[29] In 1945, Superboy made his debut in More Fun Comics #101. The character moved to Adventure Comics in 1946, and his own title, Superboy, was launched in 1949. The 1950s saw the launching of Superman's Pal Jimmy Olsen (1954) and Superman's Girlfriend Lois Lane (1958). By 1974 these titles had merged into Superman Family, although the series was canceled in 1982. DC Comics Presents was a series published from 1978 to 1986 featuring team-ups between Superman and a wide variety of other characters of the DC Universe. In 1986, a decision was taken to restructure the universe the Superman character inhabited with other DC characters in the mini-series Crisis on Infinite Earths, resulting in the publication of "Whatever Happened to the Man of Tomorrow", a two-part story written by Alan Moore, with art by Curt Swan, George Prez and Kurt Schaffenberger.[32] The story was published in Superman No.423 and Action Comics No.583 and presented what Les Daniels notes as "the sense of loss the fans might have experienced if this had really been the last Superman tale."[33] Superman was relaunched by writer & artist John Byrne, initially in the limited series The Man of Steel (1986). The year 1986 also saw the cancellation of World's Finest Comics, and the Superman title renamed Adventures of Superman. A second volume of Superman was launched in 1987, running until cancellation in 2006. After this cancellation, Adventures of Superman reverted to the Superman title. Superman: The Man of Steel was launched in 1991, running until 2003, while the quarterly book Superman: The Man of Tomorrow ran from 1995 to 1999. In 2003 Superman/Batman was launched as well as the Superman: Birthright limited series, with All-Star Superman launched in 2005 and Superman Confidential in 2006 (this title was canceled in 2008). He also appeared in the TV animated series-based comic book tie-ins Superman Adventures (19962002), Justice League Adventures, Justice League Unlimited (canceled in 2008) and The Legion of Super-Heroes In The 31st Century (canceled in 2008). Current ongoing publications that feature Superman on a regular basis are Superman, Action Comics, Superman/Batman and Justice League of America. The character often appears as a guest star in other series and is usually a pivotal figure in DC crossover events.

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Superman's origin is revamped in The Man of Steel No.1 (July 1986), written and drawn by John Byrne.

Influences
An influence on early Superman stories is the context of the Great Depression. The left-leaning perspective of creators Shuster and Siegel is reflected in early storylines. Superman took on the role of social activist, fighting crooked businessmen and politicians and demolishing run-down tenements.[34] This is seen by comics scholar Roger Sabin as a reflection of "the liberal idealism of Franklin Roosevelt's New Deal", with Shuster and Siegel initially portraying Superman as champion to a variety of social causes.[35] In later Superman radio programs the character continued to take on such issues, tackling a version of the KKK in a 1946 broadcast.[36] [37] Siegel and Shuster's status as children of Jewish immigrants is also thought to have influenced their work. Timothy Aaron Pevey has

Superman argued that they crafted "an immigrant figure whose desire was to fit into American culture as an American", something which Pevey feels taps into an important aspect of American identity.[38] Siegel himself noted that the mythic heroes in the traditions of many cultures bore an influence on the character, including Hercules and Samson.[5] Scott Bukatman sees the character to be "a worthy successor to Lindberg ... (and) also ... like Babe Ruth", and is also representative of the United States dedication to "progress and the 'new'" through his "invulnerable body ... on which history cannot be inscribed."[39] Further, given that Siegel and Shuster were noted fans of pulp science fiction,[11] it has been suggested that another influence may have been Hugo Danner. Danner was the main character of the 1930 novel Gladiator by Philip Wylie, and is possessed of the same powers of the early Superman.[40] Comics creator and historian Jim Steranko has cited the pulp hero Doc Savage as another likely source of inspiration, noting similarities between Shuster's initial art and contemporary advertisements for Doc Savage: "Initially, Superman was a variation of pulp heavyweight Doc Savage".[41] Steranko argued that the pulps played a major part in shaping the initial concept: "Siegel's Superman concept embodied and amalgamated three separate and distinct themes: the visitor from another planet, the superhuman being and the dual identity. He composed the Superman charisma by exploiting all three elements, and all three contributed equally to the eventual success of the strip. His inspiration, of course, came from the science fiction pulps",[41] identifying another pulp likely to have influenced the pair as being "John W. Campbell's Aarn Munro stories about a descendant of earthmen raised on the planet Jupiter who, because of the planet's dense gravity, is a mental and physical superman on Earth."[41] Because Siegel and Shuster were both Jewish, some religious commentators and pop-culture scholars such as Rabbi Simcha Weinstein and British novelist Howard Jacobson suggest that Superman's creation was partly influenced by Moses,[42] [43] and other Jewish elements. Superman's Kryptonian name, "Kal-El", resembles the Hebrew words ,-which can be taken to mean "voice of God".[44] [45] The suffix "el", meaning "(of) God"[46] is also found in the name of angels (e.g. Gabriel, Ariel), who are flying humanoid agents of good with superhuman powers. Jewish legends of the Golem have been cited as worthy of comparison,[47] a Golem being a mythical being created to protect and serve the persecuted Jews of 16th century Prague and later revived in popular culture in reference to their suffering at the hands of the Nazis in Europe during the 1930s and 1940s. Superman is often seen as being an analogy for Jesus, being a savior of humanity.[35] [43] [47] [48] Whilst the term Superman was initially coined by Friedrich Nietzsche, it is unclear how influential Nietzsche and his ideals were to Siegel and Shuster.[43] Les Daniels has speculated that "Siegel picked up the term from other science fiction writers who had casually employed it", further noting that "his concept is remembered by hundreds of millions who may barely know who Nietzsche is."[5] Others argue that Siegel and Shuster "could not have been unaware of an idea that would dominate Hitler's National Socialism. The concept was certainly well discussed."[49] Yet Jacobson and others point out that in many ways Superman and the bermensch are polar opposites.[42] Nietzsche envisioned the bermensch as a man who had transcended the limitations of society, religion, and conventional morality while still being fundamentally human. Superman, although an alien gifted with incredible powers, chooses to honor human moral codes and social mores. Nietzsche envisioned the perfect man as being beyond moral codes; Siegel and Shuster envisioned the perfect man as holding himself to a higher standard of adherence to them.[50] Siegel and Shuster have themselves discussed a number of influences that impacted upon the character. Both were avid readers, and their mutual love of science fiction helped to drive their friendship. Siegel cited John Carter stories as an influence: "Carter was able to leap great distances because the planet Mars was smaller that the planet Earth; and he had great strength. I visualized the planet Krypton as a huge planet, much larger than Earth".[21] The pair were also avid collectors of comic strips in their youth, cutting them from the newspaper, with Winsor McKay's Little Nemo firing their imagination with its sense of fantasy.[51] Shuster has remarked on the artists which played an important part in the development of his own style, whilst also noting a larger influence: "Alex Raymond and Burne Hogarth were my idols also Milt Caniff, Hal Foster, and Roy Crane. But the movies were the greatest influence on

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Superman our imagination: especially the films of Douglas Fairbanks Senior."[52] Fairbanks' role as Robin Hood was certainly an inspiration, as Shuster admitted to basing Superman's stance upon scenes from the movie.[53] The movies also influenced the storytelling and page layouts,[54] whilst the city of Metropolis was named in honor of the Fritz Lang motion picture of the same title.[21]

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Copyright issues
As part of the deal which saw Superman published in Action Comics, Siegel and Shuster sold the rights to the company in return for $130 and a contract to supply the publisher with material.[55] [56] The Saturday Evening Post reported in 1940 that the pair was each being paid $75,000 a year, a fraction of National Comics Publications' millions in Superman profits.[57] Siegel and Shuster renegotiated their deal, but bad blood lingered and in 1947 Siegel and Shuster sued for their 1938 contract to be made void and the re-establishment of their ownership of the intellectual property rights to Superman. The pair also sued National in the same year over the rights to Superboy, which they claimed was a separate creation that National had published without authorization. National immediately fired them and took their byline off the stories, prompting a legal battle that ended in 1948, when a New York court ruled that the 1938 contract should be upheld. However, a ruling from Justice J. Addison Young awarded them the rights to Superboy. A month after the Superboy judgment the two sides agreed on a settlement. National paid Siegel and Shuster $94,000 for the rights to Superboy. The pair also acknowledged in writing the company's ownership of Superman, attesting that they held rights for "all other forms of reproduction and presentation, whether now in existence or that may hereafter be created",[58] but DC refused to re-hire them.[59] In 1973 Siegel and Shuster again launched a suit claiming ownership of Superman, this time basing the claim on the Copyright Act of 1909 which saw copyright granted for 28 years but allowed for a renewal of an extra 28 years. Their argument was that they had granted DC the copyright for only 28 years. The pair again lost this battle, both in a district court ruling of October 18, 1973 and an appeal court ruling of December 5, 1974.[60] [61]

In 1975 after news reports of their pauper-like existences, Warner Communications gave Siegel and Shuster lifetime pensions of $20,000 per year and health care benefits. Jay Emmett, then executive vice president of Warner Bros., was quoted in the New York Times as stating, "There is no legal obligation, but I sure feel there is a moral obligation on our part."[57] Heidi MacDonald, writing for Publishers Weekly, noted that in addition to this pension "Warner agreed that Siegel and Shuster would henceforth be credited as creators of Superman on all comics, TV shows and films".[56] The year after this settlement, 1976, the copyright term was extended again, this time for another 19 years for a total of 75 years. However, this time a clause was inserted into the extension to allow authors to reclaim their work, reflecting the arguments Siegel and Shuster had made in 1973. The new act took effect in 1978 and allowed a reclamation window in a period based on the previous copyright term of 56 years. This meant the copyright on Superman could be reclaimed between 1994 to 1999, based on the initial publication date of 1938. Jerry Siegel having died in January 1996, his wife and daughter filed a copyright termination notice in 1999. Although Joe Shuster died in July 1992, no termination was filed at this time by his estate.[62] In 1998, the copyright was extended again with the Sonny Bono Copyright Term Extension Act. This time the copyright term was extended to 95 years with a further window for reclamation introduced. In January 2004 Mark Peary, nephew and legal heir to Joe Shuster's estate, filed notice of his intent to reclaim Shuster's half of the copyright, the termination effective in 2013.[62] The status of Siegel's share of the copyright is now the subject of a legal battle. Warner Bros. and the Siegels entered into discussions on how to resolve the issues raised by the termination notice, but these discussions were set aside by the Siegels and in October 2004 they filed suit alleging

Jerry Siegel, with wife Joanne and daughter Laura in 1976. Joanne and Laura Siegel filed a termination notice on Jerry Siegel's share of the copyright of Superman in 1999.

Superman copyright infringement on the part of Warner Bros. Warner Bros. counter sued, alleging that the termination notice contains defects, among other arguments.[63] [64] On March 26, 2008, Judge Larson of the United States District Court for the Central District of California ruled that Siegel's estate was entitled to claim a share in the United States copyright. The ruling does not affect the International rights, which Time Warner holds on the character through DC. Issues regarding the amount of monies owed Siegel's estate and whether the claim the estate has extends to derivative works such as movie versions will be settled at trial, although any compensation would only be owed from works published since 1999. Time Warner offered no statement on the ruling but do have the right to challenge it.[65] [66] The case was scheduled to be heard in a California federal court in May, 2008.[67] A similar termination-of-copyright notice filed in 2002 by Siegel's wife and daughter concerning the Superboy character was ruled on in their favor on March 23, 2006.[68] However, on July 27, 2007, the same court issued a ruling[69] reversing the March 23, 2006 ruling. This ruling is currently subject to a legal challenge from Time Warner, with the case as yet unresolved.[65] A July 9, 2009, verdict on the case denied a claim by Siegel's family that it was owed licensing fees. U.S. District Court judge Stephen G. Larson said Warner Bros. and DC Comics have fulfilled their obligations to the Siegels under a profit-sharing agreement for the 2006 movie Superman Returns and the CW series Smallville. However, the court also ruled that if Warner Bros. does not start a new Superman film by 2011, the family will have the right to sue to recover damages.[70]

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Fictional Character Biography


Superman, given the serial nature of comic publishing and the length of the character's existence, has evolved as a character as his adventures have increased.[71] The details of Superman's origin, relationships and abilities changed significantly during the course of the character's publication, from what is considered the Golden Age of Comic Books through the Modern Age. The powers and villains were developed through the 1940s, with Superman developing the ability to fly, and costumed villains introduced from 1941.[72] The character was shown as learning of the existence of Krypton in 1949. The concept itself had originally been established to the reader in 1939 in the Superman comic strip.[73] The 1960s saw the introduction of a second Superman. DC had established a multiverse within the fictional universe its characters shared. This allowed characters published in the 1940s to exist alongside updated counterparts published in the 1960s. This was explained to the reader through the notion that the two groups of characters inhabited parallel Earths. The second Superman was introduced to explain to the reader Superman's membership in both the 1940s superhero team the Justice Society of America and the 1960s superhero team the Justice League of America.[74]

Superman

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The 1980s saw radical revisions of the character. DC decided to remove the multiverse in a bid to simplify its comics line. This led to the rewriting of the back story of the characters DC published, Superman included. John Byrne rewrote Superman, removing many established conventions and characters from continuity, including Superboy and Supergirl. Byrne also re-established Superman's adoptive parents, The Kents, as characters.[75] In the previous continuity, the characters had been written as having died early in Superman's life (about the time of Clark Kent's graduation from high school). In 1993 Superman was killed by the villain Doomsday,[76] although the character was soon resurrected.[77] Superman also marries Lois Lane in 1996. His origin is again revisited in 2004.[78] In 2006 Superman is stripped of his powers,[79] although these are restored within a fictional year.[80] After a confrontation with Brainiac that results in his father's death, Superman discovers the lost city of Kandor, which contains 10,000 Superman dies in Lois Lane's arms: Superman Kryptonians. Their stay on Earth causes trouble, and the Kryptonians No.75 (vol. 2, January 1993). Art by Dan Jurgens and Brett Breeding. create their own planet, New Krypton. Eventually, New Krypton wages war against Earth. The two sides sustain major casualties and most of the Kryptonians are killed. Superman then starts a journey to reconnect with his adopted home world.

Personality
In the original Siegel and Shuster stories, Superman's personality is rough and aggressive. The character was seen stepping in to attack and terrorize wife beaters, profiteers, a lynch mob and gangsters, with rather rough edges and a looser moral code than audiences may be used to today.[34] Later writers have softened the character and instilled a sense of idealism and moral code of conduct. Although not as cold-blooded as the early Batman, the Superman featured in the comics of the 1930s is unconcerned about the harm his strength may cause, tossing villainous characters in such a manner that fatalities would presumably occur, although these were seldom shown explicitly on the page. This came to an end late in 1940 when new editor Whitney Ellsworth instituted a code of conduct for his characters to follow, banning Superman from ever killing.[73] This change would even be reflected in the stories themselves, in which it would occasionally be pointed out in the narrative or dialogue that Superman had vowed never to take human lifeand that if he ever did so, he would hang up his cape and retire. Today, Superman is commonly seen as a brave and kind-hearted hero with a strong sense of justice, morality and righteousness. He adheres to a strict moral code often attributed to the Midwestern values with which he was raised. His commitment to operating within the law has been an example to many other heroes but has stirred resentment among others, who refer to him as the "big blue boy scout." Superman can be rather rigid in this trait, causing tensions in the superhero community, notably with Wonder Woman (one of his closest friends) after she killed Maxwell Lord.[81] Having lost his home world of Krypton, Superman is very protective of Earth, and especially of Clark Kents family and friends. This same loss, combined with the pressure of using his powers responsibly, has caused Superman to feel lonely on Earth, despite his many friends, his wife and his parents. Previous encounters with people he thought to be fellow Kryptonians, Power Girl[82] (who is, in fact from the Krypton of the Earth-Two universe) and Mon-El,[83] have led to disappointment. The arrival of Supergirl, who has been confirmed to be not only from Krypton but also his cousin, has relieved this loneliness somewhat.[84]

Superman In Superman/Batman No.3 (December 2003), Batman observes, "It is a remarkable dichotomy. In many ways, Clark is the most human of us all. Then... he shoots fire from the skies, and it is difficult not to think of him as a god. And how fortunate we all are that it does not occur to him."[85] Later, as Infinite Crisis began, Batman admonished him for identifying with humanity too much and failing to provide the strong leadership that superhumans need.[86] Superman has sometimes portrayed as a vegetarian, while at other times, an omnivore; indeed, it is often unclear as to whether he even needs to eat. In Superman: Birthright, Superman is portrayed as a strict vegetarian. However, in Straczynski's "Superman: Grounded" he ordered a "philly cheese steak" sandwich.[87] In the 1966 Broadway play It's a Bird...It's a Plane...It's Superman, Superman (portrayed by Bob Holiday) sings, "Gosh I'm hungry, I'd sure like a T-bone steak."[88]

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Other versions
Both the multiverse established by the publishers in the 1960s and the Elseworlds line of comics established in 1989 have allowed writers to introduce variations on Superman. These have included differences in the nationality, race and morality of the character. Alongside such reimaginings, a number of characters have assumed the title of Superman, especially in the wake of "The Death of Superman" storyline, wherein four newly introduced characters are seen to claim the mantle.[89] In addition to these, the Bizarro character created in 1958 is a weird, imperfect duplicate of Superman.[90] Other members of Superman's family of characters have borne the Super- prefix, including Supergirl, Superdog and Superwoman. Outside comics published by DC, the notoriety of the Superman or "bermensch" archetype makes the character a popular figure to be represented through an analogue in entirely unrelated continuities. For example, Roy Thomas based rival publisher Marvel Comics' Hyperion character on Superman.[91] [92] [93] [94]

Powers and abilities


As an influential archetype of the superhero genre, Superman possesses extraordinary powers, with the character traditionally described as "faster than a speeding bullet, more powerful than a locomotive, and able to leap tall buildings in a single bound", a phrase coined by Jay Morton and first used in the Superman radio serials and Max Fleischer animated shorts of the 1940s[95] as well as the TV series of the 1950s. For most of his existence, Superman's famous arsenal of powers has included flight, super-strength, invulnerability to non-magical attacks, super-speed, vision powers (including x-ray, heat-emitting, telescopic, infra-red, and microscopic vision), super-hearing, and super-breath, which enables him to blow out air at freezing temperatures, as well as exert the propulsive force of high-speed winds.[96] As originally conceived and presented in his early stories, Superman's powers were relatively limited, consisting of superhuman strength that allowed him to lift a car over his head, run at amazing speeds and leap one-eighth of a mile, as well as an incredibly dense body structure that could be pierced by nothing less than an exploding artillery shell.[96] Siegel and Shuster compared his strength and leaping abilities to an ant and a grasshopper.[97] When making the cartoons, the Fleischer Brothers found it difficult to keep animating him leaping and requested to DC to change his ability to flying; this was an especially convenient concept for short films, which would have otherwise had to waste precious running time moving earthbound Clark Kent from place to place.[98] Writers gradually increased his powers to larger extents during the Silver Age, in which Superman could fly to other worlds and galaxies and even across universes with relative ease.[96] He would often fly across the solar system to stop meteors from hitting the Earth, or sometimes just to clear his head. Writers found it increasingly difficult to write Superman stories in which the character was believably challenged,[99] so DC made a series of attempts to rein the character in. The most significant attempt, John Byrne's 1986 rewrite, established several hard limits on his abilities: he barely survives a nuclear blast, and his space flights are limited by how long he can hold his breath.[100] Superman's power levels have again increased since then, with Superman currently possessing enough strength to hurl mountains, withstand nuclear blasts with ease, fly into the sun unharmed, and survive in the vacuum of outer space without

Superman oxygen. The source of Superman's powers has changed subtly over the course of his history. It was originally stated that Superman's abilities derived from his Kryptonian heritage, which made him eons more evolved than humans.[73] This was soon amended, with the source for the powers now based upon the establishment of Krypton's gravity as having been stronger than that of the Earth. This situation mirrors that of Edgar Rice Burroughs' John Carter. As Superman's powers increased, the implication that all Kryptonians had possessed the same abilities became problematic for writers, making it doubtful that a race of such beings could have been wiped out by something as trifling as an exploding planet. In part to counter this, the Superman writers established that Kryptonians, whose native star Rao had been red, only possessed superpowers under the light of a yellow sun.[101] Superman is most vulnerable to green Kryptonite, mineral debris from Krypton transformed into radioactive material by the forces that destroyed the planet. Exposure to green Kryptonite radiation nullifies Superman's powers and immobilizes him with pain and nausea; prolonged exposure will eventually kill him. The only substance on Earth that can protect him from Kryptonite is lead, which blocks the radiation. Lead is also the only known substance that Superman cannot see through with his x-ray vision. Kryptonite was first introduced to the public in 1943 as a plot device to allow the radio serial voice actor, Bud Collyer, to take some time off.[71] Although green Kryptonite is the most commonly seen form, writers have introduced other forms over the years: such as red, gold, blue, white, and black, each with its own effect.[102]

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Supporting cast
Clark Kent, Superman's secret identity, was based partly on Harold Lloyd and named after Clark Gable and Kent Taylor.[12] [13] Creators have discussed the idea of whether Superman pretends to be Clark Kent or vice versa, and at differing times in the publication either approach has been adopted.[103] [104] Although typically a newspaper reporter, during the 1970s the character left the Daily Planet for a time to work for television,[104] whilst the 1980s revamp by John Byrne saw the character become somewhat more aggressive.[100] This aggressiveness has since faded with subsequent creators restoring the mild mannerisms traditional to the character. Superman's large cast of supporting characters includes Lois Lane, perhaps the character most commonly associated with Superman, being portrayed at different times as his colleague, competitor, love interest and/or wife. Other main supporting characters include Daily Planet coworkers such as photographer Jimmy Olsen and editor Perry White, Clark Kent's adoptive parents Jonathan and Martha Kent, childhood sweetheart Lana Lang and best friend Pete Ross, and former college love interest Lori Lemaris (a mermaid). Stories making reference to the possibility of Superman siring children have been featured both in and

Harold Lloyd, one of the inspirations for Clark Kent

out of mainstream continuity. Incarnations of Supergirl, Krypto the Superdog, and Superboy have also been major characters in the mythos, as well as the Justice League of America (of which Superman is usually a member). A feature shared by several supporting characters is alliterative names, especially with the initials "LL", including Lex Luthor, Lois Lane, Linda Lee, Lana Lang, Lori Lemaris and Lucy Lane,[105] alliteration being common in early comics. Team-ups with fellow comics icon Batman are common, inspiring many stories over the years. When paired, they are often referred to as the "World's Finest" in a nod to the name of the comic book series that features many team-up

Superman stories. In 2003, DC began to publish a new series featuring the two characters titled Superman/Batman.

193

Enemies
Superman also has a rogues gallery of enemies, including his most well-known nemesis, Lex Luthor, who has been envisioned over the years in various forms as both a rogue scientific genius with a personal vendetta against Superman, or a powerful but corrupt CEO of a conglomerate called LexCorp who thinks Superman is somehow hindering human progress by his heroic efforts.[106] In the 2000s, he even becomes president of the United States,[107] and has been depicted occasionally as a former childhood friend of Clark Kent. The alien android (in most incarnations) known as Brainiac is considered by Richard George to be the second most effective enemy of Superman.[108] The enemy that accomplished the most, by actually killing Superman, is the raging monster Doomsday. Darkseid, one of the most powerful beings in the DC Universe, is also a formidable nemesis in most post-Crisis comics. Other important enemies who have featured in various incarnations of the character, from comic books to film and television include the fifth-dimensional imp Mister Mxyzptlk, the reverse Superman known as Bizarro and the Kryptonian criminal General Zod, among many others.

Cultural impact
Superman has come to be seen as both an American cultural icon[109] [110] and the first comic book superhero. His adventures and popularity have established the character as an inspiring force within the public eye, with the character serving as inspiration for musicians, comedians and writers alike. Kryptonite, Brainiac and Bizarro have become synonymous in popular vernacular with Achilles' heel, extreme intelligence[111] and reversed logic[112] respectively. Similarly, the phrase "I'm not Superman" or alternatively "you're not Superman" is an idiom used to suggest a lack of invincibility.[113] [114] [115]

Inspiring a market
The character's initial success led to similar characters being created.[116] [117] Batman was the first to follow, Bob Kane commenting to Vin Sullivan that given the "kind of money [Siegel and Shuster were earning with their superhero] you'll have one on Monday".[118] Victor Fox, an accountant for DC, also noticed the revenue such comics generated and commissioned Will Eisner to create a deliberately similar character to Superman. Wonder Man was published in May 1939, and although DC successfully sued, claiming plagiarism,[119] Fox had decided to cease publishing the character. Fox later had more success with the Blue Beetle. Fawcett Comics' Captain Marvel, launched in 1940, was Superman's main rival for popularity throughout the 1940s and was again the subject of a lawsuit, which Fawcett eventually settled in 1953, a settlement which involved the cessation of the publication of the character's adventures.[120] Superhero comics are now established as the dominant genre in American comic book publishing,[121] with many thousands of characters in the tradition having been created in the years since Superman's creation.[122]

Merchandising
Superman became popular very quickly, with an additional title, Superman Quarterly, rapidly added. In 1940 the character was represented in the annual Macy's parade for the first time.[123] In fact Superman had become popular to the extent that in 1942, with sales of the character's three titles standing at a combined total of over 1.5million, Time was reporting that "the Navy Department (had) ruled that Superman comic books should be included among essential supplies destined for the Marine garrison at Midway Islands."[124] The character was soon licensed by companies keen to cash in on this success through merchandising. The earliest paraphernalia appeared in 1939, a button proclaiming membership in the Supermen of America club. By 1940 the amount of merchandise available increased dramatically, with jigsaw puzzles, paper dolls, bubble gum and trading cards available, as well as wooden or metal figures. The popularity of such merchandise increased when Superman was licensed to appear in other

Superman media, and Les Daniels has written that this represents "the start of the process that media moguls of later decades would describe as 'synergy.'"[125] By the release of Superman Returns, Warner Bros. had arranged a cross promotion with Burger King,[126] and licensed many other products for sale. Superman's appeal to licensees rests upon the character's continuing popularity, cross market appeal and the status of the "S" shield, the stylized magenta and gold "S" emblem Superman wears on his chest, as a fashion symbol.[127]
[128]

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The "S" shield by itself is often used in media to symbolize the Superman character. It has been incorporated into the opening and/or closing credits of several films and TV series.

In other media
The character of Superman has appeared in various media aside from comic books. This is in some part seen to be owing to the character's cited standing as an American cultural icon,[129] with the concept's continued popularity also being taken into consideration,[130] but is also seen in part as due to good marketing initially.[125] The character has been developed as a vehicle for serials on radio, television and film, as well as feature length motion pictures, and video games have also been developed featuring the character on multiple occasions. The first adaptation of Superman was as a daily newspaper comic strip, which was launched on January 16, 1939. The strip ran until May 1966 and significantly, Siegel and Shuster used the first strips to establish Superman's background, adding details such as the planet Krypton and Superman's father, Jor-El, concepts not yet established in the comic books.[73] Following on from the success of this was the first radio series, The Adventures of Superman, which premiered on February 12, 1940, and featured the voice of Bud Collyer as Superman. The series ran until March 1951. Collyer was also cast as the voice of Superman Superman as he was depicted in Fleischer in a series of Superman animated cartoons produced by Fleischer Studios's Superman theatrical cartoons Studios and Famous Studios for theatrical release. Seventeen shorts (19411943) were produced between 1941 and 1943. By 1948 Superman was back in the movie theatres, this time in a filmed serial, Superman, with Kirk Alyn becoming the first actor to portray Superman on screen. A second serial, Atom Man vs. Superman, followed in 1950.[131] In 1951 a television series was commissioned, Adventures of Superman starring George Reeves, with the 25th and 26th episodes of the series being adapted from the theatrical release of the movie Superman and the Mole Men. The series ran for 104 episodes, from 19521958. The next adaptation of Superman occurred in 1966, when Superman was adapted for the stage in the Broadway musical It's a Bird...It's a Plane...It's Superman. Despite good reviews, the play closed after only 129 performances.[132] The original cast album recording was released and continues to be available.[133] However, in 1975 the play was remade for television. Superman was again animated, this time for television, in the series The New Adventures of Superman. Sixty-eight shorts were made and broadcast between 1966 and 1969. Bud Collyer again provided the voice for Superman. Then, from 1973 until 1984, ABC broadcast the Super Friends series, this time animated by Hanna-Barbera.[134] Superman returned to movie theaters in 1978 with director Richard Donner's Superman starring Christopher Reeve. The film spawned three sequels, Superman II (1980), Superman III (1983) and Superman IV: The Quest for Peace (1987).[135] In 1988 Superman returned to television in the Ruby Spears animated series Superman,[136] and also in Superboy, a live-action series that ran from 1988 until 1992.[137] In 1993 Lois & Clark: The New Adventures of Superman premiered on television starring Dean Cain as Superman and Teri Hatcher as Lois Lane; the series ran until 1997. Superman: The Animated Series was produced by Warner Bros. and ran from 1996 until 2000 on The

Superman WB Television Network.[138] The early 21st century brought an increased presence of Superman in live-action media. In 2001, the Smallville television series was launched, focusing on the adventures of Clark Kent as a teenager before he dons the mantle of Superman; Tom Welling stars as Clark. The series ended after ten seasons in May 2011. In 2006, Bryan Singer directed Superman Returns starring Brandon Routh as Superman. The film was presented as a loose sequel to the first two Christopher Reeve films. In 2007, Welling was in consideration for the role of Superman in the planned film Justice League: Mortal, to be directed by George Miller.[139] The film was to feature Superman, Batman, Wonder Woman and other prominent members of DC Comics' Justice League of America. Though never officially announced, D.J. Cotrona was cast in the part of Superman, but the film was canceled before production began.[139] In 2010, the story of Superman's creation and his relationship with Jerry Siegel was dealt with in David Bar Katz's play The History of Invulnerability, which premiered at the Cincinnati Playhouse in the Park.[140] [141] A new feature film, Man of Steel, will appear in theaters in December 2012.[142] The film, directed by Zack Snyder with Henry Cavill in the starring role, will reboot the Warner Bros. film franchise in a fashion similar to the 2005 film Batman Begins.[142] Cavill had auditioned and was considered for the lead role in Superman Returns before the part was offered to Routh.

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Musical references, parodies, and homages


Superman has also featured as an inspiration for musicians, with songs by numerous artists from several generations celebrating the character. Donovan's Billboard Hot 100 topping single "Sunshine Superman" utilized the character in both the title and the lyric, declaring "Superman and Green Lantern ain't got nothing on me".[143] Folk singer/songwriter Jim Croce sung about the character in a list of warnings in the chorus of his song "You Don't Mess Around with Jim", introducing the phrase "you don't tug on Superman's cape" into popular lexicon.[144] Other tracks to reference the character include Genesis' "Land of Confusion",[145] the video to which featured a Spitting Image puppet of Ronald Reagan dressed as Superman,[146] "(Wish I Could Fly Like) Superman" by The Kinks on their 1979 album Low Budget and "Superman" by The Clique, a track later covered by R.E.M. on its 1986 album Lifes Rich Pageant. This cover is referenced by Grant Morrison in Animal Man, in which Superman meets the character, and the track comes on Animal Man's walkman immediately after.[147] Crash Test Dummies' "Superman's Song", from the 1991 album The Ghosts That Haunt Me explores the isolation and commitment inherent in Superman's life.[148] Five for Fighting released "Superman (It's Not Easy)" in 2000, which is from Superman's point of view, although Superman is never mentioned by name.[149] Parodies of Superman did not take long to appear, with Mighty Mouse introduced in "The Mouse of Tomorrow" animated short in 1942.[150] While the character swiftly took on a life of its own, moving beyond parody, other animated characters soon took their turn to parody the character. In 1943 Bugs Bunny was featured in a short, Super-Rabbit, which sees the character gaining powers through eating fortified carrots. This short ends with Bugs stepping into a phone booth to change into a real "Superman" and emerging as a U.S. Marine. In 1956 Daffy Duck assumes the mantle of "Cluck Trent" in the short "Stupor Duck", a role later reprised in various issues of the Looney Tunes comic book.[151] In the United Kingdom Monty Python created the character Bicycle Repairman, who fixes bicycles on a world full of Supermen, for a sketch in series of their BBC show.[152] Also on the BBC was the sit-com "My Hero", which presented Thermoman as a slightly dense Superman pastiche, attempting to save the world and pursue romantic aspirations.[153] In the United States, Saturday Night Live has often parodied the figure, with Margot Kidder reprising her role as Lois Lane in a 1979 episode. Jerry Seinfeld, a noted Superman fan, filled his series Seinfeld with references to the character and in 1997 asked for Superman to co-star with him in a commercial for American Express. The commercial aired during the 1998 NFL Playoffs and Super Bowl, Superman animated in the style of artist Curt Swan, again at the request of Seinfeld.[154] Superman has also been used as reference point for writers, with Steven T. Seagle's graphic novel Superman: It's a Bird exploring Seagle's feelings on his own mortality as he struggles to develop a story for a Superman tale.[155]

Superman Brad Fraser used the character as a reference point for his play Poor Super Man, with The Independent noting the central character, a gay man who has lost many friends to AIDS as someone who "identifies all the more keenly with Superman's alien-amid-deceptive-lookalikes status."[156] Thom Zahler's romantic comedy Love and Capes is a parody of the entire genre, with the love story between a Superman analog ("Please, I'm iconic!") and his non-super fiance as the primary focus.

196

Literary analysis
Superman has been interpreted and discussed in many forms in the years since his debut. The character's status as the first costumed superhero has allowed him to be used in many studies discussing the genre, Umberto Eco noting that "he can be seen as the representative of all his similars".[157] Writing in Time Magazine in 1971, Gerald Clarke stated: "Superman's enormous popularity might be looked upon as signalling the beginning of the end for the Horatio Alger myth of the self-made man." Clarke viewed the comics characters as having to continuously update in order to maintain relevance, and thus representing the mood of the nation. He regarded Superman's character in the early seventies as a comment on the modern world, which he saw as a place in which "only the man with superpowers can survive and prosper."[158] Andrew Arnold, writing in the early 21st century, has noted Superman's partial role in exploring assimilation, the character's alien status allowing the reader to explore attempts to fit in on a somewhat superficial level.[159] A.C. Grayling, writing in The Spectator, traces Superman's stances through the decades, from his 1930s campaign against crime being relevant to a nation under the influence of Al Capone, through the 1940s and World War II, a period in which Superman helped sell war bonds,[160] and into the 1950s, where Superman explored the new technological threats. Grayling notes the period after the Cold War as being one where "matters become merely personal: the task of pitting his brawn against the brains of Lex Luthor and Brainiac appeared to be independent of bigger questions", and discusses events post 9/11, stating that as a nation "caught between the terrifying George W. Bush and the terrorist Osama bin Laden, America is in earnest need of a Saviour for everything from the minor inconveniences to the major horrors of world catastrophe. And here he is, the down-home clean-cut boy in the blue tights and red cape".[161]

Clark Kent, argued by Jules Feiffer to be the most innovative feature of Superman

Scott Bukatman has discussed Superman, and the superhero in general, noting the ways in which they humanize large urban areas through their use of the space, especially in Superman's ability to soar over the large skyscrapers of Metropolis. He writes that the character "represented, in 1938, a kind of Corbusierian ideal. Superman has X-ray vision: walls become permeable, transparent. Through his benign, controlled authority, Superman renders the city open, modernist and democratic; he furthers a sense that Le Corbusier described in 1925, namely, that 'Everything is known to us'."[39] Jules Feiffer has argued that Superman's real innovation lay in the creation of the Clark Kent persona, noting that what "made Superman extraordinary was his point of origin: Clark Kent." Feiffer develops the theme to establish Superman's popularity in simple wish fulfillment,[162] a point Siegel and Shuster themselves supported, Siegel commenting that "If you're interested in what made Superman what it is, here's one of the keys to what made it universally acceptable. Joe and I had certain inhibitions... which led to wish-fulfillment which we expressed through our interest in science fiction and our comic strip. That's where the dual-identity concept came from" and Shuster supporting that as being "why so many people could relate to it".[163] Ian Gordon suggests that the many incarnations of Superman across media use nostalgia to link the character to an ideology of the American Way. He defines this ideology as a means of associating individualism, consumerism, and

Superman democracy and as something that took shape around WWII and underpinned the war effort. Superman he notes was very much part of that effort.[164] Superman's immigrant status is a key aspect of his appeal.[165] [166] [167] Aldo Regalado saw the character as pushing the boundaries of acceptance in America. The extraterrestrial origin was seen by Regalado as challenging the notion that Anglo-Saxon ancestry was the source of all might.[168] Gary Engle saw the "myth of Superman [asserting] with total confidence and a childlike innocence the value of the immigrant in American culture." He argues that Superman allowed the superhero genre to take over from the Western as the expression of immigrant sensibilities. Through the use of a dual identity, Superman allowed immigrants to identify with both their cultures. Clark Kent represents the assimilated individual, allowing Superman to express the immigrants cultural heritage for the greater good.[166] Timothy Aaron Pevey has argued other aspects of the story reinforce the acceptance of the American dream. He notes that "the only thing capable of harming Superman is Kryptonite, a piece of his old home world."[38] David Jenemann has offered a contrasting view. He argues that Superman's early stories portray a threat: "the possibility that the exile would overwhelm the country."[169] David Rooney, a theater critic for the New York Times, in his evaluation of the play, Year Zero, considers Superman to be the "quintessential immigrant story...(b)orn on an alien planet, he grows stronger on Earth but maintains a secret identity tied to a homeland that continues to exert a powerful hold on him even as his every contact with those origins does him harm."[170] Even an episode of 9-11 showed school children bullying dark-skinned classmates one of whom was reading Superman. Told that Superman was American, the boy reminded them that Superman is an alien, and furthermore that Wonder Woman is a foreigner.

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Critical reception and popularity


The character Superman and his various comic series have received various awards over the years. Empire magazine named him the greatest comic book character of all time.[171] The Reign of the Supermen is one of many storylines or works to have received a Comics Buyer's Guide Fan Award, winning the Favorite Comic Book Story category in 1993.[172] Superman came at number 2 in VH1's Top Pop Culture Icons 2004.[173] Also in 2004, British cinemagoers voted Superman as the greatest superhero of all time.[174] Works featuring the character have also garnered six Eisner Awards[175] [176] and three Harvey Awards,[177] either for the works themselves or the creators of the works. The Superman films have received a number of nominations and awards, with Christopher Reeve winning a BAFTA for his performance in Superman. The Smallville television series has garnered Emmys for crew members and various other awards.[178] [179] [180] Superman as a character is still seen as being as relevant now as he has been in the seventy years of his existence.[181]

Video games
While Superman is largely considered to be the archetypal superhero, and the flagship character of DC Comics, he has enjoyed virtually no success in video games. Ever since 1978, when the first game was released on the Atari 2600, numerous developers have tried at making a Superman game that was generally well-received, although none have succeeded. One of the most notorious examples is the 1999 game for the Nintendo 64, simply titled "Superman" (although often erroneously called "Superman 64" due to the tradition of N64 games putting the number "64" at the end of several titles), which is largely considered to be one of the worst games of all time.

Superman

198

Notes
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WebCitation archive (http:/ / www. webcitation. org/ 5yMp8zzpt). [141] Harris, Rachel Lee (April 3, 2011). "Steinberg Prize Awarded" (http:/ / www. nytimes. com/ 2011/ 04/ 04/ theater/ steinberg-prize-awarded. html). The New York Times. .. WebCitation archive (http:/ / www. webcitation. org/ 5yMpbWMYH). [142] "Henry Cavil cast as Superman" (http:/ / www. variety. com/ article/ VR1118031149). Variety. January 30, 2011. . Retrieved April 11, 2011. [143] Donovan. "Sunshine Superman". Sunshine Superman. Epic, 1966. [144] Jim Croce. "You Don't Mess Around with Jim". You Don't Mess Around with Jim. ABC/Vertigo, 1972. [145] Genesis. "Land of Confusion". Invisible Touch. Atlantic Records, 1986. "Ooh Superman where are you now, When everything's gone wrong somehow". [146] Lloyd, John & Yukich, Jim (Directors). (1986). "Land of Confusion". [Music video]. Atlantic Records. [147] Morrison (w), Grant; Truog, Chas, Hazlewood, Doug and Grummet, Tom (a) (2002) [1991]. "2: Life In The Concrete Jungle". In Michael Charles Hill (ed.). Animal Man. John Costanza (letterer) & Tatjana Wood (colorist) (1st ed.). New York: DC Comics. p.45. ISBN1-56389-005-4. "R.E.M. starts singing "Superman." My arm aches and I've got dj vu. Funny how everything comes together." [148] Lyrics to "Superman's Song". [149] "Five For Fighting: Inside Track" (http:/ / www. vh1. com/ artists/ spotlight/ inside_track/ five_for_fighting/ interview. jhtml). VH1. . Retrieved June 17, 2010. [150] Turner, Robin (August 8, 2006). "Deputy Dawg". Western Mail: p.21. [151] "Looney Tunes # 97" (http:/ / www. comics-db. com/ comic-book/ 1046821-Looney_Tunes_97. html). Big Comicbook Database. . Retrieved January 16, 2007. [152] Clarke, Mel (August 1, 2004). "The Pitch". The Sunday Times: p.34. [153] Kinnes, Sally (January 30, 2000). "The One To Watch". The Sunday Times: p.58. [154] Daniels (1998), p. 185. [155] "Steven Seagle Talks It's a Bird" (http:/ / www. ugo. com/ channels/ comics/ features/ itsabird/ default. asp). ugo.com. . Retrieved January 16, 2007. "the semi-autobiographical tale of Steven being given the chance to write a Superman comic but stumbling when he can't figure out how to relate to the character. Through the course of the story, Seagle finds his way into Superman by looking at it through the lens of his own mortality." [156] Taylor, Paul (September 21, 1994). "Theatre". The Independent (UK). [157] Eco, Umberto (2004) [1962]. "The Myth of Superman". In Jeet Heer & Kent Worcester. Arguing Comics. University Press of Mississippi. p.162. ISBN1-57806-687-5. [158] Clarke, Gerald (December 13, 1971). "The Comics On The Couch" (http:/ / www. time. com/ time/ magazine/ article/ 0,9171,842864,00. html). Time: pp.14. ISSN0040-781X. . Retrieved January 29, 2007. [159] Arnold, Andrew (October 6, 2005). "The Hard Knock Life" (http:/ / www. time. com/ time/ columnist/ arnold/ article/ 0,9565,1115061,00. html). Time. ISSN0040-781X. . Retrieved January 29, 2007. "much of The Quitter involves the classic American literary theme of assimilation. Though extremely popular in other mediums, this theme, again, has gotten little attention in comix except obliquely, through such genre works as Seigel and Shuster's Superman character." [160] Daniels (1995), p. 64. [161] Grayling, A C (July 8, 2006). "The Philosophy of Superman: A Short Course" (http:/ / www. spectator. co. uk/ archive/ features/ 23525/ the-philosophy-of-superman. thtml) (Fee required). The Spectator (UK). ISSN0038-6952. . Retrieved January 29, 2007. [162] Jules Feiffer The Great Comic Book Heroes, (2003). Fantagraphics. ISBN 1-56097-501-6 [163] Andrae (1983), p.10 (http:/ / web. archive. org/ web/ 20031207220852/ superman. ws/ seventy/ interview/ ?part=10). [164] Ian Gordon "Nostalgia, Myth, and Ideology: Visions of Superman at the End of the 'American Century"in Michael Ryan, ' 'Cultural Studies: An Anthology' '(2007). Blackwell ISBN 978-1405145770 (http:/ / nus. academia. edu/ IanGordon/ Papers/ 509594/ Nostalgia_Myth_and_Ideology_Visions_of_Superman_at_the_End_of_the_American_Century). [165] Fingeroth, Danny Superman on the Couch (2004). Continuum International Publishing Group p53. ISBN 0-8264-1539-3 [166] Engle, Gary "What Makes Superman So Darned American?" reprinted in Popular Culture (1992) Popular Press p331-343. ISBN 0-87972-572-9 [167] Wallace, Daniel; Bryan Singer (2006). The Art of Superman Returns. Chronicle Books. p.92. ISBN0811853446.

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[168] Regalado, Aldo "Modernity, Race, and the American Superhero" in McLaughlin, Jeff (ed.) Comics as Philosophy (2005). Univ of Mississippi Press p92. ISBN 1-57806-794-4 [169] Jenemann, David (2007). Adorno in America. U of Minnesota Press. p.180. ISBN0816648093. [170] Rooney, David (June 3, 2010). "Finding America, Searching for Identity" (http:/ / theater. nytimes. com/ 2010/ 06/ 03/ theater/ reviews/ 03year. html). New York Times. . Retrieved June 11, 2010. [171] "''Empire'' | The 50 Greatest Comic Book Characters" (http:/ / www. empireonline. com/ 50greatestcomiccharacters/ default. asp?c=1). Empire. December 5, 2006. . Retrieved June 17, 2010. [172] Miller, John Jackson (June 9, 2005). "CBG Fan Awards Archives" (http:/ / web. archive. org/ web/ 20070311003351/ http:/ / www. cbgxtra. com/ default. aspx?tabid=42& view=topic& forumid=34& postid=147). www.cbgxtra.com. Krause Publications. Archived from the original (http:/ / www. cbgxtra. com/ default. aspx?tabid=42& view=topic& forumid=34& postid=147) on March 11, 2007. . Retrieved January 29, 2007. "CBG Fan Award winners 1982present" [173] "200 Greatest Pop Culture Icons List: The Folks that Have Impacted American Society" (http:/ / web. archive. org/ web/ 20080106102417/ http:/ / www. azreporter. com/ entertainment/ television/ news/ 200popicons. shtml). October 27, 2003. Archived from = Arizona Reporter the original (http:/ / www. azreporter. com/ entertainment/ television/ news/ 200popicons. shtml) on January 6, 2008. . Retrieved December 8, 2006. Syndicated reprint of a Newsweek article [174] "Superman is 'greatest superhero'" (http:/ / news. bbc. co. uk/ 1/ hi/ entertainment/ film/ 4090207. stm). BBC. December 22, 2004. . Retrieved February 18, 2007. [175] Joel Hahn (2006). "Will Eisner Comic Industry Award: Summary of Winners" (http:/ / web. archive. org/ web/ 20070216072911/ http:/ / users. rcn. com/ aardy/ comics/ awards/ eisnersum. shtml). Comic Book Awards Almanac. Joel Hahn. Archived from the original (http:/ / users. rcn. com/ aardy/ comics/ awards/ eisnersum. shtml) on February 16, 2007. . Retrieved January 17, 2007. [176] "Alan Moore Back on Top for 2006 Eisner Awards" (http:/ / www. comic-con. org/ cci/ cci_eisners_06rcv. shtml). Comic-Con International. July 2006. . Retrieved January 17, 2007. [177] Joel Hahn (2006). "Will Harvey Award Winners Summary" (http:/ / web. archive. org/ web/ 20070313185222/ http:/ / users. rcn. com/ aardy/ comics/ awards/ harveysum. shtml). Comic Book Awards Almanac. Joel Hahn. Archived from the original (http:/ / users. rcn. com/ aardy/ comics/ awards/ harveysum. shtml) on March 13, 2007. . Retrieved January 17, 2007. [178] "CNN's 2002 Emmy Winners" (http:/ / web. archive. org/ web/ 20080316123053/ http:/ / www. cnn. com/ SPECIALS/ 2002/ emmys/ print. ballot. html). CNN. Archived from the original (http:/ / www. cnn. com/ SPECIALS/ 2002/ emmys/ print. ballot. html) on March 16, 2008. . Retrieved July 13, 2009. [179] "2006 Primetime Emmy Winners" (http:/ / www. emmys. org/ downloads/ images/ 2006emmys/ PrimetimeNoms. php). Emmys.org. . Retrieved August 23, 2007. [180] Emmys.org (August 19, 2006). "The 2006 Creative Arts Emmy winners press release" (http:/ / www. emmys. org/ media/ releases/ 2006/ crtvarts2006_rel. pdf) (PDF). Press release. . Retrieved August 23, 2007. [181] Wright, B. W. (2001). "Spider-Man at Ground Zero". Comic Book Nation: The Transformation of Youth Culture in America. Baltimore: The Johns Hopkins University. p.293. ISBN0801874505.

203

References
Andrae, Tom; Blum, Geoffry & Coddington, Gary (August 1983). "Of Superman and Kids With Dreams". Nemo, the Classic Comics Library (2): 619. ISSN07469438. Daniels, Les (1998). Superman: The Complete History (1st ed.). Titan Books. ISBN1-85286-988-7. Daniels, Les (1995). DC Comics: Sixty Years of the World's Favourite Comic Book Heroes (First ed.). Virgin Books. ISBN1-85227-546-4. Dean, Michael (October 14, 2004). "An Extraordinarily Marketable Man: The Ongoing Struggle for Ownership of Superman and Superboy" (http://web.archive.org/web/20061201110153/http://www.tcj.com/263/ n_marketable.html). The Comics Journal (263): 1317. Archived from the original (http://www.tcj.com/263/ n_marketable.html) on December 1, 2006. Retrieved December 22, 2006. Eury, Michael; Adams, Neal, Swan, Curt et al.. (2006) [July 27, 2006]. The Krypton Companion. TwoMorrows Publishing. ISBN1893905616.

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Further reading
Michael J. Hayde (2009). Flights of Fantasy. Albany: BearManor Media. ISBN1-59393-344-4. Tom De Haven (2009). Our Hero: Superman on Earth. New Haven: Yale University Press. ISBN9780300118179.

External links
Official Superman website (http://www.superman.com/) Golden Age (http://www.comicbookdb.com/character.php?ID=190), Silver Age (http://www.comicbookdb. com/character.php?ID=296) and Modern Age (http://www.comicbookdb.com/character.php?ID=96) Superman at the Comic book database Superman (http://www.dmoz.org/Arts/Comics/Titles/S/Superman//) at the Open Directory Project , a DC Comics wiki Superman (http://www.imdb.com/character/ch0000196/) at the Internet Movie Database

Detective Comics

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Detective Comics
Detective Comics

Detective Comics #1 (March 1937) Cover art by Vin Sullivan. Publication information Publisher Detective Comics, Inc. (1119) National Comics Publications (120296) National Periodical Publications (297467) DC Comics (468current) Monthly Ongoing series March 1937 Present

Schedule Format Publication date Number of issues Main character(s)

881 (plus issues numbered 0 and 1,000,000, and 12 annuals)

Since #27: Batman Other characters: Batgirl, Robin, Manhunter, Green Arrow Creative team

Writer(s)

Bill Finger, Frank Robbins, Denny O'Neil, David V. Reed, Gerry Conway, Steve Englehart, Bob Rozakis, Ed Brubaker, Greg Rucka Bob Kane, Dick Sprang, Sheldon Moldoff, Carmine Infantino, Bob Brown, Neal Adams, Irv Novick, Gil Kane, Don Heck, Frank Robbins, Jim Aparo, Walter Simonson, Ernie Chua, Jos Luis Garca-Lpez, Mike Grell, Marshall Rogers, Don Newton, Gene Colan, Tom Mandrake, Alan Davis, Norm Breyfogle, Pete Woods, Ramon Bachs, J. H. Williams III, Don Kramer Jerry Robinson, Charles Paris, Sid Greene, Joe Giella, Murphy Anderson, Dick Giordano, Terry Austin, Alfredo Alcala, Shawn McManus, Paul Neary, Wayne Faucher Adrienne Roy

Penciller(s)

Inker(s)

Colorist(s)

Detective Comics is an American comic book published monthly by DC Comics since 1937, best known for introducing the iconic superhero Batman in Detective Comics #27. It is, along with Action Comics, the book that launched with the debut of Superman, one of the medium's signature series, and the source of its company's name. With 881 monthly issues published as of August 2011 (the last issue before a new #1), it is the longest continuously published comic book in the United States.[1]

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206

Publication history
Detective Comics was the final publication of the entrepreneur Major Malcolm Wheeler-Nicholson, whose comics company, National Allied Publications, would evolve into DC Comics, one of the world's two largest comic book publishers, though long after its founder had left it. Wheeler-Nicholson's first two titles were the landmark New Fun: The Big Comic Magazine #1 (Feb. 1935), colloquially called New Fun Comics #1 and the first such early comic book to contain all-original content, rather than a mix of newspaper comic strips and comic-strip-style new material. His second effort, New Comics #1, would be retitled twice to become Adventure Comics, another seminal series that ran for decades until issue #503 in 1983, and was later revived in 2009. The third and final title published under his aegis would be Detective Comics, advertised with a cover illustration dated Dec. 1936, but eventually premiering three months late, with a March 1937 cover date. In 1937, however, Wheeler-Nicholson was in debt to House ad for Detective Comics #1. Note the printing-plant owner and magazine distributor Harry Donenfeld, who originally planned cover date of December 1936. was as well a pulp-magazine publisher and a principal in the magazine distributorship Independent News. Wheeler-Nicholson took Donenfeld on as a partner in order to publish Detective Comics #1 through the newly formed Detective Comics, Inc., with Wheeler-Nicholson and Jack S. Liebowitz, Donenfeld's accountant, listed as owners. Wheeler-Nicholson was forced out a year later. Originally an anthology comic, in the manner of the times, Detective Comics #1 (March 1937) featured stories in the "hard-boiled detective" genre, with such stars as Ching Lung (a Fu Manchu-style "yellow peril" villain); Slam Bradley (created by Jerry Siegel and Joe Shuster before their character Superman saw print two years later); and Speed Saunders, among others. Its first editor, Vin Sullivan, also drew the debut issue's cover.

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207

Batman
Detective Comics #27 (May 1939) featured the first appearance of Batman (as "The Bat-Man"). That superhero would eventually become the star of the title, the cover logo of which is often written as "Detective Comics featuring Batman". Because of its significance, issue #27 is widely considered one of the most valuable comic books in existence, with one copy selling for $1,075,000 in a February 2010 auction.[2] Issue #38 (April 1940) introduced Batman's sidekick Robin (billed as "The Sensational Character Find of 1940" on the cover). Robin's appearance and the subsequent increase in sales of the book soon led to the trend of superheroes and young sidekicks that characterize the era fans and historians call the Golden Age of Comic Books. In addition to the Batman stories, the comic also had numerous back up strips such as "The Strange Experiment of Dr. Erdel" in Detective Comics #225, the story which introduced Martian Manhunter. In the late 1970s and early 1980s, the magazine adopted the expanded format used by the canceled Batman Family, adding solo features including "Robin: the Teen Wonder", "Batgirl", the "Human Target" and the anthology "Tales of Gotham City", which featured the stories of the ordinary people of Gotham City. Also used during the 1980s was the use of serialization of the main Batman story, with stories from Detective Comics and Batman directly flowing from one book to another, with cliffhangers at the end of each book's monthly story that would be resolved in the other title of that month. A single writer handled both books during that time beginning with Gerry Conway and followed up by Doug Moench. Batwoman In 2009, as part of planned reorganization of the Batman universe due to the events shown in Batman R.I.P. and Final Crisis, Detective Comics went on hiatus for three months while DC Comics published the Battle for the Cowl miniseries. Upon its return, the series featured the newly reintroduced (in 52) Batwoman as the new star of the book, as well as a 10-page back-up feature starring Renee Montoya as the new Question.[3] The series returned Batman to a starring role in early 2010.
Detective Comics #27 (May 1939), the debut of Batman. Cover art by Bob Kane.

Relaunch
In June 2011 DC Comics announced that it is planning to relaunch Detective Comics with issue #1 in September 2011. The series will be written and drawn by Tony Daniel.[4] DC Comics is referring to Detective Comics as its new "flagship title". In the first arc of the series, Batman will face an enemy known only as the "Gotham Ripper".

Awards
The "Manhunter" series that ran as a backup in Detective Comics from 1973 to 1974 won the Shazam Award for Best Individual Short Story (Dramatic) in 1974 for the story "Cathedral Perilous" in issue #441, written by Archie Goodwin and Walt Simonson.

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208

Character debuts
Character Slam Bradley Crimson Avenger Batman Commissioner James Gordon Joe Chill Hugo Strange Robin Clayface (Basil Karlo) Penguin Two-Face Tweedledum and Tweedledee Riddler Red Hood Firefly Batmen of All Nations Martian Manhunter Batwoman Calendar Man Bat-Mite Clayface (Matt Hagen) Catman Blockbuster Cluemaster Batgirl (Barbara Gordon) Jason Bard Man-Bat Talia al Ghul Harvey Bullock Leslie Thompkins The Calculator Rupert Thorne Silver St. Cloud Clayface (Preston Payne) Maxie Zeus Killer Croc Jason Todd Onyx Issue #1 #20 #27 #27 #33 #36 #38 #40 #58 #66 #74 #140 #168 #184 #215 #225 #233 #259 #267 #298 #311 #345 #351 #359 #392 #400 #411 #441 #457 #463 #469 #470 #478 #483 #523 #524 #546 Publication date March 1937 October 1938 May 1939 May 1939 November 1939 February 1940 April 1940 June 1940 December 1941 August 1942 April 1943 October 1948 February 1951 June 1952 January 1955 November 1955 July 1956 September 1958 May 1959 December 1961 January 1963 November 1965 May 1966 January 1967 October 1969 June 1970 May 1971 July 1974 March 1976 September 1976 May 1977 June 1977 July 1978 May 1979 February 1983 March 1983 January 1985

Detective Comics

209
Ventriloquist (Arnold Wesker) #583 Ratcatcher Anarky Renee Montoya Stephanie Brown Crispus Allen Sasha Bordeaux Nyssa Raatko Ventriloquist (Peyton) #585 #608 #642 #647 #742 #751 #783 #827 February 1988 April 1988 November 1989 March 1992 August 1992 March 2000 December 2000 August 2003 March 2007

Collected editions
The Detective Comics series has been collected into a number of trade paperbacks: Batman Archives (seven volumes): Vol. 1, collects #27-50, November 1997, ISBN 978-0930289607 Vol. 2, collects #51-70, November 1997, ISBN 978-1563890000 Vol. 3, collects #71-86, November 1997, ISBN 978-1563890994 Vol. 4, collects #87-102, December 1998, ISBN 978-1563894145 Vol. 5, collects #103-119, April 2001, ISBN 978-1563897252 Vol. 6, collects #120-135, August 2005, ISBN 978-1401204099 Vol. 7, collects #136-154, November 2007, ISBN 978-1401214937 The Batman Chronicles (ten volumes): Vol. 1, collects #27-38 and Batman #1, April 2005, ISBN 978-1401204457 Vol. 2, collects #39-45, Batman #2-3, and The New York World's Fair Comics #2, September 2006, ISBN 978-1401207908 Vol. 3, collects #46-50, Batman #4-5, and World's Finest Comics #1, May 2007, ISBN 978-1401213473 Vol. 4, collects #51-56, Batman #6-5, and World's Finest Comics" #2-3, October 2007, ISBN 978-1401214623 Vol. 5, collects #57-61, Batman #8-9, and World's Finest Comics #4, April 2008, ISBN 978-1401216825 Vol. 6, collects #62-65, Batman #10-11, and World's Finest Comics #5-6, October 2008, ISBN 978-1401219611 Vol. 7, collects #66-70, Batman #12-13, and World's Finest Comics #7, March 2009, ISBN 978-1401221348 Vol. 8, collects #71-74, Batman #14-15, and World's Finest Comics #8-9, October 2009, ISBN 978-1401224844 Vol. 9, collects #75-77, Batman #16-17, and World's Finest Comics #10, March 2010, ISBN 978-1401226459 Vol. 10, collects #78-81, Batman #18-19, and World's Finest Comics #11, December 2010 Batman: The Dynamic Duo Archives (two volumes): Vol. 1, collects #327-333 and Batman #164-167, March 2003, ISBN 978-1563899324 Vol. 2, collects #334-339 and Batman #168-171, June 2006, ISBN 978-1401207724 Showcase Presents: Batman (four volumes): Vol. 1, collects #327-342 and Batman #164-174, August 2006, ISBN 978-1401210861 Vol. 2, collects #343-358 and Batman #175-186, June 2007, ISBN 978-1401213626 Vol. 3, collects #359-375 and Batman #189-202, July 2008, ISBN 978-1401217198 Vol. 4, collects #376-390 and Batman #202-215, July 2009, ISBN 978-1401223144

Detective Comics Manhunter: The Special Edition, collects Manhunter backup stories from #437-442 and the Batman/Manhunter crossover in #443, Manhunter #1, and Batman: Legends of the Dark Knight #100, June 1999, ISBN 978-1563893742 Batman: Strange Apparitions, collects #469-476, #478-479, December 1999, ISBN 978-1563895005 Batman: Year Two, collects #575-578, January 1990, ISBN 978-0930289492 Batman: Blind Justice, collects #598-600, May 2005, ISBN 978-1563890475 Batman: Anarky, collects #608-609, Batman Chronicles #1, Batman: Shadow of the Bat #40-41, and Anarky #1-4, February 1999, ISBN 978-1563894374 Batman: Evolution, collects #743-750, August 2001, ISBN 978-1563897269 Batman: The Man Who Laughs, collects #784-786 and Batman: The Man Who Laughs (one-shot), February 2009, ISBN 978-1401216269 (Hardcover: January 2008, ISBN 978-1401216221) Batman: War Drums, collects #790-796 and Robin (vol. 2) #126-128, October 2004, ISBN 978-1401203412 Batman: City of Crime, collects #800-808, #811-814, July 2006, ISBN 978-1401208974 Batman: Face the Face, collects #817-820 and Batman #651-654, September 2006, ISBN 978-1401209100 Batman: Detective, collects #821-826, April 2007, ISBN 978-1401212391 Batman: Death and the City, collects #827-834, November 2007, ISBN 978-1401215750 Batman: Private Casebook, collects #840-845 and DC Infinite Halloween Special, November 2009, ISBN 978-1401220150 (Hardcover: December 2008, ISBN 978-1401220099) Batman: Heart of Hush, collects #846-850, March 2010, ISBN 978-1401221249 (Hardcover: April 2009, ISBN 978-1401221232) Batwoman: Elegy, collects #854-860, June 2011, ISBN 978-1401231460 (Hardcover: July 2010, ISBN 978-1401226923)

210

References
[1] Action Comics has amassed more individual issues due to 42 issues (#601-642) in 198889 that were published weekly, and because of Detective Comics' bi-monthly run in the 1970s. The American record-holder for most issues published is Dell Comics' Four Color series, which amassed more than 1,300 issues over a 23-year run. [2] "Batman, Superman comic books set records for sale price" (http:/ / www. washingtonpost. com/ wp-dyn/ content/ article/ 2010/ 02/ 26/ AR2010022605938. html). The Washington Post. February 27, 2010. . Retrieved March 15, 2011. [3] "Batwoman takes over 'Detective'" (http:/ / www. icv2. com/ articles/ news/ 14269. html). ICv2. February 9, 2009. . Retrieved February 10, 2009. [4] Batman Relaunch: New #1s for "Batgirl", "Batman", "Detective", "Catwoman", "Birds of Prey" (UPDATED) (http:/ / www. comicsalliance. com/ 2011/ 06/ 06/ new-dcu-batman-detective-batgirl), Comics Alliance, June 6, 2011

Further reading
Jones, Gerard (2004). Men of Tomorrow: Geeks, Gangsters, and the Birth of the Comic Book. Basic Books. ISBN0-4650-3657-0.

External links
DC Comics official site (http://www.dccomics.com/) Detective Comics (http://www.comics.org/series/87/) at the Grand Comics Database Detective Comics (http://www.comics-db.com/DC_Comics/D/Detective_Comics/) at the Big Comic Book DataBase Batman: Yesterday, Today, & Beyond - Comics (http://www.batmanytb.com/comics/index.php) Detective Comics cover gallery (http://www.comic-covers.com/DC/DCC-G/DetectiveComics/index.html)

Batman

211

Batman
Batman

Promotional art for Batman #608 (Oct. 2002, second printing) Pencils by Jim Lee and inks by Scott Williams Publication information Publisher DC Comics

First appearance Detective Comics #27 (May 1939) Created by Bob Kane (concept) [1] Bill Finger (developer, uncredited) In-story information Alter ego Bruce Wayne

Team affiliations Batman Family Justice League Wayne Enterprises Outsiders Partnerships Robin Batgirl Superman Matches Malone, Sir Hemingford Grey, Mordecai Wayne, The Insider High human strength, agility, athleticism and peak conditions Skilled hand-to-hand combatant/Master Martial artist Use of high tech equipment, weapons & gadgets Stealth/sneaking/infiltration Genius-level intellect Proficient with technology Excellent observational skills Regarded as the world's greatest detective/crime solver Master strategist

Notable aliases Abilities

Batman is a fictional character created by the artist Bob Kane and writer Bill Finger. A comic book superhero, Batman first appeared in Detective Comics #27 (May 1939), and since then has appeared in many of DC Comics publications. Originally referred to as "the Bat-Man" and still referred to at times as "the Batman", he is additionally known as the "Caped Crusader",[2] the "Dark Knight",[2] and the "World's Greatest Detective,"[2] among other titles. In the original version of the story and the vast majority of retellings, Batman's secret identity is Bruce Wayne, an American millionaire (later billionaire) playboy, industrialist, and philanthropist. Having witnessed the murder of his

Batman parents as a child, he swore revenge on crime, an oath tempered with the greater ideal of justice. Wayne trains himself both physically and intellectually and dons a bat-themed costume in order to fight crime.[3] Batman operates in the fictional American Gotham City, assisted by various supporting characters including his crime-fighting partner, Robin, his butler Alfred Pennyworth, the police commissioner Jim Gordon, and occasionally the heroine Batgirl. He fights an assortment of villains such as the Joker, the Riddler, the Penguin, Two-Face, Poison Ivy and Catwoman. Unlike most superheroes, he does not possess any superpowers; he makes use of intellect, detective skills, science and technology, wealth, physical prowess, martial arts skills, an indomitable will, fear, and intimidation in his continuous war on crime. Batman became a very popular character soon after his introduction and gained his own comic book title, Batman, in 1940. As the decades wore on, differing interpretations of the character emerged. The late 1960s Batman television series used a camp aesthetic which continued to be associated with the character for years after the show ended. Various creators worked to return the character to his dark roots, culminating in the 1986 miniseries Batman: The Dark Knight Returns, by writer-artist Frank Miller, while the successes of Tim Burton's 1989 film Batman and Christopher Nolan's 2005 reboot Batman Begins also helped to reignite popular interest in the character.[4] A cultural icon, Batman has been licensed and adapted into a variety of media, from radio to television and film, and appears on a variety of merchandise sold all over the world such as toys and video games. In May 2011, Batman placed 2nd on IGN's Top 100 Comic Book Heroes of All Time.[5]

212

Publication history
Creation
In early 1939, the success of Superman in Action Comics prompted editors at the comic book division of National Publications (the future DC Comics) to request more superheroes for its titles. In response, Bob Kane created "the Bat-Man."[6] Collaborator Bill Finger recalled "Kane had an idea for a character called 'Batman', and he'd like me to see the drawings. I went over to Kane's, and he had drawn a character who looked very much like Superman with kind of ... reddish tights, I believe, with boots ... no gloves, no gauntlets ... with a small domino mask, swinging on a rope. He had two stiff wings that were sticking out, looking like bat wings. And under it was a big sign ... BATMAN."[7] Finger offered such suggestions as giving the character a cowl instead of a simple domino mask, a cape instead of wings, and gloves, and removing the red sections from the original costume.[8] [9] [10] [11] Finger said he devised the name Bruce Wayne for the character's secret identity: "Bruce Wayne's first name came from Robert Bruce, the Scottish patriot. Bruce, being a playboy, was a man of gentry. I searched for a name that would suggest colonialism. I tried Adams, Hancock ... then I thought of Mad Anthony Wayne."[12] He later said his suggestions were influenced by Lee Falk's popular The Phantom, a syndicated newspaper comic-strip character with which Kane was familiar as well.[13] Various aspects of Batman's personality, character history, visual design, and equipment were inspired by contemporary popular culture of the 1930s, including movies, pulp magazines, comic strips, newspaper headlines, and even aspects of Kane himself.[14] Kane noted especially the influence of the films The Mark of Zorro (1920) and The Bat Whispers (1930) in the creation of the iconography associated with the character, while Finger drew inspiration from literary characters Doc Savage, The Shadow, and Sherlock Holmes in his depiction of Batman as a master sleuth and scientist.[15] Kane, in his 1989 autobiography, detailed Finger's contributions to Batman's creation: One day I called Bill and said, 'I have a new character called the Bat-Man and I've made some crude, elementary sketches I'd like you to look at'. He came over and I showed him the drawings. At the time, I only had a small domino mask, like the one Robin later wore, on Batman's face. Bill said, 'Why not make him look more like a bat and put a hood on him, and take the eyeballs out and just put slits for eyes to make him look

Batman more mysterious?' At this point, the Bat-Man wore a red union suit; the wings, trunks, and mask were black. I thought that red and black would be a good combination. Bill said that the costume was too bright: 'Color it dark gray to make it look more ominous'. The cape looked like two stiff bat wings attached to his arms. As Bill and I talked, we realized that these wings would get cumbersome when Bat-Man was in action, and changed them into a cape, scalloped to look like bat wings when he was fighting or swinging down on a rope. Also, he didn't have any gloves on, and we added them so that he wouldn't leave fingerprints.[13] Kane signed away ownership in the character in exchange for, among other compensation, a mandatory byline on all Batman comics. This byline did not, originally say "Batman created by Bob Kane"; his name was simply written on the title page of each story. The name disappeared from the comic book in the mid-1960s, replaced by credits for each story's actual writer and artists. In the late 1970s, when Jerry Siegel and Joe Shuster began receiving a "created by" credit on the Superman titles, along with William Moulton Marston being given the byline for creating Wonder Woman, Batman stories began saying "Created by Bob Kane" in addition to the other credits. Finger did not receive the same recognition. While he had received credit for other DC work since the 1940s, he began, in the 1960s, to receive limited acknowledgment for his Batman writing; in the letters page of Batman #169 (February 1965) for example, editor Julius Schwartz names him as the creator of the Riddler, one of Batman's recurring villains. However, Finger's contract left him only with his writing page rate and no byline. Kane wrote, "Bill was disheartened by the lack of major accomplishments in his career. He felt that he had not used his creative potential to its fullest and that success had passed him by."[12] At the time of Finger's death in 1974, DC had not officially credited Finger as Batman co-creator. Jerry Robinson, who also worked with Finger and Kane on the strip at this time, has criticized Kane for failing to share the credit. He recalled Finger resenting his position, stating in a 2005 interview with The Comics Journal: Bob made him more insecure, because while he slaved working on Batman, he wasn't sharing in any of the glory or the money that Bob began to make, which is why... [he was] going to leave [Kane's employ]. ... [Kane] should have credited Bill as co-creator, because I know; I was there. ... That was one thing I would never forgive Bob for, was not to take care of Bill or recognize his vital role in the creation of Batman. As with Siegel and Shuster, it should have been the same, the same co-creator credit in the strip, writer and artist.[16] Although Kane initially rebutted Finger's claims at having created the character, writing in a 1965 open letter to fans that "it seemed to me that Bill Finger has given out the impression that he and not myself created the ''Batman, t' [sic] as well as Robin and all the other leading villains and characters. This statement is fraudulent and entirely untrue." Kane himself also commented on Finger's lack of credit. "The trouble with being a 'ghost' writer or artist is that you must remain rather anonymously without 'credit'. However, if one wants the 'credit', then one has to cease being a 'ghost' or follower and become a leader or innovator."[17] In 1989, Kane revisited Finger's situation, recalling in an interview, In those days it was like, one artist and he had his name over it [the comic strip] the policy of DC in the comic books was, if you can't write it, obtain other writers, but their names would never appear on the comic book in the finished version. So Bill never asked me for it [the byline] and I never volunteered I guess my ego at that time. And I felt badly, really, when he [Finger] died.[18]

213

Batman

214

Early years
The first Batman story, "The Case of the Chemical Syndicate," was published in Detective Comics #27 (May 1939). Finger said, "Batman was originally written in the style of the pulps,"[19] and this influence was evident with Batman showing little remorse over killing or maiming criminals. Batman proved a hit character, and he received his own solo title in 1940, while continuing to star in Detective Comics. By that time, National was the top-selling and most influential publisher in the industry; Batman and the company's other major hero, Superman, were the cornerstones of the company's success.[20] The two characters were featured side-by-side as the stars of World's Finest Comics, which was originally titled World's Best Comics when it debuted in fall 1940. Creators including Jerry Robinson and Dick Sprang also worked on the strips during this period. Over the course of the first few Batman strips elements were added to the character and the artistic depiction of Batman evolved. Kane noted that within six issues he drew the character's jawline more pronounced, Batman made his debut in Detective Comics #27 (May 1939). Cover art by Bob Kane and lengthened the ears on the costume. "About a year later he was [21] almost the full figure, my mature Batman," Kane said. Batman's characteristic utility belt was introduced in Detective Comics #29 (July 1939), followed by the boomerang-like batarang and the first bat-themed vehicle, the Batplane, in #31 (September 1939). The character's origin was revealed in #33 (November 1939), unfolding in a two-page story that establishes the brooding persona of Batman, a character driven by the death of his parents. Written by Finger, it depicts a young Bruce Wayne witnessing his parents' murder at the hands of a mugger. Days later, at their grave, the child vows that "by the spirits of my parents [I will] avenge their deaths by spending the rest of my life warring on all criminals."[22] [23] [24] The early, pulp-inflected portrayal of Batman started to soften in Detective Comics #38 (April 1940) with the introduction of Robin, Batman's kid sidekick.[25] Robin was introduced, based on Finger's suggestion Batman needed a "Watson" with whom Batman could talk.[26] Sales nearly doubled, despite Kane's preference for a solo Batman, and it sparked a proliferation of "kid sidekicks."[27] The first issue of the solo spin-off series Batman was notable not only for introducing two of his most persistent antagonists, the Joker and Catwoman, but for a story in which Batman shoots some monstrous giants to death. That story prompted editor Whitney Ellsworth to decree that the character could no longer kill or use a gun.[28] By 1942, the writers and artists behind the Batman comics had established most of the basic elements of the Batman mythos.[29] In the years following World War II, DC Comics "adopted a postwar editorial direction that increasingly de-emphasized social commentary in favor of lighthearted juvenile fantasy." The impact of this editorial approach was evident in Batman comics of the postwar period; removed from the "bleak and menacing world" of the strips of the early 1940s, Batman was instead portrayed as a respectable citizen and paternal figure that inhabited a "bright and colorful" environment.[30]

1950s and early 1960s


Batman was one of the few superhero characters to be continuously published as interest in the genre waned during the 1950s. In the story "The Mightiest Team in the World" in Superman #76 (June 1952), Batman teams up with Superman for the first time and the pair discovers each other's secret identity.[31] Following the success of this story, World's Finest Comics was revamped so it featured stories starring both heroes together, instead of the separate Batman and Superman features that had been running before.[32] The team-up of the characters was "a financial

Batman success in an era when those were few and far between";[33] this series of stories ran until the book's cancellation in 1986. Batman comics were among those criticized when the comic book industry came under scrutiny with the publication of psychologist Fredric Wertham's book Seduction of the Innocent in 1954. Wertham's thesis was that children imitated crimes committed in comic books, and that these works corrupt the morals of the youth. Wertham criticized Batman comics for their supposed homosexual overtones and argued that Batman and Robin were portrayed as lovers.[34] Wertham's criticisms raised a public outcry during the 1950s, eventually leading to the establishment of the Comics Code Authority. The tendency towards a "sunnier Batman" in the postwar years intensified after the introduction of the Comics Code.[35] It has also been suggested by scholars that the characters of Batwoman (in 1956) and the pre-Barbara Gordon Bat-Girl (in 1961) were introduced in part to refute the allegation that Batman and Robin were gay, and the stories took on a campier, lighter feel.[36] In the late 1950s, Batman stories gradually became more science fiction-oriented, an attempt at mimicking the success of other DC characters that had dabbled in the genre.[37] New characters such as Batwoman, Ace the Bat-Hound, and Bat-Mite were introduced. Batman's adventures often involved odd transformations or bizarre space aliens. In 1960, Batman debuted as a member of the Justice League of America in The Brave and the Bold #28 (February 1960), and went on to appear in several Justice League comic series starting later that same year.

215

"New Look" Batman and camp


By 1964, sales on Batman titles had fallen drastically. Bob Kane noted that, as a result, DC was "planning to kill Batman off altogether."[38] In response to this, editor Julius Schwartz was assigned to the Batman titles. He presided over drastic changes, beginning with 1964's Detective Comics #327 (May 1964), which was cover-billed as the "New Look". Schwartz introduced changes designed to make Batman more contemporary, and to return him to more detective-oriented stories. He brought in artist Carmine Infantino to help overhaul the character. The Batmobile was redesigned, and Batman's costume was modified to incorporate a yellow ellipse behind the bat-insignia. The space aliens and characters of the 1950s such as Batwoman, Ace, and Bat-Mite were retired. Batman's butler Alfred was killed off (though his death was quickly reversed due to fan response) while a new female relative for the Wayne family, Aunt Harriet, came to live with Bruce Wayne and Dick Grayson.[39] The debut of the Batman television series in 1966 had a profound influence on the character. The success of the series increased sales throughout the comic book industry, and Batman reached a circulation of close to 900,000 copies.[40] Elements such as the character of Batgirl and the show's campy nature were introduced into the comics; the series also initiated the return of Alfred. Although both the comics and TV show were successful for a time, the camp approach eventually wore thin and the show was canceled in 1968. In the aftermath, the Batman comics themselves lost popularity once again. As Julius Schwartz noted, "When the television show was a success, I was asked to be campy, and of course when the show faded, so did the comic books."[41] Starting in 1969, writer Dennis O'Neil and artist Neal Adams made a deliberate effort to distance Batman from the campy portrayal of the 1960s TV series and to return the character to his roots as a "grim avenger of the night."[42] O'Neil said his idea was "simply to take it back to where it started. I went to the DC library and read some of the early stories. I tried to get a sense of what Kane and Finger were after."[43] O'Neil and Adams first collaborated on the story "The Secret of the Waiting Graves" (Detective Comics #395, January 1970). Few stories were true collaborations between O'Neil, Adams, Schwartz, and inker Dick Giordano, and in actuality these men were mixed and matched with various other creators during the 1970s; nevertheless the influence of their work was "tremendous."[44] Giordano said: "We went back to a grimmer, darker Batman, and I think that's why these stories did so well... Even today we're still using Neal's Batman with the long flowing cape and the pointy ears."[45] While the work of O'Neil and Adams was popular with fans, the acclaim did little to help declining sales; the same held true with a similarly acclaimed run by writer Steve Englehart and penciler Marshall Rogers in Detective Comics #471476 (August 1977 April 1978), which went on to influence the 1989 movie

Batman Batman and be adapted for Batman: The Animated Series, which debuted in 1992.[46] Regardless, circulation continued to drop through the 1970s and 1980s, hitting an all-time low in 1985.[47]

216

The Dark Knight Returns and later


Frank Miller's limited series Batman: The Dark Knight Returns (FebruaryJune 1986), which tells the story of a 50-year old Batman coming out of retirement in a possible future, reinvigorated the character. The Dark Knight Returns was a financial success and has since become one of the medium's most noted touchstones.[48] The series also sparked a major resurgence in the character's popularity.[49] That year Dennis O'Neil took over as editor of the Batman titles and set the template for the portrayal of Batman following DC's status quo-altering miniseries Crisis on Infinite Earths. O'Neil operated under the assumption that he was hired to revamp the character and as a result tried to instill a different tone in the books than had gone before.[50] One outcome of this new approach was the "Year One" storyline in Batman #404407 (FebruaryMay 1987), in which Frank Miller and artist David Mazzucchelli redefined the character's origins. Writer Alan Moore and artist Brian Bolland continued this dark trend with 1988's 48-page one-shot Batman: The Killing Joke, in which the Joker, attempting to drive Commissioner Gordon insane, cripples Gordon's daughter Barbara, and then kidnaps and tortures the commissioner, physically and psychologically. The Batman comics garnered major attention in 1988 when DC Comics created a 900 number for readers to call to vote on whether Jason Todd, the second Robin, lived or died. Voters decided in favor of Jason's death by a narrow margin of 28 votes (see Batman: A Death in the Family).[51] The following year saw the release of Tim Burton's Batman feature film, which firmly brought the character back to the public's attention, grossing millions of dollars at the box office, and millions more in merchandising. However, the three sequels, Tim Burton's Batman Returns and director Joel Schumacher's Batman Forever and Batman & Robin, did not perform as well at the box office. The Batman movie franchise was rebooted with director and co-writer Christopher Nolan's Batman Begins in 2005 and The Dark Knight in 2008. In 1989, the first issue of Legends of the Dark Knight, the first new solo Batman title in nearly fifty years, sold close to a million copies.[52] The 1993 "Knightfall" story arc introduced a new villain, Bane, who critically injures Bruce Wayne. Jean-Paul Valley, known as Azrael, is called upon to wear the Batsuit during Wayne's convalescence. Writers Doug Moench, Chuck Dixon, and Alan Grant worked on the Batman titles during "Knightfall," and would also contribute to other Batman crossovers throughout the 1990s. 1998's "Cataclysm" storyline served as the precursor to 1999's "No Man's Land", a year-long storyline that ran through all the Batman-related titles dealing with the effects of an earthquake-ravaged Gotham City. At the conclusion of "No Man's Land", O'Neil stepped down as editor and was replaced by Bob Schreck. Another writer who rose to prominence on the Batman comic series, was Jeph Loeb. Along with longtime collaborator Tim Sale, they wrote two miniseries ("The Long Halloween" and "Dark Victory") that pit an early in his career version of Batman against his entire rogue's gallery (most notably Two-Face, whose origin was re-envisioned by Loeb) while dealing with various mysteries involving serial killers Holiday and the Hangman, of which the former was the subject of intense debate and speculation amongst Batman fans. In 2003, Loeb teamed with artist Jim Lee to work on another mystery arc: "Batman: Hush" for the main Batman book. The twelve issue storyline saw Batman and Catwoman running the gauntlet against Batman's entire rogue's gallery, including an apparently resurrected Jason Todd, while seeking to find the identity of the mysterious supervillain Hush. While the character of Hush failed to catch on with readers, the arc was a sales success for DC. As the storyline was Jim Lee's first regular
The first issue of Batman: The Dark Knight Returns, which redefined Batman in the 1980s. Cover art by Frank Miller.

Batman comic book work in nearly a decade, the series became #1 on the Diamond Comic Distributors sales chart for the first time since Batman #500 (October 1993) and Jason Todd's appearance laid the groundwork for writer Judd Winick's subsequent run as writer on Batman, with another multi-issue epic, "Under the Hood," which ran from Batman #637650. In 2005, DC launched All-Star Batman and Robin, a stand-alone comic series set outside the existing DC Universe. Written by Frank Miller and drawn by Jim Lee, the series was a commercial success for DC Comics[53] [54] though widely panned by critics for its writing.[55] [56] Starting in 2006, the regular writers on Batman and Detective Comics were Grant Morrison and Paul Dini, with Grant Morrison reincorporating controversial elements of Batman lore (most notably, the science fiction themed storylines of the 1950s Batman comics, which Morrison revised as hallucinations Batman suffered under the influence of various mind-bending gases and extensive sensory deprivation training) into the character. Morrison's run climaxed with "Batman R.I.P.", which brought Batman up against the villainous "Black Glove" organization, which sought to drive Batman into madness. "Batman R.I.P." segued into Final Crisis (also written by Morrison), which saw the apparent death of Batman at the hands of Darkseid. In the 2009 miniseries Batman: Battle for the Cowl, Wayne's former protg Dick Grayson becomes the new Batman, and Wayne's son Damian becomes the new Robin.[57] [58] In June 2009, Judd Winick returned to writing Batman, while Grant Morrison was given his own series, titled Batman and Robin.[59] In 2010, the storyline Batman: The Return of Bruce Wayne saw Bruce travel through history, eventually returning to the present day. Although he reclaimed the mantle of Batman, he also allowed Grayson to continue being Batman as well. Bruce decided to take his war on crime globally, which is the central focus of Batman Incorporated. DC Comics would later announce that Grayson would be the main character in Batman, Detective Comics and Batman and Robin, while Wayne would be the main character in Batman Incorporated. Also, Bruce appeared in another ongoing series, Batman: The Dark Knight.

217

2011 Relaunch
In 2011, it was announced that the entire line of Batman books would be rebooted in September to match DC Comics' move to relaunch all their publications and reboot the DC continuity. Bruce will be the only character to be identified as Batman and will be featured in Batman, Detective Comics, Batman and Robin, and Batman: The Dark Knight. Dick will return to the mantle of Nightwing and appear in his own ongoing series.

Fictional character biography


Batman's history has undergone various revisions, both minor and major. Few elements of the character's history have remained constant. Scholars William Uricchio and Roberta E. Pearson noted in the early 1990s, "Unlike some fictional characters, the Batman has no primary urtext set in a specific period, but has rather existed in a plethora of equally valid texts constantly appearing over more than five decades."[60] The central fixed event in the Batman stories is the character's origin story.[61] As a little boy, Bruce Wayne is horrified and traumatized to see his parents, the physician Dr. Thomas Wayne and his wife Martha, being murdered by a mugger in front of his very eyes. This drives him to fight crime in Gotham City as Batman. Pearson and Uricchio also noted beyond the origin story and such events as the introduction of Robin, "Until recently, the fixed and accruing and hence, canonized, events have been few in number,"[61] a situation altered by an increased effort by later Batman editors such as Dennis O'Neil to ensure consistency and continuity between stories.[62]

Batman

218

Golden Age
In Batman's first appearance in Detective Comics #27, he is already operating as a crime fighter.[63] Batman's origin is first presented in Detective Comics #33 (Nov. 1939), and is later fleshed out in Batman #47. As these comics state, Bruce Wayne is born to Dr. Thomas Wayne and his wife Martha, two very wealthy and charitable Gotham City socialites. Bruce is brought up in Wayne Manor, with its wealthy splendor, and leads a happy and privileged existence until the age of eight, when his parents are killed by a small-time criminal named Joe Chill while on their way home from a movie theater. Bruce Wayne swears an oath to rid the city of the evil that had taken his parents' lives. He engages in intense intellectual and physical training; however, he realizes that these skills alone would not be enough. "Criminals are a superstitious cowardly lot," Wayne remarks, "so my disguise must be able to strike terror into their hearts. I must be a creature of the night, black, terrible..." As if responding to his desires, a bat suddenly flies through the window, inspiring Bruce to take on the persona of Batman.[64] In early strips, Batman's career as a vigilante earns him the ire of the police. During this period Wayne has a fiance named Julie Madison.[65] Wayne takes in an orphaned circus acrobat, Dick Grayson, who becomes his sidekick, Robin. Batman also becomes a founding member of the Justice Society of America,[66] although he, like Superman, is an honorary member,[67] and thus only participates occasionally. Batman's relationship with the law thaws quickly, and he is made an honorary member of Gotham City's police department.[68] During this time, butler Alfred Pennyworth arrives at Wayne Manor, and after deducing the Dynamic Duo's secret identities joins their service.[69]

Silver Age
The Silver Age of Comic Books in DC Comics is sometimes held to have begun in 1956 when the publisher introduced Barry Allen as a new, updated version of The Flash. Batman is not significantly changed by the late 1950s for the continuity which would be later referred to as Earth-One. The lighter tone Batman had taken in the period between the Golden and Silver Ages led to the stories of the late 1950s and early 1960s that often feature a large number of science-fiction elements, and Batman is not significantly updated in the manner of other characters until Detective Comics #327 (May 1964), in which Batman reverts to his detective roots, with most science-fiction elements jettisoned from the series. After the introduction of DC Comics' multiverse in the 1960s, DC established that stories from the Golden Age star the Earth-Two Batman, a character from a parallel world. This version of Batman partners with and marries the reformed Earth-Two Catwoman, Selina Kyle (as shown in Superman Family #211) and fathers Helena Wayne, who, as the Huntress, becomes (along with Dick Grayson, the Earth-Two Robin) Gotham's protector once Wayne retires from the position to become police commissioner, a position he occupies until he is killed during one final adventure as Batman. Batman titles however often ignored that a distinction had been made between the pre-revamp and post-revamp Batmen (since unlike The Flash or Green Lantern, Batman comics had been published without interruption through the 1950s) and would on occasion make reference to stories from the Golden Age.[70] Nevertheless, details of Batman's history were altered or expanded upon through the decades. Additions include meetings with a future Superman during his youth, his upbringing by his uncle Philip Wayne (introduced in Batman #208, January/February 1969) after his parents' death, and appearances of his father and himself as prototypical versions of Batman and Robin, respectively.[71] [72] In 1980 then-editor Paul Levitz commissioned the Untold Legend of the Batman limited series to thoroughly chronicle Batman's origin and history. Batman meets and regularly works with other heroes during the Silver Age, most notably Superman, whom he began regularly working alongside in a series of team-ups in World's Finest Comics, starting in 1954 and continuing through the series' cancellation in 1986. Batman and Superman are usually depicted as close friends. Batman becomes a founding member of the Justice League of America, appearing in its first story in 1960s Brave and the Bold #28. In the 1970s and 1980s, Brave and the Bold became a Batman title, in which Batman teams up with a different DC Universe superhero each month.

Batman In 1969, Dick Grayson attends college as part of DC Comics' effort to revise the Batman comics. Additionally, Batman also moves from his mansion, Wayne Manor into a penthouse apartment atop the Wayne Foundation building in downtown Gotham City, in order to be closer to Gotham City's crime. Batman spends the 1970s and early 1980s mainly working solo, with occasional team-ups with Robin and/or Batgirl. Batman's adventures also become somewhat darker and more grim during this period, depicting increasingly violent crimes, including the first appearance (since the early Golden Age) of the Joker as a homicidal psychopath, and the arrival of Ra's al Ghul, a centuries-old terrorist who knows Batman's secret identity. In the 1980s, Dick Grayson becomes Nightwing.[3] In the final issue of Brave and the Bold in 1983, Batman quits the Justice League and forms a new group called the Outsiders. He serves as the team's leader until Batman and the Outsiders #32 (1986) and the comic subsequently changed its title.

219

Modern Batman
After the 12-issue limited series Crisis on Infinite Earths, DC Comics retconned the histories of some major characters in an attempt at updating them for contemporary audiences. Frank Miller retold Batman's origin in the storyline "Year One" from Batman #404407, which emphasizes a grittier tone in the character.[73] Though the Earth-Two Batman is erased from history, many stories of Batman's Silver Age/Earth-One career (along with an amount of Golden Age ones) remain canonical in the post-Crisis universe, with his origins remaining the same in essence, despite alteration. For example, Gotham's police are mostly corrupt, setting up further need for Batman's existence. While Dick Grayson's past remains much the same, the history of Jason Todd, the second Robin, is altered, turning the boy into the orphan son of a petty crook, who tries to steal the tires from the Batmobile.[74] Also removed is the guardian Phillip Wayne leaving young Bruce to be raised by Alfred Pennyworth. Additionally, Batman is no longer a founding member of the Justice League of America, although he becomes leader for a short time of a new incarnation of the team launched in 1987. To help fill in the revised backstory for Batman following Crisis, DC launched a new Batman title called Legends of the Dark Knight in 1989 and has published various miniseries and one-shot stories since then that largely take place during the "Year One" period. Various stories from Jeph Loeb and Matt Wagner also touch upon this era. In 1988's "Batman: A Death in the Family" storyline from Batman #426429 Jason Todd, the second Robin, is killed by the Joker.[3] Subsequently Batman begins exhibiting an excessive, reckless approach to his crime-fighting, a result of the pain of losing Jason Todd. Batman works solo until the decade's close, when Tim Drake becomes the new Robin.[75] In 2005, writers resurrected the Jason Todd character and have pitted him against his former mentor. Many of the major Batman storylines since the 1990s have been inter-title crossovers that run for a number of issues. In 1993, DC published both the "Death of Superman" storyline and "Knightfall" . In the Knightfall storyline's first phase, the new villain Bane paralyzes Batman, leading Wayne to ask Azrael to take on the role. After the end of "Knightfall," the storylines split in two directions, following both the Azrael-Batman's adventures, and Bruce Wayne's quest to become Batman once more. The story arcs realign in "KnightsEnd," as Azrael becomes increasingly violent and is defeated by a healed Bruce Wayne. Wayne hands the Batman mantle to Dick Grayson (then Nightwing) for an interim period, while Wayne trains to return to the role.[76] The 1994 company-wide crossover Zero Hour changes aspects of DC continuity again, including those of Batman. Noteworthy among these changes is that the general populace and the criminal element now considers Batman an urban legend rather than a known force. Similarly, the Waynes' killer is never caught or identified, effectively removing Joe Chill from the new continuity, rendering stories such as "Year Two" non-canon. Batman once again becomes a member of the Justice League during Grant Morrison's 1996 relaunch of the series, titled JLA. While Batman contributes greatly to many of the team's successes, the Justice League is largely uninvolved as Batman and Gotham City face catastrophe in the decade's closing crossover arc. In 1998's "Cataclysm" storyline, Gotham City is devastated by an earthquake and ultimately cut off from the United States Government afterwards. Deprived of many of his technological resources, Batman fights to reclaim the city from

Batman legions of gangs during 1999's "No Man's Land". Meanwhile, Batman's relationship with the Gotham City Police Department changed for the worse with the events of "Batman: Officer Down" and "Batman: War Games/War Crimes"; Batman's long-time law enforcement allies Commissioner Gordon and Harvey Bullock are forced out of the police department in "Officer Down", while "War Games" and "War Crimes" saw Batman become a wanted fugitive after a contingency plan of his to neutralize Gotham City's criminal underworld is accidentally triggered, resulting in a massive gang war that ends with the sadistic Black Mask the undisputed ruler of the city's criminal gangs. Other troubles come for Batman in the form of Lex Luthor (secretly behind the events of "No Man's Land"), who seeks revenge for Bruce Wayne cancelling all of his company's government contracts upon Luthor being elected President of the United States. Luthor arranges for the murder of Batman's on-again, off-again love interest Vesper (introduced in the mid-1990s) during the "Bruce Wayne: Murderer?" and "Bruce Wayne: Fugitive" story arcs. Though Batman is able to clear his name, he loses another ally in the form of his new bodyguard Sasha, who is recruited into the organization known as "Checkmate" while stuck in prison due to her refusal to turn states evidence against her employer. While he was unable to prove that Luthor was behind the murder of Vesper, Batman does get his revenge with help from Talia al Ghul in Superman/Batman #16: not only does he bring down Lex Luthor's Presidency but also engages in a hostile take-over of Luthor's corporate holdings, bankrupting the villain in the process. DC's 2005 limited series Identity Crisis reveals that JLA member Zatanna had edited Batman's memories to prevent him from stopping the League from lobotomizing Dr. Light after he raped Sue Dibny. This served as a retcon for Batman's complete distrust for his fellow superheroes, which, under writers such as Mark Waid in the "Tower of Babel" arc in JLA, manifested itself in the form of Batman keeping extensive files on how to kill his fellow superheroes. Batman later creates the Brother I satellite surveillance system to watch over and if necessary, kill the other heroes. It is eventually co-opted by Maxwell Lord, who then kills superhero Blue Beetle to keep him from alerting the Justice League of the existence of Batman's murderous creation. The revelation of Batman's creation and his tacit responsibility for Blue Beetle's death becomes a driving force in the lead-up to the Infinite Crisis miniseries, which again restructures DC continuity. In Infinite Crisis #7, Alexander Luthor, Jr. mentions that in the newly rewritten history of the "New Earth", created in the previous issue, the murderer of Martha and Thomas Wayne again, Joe Chill was captured, thus undoing the retcon created after Zero Hour. Batman and a team of superheroes destroy Brother Eye and the OMACs, though at the very end Batman reaches his apparent breaking point when Alexander Luthor Jr. seriously wounds Nightwing. Picking up a gun, Batman nearly shoots Luthor in order to avenge his former sidekick, until Wonder Woman convinces him to not pull the trigger. Following Infinite Crisis, Bruce Wayne, Dick Grayson (having recovered from his wounds), and Tim Drake retrace the steps Bruce had taken when he originally left Gotham City, to "rebuild Batman."[77] In the Face the Face storyline, Batman and Robin return to Gotham City after their year-long absence. Part of this absence is captured during Week 30 of the 52 series, which shows Batman fighting his inner demons.[78] Later on in 52, Batman is shown undergoing an intense meditation ritual in Nanda Parbat. This becomes an important part of the regular Batman title, which reveals that Batman is reborn as a more effective crime fighter while undergoing this ritual, having "hunted down and ate" the last traces of fear in his mind.[79] [80] At the end of the "Face the Face" story arc, Bruce officially adopts Tim (who had lost both of his parents at various points in the character's history) as his son.[81] The follow-up story arc in Batman, Batman & Son, introduces Damian Wayne, who is Batman's son with Talia al Ghul. Batman, along with Superman and Wonder Woman, reforms the Justice League in the new Justice League of America series,[82] and is leading the newest incarnation of the Outsiders.[83] Grant Morrison's 2008 storyline, Batman R.I.P., featuring Batman being physically and mentally broken by the enigmatic "Black Glove," garnered much news coverage in advance of its highly promoted conclusion, which would supposedly feature the death of Bruce Wayne.[84] [85] The original intention was, in fact, not for Batman to die in the pages of "R.I.P.," but for the story to continue with the current DC event Final Crisis and have the death occur there.

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Batman As such, a two-issue bridge arc was designed called "Last Rites" that showed Batman survive his helicopter crash into the Gotham City River and return to the Batcave, only to be summoned to the Hall of Justice by the JLA to help investigate Orion's death. This in turn led into the events of "Final Crisis" (which began publication during the conclusion of "Batman RIP"), where Batman is kidnapped by Granny Goodness. "Last Rites" told the tale of Batman being mentally probed by Darkseid's minions Mokkari and Simyon, in an attempt to cull the personality traits that make Batman the successful superhero that he is in order to transplant them into cloned bodies. The plan fails due to the clones, unable to handle the stress and grief Batman processes on a daily basis choose to kill themselves rather than endure such a tortured existence. The two-parter concludes with a major "Final Crisis" plot point, as it is revealed that Batman kept the bullet used to kill Orion in his utility belt.[86] The Batman's apparent death occurs in Final Crisis #6 when he confronts Darkseid. Batman announces that he will break his "no gun" rule while facing the villain. Wielding a sidearm made by Apokolips, Batman shoots Darkseid in the chest with a bullet made of Radion (the same bullet used to kill Orion), just as Darkseid unleashes his Omega Sanction, or the "death that is life", upon Batman.[87] However, the Omega Sanction does not actually kill its target, but sends its consciousness into parallel worlds. Although the presence of Batman's corpse would suggest that he is dead, at the conclusion of Final Crisis it is revealed that Batman has been sent to the distant past where he is able to watch the passing of Anthro.[88] [89] The three-issue Battle for the Cowl miniseries, ('cowl' referring to Batman's mask) sees those closest to Wayne compete for the "right" to assume the role of Batman. Eventually, Grayson reluctantly assumes the role.[90] Tim Drake takes on the identity of Red Robin, questing around the world searching for Bruce Wayne, who he believes is still alive.[91] In Blackest Night, the villain Black Hand is seen digging up Bruce Wayne's body, stealing his skull, and recruiting it into the Black Lantern Corps.[92] Deadman, whose body has also become a Black Lantern, rushes to aid the new Batman and Robin, along with Red Robin against the Gotham villains who have been reanimated as Black Lanterns, as well as their own family members.[93] The skull was briefly reanimated as a Black Lantern, reconstructing a body in the process by Black Hand's lord, Nekron, to move against the Justice League and the Titans. After the Black Lantern Batman created several black power rings to attach to and kill the majority of the Justice League, the skull was returned to normal after Nekron explained it served its purpose as an emotional tether. Nekron also referred to the skull as "Bruce Wayne", knowing that the body was not authentic.[94] In Batman and Robin's third storyline, "Blackest Knight," it is revealed that the body left behind at the end of Final Crisis #6 was actually a clone created from a failed attempt by Darkseid to amass an army of "Batmen". Because of this, the skull that was used by the Black Lantern Corps and reanimated by Nekron was a fake. Dick Grayson, thinking it was Bruce Wayne's real body, attempted to resurrect it in a Lazarus Pit only to be met with a fierce, mindless combatant. He then realized the truth about the body.[95] [96] Morrison's storyline continues with the miniseries Batman: The Return of Bruce Wayne. In the miniseries, Bruce travels through time from the prehistoric era back to present-day Gotham. However, the Dark Knight must overcome unforeseen obstacles: unbeknownst to the hero, Darkseid turned him into a living doomsday weapon when he sent him back in time, which forces Batman's allies to stop him.[97] [97] [98] [99] Thanks to his allies, Batman is able to foil Darkseid's final plan and return to the present. After Bruce's return, he returns to his role as the Dark Knight on a global scale, thus allowing Dick and Damian to continue as Gotham's Dynamic Duo. This is seen in the new ongoing series Batman, Inc., where Batman will form an army of heroes that will serve as the Batman on every country of the world. To this end, Bruce publicly announces that Wayne Enterprises will aid Batman on his mission, known as "Batman, Incorporated." Also, Batman will be the protagonist in the new title Batman: The Dark Knight, which will be written and drawn by David Finch. This new title will also see Batman remaining in Gotham to investigate about the disappearance of his friend Dawn Golden. This new title will see Batman investigating themes about mysticism and magic.

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Relaunch Batman
In September, Batman, Detective Comics and Batman: The Dark Knight will be relaunched to match DC Comics's move to relaunch every major book and reboot the DC continuity. In the new series, Bruce Wayne will be the sole character to be identified as Batman while Dick Grayson will return to the Nightwing codename.

Characterization
Batman's primary character traits can be summarized as "wealth; physical prowess; deductive abilities and obsession."[61] The details and tone of Batman comic books have varied over the years due to different creative teams. Dennis O'Neil noted that character consistency was not a major concern during early editorial regimes: "Julie Schwartz did a Batman in Batman and Detective and Murray Boltinoff did a Batman in the Brave and the Bold and apart from the costume they bore very little resemblance to each other. Julie and Murray did not coordinate their efforts, did not pretend to, did not want to, were not asked to. Continuity was not important in those days."[100] The driving force behind Batman's character is from his childhood. Bob Kane and Bill Finger discussed Batman's background and decided that "there's nothing more traumatic than having your parents murdered before your eyes."[101] Despite his trauma, he is driven to train to become a brilliant scientist[102] [103] and train his body into absolute physical perfection[102] [103] to fight crime in Gotham City as Batman, an inspired idea from Wayne's insight into the criminal mind.[102] [103] Another of Batman's characterizations is a vigilante; in order to stop evil that started with the death of his parents, he must sometimes break laws himself. Although manifested differently by being re-told by different artists, it is nevertheless that the details and the prime components of Batman's origin have never varied at all in the comic books, the "reiteration of the basic origin events holds together otherwise divergent expressions".[104] The origin is the source of the character's traits and attributes, which play out in many of the character's adventures.[61] Batman is often treated as a vigilante by other characters in his stories. Frank Miller views the character as "a dionysian figure, a force for anarchy that imposes an individual order."[105] Dressed as a bat, Batman deliberately cultivates a frightening persona in order to aid him in crime-fighting,[106] a fear that originates from the criminals' own guilty conscience.[107]

Bruce Wayne
In his secret identity, Batman is Bruce Wayne, a wealthy businessman who lives in Gotham City. To the world at large, Bruce Wayne is often seen as an irresponsible, superficial playboy who lives off his family's personal fortune (amassed when his family invested in Gotham real estate before the city was a bustling metropolis)[108] and the profits of Wayne Enterprises, a major private technology firm that he inherits. However, Wayne is also known for his contributions to charity, notably through his Wayne Foundation, a charity devoted to helping the victims of crime and preventing people from becoming criminals.[109] Bruce creates the playboy public persona to aid in throwing off suspicion of his secret identity, often acting dim-witted and self-absorbed to further the act.[110] Among the more noted measures he uses to maintain the facade is pretending he is a heavy drinker by claiming his glasses of ginger ale are strong beverages; Bruce is actually a strict teetotaler to maintain his physical fitness and mental acuity. Writers of both Batman and Superman stories have often compared the two within the context of various stories, to varying conclusions. Like Superman, the prominent persona of Batman's dual identities varies with time. Modern age comics have tended to portray "Bruce Wayne" as the facade, with "Batman" as the truer representation of his personality[111] (in counterpoint to the post-Crisis Superman, whose "Clark Kent" persona is the 'real' personality, and "Superman" is the 'mask').[112] [113] In Batman Unmasked, a television documentary about the psychology of the character, Associate Professor of Social Psychology at the University of California, Los Angeles, and an adjunct behavioral scientist at the Rand Corporation Benjamin Karney, notes that Batman's personality is driven by Bruce Wayne's inherent humanity; that "Batman, for all its benefits and for all of the time Bruce Wayne devotes to it, is ultimately a tool for Bruce Wayne's efforts to make the world better".

Batman As noted in the Will Brooker book, Batman Unmasked, "the confirmation of Batman's identity lies with the young audience...he doesn't have to be Bruce Wayne; he just needs the suit and gadgets, the abilities, and most importantly the morality, the humanity. There's just a sense about him: 'they trust him... and they're never wrong."[114] Finger came up with the name "Bruce Wayne" for the superhero's secret identity. In Jim Steranko's History of the Comics, vol. 1, Bill Finger reveals, "Bruce Wayne's first name came from Robert Bruce, the Scottish patriot. Wayne, being a playboy, was a man of gentry. I searched for a name that would suggest colonialism. I tried Adams, Hancock...then I thought of Mad Anthony Wayne." In T. James Musler's book Unleashing the Superhero in Us All, he explores the extent to which money is important in Bruce Wayne's life.[115]

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Dick Grayson
While Wayne traveled through time to get back to the present, Dick Grayson became the new Batman. This was the second time he had taken on the mantle in Bruce Wayne's absence, albeit the first time (when Wayne was recovering from his broken back) reluctantly. After Wayne's "death", Dick stated that he had no problem becoming Batman, but Wayne had left a prerecorded message telling him not to take up the mantle and to continue fighting crime as Nightwing with Robin at his side. Realizing that Gotham still needed the Dark Knight, Dick retired his Nightwing mantle to become the new Batman. With Wayne's return and plans to launch Batman worldwide, Dick remained the Batman of Gotham City. After the events of Flashpoint, Dick will return to being Nightwing. In an interview with IGN, Morrison details that having Grayson as Batman and Damian Wayne as Robin will be a "reverse" of the normal dynamic between Batman and Robin, with, "a more light-hearted and spontaneous Batman and a scowling, badass Robin." Morrison explains his intentions for the new characterization of Batman: "Dick Grayson is kind of this consummate superhero. The guy has been Batman's partner since he was a kid, he's led the Teen Titans, and he's trained with everybody in the DC Universe. So he's a very different kind of Batman. He's a lot easier; He's a lot looser and more relaxed."[57]

Skills, abilities, and resources


There are a plethora of superheroes without superpowers, but of them all the Batman character relies on "his own scientific knowledge, detective skills, and athletic prowess."[25] In the stories Batman is regarded as one of the world's greatest detectives.[116] In Grant Morrison's first storyline in JLA, Superman describes Batman as "the most dangerous man on Earth," able to defeat a team of superpowered aliens by himself in order to rescue his imprisoned teammates.[117] He is a master of disguise, often gathering information under the identity of Matches Malone, a notorious gangster. Additionally, the Batman has been repeatedly described as one of the greatest martial artists in the DC Universe, having either trained with or fought against the very best of them including such notables as Lady Shiva, Bronze Tiger, and Richard Dragon.

Costume
Batman's costume incorporates the imagery of a bat in order to frighten criminals.[118] The details of the Batman costume change repeatedly through various stories and media, but the most distinctive elements remain consistent: a scallop-hem cape, a cowl covering most of the face featuring a pair of batlike ears, and a stylized bat emblem on the chest, and the ever-present utility belt. The costumes' colors are traditionally blue and grey,[118] although this colorization arose due to the way comic book art is colored.[118] Finger and Kane conceptualized Batman as having a black cape and cowl and grey suit, but conventions in coloring called for black to be highlighted with blue.[118] This coloring has been claimed by Larry Ford, in Place, Power, Situation, and Spectacle: A Geography of Film, to be a reversion of conventional color-coding symbolism, which sees "bad guys" wearing dark colors.[119] Batman's gloves typically feature three scallops that protrude from long, gauntlet-like cuffs, although in his earliest appearances he wore short, plain gloves without the scallops. A yellow ellipse around the bat logo on the character's chest was added

Batman in 1964, and became the hero's trademark symbol, akin to the red and yellow "S" symbol of Superman.[120] The overall look of the character, particularly the length of the cowl's ears and of the cape, varies greatly depending on the artist. Dennis O'Neil said, "We now say that Batman has two hundred suits hanging in the Batcave so they don't have to look the same . . . Everybody loves to draw Batman, and everybody wants to put their own spin on it."[121]

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Equipment
Batman uses a large arsenal of specialized gadgets in his war against crime, the designs of which usually share a bat motif. Batman historian Les Daniels credits Gardner Fox with creating the concept of Batman's arsenal with the introduction of the utility belt in Detective Comics #29 (July 1939) and the first bat-themed weapons the batarang and the "Batgyro" in Detective Comics #31 and #32 (September; October, 1939).[21] Batman's primary vehicle is the Batmobile, which is usually depicted as an imposing black car with large tailfins that suggest a bat's wings. Batman's other vehicles include the Batplane (aka the Batwing), Batboat, Bat-Sub, and Batcycle.

The 1966 television Batmobile was built by George Barris from a Lincoln Futura concept car.

In proper practice, the "bat" prefix (as in batmobile or batarang) is rarely used by Batman himself when referring to his equipment, particularly after some portrayals (primarily the 1960s Batman live-action television show and the Super Friends animated series) stretched the practice to campy proportions. The 1960s television series Batman has an arsenal that includes such "bat-" names as the bat-computer, bat-scanner, bat-radar, bat-cuffs, bat-pontoons, bat-drinking water dispenser, bat-camera with polarized bat-filter, bat-shark repellent bat-spray, and bat-rope. The storyline "A Death in the Family" suggests that given Batman's grim nature, he is unlikely to have adopted the "bat" prefix on his own. Batman keeps most of his field equipment in a utility belt. Over the years it is shown to contain a virtually limitless variety of crime-fighting tools. Different versions of the belt have these items stored in either pouches or hard cylinders attached evenly around it. A typical major exception to the range of Batman's equipment are conventional firearms, which he refuses to use on principle considering that weapon class was the instrument of his parents' murder. Modern depictions of Batman have him compromise for practicality by arming his vehicles mainly for the purpose of removing obstacles or disabling enemy vehicles.

Bat-Signal
When Batman is needed, the Gotham City police activate a searchlight with a bat-shaped insignia over the lens called the Bat-Signal which shines into the night sky, creating a bat-symbol on a passing cloud which can be seen from any point in Gotham. The origin of the signal varies, depending on the continuity and medium. In various incarnations, most notably the 1960s Batman TV series, Commissioner Gordon also has a dedicated phone line, dubbed the Bat-Phone, connected to a bright red telephone (in the TV series) which sits on a wooden base and has a transparent cake cover on top. The line connects directly to Batman's residence, Wayne Manor, specifically both to a similar phone sitting on the desk in Bruce Wayne's study and the extension phone in the Batcave.

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Batcave
The Batcave is Batman's secret headquarters, consisting of a series of subterranean caves beneath his mansion, Wayne Manor. It serves as his command center for both local and global surveillance, as well as housing his vehicles and equipment for his war on crime. It also is a storeroom for Batman's memorabilia. In both the comic Batman: Shadow of the Bat (issue #45) and the 2005 film Batman Begins, the cave is said to have been part of the Underground Railroad. Of the heroes and villains who see the Batcave, few know where it is located.

Supporting characters
Batman's interactions with the characters around him, both heroes and villains, help to define the character.[61] Commissioner James "Jim" Gordon, Batman's ally in the Gotham City police, debuted along with Batman in Detective Comics #27 and has been a consistent presence since then. Later on, Batman gained Alfred as his butler and Lucius Fox as his business manager and apparently unwitting armorer. However, the most important supporting role in the Batman mythos is filled by the hero's young sidekick Robin.[122] The first Robin, Dick Grayson, eventually leaves his mentor and becomes the hero Nightwing, though he and Batman would still continue to work together. The second Robin, Jason Todd, is badly beaten and then Batman with his sidekick Robin. Painting by killed in an explosion set by the Joker, but later returns as an adversary. Alex Ross, based on the cover of Batman #9 by Tim Drake, the third Robin, first appeared in 1989 and went on to star Jack Burnley. in his own comic series. Alfred, Bruce Wayne's loyal butler, father figure, and one of the few to know his secret identity, "[lends] a homey touch to Batman's environs and [is] ever ready to provide a steadying and reassuring hand" to the hero and his sidekick.[123] Batman is at times a member of superhero teams such as the Justice League of America and the Outsiders. Batman has often been paired in adventure with his Justice League teammate Superman, notably as the co-stars of World's Finest and Superman/Batman series. In pre-Crisis continuity, the two are depicted as close friends; however, in current continuity, they have a mutually respectful but uneasy relationship, with an emphasis on their differing views on crime-fighting and justice. In Superman/Batman #3 (December 2003), Superman observes, "Sometimes, I admit, I think of Bruce as a man in a costume. Then, with some gadget from his utility belt, he reminds me that he has an extraordinarily inventive mind. And how lucky I am to be able to call on him."[124] Batman is involved romantically with many women throughout his various incarnations. These range from society women such as Julie Madison, Vicki Vale, and Silver St. Cloud, to allies like Wonder Woman and Sasha Bordeaux, to even villainesses such as Catwoman and Talia al Ghul, with the latter of whom he sired a son, Damian, and with the former of whom sired a daughter, Helena (on Earth-Two). While these relationships tend to be short, Batman's attraction to Catwoman is present in nearly every version and medium in which the characters appear. Authors have gone back and forth over the years as to how Batman manages the 'playboy' aspect of Bruce Wayne's personality; at different times he embraces or flees from the women interested in attracting "Gotham's most eligible bachelor." Other supporting characters in Batman's world include former Batgirl Barbara Gordon, Commissioner Gordon's daughter who, now using a wheelchair due to a gunshot wound inflicted by the Joker, serves the superhero community at large as the computer hacker Oracle; Azrael, a would-be assassin who replaces Bruce Wayne as Batman for a time; Cassandra Cain, an assassin's daughter who became the new Batgirl, Huntress, the sole surviving member of a mob family turned Gotham vigilante who has worked with Batman on occasion, Stephanie Brown, the daughter of a criminal who operated as the Spoiler and temporarily as Robin, Ace the Bat-Hound, Batman's Canine partner;[125] and Bat-Mite, an extra-dimensional imp who idolizes Batman.[125]

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Enemies
Batman faces a variety of foes ranging from common criminals to outlandish supervillains. The list is one of the most recognizable in popular culture, many of them mirror aspects of the Batman's character and development, often having tragic origin stories that lead them to a life of crime.[123] Batman's "most implacable foe" is the Joker, a psychopathic, clown-like criminal who, as a "personification of the irrational", represents "everything Batman [opposes]."[29] Other long time recurring antagonists include Catwoman, the Scarecrow, the Penguin, Two-Face, the Riddler, Mr. Freeze, Poison Ivy, and Ra's al Ghul, among many others.

A gathering of Batman's villains. Art by Jim Lee.

Cultural impact
Batman has become a pop culture icon, recognized around the world. The character's presence has extended beyond his comic book origins; events such as the release of the 1989 Batman film and its accompanying merchandising "brought the Batman to the forefront of public consciousness."[52] In an article commemorating the sixtieth anniversary of the character, The Guardian wrote, "Batman is a figure blurred by the endless reinvention that is modern mass culture. He is at once an icon and a commodity: the perfect cultural artefact for the 21st century."[126] In addition, media outlets have often used the character in trivial and comprehensive surveys Forbes magazine estimated Bruce Wayne to be the 9th-richest fictional character with his $5.8billion fortune, several places after Iron Man, who is at 6.[127] BusinessWeek listed the character as one of the ten most intelligent superheroes appearing in American comics.[128] Entertainment Weekly named Batman as one of The 20 All Time Coolest Heroes in Pop Culture.[129] He also was placed on AFI's 100 Years100 Heroes and Villains from the 1989 feature film by the American Film Institute.[130]

In other media
The character of Batman has appeared in various media aside from comic books. The character has been developed as a vehicle for newspaper syndicated comic strips, books, radio dramas, television, and several theatrical feature films. The first adaptation of Batman was as a daily newspaper comic strip which premiered on October 25, 1943.[131] That same year the character was adapted in the 15-part serial Batman, with Lewis Wilson becoming the first actor to portray Batman on screen. While Batman never had a radio series of his own, the character made occasional guest appearance in The Adventures of Superman starting in 1945 on occasions when Superman voice actor Bud Collyer needed time off.[132] A second movie serial, Batman and Robin, followed in 1949, with Robert Lowery taking over the role of Batman. The exposure provided by these adaptations during the 1940s "helped make [Batman] a household name for millions who never bought a comic book."[132] In the 1964 publication of Donald Barthelme's collection of short stories "Come Back, Dr. Caligari", Barthelme wrote "The Joker's Greatest Triumph." Batman is portrayed for purposes of spoof as a pretentious French-speaking rich man.[133]

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The Batman television series, starring Adam West, premiered in January 1966 on the ABC television network. Inflected with a camp sense of humor, the show became a pop culture phenomenon. In his memoir, Back to the Batcave, West notes his dislike for the term 'camp' as it was applied to the 1960s series, opining that the show was instead a farce or lampoon, and a deliberate one, at that. The series ran for 120 episodes, ending in 1968. In between the first and second season of the Batman television series the cast and crew made the theatrical release Michael Keaton as Batman in Tim Burton's Batman (1966). The Kinks performed the theme song from the Batman Batman (1989) series on their 1967 album Live at Kelvin Hall. The popularity of the Batman TV series also resulted in the first animated adaptation of Batman in the series The Batman/Superman Hour;[134] the Batman segments of the series were repackaged as The Adventures of Batman and Batman with Robin the Boy Wonder which produced thirty-three episodes between 1968 and 1977. From 1973 until 1986, Batman had a starring role in ABC's Super Friends series, which was animated by Hanna-Barbera. Olan Soule was the voice of Batman in all these series, but was eventually replaced during Super Friends by Adam West, who voiced the character in Filmation's 1977 series The New Adventures of Batman. In 1989, Batman returned to movie theaters in director Tim Burton's Batman starring Michael Keaton as the title character. The film was a huge success; not only was it the top-grossing film of the year, but at the time was the fifth highest-grossing film in history.[135] The film spawned three sequels: Batman Returns (1992), Batman Forever (1995), and Batman & Robin (1997), the latter two of which were directed by Joel Schumacher instead of Burton, and replaced Keaton as Batman with Val Kilmer and George Clooney, respectively. The second Schumacher film, while a box office success, failed to outgross any of its predecessors and was critically panned, causing Warner Bros. to cancel the planned fifth film, Batman Triumphant, and place the film series on hiatus. In 1992, Batman returned to television in Batman: The Animated Series, which was produced by Warner Bros. and broadcast on the Fox television network. Author Les Daniels described the series as "[coming] as close as any artistic statement has to defining the look of Batman for the 1990s."[136] The success of Batman: The Animated Series led to the animated spin-off film Batman: Mask of the Phantasm (1993), as well as various other animated series set in the same continuity, including The New Batman Adventures, Batman Beyond, and Justice League. As with Batman: The Animated Series, each of Batman as he was depicted in Batman: The these productions featured Kevin Conroy as the voice of Batman. In Animated Series (19921995) 2004, a new animated series titled The Batman made its debut with Rino Romano as the title character. In 2008, this show was replaced by another animated series, Batman: The Brave and the Bold, with Diedrich Bader as Batman. In 2005, Batman Begins, a reboot of the film series, was released, directed by Christopher Nolan and starring Christian Bale as Batman. Its sequel, The Dark Knight (2008), set the record for the highest grossing opening weekend of all time in the U.S., earning approximately $158 million,[137] and became the fastest film to reach the $400 million mark in the history of American cinema (eighteenth day of release).[138] These record breaking attendances saw The Dark Knight listed as the third-highest domestic grossing film of all time with $533 million, bested only by Titanic and Avatar.[139] Another sequel, The Dark Knight Rises, is expected to be released in 2012, and is said to be the final Batman film to feature Nolan and Bale as director and lead actor respectively.

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Homosexual interpretations
Further information: Homosexuality in the Batman franchise Controversy has arisen over various sexual interpretations made regarding the content of Batman comics in the early decades. Homosexual interpretations have been part of the academic study of Batman since psychologist Fredric Wertham asserted in his Seduction of the Innocent in 1954 that "Batman stories are psychologically homosexual." He claimed, "The Batman type of story may stimulate children to homosexual fantasies, of the nature of which they may be unconscious." Wertham wrote, "Only someone ignorant of the fundamentals of psychiatry and of the psychopathology of sex can fail to realize a subtle atmosphere of homoeroticism which pervades the adventures of the mature 'Batman' and his young friend 'Robin.'"[140]

Bruce Wayne and Dick Grayson. Panel from Batman #84 (June 1954), page 24.

Andy Medhurst wrote in his 1991 essay "Batman, Deviance, and Camp" that Batman is interesting to gay audiences because "he was one of the first fictional characters to be attacked on the grounds of his presumed homosexuality," "the 1960s TV series remains a touchstone of camp," and "[he] merits analysis as a notably successful construction of masculinity."[141] Creators associated with the character have expressed their own opinions. Writer Alan Grant has stated, "The Batman I wrote for 13 years isn't gay. Denny O'Neil's Batman, Marv Wolfman's Batman, everybody's Batman all the way back to Bob Kane... none of them wrote him as a gay character. Only Joel Schumacher might have had an opposing view." Writer Devin Grayson has commented, "It depends who you ask, doesn't it? Since you're asking me, I'll say no, I don't think he is ... I certainly understand the gay readings, though."[142] While Frank Miller has described the relationship between Batman and the Joker as a "homophobic nightmare,"[143] he views the character as sublimating his sexual urges into crimefighting, concluding, "He'd be much healthier if he were gay."[144] Burt Ward, who portrayed Robin in the 1960s television show, has also remarked upon this interpretation in his autobiography Boy Wonder: My Life in Tights; he writes that the relationship could be interpreted as a sexual one, with the show's double entendres and lavish camp also possibly offering ambiguous interpretation.[145] Such homosexual interpretations continue to attract attention. One notable example occurred in 2000, when DC Comics refused to allow permission for the reprinting of four panels (from Batman #79, 92, 105 and 139) to illustrate Christopher York's paper All in the Family: Homophobia and Batman Comics in the 1950s.[146] Another happened in the summer of 2005, when painter Mark Chamberlain displayed a number of watercolors depicting both Batman and Robin in suggestive and sexually explicit poses.[147] DC threatened both artist and the Kathleen Cullen Fine Arts gallery with legal action if they did not cease selling the works and demanded all remaining art, as well as any profits derived from them.[148]

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229

Notes
[1] Goulart, Ron, Comic Book Encyclopedia (Harper Entertainment, New York, 2004) ISBN 0-06-053816-3 [2] Fleisher, Michael L. The Encyclopedia of Comic Book Heroes Volume 1 Batman Collier Books 1976 ISBN 0-02-080090-8 p. 31 [3] Beatty, Scott (2008). "Batman". In Dougall, Alastair. The DC Comics Encyclopedia. London: Dorling Kindersley. pp.4044. ISBN0-7566-4119-5. [4] "The Big Question: What is the history of Batman, and why does he still appeal?" (http:/ / www. independent. co. uk/ arts-entertainment/ film-and-tv/ features/ the-big-question-what-is-the-history-of-batman-and-why-does-he-still-appeal-873780. html). The Independent (London). July 22, 2008. . [5] "Batman Top 100 Comic Book Heroes" (http:/ / www. ign. com/ top/ comic-book-heroes/ 2). IGN Entertainment. . Retrieved May 27, 2011. [6] Daniels, Les. Batman: The Complete History. Chronicle Books, 1999. ISBN 0-8118-4232-0, pg. 18 [7] Steranko, Jim. The Steranko History of Comics 1. Reading, PA: Supergraphics, 1970. (ISBN 0-517-50188-0) [8] Daniels (1999), pg. 21, 23 [9] Havholm, Peter; Sandifer, Philip (Autumn 2003). "Corporate Authorship: A Response to Jerome Christensen". Critical Inquiry 30 (1): 192. doi:10.1086/380810. ISSN00931896. [10] Biography by Joe Desris, in Batman Archives, Volume 3 (DC Comics, 1994), p. 223 ISBN 1-56389-099-2 [11] Daniels, Les (1999). Batman: The Complete History. Chronicle Books. pp.21, 23. ISBN0-8118-4232-0. [12] Kane, Andrae, p. 44 [13] Kane, Andrae, p. 41 [14] Daniels, Les. DC Comics: A Celebration of the World's Favorite Comic Book Heroes. New York: Billboard Books/Watson-Guptill Publications, 2003, ISBN 0-8230-7919-8, pg. 23 [15] Boichel, Bill. "Batman: Commodity as Myth." The Many Lives of the Batman: Critical Approaches to a Superhero and His Media. Routledge: London, 1991. ISBN 0-85170-276-7, pg. 67 [16] Groth, Gary (October 2005). "Jerry Robinson" (http:/ / www. tcj. com/ index. php?option=com_content& task=view& id=350& Itemid=48). The Comics Journal 1 (271): 8081. ISSN0194-7869. . Retrieved November 18, 2007. [17] Comic Book Artist 3. Winter 1999. TwoMorrows Publishing [18] "Comic Book Interview Super Special: Batman" Fictioneer Press, 1989 [19] Daniels (1999), pg. 25 [20] Wright, Bradford W. Comic Book Nation. Baltimore: Johns Hopkins, 2001. ISBN 0-8018-7450-5, pg. 19 [21] Daniels (1999), pg. 29 [22] Bill Finger(w),Bob Kane(p),Sheldon Moldoff(i)."The Batman and How He Came to Be" Detective Comics33: 12 (November, 1939), DC Comics [23] Detective Comics #33 (http:/ / www. comics. org/ details. lasso?id=560) (November 1939), Grand Comics Database [24] John Jefferson Darowski, " The Mythic Symbols of Batman (http:/ / www. pdfdownload. org/ pdf2html/ pdf2html. php?url=http:/ / contentdm. lib. byu. edu/ ETD/ image/ etd2158. pdf& images=yes)" December 2007. Retrieved March 20, 2008. Archived (http:/ / www. webcitation. org/ 5WSVLWqAU) on 2008-03-20. [25] Wright, pg. 17 [26] Daniels (1999), pg. 38 [27] Daniels (2003), pg. 36 [28] Daniels (1999), pg. 42 [29] Boichel, pg. 9 [30] Wright, pg. 59 [31] Edmund Hamilton(w),Curt Swan(p)."The Mightiest Team In the World" Superman #76 (June 1952), DC Comics [32] Daniels (1999), pg. 88 [33] Daniels (1999), pg. 91 [34] Daniels (1999), pg. 84 [35] Boichel, pg. 13 [36] York, Christopher (2000). "All in the Family: Homophobia and Batman Comics in the 1950s". The International Journal of Comic Art 2 (2): 100110. [37] Daniels (1999), pg. 94 [38] Daniels (1999), pg. 95 [39] Bill Finger(w),Sheldon Moldoff(p)."Gotham Gang Line-Up!" Detective Comics328 (June, 1964), DC Comics [40] Benton, Mike. The Comic Book in America: An Illustrated History. Dallas: Taylor, 1989. ISBN 0-87833-659-1, pg. 69 [41] Daniels (1999), pg. 115 [42] Wright, pg. 233 [43] Pearson, Roberta E.; Uricchio, William. "Notes from the Batcave: An Interview with Dennis O'Neil." The Many Lives of the Batman: Critical Approaches to a Superhero and His Media. Routledge: London, 1991. ISBN 0-85170-276-7, pg. 18 [44] Daniels (1999), pg. 140

Batman
[45] Daniels (1999), pg. 141 [46] SciFi Wire (March 28, 2007): "Batman Artist Rogers is Dead" (http:/ / www. scifi. com/ scifiwire/ index. php?category=5& id=40748): "Even though their Batman run was only six issues, the three laid the foundation for later Batman comics. Their stories include the classic 'Laughing Fish' (in which the Joker's face appeared on fish); they were adapted for Batman: The Animated Series in the 1990s. Earlier drafts of the 1989 Batman movie with Michael Keaton as the Dark Knight were based heavily on their work." [47] Boichel, pg. 15 [48] Daniels (1999), pg. 147, 149 [49] Wright, pg. 267 [50] Daniels (1999), pg. 155, 157 [51] Daniels (1999), pg. 161 [52] Pearson, Roberta E.; Uricchio, William. "Introduction." The Many Lives of the Batman: Critical Approaches to a Superhero and His Media. Routledge: London, 1991. ISBN 0-85170-276-7, pg. 1 [53] "Diamond's 2005 Year-End Sales Charts & Market Share" (http:/ / web. archive. org/ web/ 20060525013002/ http:/ / www. newsarama. com/ marketreport/ 05Year_End. html) (http). newsarama.com. 2006. Archived from the original (http:/ / www. newsarama. com/ marketreport/ 05Year_End. html) on May 25, 2006. . Retrieved October 26, 2006. [54] "July 2005 Sales Charts: All-Star Batman & Robin Lives Up To Its Name" (http:/ / web. archive. org/ web/ 20060907063905/ http:/ / www. newsarama. com/ marketreport/ july05sales. html) (http). newsarama.com. 2005. Archived from the original (http:/ / www. newsarama. com/ marketreport/ july05sales. html) on September 7, 2006. . Retrieved October 26, 2006. [55] Review by Iann Robinson (http:/ / www. craveonline. com/ articles/ comics/ 04649326/ all_star_batman_and_robin. html), Crave Online [56] Review by William Gatevackes (http:/ / www. popmatters. com/ comics/ all-star-batman-robin-1-3. shtml), PopMatters, February 10, 2006 [57] Phillips, Dan (August 8, 2009). "Grant Morrison's New Batman and Robin" (http:/ / comics. ign. com/ articles/ 986/ 986031p1. html). IGN. . Retrieved August 8, 2009. [58] George, Richard (March 11, 2009). "Morrison discusses Batman and Robin" (http:/ / comics. ign. com/ articles/ 961/ 961488p1. html). IGN. . Retrieved August 6, 2009. [59] Wilkins, Alasdair (June 27, 2009). "Batman Is Reborn...With A Vengeance" (http:/ / io9. com/ 5303197/ batman-is-rebornwith-a-vengeance). io9. Gawker Media. . Retrieved August 6, 2009. [60] Pearson, pg. 185 [61] Pearson; Uricchio. "'I'm Not Fooled By That Cheap Disguise.'" Pg. 186 [62] Pearson, pg. 191 [63] Bill Finger(w),Bob Kane(p)."The Case of the Chemical Syndicate" Detective Comics #27 (May, 1939), DC Comics [64] Bill Finger(w),Bob Kane(p)."The Batman Wars Against the Dirigible of Doom" Detective Comics #33 (November, 1939), DC Comics [65] She first appears in Detective Comics #31 (Sept. 1939) [66] Paul Levitz(w),Joe Staton(p)."The Untold Origin of the Justice Society" DC Special29 (August/September 1977), DC Comics [67] Gardner Fox(w).All Star Comics3 (Winter 1940/41), DC Comics [68] Bill Finger(w),Bob Kane(p).Batman7 (November, 1941), DC Comics [69] Batman #16 (May 1943); his original last name, Beagle, is revealed in Detective Comics #96 (Feb. 1945) [70] One example is the Englehart/Rogers run of the late 1970s, which has editorial notes directing readers to issues such as Batman #1 [71] Bill Finger(w),Sheldon Moldoff(p)."The First Batman" Detective Comics235 (September, 1956), DC Comics [72] Edmond Hamilton(w),Dick Sprang(p)."When Batman Was Robin" Detective Comics226 (December, 1955), DC Comics [73] Miller, Frank; David Mazzucchelli and Richmond Lewis (1987). Batman: Year One. DC Comics. p.98. ISBN1-85286-077-4. [74] Max Allan Collins(w),Chris Warner(p)."Did Robin Die Tonight?" Batman408 (June, 1987), DC Comics [75] Alan Grant(w),Norm Breyfogle(p)."Master of Fear" Batman457 (December, 1990), DC Comics [76] Dixon, Chuck. et al. "Batman: Prodigal". Batman 512514, Shadow of the Bat 3234, Detective Comics 679681, Robin 1113. New York: DC Comics, 1995. [77] "Infinite Crisis" #7, p. 32 [78] 52 #30 [79] Batman #673 [80] Batman #681 [81] James Robinson(w),Don Kramer(p)."Face the Face Conclusion" Batman654 (August, 2006), DC Comics [82] Brad Meltzer(w),Ed Benes(p)."The Tornado's Path" Justice League of America (vol. 2)1 (August, 2006), DC Comics [83] Chuck Dixon(w),Julian Lopex(p).Batman and the Outsiders (vol. 2)1 (November, 2007), DC Comics [84] Rothstein, Simon. " Batman killed by his OWN dad (http:/ / www. thesun. co. uk/ sol/ homepage/ showbiz/ film/ article1982939. ece)." November 28, 2008. The Sun. Archived (http:/ / www. webcitation. org/ 5cfbusPBI) November 28, 2008. [85] Adams, Guy. " Holy smoke, Batman! Are you dead? (http:/ / www. independent. co. uk/ news/ world/ americas/ holy-smoke-batman-are-you-dead-1038882. html)" November 28, 2008, The Independent. Archived (http:/ / www. webcitation. org/ 5cfcFZA9F) November 28, 2008. [86] Newsarama: "Batman R.I.P. Finally?" (http:/ / www. newsarama. com/ comics/ 010915-Batman-RIP-Finally. html) January 15, 2009 [87] Grant Morrison(w),J.G. Jones(p)."How to Murder the Earth" Final Crisis #6 (January 2009), DC Comics [88] Grant Morrison(w).Final Crisis #7 (January 2009), DC Comics

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[89] "Grant Morrison: Final Crisis Exit Interview, Part 2" (http:/ / newsarama. com/ comics/ 020904-Grant-FC2. html). . [90] Tony Daniel(w).Battle for the Cowl #3 (May 2009), DC Comics [91] Chris Yost(w).Red Robin #1 (August 2009), DC Comics [92] Geoff Johns(w).Blackest Night #0 (June 2009), DC Comics [93] Peter J. Tomasi(w).Blackest Night: Batman #1 (October 2009), DC Comics [94] Geoff Johns(w).Blackest Night #5 (January 2010), DC Comics [95] Grant Morrison(w).Batman and Robin #7 (January 2010), DC Comics [96] Grant Morrison(w).Batman and Robin #8 (February 2010), DC Comics [97] Geddes, John (December 9, 2009). "Grant Morrison on return of original Batman" (http:/ / www. usatoday. com/ life/ comics/ 2009-12-09-morrison-bruce-wayne-st_N. htm?loc=interstitialskip). USA Today. . Retrieved December 10, 2009. [98] Segura, Alex (December 9, 2009). "DCU in 2010: The Return of Bruce Wayne hits in April" (http:/ / dcu. blog. dccomics. com/ 2009/ 12/ 09/ dcu-in-2010-the-return-of-bruce-wayne-hits-in-april/ ). The Source. DC Comics.com. . Retrieved December 10, 2009. [99] "Batman solicitations for May 2010 at DC's The Source" (http:/ / dcu. blog. dccomics. com/ 2010/ 02/ 11/ take-an-early-look-at-batman-titles-for-may/ #more-7397). Dcu.blog.dccomics.com. February 11, 2010. . Retrieved June 17, 2010. [100] Pearson; Uricchio. "Notes from the Batcave: An Interview with Dennis O'Neil" p. 23 [101] Daniels (1999), pg. 31 [102] DETECTIVE Comics #33, November 1939, Bill Finger, Bob Kane [103] BATMAN #1 Spring 1940,Bill Finger, Bob Kane [104] Pearson, pg. 194 [105] Sharrett, Christopher. "Batman and the Twilight of the Idols: An Interview with Frank Miller." The Many Lives of the Batman: Critical Approaches to a Superhero and His Media. Routledge: London, 1991. ISBN 0-85170-276-7, pg. 44 [106] Pearson, pg. 208 [107] Dennis O'Neil, Wizard Batman Special 1998 [108] Dennis O'Neil Batman: Knightfall. 1994, Bantam Books. ISBN 0-553-09673-7 [109] Pearson, pg. 202 [110] Daniels, 1999, pg. ?? [111] Scott Beatty, The Batman Handbook: The Ultimate Training Manual. 2005, Quirk Books, p51. ISBN 1-59474-023-2 [112] Aichele, G. (1997). Rewriting Superman. In G. Aichele & T. Pippin (Eds.), The Monstrous and the Unspeakable: The Bible as Fantastic Literature (pp. 75101). Sheffield: Sheffield Academic Press. [113] Superman vol. 2, #53 [114] Brooker, Will (2001). Batman Unmasked (http:/ / books. google. com/ ?id=GNRreYO91ogC& pg=PA137& dq=Unmasking+ Batman). NY/London: Continuum International Publishing Group. p.368. ISBN0-8264-1343-9. . [115] T. James Musler. 2006. Unleashing the Superhero in Us All. [116] Mike Conray, 500 Great Comicbook Action Heroes. 2002, Collins & Brown. ISBN 1-84411-004-4 [117] Grant Morrison(w),Howard Porter(p)."War of the Worlds" JLA3 (March, 1997), DC Comics [118] Daniels (1999) [119] Larry Ford, "Lighting and Color in the Depiction" in Place, Power, Situation, and Spectacle: A Geography of Film, Stuart C. Aitken, Leo Zonn, Leo E. Zonn eds. 1994 Rowman & Littlefield, p132. ISBN 0-8476-7826-1 [120] Daniels (1999), pg. 98 [121] Daniels (1999), pg. 15960 [122] Boichel, pg. 7 [123] Boichel, pg. 8 [124] Loeb, Jeph(w),McGuinness, Ed(p),Vines, Dexter(i)."Running Wild" Superman/Batman3 (December 2003), DC Comics [125] Daniels (1995), pg. 138 [126] Finkelstein, David; Macfarlane, Ross (March 15, 1999). "Batman's big birthday" (http:/ / www. guardian. co. uk/ g2/ story/ 0,,314504,00. html). The Guardian (London: Guardian News and Media Limited). . Retrieved June 19, 2007. [127] Noer, Michael; David M. Ewalt (December 18, 2008). "In Pictures: The Forbes Fictional 15" (http:/ / www. forbes. com/ 2008/ 12/ 18/ bruce-wayne-money-oped-fictional1508-cx_de_1218batman. html). Forbes. . Retrieved April 13, 2009. [128] Pisani, Joseph (2006). "The Smartest Superheroes" (http:/ / images. businessweek. com/ ss/ 06/ 05/ smart_heroes/ index_01. htm). www.businessweek.com. . Retrieved November 25, 2007. [129] "Entertainment Weekly's 20 All Time Coolest Heroes in Pop Culture" (http:/ / www. ew. com/ ew/ gallery/ 0,,20268279_3,00. html). Entertainment Weekly. . Retrieved May 21, 2010. [130] "AFI's 100 Years... 100 Heroes and Villains" (http:/ / connect. afi. com/ site/ DocServer/ handv100. pdf?docID=246). afi.com. . Retrieved May 21, 2010. [131] Daniels (1999), pg. 50 [132] Daniels (1999), pg. 64 [133] Olsen, Lance. "Linguistic Pratfalls in Barthelme", South Atlantic Review 5.4 (1986), pp. 6977. Stable URL: http:/ / www. jstor. org/ stable/ 3199757 [134] Boichel, pg. 14

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[135] "Batman (1989)" (http:/ / www. boxofficemojo. com/ movies/ ?id=batman. htm). BoxOfficeMojo.com. . Retrieved May 27, 2007. [136] Daniels (1999), pg. 178 [137] "Opening Weekends" (http:/ / boxofficemojo. com/ alltime/ weekends/ ). BoxOfficeMojo.com. . Retrieved July 20, 2008. [138] "Fastest to $400 million" (http:/ / boxofficemojo. com/ alltime/ fastest. htm?page=400& p=. htm). BoxOfficeMojo.com. . Retrieved August 6, 2008. [139] "All Time Domestic Box Office Results" (http:/ / www. boxofficemojo. com/ alltime/ domestic. htm). BoxOfficeMojo.com. . Retrieved November 23, 2008. [140] Wertham, Fredric. Seduction of the Innocent. Rinehart and Company, Inc., 1954. pg. 18990 [141] Medhurst, Andy. "Batman, Deviance, and Camp." The Many Lives of the Batman: Critical Approaches to a Superhero and His Media. Routledge: London, 1991. ISBN 0-85170-276-7, pg. 150 [142] "Is Batman Gay?" (http:/ / www. comicsbulletin. com/ panel/ 106070953757230. htm). . Retrieved December 28, 2005. [143] Sharrett, pg. 3738 [144] Sharrett, pg. 38 [145] "Bruce Wayne: Bachelor" (http:/ / web. archive. org/ web/ 20050428003852/ http:/ / www. ninthart. com/ display. php?article=963). Ninth Art: Andrew Wheeler Comment. Archived from the original (http:/ / www. ninthart. com/ display. php?article=963) on April 28, 2005. . Retrieved June 21, 2005. [146] Beatty, Bart (2000). "Don't Ask, Don't Tell: How Do You Illustrate an Academic Essay about Batman and Homosexuality?". The Comics Journal (228): 1718. [147] "Mark Chamberlain (American, 1967)" (http:/ / www. artnet. com/ Galleries/ Artists_detail. asp?G=& gid=423822183& which=& aid=424157172& ViewArtistBy=online& rta=http:/ / www. artnet. com/ ag/ fulltextsearch. asp?searchstring=Mark+ Chamberlain). Artnet. . [148] "Gallery told to drop 'gay' Batman" (http:/ / news. bbc. co. uk/ 2/ hi/ entertainment/ 4167032. stm). BBC News (BBC). August 19, 2005. .

232

References
Beatty, Scott; et al. (2005). The Batman Handbook: The Ultimate Training Manual.. Quirk Books. ISBN1-59474-023-2. Daniels, Les. Batman: The Complete History. Chronicle Books, 1999. ISBN 0-8118-4232-0 Daniels, Les. DC Comics: Sixty Years of the World's Favorite Comic Book Heroes. Bulfinch, 1995. ISBN 0-8212-2076-4 Jones, Gerard. Men of Tomorrow: Geeks, Gangsters, and the Birth of the Comic Book. Basic Books, 1995. ISBN 0-465-03657-0 Pearson, Roberta E.; Uricchio, William (editors). The Many Lives of the Batman: Critical Approaches to a Superhero and His Media. Routledge: London, 1991. ISBN 0-85170-276-7 Wright, Bradford W. Comic Book Nation: The Transformation of Youth Culture in America. Johns Hopkins, 2001. ISBN 0-8018-7450-5

External links
Official website (http://www.dccomics.com/sites/batman/) Earth-1 Batman Index (http://www.dcindexes.com/indexes/indexes.php?character=147) Earth-2 Batman Index (http://www.dcindexes.com/indexes/indexes.php?character=7) Post-Crisis Batman Index (http://www.dcindexes.com/indexes/indexes.php?character=579) Batman Bio at the Unofficial Guide to the DC Universe (http://www.dcuguide.com/who. php?name=BATMAN) , a DC Comics wiki The Batman Wiki (http://batman.wikia.com/wiki/Batman_Wiki) Another Earth-1 Batman Index (http://darkmark6.tripod.com/batmanind1.html) present) ComicsInventory.com | Batman (http://www.comicsinventory.com/Search/Title/ 01b8774d-ecd5-4843-b456-9bf100018b07/Batman(1940) Batman (http://www.dmoz.org/Arts/Comics/Titles/B/Batman/) at the Open Directory Project

Stan Lee

233

Stan Lee
Stan Lee

Stan Lee in 2007 Born Stanley Martin Lieber December 28, 1922 New York City, US American Writer, editor, publisher, producer, actor, reality show host

Nationality Area(s)

Notable works Spider-Man Fantastic Four X-Men Avengers Hulk Iron Man Thor Daredevil Doctor Strange Awards Jack Kirby Hall of Fame Signature

Stan Lee (born December 28, 1922)[1] is an American comic book writer, editor, actor, producer, publisher, television personality, and the former president and chairman of Marvel Comics. In collaboration with several artists, most notably Jack Kirby and Steve Ditko, he co-created Spider-Man, Iron Man, the Hulk, the Fantastic Four, and many other fictional characters, introducing complex, naturalistic characters[2] and a thoroughly shared universe into superhero comic books.[3] In addition, he headed the first major successful challenge to the industry's censorship organization, the Comics Code Authority, and forced it to reform its policies.[4] Lee subsequently led the expansion of Marvel Comics from a small division of a publishing house to a large multimedia corporation. He was inducted into the comic book industry's Will Eisner Comic Book Hall of Fame in 1994 and the Jack Kirby Hall of Fame in 1995.

Stan Lee

234

Biography
Early life and career
Stan Lee was born Stanley Martin Lieber in New York City on December 28, 1922, in the apartment of his Romanian-born Jewish immigrant parents, Celia (ne Solomon) and Jack Lieber,[1] [5] at the corner of West 98th Street and West End Avenue in Manhattan.[1] His father, trained as a dress cutter, worked only sporadically after the Great Depression, and the family moved further uptown to Fort Washington Avenue,[6] in Washington Heights, Manhattan. When Lee was nearly 9, his only sibling, brother Larry Lieber, was born.[7] He said in 2006 that as a child he was influenced by books and movies, particularly those with Errol Flynn playing heroic roles.[8] By the time Lee was in his teens, the family was living in a one-bedroom apartment at 1720 University Avenue in The Bronx. Lee described it as "a third-floor apartment facing out back", with him and his brother sharing a bedroom and his parents using a foldout couch.[7] Lee attended DeWitt Clinton High School in The Bronx,[9] where his family had moved next. A voracious reader who enjoyed writing as a teen, he has said that as a youth he worked such part-time jobs as writing obituaries for a news service and press releases for the National Tuberculosis Center; delivering sandwiches for the Jack May pharmacy to offices in Rockefeller Center; working as an office boy for a trouser manufacturer; ushering at the Rivoli Theater on Broadway; and selling subscriptions to the New York Herald Tribune newspaper. He graduated high school early, at age 16 in 1939, and joined the WPA Federal Theatre Project. With the help of his uncle, Robbie Solomon,[10] [11] Lee that same year became an assistant at the new Timely Comics division of pulp magazine and comic-book publisher Martin Goodman's company.[11] Timely, by the 1960s, would evolve into Marvel Comics. Lee, whose cousin Jean[12] was Goodman's wife, was formally hired by Timely editor Joe Simon.[11] His duties were prosaic at first. "In those days [the artists] dipped the pen in ink, [so] I had to make sure the inkwells were filled", Lee recalled in 2009. "I went down and got them their lunch, I did proofreading, I erased the pencils from the finished pages for them".[13] Marshaling his childhood ambition to be a writer, young Stanley Lieber made his comic-book debut with the text filler "Captain America Foils the Traitor's Revenge" in Captain America Comics #3 (May 1941), using the pseudonym "Stan Lee", which years later he would adopt as his legal name. Lee later explained in his autobiography and numerous other sources that he had intended to save his given name for more literary work. This initial story also introduced Captain America's trademark ricocheting shield-toss, which immediately became one of the character's signatures.[14]

A text filler in Captain America Comics #3 (May 1941) was Lee's first published work. Cover art by Alex Schomburg.

He graduated from writing filler to actual comics with a backup feature, "'Headline' Hunter, Foreign Correspondent", two issues later. Lee's first superhero co-creation was the Destroyer, in Mystic Comics #6 (Aug 1941). Other characters he created during this period fans and historians call the Golden Age of comics include Jack Frost, debuting in USA Comics #1 (Aug. 1941), and Father Time, debuting in Captain America Comics #6 (Aug. 1941).[15] When Simon and his creative partner Jack Kirby left late in 1941, following a dispute with Goodman, the 30-year-old publisher installed Lee, just under 19 years old, as interim editor.[16] The youngster showed a knack for the business that led him to remain as the comic-book division's editor-in-chief, as well as art director for much of that time, until 1972, when he would succeed Goodman as publisher.[17] [18]

Stan Lee Lee entered the United States Army in early 1942 and served stateside in the Signal Corps, writing manuals, training films, and slogans, and occasionally cartooning. His military classification, he says, was "playwright"; he adds that only nine men in the U.S. Army were given that title.[19] Vincent Fago, editor of Timely's "animation comics" section, which put out humor and funny animal comics, filled in until Lee returned from his World War II military service in 1945 and rented the top floor of a brownstone in the East 90s in Manhattan.[20] He married Joan Clayton Boocock on December 5, 1947,[1] and in 1949, the couple bought a two-story, three-bedroom home at 1084 West Broadway in Woodmere, New York, on Long Island, living there through 1952.[21] By this time, the couple had daughter Joan Celia "J.C." Lee, born in 1950; another child, Jan Lee, died three days after delivery in 1953.[1] Lee by this time had bought a home at 226 Richards Lane in the Long Island town of Hewlett Harbor, New York, where he and his family lived from 1952 to 1980,[22] including the 1960s period when Lee and his artist collaborators would revolutionize comic books. In the mid-1950s, by which time the company was now generally known as Atlas Comics, Lee wrote stories in a variety of genres including romance, Westerns, humor, science fiction, medieval adventure, horror and suspense. By the end of the decade, Lee had become dissatisfied with his career and considered quitting the field.[23] [24]

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Marvel revolution
In the late 1950s, DC Comics editor Julius Schwartz revived the superhero archetype and experienced a significant success with its updated version of the Flash, and later with super-team the Justice League of America. In response, publisher Martin Goodman assigned Lee to create a new superhero team. Lee's wife urged him to experiment with stories he preferred, since he was planning on changing careers and had nothing to lose.[23] [24] Lee acted on that advice, giving his superheroes a flawed humanity, a change from the ideal archetypes that were typically written for pre-teens. His heroes could have bad tempers, melancholy fits, vanity, greed, etc. They bickered amongst themselves, worried about paying their bills and impressing girlfriends, got bored or even were sometimes physically ill. Before him, most superheroes were idealistically perfect people with no serious, lasting problems.[25] The first superhero group Lee and artist Jack Kirby created was the The Fantastic Four No.1 (November 1961). Fantastic Four. The team's immediate popularity led Lee and Marvel's Cover art by Jack Kirby (penciller) and an illustrators to produce a cavalcade of new titles. With Kirby primarily, unconfirmed inker. Lee created the Hulk, Iron Man, Thor and the X-Men; with Bill Everett, Daredevil; and with Steve Ditko, Doctor Strange and Marvel's most successful character, Spider-Man. Comics historian Peter Sanderson wrote that in the 1960s: DC was the equivalent of the big Hollywood studios: After the brilliance of DC's reinvention of the superhero ... in the late 1950s and early 1960s, it had run into a creative drought by the decade's end. There was a new audience for comics now, and it wasn't just the little kids that traditionally had read the books. The Marvel of the 1960s was in its own way the counterpart of the French New Wave.... Marvel was pioneering new methods of comics storytelling and characterization, addressing more serious themes, and in the process keeping and attracting readers in their teens and beyond. Moreover, among this new generation of readers were people who wanted to write or draw comics themselves, within the new style that Marvel had pioneered, and push the creative envelope still further.[26]

Stan Lee Stan Lee's Marvel revolution extended beyond the characters and storylines to the way in which comic books engaged the readership and built a sense of community between fans and creators.[27] [28] Lee introduced the practice of including a credit panel on the splash page of each story, naming not just the writer and penciller but also the inker and letterer. Regular news about Marvel staff members and upcoming storylines was presented on the Bullpen Bulletins page, which (like the letter columns that appeared in each title) was written in a friendly, chatty style. Throughout the 1960s, Lee scripted, art-directed, and edited most of Marvel's series, moderated the letters pages, wrote a monthly column called "Stan's Soapbox," and wrote endless promotional copy, often signing off with his trademark phrase "Excelsior!" (which is also the New York state motto). To maintain his taxing workload, yet still meet deadlines, he used a system that was used previously by various comic-book studios, but due to Lee's success with it, became known as the "Marvel Method" or "Marvel style" of comic-book creation. Typically, Lee would brainstorm a story with the artist and then prepare a brief synopsis rather than a full script. Based on the synopsis, the artist would fill the allotted number of pages by determining and drawing the panel-to-panel storytelling. After the artist turned in penciled pages, Lee would write the word balloons and captions, and then oversee the lettering and coloring. In effect, the artists were co-plotters, whose collaborative first drafts Lee built upon. Because of this system, the exact division of creative credits on Lee's comics has been disputed, especially in cases of comics drawn by Kirby and Ditko. Similarly, Lee shares co-creator credit with Kirby on the two Fantastic Four films, while also sharing the same credit with Ditko with the Spider-Man feature film series.

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Amazing Fantasy#15 (1962), the first appearance of Spider-Man. Cover art by Jack Kirby (penciller) & Steve Ditko (inker).

In 1971, Lee indirectly reformed the Comics Code. The US Department of Health, Education and Welfare asked Lee to write a story about the dangers of drugs and Lee wrote a story in which Spider-Man's best friend becomes addicted to pills. The three-part story was slated to be published in Amazing Spider-Man #9698, but the Comics Code Authority refused it because it depicted drug use;[29] the story context was considered irrelevant.[30] [31] [32] With his publisher's approval, Lee published the comics without the CCA seal.[33] [34] The comics sold well and Marvel won praise for its socially conscious efforts.[35] The CCA subsequently loosened the Code to permit negative depictions of drugs, among other new freedoms.[36] Lee also supported using comic books to provide some measure of social commentary about the real world, often dealing with racism and bigotry. "Stan's Soapbox", besides promoting an upcoming comic book project, also addressed issues of discrimination, intolerance, or prejudice.[37] [38] In addition, Lee took to using sophisticated vocabulary for the stories' dialogue to encourage readers to learn new words. Lee has justified this by saying: "If a kid has to go to a dictionary, that's not the worst thing that could happen."[36]

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Later career
In later years, Lee became a figurehead and public face for Marvel Comics. He made appearances at comic book conventions around America, lecturing at colleges and participating in panel discussions, and by now owning a vacation home on Cutler Lane in Remsenburg, New York[39] and, from 1975 to 1980, a two-bedroom condominium on the 14th floor of 220 East 63rd Street in Manhattan.[40] He moved to California in 1981 to develop Marvel's TV and movie properties. He has been an executive producer for, and has made cameo appearances in Marvel film adaptations and other movies. He and his wife bought a home in West Hollywood, California previously owned by comedian Jack Benny's radio announcer, Don Wilson.[41] Lee was briefly president of the entire company, but soon stepped down to become publisher instead, finding that being president was too much about numbers and finance and not enough about the creative process he enjoyed.[1] Peter Paul and Lee began to start a new Internet-based superhero creation, production and marketing studio, Stan Lee Media, in 1998. It Signed photo of Lee at the 1975 San Diego grew to 165 people and went public, but near the end of 2000, Comic Con. investigators discovered illegal stock manipulation by Paul and corporate officer Stephan Gordon.[42] Stan Lee Media filed for Chapter 11 bankruptcy protection in February 2001.[43] Paul was extradited to the U.S. from Brazil, and pleaded guilty to violating SEC Rule 10b-5 in connection with trading of his stock in Stan Lee Media.[44] [45] Lee was never implicated in the scheme. Some of the Stan Lee Media projects included the animated Web series The 7th Portal where he voiced the character Izayus; The Drifter; and The Accuser. The 7th Portal characters were licensed to an interactive 3-D film attraction in four Paramount theme parks. In the 2000s, Lee did his first work for DC Comics, launching the Just Imagine... series, in which Lee reimagined the DC superheroes Superman, Batman, Wonder Woman, Green Lantern and the Flash. Lee created the risqu animated superhero series Stripperella for Spike TV. In 2004 he announced a superhero program that would feature Ringo Starr, the former Beatle, as the lead character.[46] Additionally, in August of that year, Lee announced the launch of Stan Lee's Sunday Comics,[47] hosted by Komikwerks.com, where monthly subscribers could read a new, updated comic and "Stan's Soapbox" every Sunday. The column has not been updated since February 15, 2005. In 2005, Lee, Gill Champion and Arthur Lieberman formed POW! (Purveyors of Wonder) Entertainment to develop film, television and video game properties. POW! president and CEO Champion said in 2005 that Lee was creating a new superhero, Foreverman, for a Paramount Pictures movie, in tandem with producer Robert Evans and Idiom Films, with Peter Briggs hired to collaborate with Lee on the screenplay.[48] In 2006, Marvel commemorated Lee's 65 years with the company by publishing a series of one-shot comics starring Lee himself meeting and interacting with many of his co-creations, including Spider-Man, Doctor Strange, the Thing, Silver Surfer and Doctor Doom. These comics also featured short pieces by such comics creators as Joss Whedon and Fred Hembeck, as well as reprints of classic Lee-written adventures. In 2007, POW! started a series of direct-to-DVD animated films under the Stan Lee Presents banner. Each film focuses on a new superhero, created by Stan Lee for the series. The first two releases were Mosaic and The Condor. In June of that year, Walt Disney Studios entered into an exclusive multi-year first-look deal with POW!

Stan Lee Entertainment.[49] On March 15, 2007, Stan Lee Media's new president, Jim Nesfield, filed a lawsuit against Marvel Entertainment for $5billion, claiming that the company is co-owner of the characters that Lee created for Marvel.[50] On June 9, 2007, Stan Lee Media sued Lee; his newer company, POW! Entertainment; POW! subsidiary QED Entertainment; and other former Stan Lee Media staff at POW![51] In 2008, Lee wrote humorous captions for the political fumetti book Stan Lee Presents Election Daze: What Are They Really Saying?.[52] In April of that year, at the New York Comic Con, Viz Media announced that Lee and Hiroyuki Takei were collaborating on the manga Karakuridji Ultimo, from parent company Shueisha.[53] That same month, Brighton Partners and Rainmaker Animation announced a partnership POW! to produce a CGI film series, Legion of 5.[54] That Lee at the San Diego Comic-Con International in July 2010. same month, Virgin Comics announced Lee would create a line of [55] superhero comics for that company. He is also working on a TV [56] adaptation of the novel Hero. He wrote the foreword to the 2010 non-fiction e-book memoir Skyscraperman by skyscraper fire-safety advocate Dan Goodwin, who had climbed skyscrapers dressed as Spider-Man.[57] In 2009, he and the Japanese company Bones produced its first manga feature, Heroman, serialized in Square Enix's Monthly Shnen Gangan; the feature was adapted to anime in April 2010.[58] [59] In October 2010, Guardian Media Entertainment, a partnership of Lee, SLG Entertainment and NHL Enterprises, created hockey-themed superheroes called "Guardians" for each of the 30 teams in the National Hockey League. The venture includes a graphic novel.[60] [61] Lee made a guest appearance as himself in the season-seven episode "Bottom's Up" of the TV series Entourage. He is set to guest-star in season five of Eureka.[62] In 2011, Lee was writing a superhero comic-book adaptation of Romeo and Juliet, titled Romeo and Juliet: The War in Mid-2011, as well as a live-action musical, The Yin and Yang Battle of Tao.[63]

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Interests
Lee's favorite authors include Stephen King, H. G. Wells, Mark Twain, Arthur Conan Doyle, William Shakespeare, Charles Dickens, and Harlan Ellison.[64] He also likes movies starring Bruce Lee (no relation).[65]

Legacy
Awards and honors
Lee has received several awards for his work, including being inducted into the comic book industry's Will Eisner Comic Book Hall of Fame in 1994 and the Jack Kirby Hall of Fame in 1995. On November 17, 2008, Stan Lee was awarded the National Medal of Arts.[66] [67] The County of Los Angeles declared October 2, 2009 Stan Lee Day.[68] The City of Long Beach declared October 2, 2009 Stan Lee Day.[68] Lee won the Comic-Con Icon Award 2009 at Scream Awards.[69] Lee received the 2,428th star on the Hollywood Walk of Fame on January 4, 2011.

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Stan Lee Foundation


The Stan Lee Foundation was founded in 2010 to focus on literacy, education and the arts. Its stated goals include supporting programs and ideas that improve access to literacy resources, as well as promoting diversity, national literacy, culture and the arts.[70]

Action figure
At the 2007 Comic-Con International, Marvel Legends introduced a Stan Lee action figure. The body beneath the figure's removable cloth wardrobe is a re-used mold of a previously released Spider-Man action figure, with only minor changes.[71]

Fictional portrayals
Stan Lee and his collaborator Jack Kirby appear as themselves in The Fantastic Four No.10 (January 1963), the first of several appearances within the fictional Marvel Universe.[72] The two are depicted as similar to their real-world counterparts, creating comic books based on the "real" adventures of the Fantastic Four. Kirby later portrayed himself, Lee, production executive Sol Brodsky, and Lee's secretary Flo Steinberg as superheroes in What If #11, "What If the Marvel Bullpen Had Become the Fantastic Four?", in which Lee played the part of Mister Fantastic. Lee has also made numerous cameo appearances in many Marvel titles, appearing in audiences and crowds at many characters' ceremonies and parties, and hosting an old-soldiers reunion in Sgt. Fury and his Howling Commandos No.100 (July 1972). Lee appeared, unnamed, as the priest at Luke Cage and Jessica Jones' wedding in New Avengers Annual #1. He pays his respects to Karen Page at her funeral in the Daredevil "Guardian Devil" story arc, and appears in The Amazing Spider-Man (June 1977). In Marvel's July 1997 "Flashback" event, a top-hatted caricature of Lee as a ringmaster introduced stories which Lee and Kirby (lower left) as themselves on the covers of The detailed events in Marvel characters' lives before they Fantastic Four No.10 (Jan. 1963). Art by Kirby & Dick Ayers. became superheroes, in special "-1" editions of many Marvel titles. The "ringmaster" depiction of Lee was originally from Generation X No.17 (July 1996), where the character narrated a story set primarily in an abandoned circus. Though the story itself was written by Scott Lobdell, the narration by "Ringmaster Stan" was written by Lee himself, and the character was drawn in that issue by Chris Bachalo. Bachalo's depiction of "Ringmaster Stan" was later used in the heading of a short-lived revival of the "Stan's Soapbox" column, which evolved into a question & answer format. In his given name of Stanley Lieber, Stan Lee appears briefly in Paul Malmont's 2006 novel The Chinatown Death Cloud Peril. Lee and other comics creators are mentioned in Michael Chabon's 2000 novel about the comics industry The Amazing Adventures of Kavalier and Clay.

Stan Lee On one of the last pages of Truth: Red, White, and Black, Lee appears in a real photograph among other celebrities on a wall of the Bradley home. In Stan Lee Meets Superheroes, Stan Lee comes in to contact with some of his favorite creations. The series was written by Lee himself. The appearance of Dr. Dunstan in the manga series Karakuri Dji Ultimo is based on Lee. Stan Lee and Jack Kirby appear as professors in Marvel Adventures Spider-Man #19.

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Film and television appearances


Marvel film properties
Lee has had cameo appearances in many films based on Marvel properties: In the TV-movie The Trial of the Incredible Hulk (1989), Lee's first appearance in a Marvel movie or TV project is as a jury foreman in the trial of Dr. David Banner. In X-Men (2000), Lee appears as a hotdog stand vendor on the beach when Senator Kelly emerges naked onshore after escaping from Magneto. In Spider-Man (2002), he appeared during Spider-Man's first battle with the Green Goblin, pulling a little girl away from falling Lee as Willie Lumpkin in Fantastic Four, 2005. debris. In the DVD's deleted scenes, Lee has an expanded cameo in which he plays a street vendor who tries to sell Peter Parker a pair of sunglasses "just like the X-Men wear." In Daredevil (2003), as a child, Matt Murdock stops Lee from crossing the street and getting hit by a bus. In Hulk (2003), he appears walking alongside former TV-series Hulk Lou Ferrigno in an early scene, both as security guards at Bruce Banner's lab. It was his first speaking role in a film based on one of his characters. In Spider-Man 2 (2004), Lee again pulls an innocent person away from danger during Spider-Man's first battle with Doctor Octopus. In a hidden scene shown in the bloopers section, Stan has another cameo, where he says "Look, Spider-man stole that child sneakers" but he messes up the last word. In Fantastic Four (2005), Lee appears for the first time as a character from the comics, in a role credited as Willie Lumpkin, the mail carrier who greets the Fantastic Four as they enter the Baxter Building. In X-Men: The Last Stand (2006), Lee and Chris Claremont appear as two of Jean Grey's neighbors in the opening scenes set 20 years ago. Lee, credited as "Waterhose man," is watering the lawn when Jean telekinetically redirects the water from the hose into the air. In Spider-Man 3 (2007), Lee appears in a credited role as "Man in Times Square". He stands next to Peter Parker, both of them reading a news bulletin about Spider-Man, and commenting to Peter that, "You know, I guess one person can make a difference". He then says his catch phrase, "'Nuff said." In Fantastic Four: Rise of the Silver Surfer (2007), Lee appears as himself at Reed Richards' and Susan Storm's first wedding, being turned away by a security guard for not being on the guest list. In Fantastic Four Annual No.3 (1965), in which the couple married, Lee and Jack Kirby are similarly turned away. In Iron Man (2008), Lee (credited as "Himself") appears at a gala cavorting with three blond women, where Tony Stark mistakes him for Hugh Hefner.[73] In the theatrical release of the film, Stark simply greets Lee as "Hef" and

Stan Lee moves on without seeing Lee's face; another version of the scene was filmed where Stark realizes his mistake, but Lee graciously responds, "That's okay, I get this all the time."[74] In The Incredible Hulk (2008), Lee appears as a hapless citizen who accidentally ingests a soft drink mixed with Bruce Banner's blood, leading to the discovery of Dr. Banner's location in a bottling plant in Brazil. In Iron Man 2 (2010), during the Stark Expo, Lee, wearing suspenders and a red shirt and black and purple tie, is greeted by Tony Stark as "Larry King". In Thor (2011), Lee appears among many people at the site where Thor's hammer Mjolnir lands on earth. He tears the back off his pickup truck in an attempt to pull Mjolnir out of the ground with a chain and causes everyone to laugh by asking, "Did it work?". In Captain America: The First Avenger (2011), Lee is again used as comic relief, this time portraying a general in World War II. When Captain America/Steve Rogers is queued to a stage to receive an award, a man goes on stage to tell the presenter that Rogers will not be attending. The general mistakes the man for Rogers, commenting, "I thought he'd be taller." Lee said in April 2011, "Marvel Studios has upgraded my cameo for the Captain America movie! Theyve given me one more word of dialogue than originally planned![75] In The Avengers (2012), Lee will have a cameo unless the filmmakers "shoot it on the moon".[76] In The Amazing Spider-Man (2012), Lee is scheduled to have a cameo in an action scene where he plays a librarian oblivious to the fight between Spider-Man and the Lizard happening behind him.[77]

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Warner/DC properties
In the original broadcast airing of the Superman: The Animated Series episode "Apokolips... Now! Part 2", an animated Stan Lee was visible mourning the death of Daniel "Terrible" Turpin, a character based on Marvel Comics Universe co-creator and Marvel main artist Jack Kirby. The scene also included such Marvel characters as the Thing, Reed Richards, Sue Storm, Nick Fury, Johnny Storm, Steve Rogers, Tony Stark, and Peter Parker, Jack Kirby DC characters as Big Barda, Scott Free, Orion, Kamandi, comics artists Bruce Timm, Alex Ross and his father Norman Ross, and TV producers and writers Glen Murakami, Dan Riba, Paul Dini, Alan Burnett and Mark Evanier. This shot appeared in the completed episode and was aired on February 7, 1998 in WB Kids, but was later modified to remove the likeness of Marvel characters in the Superman: The Animated Volume 3 DVD box set.[78]

Advertising
Dr.Pepper television advertisements with Thor tie-in.
Stan Lee mourning on Dan Turpin's funeral. Above TV capture from original episode and below storyboard art by Bruce Timm and text comments by Paul Dini.

Other film, TV, and video


He appeared as Dr. Lee in the Eureka episode titled "Glimpse".

He is the host of the 2010 History Channel documentary series Stan Lee's Superhumans. Lee makes a cameo appearance as the "Three Stooges Wedding Guest" in the 2004 Disney film The Princess Diaries 2: Royal Engagement. Lee hosted and judged contestants in the SyFy series Who Wants to Be a Superhero? Lee appears with director Kevin Smith and 2000s Marvel editor-in-chief Joe Quesada in the DVD program Marvel Then & Now: An Evening with Stan Lee and Joe Quesada, hosted by Kevin Smith.

Stan Lee One of Lee's earliest contributions to animation based on Marvel properties was narrating the 1980s Incredible Hulk animated series, always beginning his narration with a self-introduction and ending with "This is Stan Lee saying, Excelsior!" Lee had previously narrated the "Seven Little Superheroes" episode of Spider-Man and His Amazing Friends, which the Hulk series was paired with for broadcast. Lee did the narration for the original 1989 X-Men animated series pilot titled X-Men: Pryde of the X-Men. Lee was interviewed on the History Channel Show Superhuman by Daniel Browning Smith, who held several Guinness Records for extreme flexibility[79] due to having Ehlers-Danlos Syndrome, a genetic condition affecting collagen formation. Smith had created his own comic book to display his own struggles as an outcast for his flexibility, and legitimately surprised Lee with a quick demonstration of his talent. In the animated series Jim Henson's Muppet Babies, Lee plays himself in a live-action scene of the "Comic Capers" episode. Lee was an executive producer of the 1990s animated TV series Spider-Man. He appeared as himself in animated form in the series finale episode titled "Farewell, Spider-Man". Spider-Man is transported by Madame Web into the "real" world where he is a fictional character. He meets Lee and the two swing around until Spider-Man drops him off on top of a building; Madame Web appears and brings Spider-Man back to his homeworld. Realizing he is stuck on a roof, Lee muses, hoping the Fantastic Four will show up and lend a hand. He also voices the character "Frank Elson" in an episode of Spider-Man: The New Animated Series series broadcast by MTV in 2003, and titled "Mind Games" (Parts 1 & 2, originally aired on August 15 & 22, 2003). He voiced a loading dock worker named Stan on The Spectacular Spider-Man in the episode "Blueprints". Lee has an extensive cameo in the Kevin Smith film Mallrats. He once again plays himself, this time visiting "the" mall to sign books at a comic store. Later, he takes on the role of a sage-like character, giving Jason Lee's character, Brodie Bruce (a longtime fan of Lee's), advice on his love life. He also recorded interviews with Smith for the non-fiction video Stan Lee's Mutants, Monsters, and Marvels (2002). Lee appeared as himself in an extended self-parodying sketch on the episode "Tapping a Hero" of Robot Chicken. Lee appears as himself in writer-director Larry Cohen's The Ambulance (1990), in which Eric Roberts plays an aspiring comics artist. In The Simpsons episode "I Am Furious Yellow" (April 28, 2002), Lee voices the animated Stan Lee, who is a prolonged visitor to Comic Book Guy's store. He asks if Comic Book Guy is the stalker of Lynda Carter the star of the 1970s show Wonder Woman and shows signs of dementia, such as breaking a customer's toy Batmobile by trying to cram a Thing action figure into it (claiming that he "made it better"), hiding DC comics behind Marvel comics, and believing that he is the Hulk (and fails trying to become the Hulk, while Comic Book Guy comments he couldn't even change into Bill Bixby). Lee also appeared on the commentary track along with other Simpsons writers and directors on the episode for The Simpsons Season 13 boxset released in 2010. In a later Simpsons episode, "Worst Episode Ever", Lee's picture is seen next to several others on the wall behind the register, under the heading "Banned for life". Lee also appears as himself in the Mark Hamill-directed Comic Book: The Movie (2004), a direct-to-video mockumentary primarily filmed at the 2002 San Diego Comic-Con. Lee also made an appearance on December 21, 2006, on the NBC game show Identity. Lee appeared as himself in episode 3.16 of The Big Bang Theory.[80] Lee appears in the manga and anime series of Heroman as a regular at a diner. He is voiced by Atsushi Ii in the Japanese anime. Lee voices the Mayor of Superhero City in the Super Hero Squad Show. He plays a bus driver in the 16th episode of the first season of Heroes.[81] Lee appeared as himself in the 5th episode of the seventh season of the HBO series Entourage. Lee appeared as himself on "The Excelsior Acquisition" episode of The Big Bang Theory. Lee appears in the October 7, 2010, episode of Nikita, "The Guardian", as Hank Excelsior, a witness to a bank robbery.

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Stan Lee Lee helped host the documentary Stan Lee's Superhumans. Lee was interviewed in the 2011 documentary Superheroes. Lee is scheduled to appear on X Japan's music video "Born to be Free".[82]

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Video games
Lee narrates the 2000 video game Spider-Man, the 2001 sequel Spider-Man 2: Enter Electro and 2010's Spider-Man: Shattered Dimensions. Lee plays a senator named after himself in Marvel Ultimate Alliance 2.

Bibliography
Lee's comics work includes:[83]

DC
Just Imagine Stan Lee creating: Aquaman (with Scott McDaniel) (2002) Batman (with Joe Kubert) (2001) Catwoman (with Chris Bachalo) (2002) Crisis (with John Cassaday) (2002) Flash (with Kevin Maguire) (2002) Green Lantern (with Dave Gibbons) (2001) JLA (with Jerry Ordway) (2002) Robin (with John Byrne) (2001) Sandman (with Walt Simonson) (2002) Secret Files and Origins (2002) Shazam! (with Gary Frank) (2001) Superman (with John Buscema) (2001) Wonder Woman (with Jim Lee) (2001)

Marvel
Amazing Spider-Man #1100, 105110, 116118, 200 (196280) Avengers #135 (196366) Captain America #100141 (196871) Daredevil, vol. 1, #19, 1150, 53 (196469) Daredevil, vol. 2, No.20 (backup story) (2001) Fantastic Four #1114, 120125 (196172); No.296 (1986) The Incredible Hulk #1-6, 102-120 (19621969) Journey into Mystery (Thor) #97125 (196366) Ravage 2099 #17 (199293) Savage She-Hulk No.1 (1980) Sgt. Fury #128 (196366) Silver Surfer #118 (196870) Solarman #12 (198990)

Strange Tales (diverse stories): #9, 11, 74, 89, 90100 (195162); (Human Torch): #101109, 112133; (Human Torch and Doctor Strange): #110111, 115134 (196265); (Nick Fury, Agent of S.H.I.E.L.D. and Dr. Strange features): #135147, 150157 (196567)

Stan Lee Tales to Astonish (diverse stories): #1, 6, 1213, 1517, 2433 (195662); Ant-Man/Giant Man: #35-69 (196265) (Incredible Hulk: #59-101 (19641968); Sub-Mariner: #70-101 (196568) Tales of Suspense (diverse stories): #7, 9, 16, 22, 27, 2930 (195962); (Iron Man and Captain America): #3999 (196368) Thor #126192, 200 (196672), 385 (1987) What If (Fantastic Four) No.200 (2011) X-Men vol. 1 #1-19 (196366)

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References
[1] Lee, Stan, and Mair, George. Excelsior!: The Amazing Life of Stan Lee (Fireside, 2002), p.5. ISBN 0-684-87305-2 [2] Wright, Bradford W. Comic Book Nation: The Transformation of Youth Culture in America (The Johns Hopkins University Press, 2003), ISBN 978-0-8018-7450-5, p. 207 [3] Wright, p. 218 [4] Wright, p. 239 [5] "Stan Lee" (http:/ / www. filmreference. com/ film/ 93/ Stan-Lee. html). FilmReference.com. . Retrieved April 27, 2010. [6] Edward, Lewine (September 4, 2007)). "Sketching Out His Past: Image 1" (http:/ / web. archive. org/ web/ 20090424070613/ http:/ / www. nytimes. com/ slideshow/ 2007/ 09/ 04/ realestate/ keymagazine/ 20070909STANLEE_2. html). The New York Times Key Magazine. Archived from the original (http:/ / www. nytimes. com/ slideshow/ 2007/ 09/ 04/ realestate/ keymagazine/ 20070909STANLEE_2. html) on July 31, 2011. . Retrieved April 27, 2010. [7] Lewine. "Image 2" (http:/ / web. archive. org/ web/ 20090424070610/ http:/ / www. nytimes. com/ slideshow/ 2007/ 09/ 04/ realestate/ keymagazine/ 20070909STANLEE_3. html). Archived from the original (http:/ / www. nytimes. com/ slideshow/ 2007/ 09/ 04/ realestate/ keymagazine/ 20070909STANLEE_3. html) on July 31, 2011. . Retrieved April 27, 2010. [8] Kugel, Allison (March 13, 2006). "Stan Lee: From Marvel Comics Genius to Purveyor of Wonder with POW! Entertainment" (http:/ / www. pr. com/ article/ 1037). PR.com. . Retrieved May 28, 2011.. WebCitation archive (http:/ / www. webcitation. org/ 5zMEIYaZE). [9] "Biography" (http:/ / www. stanleeweb. com/ stan_bio. htm). StanLeeWeb.com. . Retrieved April 27, 2010. [10] "'I Let People Do Their Jobs!': A Conversation with Vince Fago Artist, Writer, and Third Editor-in-Chief of Timely/Marvel Comics" (http:/ / www. twomorrows. com/ alterego/ articles/ 11fago. html), Alter Ego vol. 3, #11, November 2001. WebCitation archive (http:/ / webcitation. org/ 5lXJBJPZ1). [11] Lee's account of how he began working for Marvel's predecessor, Timely, has varied. He has said in lectures and elsewhere that he simply answered a newspaper ad seeking a publishing assistant, not knowing it involved comics, let alone his cousin's husband:

"I applied for a job in a publishing company ... I didn't even know they published comics. I was fresh out of high school, and I wanted to get into the publishing business, if I could. There was an ad in the paper that said, "Assistant Wanted in a Publishing House." When I found out that they wanted me to assist in comics, I figured, 'Well, I'll stay here for a little while and get some experience, and then I'll get out into the real world'. ... I just wanted to know, 'What do you do in a publishing company?' How do you write? ... How do you publish? I was an assistant. There were two people there named Joe Simon and Jack Kirby Joe was sort-of the editor/artist/writer, and Jack was the artist/writer. Joe was the senior member. They were turning out most of the artwork. Then there was the publisher, Martin Goodman.... And that was about the only staff that I was involved with. After a while, Joe Simon and Jack Kirby left. I was about 17 years old [sic], and Martin Goodman said to me, 'Do you think you can hold down the job of editor until I can find a real person?' When you're 17, what do you know? I said, 'Sure! I can do it!' I think he forgot about me, because I stayed there ever since". Lee, in Plume, Kenneth (June 26, 2000). "Stan Lee interview part 1 of 5" (http:/ / www. webcitation. org/ 60bTUWCWn). IGN.com. Archived from the original (http:/ / filmforce. ign. com/ articles/ 035/ 035881p1.html) on July 31, 2011. .
However, in his above-cited, 2002 autobiography, Excelsior! The Amazing Life of Stan Lee, he says:

"My uncle, Robbie Solomon, told me they might be able to use someone at a publishing company where he worked. The idea of being involved in publishing definitely appealed to me. ... So I contacted the man Robbie said did the hiring, Joe Simon, and applied for a job. He took me on and I began working as a gofer for eight dollars a week...."
Joe Simon, in his 1990 autobiography The Comic Book Makers (cited under References, below), gives the account slightly differently:

Stan Lee "One day [Goodman's relative known as] Uncle Robbie came to work with a lanky 17-year-old in tow. 'This is Stanley Lieber, Martin's wife's cousin', Uncle Robbie said. 'Martin wants you to keep him busy'". In an appendix, however, Simon appears to reconcile the two accounts. He relates a 1989 conversation with Lee: Lee: I've been saying this [classified-ad] story for years, but apparently it isn't so. And I can't remember because I['ve] said it so long now that I believe it". ... Simon: "Your Uncle Robbie brought you into the office one day and he said, 'This is Martin Goodman's wife's nephew'. [sic] ... You were seventeen years old". Lee: "Sixteen and a half!" Simon: "Well, Stan, you told me seventeen. You were probably trying to be older.... I did hire you".
[12] Lee and Mair, Excelsior, p.22 [13] Boucher, Geoff, "Hero Complex" (column): "Jack Kirby, the abandoned hero of Marvel's grand Hollywood adventure, and his family's quest" (http:/ / herocomplex. latimes. com/ 2009/ 09/ 25/ jack-kirby-the-forgotten-hero-in-marvels-grand-hollywood-adventure/ ), Los Angeles Times, September 25, 2009 (online; scheduled for print edition September 27, 2009) [14] Thomas, Roy, Stan Lee's Amazing Marvel Universe (Sterling Publishing, New York, 2006), p. 11. ISBN 978-1-4027-4225-5

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The line reads: "With the speed of thought, he sent his shield spinning through the air to the other end of the tent, where it smacked the knife out of Haines' hand!" It became a convention starting the following issue, in a Simon & Kirby's comics story depict the following: "Captain America's speed of thought and action save Bucky's lifeas he hurls his shield across the room".
[15] Thomas, Stan Lee's Amazing Marvel Universe, pp. 1213 [16] Thomas, Roy; Stan Lee (2006). Stan Lee's Amazing Marvel Universe. Sterling Publishing. p.14. ISBN1402742258. [17] Kupperberg, Paul (2006). The Creation of Spider-Man. The Rosen Publishing Group. p.12. ISBN1404207635. [18] Brooks, Brad; Tim Pilcher (2005). The Essential Guide to World Comics. London: Collins & Brown. p.13. ISBN1-84340-300-5. [19] McLaughlin, Jeff; Stan Lee (2007). Stan Lee: Conversations. University Press of Mississippi. p.59. ISBN1578069858. [20] Lewine. "Image 3" (http:/ / web. archive. org/ web/ 20090424070631/ http:/ / www. nytimes. com/ slideshow/ 2007/ 09/ 04/ realestate/ keymagazine/ 20070909STANLEE_4. html). Archived from the original (http:/ / www. nytimes. com/ slideshow/ 2007/ 09/ 04/ realestate/ keymagazine/ 20070909STANLEE_2. htm) on July 31, 2011. . Retrieved April 27, 2010. [21] Lewine. "Images 4-5" (http:/ / web. archive. org/ web/ 20090424070611/ http:/ / www. nytimes. com/ slideshow/ 2007/ 09/ 04/ realestate/ keymagazine/ 20070909STANLEE_5. html). Archived from the original (http:/ / www. nytimes. com/ slideshow/ 2007/ 09/ 04/ realestate/ keymagazine/ 20070909STANLEE_5. html) on July 31, 2011. . Retrieved April 27, 2010. [22] Lewine. "Images 6-7" (http:/ / web. archive. org/ web/ 20090424070612/ http:/ / www. nytimes. com/ slideshow/ 2007/ 09/ 04/ realestate/ keymagazine/ 20070909STANLEE_7. html). Archived from the original (http:/ / www. nytimes. com/ slideshow/ 2007/ 09/ 04/ realestate/ keymagazine/ 20070909STANLEE_7. html) on July 31, 2011. . Retrieved April 27, 2010. [23] Kaplan, Arie (2006). Masters of the Comic Book Universe Revealed!. Chicago Review Press. p.50. ISBN1556526334. [24] McLaughlin, Jeff; Stan Lee (2007). Stan Lee: Conversations. University Press of Mississippi. p.138. ISBN1578069858. [25] Noted comic-book writer Alan Moore described the significance of this new approach in Comic Book Resources (January 27, 2005): "Chain Reaction" (http:/ / www. comicbookresources. com/ ?page=article& id=4533): "The DC comics were ... one dimensional characters whose only characteristic was they dressed up in costumes and did good. Whereas Stan Lee had this huge breakthrough of two-dimensional characters. So, they dress up in costumes and do good, but they've got a bad heart. Or a bad leg. I actually did think for a long while that having a bad leg was an actual character trait". [26] Sanderson, Peter. IGN.com (October 10, 2003): Comics in Context #14: "Continuity/Discontinuity" (http:/ / comics. ign. com/ articles/ 595/ 595576p1. html) [27] "Marvel Bullpen Bulletin December 1965" (http:/ / costa. lunarpages. com/ bp/ bp6512. html). Costa.lunarpages.com. . Retrieved April 27, 2010. [28] "Marvel Bullpen Bulletins 19651970" (http:/ / costa. lunarpages. com/ bp/ bullpen. html). Costa.lunarpages.com. . Retrieved April 27, 2010. [29] "Amazing Spider-Man Masterworks Vol. 10" (http:/ / www. marvelmasterworks. com/ marvel/ mm/ spidey/ asm_mm10. html). Marvelmasterworks.com. August 20, 2008. . Retrieved April 27, 2010. [30] "Marvel Comics History and Marvel Comics Background" (http:/ / www. worldcollectorsnet. com/ comics/ marvel-comics. html). Worldcollectorsnet.com. . Retrieved April 27, 2010. [31] "Spiderman | Hulk | Wolverine |" (http:/ / www. marvel-comics. co. uk/ index. html). Marvel Comics. . Retrieved April 27, 2010. [32] "History of Comic Book Rating Systems " Moshez" (http:/ / moshez. wordpress. com/ 2009/ 02/ 25/ history-of-comic-book-rating-systems/ ). Moshez.wordpress.com. February 25, 2009. . Retrieved April 27, 2010. [33] "chronocomic: Amazing Spider-Man #9698" (http:/ / www. supermegamonkey. net/ chronocomic/ entries/ amazing_spiderman_9698. shtml). SuperMegaMonkey. May 1, 1971. . Retrieved April 27, 2010.

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[34] McGinn, Andrew (May 4, 2007). "Spider-Man A to Z" (http:/ / www. springfieldnewssun. com/ e/ content/ oh/ story/ entertainment/ movies/ 2007/ 05/ 03/ ddn050407gospidermanAtoZ. html). Springfieldnewssun.com. . Retrieved April 27, 2010. [35] July 2, 2007 (July 2, 2007). "The Five Most Controversial Moments in Comic Book History | Pulp Secret Comics News and Reviews" (http:/ / www. pulpsecret. com/ post/ 1019/ the-five-most-controversial-moments-in-comic-book-history). Pulp Secret. . Retrieved April 27, 2010. [36] "Stan Lee Super Hero- Excelsior!" (http:/ / www. solcomhouse. com/ stanlee. htm). Solcomhouse.com. July 27, 2006. . Retrieved April 27, 2010. [37] "NEA News Room: 2008 National Medal of Arts Stan Lee" (http:/ / arts. endow. gov/ news/ news08/ medals/ Lee. html). Arts.endow.gov. November 17, 2008. . Retrieved April 27, 2010. 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[43] "Stan Lee Media CEO Kenneth Williams Accused of Shareholder Fraud and Libel in Court Filing By Former Stan Lee Media Executive: Accusations Against Peter Paul Retracted and Corrected in Court Filing" (http:/ / www. prnewswire. com/ news-releases/ stan-lee-media-ceo-kenneth-williams-accused-of-shareholder-fraud-and-libel-in-court-filing-by-former-stan-lee-media-executive-71643937. html), Freund & Brackey LLP press release, May 7, 2001. WebCitatin archive (http:/ / www. webcitation. org/ 60bRdkOTp), [44] United States Attorney's Office (March 8, 2005). "Peter Paul, Co-founder of Stan Lee Media, Inc., Pleads Guilty to Securities Fraud Fraud Scheme Caused $25 Million in Losses to Investors and Financial Institutions" (http:/ / web. archive. org/ web/ 20050311195609/ http:/ / www. usdoj. gov/ usao/ nye/ pr/ 2005mar8. htm). press release. Archived from the original (http:/ / www. usdoj. gov/ usao/ nye/ pr/ 2005mar8. htm) on March 11, 2005. . Retrieved July 31, 2011. [45] Witt, April . "House Of Cards: What do Cher, a Hollywood con man, a political rising star and an audacious felon have in common? Together they gave Bill and Hillary Clinton a night they'll never forget no matter how hard they may try" (http:/ / www. washingtonpost. com/ wp-dyn/ content/ article/ 2005/ 10/ 04/ AR2005100401150. html), The Washington Post, October 9, 2005, p. W10 [46] "Ringo Starr to become superhero" (http:/ / news. bbc. co. uk/ 2/ hi/ entertainment/ 4212335. stm). BBC. August 6, 2004. . [47] "Stan Lee Launches New Online Comic Venture" (http:/ / web. archive. org/ web/ 20071212014505/ http:/ / www. cbc. ca/ story/ arts/ national/ 2004/ 08/ 06/ Arts/ lee040806. html). CBC. August 6, 2004. Archived from the original (http:/ / www. cbc. ca/ arts/ story/ 2004/ 08/ 06/ lee040806. html) on August 4, 2010. . [48] Foreman, Liza (March 1, 2005). "Lee, Evans' POW! fields 'Foreverman'" (http:/ / web. archive. org/ web/ 20070930235956/ http:/ / www. hollywoodreporter. com/ hr/ search/ article_display. jsp?vnu_content_id=1000819063). The Hollywood Reporter. Archived from the original (http:/ / www. hollywoodreporter. com/ hr/ search/ article_display. jsp?vnu_content_id=1000819063) on September 30, 2007. . Retrieved April 27, 2010. [49] "Disney Studios Signs Exclusive Deal With Stan Lee" (http:/ / www. webcitation. org/ 60bSsEBNx). Disney Studios press release via MagicalMountain.net (fan site). Archived from the original (http:/ / www. magicalmountain. net/ disney-news/ disney-news-detail. aspx?id=1569) on July 31, 2011. . Retrieved June 15, 2007. [50] "Stan Lee Media Sues Marvel" (http:/ / strange. commongate. com/ post/ Stan_Lee_Media_Sues_Marvel_5B). Archived from the original (http:/ / www. redherring. com/ Article. aspx?a=21665& hed=Stan+ Lee+ Media+ Sues+ Marvel:+ $5B) on Sept. 22, 2007. . [51] "June 9: Stan Lee Media, Inc. Files Expected Lawsuit Against Stan Lee" (http:/ / www. comicsreporter. com/ index. php/ june_9_stan_lee_media_inc_files_aggressive_lawsuit_against_stan_lee/ ). Daily Blog. The Comic Reporter. . Retrieved Sept. 22, 2007. [52] (Filsinger Publishing, ISBN 978-0-9702631-5-5) [53] "NYCC 08: Stan Lee Dives Into Manga" (http:/ / comics. ign. com/ articles/ 864/ 864777p1. html). IGN. . Retrieved April 8, 2008. [54] "Stan Lee Launching Legion of 5" (http:/ / www. comingsoon. net/ news/ movienews. php?id=44144). ComingSoon.net. . Retrieved April 16, 2008. [55] Stan Lee to oversee Virgin Comics' superheroes (http:/ / web. archive. org/ web/ 20080502165435/ http:/ / www. latimes. com/ entertainment/ news/ la-et-virgin19apr19,1,7072456. story), LA Times, April 19, 2008 [56] Stan Lee 'to create world's first gay superhero (http:/ / www. telegraph. co. uk/ news/ worldnews/ northamerica/ usa/ 4237161/ Stan-Lee-to-create-worlds-first-gay-superhero. html). The Daily Telegraph, January 14, 2009 [57] "Skyscraperman" (http:/ / skyscraperman. com). skyscraperman.com. . Retrieved Sept. 15, 2009. [58] "Stan Lee, Bones Confirmed to be Working on Hero Man Anime News Network" (http:/ / www. animenewsnetwork. com/ news/ 2008-04-10/ stan-lee-bones-confirmed-to-be-working-on-hero-man). Anime News Network. April 10, 2008. . Retrieved Mar. 9, 2010.

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[59] "Stan Lee & Bones' Heroman Anime Now in Production Anime News Network" (http:/ / www. animenewsnetwork. com/ news/ 2009-10-06/ stan-lee-and-bones-heroman-anime-now-in-production). Anime News Network. October 6, 2009. . Retrieved Mar. 9, 2010. [60] "The Guardian Project" (http:/ / www. guardianproject30. com/ ). Guardian Media Entertainment. . Retrieved January 22, 2011.. WebCitation archive (http:/ / www. webcitation. org/ 60TZcx1uY). [61] Friedman, Wayne. "NHL's 'Guardian Project' Strikes Marketing Deal With NBCU' (http:/ / www. mediapost. com/ publications/ ?fa=Articles. showArticle& art_aid=152537), Media Daily News, June 16, 2011 [62] "Exclusive: Stan Lee to Guest-Star on Eureka" (http:/ / www. tvguide. com/ News/ Stan-Lee-Eureka-1022057. aspx). TVGuide.com. . Retrieved August 19, 2010. [63] Hetrick, Adam. "Stan Lee Encouraged by Spider-Man; New Projects on the Horizon" (http:/ / www. playbill. com/ news/ article/ 146343-Stan-Lee-Encouraged-by-Spider-Man-New-Projects-on-the-Horizon), Playbill.com, January 4, 2011. Accessed July 31, 2011. WebCitation archive (http:/ / www. webcitation. org/ 60bODaDKg). [64] Stan's Soapbox, Bullpen Bulletins, October 1998 [65] Stan's Soapbox, Bullpen Bulletins, October 2000 [66] Garreau, Joel. "Arts, Humanities Medals Awarded; Bush Awardees Include Stan Lee, Olivia de Havilland" (http:/ / www. washingtonpost. com/ wp-dyn/ content/ article/ 2008/ 11/ 17/ AR2008111701659. html), The Washington Post, November 18, 2008; Page C02 [67] Boucher, Geoff. Hero Complex (section): "Thor's cartoon, Stan Lee's medal and Dick Tracy's fate all in Everyday Hero headlines" (http:/ / herocomplex. latimes. com/ 2008/ 11/ 17/ thors-cartoon-s/ ), Los Angeles Times, November 17, 2008 [68] Meeks, Robert (October 2, 2009). "L.B. Comic Con: It's Stan Lee Day!" (http:/ / www. insidesocal. com/ modernmyth/ 2009/ 10/ its-stan-lee-day. html). Insidesocal.com. . Retrieved April 27, 2010. [69] "TV: Video Highlights from the 2009 Spike TV Scream Awards" (http:/ / www. bloody-disgusting. com/ news/ 17772). Bloody-disgusting.com. . Retrieved April 27, 2010. [70] Stan Lee Foundation (http:/ / www. stanleefoundation. org/ ) official site [71] "Stan Lee: Marvel Legends" (http:/ / www. oafe. net/ yo/ mlh2_sl. php). OAFE.net. . Retrieved April 27, 2010. [72] Stan Lee (http:/ / www. marvunapp. com/ Appendix/ leestanl. htm) (as a character) at the Appendix to the Handbook of the Marvel Universe [73] Eric Goldman (May 4, 2007). "Stan Lee's Further Superhero Adventures" (http:/ / uk. tv. ign. com/ articles/ 785/ 785824p3. html). IGN. . Retrieved May 14, 2007. [74] Iron Man Ultimate 2-Disc Edition DVD, disc 2, "I Am Iron Man" documentary [75] Davidson, Danica. "'Captain America: The First Avenger' To Film in L.A. this Weekend, Stan Lee Tweets on Cameo" (http:/ / splashpage. mtv. com/ 2011/ 04/ 07/ captain-america-stan-lee-cameo/ ), "Splash Page" (column), MTV.com, April 7, 2011. WebCitation archive (http:/ / www. webcitation. org/ 5yI7MAMbH). [76] "Stan Lee Talks Upcoming Cameo Roles" (http:/ / www. superherohype. com/ news/ articles/ 167299-stan-lee-talks-upcoming-cameo-roles). SuperheroHype.com. 2011-05-17. Archived (http:/ / www. webcitation. org/ 5zxBobWWA) from the original on 2011-07-05. . Retrieved 2011-07-15. [77] Douglas, Edward (January 10, 2011). "Stan Lee Back in Action for Next Spider-Man" (http:/ / www. superherohype. com/ news/ articles/ 113392-stan-lee-back-in-action-for-spider-man-reboot). SuperheroHype.com. . Retrieved January 10, 2011. [78] The original sketches created by Bruce Timm and commented by Paul Dini appears in the book The Krypton Companion (TwoMorrows Publishing) [79] "Contortionist Daniel Browning Smith the Rubberboy" (http:/ / web. archive. org/ web/ 20100427000000/ www. therubberboy. com/ ). Therubberboy.com. Archived from the original (http:/ / www. therubberboy. com/ ) on April 27, 2010. . Retrieved April 27, 2010. [80] "DigitalSpy.com" (http:/ / www. digitalspy. com/ ustv/ news/ a199794/ stan-lee-to-play-himself-on-big-bang. html). DigitalSpy.com. Jan. 28, 2010. . Retrieved April 27, 2010. [81] Julia Ward (February 7, 2007). "Stan Lee to make Heroes cameo" (http:/ / www. tvsquad. com/ 2007/ 02/ 07/ stan-lee-to-make-heroes-cameo/ ). TV Squad. . Retrieved September 17, 2010. [82] "Yoshiki teams up with Stan Lee for comic book series" (http:/ / www. tokyograph. com/ news/ id-6778). Tokyograph. October 10, 2010. . Retrieved October 9, 2010. [83] Stan Lee (http:/ / www. comics. org/ search. lasso/ ?sort=chrono& query=Stan+ Lee& type=writer) at the Grand Comics Database

247

Further reading
Lee, Stan, Origins of Marvel Comics (Simon and Schuster, 1974; Marvel Entertainment Group, 1997 reissue, ISBN 0-7851-0551-4) McLaughlin, Jeff, ed. Stan Lee: Conversations (University Press of Mississippi, 2007), ISBN 978-1578069859 Ro, Ronin. Tales to Astonish: Jack Kirby, Stan Lee, and the American Comic Book Revolution (Bloomsbury USA, 2005 reissue) ISBN 1-58234-566-X Raphael, Jordan, and Spurgeon, Tom. Stan Lee and the Rise and Fall of the American Comic Book (Chicago Review Press, 2003) ISBN 1-55652-506-0

Stan Lee Simon, Joe, with Jim Simon. The Comic Book Makers (Crestwood/II, 1990) ISBN 1-887591-35-4; reissued (Vanguard Productions, 2003) ISBN 1-887591-35-4

248

External links
POW! Entertainment (http://www.powentertainment.com/enter.html) (official site) Stan Lee (http://twitter.com/therealstanlee) on Twitter Stan Lee's Fan Site (http://www.stanlee.org/) McCave, Joseph. "SDCC 2009: Stan Lee Talks 'Time Jumper'!" (http://www.fearnet.com/news/interviews/ b16172_sdcc_2009_stan_lee_talks_lsquotime.html) FearNet.com, July 27, 2009 Framingham, Mass. "Myth and the Hero's Journey: Big Screen Blockbusters Star Wars, Spider-Man Tell Timeless Tales" (http://www.folkstory.com/articles/spiderman.html), Daily News (May 5, 2002), by Chris Bergeron Archive of "Fast Chat: Stan Lee" (http://www.webcitation.org/5unr2TLup). Newsday, April 1, 2007. Online version March 31, 2007. Stan Lee at ComiCon in Seattle (http://www.mynorthwest.com/?nid=11&sid=296873) Stan Lee (http://web.archive.org/web/20080710091221/http://www.maelmill-insi.de/UHBMCC/NAML8. HTM#N162) at the Unofficial Handbook of Marvel Comics Creators

Stan Lee (http://comicbookdb.com/creator.php?ID=98) at the Comic Book DB Stan Lee (http://www.isfdb.org/cgi-bin/ea.cgi?Stan_Lee) at the Internet Speculative Fiction Database Stan Lee (http://www.imdb.com/name/nm0498278/) at the Internet Movie Database Audio/video Audio of Merry Marvel Marching Society record (http://web.archive.org/web/20051210075130/http://209. 51.142.186/~dogatco/mmms/mmms65.mp3), including voice of Stan Lee Stan Lee (http://webofstories.com/gl/stan.lee) telling his life story at Web of Stories (http://webofstories. com) Comic Geek Speak: Episode 83 (http://www.comicgeekspeak.com/episodes/comic_geek_speak-111.php) Stan Lee interview podcast, December 12, 2005 Mahalo Daily with Veronica Belmont: "MD044 Stan Lee Interview" (http://web.archive.org/web/ 20080129203237/http://daily.mahalo.com/2008/01/28/md044-stan-lee-interview/), January 28, 2008 Stan Lee receives 1st New York comics legend award (http://www.truegameheadz.com/blogheadz/ stan-lee-the-man/) April 17, 2008 "Authors@Google: Stan Lee" (http://www.youtube.com/watch?v=QV9TYbDBgo8), Authors@Google, "AtGoogleTalks", YouTube, July 18, 2008. (Video podcast) Conan, Neal (October 27, 2010). "Stan Lee, Mastermind Of The Marvel Universe" (http://www.npr.org/ templates/story/story.php?storyId=130862700). Talk of the Nation (National Public Radio). (Radio broadcast)

Spider-Man

249

Spider-Man
Spider-Man

From The Amazing Spider-Man #547 (March 2008) Art by Steve McNiven & Dexter Vines Publication information Publisher Marvel Comics

First appearance Amazing Fantasy #15 (Aug. 1962) Created by Stan Lee, Steve Ditko In-story information Alter ego Species Peter Benjamin Parker Human Mutate

Team affiliations Daily Bugle Front Line New Fantastic Four Avengers New Avengers Future Foundation Heroes for Hire Partnerships Venom Scarlet Spider Wolverine Human Torch Daredevil Black Cat Punisher Toxin Iron Man Ms. Marvel Ricochet, Dusk, Prodigy, Hornet, Ben Reilly/Scarlet Spider Superhuman strength, speed, stamina, agility, reflexes, and durability Accelerated healing factor Ability to cling to most surfaces Able to shoot extremely strong and durable spider-web strings from wrists Precognitive spider sense Genius-level intellect Master hand-to-hand combatant

Notable aliases Abilities

Spider-Man is a fictional Marvel Comics superhero. The character was created by writer-editor Stan Lee and writer-artist Steve Ditko. He first appeared in Amazing Fantasy #15 (Aug. 1962). Lee and Ditko conceived of the

Spider-Man character as an orphan being raised by his Aunt May and Uncle Ben, and as a teenager, having to deal with the normal struggles of adolescence in addition to those of a costumed crime fighter. Spider-Man's creators gave him super strength and agility, the ability to cling to most surfaces, shoot spider-webs using devices of his own invention which he called "web-shooters", and react to danger quickly with his "spider-sense", enabling him to combat his foes. When Spider-Man first appeared in the early 1960s, teenagers in superhero comic books were usually relegated to the role of sidekick to the protagonist. The Spider-Man series broke ground by featuring Peter Parker, a teenage high school student to whose "self-obsessions with rejection, inadequacy, and loneliness" young readers could relate.[1] Unlike previous teen heroes such as Bucky and Robin, Spider-Man did not benefit from being the protg of any adult mentors like Captain America and Batman, and thus had to learn for himself that "with great power there must also come great responsibility"a line included in a text box in the final panel of the first Spider-Man story, but later retroactively attributed to his guardian, the late Uncle Ben. Marvel has featured Spider-Man in several comic book series, the first and longest-lasting of which is titled The Amazing Spider-Man. Over the years, the Peter Parker character has developed from shy, high school student to troubled but outgoing college student, to married high school teacher to, in the late 2000s, a single freelance photographer, his most typical adult role. As of 2011, he is additionally a member of the Avengers and the Fantastic Four, Marvel's flagship superhero teams. In the comics, Spider-Man is often referred to as "Spidey", "web-slinger", "wall-crawler", or "web-head". Spider-Man is one of the most popular and commercially successful superheroes.[2] As Marvel's flagship character and company mascot, he has appeared in many forms of media, including several animated and live-action television shows, syndicated newspaper comic strips, and a series of films starring Tobey Maguire as the "friendly neighborhood" hero in the first three movies. Andrew Garfield will take over the role of Spider-Man in a planned reboot of the films.[3] Reeve Carney stars as Spider-Man in the 2010 Broadway musical Spider-Man: Turn Off the Dark.[4] Spider-Man placed 3rd on IGN's Top 100 Comic Book Heroes of All Time in 2011.[5]

250

Publication history
Creation and development
In 1962, with the success of the Fantastic Four, Marvel Comics editor and head writer Stan Lee was casting about for a new superhero idea. He said the idea for Spider-Man arose from a surge in teenage demand for comic books, and the desire to create a character with whom teens could identify.[7] :1 In his autobiography, Lee cites the non-superhuman pulp magazine crime fighter the Spider as a great influence,[6] :130 and in a multitude of print and video interviews, Lee stated he was further inspired by seeing a spider climb up a walladding in his autobiography that he has told that story so often he has become unsure of whether or not this is true.[8] Looking back on the creation of Spider-Man, 1990s Marvel editor-in-chief Tom DeFalco stated he did Richard Wentworth a.k.a. the Spider in the pulp not believe that Spider-Man would have been given a chance in today's magazine The Spider. Stan Lee stated that it was comics world, where new characters are vetted with test audiences and the name of this character that grabbed him to [6] marketers.[7] :9 At that time, however, Lee had to get only the consent create the character that would be Spider-Man. [7] :9 of Marvel publisher Martin Goodman for the character's approval. In a 1986 interview, Lee described in detail his arguments to overcome Goodman's objections.[9] Goodman

Spider-Man eventually agreed to let Lee try out Spider-Man in the upcoming final issue of the canceled science-fiction and supernatural anthology series Amazing Adult Fantasy, which was renamed Amazing Fantasy for that single issue, #15 (Aug. 1962).[10] :95 Comics historian Greg Theakston says that Lee, after receiving Goodman's approval for the name Spider-Man and the "ordinary teen" concept, approached artist Jack Kirby. Kirby told Lee about an unpublished character on which he collaborated with Joe Simon in the 1950s, in which an orphaned boy living with an old couple finds a magic ring that granted him superhuman powers. Lee and Kirby "immediately sat down for a story conference" and Lee afterward directed Kirby to flesh out the character and draw some pages. Steve Ditko would be the inker.[11] When Kirby showed Lee the first six pages, Lee recalled, "I hated the way he was doing it! Not that he did it badly it just wasn't the character I wanted; it was too heroic".[12] :12 Lee turned to Ditko, who developed a visual style Lee found satisfactory. Ditko recalled: One of the first things I did was to work up a costume. A vital, visual part of the character. I had to know how he looked ... before I did any breakdowns. For example: A clinging power so he wouldn't have hard shoes or boots, a hidden wrist-shooter versus a web gun and holster, etc. ... I wasn't sure Stan would like the idea of covering the character's face but I did it because it hid an obviously boyish face. It would also add mystery to the character....[13] Although the interior artwork was by Ditko alone, Lee rejected Ditko's cover art and commissioned Kirby to pencil a cover that Ditko inked.[14] As Lee explained in 2010, "I think I had Jack sketch out a cover for it because I always had a lot of confidence in Jack's covers."[15] In an early recollection of the character's creation, Ditko described his and Lee's contributions in a mail interview with Gary Martin published in Comic Fan #2 (Summer 1965): "Stan Lee thought the name up. I did costume, web gimmick on wrist & spider signal."[16] At the time, Ditko shared a Manhattan studio with noted fetish artist Eric Stanton, an art-school classmate who, in a 1988 interview with Theakston, recalled that although his contribution to Spider-Man was "almost nil", he and Ditko had "worked on storyboards together and I added a few ideas. But the whole thing was created by Steve on his own... I think I added the business about the webs coming out of his hands".[12] :14 Kirby disputed Lee's version of the story, and claimed Lee had minimal involvement in the character's creation. According to Kirby, the idea for Spider-Man had originated with Kirby and Joe Simon, who in the 1950s had developed a character called The Silver Spider for the Crestwood comic Black Magic, who was subsequently not used.[17] Simon, in his 1990 autobiography, disputed Kirby's account, asserting that Black Magic was not a factor, and that he (Simon) devised the name "Spider-Man" (later changed to "The Silver Spider"), while Kirby outlined the character's story and powers. Simon later elaborated that his and Kirby's character conception became the basis for Simon's Archie Comics superhero the Fly. Artist Steve Ditko stated that Lee liked the name Hawkman from DC Comics, and that "Spider-Man" was an outgrowth of that interest.[13] The hyphen was included in the character's name to avoid confusion with DC Comics' Superman.[18] Simon concurred that Kirby had shown the original Spider-Man version to Lee, who liked the idea and assigned Kirby to draw sample pages of the new character but disliked the resultsin Simon's description, "Captain America with cobwebs".[19] Writer Mark Evanier notes that Lee's reasoning that Kirby's character was too heroic seems unlikelyKirby still drew the covers for Amazing Fantasy #15 and the first issue of The Amazing Spider-Man. Evanier also disputes Kirby's given reason that he was "too busy" to also draw Spider-Man in addition to his other duties since Kirby was, said Evanier, "always busy".[20] :127 Neither Lee's nor Kirby's explanation explains why key story elements like the magic ring were dropped; Evanier states that the most plausible explanation for the sudden change was that Goodman, or one of his assistants, decided that Spider-Man as drawn and envisioned by Kirby was too similar to the Fly.[20] :127 Author and Ditko scholar Blake Bell writes that it was Ditko who noted the similarities to the Fly. Ditko recalled that, "Stan called Jack about the Fly", adding that "[d]ays later, Stan told me I would be penciling the story panel

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Spider-Man breakdowns from Stan's synopsis". It was at this point that the nature of the strip changed. "Out went the magic ring, adult Spider-Man and whatever legend ideas that Spider-Man story would have contained". Lee gave Ditko the premise of a teenager bitten by a spider and developing powers, a premise Ditko would expand upon to the point he became what Bell describes as "the first work for hire artist of his generation to create and control the narrative arc of his series". On the issue of the initial creation, Ditko states, "I still don't know whose idea was Spider-Man".[21] Kirby noted in a 1971 interview that it was Ditko who "got Spider-Man to roll, and the thing caught on because of what he did".[22] Lee, while claiming credit for the initial idea, has acknowledged Ditko's role, stating, "If Steve wants to be called co-creator, I think he deserves [it]".[23] Writer Al Nickerson believes "that Stan Lee and Steve Ditko created the Spider-Man that we are familiar with today [but that] ultimately, Spider-Man came into existence, and prospered, through the efforts of not just one or two, but many, comic book creators".[24] In 2008, an anonymous donor bequeathed the Library of Congress the original 24 pages of Ditko art of Amazing Fantasy #15, including Spider-Man's debut and the stories "The Bell-Ringer", "Man in the Mummy Case", and "There Are Martians Among Us".[25]

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Commercial success
A few months after Spider-Man's introduction in Amazing Fantasy #15 (Aug. 1962), publisher Martin Goodman reviewed the sales figures for that issue and was shocked to find it to have been one of the nascent Marvel's highest-selling comics.[10] :97 A solo ongoing series followed, beginning with The Amazing Spider-Man #1 (March 1963). The title eventually became Marvel's top-selling series[1] :211 with the character swiftly becoming a cultural icon; a 1965 Esquire poll of college campuses found that college students ranked Spider-Man and fellow Marvel hero the Hulk alongside Bob Dylan and Che Guevara as their favorite revolutionary icons. One interviewee selected Spider-Man because he was "beset by woes, money problems, and the question of existence. In short, he is one of us."[1] :223 Following Ditko's departure after issue #38 (July 1966), John Romita, Sr. replaced him as penciler and would draw the series for the next several years. In 1968, Romita would also draw the character's extra-length stories in the comics magazine The Spectacular Spider-Man, a proto-graphic novel designed to appeal to older readers but which lasted only two issues.[26] Nonetheless, it represented the first Spider-Man spin-off publication, aside from the original series' summer annuals that began in 1964.

An early 1970s Spider-Man story led to the revision of the Comics Code. Previously, the Code forbade the depiction of the use of illegal drugs, even negatively. However, in 1970, the Nixon administration's Department of Health, Education, and Welfare asked Stan Lee to publish an anti-drug message in one of Marvel's top-selling titles.[1] :239 Lee chose the top-selling The Amazing Spider-Man; issues #9698 (MayJuly 1971) feature a story arc depicting the negative effects of drug use. In the story, Peter Parker's friend Harry Osborn becomes addicted to pills. When Spider-Man fights the Green Goblin (Norman Osborn, Harry's father), Spider-Man defeats the Green Goblin, by revealing Harry's drug addiction. While the story had a clear anti-drug message, the Comics Code Authority refused to issue its seal of approval. Marvel nevertheless published the three issues without the Comics Code Authority's approval or seal. The issues sold so well that the industry's self-censorship was undercut and the Code was subsequently revised.[1] :239

Amazing Fantasy #15 (Aug. 1962). The issue that first introduced the fictional character. It was a gateway to the commercial success to the superhero and inspired the launch of The Amazing Spider-Man comics. Cover art by Jack [10] Kirby (penciller) & Steve Ditko (inker).

Spider-Man In 1972, a second monthly ongoing series starring Spider-Man began: Marvel Team-Up, in which Spider-Man was paired with other superheroes and villains. In 1976, his second solo series, The Spectacular Spider-Man began running parallel to the main series. A third series featuring Spider-Man, Web of Spider-Man, launched in 1985, replacing Marvel Team-Up. The launch of a fourth monthly title in 1990, the "adjectiveless" Spider-Man (with the storyline "Torment"), written and drawn by popular artist Todd McFarlane, debuted with several different covers, all with the same interior content. The various versions combined sold over 3 million copies, an industry record at the time. There have generally been at least two ongoing Spider-Man series at any time. Several limited series, one-shots, and loosely related comics have also been published, and Spider-Man makes frequent cameos and guest appearances in other comic series.[1] :279 The original Amazing Spider-Man ran through issue #441 (Nov. 1998). Writer-artist John Byrne then revamped the origin of Spider-Man in the 13-issue limited series Spider-Man: Chapter One (Dec. 1998 - Oct. 1999, with an issue #0 midway through and some months containing two issues), similar to Byrne's adding details and some revisions to Superman's origin in DC Comics' The Man of Steel.[27] Running concurrently, The Amazing Spider-Man was restarted with vol. 2, #1 (Jan. 1999). With what would have been vol. 2, #59, Marvel reintroduced the original numbering, starting with #500 (Dec. 2003). By the end of 2007, Spider-Man regularly appeared in The Amazing Spider-Man, New Avengers, Spider-Man Family, and various limited series in mainstream Marvel Comics continuity, as well as in the alternate-universe series The Amazing Spider-Girl, the Ultimate Universe title Ultimate Spider-Man, the alternate-universe tween series Spider-Man Loves Mary Jane, the alternate-universe children's series Marvel Adventures Spider-Man, and Marvel Adventures: The Avengers. When primary series The Amazing Spider-Man reached issue #545 (Dec. 2007), Marvel dropped its spin-off ongoing series and instead began publishing The Amazing Spider-Man three times monthly, beginning with #546-549 (each Jan. 2008). The three times monthly scheduling of The Amazing Spider-Man lasted until November 2010 when the comic book was increased from 22 pages to 30 pages each issue and published only twice a month, beginning with #648-649 (each Nov. 2010).

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Comic book character


In Forest Hills, Queens, New York City,[28] high school student Peter Parker is a science whiz orphan living with his Uncle Ben and Aunt May. As depicted in Amazing Fantasy #15 (Aug. 1962), he is bitten by a radioactive spider (erroneously classified as an insect in the panel) at a science exhibit and "acquires the agility and proportionate strength of an arachnid."[29] Along with super strength, he gains the ability to adhere to walls and ceilings. Through his native knack for science, he develops a gadget that lets him fire adhesive webbing of his own design through small, wrist-mounted barrels. Initially seeking to capitalize on his new abilities, he dons a costume and, as "Spider-Man", becomes a novelty television star. However, "He blithely ignores the chance to stop a fleeing thief, [and] his indifference ironically catches up with him when the same criminal later robs and kills his Uncle Ben."[30] Spider-Man tracks and subdues the killer and learns, in the story's next-to-last caption, "With great power there must also comegreat responsibility!"[30] Despite his superpowers, Parker struggles to help his widowed aunt pay rent, is taunted by his peersparticularly football star Flash Thompsonand, as Spider-Man, engenders the editorial [31] [32] wrath of newspaper publisher J. Jonah Jameson. As he battles his enemies for the first time,[14] Parker finds juggling his personal life and costumed adventures difficult. In time, Peter graduates from high school,[33] and enrolls at Empire State University (a fictional institution evoking the real-life Columbia University and New York University).,[34] where he meets roommate and best friend Harry Osborn and first girlfriend Gwen Stacy,[35] and Aunt May introduces him to Mary Jane Watson.[14] [36] [37] As Peter deals with Harry's drug problems, and Harry's father is revealed to be Spider-Man's nemesis the Green Goblin, Peter even attempts to give up his costumed identity for a while.[38] [39] Gwen's Stacy's father, New York City Police detective captain George Stacy is accidentally killed during a battle between Spider-Man and Doctor Octopus (#90, Nov. 1970).[40] In the course of his adventures Spider-Man has made a wide variety of friends and contacts within the superhero community, who often come to his aid when he faces problems that he cannot solve on his own.
The spider bite that gave Peter Parker his powers. Amazing Fantasy #15, art by Steve Ditko.

In issue #121 (June 1973),[14] the Green Goblin throws Gwen Stacy from a tower of either the Brooklyn Bridge (as depicted in the art) or the George Washington Bridge (as given in the text).[41] [42] She dies during Spider-Man's rescue attempt; a note on the letters page of issue #125 states: "It saddens us to say that the whiplash effect she underwent when Spidey's webbing stopped her so suddenly was, in fact, what killed her."[43] The following issue, the Goblin appears to accidentally kill himself in the ensuing battle with Spider-Man.[44] Working through his grief, Parker eventually develops tentative feelings toward Watson, and the two "become confidants rather than lovers."[45] Parker graduates from college in issue #185,[14] and becomes involved with the shy Debra Whitman and the extroverted, flirtatious costumed thief Felicia Hardy, the Black Cat,[46] whom he meets in issue #194 (July 1979).[14] From 1984 to 1988, Spider-Man wore a different costume than his original. Black with a white spider design, this new costume originated in the Secret Wars limited series, on an alien planet where Spider-Man participates in a battle between Earth's major superheroes and villains.[47] Not unexpectedly, the change to a longstanding character's iconic design met with controversy, "with many hardcore comics fans decrying it as tantamount to sacrilege. Spider-Man's traditional red and blue costume was iconic, they argued, on par with those of his D.C. rivals

Spider-Man Superman and Batman."[48] The creators then revealed the costume was an alien symbiote which Spider-Man is able to reject the symbiote after a difficult struggle,[49] though the symbiote returns several times as Venom for revenge.[14] Parker proposes to Watson in The Amazing Spider-Man #290 (July 1987), and she accepts two issues later, with the wedding taking place in The Amazing Spider-Man Annual #21 (1987)promoted with a real-life mock wedding using actors at Shea Stadium, with Stan Lee officiating, on June 5, 1987.[50] [51] Although David Michelinie, who scripted based on a plot by editor-in-chief Jim Shooter, said in 2007, "I didn't think they actually should [have gotten] married. ... I had actually planned another version, one that wasn't used."[50] In a controversial storyline, Goletz, Andrew, and Glenn Greenberg. Peter becomes convinced that Ben Reilly, the Scarlet Spider (a clone of Peter created by his college professor Miles Warren) is the real Peter Parker, and that he, Peter, is the clone. Peter gives up the Spider-Man identity to Reilly for a time, until Reilly is killed by the returning Green Goblin and revealed to be the clone after all.[52] In stories published in 2005 and 2006 (such as "The Other"), he develops additional spider-like abilities including biological web-shooters, toxic stingers that extend from his forearms, the ability to stick individuals to his back, enhanced Spider-sense and night vision, and increased strength and speed. Peter later becomes a member of the New Avengers, and reveals his civilian identity to the world,[53] furthering his already numerous problems. His marriage to Mary Jane and public unmasking are later erased in the storyline "One More Day" in a Faustian bargain with the demon Mephisto, resulting in several adjustments to the timeline, such as the resurrection of Harry Osborn and the return of Peter's mechanical web-shooters and loss of his additional spider-like abilities.[54] The controversial[55] storyline, "One More Day", rolled back much of the fictional continuity at the behest of editor-in-chief Joe Quesada, who said, "Peter being single is an intrinsic part of the very foundation of the world of Spider-Man".[55] It caused unusual public friction between Quesada and writer Straczynski, who "told Joe that I was going to take my name off the last two issues of the [story] arc" but was talked out of doing so.[56] At issue with Straczynski's climax to the arc, Quesada said, was ...that we didn't receive the story and methodology to the resolution that we were all expecting. What made that very problematic is that we had four writers and artists well underway on [the sequel arc] "Brand New Day" that were expecting and needed "One More Day" to end in the way that we had all agreed it would. ... The fact that we had to ask for the story to move back to its original intent understandably made Joe upset and caused some major delays and page increases in the series. Also, the science that Joe was going to apply to the retcon of the marriage would have made over 30 years of Spider-Man books worthless, because they never would have had happened. ...[I]t would have reset way too many things outside of the Spider-Man titles. We just couldn't go there....[56]

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Personality
"People often say glibly that Marvel succeeded by blending super hero adventure stories with soap opera. What Lee and Ditko actually did in The Amazing Spider-Man was to make the series an ongoing novelistic chronicle of the lead character's life. Most super heroes had problems no more complex or relevant to their readers' lives than thwarting this month's bad guys.... Parker had far more serious concern in his life: coming to terms with the death of a loved one, falling in love for the first time, struggling to make a living, and undergoing crises of conscience." Comics historian Peter Sanderson
[57]

As one contemporaneous journalist observed, "Spider-Man has a terrible identity problem, a marked inferiority complex, and a fear of women. He is anti-social, [sic] castration-ridden, racked with Oedipal guilt, and accident-prone ... [a] functioning neurotic".[28] Agonizing over his choices, always attempting to do right, he is nonetheless viewed with suspicion by the authorities, who seem unsure as to whether he is a helpful vigilante or a clever criminal.[58] Notes cultural historian Bradford W. Wright,

Spider-Man Spider-Man's plight was to be misunderstood and persecuted by the very public that he swore to protect. In the first issue of The Amazing Spider-Man, J. Jonah Jameson, publisher of the Daily Bugle, launches an editorial campaign against the "Spider-Man menace." The resulting negative publicity exacerbates popular suspicions about the mysterious Spider-Man and makes it impossible for him to earn any more money by performing. Eventually, the bad press leads the authorities to brand him an outlaw. Ironically, Peter finally lands a job as a photographer for Jameson's Daily Bugle.[1] :212 The mid-1960s stories reflected the political tensions of the time, as early 1960s Marvel stories had often dealt with the Cold War and Communism.[1] :220-223 As Wright observes, From his high-school beginnings to his entry into college life, Spider-Man remained the superhero most relevant to the world of young people. Fittingly, then, his comic book also contained some of the earliest references to the politics of young people. In 1968, in the wake of actual militant student demonstrations at Columbia University, Peter Parker finds himself in the midst of similar unrest at his Empire State University. ... Peter has to reconcile his natural sympathy for the students with his assumed obligation to combat lawlessness as Spider-Man. As a law-upholding liberal, he finds himself caught between militant leftism and angry conservatives.[1] :234-235

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Other versions
Due to Spider-Man's popularity in the mainstream Marvel Universe, publishers have been able to introduce different variations of Spider-Man outside of mainstream comics as well as reimagined stories in many other multiversed spinoffs such as Ultimate Spider-Man, Spider-Man 2099, and Spider-Man: India. Marvel has also made its own parodies of Spider-Man in comics such as Not Brand Echh, which was published in the late 1960s and featured such characters as Peter Pooper alias Spidey-Man,[59] and Peter Porker, the Spectacular Spider-Ham, who appeared in the 1980s. The fictional character has also inspired a number of deratives such as a manga version of Spider-Man drawn by Japanese artist Ryoichi Ikegami as well as Hideshi Hino's The Bug Boy, which has been cited as inspired by Spider-Man.[60] Also the French comic Tl-Junior published strips based on popular TV series. In the late 1970s, the publisher also produced original Spider-Man adventures. Artists included Grald Forton, who later moved to America and worked for Marvel.[61]

Powers and equipment


A bite from a radioactive spider on a school field trip causes a variety of changes in the body of Peter Parker and gives him superpowers.[62] In the original Lee-Ditko stories, Spider-Man has the ability to cling to walls, superhuman strength, a sixth sense ("spider-sense") that alerts him to danger, perfect balance and equilibrium, as well as superhuman speed and agility. Some of his comic series have him shooting webs from his wrists.[62] Brilliant, Parker excels in applied science, chemistry, and physics. The character was originally conceived by Stan Lee and Steve Ditko as intellectually gifted, but not a genius. However, later writers have depicted the character as a genius.[63] With his talents, he sews his own costume to conceal his identity, and constructs many devices that complement his powers, most notably mechanical web-shooters.[62] This mechanism ejects an advanced adhesive, releasing web-fluid in a variety of configurations, including a single rope-like strand to swing from, a net to bind enemies, a single strand for yanking opponents into objects, strands for whipping foreign objects at enemies, and a simple glob to foul machinery or blind an opponent. He can also weave the web material into simple forms like a shield, a spherical protection or hemispherical barrier, a club, or a hang-glider wing. Other equipment include spider-tracers (spider-shaped adhesive homing beacons keyed to his own spider-sense), a light beacon which can either be used as a flashlight or project a "Spider-Signal" design, and a specially modified camera that can take pictures automatically.

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Supporting characters
Spider-Man has had a large range of supporting characters introduced in the comics that are essential in the issues and storylines that star him. After his parents died, Peter Parker was raised by his loving aunt, May Parker, and his uncle and father figure, Ben Parker. After Uncle Ben is murdered by a burglar, Aunt May is virtually Peter's only family, and she and Peter are very close.[29] J. Jonah Jameson is depicted as the publisher of the Daily Bugle and is Peter Parker's boss and as a harsh critic of Spider-Man, always saying negative things about the superhero in the newspaper. Although his publishing editor and confidant Robbie Robertson is alway depicted as a supporter of both Peter Parker and Spider-Man.[31] Eugene "Flash" Thompson is commonly depicted as Parker's high school tormentor and bully but in some comic issues as a friend as well.[31] Meanwhile Harry Osborn, son of Norman Osborn, is most commonly recognized as Peter's best friend but has also been depicted sometimes as his rival in the comics.[14] Peter Parker's romantic interests range between his first crush, the fellow high-school student Liz Allan,[31] to having his first date with Jameson's secretary, Betty Brant,[64] the secretary to Daily Bugle newspaper publisher J. Jonah Jameson. After his breakup with Betty Brant, Parker eventually falls in love with his college girlfriend Gwen Stacy,[14] [35] daughter of New York City Police Department detective captain George Stacy, both of whom are later killed by supervillain enemies of Spider-Man.[40] [40] Mary Jane Watson eventually became Peter's best friend and then his wife.[50] Felicia Hardy, the Black Cat, is a reformed cat burglar who had been Spider-Man's girlfriend and partner at one point.[46]

Enemies
Writers and artists over many years have managed to establish a notable fictional rogues gallery of classic villains to face Spider-Man. As with Spider-Man, the majority of these villains' powers originate with scientific accidents or the misuse of scientific technology, trends include a few animal-themed costumes or powers and a few of them having green costume as well.[65] Early on Spider-Man faced supervillains and foes such as the Chameleon (introduced in The Amazing Spider-Man #1, March 1963), the Vulture (#2, May 1963), Doctor Octopus (#3, July 1963), the Sandman (#4, Sept. 1963), the Lizard (#6, Nov. 1963), Electro (#9, Feb. 1964), Mysterio (#13, June 1964), the Green Goblin (#14, July 1964), Kraven the Hunter (#15, Aug. 1964),the Scorpion (#20, Jan. 1965), the Rhino (#41, Oct. 1966)the first original Lee/Romita Spider-Man villain[66] the Shocker (#46, March 1967), and the physically powerful and well-connected criminal capo Wilson Fisk, also known as the Kingpin.[14] The Clone Saga reveals a supporting character called Miles Warren turn into the villain called the Jackal, the antagonist of the storyline.[35] After Norman Osborn was killed off, a new more mysterious villain called the Hobgoblin was developed to replace him in #238 until Norman was revised later on.[67] After Spider-Man turned away his dark costume, there revealed a new popular antagonist with Eddie Brock as Venom in issue #298 (May 1988),[14] although he was an ally to Spider-Man with a much darker version of him called Carnage in issue #344.[68] At times these enemies of Spider-Man have formed groups such as the Sinister Six to oppose Spider-Man.[69] The Green Goblin, Doctor Octopus and Venom are generally described or written as one of his greatest and most ruthless enemies.[70] [71] [72]

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Cultural influence
Comic book writer-editor and historian Paul Kupperberg, in The Creation of Spider-Man, calls the character's superpowers "nothing too original"; what was original was that outside his secret identity, he was a "nerdy high school student".[73] :5 Going against typical superhero fare, Spider-Man included "heavy doses of soap-opera and elements of melodrama." Kupperberg feels that Lee and Ditko had created something new in the world of comics: "the flawed superhero with everyday problems." This idea spawned a "comics revolution."[73] :6 The insecurity and anxieties in Marvel's early 1960s comic books such as The Amazing Spider-Man, The Incredible Hulk, and X-Men ushered in a new type of superhero, very different from the certain and all-powerful superheroes before them, and changed the public's perception of them.[74] Spider-Man has become one of the most recognizable fictional characters in the world, and has been used to sell toys, games, cereal, candy, soap, and many other products.[75]
Spider-Man sign appearing in front of The

Spider-Man has become Marvel's flagship character, and has often Amazing Adventures of Spider-Man in Universal Studios Florida's Islands of Adventure. been used as the company mascot. When Marvel became the first comic book company to be listed on the New York Stock Exchange in 1991, the Wall Street Journal announced "Spider-Man is coming to Wall Street"; the event was in turn promoted with an actor in a Spider-Man costume accompanying Stan Lee to the Stock Exchange.[1] :254 Since 1962, hundreds of millions of comics featuring the character have been sold around the world.[76] Spider-Man joined the Macy's Thanksgiving Day Parade from 1987 to 1998 as one of the balloon floats,[77] designed by John Romita Sr.,[78] one of the character's signature artists. A new, different Spider-Man balloon float is scheduled to appear from at least 2009 to 2011.[77] In 1981, skyscraper-safety activist Dan Goodwin, wearing a Spider-Man suit, scaled the Sears Tower in Chicago, Illinois, the Renaissance Tower in Dallas, Texas, and the John Hancock Center in Chicago, Illinois.[79] When Marvel wanted to issue a story dealing with the immediate aftermath of the September 11 attacks, the company chose the December 2001 issue of The Amazing Spider-Man.[80] In 2006, Spider-Man garnered major media coverage with the revelation of the character's secret identity,[81] an event detailed in a full page story in the New York Post before the issue containing the story was even released.[82] In 2008, Marvel announced plans to release a series of educational comics the following year in partnership with the United Nations, depicting Spider-Man alongside UN Peacekeeping Forces to highlight UN peacekeeping missions.[83] A BusinessWeek article listed Spider-Man as one of the top ten most intelligent fictional characters in American comics.[84] Spider-Man was named Empire magazine's fifth-greatest comic book character,[85] and Fandomania.com rated him as #7 on their 100 Greatest Fictional Characters list.[86]

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In other media

Tobey Maguire (top) and Andrew Garfield (bottom) have both portrayed Spider-Man in film.

Spider-Man has appeared in comics, cartoons, movies, coloring books, novels, records, and children's books.[75] On television, he appeared as the main character in the animated series Spider-Man, which aired from 19671970 on ABC,[87] the live-action series The Amazing Spider-Man (19781979) starring Nicholas Hammond, the syndicated cartoon Spider-Man (19811982), Spider-Man and His Amazing Friends (19811983), Spider-Man: The Animated Series (19941998), Spider-Man Unlimited (19992000), Spider-Man: The New Animated Series (2003), and The Spectacular Spider-Man (20082009). A new animated series titled Ultimate Spider-Man, based on the alternate-universe comic-book series of the same name, is scheduled to air on Disney XD in 2012.[88] A tokusatsu show featuring Spider-Man was produced by Toei and aired in Japan. It is commonly referred to by its Japanese pronunciation "Supaid-Man".[89] Spider-Man also appeared in other print forms besides the comics, including novels, children's books, and the daily newspaper comic strip The Amazing Spider-Man, which debuted in January 1977, with the earliest installments written by Stan Lee and drawn by John Romita, Sr.[90] Spider-Man has been adapted to other media including games, toys, collectibles, and miscellaneous memorabilia, and has appeared as the main character in numerous computer and video games on over 15 gaming platforms. Spider-Man was also featured in a trilogy of live-action films directed by Sam Raimi and starring Tobey Maguire as the title superhero. The first Spider-Man film was released on May 3, 2002; its first sequel, Spider-Man 2, was released on June 30, 2004 and the next sequel, Spider-Man 3, was released on May 4, 2007. A third sequel was originally scheduled to be released in 2011, however Sony later decided the franchise would be rebooted and a new director and cast would be introduced. The reboot, titled The Amazing Spider-Man, is scheduled to be released on July 3, 2012, directed by Marc Webb and starring Andrew Garfield as the new Spider-Man.[91] [92] [93] [94] [95] A Broadway musical, Spider-Man: Turn Off the Dark, began previews on November 14, 2010 at the Foxwoods Theatre on Broadway, with the official opening night on June 14, 2011.[96] [97] The music and lyrics were written by Bono and The Edge of the rock group U2, with a book by Julie Taymor, Glen Berger, Roberto Aguirre-Sacasa.[98] Turn Off the Dark is currently the most expensive musical in Broadway history, costing an estimated $70 million.[99] In addition, the show's unusually high running costs are reported to be about $1.2 million per week.[100]

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Awards and honors


From the character's inception, Spider-Man stories have won numerous awards, including: 1962 Alley Award: Best Short Story"Origin of Spider-Man" by Stan Lee and Steve Ditko, Amazing Fantasy #15 1963 Alley Award: Best Comic: Adventure Hero titleThe Amazing Spider-Man 1963 Alley Award: Top HeroSpider-Man 1964 Alley Award: Best Adventure Hero Comic BookThe Amazing Spider-Man 1964 Alley Award: Best Giant Comic - The Amazing Spider-Man Annual #1 1964 Alley Award: Best HeroSpider-Man 1965 Alley Award: Best Adventure Hero Comic BookThe Amazing Spider-Man 1965 Alley Award: Best HeroSpider-Man 1966 Alley Award: Best Comic Magazine: Adventure Book with the Main Character in the TitleThe Amazing Spider-Man 1966 Alley Award: Best Full-Length Story - "How Green was My Goblin", by Stan Lee & John Romita, Sr., The Amazing Spider-Man #39 1967 Alley Award: Best Comic Magazine: Adventure Book with the Main Character in the TitleThe Amazing Spider-Man 1967 Alley Award Popularity Poll: Best Costumed or Powered HeroSpider-Man 1967 Alley Award Popularity Poll: Best Male Normal Supporting CharacterJ. Jonah Jameson, The Amazing Spider-Man 1967 Alley Award Popularity Poll: Best Female Normal Supporting CharacterMary Jane Watson, The Amazing Spider-Man 1968 Alley Award Popularity Poll: Best Adventure Hero StripThe Amazing Spider-Man 1968 Alley Award Popularity Poll: Best Supporting Character - J. Jonah Jameson, The Amazing Spider-Man 1969 Alley Award Popularity Poll: Best Adventure Hero StripThe Amazing Spider-Man 1997 Eisner Award: Best Artist/Penciller/Inker or Penciller/Inker Team1997 Al Williamson, Best Inker: Untold Tales of Spider-Man #17-18 2002 Eisner Award: Best Serialized StoryThe Amazing Spider-Man vol. 2, #3035: "Coming Home", by J. Michael Straczynski, John Romita, Jr., and Scott Hanna No date: Empire magazine's fifth-greatest comic book character.[85] No date: Spider-Man was the #1 superhero on Bravo's Ultimate Super Heroes, Vixens, and Villains show.[101]

Notes
[1] Wright, Bradford W. (2001). Comic Book Nation. Johns Hopkins Press : Baltimore. ISBN0801874505. [2] "Why Spider-Man is popular." (http:/ / abcnews. go. com/ Entertainment/ story?id=101230& page=1). . Retrieved 18 November 2010. [3] "It's Official! Andrew Garfield to Play Spider-Man!" (http:/ / www. comingsoon. net/ news/ movienews. php?id=67468). Comingsoon.net. 2010-07-02. . Retrieved 2010-10-09. [4] "Complete Cast Announced for Spider-Man: Turn Off the Dark" (http:/ / www. broadway. com/ shows/ spider-man-turn-off-the-dark/ buzz/ 153279/ complete-cast-announced-for-spider-man-turn-off-the-dark/ ). Broadway.com. 2010-08-16. . Retrieved 2010-10-09. [5] "IGN's Top 100 Comic Book Heroes" (http:/ / www. ign. com/ top/ comic-book-heroes/ 3). . Retrieved 2011-05-09. [6] Lee, Stan; Mair, George (2002). Excelsior!: The Amazing Life of Stan Lee. Fireside. ISBN0-684-87305-2. [7] DeFalco, Tom; Lee, Stan (2001). O'Neill, Cynthia. ed. Spider-Man: The Ultimate Guide. New York: Dorling Kindersley. ISBN078947946X. [8] Lee, Stan; Mair, George (2002). Excelsior!: The Amazing Life of Stan Lee. Fireside. ISBN0-684-87305-2. "He goes further in his biography, claiming that even while pitching the concept to publisher Martin Goodman, "I can't remember if that was literally true or not, but I thought it would lend a big color to my pitch."" [9] Detroit Free Press interview with Stan Lee, quoted in The Steve Ditko Reader by Greg Theakston (Pure Imagination, Brooklyn, NY; ISBN 1-56685-011-8), p. 12 (unnumbered). "He gave me 1,000 reasons why Spider-Man would never work. Nobody likes spiders; it sounds too much like Superman; and how could a teenager be a superhero? Then I told him I wanted the character to be a very human guy, someone who makes mistakes, who worries, who gets acne, has trouble with his girlfriend, things like that. [Goodman replied,] 'He's a hero! He's not an

Spider-Man
average man!' I said, 'No, we make him an average man who happens to have super powers, that's what will make him good.' He told me I was crazy". [10] Daniels, Les (1991). Marvel: Five Fabulous Decades of the World's Greatest Comics. New York: Harry N. Abrams. ISBN0-8109-3821-9. [11] Ditko, Steve (2000). Roy Thomas. ed. Alter Ego: The Comic Book Artist Collection. TwoMorrows Publishing. ISBN1893905063. "'Stan said a new Marvel hero would be introduced in #15 [of what became titled Amazing Fantasy]. He would be called Spider-Man. Jack would do the penciling and I was to ink the character.' At this point still, 'Stan said Spider-Man would be a teenager with a magic ring which could transform him into an adult hero Spider-Man. I said it sounded like the Fly, which Joe Simon had done for Archie Comics. Stan called Jack about it but I don't know what was discussed. I never talked to Jack about Spider-Man... Later, at some point, I was given the job of drawing Spider-Man'". [12] Theakston, Greg (2002). The Steve Ditko Reader. Brooklyn, NY: Pure Imagination. ISBN1-56685-011-8. [13] Ditko, Steve (2000). Roy Thomas. ed. Alter Ego: The Comic Book Artist Collection. TwoMorrows Publishing. ISBN1893905063. [14] Amazing Fantasy (http:/ / www. comics. org/ series/ 1514/ ) at the Grand Comics Database [15] "Deposition of Stan Lee" (https:/ / docs. google. com/ viewer?a=v& pid=explorer& chrome=true& srcid=0B_lZovnpi13JNWQ5MDJmOTgtZDMzYy00MzI3LTllYjctNmM0ZWE4NjgyOWEx& hl=en_US). Los Angeles, California: United States District Court, Southern District of New York: "Marvel Worldwide, Inc., et al., vs. Lisa R. Kirby, et al.". December 8, 2010. p.37. . [16] Ditko, Steve; Martin, Gary (1965). "Steve Ditko - A Portrait of the Master" (http:/ / www. ditko. comics. org/ ditko/ artist/ arcomicf. html). Comic Fan #2, Summer 1965. . Retrieved 2008-04-03. [17] Jack Kirby in "Shop Talk: Jack Kirby", Will Eisner's Spirit Magazine #39 (February 1982): "Spider-Man was discussed between Joe Simon and myself. It was the last thing Joe and I had discussed. We had a strip called 'The Silver Spider.' The Silver Spider was going into a magazine called Black Magic. Black Magic folded with Crestwood (Simon & Kirby's 1950s comics company) and we were left with the script. I believe I said this could become a thing called Spider-Man, see, a superhero character. I had a lot of faith in the superhero character that they could be brought back... and I said Spider-Man would be a fine character to start with. But Joe had already moved on. So the idea was already there when I talked to Stan". [18] "Spider-Man: The Birth of an Icon" (http:/ / www. thehotspotonline. com/ blahblah/ articles/ spidy. htm). thehotspotonline.com. . Retrieved 2010-04-10. [19] Simon, Joe, with Jim Simon. The Comic Book Makers (Crestwood/II, 1990) ISBN 1-887591-35-4. "There were a few holes in Jack's never-dependable memory. For instance, there was no Black Magic involved at all. ... Jack brought in the Spider-Man logo that I had loaned to him before we changed the name to The Silver Spider. Kirby laid out the story to Lee about the kid who finds a ring in a spiderweb, gets his powers from the ring, and goes forth to fight crime armed with The Silver Spider's old web-spinning pistol. Stan Lee said, 'Perfect, just what I want.' After obtaining permission from publisher Martin Goodman, Lee told Kirby to pencil-up an origin story. Kirby... using parts of an old rejected superhero named Night Fighter... revamped the old Silver Spider script, including revisions suggested by Lee. But when Kirby showed Lee the sample pages, it was Lee's turn to gripe. He had been expecting a skinny young kid who is transformed into a skinny young kid with spider powers. Kirby had him turn into... Captain America with cobwebs. He turned Spider-Man over to Steve Ditko, who... ignored Kirby's pages, tossed the character's magic ring, web-pistol and goggles... and completely redesigned Spider-Man's costume and equipment. In this life, he became high-school student Peter Parker, who gets his spider powers after being bitten by a radioactive spider. ... Lastly, the Spider-Man logo was redone and a dashing hyphen added". [20] Evanier, Mark; Gaiman, Neil (2008). Kirby: King of Comics. Abrams. ISBN081099447X. [21] Bell, Blake. Strange and Stranger: The World of Steve Ditko (2008). Fantagraphic Books.p.54-57. [22] Skelly, Tim. "Interview II: 'I created an army of characters, and now my connection to them is lost.'" (Initially broadcast over WNUR-FM on "The Great Electric Bird," May 14, 1971. Transcribed and published in The Nostalgia Journal #27.) Reprinted in The Comics Journal Library Volume One: Jack Kirby, George, Milo ed. May, 2002, Fantagraphics Books. p. 16 [23] Ross, Jonathon. In Search of Steve Ditko, BBC 4, September 16, 2007. [24] Nickerson, Al. " Who Really Created Spider-Man? (http:/ / alnickerson. blogspot. com/ 2009/ 02/ who-really-created-spider-man. html)" P.I.C. News, 5 February 2009. Accessed 2009-02-17. Archived (http:/ / www. webcitation. org/ 5eea8wTXN) 2009-02-17. [25] "Library of Congress Receives Original Drawings for the First Spider-Man Story, 'Amazing Fantasy' #15" (http:/ / www. loc. gov/ today/ pr/ 2008/ 08-089. html), Library of Congress press release, April 30, 2008. WebCitation archive (http:/ / www. webcitation. org/ 5q8m1QvXp). Additionally: Raymond, Matt. "Library of Congress Acquires Spider-Man's 'Birth Certificate'" (http:/ / blogs. loc. gov/ loc/ 2008/ 04/ library-of-congress-acquires-spider-mans-birth-certificate), Library of Congress Blog, April 30, 2008. WebCitation archive (http:/ / www. webcitation. org/ 5q8mun5gG). [26] Saffel, Steve. Spider-Man the Icon: The Life and Times of a Pop Culture Phenomenon (Titan Books, 2007) ISBN 978-1-84576-324-4, "A Not-So-Spectacular Experiment", p. 31 [27] Michael Thomas. "John Byrne: The Hidden Story" (http:/ / www. comicbookresources. com/ ?page=article& id=151=article). Comic book resources. . Retrieved May 27, 2011. [28] Kempton, Sally, "Spiderman's [sic] Dilemma: Super-Anti-Hero in Forest Hills", The Village Voice, April 1, 1965 [29] Lee, Stan(w), Ditko, Steve(a).Amazing Fantasy15 (August 1962), New York, NY: Marvel Comics [30] Daniels, Les. Marvel: Five Fabulous Decades of the World's Greatest Comics (Harry N. Abrams, New York, 1991) ISBN 0-8109-3821-9, p. 95 [31] Saffel, Steve. Spider-Man the Icon: The Life and Times of a Pop Culture Phenomenon (Titan Books, 2007) ISBN 978-1-84576-324-4, p. 21

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[32] Lee, Stan(w), Ditko, Steve(a)."Spider-Man"; "Spider-Man vs. The Chameleon"; "Duel to the Death with the Vulture; "The Uncanny Threat of the Terrible Tinkerer!" The Amazing Spider-Man1-2 (March, May 1963), New York, NY: Marvel Comics [33] Lee, Stan(w), Ditko, Steve(a)."The Menace of the Molten Man!" The Amazing Spider-Man28 (September 1965), New York, NY: Marvel Comics [34] Saffel, p. 51 [35] Sanderson, Peter (2007). The Marvel Comics Guide to New York City. New York City: Pocket Books. pp.3033. ISBN1-14653-141-6. [36] Lee, Stan(w), Romita, John(a)."The Birth of a Super-Hero!" The Amazing Spider-Man42 (November 1966), New York, NY: Marvel Comics [37] Saffel, p. 27 [38] Lee, Stan(w),Romita, John(p),Mickey Demeo(i)."Spider-Man No More!" The Amazing Spider-Man50 (July 1967), New York, NY: Marvel Comics [39] Lee, Stan(w),Kane, Gil(p),Giacoia, Frank(i)."The Spider or the Man?" The Amazing Spider-Man100 (September 1971), New York, NY: Marvel Comics [40] Saffel, p. 60 [41] Saffel, p. 65, states, "In the battle that followed atop the Brooklyn Bridge (or was it the George Washington Bridge?)...." On page 66, Saffel reprints the panel of The Amazing Spider-Man #121, page 18, in which Spider-Man exclaims, "The George Washington Bridge! It figures Osborn would pick something named after his favorite president. He's got the same sort of hangup for dollar bills!" Saffel states, "The span portrayed...is the GW's more famous cousin, the Brooklyn Bridge. ... To address the contradiction in future reprints of the tale, though, Spider-Man's dialogue was altered so that he's referring to the Brooklyn Bridge. But the original snafu remains as one of the more visible errors in the history of comics." [42] Sanderson, Marvel Universe, p. 84, notes, "[W]hile the script described the site of Gwen's demise as the George Washington Bridge, the art depicted the Brooklyn Bridge, and there is still no agreement as to where it actually took place." [43] Saffel, p. 65 [44] Conway, Gerry(w),Kane, Gil(p),Romita, John(i)."The Night Gwen Stacy Died" The Amazing Spider-Man121 (June 1973), New York, NY: Marvel Comics [45] Sanderson, Marvel Universe, p. 85 [46] Sanderson, Marvel Universe, p. 83 [47] Shooter, Jim(w),Zeck, Michael(p),Beatty, John, Abel, Jack, and Esposito, Mike(i)."Invasion" Marvel Super-Heroes Secret Wars8 (December 1984), New York, NY: Marvel Comics [48] Leupp, Thomas. "Behind the Mask: The Story of Spider-Man's Black Costume" (http:/ / www. reelzchannel. com/ article. aspx?articleId=292), ReelzChannel.com, 2007, n.d. WebCitation archive (http:/ / www. webcitation. org/ 5qn5Uiwyw). [49] Simonson, Louise(w),LaRocque, Greg(p),Mooney, Jim and Colletta, Vince(i)."'Til Death Do Us Part!" Web of Spider-Man1 (April 1985), New York, NY: Marvel Comics [50] Saffel, p. 124 [51] Shooter, Jim and Michelinie, David(w),Ryan, Paul(p),Colletta, Vince(i)."The Wedding" The Amazing Spider-Man Annual21 (1987), New York, NY: Marvel Comics [52] ""Life of Reilly", 35-part series, GreyHaven Magazine, 2003, n.d." (http:/ / web. archive. org/ web/ 19960101-re_/ http:/ / www. newcomicreviews. com/ GHM/ specials/ LifeOfReilly/ ). NewComicsReviews.com. Archived from the original (http:/ / www. newcomicreviews. com/ GHM/ specials/ LifeOfReilly/ ) on 1996-01-01. . [53] Millar, Mark(w),McNiven, Steve(p),Vines, Dexter(i)."Civil War" Civil War2 (August 2006), New York, NY: Marvel Comics [54] Straczynski, J. Michael(w),Quesada, Joe(p),Miki, Danny(i)."One More Day Part 4" The Amazing Spider-Man545 (Dec. 2007), New York, NY: Marvel Comics [55] Weiland, Jonah. storyline "The 'One More Day' Interviews with Joe Quesada, Pt. 1 of 5" (http:/ / www. comicbookresources. com/ ?page=article& id=12230), Newsarama, December 28, 2007. WebCitation archive (http:/ / www. webcitation. org/ 5qkzIuMKI). [56] Weiland, Jonah. "The 'One More Day' Interviews with Joe Quesada, Pt. 2 of 5" (http:/ / www. comicbookresources. com/ ?page=article& id=12238), Newsarama, December 31, 2007. WebCitation archive (http:/ / www. webcitation. org/ 5qkz3fKei). [57] Sanderson, Peter. Marvel Universe: The Complete Encyclopedia of Marvel's Greatest Characters (Harry N. Abrams, New York, 1998) ISBN 0-8109-8171-8, p. 75 [58] Daniels, p. 96 [59] "examples of "Not Brand Echh" comics" (http:/ / www. dialbforblog. com/ archives/ 180/ ). Dialbforblog.com. . Retrieved 2010-04-10. [60] McCarthy, Helen, 500 Manga Heroes and Villains (Barron's Educational Series, 2006), ISBN 978-0-7641-3201-8, [61] Lambiek comic shop and studio in Amsterdam, The Netherlands. "Lambiek Comiclopedia: Grald Forton" (http:/ / lambiek. net/ artists/ f/ forton_gerald. htm). Lambiek.net. . Retrieved 2010-04-10. [62] Gresh, Lois H., and Robert Weinberg. "The Science of Superheroes" (John Wiley & Sons, Inc., 2002) ISBN 0-471-02460-0 ( preview (http:/ / books. google. com/ books?id=TCv0LyEnzsUC& pg=PA65#PPA66,M1)) [63] Kiefer, Kit; Couper-Smartt, Jonathan (2003). Marvel Encyclopedia Volume 4: Spider-Man. New York: Marvel Comics. ISBN0-785-11304-5. [64] Lee, Stan, Origins of Marvel Comics (Simon and Schuster/Fireside Books, 1974) p. 137

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[65] Mondello, Salvatore (Mar 2004). "Spider-Man: Superhero in the Liberal Tradition". The Journal of Popular Culture X (1): 232238. doi:10.1111/j.0022-3840.1976.1001_232.x. "a teenage superhero and middle-aged supervillainsan impressive rogues' gallery which includes such memorable knaves and grotesques as the Vulture,". [66] Saunders, et al, Marvel Chronicle, p. 119 [67] DeFalco, Tom (2004). Comics Creators on Spider-Man. Titan Books. ISBN1840234229. [68] "2004" Maximum Carnage (May - August 1963), Marvel Comics, ISBN 0-7851-0987-0 [69] "Broadway's 'Spider-Man spin's magic'." (http:/ / www. kansascity. com/ 2011/ 05/ 21/ 2892683/ robert-trussell-broadways-spider. html). Kansas City Star. . Retrieved May 26, 2011. [70] Goldstein, Hilary (2006-02-01). "Spider-Man villain poll" (http:/ / uk. comics. ign. com/ articles/ 684/ 684904p5. html). IGN. . Retrieved 2006-10-01. [71] "The 20 Greatest Spider-Man Villains" (http:/ / blogzarro. com/ 2007/ 05/ 20-greatest-spider-man-villains/ ). Blogzarro.com. . Retrieved 2010-03-20. [72] "Fans : Top Ten : Top Ten Greatest Spider-Man Villains" (http:/ / www. spiderfan. org/ fans/ topten/ 2003/ 0901. html). SpiderFan.org. 2003-09-01. . Retrieved 2010-03-20. [73] Kupperberg, Paul (2007). The Creation of Spider-Man (http:/ / books. google. com/ ?id=4m1IM8L0hr0C& pg=PP1& dq=spiderman+ legacy+ ditko+ lee). The Rosen Publishing Group. ISBN1404207635. . [74] Fleming, James R. (2006). "Review of Superman on the Couch: What Superheroes Really Tell Us about Ourselves and Our Society. By Danny Fingeroth" (http:/ / www. english. ufl. edu/ imagetext/ archives/ v2_2/ reviews/ fleming. shtml). ImageText (University of Florida). ISSN1549-6732. . Retrieved Fleming. [75] Knowles, Christopher (2007). Our Gods Wear Spandex. illustrated by Joseph Michael Linsner. Weiser. p. 139 (http:/ / books. google. com/ books?id=93Mv-1R5yskC& pg=PA139). [76] "Spider-Man Weaving a spell" (http:/ / www. screenindia. com/ old/ 20020524/ intcov. html). Screen India. 2002. . Retrieved 2009-02-13. [77] "Spider-Man Returning to Macy's Thanksgiving Day Paradede" (http:/ / www. wcbs880. com/ pages/ 5021372. php?), Associated Press via WCBS (AM), 17 August 2009 [78] Spurlock, J. David, and John Romita. John Romita Sketchbook. (Vanguard Productions: Lebanon, N.J. 2002) ISBN 1-887591-27-3, p. 45: Romita: "I designed the Spider-Man balloon float. When we went to Macy's to talk about it, Manny Bass was there. He's the genius who creates all these balloon floats. I gave him the sketches and he turned them into reality". [79] "Skyscraper Defense" (http:/ / skyscraperdefense. com/ building_climbs. html). . Retrieved 2011-07-04. [80] Yarbrough, Beau (2001-09-24). "Marvel to Take on World Trade Center Attack in "Amazing Spider-Man"" (http:/ / www. comicbookresources. com/ ?page=article& id=418). Comic Book Resources. . Retrieved 2008-04-28. [81] Staff (2006-06-15). "Spider-Man Removes Mask at Last" (http:/ / news. bbc. co. uk/ 1/ hi/ entertainment/ 5084326. stm). BBC. . Retrieved 2006-09-29. [82] Brady, Matt (2006-06-14). "New York Post Spoils Civil War #2" (http:/ / web. archive. org/ web/ 20071011110225/ http:/ / newsarama. com/ marvelnew/ CivilWar/ CivilWar2_End. html). Newsarama. Archived from the original (http:/ / www. newsarama. com/ marvelnew/ CivilWar/ CivilWar2_End. html) on October 11, 2007. . Retrieved 2008-04-02. [83] Lane, Thomas (2008-01-04). "Can Spider-Man help UN beat evil?" (http:/ / news. bbc. co. uk/ 1/ hi/ world/ 7172016. stm). BBC. . Retrieved 2008-04-29. [84] Pisani, Joseph (June 1, 2006). "The Smartest Superheroes" (http:/ / images. businessweek. com/ ss/ 06/ 05/ smart_heroes/ index_01. htm). Business Week Online. . Retrieved 2007-11-25. [85] "The 50 Greatest Comic Book Characters" (http:/ / www. empireonline. com/ 50greatestcomiccharacters/ default. asp?c=5). Empire Online. . Retrieved 2009-02-08. [86] "The 100 Greatest Fictional Characters" (http:/ / fandomania. com/ 100-greatest-fictional-characters-10-6/ ). Fandomania. . Retrieved September 23, 2010. [87] "Spider-Man (1967)" (http:/ / web. archive. org/ web/ 20080424153033/ http:/ / www. ugo. com/ comic-con/ ?cur=spiderman-1967). UGO Networks. Archived from the original (http:/ / www. ugo. com/ comic-con/ ?cur=spiderman-1967) on 2008-04-24. . Retrieved 2009-02-13. [88] "Ultimate Spider-Man" (http:/ / www. superherohype. com/ features/ articles/ 100587-animated-ultimate-spider-man-coming-to-disney-xd). . Retrieved 18 November 2010. [89] "Japanese Spider-Man" (http:/ / marvel. com/ movies/ spider-man. japanese_spiderman). . Retrieved 18 November 2010. [90] "John Romita Interview" (http:/ / www. keefestudios. com/ studio/ romita/ interview. htm). www.keefestudios.com. . Retrieved 2009-02-08. [91] "EXCLUSIVE: 'Spider-Man 4' Scrapped; Sam Rami & Tobey Maguire & Cast Out; Franchise Reboot for 2012" (http:/ / www. deadline. com/ 2010/ 01/ urgent-spider-man-4-scrapped-as-is-raimi-and-cast-out-franchise-reboot-planned/ ). Deadline.com. January 11, 2010. . Retrieved January 11, 2010. [92] ""Spider-Man" Film Gets Reboot; Sam Raimi, Tobey Maguire Out" (http:/ / blog. zap2it. com/ frominsidethebox/ 2010/ 01/ spider-man-film-gets-reboot-sam-raimi-tobey-maguire-out. html). Zap2It.com. January 11, 2010. . Retrieved January 11, 2010. [93] "Maguire, Raimi out of 'Spider-Man' franchise" (http:/ / www. wate. com/ Global/ story. asp?S=11804771). Associated Press. Yahoo! Movies. January 11, 2010. . Retrieved January 11, 2010. [94] DiOrio, Carl (2010-02-10). "'Spider-Man' reboot will be in 3D" (http:/ / www. hollywoodreporter. com/ hr/ content_display/ news/ e3i0040e099982664b684cff507e86c3a14). Hollywoodreporter.com. . Retrieved 2010-03-20.

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[95] Leins, Jeff (2010-07-01). "Andrew Garfield is the New Spider-Man" (http:/ / www. newsinfilm. com/ 2010/ 07/ 01/ andrew-garfield-is-the-new-spider-man/ ). NewsinFilm.com. . Retrieved 2010-07-01. [96] Lustig, Jay. "Spider-Man: Turn off the Dark" (http:/ / www. nj. com/ entertainment/ music/ index. ssf/ 2011/ 01/ spider-man_turn_off_the_dark_-. html). New Jersey On-Line. January 18, 2011. Retrieved January 25, 2011. [97] Gans, Andrew. "Reeve Carney, Jennifer Damiano, Patrick Page to Star in Spider-Man; Performances Begin in November" (http:/ / www. playbill. com/ news/ article/ 141945-Reeve-Carney-Jennifer-Damiano-Patrick-Page-to-Star-in-Spider-Man-Performances-Begin-in-November). Playbill.com, August 10, 2010 [98] "SpidermanBroadway.Marvel.com" (http:/ / spidermanonbroadway. marvel. com/ ). Spidermanonbroadway.marvel.com. . Retrieved 2010-04-10. [99] Hetrick, Adam. "Troubled Spider-Man Turn Off the Dark Delays Broadway Opening Again" (http:/ / www. playbill. com/ news/ article/ 146654-Troubled-Spider-Man-Turn-Off-the-Dark-Delays-Broadway-Opening-Again). Playbill.com. January 13, 2011. Retrieved January 15, 2011. [100] "Could Spider-Man the Musical be the 'biggest disaster in Broadway history'?" (http:/ / theweek. com/ article/ index/ 206033/ spider-man-the-musical-an-instant-guide). The Week. August 13, 2010 (updated November 4, 2010). [101] "Ultimate Super Heroes, Vixens, and Villains Episode Guide 2005 - Ultimate Super Villains" (http:/ / www. tvguide. com/ detail/ tv-show. aspx?tvobjectid=191868& more=ucepisodelist& episodeid=4615590). TVGuide.com. . Retrieved 2010-10-09.

264

References External links


Official website (http://www.marvel.com/comics/Spider-Man) Spider-Man (http://marvel.com/universe/Spider-Man) at the Marvel Universe wiki Spider-Man (http://comicbookdb.com/character.php?ID=389) at the Comic Book DB "Venom: The Sordid History of Spider-Man's Black Costume" (http://marvel.com/news/comicstories.687) at Marvel.com Spider-Man (http://www.toonopedia.com/spidey.htm) at Don Markstein's Toonopedia SpiderFan (http://www.spiderfan.org/) Spider-Man (http://www.dmoz.org//Arts/Comics/Titles/S/Spider-Man/) at the Open Directory Project

Fantastic Four

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Fantastic Four
Fantastic Four

Promotional art for Fantastic Four #509 (March 2004) by Mike Wieringo and Karl Kesel. Group publication information Publisher First appearance Created by Marvel Comics The Fantastic Four #1 (November 1961) Stan Lee and Jack Kirby In-story information Type of organization Base(s) Team Baxter Building (formerly Avengers Mansion, Four Freedoms Plaza, Pier 4) Mister Fantastic Invisible Woman Human Torch The Thing Roster See: List of Fantastic Four members

Agent(s)

Fantastic Four
The Fantastic Four #1 (November 1961). Cover art by Jack Kirby (penciller) and unconfirmed inker

Series publication information Schedule Format Genre Monthly Ongoing series Superhero

Fantastic Four

266
(vol. 1) November 1961 September 1996 (vol. 2) November 1996 November 1997 (vol. 3) January 1998 August 2003 (vol. 1 cont.) September 2003 April 2011 (vol. 1): 416 (vol. 2): 13 (vol. 3): 70 (vol. 1 cont.): 89 Creative team

Publication date

Number of issues

Writer(s)

(vol. 1) Stan Lee, Roy Thomas, Len Wein, Marv Wolfman, John Byrne, Roger Stern, Steve Englehart, Walt Simonson, Tom DeFalco (vol. 2) Jim Lee (vol. 2) Scott Lobdell, Chris Claremont, Mark Waid (vol. 1 cont.) Mark Waid, Jonathan Hickman (vol. 1) Jack Kirby, John Buscema, Rich Buckler, George Prez, John Byrne, Walt Simonson, Paul Ryan (vol. 2) Jim Lee, Breth Booth (vol. 3) Alan Davis, Salvador Larroca, Mike Wieringo (vol. 1 cont.) Mike Wieringo, Mike McKone, Bryan Hitch, Dale Eaglesham, Steve Epting (vol. 1) Joe Sinnott, Danny Bulanadi (vol. 3) Art Thibert, Karl Kesel (vol. 1 cont.) Karl Kesel Stan Lee and Jack Kirby Collected editions

Penciller(s)

Inker(s)

Creator(s)

Essential Fantastic Four: Volume 1

ISBN 0-7851-1828-4

The Fantastic Four is a fictional superhero team appearing in comic books published by Marvel Comics. The group debuted in The Fantastic Four #1 (November 1961), which helped to usher in a new level of realism in the medium. The Fantastic Four was the first superhero team created by writer-editor Stan Lee and artist and co-plotter Jack Kirby, who developed a collaborative approach to creating comics with this title that they would use from then on. As the first superhero team title produced by Marvel Comics, it formed a cornerstone of the company's 1960s rise from a small division of a publishing company to a pop-culture conglomerate. The title would go on to showcase the talents of comics creators such as Roy Thomas, John Byrne, Steve Englehart, Walt Simonson, John Buscema, George Prez and Tom DeFalco, and is one of several Marvel titles originating in the Silver Age of Comic Books that is still in publication today. The four individuals traditionally associated with the Fantastic Four, who gained superpowers after exposure to cosmic rays during a scientific mission to outer space, are: Mr. Fantastic (Reed Richards), a scientific genius and the

Fantastic Four leader of the group, who can stretch his body into incredible lengths and shapes; the Invisible Woman (Susan "Sue" Storm), who eventually married Reed, who can render herself invisible and later project powerful force fields; the Human Torch (Johnny Storm), Sue's younger brother, who can generate flames, surround himself with them and fly; and the monstrous Thing (Ben Grimm), their grumpy but benevolent friend, a former college football star and Reed's college roommate as well as a good pilot, who possesses superhuman strength and endurance due to the nature of his stone-like flesh. Ever since the original 1961 introduction, the Fantastic Four have been portrayed as a somewhat dysfunctional, yet loving, family. Breaking convention with other comic-book archetypes of the time, they would squabble and hold grudges both deep and petty, and eschewed anonymity or secret identities in favor of celebrity status. The team is also well known for its recurring struggles with characters such as the villainous monarch Doctor Doom, the planet-devouring Galactus, the sea-dwelling prince Namor, the spacefaring Silver Surfer, and the shape-changing alien Skrulls. The Fantastic Four have been adapted into other media, including four animated television series, an aborted 1990s low-budget film, and the studio motion pictures Fantastic Four (2005) and Fantastic Four: Rise of the Silver Surfer (2007).

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Publication history
Origins
Apocryphal legend has it that in 1961, longtime magazine and comic book publisher Martin Goodman was playing golf with either Jack Liebowitz or Irwin Donenfeld of rival company DC Comics, then known as National Periodical Publications, and that the top executive bragged about DC's success with the new superhero team the Justice League of America.[1] While film producer and comics historian Michael Uslan has debunked the particulars of that story,[2] Goodman, a publishing trend-follower, aware of the JLA's strong sales, did direct his comics editor, Stan Lee, to create a comic-book series about a team of superheroes. According to Lee, writing in 1974, "Martin mentioned that he had noticed one of the titles published by National Comics seemed to be selling better than most. It was a book called The [sic] Justice League of America and it was composed of a team of superheroes. ... 'If the Justice League is selling', spoke he, 'why don't we put out a comic book that features a team of superheroes?'"[3] :16 Lee, who had served as editor-in-chief and art director of Marvel Comics and its predecessor companies, Timely Comics and Atlas Comics, for two decades, found that the medium had become creatively restrictive. Determined "to carve a real career for myself in the nowhere world of comic books,[4] Lee concluded that, "For just this once, I would do the type of story I myself would enjoy reading.... And the characters would be the kind of characters I could personally relate to: they'd be flesh and blood, they'd have their faults and foibles, they'd be fallible and feisty, and most important of all inside their colorful, costumed booties they'd still have feet of clay."[3] :17 Lee said he created a synopsis for the first Fantastic Four story that he gave to penciller Jack Kirby, who then drew the entire story. Kirby turned in his penciled art pages to Lee, who added dialogue and captions. This approach to creating comics, which became known as the "Marvel Method", worked so well for Lee and Kirby that they used it from then on; the Marvel Method became standard for the company within a year.[5] :87 Kirby recalled events somewhat differently. Challenged with Lee's version of events in a 1990 interview, Kirby responded: "I would say that's an outright lie",[6] :39 although the interviewer, Gary Groth notes that this statement needs to be viewed with caution.[7] Kirby claims he came up with the idea for the Fantastic Four in Marvel's offices, and that Lee had merely added the dialogue after the story had been pencilled.[6] :38 Kirby has also sought to establish, more credibly and on numerous occasions, that the visual elements of the strip were his conceptions. He regularly pointed to a team he had created for rival publisher DC Comics in the 1950s, Challengers of the Unknown. "[I]f you notice the uniforms, they're the same... I always give them a skintight uniform with a belt... the Challengers and the FF have a minimum of decoration. And of course, the Thing's skin is a kind of decoration, breaking up the

Fantastic Four monotony of the blue uniform."[8] :4 The characters wear no uniforms in the first two issues. Given the conflicting statements, outside commentators have found it hard to identify with precise detail who created the Fantastic Four. Although Stan Lee's typed synopsis for the Fantastic Four exists, Earl Wells, writing in The Comics Journal, points out that its existence doesn't assert its place in the creation; "[W]e have no way of knowing of whether Lee wrote the synopsis after a discussion with Kirby in which Kirby supplied most of the ideas".[9] :78 Comics historian R.C. Harvey believes that the Fantastic Four was a furtherance of the work Kirby had been doing previously, and so "more likely Kirby's creations than Lee's".[10] :69 But Harvey notes that the Marvel Method of collaboration allowed each man to claim credit,[10] :68 and that Lee's dialogue added to the direction the team took.[10] :69 Wells argues that it was Lee's contributions which set the framework within which Kirby worked, and this made Lee "more responsible".[9] :85 Comics historian Mark Evanier, a studio assistant to Jack Kirby in the 1970s, says that the considered opinion of Lee and Kirby's contemporaries was "that Fantastic Four was created by Stan and Jack. No further division of credit seemed appropriate".[11] :122

268

19611970s
The release of The Fantastic Four #1 (Nov. 1961) was an unexpected success. Lee had felt ready to leave the comics field at the time, but the positive response to Fantastic Four persuaded him to stay on.[12] The title began to receive fan mail, and Lee started printing the letters in a letter column with Issue #3. Also with the third issue, the Fantastic Four starting wearing costumes at a letter writer's suggestion, and Lee created the hyperbolic slogan "The Greatest Comic Magazine in the World!!" With the following issue, the slogan was changed to "The World's Greatest Comic Magazine!", and became a fixture on the issue covers into the 1990s,[5] :87 and on numerous covers in the 2000s. Issue #4 (May 1962) reintroduced Namor the Sub-Mariner, an aquatic antihero who was a star character of Marvel's earliest iteration, Timely Comics, during the late 1930s and 1940s period that historians and fans call the Golden Age of Comics. Issue #5 (July 1962) introduced the team's most frequent nemesis, Doctor Doom. These earliest issues were published bimonthly. With issue #16 (July 1963), the cover title dropped its The and became simply Fantastic Four. While the early stories were complete narratives, the frequent appearances of these two antagonists, Doom and Namor, in subsequent issues indicated the creation of a long narrative by Lee and Kirby that extended over months. Ultimately, according to comics historian Les Daniels, "only narratives that ran to several issues would be able to contain their increasingly complex ideas".[5] :88 During its creators' lengthy run, the series produced many acclaimed storylines and characters that have become central to Marvel, including the hidden race of alien-human genetic experiments, the Inhumans;[13] the Black Panther,[14] an African king who would be mainstream comics' first Fantastic Four #48 (Sept. 1966): The Watcher warns, in part one of the landmark "Galactus black superhero; the rival alien races the Kree and the shapeshifting Trilogy". Cover art by Kirby and Joe Sinnott. Skrulls; Him, who would become Adam Warlock; the Negative Zone; and unstable molecules. The story frequently cited as Lee and Kirby's finest achievement[15] [16] is the three-part "Galactus Trilogy" that began in Fantastic Four #48 (March 1966), chronicling the arrival of Galactus, a cosmic giant who wanted to devour the planet, and his herald, the Silver Surfer.[17] Daniels noted that "[t]he mystical and metaphysical elements that took over the saga were perfectly suited to the tastes of young readers in the 1960s", and Lee soon discovered that the story was a favorite on college campuses.[5] :128

Fantastic Four Kirby left Marvel in mid 1970, having drawn the first 102 issues plus an unfinished issue later completed and published as Fantastic Four: The Lost Adventure (April 2008), Fantastic Four continued with Lee, Roy Thomas, Gerry Conway and Marv Wolfman as its consecutive regular writers, working with artists such as John Romita, Sr., John Buscema, Rich Buckler and George Prez, with longtime inker Joe Sinnott adding some visual continuity. Jim Steranko also contributed several covers during this time.

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1980s and early 1990s


John Byrne joined the title with issue #209 (Aug. 1979), doing pencil breakdowns for Sinnott to finish. Byrne then wrote two tales as well (#220-221, JulyAug. 1980) before writer Doug Moench and penciller Bill Sienkiewicz took over for 10 issues. With issue #232 (July 1981), the aptly titled "Back to the Basics", Byrne began his run as writer, penciller and inker, that last under the pseudonym Bjorn Heyn for this issue only.[18] Byrne revitalized the slumping title with his run.[19] :265 Originally, Byrne was slated to write with Sienkiewicz providing the art. Sienkiewicz left to do Moon Knight, and Byrne ended up as writer, artist, and inker. Various editors were assigned to the comic; eventually Bob Budiansky became the regular editor. Byrne told Jim Shooter that he could not work with Budiansky, although they ultimately continued to work together. In 2006, Byrne said "that's my paranoia. I look back and I think that was Shooter trying to force me off the book". Byrne eventually left in the middle of a story arc, explaining he could not recapture the fun he had previously had on the series.[20] One of Byrne's changes was making the Invisible Girl into the Invisible Woman: assertive and confident. During this period, fans came to recognize that she was quite powerful, whereas previously, she had been primarily seen as a superpowered mother and wife in the tradition of television moms like those played by Donna Reed and Florence Henderson.[21] Byrne also staked new directions in the characters' personal lives, having the married Sue Storm and Reed Richards suffer a miscarriage, and the Thing quitting the Fantastic Four, with She-Hulk being recruited as his long-term replacement. Byrne was followed by a quick succession of writers: Roger Stern, Tom DeFalco, and Roy Thomas. Steve Englehart took over as writer for issues 304332 (except #320). The title had been struggling, so Englehart decided to make radical changes. He felt the title had become stale with the normal makeup of Reed, Sue, Ben, and Johnny, so in issue #308 Reed and Sue retired and were replaced with the Thing's new girlfriend, Sharon Ventura, and Johnny Storm's former love, Crystal. The changes increased readership through issue #321. At this point, Marvel made decisions about another Englehart comic, West Coast Avengers, that he disagreed with, and in protest he changed his byline to S.F.X. Englehart (S.F.X. is the abbreviation for Simple Sound Effects). In issue #326, Englehart was told to bring Reed and Sue back and undo the other changes he had made. This caused Englehart to take his name entirely off the book. He used the pseudonym John Harkness, which he had created years before for work he didn't want to be associated with. According to Englehart, the run from #326 through his last issue, #332, was "one of the most painful stretches of [his] career."[22] Writer-artist Walt Simonson took over as writer with #334 (December 1989), and three issues later began pencilling and inking as well. With brief inking exceptions, two fill-in issues, and a three-issue stint drawn by Arthur Adams, Simonson remained in all three positions through #354 (July 1991).

John Byrne gets "Back to the Basics" in #232 (July 1981), his debut as writer-artist. Cover art by Byrne and inker Terry Austin.

Fantastic Four Simonson, who had been writing the team comic The Avengers, had gotten approval for Reed and Sue to join that team after Engelhart had written them out of Fantastic Four. Yet by The Avengers #300, where they were scheduled to join the team, Simonson was told the characters were returning to Fantastic Four. This led to Simonson quitting The Avengers after that issue. Shortly afterward, he was offered the job of writing Fantastic Four. Having already prepared a number of stories involving the Avengers with Reed and Sue in the lineup, he then rewrote these for Fantastic Four. Simonson later recalled that working on Fantastic Four allowed him the latitude to use original Avengers members Thor and Iron Man, which he had been precluded from using in The Avengers.[23] After another fill-in, the regular team of writer and Marvel editor-in-chief Tom DeFalco, penciller Paul Ryan and inker Dan Bulanadi took over, with Ryan self-inking beginning with #360 (Jan. 1992). That team, with the very occasional different inker, continued for years through #414 (July 1996). DeFalco nullified the Storm-Masters marriage by retconning that the alien Skrull Empire had kidnapped the real Masters and replaced her with a spy named Lyja. Once discovered, Lyja, who herself had fallen for Storm, helped the Fantastic Four rescue Masters. Ventura departed after being further mutated by Doctor Doom. Ryan's lengthy run is behind only those of Jack Kirby and John Byrne in number of issues drawn. Although some fans were not pleased with DeFalco's run on Fantastic Four, calling him "The Great Satan", the title's sales increased over the period.[24] Other key developments included Franklin Richards being sent into the future and returning as a teenager; the return of Reed's time-traveling father, Nathaniel, who is revealed to be the father of time-travelling villain Kang; and Reed's apparent death at the hands of a seemingly mortally wounded Doctor Doom. It would be two years before DeFalco resurrected the two characters, revealing that their "deaths" were orchestrated by the supervillain Hyperstorm. The ongoing series was canceled with issue #416 (Sept. 1996) and relaunched with vol. 2, #1 (Nov. 1996) as part of the multi-series "Heroes Reborn" crossover story arc. The year-long volume retold the team's first adventures in a more contemporary style, and set in a parallel universe. Following the end of that experiment, Fantastic Four was relaunched with vol. 3, #1 (Jan. 1998). Initially by the team of writer Scott Lobdell and penciller Alan Davis, it went after three issues to writer Chris Claremont (co-writing with Lobdell for #4-5) and penciller Salvador Larroca; this team enjoyed a long run through issue #32 (Aug. 2000).

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2000s
Following the run of Claremont, Lobdell and Larocca, Carlos Pacheco took over as penciller and co-writer, first with Rafael Marn, then with Marn and Jeph Loeb. This series began using dual numbering, as if the original Fantastic Four series had continued unbroken, with issue #42 / #471 (June 2001). (At the time, the Marvel Comics series begun in the 1960s, such as Thor and The Amazing Spider-Man, were given such dual numbering on the front cover, with the present-day volume's numbering alongside the numbering from the original series.) After issue #70 / #499 (Aug. 2003), the title reverted to its original vol. 1 numbering with issue #500 (Sept. 2003). Karl Kesel succeeded Loeb as co-writer with issue #51 / #480 (March 2002), and after a few issues with temporary teams, Mark Waid took over as writer with #60 / 489 (October 2002) with artist Mike Wieringo (with Marvel releasing a promotional variant edition of their otherwise $2.25 debut issue at the price of nine cents US).[25] Pencillers Mark Buckingham, Casey Jones, and Howard Porter variously contributed through issue #524 (May 2005), with a handful of issues by other teams also during this time. Writer J. Michael Straczynski and penciller Mike McKone did issues #527-541 (July 2005 - Nov. 2006), with Dwayne McDuffie taking over as writer the following issue, and Paul Pelletier succeeding McKone beginning with #544 (May 2007). As a result of the events of the "Civil War" company-crossover storyline, Reed and Susan Richards were temporarily replaced on the team by the Black Panther and Storm. During that period, the Fantastic Four also appeared in Black Panther,[26] written by Reginald Hudlin and pencilled primarily by Francis Portela. Beginning with issue #554 (April 2008), writer Mark Millar and penciller Bryan Hitch began what Marvel announced as a sixteen-issue run.[27] Following the Summer 2008 crossover storyline, "Secret Invasion", and the 2009 aftermath "Dark Reign",

Fantastic Four chronicling the U.S. government's assigning of the Nation's security functions to the seemingly reformed supervillain Norman Osborn, the Fantastic Four starred in a five-issue miniseries, Dark Reign: Fantastic Four (MaySept. 2009), written by Jonathan Hickman, with art by Sean Chen.[28] [29] [30] Hickman took over as the series regular writer as of issue #570 with Dale Eaglesham and later Steve Epting on art.

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2010s
In the storyline "Three", which concluded in Fantastic Four #587 (cover date March 2011, published January 26, 2011), the Human Torch appears to die stopping a horde of monsters from the other-dimensional Negative Zone. The series ended with the following issue, #588, and relaunched in March 2011 as simply FF.[31] [32] [33] The relaunch saw the team adopt a new name, the Future Foundation, and new black-and-white costumes, and accept Spider-Man as a member.[34] [35]

Spinoffs
Ancillary titles and features spun off from the flagship series include the 1970s quarterly Giant-Size Fantastic Four and the 1990s Fantastic Four Unlimited and Fantastic Four Unplugged; Fantastic Force, an 18-issue spinoff (November 1994 April 1996) featuring an adult Franklin Richards, from a different timeline, as Psi-Lord. A 12-issue series Fantastic Four: The World's Greatest Comics Magazine ran in 2001, paying homage to Stan Lee and Jack Kirby's legendary run. A spinoff title Marvel Knights 4 (April 2004 June 2006) was written by Roberto Aguirre-Sacasa and illustrated by Steve McNiven in his first Marvel work. As well, there have been numerous limited series featuring the group. In 2004, Marvel launched Ultimate Fantastic Four. Part of the company's Ultimate Marvel imprint, the series reimagined the team as teenagers. The series ran 60 issues (Feb. 2004 - Feb. 2009). In 2008, Marvel launched Marvel Adventures: Fantastic Four, an out-of-continuity series aimed at younger readers.

The Human Torch solo


The Human Torch was given a solo strip in Strange Tales in 1962 in order to bolster sales of the title.[5] :98 The series began in Strange Tales #101 (October 1962), in 12- to 14-page stories plotted by Lee and initially scripted by his brother, Larry Lieber, and drawn by penciller Kirby and inker Dick Ayers. Here, Johnny was seen living with his elder sister, Susan, in fictional Glenview, Long Island, New York, where he continued high school and, with youthful naivet, attempted to maintain a "secret identity". In Strange Tales #106 (March 1963), Johnny discovered that his friends and neighbors knew of his dual identity all along, from Fantastic Four news reports, but were humoring him. Supporting characters included Johnny's girlfriend, Doris Evans, usually in consternation as Johnny cheerfully flew off to battle bad guys. She was seen again in a 1970s issue of Fantastic Four, having become a heavyset but cheerful wife and mother. Ayers took over the penciling after ten issues, later followed by original Golden Age Human Torch creator Carl Burgos and others. The Fantastic Four made occasional cameo appearances, and the Thing became a co-star with issue #123 (Aug. 1964). The Human Torch shared the "split book" Strange Tales with fellow feature "Doctor Strange" for the majority of its run, before finally flaming off with issue #134 (July 1965), replaced the following month by "Nick Fury, Agent of S.H.I.E.L.D.". The Silver Age stories were republished in 1974, along with some Golden Age Human Torch stories, in a short-lived ongoing Human Torch series. A later ongoing solo series in Marvel's manga-influenced Tsunami imprint, Human Torch, ran 12 issues (June 2003 June 2004), followed by the five-issue limited series Spider-Man/Human Torch (MarchJuly 2005), an "untold tales" team-up arc spanning the course of their friendship.

Fantastic Four

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The Thing solo


The Thing appeared in two team-up issues of Marvel Feature (#11-12, SeptemberNovember 1973). Following their success, he was given his own regular team-up title Marvel Two-in-One, co-starring with Marvel heroes not only in the present day but occasionally in other time periods (fighting alongside the World War II-era Liberty Legion in #20 and the 1930s hero Doc Savage in #21, for example) and in alternate realities. The series ran 100 issues (January 1974 June 1983), with seven summer annuals (19761982), and was immediately followed by the solo title The Thing #1-36 (July 1983 June 1986). Another ongoing solo series, also titled The Thing, ran eight issues (JanuaryAugust 2006).

Characters
The Fantastic Four is formed when during an outer space test flight in an experimental rocket ship, the four protagonists are bombarded by a storm of cosmic rays. Upon crash landing back on Earth, the four astronauts find themselves transformed with bizarre new abilities. The four then decide to use their powers for good as superheroes. In a significant departure from preceding superhero conventions, the Fantastic Four make no effort to maintain secret identities, instead maintaining a high public profile and enjoying celebrity status for scientific and heroic contributions to society. At the same time they are often prone to arguing and even fighting with one another. Despite their bickering, the Fantastic Four consistently prove themselves to be "a cohesive and formidable team in times of crisis."[19] :204205 While there have been a number of lineup changes to the group, the four characters who debuted in Fantastic Four #1 remain the core and most frequent lineup. Mister Fantastic (Reed Richards), a scientific genius, can stretch, twist and re-shape his body to inhuman proportions. Mr. Fantastic serves as the father figure of the group, and is "appropriately pragmatic, authoritative, and dull".[19] :19 Richards blames himself for the failed space mission, particularly because of how the event transformed pilot Ben Grimm.[19] :205 Invisible Girl/Invisible Woman (Susan Storm), Reed Richards' girlfriend (and eventual wife) has the ability to bend and manipulate light to render herself and others invisible. She later develops the ability to generate force fields, which she uses for a variety of defensive and offensive effects. The Human Torch (Johnny Storm), Sue Storm's younger brother, possesses the ability to control fire, allowing him to project fire from his body, as well as the power to fly. This character was loosely based on a Human Torch character published by Marvel's predecessor Timely Comics in the 1940s, an android that could ignite itself. Lee said that when he conceptualized the character, "I thought it was a shame that we didn't have The Human Torch anymore, and this was a good chance to bring him back".[5] :85 Unlike the teen sidekicks that preceded him, the Human Torch in the early stories was "a typical adolescent brash, rebellious, and affectionately obnoxious."[19] :204 Johnny Storm was killed in the 2011 storyline "Three".[32] The Thing (Ben Grimm), Reed Richards' college roommate and best friend, has been transformed into a monstrous, craggy humanoid with orange, rock-like skin and super-strength. The Thing is often filled with anger, self-loathing and self-pity over his new existence. He serves as "an uncle figure, a long-term friend of the family with a gruff Brooklyn manner, short temper, and caustic sense of humor".[19] :204 In the original synopsis Lee gave to Kirby, The Thing was intended as "the heavy", but over the years, the character has become "the most lovable group member: honest, direct and free of pretension".[5] :86 The Fantastic Four has had several different headquarters, most notably the Baxter Building, located at 42nd Street and Madison Avenue in New York City. The Baxter Building was replaced by Four Freedoms Plaza at the same location after the Baxter Building's destruction at the hands of Kristoff Vernard, adopted son of the team's seminal foe Doctor Doom (Prior to the completion of Four Freedoms Plaza, the team took up temporary residence at Avengers Mansion.[36] ). Pier 4, a waterfront warehouse, served as a temporary headquarters after Four Freedoms Plaza was destroyed by the ostensible superhero team the Thunderbolts[37] shortly after the revelation that they were

Fantastic Four actually the supervillain team the Masters of Evil in disguise. Pier 4 was eventually destroyed during a battle with the longtime Fantastic Four supervillain Diablo,[38] after which the team received a new Baxter Building, courtesy of one of team leader Reed Richards' former professors, Noah Baxter. This second Baxter Building was constructed in Earth's orbit and teleported into the vacant lot formerly occupied by the original.[39]

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Supporting characters
Allies and supporting characters
A number of characters are closely affiliated with the team, share complex personal histories with one or more of its members but have never actually held an official membership. Some of these characters include, but are not limited to: Namor the Sub-Mariner (previously an antagonist), Alicia Masters, Lyja the Lazerfist, H.E.R.B.I.E., Kristoff Vernard (Doctor Doom's former protg), Wyatt Wingfoot, governess Agatha Harkness, and Reed and Sue's children Franklin Richards and Valeria Richards. Several allies of the Fantastic Four have served as temporary members of the team, including Crystal, Medusa, Power Man, Nova (Frankie Raye) (as the Human Torch), She-Hulk, Ms. Marvel II, Ant-Man II, Namorita, Storm, and the Black Panther; a temporary lineup from Fantastic Four #347-349 consisted of the Hulk, Spider-Man, Wolverine, and Ghost Rider II. Other notable characters who have been involved with the Fantastic Four include Alyssa Moy, Caledonia (Alysande Stuart of Earth-9809), Fantastic Force, the Inhumans (particularly Black Bolt, Crystal, Medusa, Gorgon, Karnak, Triton, and Lockjaw), Nathaniel Richards, Silver Surfer (previously an antagonist), Thundra, Willie Lumpkin the postal worker, and Uatu The Watcher. Author Christopher Knowles states that Kirby's work on creations such as the Inhumans and the Black Panther served as "a showcase of some of the most radical concepts in the history of the medium".[40]

Antagonists
Writers and artists over many years have created a variety of characters to challenge the Fantastic Four. Knowles states that Kirby helped to create "an army of villains whose rage and destructive power had never been seen before," and "whose primary impulse is to smash the world."[40] Some of the team's oldest and most frequent enmities have involved such foes as the Mole Man, the Skrulls, Namor the Sub-Mariner, Doctor Doom, Puppet Master, Kang the Conqueror/Rama-Tut/Immortus, Blastaar, the Frightful Four, Annihilus, Galactus, and Klaw. Other prominent antagonists of the Fantastic Four have included the Wizard, Impossible Man, Red Ghost, Mad Thinker, Super-Skrull, Molecule Man, Diablo, Dragon Man, Psycho-Man, Ronan the Accuser, Salem's Seven, Terrax, Terminus, Hyperstorm, and Lucia von Bardas.

Cultural impact
The Fantastic Four's characterization was initially different from all other superheroes at the time. One major difference is that they do not conceal their identities, leading the public to be both suspicious and in awe of them. Also, they frequently argued and disagreed with each other, hindering their work as a team.[19] Described as "heroes with hangups" by Stan Lee,[41] the Thing has a temper, and the Human Torch resents being a child among adults. Mr. Fantastic blames himself for the Thing's transformation. Social scientist Bradford W. Wright describes the team as a "volatile mix of human emotions and personalities". In spite of their disagreements, they ultimately function well as a team.[42] The first issue of The Fantastic Four proved a success, igniting a new direction for superhero comics and soon influencing many other superhero comics.[43] Readers grew fond of Ben's grumpiness, Johnny's tendency to annoy others, and Reed and Sue's spats. Stan Lee was surprised at the reaction to the first issue, leading him to stay in the

Fantastic Four comics field despite previous plans to leave. Comics historian Stephen Krensky said that "Lee's natural dialogue and flawed characters appealed to 1960s kids looking to 'get real'".[12] As of 2005, 150 million comics featuring the Fantastic Four have been sold.[41] A Fantastic Four film was released in 2005, and a sequel in 2007.

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In other media
There have been four The Fantastic Four animated TV series and three feature films (though one of the movies went unreleased, and is only available in a widely circulated bootleg). The Fantastic Four also guest-starred in the "Secret Wars" story arc of the 1990s Spider-Man animated series and the Thing guest-starred (with a small cameo from the other Fantastic Four members) in the "Fantastic Fortitude" episode of the 1996 Hulk series. There was also a very short-lived radio show in 1975 that adapted early Kirby/Lee stories, and is notable for casting a pre-Saturday Night Live Bill Murray as the Human Torch. Also in the cast were Bob Maxwell as Reed Richards, Cynthia Adler as Sue Storm, Jim Pappas as Ben Grimm and Jerry Terheyden as Doctor Doom. Other Marvel characters featured in the series included Ant-Man, Prince Namor, Nick Fury, and the Hulk. Stan Lee narrated the series, and the scripts were taken almost verbatim from the comic books. The team made only one other audio appearance, on the Power Records album The Amazing Spider-Man and Friends. The Way It Began featured Stan Lee himself in the role of Johnny Storm and saw Ben Grimm reliving the origin of the FF, before leaving the Baxter Building to find their original nemesis the Mole Man, and a possible cure for Alicia's blindness. The story was never followed up on any further Power Records albums. In 1979, the Thing was featured as half of the Saturday morning cartoon Fred and Barney Meet the Thing. The character of the Thing was given a radical make-over for the series. The title character for this program was Benji Grimm, a teenage boy who possessed a pair of magic rings which could transform him into the Thing. The other members of the Fantastic Four do not appear in the series, nor do the animated The Flintstones stars Fred Flintstone and Barney Rubble, despite the title of the program.

Animated series
The Fantastic Four have been the subject of four different cartoon television series. The first Fantastic Four series, produced by Hanna-Barbera, ran for 20 episodes from September 9, 1967March 15, 1970. The second Fantastic Four series, produced by DePatie-Freleng, lasted only 13 episodes and ran from September 9, 1978December 16, 1978; this series features a H.E.R.B.I.E. Unit in place of the Human Torch. The third Fantastic Four was broadcast under the Marvel Action Hour umbrella, with introductions by Stan Lee; this series ran for 26 episodes from September 24, 1994February 24, 1996. The fourth series, Fantastic Four: World's Greatest Heroes, debuted on September 2, 2006 on Cartoon Network and has thus far run for 26 episodes. The Fantastic Four have made appearances on the animated children's series The Super Hero Squad Show. Different Fantastic Four members appear (briefly and with little or no dialogue) and are mentioned various times throughout the first season of The Avengers: Earth's Mightiest Heroes. Reed Richards is mentioned in the episode "Some Assembly Required" when Iron Man states that he and Richards are working to develop a new supervillain prison in the Negative Zone (as a result of the events of the two-part episode "Breakout"). Reed is mentioned again in the episode "The Man Who Stole Tomorrow" when the prison he and Stark (and, as revealed in this episode, Dr. Henry Pym) designed, named "42" because it is the 42nd idea that Richards, Stark, and Pym thought of to make the world a better place, is introduced and featured in an episode for the first time. In this same episode, a photo of the entire team is seen in the Avengers' mansion. The Human Torch and the Thing were seen helping the Avengers fight the evil forces of Malekith the Accursed in the episode "The Casket of Ancient Winters". Thing, voiced by Fred Tatasciore, has a small amount of dialogue in this episode. In the first episode of the second season, "The Private War of Dr. Doom", the entire team finally appears as as whole (with lots of dialogue and a major role) when they

Fantastic Four team up with the Avengers to fight Dr. Doom. This episode is the first "in-person" appearance of the Invisible Woman. At the end of the episode, Dr. Doom discovers that Invisible Woman has been replaced by a Skrull imposter (the same fate Captain America and Viper suffered in this series).

275

Video games
The Fantastic Four starred in a 1997 Fantastic Four video game. The team appeared appeared in the Spider-Man: The Animated Series video game, based on the 1990s Spider-Man animated series, for the Super NES and Sega Genesis. The Thing and the Human Torch appeared in the 2005 game Marvel Nemesis: Rise of the Imperfects. All of the Fantastic Four appear as playable characters in the game Marvel: Ultimate Alliance with Doctor Doom being the main enemy. The members of the Fantastic Four are also featured in Marvel: Ultimate Alliance 2, although the team is separated over the course of the game. The Human Torch has an appearance in a mini-game where the player races against him in all versions of Ultimate Spider-Man, except on the Game Boy Advance platform. The Fantastic Four star in games based on the 2005 movie Fantastic Four and its 2007 sequel.

Film
A movie adaptation of The Fantastic Four was completed in 1994 by B movie producer Roger Corman. While this movie was never released to theaters nor video, it has been made available from various bootleg video distributors. Another feature film adaptation of Fantastic Four was released July 8, 2005 by Fox, and directed by Tim Story. Fantastic Four opened in approximately 3,600 theaters and despite mixed reviews[44] grossed US$156 million in North America and US$329 million worldwide, Promotional poster for Fantastic Four (2005), weighed against a production budget of $100 million[45] and an featuring Chris Evans, Michael Chiklis, Jessica undisclosed marketing budget. It stars Ioan Gruffudd as Reed Alba, and Ioan Gruffudd Richards/Mr. Fantastic, Jessica Alba as Susan Storm/Invisible Woman, Chris Evans as Johnny Storm/Human Torch, Michael Chiklis as Ben Grimm/The Thing and Julian McMahon as Victor Von Doom/Dr. Doom, with Stan Lee making a cameo appearance as Willie Lumpkin, the mailman. A sequel, Fantastic Four: Rise of the Silver Surfer, directed by Story and written by Don Payne, was released June 15, 2007. Despite mixed reviews, the sequel brought in US$132 million in North America and a total of US$288 million worldwide.[46] On 31 August 2009 Fox announced a reboot of the Fantastic Four franchise.[47]

Fantastic Four

276

Collected editions
The Fantastic Four stories have been collected into several trade paperback and hardcover editions. As part of the Essential Marvel range:
Title Years covered 19611963 Material collected Pages Publication date November 1998 October 1999 ISBN

The Fantastic Four, Vol. 1 The Fantastic Four, Vol. 2 The Fantastic Four, Vol. 3 The Fantastic Four, Vol. 4 The Fantastic Four, Vol. 5 The Fantastic Four, Vol. 6 The Fantastic Four, Vol. 7 The Fantastic Four, Vol. 8

The Fantastic Four #1-20, Annual #1

544

978-0785106661

19631965

The Fantastic Four #21-40, Annual #2; Strange Tales Annual #2 528

978-0785107316

19651967

The Fantastic Four #41-63, Annual #3-4

536

August 2001

978-0785126256

19671968

The Fantastic Four #64-83, Annual #5-6

536

June 2005

978-0785114840

19691971

The Fantastic Four #84-110, Annual #7-8

568

June 2006

978-0785121626

19711973

The Fantastic Four #111-137

592

May 2007

978-0785126973

19731975

The Fantastic Four #138-159; Giant-Size Super-Stars #1; Giant-Size Fantastic Four #2-4; Avengers #127 The Fantastic Four #160-179, #181-183, Annual #11; Marvel Two-in-One #20, Annual #1

560

July 2008

978-0785130635

19751977

520

May 2010

978-0785145387

As part of the Marvel Masterworks series:


# Title Material collected Pages First edition Second edition ISBN

Hardcovers 2 The Fantastic Four, Vol. 1 The Fantastic Four, Vol. 2 The Fantastic Four, Vol. 3 The Silver Surfer, Vol. 1 The Fantastic Four #1-10 256 November 1987 October 1988 June 2003 978-0785111818

The Fantastic Four #11-20, Annual #1

295

July 2003

978-0785109808

13

The Fantastic Four #21-30

234

September 1990 June 1991

September 2003 June 2003

978-0871356291

15

The Silver Surfer #1-6; The Fantastic Four Annual #5 The Fantastic Four #31-40, Annual #2

260

978-0785131137

21

The Fantastic Four, Vol. 4 The Fantastic Four, Vol. 5 The Fantastic Four, Vol. 6 The Fantastic Four, Vol. 7 The Fantastic Four, Vol. 8 The Fantastic Four, Vol. 9

264

November 1992 October 1993

November 2003 978-0785111832

25

The Fantastic Four #41-50, Annual #3

240

January 2004

978-0785111849

28

The Fantastic Four #51-60, Annual #4

240

October 2000

March 2004

978-0785112662

34

The Fantastic Four #61-71, Annual #5

304

August 2004

N/A

978-0785115847

42

The Fantastic Four #72-81, Annual #6

272

March 2005

N/A

978-0785116943

53

The Fantastic Four #82-93, Annual #7

272

November 2005

N/A

978-0785118466

Fantastic Four

277
The Fantastic Four #94-104 272 May 2006 N/A 978-0785120612

62

The Fantastic Four, Vol. 10

103 The Fantastic Four, Vol. 11 132 The Fantastic Four, Vol. 12

The Fantastic Four #105-116

272

September 2008 February 2010

N/A

978-0785130468

The Fantastic Four #117-128

272

N/A

978-0785142188

Trade paperbacks Fantastic Four, Vol. 1 Fantastic Four, Vol. 2 Fantastic Four, Vol. 3 Fantastic Four, Vol. 4 Fantastic Four, Vol. 5 The Fantastic Four #1-10 The Fantastic Four #11-20, Annual #1 The Fantastic Four #21-30 The Fantastic Four #31-40, Annual #2 The Fantastic Four #41-50, Annual #3 256 295 234 264 240 March 2009 July 2009 February 2010 October 2010 February 2011 N/A N/A N/A N/A N/A 978-0785137108 978-0785137122 978-0785142966 978-0785145660 978-0785150589

Paperbacks
Title Material collected Writer Publication date June 2005 ISBN

Fantastic Four Visionaries: George Prez, Vol. 1 Fantastic Four Visionaries: George Prez, Vol. 2 Fantastic Four Visionaries: John Byrne, Vol. 0 Fantastic Four Visionaries: John Byrne, Vol. 1 Fantastic Four Visionaries: John Byrne, Vol. 2 Fantastic Four Visionaries: John Byrne, Vol. 3 Fantastic Four Visionaries: John Byrne, Vol. 4 Fantastic Four Visionaries: John Byrne, Vol. 5 Fantastic Four Visionaries: John Byrne, Vol. 6 Fantastic Four Visionaries: John Byrne, Vol. 7

Fantastic Four #164-167, #170, #176-178, #184-186

978-0785117254

Fantastic Four #187-188, #191-192, Annual #14-15; Marvel Two-in-One #60; Adventures of the Thing #3 Fantastic Four #215-218, #220-221; Marvel Team-Up #61-62; Marvel Two-in-One #50

April 2006

978-0785120605

January 2009 978-0785137610

Fantastic Four #232-240

November 2001

978-0785142706

Fantastic Four #241-250

May 2004

978-0785114642

Fantastic Four #251-257, Annual #17; Avengers #233; Thing #2

January 2005 978-0785116790

Fantastic Four #258-267; Alpha Flight #4; Thing #10

March 2005

978-0785117100

Fantastic Four #268-275, Annual #18; Thing #19

December 2005

978-0785118442

Fantastic Four #276-284; Secret Wars II #2; Thing #23

September 2006

978-0785121909

Fantastic Four #285-286, Annual #19; Avengers #263, Annual #14; X-Factor #1

June 2007

978-0785127352

Fantastic Four

278
Fantastic Four #287-295 December 2007 978-0785127369

Fantastic Four Visionaries: John Byrne, Vol. 8 Fantastic Four Visionaries: Walt Simonson, Vol. 1 Fantastic Four Visionaries: Walt Simonson, Vol. 2 Fantastic Four Visionaries: Walt Simonson, Vol. 3 Fantastic Four: Trial of Galactus

Fantastic Four #334-341

May 2007

978-0785127581

Fantastic Four #342-346

August 2008

978-0785131304

Fantastic Four #347-350, #352-354

November 2009

978-0785137511

Fantastic Four #242-244, #257-262; What the--?! #2

John Byrne

September 1990

978-0871355751

Fantastic Four: Monsters Fantastic Four #347-349 Unleashed Fantastic Four: Nobody Gets Out Alive Fantastic Four: Heroes Reborn Fantastic Four: Heroes Return Fantastic Four #387-392

Walt Simonson

January 1992 978-0871358776

Tom DeFalco

February 1995 July 2000

978-0785100638

Fantastic Four vol. 2, #1-12

Brandon Choi, Jim Lee

978-0785107446

Fantastic Four vol. 3, #1-4

Fantastic Four: Flesh and Fantastic Four vol. 3, #35-39 Stone Fantastic Four: Into the Breach Fantastic Four vol. 3, #40-44

Jeph Loeb III, Rafael Marin, Carlos Pacheco Jeph Loeb III, Rafael Marin, Carlos Pacheco Karl Kesel, Rafael Marin, Carlos Pacheco Mark Waid

November 2000

978-0785107934

January 2002 978-0785108658

Fantastic Four/Inhumans Fantastic Four vol. 3, #51-54; Inhumans #1-4

2007

978-0785127031

Fantastic Four, Vol. 1: Imaginauts Fantastic Four, Vol. 2: Unthinkable Fantastic Four, Vol. 3: Authoritative Action Fantastic Four, Vol. 4: Hereafter Fantastic Four, Vol. 5: Disassembled Fantastic Four, Vol. 6: Rising Storm

Fantastic Four vol. 3, #56, #60-66

April 2003

978-0785110637

Fantastic Four vol. 3, #67-70, #500-502

Mark Waid

December 2003 December 2003 August 2004

978-0785111115

Fantastic Four #503-508

Mark Waid

978-0785111986

Fantastic Four #509-513

Mark Waid

978-0785115267

Fantastic Four #514-519

Mark Waid

December 2004 June 2005

978-0785115366

Fantastic Four #520-524

Mark Waid

978-0785115984

Fantastic Four by J. Fantastic Four #527-532 Michael Straczynski, Vol. 1 Fantastic Four: The Life Fantastic Fantastic Four #533-535; Fantastic Four Special #1; Fantastic Four: The Wedding Special; Fantastic Four: A Death in the Family Fantastic Four #536-537; New Avengers: Illuminati; The Amazing Spider-Man #529-531

J. Straczynski

January 2006 978-0785117162

J. Straczynski

September 2006

978-0785118961

The Road to Civil War

Brian Bendis, J. Straczynski

February 2007

978-0785119746

Fantastic Four

279
Fantastic Four #538-543 J. Straczynski, Dwayne MacDuffie Dwayne MacDuffie Dwayne MacDuffie May 2007 978-0785122272

Fantastic Four: Civil War The New Fantastic Four Fantastic Four: The Beginning of the End Fantastic Four: World's Greatest Fantastic Four: The Master of Doom Fantastic Four by Jonathan Hickman, Vol. 1 Fantastic Four by Jonathan Hickman, Vol. 2 Fantastic Four by Jonathan Hickman, Vol. 3 Fantastic Four by Jonathan Hickman, Vol. 4

Fantastic Four #544-550 Fantastic Four #525-526, #551-553; Isla de la Muerte Fantastic Four #554-561

May 2008 May 2008

978-0785124832 978-0785125549

Mark Millar

March 2009

978-0785125556

Fantastic Four #562-569

Mark Millar

January 2010 978-0785129677

Fantastic Four #570-574

Jonathan Hickman

July 2010

978-0785136880

Fantastic Four #575-578

Jonathan Hickman

December 2010

978-0785145417

Fantastic Four #579-582

Jonathan Hickman

April 2011

978-0785147183

Fantastic Four #583-585

Jonathan Hickman

Fantastic Four vs. X-Men Fantastic Four vs. X-Men #1-4 Fantastic Four: Foes Fantastic Four/Spider-Man Classic Fantastic Four: Foes #1-6 The Fantastic Four #218; Marvel Team-Up #100, #132-133; The Amazing Spider-Man #1; The Spectacular Spider-Man #42; Untold Tales of Spider-Man Annual '96

Chris Claremont Robert Kirkman

October 1991 978-0871356505 January 2005 978-0785116622 978-0785118039

Kurt Busiek, Chris Claremont, April 2005 John Marc DeMatteis, Stan Lee, Bill Mantlo

Fantastic Four/Iron Man: Fantastic Four/Iron Man: Big in Japan #1-4; Big in Japan Spider-Man Unlimited #8 House of M: Fantastic Four/Iron Man Fantastic Four: First Family Spider-Man and the Fantastic Four: Silver Rage Fantastic Four: House of M #1-3; Iron Man: House of M #1-3 Fantastic Four: First Family #1-6

Zeb Wells

June 2006

978-0785117766

John Layman

July 2006

978-0785119234

Joe Casey

November 2006

978-0785117032

Spider-Man and the Fantastic Four #1-4

Jeff Parker

October 2007 978-0785126737

Secret Invasion: Fantastic Fantastic Four #300, #357-358; Secret Invasion: Four Fantastic Four #1-3 Fantastic Four: True Story Fantastic Four: Lost Adventures Dark Reign: Fantastic Four Fantastic Four: True Story #1-4

Roberto Aquirre-Sacasa

February 2009 May 2009

978-0785132479

Paul Cornell

978-0785128335

Fantastic Four #296, #543; Fantastic Four: The Lost Adventure; The Last Fantastic Four Story

Stan Lee

September 2009

978-0785140474

Dark Reign: Fantastic Four #1-5; Dark Reign: The Jonathan Hickman Cabal

October 2009 978-0785139089

Fantastic Four

280

Hardcovers
Title Material collected Writer Publication date June 2005 ISBN

The Best of the Fantastic Four

Fantastic Four #1, #39-40, #51, #100, #116, #176, #236, #267; Fantastic Four vol. 3, #56, #60; Marvel Fanfare #15; Marvel Two-in-One #50; Marvel Knights 4 #4 Fantastic Four #1-30, Annual #1

John Byrne, Archie Goodwin, Karl Kesel, Stan Lee, Roy Thomas, Barry Windsor-Smith

978-0785117827

Fantastic Four Omnibus, Vol. 1 Fantastic Four Omnibus, Vol. 2 Fantastic Four: In Search of Galactus Fantastic Four: Resurrection of Galactus Fantastic Four, Vol. 1

Stan Lee

November 2007 June 2007

978-0785118701

Fantastic Four #31-60, Annual #2-4

Stan Lee

978-0785124030

Fantastic Four #204-214

Marv Wolfman

February 2010

978-0785137344

Fantastic Four vol. 3, #46-50, Annual 2001

Jeph Loeb, Raphael Marin

January 2011 978-0785144762

Fantastic Four vol. 3, #60-70; Fantastic Four #500-502 Fantastic Four #503-513 Fantastic Four #514-524

Mark Waid

August 2004

978-0785114864

Fantastic Four, Vol. 2 Fantastic Four, Vol. 3

Mark Waid Mark Waid, Karl Kesel

March 2005 November 2005

978-0785117759 978-0785120117

Fantastic Four by J. Fantastic Four #527-532 Michael Straczynski, Vol. 1 The New Fantastic Four Fantastic Four #544-550

J. Straczynski

January 2006 978-0785120292

Dwayne MacDuffie

November 2007

978-0785128472

Fantastic Four: World's Greatest Fantastic Four: The Master of Doom Fantastic Four by Jonathan Hickman, Vol. 1 Fantastic Four by Jonathan Hickman, Vol. 2 Fantastic Four by Jonathan Hickman, Vol. 3 Fantastic Four by Jonathan Hickman, Vol. 4

Fantastic Four #554-561

Mark Millar

January 2009 978-0785132257

Fantastic Four #562-569

Mark Millar

October 2009 978-0785133704

Fantastic Four #570-574

Jonathan Hickman

March 2010

978-0785143178

Fantastic Four #575-578

Jonathan Hickman

July 2010

978-0785147169

Fantastic Four #579-582

Jonathan Hickman

November 2010

978-0785147176

Fantastic Four #583-588

Jonathan Hickman

May 2011

978-0785148913

Fantastic The Fantastic Four #218; Marvel Team-Up #100, Four/Spider-Man Classic #132-133; The Amazing Spider-Man #1; The Spectacular Spider-Man #42; Untold Tales of Spider-Man Annual '96 X-Men/Fantastic Four X-Men/Fantastic Four #1-5

Kurt Busiek, Chris Claremont, January 2005 978-1415607190 John Marc DeMatteis, Stan Lee, Bill Mantlo

Akira Yoshida

February 2005

978-0785115205

Fantastic Four

281
Fantastic Four #296, #543; Fantastic Four: The Lost Adventure; The Last Fantastic Four Story Stan Lee July 2008 978-0785130970

Fantastic Four: Lost Adventures

House of M: Spider-Man, Fantastic Four: House of M #1-3; Spider-Man: Fantastic Four, and House of M #1-5; Black Panther vol. 4, #7; New X-Men Thunderbolts #11; Uncanny X-Men #462-465

Chris Claremont, Reginald Hudlin, John Layman, Fabian Nicieza, Tom Peyer, Mark Waid Chris Claremont

December 2009

978-0785138815

Fantastic Four vs. X-Men Fantastic Four vs. X-Men #1-4; Fantastic Four #28

January 2010 978-0785138075

International publication
North America
The Fantastic Four has been published in translation around the world, beginning in the late 1960s in Mexico (Los Cuatro Fantsticos, published by La Prensa until the mid-1970s, then by Macc Division until 1980, and finally by Novedades Editores during the early 1980s) and French-speaking Canada (Les Fantastic Four, from 19691986, after which the title was merged with the Spider-Man title for 3 more years). Mexican translators were not consistent in their translations of the characters' code names; The Thing was called Coloso (Colossus) in the first series, La Mole in the second and the third (which was the name used for The Hulk in the first series). The other three main characters had more stable translated names: Mister Fantstico (sometimes translated as Seor Fantstico), La Chica (or La Mujer) Invisible, and La Antorcha Humana. Dr. Doom was Doctor Destino and She-Hulk was La Mujer Hulk in her run in the Fantastic Four. In the movie, and in current appearances in Mexico, Mister Fantastic is referred to as "El Hombre Elstico" (Elastic Man). Canada rarely translated character names from their English version, although sometimes switching back and forth between English and French names in the same issue (The Thing / La Chose, Mister Fantastic / Monsieur Fantastic, Invisible Girl / Fille (or Femme) Invisible, Human Torch / Torche Humaine). The names of Dr. Doom and She-Hulk were not translated into French for the Canadian reprints.

United Kingdom
British publication of the series began in the anthology title Mystic. Later, the Fantastic Four appeared in Mighty World of Marvel alongside Spider-Man and Hulk reprints when Marvel Comics began the imprint Marvel UK in the 1970s. The feature next appeared in Marvel UK's The Titans, starting with issue #27. After a few months, the feature moved first to Captain Britain Weekly, and then, after that title's demise, into the new title The Complete Fantastic Four. After that series ended, the feature appeared once again in Mighty World Of Marvel. During 1985 the Fantastic Four (along with other Marvel titles such as New Mutants, Avengers and X-men) were included in the Secret Wars II reprint title. This mostly focused on issues which crossed over into the Secret Wars II maxi series. As of 2011, the super-team also appears in Fantastic Four Adventures, published by Panini Comics.

France
Publication history in France started with the reprinting of the first 10 pages of Fantastic Four #50 in 1967 in an anthology title called "Les Chefs-d'Oeuvres de la Bande Dessine" [Comic Book Masterpieces]. In 1974, the first 4 issues of the title were published, one page at a time, in the daily newspaper "France Soir". But primarily, rights to the Fantastic Four in France were held by a company called Editions Lug, which began publishing Fantastic Four first in an 1969 anthology title called Fantask, along with Spider-Man and Silver Surfer, then in another anthology called "Marvel". The censors objected to the content of the book, and citing "nightmarish visions" and "terrifying science fiction" as the reasons, forced their cancellations after respectively 7 and 13 issues. Although other anthologies featuring Marvel strips continued, notably "Strange" (featuring X-Men, Iron Man & Silver Surfer), the Fantastic Four remained unpublished in France until 1973. Editions Lug created a format aimed more for adults; an

Fantastic Four 80-page series called Les Fantastiques debuted where the old series left off, with the stories that introduced the Inhumans and Galactus. That series lasted over 15 years, coming out 4 times a year. In the mid-1970s, a title called Spidey was released by Editions Lug. Primarily featuring reprints from the juvenile "Spider Super Stories", it also featured a similarly themed FF series produced in France. These original stories had art that closely resembled the work of Jack Kirby or John Buscema, but the storylines themselves included watered-down super-villains, the FF on vacation, and even Santa Claus. This series was replaced by 1960s era X-Men reprints when Marvel demanded the same royalties for Editions Lug's original stories that they did for the US reprints. Eventually, a regular monthy series began publication in France, and the Fantastic Four took over the headlining position in the pocket format anthology "Nova" (sharing the title with Spider-Woman, Peter Parker, She-Hulk, and Silver Surfer)and lasted until Marvel began publishing its own titles under the newly-formed "Marvel France" line in the late 1990s. Fantastic Four shared space in the Silver Surfer's own book until the Heroes Reborn storyline created their own title, supported by Captain America. "Fantastic Four" then appeared in the anthology "Marvel Legends" and currently appears in "Marvel Icons", sharing that title with The Avengers. Two different French companies held rights to Marvel Comics at the same time in the late 1970s and early 1980s. Lug (which eventually changed its name to Semic) published Fantastic Four, Spider-Man, X-Men, Daredevil, and Iron Man, and most related series, while Aredit held the rights to Avengers, Hulk, Thor, Captain America, Sub-Mariner and many of the 1970s-era modern series like Ghost Rider, Man-Thing, Power Man, and the first She-Hulk series. Often, crossovers would force one company to publish another's title, i.e. the Marvel Two-In-One and Fantastic Four annuals that crossed over into the Invaders story would have to be published by the "other" company, and in fact that particular cross-over was published twice, once by each company. This resulted in different translations of the characters names Susan Storm Richards was called Jane in her own title by Editions Lug (presumably because the name "Sue" is a form of the verb "to sweat" in French), and Reed was called Red, a combination of letters easier to pronounce than the double E sound. When Aredit published a Fantastic Four appearance they kept the traditional US names. Generally speaking, their names in France were: Monsieur Fantastic (although Mister was often used as well), L'Invisible, La Chose, and La Torche. (Rarely was "Humaine" used in the French editions.) Dr. Doom was called Docteur Fatalis, and She-Hulk was called Miss Hulk.

282

Germany
"Die Fantastischen Vier" First appeared in Hit Comics, a weekly title that rotated the main feature with other Marvel titles. Williams Comics eventually obtained the rights to Marvel's line and began publishing (for the first time in color) in the mid-1970s. Fantastic Four was backed up with Daredevil, and began with iussue #1. Condor Comic carried the title in the 1980s & 1990s, and published a series of pocket format books at about 300 pages each. They also published a paperback series in a similar format to the Marvel Graphic Novels. Marvel Deutschland currently publishes "Die Fantastischen Vier". The German names of the characters are Das Ding (The Thing), Die Fackel or Die menschliche Fackel (The Human Torch), Die Unsichtbare (The Unseen One), and Mr. Fantastisch (Mr. Fantastic). Silver Surfer and She Hulk retained their english names. Some editions refer to Dr. Doom as "Doktor Unheil".

Italy
I Fantastici Quattro was published in Italy in their own title (shared first with Captain Marvel, then rotating with other back up features) by Corno, then Star Comics in the 1990s, and are currently published by Marvel Italia. Character's names are typically translated as la Cosa (The Thing), la Torcia Umana (Human Torch), la Donna Invisibile (Invisible Woman) and Mister Fantastic. Dr. Doom is Dottor Destino; She-Hulk and Silver Surfer kept their English names. Also released in Italy was the series I Fantastici Quattro Gigante, an oversized magazine reprinting in chronological order all the super-team's appearances including the Human Torch solo series from Strange Tales.

Fantastic Four

283

Notes
[1] That DC all-star superhero team had debuted in The Brave and the Bold #28 (February 1960) before going on to its own hit title (premiere cover date November 1960). [2] Uslan, in a letter published in Alter Ego #43 (December 2004), pp. 4344, writes: "Irwin Donenfeld said he never played golf with Goodman, so the story is untrue. I heard this story more than a couple of times while sitting in the lunchroom at DC's 909 Third Avenue and 75 Rockefeller Plaza office as Sol Harrison and [production chief] Jack Adler were schmoozing with some of us... who worked for DC during our college summers.... [T]he way I heard the story from Sol was that Goodman was playing with one of the heads of Independent News, not DC Comics (though DC owned Independent News). ... As the distributor of DC Comics, this man certainly knew all the sales figures and was in the best position to tell this tidbit to Goodman. ... Of course, Goodman would want to be playing golf with this fellow and be in his good graces. ... Sol worked closely with Independent News' top management over the decades and would have gotten this story straight from the horse's mouth." [3] Lee, Stan (September 1974). Origins of Marvel Comics. Simon and Schuster/Fireside Books. ISBN978-0671218638. [4] Lee, Stan (September 1974). Origins of Marvel Comics. Simon and Schuster/Fireside Books. ISBN978-0671218638. "[My wife] Joan was commenting about the fact that after 20 years of producing comics I was still writing television material, advertising copy and newspaper features in my spare time. She wondered why I didn't put as much effort and creativity into the comics as I seemed to be putting into my other freelance endeavors. ...[H]er little dissertation made me suddenly realize that it was time to start concentrating on what I was doing to carve a real career for myself in the nowhere world of comic books." [5] Daniels, Les (1993). Marvel: Five Fabulous Decades of the World's Greatest Comics. Harry N. Abrams. ISBN0-8109-8146-7. [6] Groth, Gary (February 1990). "Interview III: 'I've never done anything halfheartedly'". The Comics Journal (134). Reprinted in George, Milo, ed (May 2002). The Comics Journal Library Volume 1: Jack Kirby. Fantagraphics Books. ISBN1-56097-434-6. [7] Groth explains in his 2002 introduction to the interview that Kirby's state of mind needs to be taken into consideration when evaluating certain statements within the interview. Kirby was involved in an acrimonious dispute with Marvel Comics regarding the return of his artwork, and his relationship with Lee had deteriorated, in part due to this dispute but also due to Lee's public statements through the years, which Kirby saw as diminishing his role. Groth states: "Lee's contribution is a matter for endless speculation, but most observers and historians consider Kirby's claims here to be excessive." [8] Kirby, Jack. Interview with Tim Skelly. Interview II: 'I created an army of characters, and now my connection to them is lost'. The Great Electric Bird. WNUR-FM. May 14, 1971. Transcribed and published in The Nostalgia Journal #27. Reprinted in George, The Comics Journal Library. [9] Wells, Earl (October 1995). "Once and For All, Who Was the Author of Marvel". The Comics Journal (181). Reprinted in George, The Comics Journal Library. [10] Harvey, R. C. (April 1994). "What Jack Kirby Did". The Comics Journal (167). Reprinted in George, The Comics Journal Library. [11] Evanier, Mark (2008). Kirby: King of Comics. Abrams Books. ISBN0-8109-9447-X. [12] Krensky, Stephen (2007). Comic Book Century (http:/ / books. google. com/ ?id=n23M0Bn0JmwC& pg=PA58& dq="fantastic+ four"). Twenty-First Century Books. p.59. ISBN978-0822566540. . [13] Cronin, Brian (September 18, 2010). "A Year of Cool Comics Day 261" (http:/ / goodcomics. comicbookresources. com/ 2010/ 09/ 18/ a-year-of-cool-comics-day-261/ ). Comic Book Resources. . Retrieved 2010-09-29. [14] Cronin, Brian (September 19, 2010). "A Year of Cool Comics Day 262" (http:/ / goodcomics. comicbookresources. com/ 2010/ 09/ 19/ a-year-of-cool-comics-day-262/ ). Comic Book Resources. . Retrieved 2010-09-29. [15] Thomas, Roy (2006). "Moment 29: The Galactus Trilogy". Stan Lee's Amazing Marvel Universe. New York: Sterling Publishing. pp.112115. ISBN978-1-4027-4225-5. [16] Hatfield, Charles (February 2004). "The Galactus Trilogy: An Appreciation". The Collected Jack Kirby Collector 1: 211. [17] Cronin, Brian (February 19, 2010). "A Year of Cool Comics Day 50" (http:/ / goodcomics. comicbookresources. com/ 2010/ 02/ 19/ a-year-of-cool-comics-day-50/ ). Comic Book Resources. . Retrieved 2010-09-29. [18] Fantastic Four #232 (http:/ / www. comics. org/ issue/ 35487/ ) at the Grand Comics Database [19] Wright, Bradford W. (2001). Comic Book Nation: The Transformation of Youth Culture in America. Baltimore: Johns Hopkins. ISBN0-8018-7450-5. [20] Cooke, Jon B.; Eric Nolen-Weathington (2006). Modern Masters Volume Seven: John Byrne. TwoMorrows Publishing. pp.4244. ISBN978-1893905566. [21] "Jessica Alba - Fantastic Four Girls" (http:/ / fantasticfour. ugo. com/ ?cur=jessica-alba& gallery=true). UGO. . Retrieved 2009-03-06. [22] Englehart, Steve. "Fantastic Four 304332" (http:/ / www. steveenglehart. com/ Comics/ Fantastic Four 304-321. html). SteveEnglehart.com. pp. 13. . Retrieved 2009-03-09. [23] Nolen-Weathington, Eric (2006). Modern Masters Volume Eight: Walter Simonson (http:/ / books. google. com/ ?id=ILopomw3UpMC& pg=PA65& dq="fantastic+ four"+ Steve+ Englehart). TwoMorrows Publishing. p.66. ISBN978-1893905641. . [24] Manning, Shaun (January 15, 2008). "Brand New (May) Day: DeFalco talks 'Amazing Spider-Girl'" (http:/ / www. comicbookresources. com/ ?page=article& id=12309). Comic Book Resources. . Retrieved 2009-03-10. [25] "The Unofficial Handbook of Marvel Comics Creators: 'Fantastic Four (III) (19982003)'" (http:/ / www. maelmill-insi. de/ UHBMCC/ fantfou5. htm#S462). Maelmill-insi.de. . Retrieved 2010-04-27.

Fantastic Four
[26] Hudlin, Reginald(w), Portela, Francis,Andrea Di Vito(p),Olazaba, Victor,Francis Portela, Andrea Di Vito(i)."Two Plus Two Part One: Home Invasion", "Two Plus Two Part Two", "Hell of a Mess Part 1", "From Bad to Worse Part 2", "Absolutely No Way to Win Part 3", "Dead or Alive Part 1", "Gangsta Lean Part 2", "Ready to Die Part 3", "Endgame Conclusion" Black Panther v4,26-34 (May 2007March 2008), New York: Marvel Comics [27] "Mark Millar: Tripping the Light Fantastic" (http:/ / www. comicsbulletin. com/ features/ 120286510850855. htm). Comics Bulletin. February 12, 2008. . [28] "The Unofficial Handbook of Marvel Comics Creators: Dark Reign: Fantastic Four (2009)" (http:/ / www. maelmill-insi. de/ UHBMCC/ dreign. htm#S568). Maelmill-insi.de. . Retrieved 2010-04-27. [29] Smith, Zack (January 12, 2009). "Jonathan Hickman - Secret Warriors, the FF and More" (http:/ / www. newsarama. com/ comics/ 010912-Hickman. html). Newsarama. . [30] Richards, Dave (February 13, 2009). "Osborn Supremacy: Fantastic Four" (http:/ / www. comicbookresources. com/ ?page=article& id=20040). Comic Book Resources. . [31] Ching, Albert (January 25, 2011). "Associated Press Spoils Fantastic Four #587 Hours Before Comic Goes on Sale" (http:/ / blog. newsarama. com/ 2011/ 01/ 25/ associated-press-spoils-fantastic-four-587-hours-before-comic-goes-on-sale/ ). Newsarama. . [32] Ching, Albert (January 25, 2011). "Hickman Details Fantastic Four #587's Big Character Death" (http:/ / www. newsarama. com/ comics/ hickman-fantastic-four-587-110125. html). Newsarama. . [33] Moore, Matt (January 25, 2011). "After Half Century, It's 1 Fantastic's Farewell" (http:/ / www. webcitation. org/ 5w83Ujd0O). Associated Press via ABC News. Archived from the original (http:/ / abcnews. go. com/ Entertainment/ wireStory?id=12753404) on 2011-01-30. . [34] Khouri, Andy (February 9, 2011). "Fantastic Four Get a New Name, New Costume and an Old Spider-Man" (http:/ / www. comicsalliance. com/ 2011/ 02/ 09/ fantastic-four-FF-new-costumes-spider-man/ ). ComicsAlliance. . [35] Hanks, Henry (February 11, 2011). "Spider-Man replacing Human Torch on new 'FF' team" (http:/ / www. cnn. com/ 2011/ SHOWBIZ/ 02/ 10/ spiderman. ff. go/ index. html?hpt=C2). CNN. . [36] Byrne, John(w),Byrne, John(p),Ordway, Jerry(i)."Towards Infinity!" Fantastic Four282 (September 1985), New York: Marvel Comics [37] Busiek, Kurt(w),Bagley, Mark(p),Russell, Vince(i)."Heroes' Reward" Thunderbolts10 (January 1998), New York: Marvel Comics [38] Pacheco, Carlos, Rafael Marn(w),Pacheco, Carlos(p),Merino, Jesus(i)."Shadows in the Mirror!", "Day of the Dark Sun" Fantastic Four v3,35-36 (NovemberDecember 2000), New York: Marvel Comics [39] Pacheco, Carlos, Rafael Marn(w),Pacheco, Carlos(p),Merino, Jesus(i)."Things Change" Fantastic Four v3,39 (March 2001), New York: Marvel Comics [40] Knowles, Christopher (2007). Our Gods Wear Spandex. Weiser. p. 173 (http:/ / books. google. com/ books?id=93Mv-1R5yskC& pg=PA173)174. ISBN1578634067. [41] Bing, Jonathon (July 2005). "The Doom-Defying, Two-Fisted Marketing of Fantastic Four" (http:/ / www. wired. com/ wired/ archive/ 13. 07/ fantastic. html?pg=2& topic=fantastic& topic_set=). Wired. . Retrieved 2009-02-25. [42] Wright, Bradford W. (2001). Comic Book Nation (http:/ / books. google. com/ ?id=9pPgDE63U9oC& pg=PA204& dq="fantastic+ four"). JHU Press. p.205. ISBN978-0801865145. . [43] Fein, Eric (2006). The Creation of the Fantastic Four (http:/ / books. google. com/ ?id=n1KHmaeMvwcC& printsec=frontcover& dq="fantastic+ four"). The Rosen Publishing Group. p.6. ISBN978-1404207653. . [44] "Fantastic Four" (http:/ / www. rottentomatoes. com/ m/ fantastic_four/ ). Rotten Tomatoes. . Retrieved 2010-04-27. [45] Fantastic Four (http:/ / www. boxofficemojo. com/ movies/ ?id=fantasticfour. htm) at Box Office Mojo [46] "Fantastic Four: Rise of the Silver Surfer" (http:/ / www. boxofficemojo. com/ movies/ ?id=fantasticfour2. htm). Box Office Mojo. . Retrieved 2008-02-15. [47] Fleming, Michael (August 31, 2009). "Fox Sets 'Fantastic' Reboot" (http:/ / www. variety. com/ article/ VR1118007959. html?categoryid=13& cs=1). Variety. .

284

References
Further reading
Gresh, Lois H.; Robert Weinberg (2002). The Science of Superheroes (http://books.google.com/ ?id=TCv0LyEnzsUC). John Wiley & Sons. p. 21 (http://books.google.co.uk/books?id=TCv0LyEnzsUC& pg=PA21)29. ISBN0471024600.

External links
Fantastic Four (http://marvel.com/universe/Fantastic_Four) at the Marvel Universe wiki Fantastic Four (1961 series) (http://www.comics.org/series/1482) at the Grand Comics Database Fantastic Four (http://www.maelmill-insi.de/UHBMCC/selfn.htm#G58) at the Unofficial Handbook of Marvel Comics Creators

Fantastic Four Fantastic Four (http://comicbookdb.com/team.php?ID=4) at the Comic Book DB Fantastic Four (http://www.dmoz.org/Arts/Comics/Titles/F/Fantastic_Four/) at the Open Directory Project Archive of FFPlaza.com Database (http://web.archive.org/web/20071224050113/www.ffplaza.com/ database/) from the original page (http://www.ffplaza.com/database/)

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Postmodern Heroes
Frank Miller (comics)
Frank Miller

Miller at Comic-Con 2008 Born January 27, 1957 Olney, Maryland, U.S. American Writer Penciller Inker Film director Screenwriter Actor

Nationality Area(s)

Notable works Batman: The Dark Knight Returns Batman: Year One Sin City Daredevil: Born Again 300 Ronin Give Me Liberty Awards Numerous Official website [1]

Frank Miller (born January 27, 1957)[2] is an American comic book artist, writer and film director best known for his dark, film noir-style comic book stories and graphic novels Ronin, Daredevil: Born Again, Batman: The Dark Knight Returns, Sin City and 300. He also directed the film version of The Spirit, shared directing duties with Robert Rodriguez on Sin City and produced the film 300.

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Personal life
Miller was born in Olney, Maryland,[3] and raised in Montpelier, Vermont,[3] the fifth of seven children of a nurse mother and a carpenter/electrician father.[4] His family was Irish Catholic.[5] Living in New York City's Hell's Kitchen influenced Miller's material in the 1980s. Miller lived in Los Angeles, California in the 1990s, which influenced Sin City.[6] Miller moved back to Hell's Kitchen by 2001 and was creating Batman: The Dark Knight Strikes Again as the 9/11 terrorist attacks occurred not far from that neighborhood.[7]

Career
Setting out to become an artist, Miller received his first published work at Western Publishing's Gold Key Comics imprint, on the licensed TV-series comic book The Twilight Zone drawing the story "Royal Feast" in issue #84 (June 1978), and "Endless Cloud" in #85 (July 1978).[8] One-time Marvel editor-in-chief Jim Shooter recalled Miller going to DC Comics after having broken in with "a small job from Western Publishing, I think. Thus emboldened, he went to DC, and after getting savaged by Joe Orlando, got in to see art director Vinnie Colletta, who recognized talent and arranged for him to get a one-page war-comic job".[9] The Grand Comics Database does not list the job, which may or may not have been signed; Miller's first listed work is the six-page "Deliver Me From D-Day", by writer Wyatt Gwyon, in Weird War Tales #64 (June 1978).[10] A two-page story, however, written by Roger McKenzie and titled "Slowly, painfully, you dig your way from the cold, choking debris...", appears in Weird War Tales #68 (Oct. 1978).[11] Other fledgling work at DC included the six-page "The Greatest Story Never Told", by writer Paul Kupperberg, in that same issue, and the five-page "The Edge of History", written by Elliot S. Maggin, in Unknown Soldier #219 (Sept. 1978). and his first work for Marvel Comics, penciling the 17-page story "The Master Assassin of Mars, Part 3" in John Carter, Warlord of Mars #18 (Nov. 1978).[12] Miller had a letter he wrote to Marvel as a comics fan published several years earlier in 1973 (The Cat #3) [13] At Marvel, Miller would settle in as a regular fill-in and cover artist, working on a variety of titles. One of these jobs was drawing Peter Parker, the Spectacular Spider-Man #2728 (Feb.March 1979), which guest-starred Daredevil. At the time, sales of the Daredevil title were poor; however, Miller saw something in the character he liked and asked editor-in-chief Jim Shooter if he could work on Daredevil's regular title. Shooter agreed and made Miller the new penciller on the title. As Miller recalled in 2008, When I first showed up in New York, I showed up with a bunch of comics, a bunch of samples, of guys in trench coats and old cars and such. And [comics editors] said, 'Where are the guys in tights?' And I had to learn how to do it. But as soon as a title came along, when [Daredevil signature artist] Gene Colan left Daredevil, I realized it was my secret in to do crime comics with a superhero in them. And so I lobbied for the title and got it".[4]

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Daredevil and the early 1980s


Daredevil #158 (May 1979), Miller's debut on that title, was the finale of an ongoing story written by Roger McKenzie. Although still conforming to traditional comic book styles, Miller infused this first issue with his own film noir style.[14] After this issue, Miller became one of Marvel's rising stars, and began plotting additional stories with McKenzie. Learning from Neal Adams, Miller would sit for hours sketching the roofs of New York in an attempt to give his Daredevil art an authentic feel not commonly seen in superhero comics at the time. Miller was so successful with the title that Marvel began publishing the Daredevil comic monthly (as opposed to its previous bimonthly publication period). With issue #168 (Jan. 1981), Miller took over full duties as writer and penciller, with Klaus Janson as inker. Issue #168 saw the first appearance of the ninja mercenary Elektra, who despite being an assassin-for-hire would become Daredevil's love-interest. Miller would write and draw a solo Elektra story in Bizarre Adventures #28 (Oct. 1981).
Miller at the 1982 Comic-Con

With his creation of Elektra, Miller's work on Daredevil was characterized by darker themes and stories. This peaked when in #181 (April 1982) he had the assassin Bullseye kill Elektra. Miller made it clear with the next few issues that he intended Elektra to remain dead, but nonetheless she was revived during his time as writer. Miller finished his Daredevil run with issue #191 (Feb. 1983); in his time he had transformed a second-tier character into one of Marvel's most popular. Additionally, Miller in 1980 drew a short Batman Christmas story, "Wanted: Santa Claus - Dead or Alive", written by Denny O'Neil for DC Special Series #21. This was his first professional experience with a character with which, like Daredevil, he would become closely associated. As penciler and co-plotter, Miller, together with writer Chris Claremont, produced the miniseries Wolverine #1-4 (Sept.-Dec. 1982), inked by Josef Rubinstein and spinning off from the popular X-Men title. Miller used this miniseries to expand on Wolverine's character while featuring more manga-influenced art. The series was a critical success and further cemented Miller's place as an industry star.

Daredevil #168 (Jan. 1981), Elektra's debut. Cover art by Miller and Klaus Janson.

His first creator-owned title was DC Comics' six-issue miniseries Ronin (19831984). Here Miller not only refined his own art and storytelling techniques, but also helped change how creator rights were viewed. After Ronin, Miller returned to Marvel for Daredevil #219, inspired by the film High Plains Drifter.

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Batman: The Dark Knight Returns and the late 1980s


In 1986, DC Comics released writer-penciler Miller's Batman: The Dark Knight Returns, a four-issue miniseries printed in what the publisher called "prestige format" squarebound, rather than stapled; on heavy-stock paper rather than newsprint, and with cardstock rather than glossy-paper covers. It was inked by Klaus Janson and colored by Lynn Varley. The story tells how Batman retired after the death of the second Robin (Jason Todd), and at age 55 returns to fight crime in a dark and violent future. Miller created a tough, gritty portrayal of Batman, who was often referred to as the "Darknight Detective" in 1970s portrayals. Released the same year as Alan Moore's and Dave Gibbons' DC miniseries Watchmen, it showcased a new form of more adult-oriented storytelling to both comics fans and a crossover mainstream audience. The Dark Knight Returns influenced the comic-book industry by heralding a new wave of darker characters. The trade paperback collection proved to be a big seller for DC and remains in print 20 years after first being published.

By this time, Miller had returned as the writer of Daredevil. Following his self-contained story "Badlands", penciled by John Buscema, in #219 (June 1985), he co-wrote #226 (Jan. 1986) with departing writer Dennis O'Neil. Then, with artist David Mazzucchelli, he crafted a seven-issue story arc that, like The Dark Knight Returns, similarly redefined and reinvigorated its main character. The storyline, Daredevil: Born Again, in #227-233 (Feb.-Aug. 1986) chronicled the hero's Catholic background, and the destruction and rebirth of his real-life identity, Manhattan attorney Matt Murdock, at the hands of Daredevil's archnemesis, the crime lord Wilson Fisk, also known as the Kingpin. Miller and artist Bill Sienkiewicz produced the graphic novel Daredevil: Love and War in 1986. Featuring the character of the Kingpin, it indirectly bridges Miller's first run on Daredevil and Born Again by explaining the change in the Kingpin's attitude toward Daredevil. Miller and Sienkiewicz also produced the eight-issue miniseries Elektra: Assassin for Epic Comics. Set outside regular Marvel continuity, it featured a wild tale of cyborgs and ninjas, while expanding further on Elektra's background. Both of these projects were well-received critically. Elektra: Assassin was praised for its bold storytelling, but neither it nor Daredevil: Love and War had the influence or reached as many readers as Dark Knight Returns or Born Again. Miller's final major story in this period was in Batman issues 404-407 in 1987, another collaboration with Mazzuchelli. Titled Batman: Year One, this was Miller's version of the origin of Batman in which he retconned many details and adapted the story to fit his Dark Knight continuity. Proving to be hugely popular, this was as influential as Miller's previous work and a trade paperback released in 1988 remains in print and is one of DC's best selling books. Miller had also drawn the covers for the first twelve issues of First Comics English language reprints of Kazuo Koike and Goseki Kojima's Lone Wolf and Cub. This helped bring Japanese manga to a wider Western audience. During this time, Miller (along with Marv Wolfman, Alan Moore and Howard Chaykin) had been in dispute with DC Comics over a proposed ratings system for comics. Disagreeing with what he saw as censorship, Miller refused to do any further work for DC,[14] and he would take his future projects to the independent publisher Dark Horse Comics. From then on Miller would be a major supporter of creator rights and be a major voice against censorship in comics.

Batman: The Dark Knight Returns #1 (Feb. 1986). Cover art by Miller.

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The 1990s Sin City and 300


After announcing he intended to release his work only via the independent publisher Dark Horse Comics, Miller completed one final project for Epic Comics, the mature-audience imprint of Marvel Comics. Elektra Lives Again was a fully painted graphic novel written and drawn by Miller and colored by longtime partner Lynn Varley. Telling the story of the resurrection of Elektra from the dead and Daredevil's quest to find her, it was the first example of a new style in Miller's art, as well as showing Miller's will to experiment with new story-telling techniques. 1990 saw Miller and artist Geof Darrow start work on Hard Boiled, a three-issue miniseries which suffered from long delays between issues. The title, a mix of violence and satire, was praised for Darrow's highly detailed art and Miller's writing. At the same time Miller and artist Dave Gibbons produced Give Me Liberty, a four-issue miniseries for Dark Horse. A mixture of action and political satire, the title sold well and cemented Miller's reputation as a writer of mature-audience comics. Give Me Liberty was followed by sequel miniseries and specials expanding on the story of protagonist Martha Washington, an African-American woman in modern and near-future southern North America, all of which were written by Miller and drawn by Gibbons. Miller also wrote the scripts for the science fiction films RoboCop 2 and RoboCop 3, about a police cyborg. Neither was critically well-received. Afterward, Miller stated he would never allow Hollywood to make movie adaptations of his comics, being disgusted with what he characterized as studio interference with his scriptwriting. Miller would come into contact with the fictional cyborg once more, Marv walking through the rain in the The Hard however, writing the comic-book minieries, RoboCop vs. The Goodbye cover by Frank Miller Terminator, with art by Walter Simonson. In 2003, Miller's screenplay for RoboCop 2 was adapted by Steven Grant for Avatar Press's Pulsaar imprint. Illustrated by Juan Jose Ryp, the series is called Frank Miller's RoboCop and contains plot elements that were divided between RoboCop 2 and RoboCop 3. In 1991, Miller started work on his first Sin City story. Serialized in Dark Horse Presents #51-62, Miller wrote and drew the story in black and white to emphasize its film noir origins. Proving to be another success, the story was released in a trade paperback. This first Sin City "yarn" was rereleased in 1995 under the name The Hard Goodbye. Sin City proved to be Miller's main project for much of the remainder of the decade, as Miller told more Sin City stories within this noir world of his creation, in the process helping to revitalize the crime comics genre. Sin City proved artistically auspicious for Miller and again brought his work to a wider audience without comics. Daredevil: Man Without Fear was a five issue miniseries published by Marvel Comics in 1993 based on an earlier film script. In this Miller and artist John Romita Jr. told Daredevil's origins differently than in the previous comics, and provided additional detail to his beginnings. Miller also returned to superheroes by writing issue #11 of Todd McFarlane's Spawn, as well as the Spawn/Batman crossover for Image Comics. In 1995, Miller and Darrow collaborated again on Big Guy and Rusty the Boy Robot, published as a two-part miniseries by Dark Horse Comics. In 1999 it became an animated series on Fox Kids. During this period, Miller became one of the founding members of the comic imprint Legend, under which many of his Sin City works were released, via Dark Horse. Also, it was during the 1990s that Miller did cover art for many titles in the Comics Greatest World/Dark Horse Heroes line. Written and illustrated by Frank Miller with painted colors by Varley, 300 was a 1998 comic-book miniseries, released as a hardcover collection in 1999, retelling the Battle of Thermopylae and the events leading up to it from

Frank Miller (comics) the perspective of Leonidas of Sparta. 300 was particularly inspired by the 1962 film The 300 Spartans, a movie that Miller watched as a young boy. In 2007, 300 was adapted by director Zack Snyder into a successful film.

291

Batman: The Dark Knight Strikes Again and the 2000s


Miller started the new millennium off with the long awaited sequel to Batman: The Dark Knight Returns for DC Comics after Miller had put past difference with DC aside. Batman: The Dark Knight Strikes Again was initially released as a three issue series. Miller also returned to writing Batman in 2005, taking on the writing duties of All Star Batman and Robin the Boy Wonder, a series set inside of what Miller describes as the "Dark Knight Universe."[15] and drawn by Jim Lee. Miller has said he opposes naturalism in comic art. In an interview on the documentary Legends of the Dark Knight: The History of Batman, he said, "People are attempting to bring a superficial reality to superheroes which is rather stupid. They work best as the flamboyant fantasies they are. I mean, these are characters that are broad and big. I don't need to see sweat patches under Superman's arms. I want to see him fly." Miller's previous attitude towards movie adaptations was to change after he and Robert Rodriguez made a short film based on a story from Miller's Sin City entitled "The Customer is Always Right". Miller was Miller's cover to Batman: The Dark Knight Strikes Again #1. pleased with the result, leading to him and Rodriguez directing a full length film, Sin City using Miller's original comics panels as storyboards. The film was released in the U.S. on April 1, 2005. The film's success brought renewed attention to Miller's Sin City projects. Similarly, a film adaptation of 300, directed solely by Zack Snyder, brought new attention and controversy to Miller's original comic book work. A sequel to the film, based around Miller's first Sin City series, A Dame to Kill For, has been reported to be in development.[16]

Critical reaction
Miller's work has often been met with positive reception. Daredevil: Born Again and The Dark Knight Returns were both a critical success, and Batman: Year One was met with even greater praise for its gritty style. Most of his previous work such as Ronin, 300 and Sin City were very successful. However, Miller's later work often has been met with criticism. Batman: The Dark Knight Strikes Again received mixed to negative reviews. All Star Batman and Robin the Boy Wonder in particular was met with harsh criticism.[17] [18] [19] Some of Miller's works have been accused of lacking humanity,[20] particularly in regard to the abundance of prostitutes portrayed in Sin City.[21] When it was released in 2008, Miller's film adaptation of Will Eisner's The Spirit met with largely negative reviews, earning a metascore of 30/100 at the review aggregation site Metacritic.com.[22] Outside of the comic and political circuit, his influence includes art historian Kenneth Clark, and the animation by Fleischer Studios.

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Cameo appearances
Frank Miller has appeared in five films in small roles, dying in each. In RoboCop 2 (1990), he plays "Frank, the chemist" and dies in an explosion in the drug lab. In Jugular Wine: A Vampire Odyssey (1994), he is killed by vampires in front of Marvel Comics' Stan Lee, who compares his killers to "angels". In Daredevil (2003), he appears as a corpse with a pen in his head, thrown by Bullseye, who steals his motorcycle. The credits list Frank Miller as "Man with Pen in Head".
Frank Miller (right) appearing as illegal drug chemist "Frank" in RoboCop 2 alongside Tom Noonan as "Cain" (left).

In Sin City (2005), he plays the priest killed by Marv in the confessional.[23] In The Spirit (2008), which was written and directed by Miller, he appears as "Liebowitz", the officer whose head is ripped off by the Octopus and thrown at the Spirit. The name alludes to Jack Liebowitz, a co-founder of what would become DC Comics.[24]

Bibliography
Comics
DC Comics All-Star Batman and Robin the Boy Wonder #1-10 (writer, with art by Jim Lee, 200508) Batman #404-407 (writer, with art by David Mazzucchelli, 1987) Batman and the Outsiders Annual #1 (cover, 1984) Batman: Black and White #2 (cover, 1996) Batman: The Dark Knight Returns #1-4 (miniseries) (writer/artist, 1986) Batman: The Dark Knight Strikes Again #1-3 (miniseries) (writer/artist, 2001) DC Special Series #21 (artist, with writer Denny O'Neil, 1979) 'Mazing Man #12 (cover, 1986) New Adventures of Superboy #51 (cover, 1984) Orion #3 (artist, with writer Walt Simonson, 2000) Ronin #1-6 (miniseries) (writer/artist, 1983) Superman #400 (artist, 1984) Superman: The Secret Years #1-4 (covers, 1985) Unknown Soldier #219 (artist, 1978) Weird War Tales #64, 68 (artist, 1978) Wonder Woman #298 (cover, 1982)

Frank Miller (comics) Marvel Comics The Amazing Spider-Man #203, 218-219 (covers, 198081); Annual #14-15 (artist, with writer Denny O'Neil, 198081) Bizarre Adventures #28 (Elektra) (writer/artist, 1981), #31 (artist, 1982) Captain America #255 (Cover with Joe Rubenstein) Daredevil #158-161, 163-167 (artist, 19791980); #168184, 191 (writer/artist, 198183); #185-190 (writer, with art by Klaus Janson, 198283); #219 (writer, with art by John Buscema, 1985); #226-233 (writer, with art by David Mazzucchelli, 19851986) Daredevil: Love and War (writer, with art by Bill Sienkiewicz, 1986) (graphic novel ISBN 0-87135-172-2) Daredevil: The Man Without Fear #1-5 (miniseries) (writer, with art by John Romita, Jr., 1993) Elektra: Assassin #1-8 (miniseries) (writer, with art by Bill Sienkiewicz, 1986) Elektra Lives Again (graphic novel ISBN 0-7851-0890-4) (writer/artist, 1990) Incredible Hulk Annual #11 (artist, with writer Mary Jo Duffy, 1981) John Carter, Warlord of Mars #18 (artist, with writer Chris Claremont, 1978) Marvel Fanfare #18 (Captain America) (writer/artist, 1984) Marvel Spotlight (vol. 2) #8 (artist, with writer Mike W. Barr, 1980) Marvel Team-Up #100 (artist, with writer Chris Claremont, 1980), Annual #4 (writer, art by Herb Trimpe, 1981); #95, 99-100, 102, 106 (covers, 198081) Marvel Two-in-One #51 (artist, with writer Peter Gillis, 1979) Power Man and Iron Fist #76 (1981) (artist, with writers Chris Claremont and Mike W. Barr, 1981) Spectacular Spider-Man #2728 (artist, with writer Bill Mantlo, 1979); #46, 48, 50-52, 54-57, 60 (covers, 198081) Spider-Man and Daredevil Special Edition (cover, 1984) Star Trek #5, #10 (covers) What If? #28, 34-35 (writer/artist, 198182) Wolverine #1-4 miniseries (artist, with writer Chris Claremont, 1982) Dark Horse A Decade of Dark Horse #1 "Daddys Little Girl" story (writer/artist, 1993) Autobiografix one-shot (writer/artist among other authors, 2003) (tpb ISBN 1-59307-038-1) Dark Horse Maverick 2000 one-shot (writer/artist among other authors, 2000) Dark Horse Maverick: Happy Endings one-shot (writer/artist among other authors, 2002) (trade paperback ISBN 1-56971-820-2) Dark Horse 5th Anniversary (writer/artist) Dark Horse Presents #51-62 (writer/artist, 199192) Give Me Liberty #1-4 (writer, with art by Dave Gibbons, 1990) Hard Boiled #1-3 (writer, with art by Geof Darrow, 199092) (also trade paperback ISBN 1-878574-58-2) Madman #6-7 (writer, 1995) RoboCop vs. The Terminator #1-4 (writer, with art by Walter Simonson, 1992) Sin City (writer/artist) includes: A Dame to Kill For #1-6 (1994) (also trade paperback ISBN 1-59307-294-5) The Big Fat Kill #1-5 (1994) (also trade paperback ISBN 1-59307-295-3) That Yellow Bastard #1-6 (1996) (also trade paperback ISBN 1-59307-296-1) Family Values (1997) (graphic novel ISBN 1-59307-297-X) The Babe Wore Red (And Other Stories) (1994) Silent Night (1994)

293

Booze, Broads, & Bullets (1998) (trade paperback ISBN 1-59307-298-8) collects:

Frank Miller (comics) Lost, Lonely, & Lethal (1996) Sex & Violence (1997) Just Another Saturday Night (1997) Hell and Back #1-9 (1999) (also trade paperback ISBN 1-59307-299-6) The Big Guy and Rusty the Boy Robot #1-2 (writer, with art by Geof Darrow, 1995) (also trade paperback ISBN 1-56971-201-8) 300 #1-5 (writer/artist, 1998) (also hardcover ISBN 1-56971-402-9) Valiant Comics Miller drew the covers for all the August 1992 dated Valiant Comics as part of the Unity crossover: Archer & Armstrong #1 (cover) Eternal Warrior #1 (cover) Harbinger #8 (cover) Magnus, Robot Fighter #15 (cover) Rai #6 (cover) Shadowman #4 (cover) Solar, Man of the Atom #12 (cover)

294

X-O Manowar #7 (cover) Other publishers Bone #38 (cover, 2000) Destroyer Duck #7 (cover) (Eclipse Comics) Holy Terror (graphic novel, Legendary Comics, 2011)[25] Spawn #11 (writer) (Image Comics) Spawn/Batman (writer, with art by Todd McFarlane, 1994) Twilight Zone #84-85 (artist) (Gold Key Comics) 1978 Thomas Pynchon's Gravity's Rainbow (cover) [26]

Compilations Batman: Year One ISBN 0-930289-33-1 Batman: The Dark Knight Returns (trade paperback ISBN 1-56389-342-8) Batman: The Dark Knight Strikes Again (trade paperback ISBN 1-56389-929-9) Complete Frank Miller Spider-Man (includes PPTSSM #27-28, ASM Annual #1415, MTU #100, Annual #4 and all his covers for MTU, PPTSSM and ASM) (trade paperback ISBN 0-7851-0899-8) Daredevil: Born Again (collects Daredevil #227233 (198586) ISBN 0-87135-297-4) Daredevil: The Man Without Fear (trade paperback ISBN 0-7851-0046-6) Daredevil Visionaries Frank Miller Vol.1 tpb (collects Daredevil #158161, #163167) Daredevil Visionaries Frank Miller Vol.2 tpb (collects Daredevil #168182) ISBN 0-7851-0771-1 Daredevil Visionaries Frank Miller Vol.3 tpb (collects Daredevil #183191, What If...? #28, 35, Bizarre Adventures #28) ISBN 0-7851-0802-5 Elektra: Assassin (tpb ISBN 0-87135-309-1) Spawn/Batman ISBN 1-58240-019-9 Sin City: The Hard Goodbye (1991) (collects Dark Horse Presents #51-62 and Dark Horse Presents Fifth Anniversary #1) (also trade paperback featuring the full version, ISBN 1-59307-293-7)

The Life and Times of Martha Washington in The Twenty-First Century (writer, with art by Dave Gibbons, Dark Horse Comics, hardcover, 600 pages, July 2009, ISBN 1-59307-654-1) collects: Give Me Liberty #1-4 (mini-series, 1990, tpb, ISBN 0-440-50446-5)

Frank Miller (comics) Martha Washington Goes to War #1-5 (mini-series, 1994, tpb, ISBN 1-56971-090-2) Happy Birthday, Martha Washington (one-shot, 1995) Martha Washington Stranded in Space (one-shot, 1995) (features The Big Guy) Martha Washington Saves the World (3-issue mini-series, 1997, tpb ISBN 1-56971-384-7) Martha Washington Dies (one-shot, 2007)

295

Tales to Offend #1 (1997) (collects two Lance Blastoff stories and "Sin City: Daddy's Little Girl")

Movies
RoboCop 2 Miller's original script was heavily edited through rewrites as it was deemed unfilmable. The original script was adapted in 2003 by Steven Grant into the comics series, Frank Miller's RoboCop. RoboCop 3 Miller co-wrote this with the film's director Fred Dekker. Batman: Year One This was co-written and was due to be directed by Darren Aronofsky until Warner Bros. cancelled the project opting for Christopher Nolan's Batman Begins. Sin City The Spirit Although Miller co-directed Sin City this is his first solo directing project. Sin City 2 Miller confirmed along with Robert Rodriguez that they will be working on a sequel to Sin City at a 2007 comic-con. Miller was a producer for the film 300, which was adapted shot for shot into a feature film in 2007. The 2003 film version of Daredevil predominantly use the tone established and stories written by Miller, who had no direct creative input on the film (except for a little cameo appearance).

Awards
Eisner Awards Best Short Story - 1995 "The Babe Wore Red", in Sin City: The Babe Wore Red and Other Stories (Dark Horse/Legend) Best Finite Series/Limited Series - 1991 Give Me Liberty (Dark Horse), 1995 Sin City: A Dame to Kill For (Dark Horse/Legend), 1996 Sin City: The Big Fat Kill (Dark Horse/Legend), 1999 300 (Dark Horse) Best Graphic Album: New - 1991 Elektra Lives Again (Marvel) Best Graphic Album: Reprint - 1993 Sin City (Dark Horse), 1998 Sin City: That Yellow Bastard (Dark Horse) Best Writer/Artist - 1991 for Elektra Lives Again (Marvel), 1993 for Sin City (Dark Horse), 1999 for 300 (Dark Horse) Best Artist/Penciller/Inker or Penciller/Inker Team - 1993 for Sin City (Dark Horse) Kirby Awards Best Single Issue - 1986 Daredevil #227 "Apocalypse" (Marvel), 1987 Batman: The Dark Knight Returns #1 "The Dark Knight Returns" (DC) Best Graphic Album, 1987 Batman: The Dark Knight Returns (DC) Best Writer/Artist (single or team) - 1986 Frank Miller and David Mazzucchelli, for Daredevil: Born Again (Marvel) Best Art Team - 1987 Frank Miller, Klaus Janson and Lynn Varley, for Batman: The Dark Knight Returns (DC) Harvey Awards Best Continuing or Limited Series - 1996 Sin City (Dark Horse), 1999 300 (Dark Horse) Best Graphic Album of Original Work - 1998 Sin City: Family Values (Dark Horse) Best Domestic Reprint Project - 1997 Batman: The Dark Knight Returns, 10th Anniversary Edition (DC) Cannes Film Festival Palme d'Or - 2005 (nominated) Sin City (Dimension Films)

Frank Miller (comics) Scream Awards The Comic-Con Icon Award - 2006

296

References
[1] http:/ / frankmillerink. com [2] Comics Buyer's Guide #1650; February 2009; Page 107 [3] Webster, Andy (July 20, 2008). "Artist-Director Seeks the Spirit of 'The Spirit'" (http:/ / www. nytimes. com/ 2008/ 07/ 20/ movies/ 20webs. html). The New York Times. . [4] Lovece, Frank (December 22, 2008). "Spirit guide: Frank Miller adapts Will Eisner's cult comic" (http:/ / www. filmjournal. com/ filmjournal/ content_display/ esearch/ e3i8a7ba6d185c56a44dde220cb5168caff). FilmJournal.com. . [5] Applebaum, Stephen (December 22, 2008). "Frank Miller interview: It's no sin" (http:/ / thescotsman. scotsman. com/ features/ Frank-Miller-interview-It39s-no. 4812742. jp). The Scotsman. . Retrieved 26 May 2010. [6] Brady, Matt. "Frank Miller Spotlight Panel, Part 1" (http:/ / forum. newsarama. com/ showthread. php?t=60099), Newsarama, February 20, 2006 [7] David Brothers. Sons of DKR: Frank Miller x TCJ (http:/ / www. 4thletter. net/ 2009/ 04/ sons-of-dkr-frank-miller-x-tcj/ ), 4thletter, April 6, 2009 [8] "The Complete Frank Miller: The Twilight Zone" (http:/ / moebiusgraphics. com/ comics/ twilightzone. php). . [9] "Interview with Jim Shooter" (http:/ / www. manwithoutfear. com/ interviews/ ddINTERVIEW. shtml?id=Shooter), ManWithoutFear.com, July 1998. WebCitation archive (http:/ / www. webcitation. org/ 5r3SdPRzM). [10] Weird War Tales #64 (June 1978) (http:/ / www. comics. org/ issue/ 32316/ #199299) at the Grand Comics Database [11] Weird War Tales #68 (Oct. 1978) (http:/ / www. comics. org/ issue/ 32672/ #200551) at the Grand Comics Database [12] Frank Miller (http:/ / www. comics. org/ search/ advanced/ process/ ?target=sequence& method=icontains& logic=True& order1=date& order2=series& order3=& title=& feature=& job_number=& pages=& script=Frank+ Miller& pencils=Frank+ Miller& inks=Frank+ Miller& colors=Frank+ Miller& letters=Frank+ Miller& story_editing=Frank+ Miller& genre=& characters=& synopsis=& reprint_notes=& notes=& start_date=1976& end_date=& pub_name=& pub_notes=& series=& series_notes=& tracking_notes=& publication_notes=& language=en& issues=& volume=& issue_date=& brand=& indicia_publisher=& price=& issue_pages=& format=& issue_editing=Frank+ Miller& issue_notes=& is_indexed=None) at the Grand Comics Database. NOTE: A different artist named Frank Miller was active in the 1940s. He died December 3, 1949 [13] http:/ / www. comics. org/ issue/ 26128/ [14] Flinn, Tom. "Writer's Spotlight: Frank Miller: Comics' Noir Auteur," ICv2: Guide to Graphic Novels #40 (Q1 2007). [15] "A Quick Miller Minute on All-Star Batman and Robin" (http:/ / forum. newsarama. com/ showthread. php?s=& threadid=27218), Cliff Biggers Newsarama, February 9, 2005 [16] Adler, Shawn (May 26, 2007). "Depp, Banderas To Call 'Sin City' Home?" (http:/ / www. mtv. com/ news/ articles/ 1555630/ 20070326/ story. jhtml). MTV News. . [17] Gatevackes, William (February 10, 2006). "All-Star Batman & Robin #1-3" (http:/ / www. popmatters. com/ comics/ all-star-batman-robin-1-3. shtml). PopMatters.com. . [18] Biggers, Cliff. Comic Shop News #1064, November 7, 2007 [19] Robinson, Iann. "Review" (http:/ / www. craveonline. com/ articles/ comics/ 04649326/ all_star_batman_and_robin. html). Crave Online. . [20] Scott, A. O. (April 24, 2005). "The Unreal Road From Toontown to 'Sin City'" (http:/ / www. nytimes. com/ 2005/ 04/ 24/ movies/ 24scot. html?ex=1271995200& en=83f36c443f1c41eb& ei=5088& partner=rssnyt& emc=rss). The New York Times. . [21] Dargis, Manohla (April 1, 2005). "A Savage and Sexy City of Pulp Fiction Regulars" (http:/ / movies. nytimes. com/ 2005/ 04/ 01/ movies/ 01sin. html?_r=1& ex=1153281600& en=7e266ef33d532f3a& ei=5070& oref=slogin). The New York Times. . [22] (http:/ / www. metacritic. com/ film/ titles/ spirit2008?q=the spirit), Metacritic.com [23] "Frank Miller's Sin City" (http:/ / movies. tvguide. com/ frank-millers-sin-city/ cast/ 137842) TV Guide.com Retrieved August 21, 2011 [24] "The Annotated Spirit: A Guide to the Movie's In-joke References" (http:/ / www. filmjournal. com/ filmjournal/ content_display/ esearch/ e3i8a7ba6d185c56a44dde220cb5168caff). Filmjournal.com. 2008-12-22. . Retrieved 2010-11-08. [25] http:/ / robot6. comicbookresources. com/ 2011/ 07/ sdcc-11-legendary-reveals-trailer-for-frank-millers-holy-terror/ [26] "Gravity's Rainbow (Penguin Classics Deluxe Edition): Thomas Pynchon, Frank Miller: Books" (http:/ / www. amazon. com/ dp/ 0143039946). Amazon.com. . Retrieved 2010-11-08.

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External links
] Official website (http://frankmillerink.com) Frank Miller (http://comicbookdb.com/creator.php?ID=8) at the Comic Book DB The Complete Works of Frank Miller (http://www.moebiusgraphics.com/) Frank Miller (http://www.imdb.com/name/nm0588340/) at the Internet Movie Database Frank Miller (http://www.dmoz.org/Arts/Comics/Creators/M/Miller,_Frank/) at the Open Directory Project

David Mazzucchelli

298

David Mazzucchelli
David Mazzucchelli
Born Nationality Area(s) 1960 American Cartoonist

Notable works Asterios Polyp Daredevil Batman: Year One Rubber Blanket City of Glass: The Graphic Novel Awards Swann Foundation for Caricature and Cartoon; New Jersey State Council on the Arts Fellowship; Japan/U.S. Friendship Commission Creative Artists Fellowship; [1] Los Angeles Times Book Prize

David Mazzucchelli (born 1960) is an American comic book artist and writer. His latest work is the award-winning graphic novel, Asterios Polyp.

Career
Mazzucchelli received his BFA from the Rhode Island School of Design and started working in comics in the early 1980s, first at Marvel Comics where, after a few fill-in jobs, he became the regular artist on Daredevil. He developed his skills working with writer Denny O'Neil and culminated his work on this title with the popular and critically acclaimed Daredevil: Born Again story arc, written by Frank Miller (now collected in book form). Mazzucchelli began as a traditional superhero artist but over the span of his time on Daredevil, his work became more nuanced and expressionistic. Miller and Mazzucchelli collaborated again on the graphic novel, Batman: Year One, serialized in issues 404 through 407 of DC Comics' monthly Batman title, and published in a single volume soon after that. Batman: Year One is considered one of the best Batman stories ever produced, and has served as a model for many subsequent creators. After Batman: Year One Mazzucchelli abandoned the superhero genre to focus on more personal projects.[2] He published three issues of his own independent anthology, Rubber Blanket, co-edited by his wife, the painter Richmond Lewis, in which he began finding his voice as a writer in addition to exploring new avenues of visual expression. His evocative and haunting stories in Rubber Blanket, notably "Near Miss," "Dead Dog," "Discovering America," and "Big Man," set the stage for his work to come. With writer/artist Paul Karasik, he co-wrote and illustrated an adaptation of Paul Auster's City of Glass, published first by Avon Books in 1994, then by Picador in 2004 as City of Glass: The Graphic Novel. (Auster's later book The Brooklyn Follies features a character with the name Nancy Mazzucchelli, an homage to David.) He continued to write and draw short comics for various publishers up to the year 2000. In 2009, Pantheon Books published Mazzucchelli's most ambitious work yet, the critically lauded graphic novel, Asterios Polyp.[3] A tour de force of comics technique, Asterios Polyp tells the complex and moving storylaced with humor of the title character's journey of self-discovery. In his review in The New York Times, Douglas Wolk wrote, "'Asterios Polyp' is a dazzling, expertly constructed entertainment, even as its maddening and even suffocating at times. It demands that its audience wrestle with it, argue with it, reread and re-examine it." The New

David Mazzucchelli York Times included it in its 100 Notable Books of 2009, and The Los Angeles Times awarded it the first Book Prize in the category of Graphic Novel the following year. Mazzucchelli has also done illustrations for various publications, including interior pieces and covers for The New Yorker. Mazzucchelli taught a course in comics at the Rhode Island School of Design for several years, and currently teaches an undergraduate course for seniors majoring in cartooning at the School of Visual Arts.[4]

299

Bibliography
Graphic novels Asterios Polyp (Pantheon Books, 2009) ISBN 978-0-307-37732-6 Paul Auster's City of Glass, with Paul Karasik (Avon Books, 1994). Reprinted by Macmillan Publishers, 2004, ISBN 9780312423605 Batman: Year One (DC, 1988), originally published in Batman #404407 by Miller/Mazzucchelli

Alternative comics
Rubber Blanket #13 (Rubber Blanket Press, 19911993)

DC Comics
Batman #404407: "Batman: Year One" story arc with writer Frank Miller (1987) Superman and Batman: World's Funnest: "Darkseid" with writer Evan Dorkin (Elseworlds) (2000)
Mazzucchelli's cover to Batman #407, the fourth chapter of 1987's Batman: Year One.

World's Finest Comics #302: Justice League/Outsiders story with writer David Anthony Kraft (1984)

Marvel Comics
Daredevil #206, 208217, 220223, 225233; mainly with writers Denny O'Neil and Frank Miller (19841986) Further Adventures of Indiana Jones #14 with writer David Michelinie (1984) Marvel Fanfare #40: (Angel story) with writer Ann Nocenti (1988) Marvel Team-Up Annual #7: Human Torch/Black Panther story, with writer Bob De Natale (1984) Master of Kung Fu #121 with writer Steven Grant (1983) Star Wars #84 with writer Roy Richardson (1984) X-Factor #16 with writer Louise Simonson (1987)

David Mazzucchelli Cover artist only Batman and Other DC Classics (DC, 1989) Cheval Noir #40 (Dark Horse, 1993) G.I. Joe #31 (Marvel, 1985) Rom #61 (Marvel, 1984)

300

Anthologies Snake Eyes #1 (Fantagraphics Books, 1991) "Cold Truth" in Nozone #3 (Nozone, 1991) "It's a beautiful day..." in Drawn & Quarterly Vol. 1, #9 (Drawn & Quarterly, July 1992) "A Brief History of Civilization" in Drawn & Quarterly Vol. 1, #9 (Drawn & Quarterly, July 1992) "Phobia" in Snake Eyes #3 (Fantagraphics Books, 1993) "Sorry" in Nozone #5 (Nozone, 1993) "Rates of Exchange" in Drawn & Quarterly Vol. 2, #2 (Drawn & Quarterly, Dec. 1994), also cover art Nozone #6 (Nozone, 1995?) "Stop the Hair Nude" in Zero Zero #2 (Fantagraphics Books, 1995) "Midori" in Manga Surprise #1

"Stubs" in Zero Zero #11 (Fantagraphics Books, 1996) "Still Life" in Zero Zero #27 (Fantagraphics Books, 2000) "The Fisherman and the Sea Princess" in Little Lit: Folklore & Fairy Tale Funnies (Joanna Cotler/HarperCollins, 2000) "The Boy Who Loved Comics" in The Comics Journal Special #1 (Fantagraphics Books, 2001)

Newspapers & magazines


"Castles in the Sand", cover of The New Yorker, July 26, 1993 "The Fine Art of Hanging Ryman" in The New Yorker, Oct 4, 1993 "May Day", cover of The New Yorker, May 2, 1994 "Post Mort on Columbus Circle" in The New Yorker, May 16, 1994 "Monday in the Park with Marlon" in The New Yorker, Sept 19, 1994 "Fall", cover of The New Yorker, Oct 24, 1994 "New String" in The Village Voice, 1994

Collections
Daredevil: Love's Labors Lost (Marvel, 2002), collects Daredevil #215217, 220222, 225 by O'Neil/Mazzucchelli, #219 by Miller/Buscema, & #226 by O'Neil/Miller/Mazzucchelli Daredevil: Born Again (Marvel, 1987), collects Daredevil #227233 by Miller/Mazzucchelli Big Man (Coconino Press, 2000) Discovering America (Coconino Press, 2001) David Mazzucchelli Sketchbook (Kaleidoscope, 2001), features preliminary pencils from Daredevil and Batman: Year One and rare work published in Japan

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Interviews
Marvel Age #36: "Miller and Mazzucchelli on Daredevil" (Marvel, 1986), also cover art Amazing Heroes #102 (Fantagraphics Books, 1986), also cover art Comic Culture Vol. 2 #4 (Richard Relkin, 1995) The Comics Journal #152 (Fantagraphics Books, 1992) The Comics Journal #194 (Fantagraphics Books, 1997), also cover art Panel Discussions: Design in Sequential Art Storytelling (TwoMorrows Publishing, 2002) Indy Magazine [5] (2004) The Comics Journal #300 [6], interview/discussion with artist Dash Shaw (Fantagraphics Books, 2009)

Other work
"Tribute: People of Note Pay Homage to the Batman" in Detective Comics #598 & 600 (DC, 1989), pin-ups The Comics Journal #188 (Fantagraphics Books, 1996), cover artist Small Press Expo SPX 2002 (Comic Book Legal Defense Fund, 2002), cover artist "Paying Homage: Tribute to the Great Will Eisner" in Comic Book Artist #6 (Top Shelf Productions, 2005), testimonials and artwork by authors, artists and other creative types influenced by Will Eisner "Spotlight: Rubber Blanket" in Negative Burn #10 (Caliber Comics, 1994) "Sketchbook" in Negative Burn #17 (Caliber Comics, 1994)

Awards
The American Comic Book Awards, 1985 Kirby AwardBest Single Issue (Daredevil #227), 1986 Kirby AwardBest Writer/Artist (single or team), 1986 Haxtur AwardBest Drawing, 1987 New Jersey State Council on the Arts Fellowship, 1994 Swann Foundation for Caricature and Cartoon, 1993 Japan/US friendship Commission Creative Artists Fellowship, 2000 Los Angeles Times Book Prize Graphic Novel award, 2009[7] Reuben Award (National Cartoonists Society)Best Graphic Novel 2009 (Asterios Polyp), 2010 Eisner AwardsBest New Graphic Novel (Asterios Polyp); Best Single Issue or Story; Best Lettering, 2010 Harvey AwardsBest Original Graphic Novel (Asterios Polyp); Best Writer/Artist; Best Letterer, 2010 Grand Jury Prize, Angoulme International Comics Festival, 2011 (for Asterios Polyp)

References
[1] Biography from "Comics On the Verge" exhibition (http:/ / www. mica. edu/ comics/ artist_mazzucchelli. html) [2] Young, Frank. "Comics Used to be about Telling Stories: David Mazzucchelli Discusses his Transition from Mainstream to Independence", The Comics Journal #152 (August 1992), pp. 114199. [3] Reid, Calvin. "Fall 2008: New Comics from Pantheon", [[Publishers Weekly (http:/ / www. publishersweekly. com/ article/ CA6500578. html)] (Nov. 13, 2007).] Accessed Jan. 26, 2009. [4] SVA Events for November 19, 2008 (http:/ / www. schoolofvisualarts. edu/ events/ index. jsp?sid0=70& page_id=181& content_id=2662) [5] http:/ / web. archive. org/ web/ 20080503002157/ http:/ / www. indyworld. com/ indy/ spring_2004/ mazzucchelli_interview/ index. html [6] http:/ / classic. tcj. com/ tcj-300/ tcj-300-conversations-david-mazzucchelli-dash-shaw/ [7] Garrison, Jessica (April 24, 2010). "Rafael Yglesias A Happy Marriage wins Times Book Prize for fiction" (http:/ / www. latimes. com/ news/ local/ la-me-0424-bookprize-20100424,0,1170338. story). Los Angeles Times. . Retrieved April 24, 2010.

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External links
David Mazzucchelli (http://comicbookdb.com/creator.php?ID=736) at the Comic Book DB Biography (http://www.mica.edu/comics/artist_mazzucchelli.html) from the 2004 exhibit "Comics On the Verge" (http://www.mica.edu/comics/index.cfm/) Mazzucchelli in Little Lit (http://www.little-lit.com/artists/mazzucchelli.html) Mazzucchelli bio at Read Yourself Raw (http://www.readyourselfraw.com/profiles/mazzucchelli/ profile_mazzucchelli.htm) Mazzucchelli bio at Lambiek.net (http://lambiek.net/artists/m/mazzuchelli.htm) Mazzucchelli at the International Who is Who in Cartooning (http://www.wittyworld.com/whoswho/ whoswho-M.html) Mazzucchelli interview (http://www.indyworld.com/indy/spring_2004/mazzucchelli_interview/), indy magazine (spring 2004) David Mazzuchelli: El Naturalismo Expresionista (http://www.homines.com/comic/david_mazzucchelli/ index.htm)

Batman: Year One

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Batman: Year One


"Batman: Year One"

Cover to Batman #407, the conclusion to Year One. Art by David Mazzucchelli. Publisher Publication date Genre Title(s) Main character(s) DC Comics February May 1987 Superhero Batman #404-407 Batman Jim Gordon Carmine Falcone Creative team Writer(s) Artist(s) Letterer(s) Colorist(s) Editor(s) Frank Miller David Mazzucchelli Todd Klein Richmond Lewis Dennis O'Neil Collected editions Batman: Year One Deluxe Edition (softcover) Deluxe Edition (hardcover) ISBN 0930289331 ISBN 1401207529 ISBN 1401206905

"Year One", later referred to as "Batman: Year One", is an American comic book story arc written by Frank Miller, illustrated by David Mazzucchelli, colored by Richmond Lewis, and lettered by Todd Klein. It originally appeared in issues #404 to #407 of DC Comics' Batman comic title in 1987. There have been several reprints of the story: a hardcover, multiple trade paperback editions (one in standard comics paper with simpler coloring and one deluxe version with rich detailing in the colors both colored by Richmond Lewis) and it has been included in The Complete Frank Miller Batman hardcover.

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Synopsis
The story recounts the beginning of Bruce Wayne's career as Batman and Jim Gordon's with the Gotham City Police Department. Bruce Wayne returns home to Gotham City from training abroad in martial arts, manhunting, and science for the past 12 years, and James Gordon moves to Gotham with his wife, Barbara, after a transfer from Chicago. Both are swiftly acquainted with the corruption and violence of Gotham City, with Gordon witnessing his partner Detective Flass assaulting a teen for fun. On a surveillance mission to the seedy East End, a disguised Bruce is propositioned by teenaged prostitute Holly Robinson. He is reluctantly drawn into a brawl with her violent pimp and is attacked by several prostitutes, including dominatrix Selina Kyle. Two police officers shoot and take him in their squad car, but a dazed and bleeding Bruce breaks his handcuffs and causes a crash, dragging the police to a safe distance before fleeing. He reaches Wayne Manor barely alive and sits before his fathers bust, requesting guidance in his war on crime. A bat crashes through a window and settles on the bust, giving him the inspiration to become a bat. Gordon soon works to rid corruption from the force, but, on orders from Commissioner Gillian Loeb, several officers attack him, including Flass, who personally threatens Gordons pregnant wife. In revenge, the recovering Gordon tracks Flass down, beats and humiliates him, leaving him naked and handcuffed in the snow. As Gordon becomes a minor celebrity for several brave acts, Batman strikes for the first time, attacking a group of thieves. Batman soon works up the ladder, even attacking Flass while he was accepting a drug dealers bribe. After Batman interrupts a dinner party attended by many of Gothams corrupt politicians and crime bosses, including Carmine "The Roman" Falcone, Loeb orders Gordon to bring him in by any means necessary. As Gordon tries in vain to catch him, Batman attacks Falcone, stripping him naked and tying him up in his bed after dumping his car in the river, further infuriating the mob boss. Assistant district attorney Harvey Dent becomes Batmans first ally, while Detective Sarah Essen and Gordon, after Essen suggested Bruce Wayne as a Batman suspect, witness Batman save an old woman from a runaway truck. Essen holds Batman at gunpoint while Gordon is momentarily dazed, but Batman disarms her and flees to an abandoned building. Claiming the building has been scheduled for demolition, Loeb orders a bomb dropped on it, forcing Batman into the fortified basement, abandoning his belt as the explosives inside catch fire. A trigger-happy SWAT team led by Branden is sent in, who Batman attempts to trap in the basement. They soon escape and, after tranquilizing Branden, Batman dodges as the rest open fire, barely managing to survive after two bullet wounds. Enraged as the teams carelessly fired bullets injure several people outside, Batman beats the team into submission and, after using a device to attract the bats of his cave to him, he flees amid the chaos. Selina Kyle, after witnessing him in action, dons a costume of her own to begin a life of crime. Gordon has a brief affair with Essen, while Batman intimidates a mob drug dealer for information. The dealer comes to Gordon to testify against Flass, who is brought up on charges. Upset with Gordon's exploits, Loeb blackmails Gordon against pressing charges with proof of his affair. After bringing Barbara with him to interview Bruce Wayne, investigating his connection to Batman, Gordon confesses the affair to her. Batman sneaks into Falcones manor, overhearing a plan against Gordon, but is interrupted when Selina Kyle, hoping to build a reputation after her robberies were pinned on Batman, attacks Falcone and his bodyguards, aided from afar by Batman. Identifying Falcones plan as the morning comes, the uncostumed Bruce leaves to help. While leaving home, Gordon spots a motorcyclist enter his garage. Suspicious, Gordon enters to see Johnny Vitti, Falcones nephew, and his thugs holding his family hostage. Gordon decisively shoots the thugs and chases Vitti, who has fled with the baby. Bruce Wayne, on a motorcycle, also rushes out to chase Vitti. Gordon blows out Vitti's car tire on a bridge and the two fight hand-to-hand, with Gordon losing his glasses, before Vitti and James Gordon Junior fall over the side. Bruce leaps over the railing and saves the baby. Gordon realizes that he is standing before an unmasked Batman, but says that he is "practically blind without [his] glasses," and lets Bruce go.

Batman: Year One In the final scenes of the comic, Flass turns on Loeb, supplying Dent with evidence and testimony, and Loeb resigns. Gordon is promoted to captain and stands on the rooftop waiting to meet Batman to discuss somebody called The Joker, who is plotting to poison the reservoir.

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Critical reaction
IGN Comics ranked Batman: Year One at the top of a list of the 25 greatest Batman graphic novels, saying that "no other book before or since has quite captured the realism, the grit and the humanity of Gordon and Batman so perfectly."[1] The website added, "It's not only one of the most important comics ever written, it's also among the best."[2]

Continuity
Batman: Year One exists not only in the mainstream DC-continuity, but also in the same continuity as the other storylines in Miller's "Dark Knight Universe", consisting of The Dark Knight Returns, its sequel The Dark Knight Strikes Again, Spawn/Batman, All Star Batman and Robin the Boy Wonder.[3] Following Crisis on Infinite Earths, DC rebooted many of its titles. Year One was followed by Batman: Year Two, but the 1994 Zero Hour: Crisis in Time crossover erased Year Two from continuity. In another continuity re-arrangement, Catwoman: Year One (Catwoman Annual #2, 1995) posited that Selina Kyle had not actually been a prostitute, but, rather, a thief posing as one in order to commit crimes. Launched in 1989, following the success of the film Batman, the title Batman: Legends of the Dark Knight examines crime-fighting exploits primarily, not exclusively, from the first four to five years of Batman's career. This title rotated in creative teams and time placement, but several stories directly relate to the events of Year One, especially the first arc "Batman: Shaman". In 1998, Jeph Loeb and Tim Sale created Batman: The Long Halloween and Batman: Dark Victory, two 13-issue maxiseries that recounted Batman's early years as a crime-fighter following the events of Miller's original story and retold the origins of Two-Face and Dick Grayson. The Year One story was continued in the 2005 graphic novel Batman: The Man Who Laughs, following up on Gordon informing Batman about the Joker, and thus recounting their first official encounter. Two other stories, Batman and the Monster Men and Batman and the Mad Monk tie into the same time period of Batman's career, filling in the gaps that exist in Miller's original story. Following the 2007 cancellation of Batman: Legends of the Dark Knight, Batman Confidential began publication, depicting Batman's early years, although some of these stories take place several years after Miller's Year One story because Batman is depicted wearing his "yellow oval" costume.

Adaptations
Cancelled live-action film
Further information: Batman in film#Batman: Year One In 2000, Warner Bros. hired Darren Aronofsky to write and direct a reboot of the Batman film franchise.[4] This reboot was to be based on Batman: Year One. Accordingly, Aronofsky collaborated with Frank Miller who finished an early draft of the script.[4] The script, however, was a loose adaptation, as it kept most of the themes and elements from the graphic novel but shunned other conventions that were otherwise integral to the character.[5] It was eventually shelved by the studio and both Aronofsky and Miller moved on to other projects.[6] Bruce is seen eschewed from his wealth and lifestyle following his parent's murder; as a child he is found by "Big Al" (this world's version of Alfred Pennyworth, reinvented as an African-American junkyard owner). Bruce grows to maturity, haunted by his nightmares while working in the junkyard. Across the street lay the remnants of Crime Alley, now turned into a prostitute ring and cat-house where the dominatrix Selina Kyle works. Bruce's decision to fight criminals precipitates when he watches rookie cop James Gordon on TV apprehending a perpetrator at a

Batman: Year One hostage situation. Initially, Bruce dons a cape and hockey mask to fight crime. However, the costume evolves to a more stylized version as Bruce gathers a variety of gadgets and weapons. Bruce rebuilds a black Lincoln Continental into an improvised Batmobile. In his new disguise as "The Batman," Bruce battles street level thugs and high-ranking officials, including Police Commissioner Loeb and Mayor Noone. Meanwhile, the executors of the Wayne family estate search for Bruce.[7] Gordon grows more determined to maintain law and order, befriending Assistant District Attorney Harvey Dent. Notable translations from the book involve Gordon being beaten up by Detective Flass and his goons at the precinct parking lot, his silent battle against Commissioner Loeb, and Gordon's initial speculations about Harvey Dent being the vigilante. Gordon chronicles the corruption he sees in the Gotham PD in a 'Corruption Log'. He contacts Mayor Noone only to later realize that the Mayor too is under Loeb's influence. The log is eventually stolen and then retrieved by Selina Kyle, who hands it over to the Batman. Gordon is given his log back by the Batman, thus cementing their mutual trust and Batman's role as a force for good. In scenes adapted from the book, Batman is cornered by the GCPD in an abandoned tenement fire, Gordon and Flass brawl at night, and Gordon's family is attacked by Loeb's men. The Batman and Gordon are able to subdue Loeb and his men, with Flass and Loeb being convicted of criminal charges. Bruce eventually comes to accept his dual identity as heir to the Wayne family estate and the Batman. In the epilogue, when Selina dons her costume and becomes 'Catwoman', she recognizes Bruce's face when he has reintegrated into society.[7]

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Animated film
In 2011, a film in the DC Universe Animated Original Movies series was made as an adaptation of Frank Miller's story "Batman: Year One" from 1987 in the main Batman title, featured in issues #404407. It is produced by Bruce Timm, co-directed by Lauren Montgomery and Sam Liu.[8] It features the voices of Benjamin McKenzie as Bruce Wayne/Batman, Bryan Cranston as James Gordon, Eliza Dushku as Selina Kyle/Catwoman, Katee Sackhoff as Sarah Essen, Grey DeLisle as Barbara Gordon, Jon Polito as Commissioner Loeb, Alex Rocco as Carmine 'The Roman' Falcone.[9] The movie premiered at Comic-Con, with direct-to-video DVD and Blu-ray available in October. [10]

Influence in other adaptations


Batman: Mask of the Phantasm
In the critically acclaimed Batman: Mask of the Phantasm animated movie, creators Bruce Timm, Paul Dini and Alan Burnett draw aspects from Batman: Year One during the flashback scenes, these include: A young and inexperienced Bruce Wayne fighting street thugs and realizing his shortcomings. The scene where Batman/Bruce is cornered by Bullock's SWAT Team adheres to a similar setting from the graphic novel as mentioned above (the abandoned tenement fire from issue #3).

Batman Begins and The Dark Knight


Christopher Nolan's Batman Begins and its sequel The Dark Knight are set during the same timespan and has indeed adapted several elements directly from the graphic novel. While the thematic elements cannot be stressed here (corruption at GCPD, Bruce's personal vocation, Jim Gordon etc.), some of the more direct interpretations include: Major characters like Commissioner Loeb, Detective Flass and Carmine 'The Roman' Falcone who are featured prominently in Batman Begins. The scene with Bruce Wayne returning from years of training abroad on board a plane reminisces the first page of the graphic novel. Christian Bale's 'street attire' in Batman Begins mimics the clothes in the first issue of Batman: Year One when Bruce is walking down the Lower East End.

Batman: Year One Tying Falcone up. In the graphic novel Batman ties The Roman in his own house; in the film, he ties The Roman to a searchlight. In the final act of Batman Begins, while being cornered by the GCPD at Arkham Asylum Batman uses a high-frequency device to attract his bats from the cave. This is taken from the final act of the graphic novel when Batman does the same thing at the abandoned tenement fire. The concluding scene where Batman and Gordon are on top of the police headquarters continues, to an extent, the final page of the graphic novel where newly promoted Jim Gordon waits for Batman to arrive. In both the book and the film, Gordon announces the coming of a new threat: The Joker. During the famous viral-marketing for The Dark Knight, an audio clip was available that depicted Harvey Dent walking up to a hostage situation and subduing the threat. While this may not be a direct adaptation, it does resemble the scene with the hostage situation in Batman: Year One, only replacing James Gordon with Harvey Dent (Aaron Eckhart). Although the entire incident and Dent's role occurs out of earshot and thus did not require Aaron Eckhart to play out the clip. The concluding scene where Two-Face holds Gordon's family at gunpoint, is reminiscent of the Year One scene where Gordon's family is at danger from The Roman and Loeb's men. Batman saves Gordon's son from a fall in the film just as he does in the book.

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References
[1] The 25 Greatest Batman Graphic Novels (http:/ / comics. ign. com/ articles/ 624/ 624619p1. html), Hilary Goldstein, IGN, June 13, 2005 [2] Batman: Year One Review (http:/ / comics. ign. com/ articles/ 626/ 626667p1. html), IGN, June 17, 2005 [3] Sanderson, Peter (2006-02-06). "''Comics in Context #119: All-Star Bats'' on IGN" (http:/ / comics. ign. com/ articles/ 685/ 685820p1. html). Comics.ign.com. . Retrieved 2011-01-04. [4] Dana Harris (2000-09-21). "WB sends Pi guy into the Bat Cave" (http:/ / www. variety. com/ article/ VR1117786714). Variety. . Retrieved 2008-10-17. [5] Brian Linder (2000-10-16). "The Bat-Men Speak" (http:/ / movies. ign. com/ articles/ 034/ 034023p1. html). IGN. . Retrieved 2008-10-17. [6] Dana Harris (2002-06-30). "WB: fewer pix, more punch" (http:/ / www. variety. com/ article/ VR1117869140). Variety. . Retrieved 2008-10-17. [7] David Hughes (March 2004). "The Dark Knight Strikes Out". Tales From Development Hell. London: Titan Books. pp.192211. ISBN 1-84023-691-4. [8] "Batman: Year One Animated Update". worldsfinestonline.com. June 13, 2010. [9] Kit, Borys (April 20, 2011). "'Batman: Year One' Lines Up Voice Cast, Sets Comic-Con Premiere (Exclusive)" (http:/ / www. hollywoodreporter. com/ heat-vision/ batman-year-one-lines-up-179942). The Hollywood Reporter. . Retrieved June 18, 2011. [10] http:/ / www. dailyblam. com/ news/ 2011/ 06/ 07/ batman-year-one-animated-film-sneak-peek-video-character-designs

External links
Batman: Year One Movie Official Site (http://BatmanYearOneMovie.com) Batman: Year One Movie Official Fan Page (http://facebook.com/BatmanYearOne) Current edition at DC Comics (http://www.dccomics.com/graphic_novels/?gn=1287) ISBN 0-930289-33-1 Deluxe Hardcover edition at DC Comics (http://www.dccomics.com/graphic_novels/?gn=2712) ISBN 1-4012-0690-5

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Classic Innovations and Early Comics


Richard F. Outcault
Richard Felton Outcault (January 14, 1863 - September 25, 1928) was an American comic strip writer-artist. He was the creator of the series The Yellow Kid and Buster Brown, and he is considered the inventor of the modern comic strip.

Early life
Born in Lancaster, Ohio, Outcault was 15 years old when he went to Cincinnati and enrolled in the McMicken Universitys School of Design where he studied for three years.

Career
After graduation, Outcault was employed by Thomas Edison as a technical illustrator, going to Paris as the official artist for Edisons traveling exhibit of electric lighting. In 1890, he moved to New York City, where he joined Electrical World (a magazine owned by one of Edisons friends) and became a regular contributor to Truth magazine, Judge and Life.[1]

Richard Outcault

After he signed on with Joseph Pulitzer's New York World, Pulitzer placed Outcault's comics in a color supplement, using a single-panel color cartoon on the front page called Hogan's Alley, depicting an event in a fictional slum. A character in the panel, The Yellow Kid, gave rise to the phrase "yellow journalism." Hogan's Alley debuted May 5, 1895.[2] In October 1896, Outcault defected to William Randolph Hearst's New York Journal. The result of a lawsuit awarded the title "Hogan's Alley" to the World and "The Yellow Kid" to the Journal. In 1902, Outcault introduced Buster Brown, a mischievous boy dressed in Little Lord Fauntleroy style, and his dog Tige. The strip and characters were very popular, and Outcault eventually licensed the name for a number of consumer products, notably Buster Brown shoes.
Buster Brown

In the Journal, Outcault began experimenting with using multiple panels and speech balloons. Although he was not the first to use either technique, his use of them created the standard by which comics were measured.

Richard F. Outcault

309

The Yellow Kid

Death
Richard F. Outcault died in 1928 in Flushing, New York. He was interred in the Forest Lawn Memorial Park Cemetery in Glendale, California.

Awards
Outcault was a 2008 Judges' Choice inductee into the Will Eisner Comic Book Hall of Fame.[3]

References
[1] Wallace, Derek. Virtue vol. 1, no. 14. July 18, 2005. (http:/ / www. virtuemag. org/ articles/ the-yellow-kid) [2] Horn, Maurice. World Encyclopedia of Comics. Chelsea House, 1976. [3] Comic-Con: "The 2008 Eisner Awards: Eisner Hall of Fame Nominees Announced" (http:/ / www. comic-con. org/ cci/ cci_eisners_08hallfame. shtml)

External links
Buster Brown (http://renton.50megs.com/Tuscania/Bushido/outcault02.htm) The Life and Times of Buster Brown (http://www.brownshoe.com/busterbrown/busbrwn_history.asp)

The Yellow Kid

310

The Yellow Kid


The Yellow Kid emerged as the lead character in Hogan's Alley, drawn by Richard F. Outcault, which became one of the first Sunday supplement comic strips in an American newspaper, although its graphical layout had already been thoroughly established in political and other, purely-for-entertainment cartoons.[1] The Yellow Kid was a bald, snaggle-toothed boy who wore a yellow nightshirt and hung around in a ghetto alley filled with equally odd characters, mostly other children. With a goofy grin, the Kid habitually spoke in a ragged, peculiar ghetto argot printed on his shirt, a device meant to lampoon advertising billboards.

Magazine to newspapers
The Yellow Kid Outcault drew four black-and-white, highly detailed single panel Hogan Alley cartoons for Truth magazine in 1894 and 1895. The character who would later become the Yellow Kid had a minor supporting role in these panels. The fourth cartoon, Fourth Ward Brownies, was reprinted on 17 February 1895 in Joseph Pulitzer's New York World where Outcault worked as a technical drawing artist. The World published a new Hogan's Alley cartoon less than a month later and this was followed by the strip's first color printing on 5 May 1895.[2] Hogan's Alley gradually became a full-page Sunday color cartoon with the Yellow Kid as its lead character, which was also appearing several times a week.

The strip has been described as "... a turn-of-the-century theater of the city, in which class and racial tensions of the new urban, consumerist environment were acted out by a mischievous group of New York City kids from the wrong side of the tracks."[3] The Yellow Kid's head was drawn wholly shaved as if having been recently ridden of lice, a common sight among children in New York's tenement ghettos at the time. His nightshirt, a hand-me-down from an older sister, was white or pale blue in the first color strips.[4]

The Yellow Kid

311

Merchandising
The Yellow Kid's image was an early example of lucrative merchandising and appeared on mass market retail objects in the greater New York City area such as "billboards, buttons, cigarette packs, cigars, cracker tins, ladies fans, matchbooks, postcards, chewing gum cards, toys, whiskey and many other products".[5] In 1896 Outcault was hired away at a much higher salary to William Randolph Hearst's New York Journal American where he drew the Yellow Kid in a new full-page color strip which was significantly violent and even vulgar compared to his first panels for Truth magazine. Pulitzer, who had retained the copyright to Hogan's Alley, hired George Luks to continue drawing the original (and now less popular) version of the strip for the World and hence the Yellow Kid appeared simultaneously in two competing papers for about a year. Outcault produced three subsequent series of Yellow Kid strips at the Journal American, each lasting no more than four months: McFaddens Row of Flats (18 October 1896 - 10 January 1897) Around the World with the Yellow Kid - a strip that sent the Kid on a world tour in the manner of Nellie Bly (17 January - 30 May 1897) A half-page strip which eventually adopted the title Ryans Arcade (28 September 1897 - 23 January 1898).[6] With the Yellow Kid's merchandising success as an advertising icon the strip came to represent the crass commercial world it had originally lampooned, and publication of both versions stopped abruptly after only three years in early 1898, as circulation wars between the rival papers dwindled. Moreover, Outcault may have lost interest in the character when he realized he couldn't retain exclusive commercial control over it.[7] The Yellow Kid's last appearance is most often noted as 23 January 1898 in a strip about hair tonic. On 1 May 1898, the character was featured in a rather satirical cartoon called Casey Corner Kids Dime Museum but he was drawn ironically, as a bearded, balding old man wearing a green nightshirt which bore the words: "Gosh I've growed old in making dis collection."[8]

Richard F Outcault's last Hogan's Alley cartoon for Truth magazine, Fourth Ward Brownies, was published on 9 February 1895 and reprinted in the New York World newspaper on 17 February 1895, beginning one of the first comic strips in an American newspaper. The character later known as the Yellow Kid had minor supporting roles in the strip's early panels. This one refers to The Brownies characters popularized in books and magazines by artist Palmer Cox.

The Yellow Kid

312

The two newspapers which ran the Yellow Kid, Pulitzer's World and Hearst's Journal American, quickly became known as the yellow kid papers. This was contracted to the yellow papers and the term yellow kid journalism was at last shortened to yellow journalism, describing the two newspapers' editorial practices of taking (sometimes even fictionalized) sensationalism and profit as priorities in journalism.[9]
[10] [11]

In a 1902 interview, Outcault remarked: The Yellow Kid was not an individual but a type. When I used to go about the slums on newspaper assignments I would encounter him often, wandering out of doorways or sitting down on dirty doorsteps. I always loved the Kid. He had a sweet character and a sunny disposition, and was generous to a fault. Malice, envy or selfishness were not traits of his, and he never lost his temper.
A year and a half later Outcault was drawing the Yellow Kid for Hearst's New York Journal in a full-page color Sunday supplement as McFadden's Row of Flats. In this 15 November 1896 Sunday panel, word balloons have appeared, the action is openly violent and the drawing has become mixed and chaotic.

[12] The Yellow Kid appeared now and then in Outcault's later cartoon strips, most notably Buster Brown.[13]

Word balloons
Word balloons containing characters' speech had appeared in political cartoons since at least the 18th century, including some published by Benjamin Franklin.[14] Their origins can be traced back to speech scrolls, painted ribbons of paper which trailed from the mouths of speaking subjects, depicting their words. These were in common European use by the early 16th century and similar devices had appeared in Mayan art between 600 and 900 AD. Outcault's word balloons in the Yellow Kid influenced their basic appearance and use in subsequent newspaper comic strips and comic books.

The Yellow Kid

313

References
[1] Wood, Mary (2004). The Yellow Kid on paper and stage, Contemporary illustrations. Retrieved on 2007-10-17 from Xroads.virginia.edu (http:/ / xroads. virginia. edu/ ~MA04/ wood/ ykid/ illustrated. htm) [2] Olson, Richard D. (no date). Truth About the Creation of the Yellow Kid. Retrieved on 2007-10-17 from Neponset.com (http:/ / www. neponset. com/ yellowkid/ history. htm. ) [3] The Yellow Kid on paper and stage, Introduction (http:/ / xroads. virginia. edu/ ~MA04/ wood/ ykid/ intro. htm), retrieved 17 October 2007 [4] The Kid From Hogan's Alley (http:/ / query. nytimes. com/ gst/ fullpage. html?res=9407E7DF1439F934A25751C1A963958260), John Canemaker, New York Times Book Review, retrieved 16 October 2007 [5] Wallace, Derek (2005-07-18). The Yellow Kid. Virtue Magazine, Volume 1, Issue 14, 18 July 2005. Retrieved on 2007-10-16 from Virtuemag.org (http:/ / www. virtuemag. org/ articles/ the-yellow-kid. ) [6] The Ohio State University Libraries, The Yellow Kid (http:/ / cartoons. osu. edu/ yellowkid/ index. htm), retrieved 1 December 2007 [7] The Yellow Kid on paper and stage, Death of the Kid (http:/ / xroads. virginia. edu/ ~MA04/ wood/ ykid/ death_kid. htm), retrieved 17 October 2007 [8] The Ohio State University Libraries, Casey Corner Kids Dime Museum (http:/ / cartoons. osu. edu/ yellowkid/ 1898/ 1898-05-01. jpg), retrieved 11 Dec 2007 [9] The Yellow Kid on paper and stage, Selling the kid (http:/ / xroads. virginia. edu/ ~MA04/ wood/ ykid/ yj. htm), retrieved 17 October 2007 [10] The "New" Journalism (http:/ / academic2. american. edu/ ~wjc/ spanish10. htm), W. Joseph Campbell, retrieved 16 October 2007 [11] Richard D. Olson, neponset.com, R. F. Outcault, The Father of the American Sunday Comics, and the Truth About the Creation of the Yellow Kid (http:/ / www. neponset. com/ yellowkid/ history. htm), retrieved 11 Dec 2007 [12] The Yellow Kid on paper and stage, Origins of the Kid (http:/ / xroads. virginia. edu/ ~ma04/ wood/ ykid/ origins. htm), retrieved 23 March 2011 [13] Wood, Mary (2004). Over the Bounding Main (Buster Brown Postcard). Mary Wood, from the R. F. Outcault Society's Yellow Kid Site, 10 December 2003. Retrieved on 2007-10-17 from Xroads.virginia.edu (http:/ / xroads. virginia. edu/ ~MA04/ wood/ ykid/ imagehtml/ society_buster. htm) [14] The Yellow Kid on paper and stage, Contemporary illustrations (http:/ / xroads. virginia. edu/ ~MA04/ wood/ ykid/ illustrated. htm), retrieved 17 October 2007

External links
Radio piece detailing the story behind the Yellow Kid, particularly his role in commercial advertising (http:// www.backstoryradio.org/?PHPSESSID=0e3f339b0bf0847d865a2c3ba83053e3&s=yellow+kid&x=13& y=11) Billy Ireland Cartoon Library & Museum: (88 Yellow Kid pages) (http://cartoons.osu.edu/yellowkid/1895/ 1895.htm) New York Times Book Review: "The Kid From Hogan's Alley" by John Canemaker (http://query.nytimes.com/ gst/fullpage.html?res=9407E7DF1439F934A25751C1A963958260) R. F. Outcault Society's Yellow Kid site (http://www.neponset.com/yellowkid/) Yellow Kid origin (http://www.virtuemag.org/articles/the-yellow-kid) Yellow Kid Pinbacks (http://www.marklansdown.com/pinbacks/pages/yellowkid.html)

Frank King (cartoonist)

314

Frank King (cartoonist)


Frank King

Born

Frank Oscar King April 9, 1883 Cashton, Wisconsin June 24, 1969 (aged86) Winter Park, Florida American Cartoonist

Died

Nationality Area(s)

Notable works Gasoline Alley

Frank Oscar King (April 9, 1883 June 24, 1969) was an American cartoonist best known for his popular, long-run comic strip Gasoline Alley. In addition to innovations with color and page design, King introduced the concept of real time continuity to comic strips by showing his characters changing with age over generations. King was born in Cashton, Wisconsin, and when he was four years old, his parents, Carol and John King, moved to Tomah, Wisconsin to run the family general store. He started drawing while growing up in Tomah.[1] When he graduated from Tomah High School in 1901, he began earning $7 a week at the Minneapolis Times, doing drawings and retouching for four years.

Chicago cartoonists
In 1905-06, he studied art at the Chicago Academy of Fine Arts.[2] After a spell at Chicago's American, he spent three years with the Chicago Examiner, where he worked next to cartoonist T. S. Sullivant. In 1909, according to his friend, Chicago cartoonist Lew Merrell, King left the Examiner to work at the Chicago Tribune for a weekly pay increase of 50 cents.[3] [4] At the Tribune he worked alongside Dean Cornwell and Garrett Price. In Tomah, he had grown up with Delia Drew, and they married in 1911 when they were both 28 years old. The couple lived in Glencoe, Illinois.

Frank King (cartoonist)

315

The Rectangle
The Rectangle began as a Chicago Tribune page featuring a variety of cartoons and serial features. King's Rectangle Sunday page, usually printed in black-and-white outside the comics section, was a late addition to a page that ran for years in the Tribune. On January 9, 1913, King introduced a bounded rectangle containing themed single-panel gags (beginning with a page headed Hints to Husbandettes), but pages in that format did not appear with any regularity until February 1914. The Rectangle title was finally introduced on December 27, 1914. King created several recurring strips, including Tough Teddy, The Boy Animal 1917), two days after the U.S. entered Trainer, Here Comes Motorcycle Mike, Hi Hopper (about a frog) and his first WWI. successful full-page comic, Bobby Make-Believe (1915).[3] During World War I, King was overseas drawing scenes of the war for publication in American newspapers.[1]
Detail from The Rectangle (April 8,

Gasoline Alley
On Sunday, November 24, 1918, the bottom quadrant of The Rectangle featured Walter Wallet and his neighbors Bill, Doc and Avery as they repaired their automobiles in the alley behind their houses. The corner was titled Sunday Morning in Gasoline Alley. King recalled, "My brother had a car that he kept in the alley with a fellow by the name of Bill Gannon and some others. I'd go to his house on Sunday, and we'd go down the alley and run into somebody else and talk cars. That was the beginning of Gasoline Alley."[5] After King began the daily Gasoline Alley strip (August 24, 1919), The Rectangle appeared sporadically and finally came to an end on February 8, 1920.

Gasoline Alley (November 24, 2008)

King often credited his wife, Delia, for providing a "woman's angle" to Gasoline Alley. The central character of Walt was based on King's brother-in-law, Walter White Drew (18861941), and he used his own son, Robert Drew King, as the model for Skeezix. Tomah's Dr. Johnson was the inspiration for the character of Doc, and Bill in the strip was based on Bill Gannon.

Frank King (cartoonist)

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King hired young Bill Perry from the Chicago Tribune's mail room and then trained him to work as his assistant. Although King leaned toward a homespun simplicity in his Sunday story situations, he also introduced some unusual experiments with time and space, as noted by comics critic Paul Gravett: Other precedents from Americas newspaper supplements were occasional experiments by Frank King in his Gasoline Alley Sunday pages where he would turn the whole page into one continuous landscape. For example, on 24 May L to r: Walter Drew (model for Walt Wallet), Frank 1931, King uses an unrealistic, almost isometric perspective King, Bill Gannon (inspiration for Bill in Gasoline to turn the page into a single image, like a diagram viewed Alley) from above, of the neighborhood and its assorted residents. This angled aerial view he divides into 12 equal panels, each containing at least one fresh character to contribute their own moment of comedy. In more of an ensemble of jokes than a strictly linear narrative, no characters appear here more than once. King went further, however, in 1934 when over three consecutive weeks he used the whole page as one image to portray a house being built, from bare site to construction to finishing touches. The first of these, dated 25 March 1934, presents repeated images of Skeezix and his pal Whimpy as they play around the foundations dug out of their favorite baseball diamond and meet a local girl. Here the threesome move around 12 identical square panels and time unfolds in sequence, although jumping ahead sometimes by a considerable period from one to the next.[6] The success of Gasoline Alley escalated until it was published in over 300 daily newspapers with a daily combined readership of over 27,000,000.[1] According to Lew Merrell, the strip and its merchandising made King a millionaire.[4] In 1929, the Kings moved to Florida. For 20 years, they lived between Kissimmee, Florida and St. Cloud at his Folly Farms estate on the northeast shore of Lake Tohopekaliga. The cartoonist's estate of 230 acres (0.93km2) along the Lake is still there, hidden among the other houses in the Regal Oak Shores subdivision. In 1941, King wrote, "Just what the future holds for Skeezix and Gasoline Alley nobody knows. If permitted a fanciful prophecy, I should say that Skeezix will eventually marry, Frank King's Gasoline Alley (December 6, 1936) probably raise a family and make Uncle Walt a happy foster grandparent. Skeezix's offspring will in turn grow up, marry and have children. They in turn will thrive and mature and repeat the customary cycle ad infinitum."[7] At Folly Farms, during the 1940s, King spent time on his hobbiessculpting, collecting maps, playing the fiddle and raising amaryllis bulbs. He retired from the Sunday strip in 1951, letting his assistant Bill Perry to take over. King retired from the daily in 1959, turning it over to Dick Moores, his assistant since 1956. The strip continues until the present day.[8] [9]

Frank King (cartoonist) In later years, King lived in Winter Park, Florida. On June 24, 1969, Dennis Green, a King employee for many years, arrived to prepare King's breakfast. He heard King moving around the house and later found his body on a bathroom floor.[10] King was buried in Tomah's Oak Grove Cemetery beside his wife, Delia, who died in 1959.[1] The couple's son, Robert King, lived in Des Plaines, Illinois.

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Awards and exhibitions


King had one-man shows in Springfield, Illinois and Buffalo, New York, and his artwork is in the permanent collection of the Billy Ireland Cartoon Library & Museum. In 1955, he was an honored guest at Tomah's Centennial celebration and presented with an Indian headdress. His desk is on display at the Tomah Area Historical Society Museum, and in 1969, Gasoline Alley signs were placed along Superior Avenue in Tomah. King's Highway in Florida is named to honor Frank King; it runs south from Neptune Road to King's Folly Farms estate. Mr. Enray, the banker in Gasoline Alley during the late 1940s, was based on Kissimmee's real-life banker N. Ray Carroll. When Carroll was a state senator, he had the road named after King by a resolution of the Florida Legislature.[11] He was twice honored for his work by the Freedom Foundation, and he received awards three times from the National Cartoonists Society.[2] 1949: Silver T-Square Award [12] 1957: Humor Comic Strip Award [13] 1958: Reuben Award [14]

References
[1] Tomah Chamber of Commerce History (http:/ / www. tomahwisconsin. com/ cityhistory. php) [2] Encyclopdia Britannica Online. "Frank King" (http:/ / www. britannica. com/ eb/ article-9045500/ Frank-King). . [3] Lambiek Comiclopedia. "Frank King" (http:/ / lambiek. net/ artists/ k/ king. htm). . [4] "Frank King, Gasoline Alley Creator, Dies". Dayton Beach Morning Journal, June 25, 1969. (http:/ / news. google. com/ newspapers?id=cJAoAAAAIBAJ& sjid=mssEAAAAIBAJ& pg=1182,5555397& dq=gasoline+ alley+ frank-king& hl=en) [5] Stiles, Steve. "On the Road with Gasoline Alley". (http:/ / stevestiles. com/ gasalley. htm) [6] Gravett, Paul. "Gianni De Luca & Hamlet: Thinking Outside The Box", European Comic Art, Spring 2008. (http:/ / www. paulgravett. com/ index. php/ articles/ article/ gianni_de_luca_hamlet/ #3) [7] Sheridan, Martin. Comics and Their Creators. Ralph T. Hale and Company, 1942, ASIN B000Q8QGC2 [8] Don Markstein's Toonopedia. "Gasoline Alley" (http:/ / www. toonopedia. com/ gasalley. htm). . [9] I Love Comix: Gasoline Alley (http:/ / www. ilovecomixarchive. com/ G/ Gasoline-Alley) [10] "Gasoline Alley Creator Frank King Dead at 86".Sarasota Herald-Tribune, June 25, 1969 (http:/ / news. google. com/ newspapers?id=WjwgAAAAIBAJ& sjid=NmYEAAAAIBAJ& pg=3400,6336576& dq=bathroom+ gasoline+ frank-king& hl=en) [11] Robison, Jim. "Kissimmee Banker Was Mr. Enray of 'Gasoline Alley'". Orlando Sentinel, May 12, 2002. (http:/ / articles. orlandosentinel. com/ 2002-05-12/ news/ 0205110105_1_ray-carroll-osceola-county-kissimmee) [12] National Cartoonists Society. "The Silver T-Square" (http:/ / www. reuben. org/ ncs/ archive/ divisions/ tsquare. asp). . [13] National Cartoonists Society. "Humor Strips" (http:/ / www. reuben. org/ ncs/ archive/ divisions/ strips. asp). .

Frank King's The Rectangle (January 1, 1918)

Frank King (cartoonist)


[14] National Cartoonists Society. "The Reuben" (http:/ / www. reuben. org/ ncs/ awards2. asp). .

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External links
Frank King biography (http://www.askart.com/Askart/k/frank_o_king/frank_o_king.aspx) Frank King (http://www.findagrave.com/cgi-bin/fg.cgi?page=gr&GRid=6819952) at Find a Grave Sunday Press Books (http://www.sundaypressbooks.com/WSSamples/index.html)

Gasoline Alley
Gasoline Alley is a long-running comic strip created by Frank King and first published on November 24, 1918. Widely recognized as an innovative pioneering strip, Gasoline Alley was the first to depict its characters aging through generations as the decades progressed.[1]

Early years
The strip originated on the Chicago Tribune's black-and-white Sunday page, The Rectangle, where staff artists contributed one-shot panels, continuing plots or themes. One corner of The Rectangle introduced King's Gasoline Alley, where characters Walt, Doc, Avery and Bill held weekly conversations about automobiles. This panel slowly gained recognition, and the daily strip began August 24, 1919 in the New York Daily News.[2]

Skeezix arrives
The early years were dominated by the character Walt Wallet. Tribune editor Joseph Patterson wanted to attract women to the strip by introducing a baby, but Walt was not married. That obstacle was avoided when Walt found a baby on his doorstep, as described by comics historian Don Markstein:

Frank King's Gasoline Alley and That Phoney Nickel (March 12, 1933)

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After a couple of years, the Tribune's editor, Captain Joseph Patterson, whose influence would later have profound effects on such strips as Terry and the Pirates and Little Orphan Annie, decided the strip should have something to appeal to women, as well, and suggested King add a baby. Only problem was the main character, Walt Wallet, was a confirmed bachelor. On February 14, 1921, Walt found the necessary baby abandoned on his doorstep. That was the day Gasoline Alley entered history as the first comic strip in which the characters aged normally. (Hairbreadth Harry had grown up in his strip, but stopped aging in his early 20s.) The baby, named Skeezix (cowboy slang for a motherless calf), grew up, fought in World War II, and is now a retired grandfather. Walt married after all, and had more children, who had children of their own. More characters entered the storyline on the periphery and some grew to occupy center stage.[1]
Promotional art by Frank King (c. 1941), highlighting

Skeezix called his adopted father Uncle Walt. Unlike most Skeezix's marriage proposal to Nina Clock. comic strip children (like the Katzenjammer Kids or Little Orphan Annie) he did not remain a baby or even a little boy for long. He grew up to manhood, the first occasion where real time continually elapsed in a major comic strip over generations. By the time the United States entered World War II, Skeezix was a fully-grown adult, courting girls and serving in the armed forces. He later married Nina Clock and had children. In the late 1960s he faced a typical midlife crisis. Walt Wallet himself had married Phyllis Blossom and had other children, who grew up and had kids of their own. During the 1970s and 1980s, under Dick Moores' authorship, the characters briefly stopped aging. When Jim Scancarelli took over, the natural aging was restored.[1]

Sunday strips
The Sunday strip was launched in 1920. The 1930s Sunday pages did not always employ traditional gags but often offered a gentle view of nature, imaginary daydreaming with expressive art or naturalistic views of small town life. Reviewing Peter Maresca and Chris Ware's Sundays with Walt and Skeezix (Sunday Press Books, 2007), comics critic Steve Duin quoted writer Jeet Heer: "Unlike the daily strips, which traced narratives that went on for many months, the Sunday pages almost always worked as discrete units," Heer writes. "Whereas the dailies allowed events to unfold, Sunday was the day to savor experiences and ruminate on life. It is in his Sunday pages that we find King showing his visual storytelling skills at their most developed: with sequences beautifully testifying to his love of nature, his feeling for artistic form, and his deeply felt response to life."[3]

Recent years
The strip is still published in newspapers. Walt Wallet is now well over a century old (111, as of March 2011[4] ), while Skeezix has become an octogenarian. Walt's wife Phyllis, age an estimated 105, died in the April 26, 2004 strip, leaving Walt a widower after nearly eight decades of marriage. Walt Wallet appeared as a guest at Blondie and Dagwood's anniversary party, and on Gasoline Alley's 90th anniversary Blondie, Dennis the Menace and Snuffy Smith each acknowledged the Gasoline Alley anniversary in their dialogue. Snuffy Smith presented a character

Gasoline Alley crossover with Walt in the doorway of Snuffy's house where he was being welcomed and invited in by Snuffy.[5]

320

Characters
First generation characters
Walt Wallet Full name Walter Weatherby Wallet. Patriarch of the family. For many years he ran a successful company. He has been retired for years. Phyllis Blossom Wallet. Walt's wife. They married June 24, 1926. She died April 26, 2004. Avery Walt's cranky neighbor, who drove an old car that started with a crank long after everyone else had bought a car with a starter. He died "off-stage." Bill He also died "off-stage". Doc He retired with a young woman on his arm, going off to a well-deserved retirement community. He died "off-stage". Pert A rich and miserly man. He was long the villain of many stories. Since his death his reputation has been rehabilitated a little bit, and shown to have a better character than his nephew, Senator Boggle.

Timeless characters
These characters break the strip's rule about aging with the calendar. Joel Trashman. He drives a wagon drawn by a mule. Rufus A "good-for-not-much". He frequently accompanies Joel. He always has "kitty" hanging from the crook of his arm. He lives in a shack. Magnus Rufus' no-good brother. He is usually in jail. Melba At one time mayor of the city.

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Second generation characters


Allison "Skeezix" Wallet After Walt, the central character of the strip. He was left on Walt's doorstep February 14, 1921. He was born February 9, 1921. He married Nina Clock on June 28th, 1944. For years he ran the Gasoline Alley Garage. Now he sometimes minds it when Clovia and Slim are away. Nina Clock Wallet Skeezix's wife. Corky Wallet Walt and Phyllis' son, born May 2, 1928. He married Hope Hassel on October 1, 1949. He runs a diner in a standalone building. Hope Hassel Wallet Corky's wife. Judy Wallet Grubb Left in Walt's car February 28, 1935. She married Gideon Grubb on May 4, 1961. Senator Boggle Pert's nephew. An example of a self-serving politician. When seen he is disliked and is often the villain of the current story.

Jim Scancarelli's Gasoline Alley (November 24, 2008)

Writer-artist chronology
Frank King (1918-1959) Bill Perry (Sunday strips only, 1951-1975) Dick Moores (1956-1986) Jim Scancarelli (1986-present) King was succeeded by his former assistants, with Bill Perry taking responsibility for Sunday strips in 1951 and Dick Moores, first hired in 1956, becoming sole writer and artist for the daily strip in 1959. When Perry retired in 1975, Moores took responsibility for Sunday strips as well, combining the daily and Sunday stories into one continuity starting September 28, 1975. Moores died in 1986, and since then Gasoline Alley has been written and drawn by Scancarelli, former assistant to Moores.[5]

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Awards
The strip and King were recognized with the National Cartoonists Society's Humor Strip Award in 1957, 1973, 1980, 1981, 1982 and 1985. King received the 1958 Society's Reuben Award, and Moores received it in 1974. Scancarelli received the Society's Story Comic Strip Award in 1988. The strip received an NCS plaque for the year's best story strip in 1981, 1982 and 1983.[6]

Reprint collections
Examples of the full page Sunday strip were printed in The Comic Strip Century (1995, reissued in 2004 as 100 Years of Comic Strips), edited by Bill Blackbeard, Dale Crain and James Vance. Moores' dailies and Sundays have appeared in Comics Revue monthly, as have the first Scancarelli strips. In 1995, the strip was one of 20 included in the Comic Strip Classics series of commemorative US postage stamps.

Frank King's Gasoline Alley Nostalgia Journal


In 2003, Spec Productions began a series of softcover collections, Frank King's Gasoline Alley Nostalgia Journal, reprinting the strip from the first Rectangle panel (November 24, 1918). To date, four volumes have appeared: Volume 1, November 24, 1918 to September 22, 1919 Volume 2, September 23, 1919 to March 2, 1920 Volume 3, March 3, 1920 to July 25, 1920 Volume 4, July 26, 1920 to December 31, 1920

Walt and Skeezix


In 2005, the first of a series of reprint books, Walt and Skeezix, was published by Drawn and Quarterly and edited by Chris Ware. The first volume covers 192122, beginning when baby Skeezix appears. These reprint only the daily strips, with Sundays slated to appear in another series:[7] Walt and Skeezix: Book One, 192122, ISBN 1-896597-64-5 Walt and Skeezix: Book Two, 192324, ISBN 1-896597-99-8 Walt and Skeezix: Book Three, 192526, ISBN 1-897299-09-5 Walt and Skeezix: Book Four, 192728, ISBN 1-897299-39-7

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Sunday Press
In 2007, Sunday Press Books published Sundays with Walt and Skeezix, which collects early Sunday strips in the original size and color.

Dick Moore
Moores' work on the strip was published in three different collections, all currently out of print: Gasoline Alley: Comic Art as Social Comment: Changing Life in America Over More Than Half a Century as Seen Through the Eyes of a Unique 'First Family', Avon/Flare, 1976. Introduction by Nat Hentoff, history of the strip with 1970s continuities. ISBN 0-380-00761-4 The Smoke from Gasoline Alley, Sheed and Ward, 1976. ISBN 0-8362-0670-3 Rover from Gasoline Alley, Blackthorne, 1985. Collects the strips introducing Slim and Clovia's adopted son Rover. ISBN 0-932629-00-8

Radio
There were several radio adaptations. Gasoline Alley during the 1930s starred Bill Idelson as Skeezix with Jean Gillespie as Nina Clock. Jimmy McCallion was Skeezix in the series that ran on NBC from February 17 to April 11, 1941, continuing on the Blue Network from April 28 to May 9 of that same year. The 15-minute series aired weekdays at 5:30pm. Along with Nina (Janice Gilbert), the characters included Skeezix's boss Wumple (Cliff Soubier) and Ling Wee (Junius Matthews), a waiter in a Chinese restaurant. Charles Schenck directed the scripts by Kane Campbell. The syndicated series of 1948-49 featured a cast of Bill Lipton, Mason Adams and Robert Dryden. Sponsored by Autolite, the program used opening Frank King's Gasoline Alley (1931) theme music by the Polka Dots, a harmonica group. The 15-minute episodes focused on Skeezix running a gas station and garage, the Wallet and Bobble Garage, with his partner, Wilmer Bobble. In New York, this series aired on WOR from July 16, 1948 to January 7, 1949.[8]

Gasoline Alley

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Films
Gasoline Alley was adapted into two feature films, Gasoline Alley (1951) and Corky of Gasoline Alley (1951), replacing the Blondie film series which ended in 1950 with Beware of Blondie. The films starred Jimmy Lydon as Skeezix, known at that time for Life with Father (1947) and his earlier character of Henry Aldrich.[9]

Listen to
Glowing Dial: Gasoline Alley: "The Adventure of Jealous Jessica" (1948-49) [10] Radio America: Gasoline Alley, October 29, 1948. [11]

References
[1] Markstein, Don. Toonopedia: Gasoline Alley (http:/ / www. toonopedia. com/ gasalley. htm) [2] Stiles, Steve. "On the Road with Gasoline Alley: A Cradle to Maturity Family Saga" (http:/ / stevestiles. com/ gasalley. htm) [3] Duin, Steve. "Sundays with Walt and Skeezix," Oregonian, August 5, 2007. (http:/ / blog. oregonlive. com/ steveduin/ 2007/ 08/ sundays_with_walt_and_skeezix. html) [4] http:/ / www. gocomics. com/ gasolinealley/ 2010/ 03/ 03/ [5] Gardner, Alan. "Gasoline Alley Turns 90 Today." The Daily Cartoonist, November 24, 2008. (http:/ / dailycartoonist. com/ index. php/ 2008/ 11/ 24/ gasoline-alley-turns-90-today/ ) [6] NCS Awards (http:/ / www. reuben. org/ ncs/ awards. asp) [7] Schwartz, Ben. "See You in the (Restored, Reprinted) Funny Papers", The New York Times, January 14, 2007. (http:/ / www. nytimes. com/ 2007/ 01/ 14/ arts/ design/ 14schw. html?ex=1169614800& en=d967000717bcdd7e& ei=5070& emc=eta1) [8] Dunning, John. On the Air: The Encyclopedia of Old-Time Radio. New York: Oxford University Press, 1998. ISBN 0-19-507678-8 (http:/ / www. oldalgonquin. com/ authorPage. php) [9] IMDb (http:/ / www. imdb. com/ title/ tt0043427/ ) [10] http:/ / www. vintageradioplace. com/ broadcast/ arcglowingdial0402. html [11] http:/ / radioamerica. podOmatic. com/ player/ web/ 2007-03-05T07_36_20-08_00 Frank King's Skeezix Out West (Reilly & Lee, 1928)

External links
Gocomics.com (http://www.gocomics.com/gasolinealley/) Wallet Family History (http://kinnexions.com/reunion/wallet/fh_toc.htm) I Love Comix Archive: Gasoline Alley (http://www.ilovecomixarchive.com/G/Gasoline-Alley) Gasoline Alley (1951) (http://www.imdb.com/title/tt0125761/) and IMDb: Corky of Gasoline Alley (1951) (http://www.imdb.com/title/tt0043427/) Right Back in the Alley with Skeezix (http://newcritics.com/blog1/2007/02/21/right-back-in-the-alley/)

Winsor McCay

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Winsor McCay
Winsor McCay (September 26, 1869(?) July 26, 1934) was an American cartoonist and animator. A prolific artist, McCay's pioneering early animated films far outshone the work of his contemporaries, and set a standard followed by Walt Disney and others in later decades. His two best-known creations are the newspaper comic strip Little Nemo in Slumberland, which ran from 19051914 and 19241927, and the animated cartoon Gertie the Dinosaur, which he created in 1914. His comic strip work has influenced generations of artists, including creators such as William Joyce, Andr LeBlanc, Moebius, Maurice Sendak, Chris Ware and Bill Watterson.

Winsor McCay

Early life
McCay was the son of Robert McKay (later changed to McCay) and Janet Murray McKay; Robert at various times worked as a teamster, a grocer, and a real estate agent. Winsor's exact place and year of birth are uncertain he claimed to have been born in Spring Lake, Michigan in 1871, but his gravestone says 1869, and census reports state that he was born in Canada in 1867. He was originally named Zenas Winsor McKay, in honor of his father's employer, Zenas G. Winsor. He later dropped the name Zenas. In 1886, McCay's parents sent him to Cleary's Business College in Ypsilanti, Michigan to learn to be a businessman. While in Ypsilanti, he also received his only formal art training, from John Goodison of Michigan State Normal College (now known as Eastern Michigan University). Goodison taught him the strict application of the fundamentals of perspective, which he put to significant use later in his career. Goodison, formerly a glass stainer, also influenced McCay's bold use of color.

Little Sammy Sneeze

Winsor McCay

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Career
In 1889, McCay moved to Chicago, intending to study at the Art Institute of Chicago, but due to lack of money had to find employment instead. He worked for the National Printing and Engraving Company, producing woodcuts for circus and theatrical posters. Two years later, he moved to Cincinnati, Ohio and went to work as an artist for Kohl and Middleton's Vine Street Dime Museum. While in Cincinnati he married Maude Leonore Dufour. McCay began doing vaudeville chalk talks in 1906.[1] In his The Seven Ages of Man vaudeville act, he drew two faces and progressively aged them.[2] McCay's first major comic strip series was Tales of the Jungle Imps by Felix Fiddle. Forty-three installments were published from January to November 1903, in the Cincinnati Enquirer. The strip was based on poems by George Randolph Chester, then a reporter and editor at the Enquirer. The stories concerned jungle creatures and the ways that they adapted to a hostile world, with individual titles such as How the Elephant Got His Trunk and How the Ostrich Got So Tall. His strips Little Nemo and Dreams of a Rarebit Fiend were both set in the dreams of their characters and featured fantasy art that attempted to capture the look and feel of dreams. McCay's cartoons were never overwhelmingly popular, but always had a strong following because of his expressive graphic style. Newspaper pages were physically much larger in that time and McCay usually had a half a page to work with. For fantasy art in comics, his only rival was Lyonel Feininger, who went on to have a career in the fine arts after his comics days were over.

Little Nemo in Slumberland

McCay also created a number of animated short films, in which every single frame of each cartoon (with each film requiring thousands of frames) was hand-drawn by McCay and occasionally his assistants. McCay went on vaudeville tours with his films. He presented lectures and did drawings; then he interacted with his animated films, performing such tricks as holding his hand out to "pet" his animated creations. The star of McCay's groundbreaking animated film Gertie the Dinosaur is classified by film and animation historians as the first cartoon character created especially for film to display a unique, realistic personality. In the film, Gertie causes trouble and cries when she is scolded, and finally she gives McCay himself a ride on her back as he steps into the movie picture. In addition to a series of cartoons based on his popular "rarebit" gags, McCay also created The Sinking of the Lusitania, a depiction of the attack on the maritime ship. The cartoon contained a message that was meant to inspire America into joining World War I.

Gertie the Dinosaur

Winsor McCay

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Death and legacy


McCay died in 1934 and was buried at the Cemetery of the Evergreens in Brooklyn. Woody Gelman discovered many of the original Little Nemo strips at a cartoon studio where Bob McCay, Winsor's son, had worked in 1966.[3] Many of the original drawings that Gelman recovered were displayed at the Metropolitan Museum of Art under the direction of curator A. Hyatt Mayor. In 1973, Gelman would publish a collection of Little Nemo strips in Italy.[3]

Comic strips
Tales of the Jungle Imps by Felix Fiddle (1903) Little Sammy Sneeze (1904 to 1906) Dream of the Rarebit Fiend (190413) The Story of Hungry Henrietta (1905) A Pilgrim's Progress (1905 to 1910) Little Nemo in Slumberland (1905 to 1914) Poor Jake (1909 to 1911)

Filmography
Little Nemo (1911) also titled Winsor McCay, the Famous Cartoonist of the N.Y. Herald and His Moving Comics How a Mosquito Operates (1912) also titled The Story Of A Mosquito Gertie the Dinosaur (1914) The Sinking of the Lusitania (1918) Dreams of the Rarebit Fiend: Bug Vaudeville (1921) Dreams of the Rarebit Fiend: The Pet (1921) Dreams of the Rarebit Fiend: The Flying House (1921) The Centaurs (1921) Gertie on Tour (1921) Flip's Circus (1921) The Barnyard Performance (1922-27?) also called Performing Animals and The Midsummer's Nightmare
Actors Benefit for Crippled Children, Winsor McCay sketching, 1908

Winsor McCay

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Books and collections


Dreams of a Rarebit Fiend Dover, ISBN 0-486-21347-1 Little Nemo in the Palace of Ice and Further Adventures Dover, ISBN 0-486-23234-4 The Complete Little Nemo in Slumberland, Vol. I: 1905-1907 Fantagraphics ISBN 0-930193-63-6 The Complete Little Nemo in Slumberland, Vol. II: 1907-1908 Fantagraphics ISBN 0-930193-64-4 The Complete Little Nemo in Slumberland, Vol. III: 1908-1910 Fantagraphics ISBN 1-56097-025-1 The Complete Little Nemo in Slumberland, Vol. IV: 1910-1911 Fantagraphics ISBN 1-56097-045-6 The Complete Little Nemo in Slumberland, Vol. V: In the Land of Wonderful Dreams, Part 1: 1911-12 Fantagraphics ISBN 0-924359-35-8 The Complete Little Nemo in Slumberland, Vol. VI: In the Land of Wonderful Dreams, Part 2: 1913-14 Fantagraphics ISBN 1-56097-130-4 Little Nemo 1905-1914 Taschen, ISBN 3-8228-6300-9 The Best of Little Nemo in Slumberland Stewart, Tabori, & Chang, ISBN 1-55670-647-2
Winsor McCay's World War I poster urging Americans to buy Liberty Bonds

Little Nemo in Slumberland: So Many Splendid Sundays Sunday Press ISBN 0-9768885-0-5 Little Nemo in Slumberland: Many More Splendid Sundays Sunday Press ISBN 0-9768885-5-6 Winsor McCay: Early Works, Vol. 1 Checker, ISBN 0-9741664-0-5 (Tales of the Rarebit Fiend and Little Sammy Sneeze) Winsor McCay: Early Works, Vol. 2 Checker, ISBN 0-9741664-7-2 (More Tales of the Rarebit Fiend and Little Sammy Sneeze, Centaurs, Hungry Henrietta, and editorial illustrations.) Winsor McCay: Early Works, Vol. 3 Checker, ISBN 0-9741664-9-9 (More Tales of the Rarebit Fiend (1907), Little Sammy Sneeze, A Pilgrims Progress, (1907) and editorial illustrations from New York period.) Winsor McCay: Early Works, Vol. 4 Checker, ISBN 0-9753808-1-8 (more Dream of the Rarebit Fiend (early 1908), A Pilgrims Progress (early 1908), various Little Sammy Sneezes, and New York American editorial cartoons.) Winsor McCay: Early Works, Vol. 5 Checker, ISBN 0-9753808-2-6 (Dream of the Rarebit Fiend (late 1908), A Pilgrims Progress (late 1908), Phoolish Phillip (all), Hungry Henrietta (all), and New York American editorial cartoons.) Winsor McCay: Early Works, Vol. 6 Checker, ISBN 1-933160-05-5 (Mr Goodenough, Dream of the Rarebit Fiend (late 1908), A Pilgrims Progress (late 1908), and New York American editorial cartoons.) Winsor McCay: Early Works, Vol. 7 Checker, ISBN 1-933160-05-5 (illustrations from New York editorial period, and collection of comic strips.) Winsor McCay: Early Works, Vol. 8 Checker, ISBN 1-933160-06-3 Winsor McCay: Early Works, Vol. 9 Checker, ISBN 978-1-933160-07-8 Daydreams and Nightmares Fantagraphics, ISBN 1-56097-569-5 Little Sammy Sneeze Sunday Press ISBN 0-97688-854-8

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References
[1] Film reference: Winsor McCay (http:/ / www. filmreference. com/ Writers-and-Production-Artists-Lo-Me/ McCay-Winsor. html) [2] Stabile, Carol A. and Mark Harrison. Prime Time Animation: Television Animation and American Culture. Routledge, 2003. (http:/ / books. google. com/ books?id=H3USAr6i1e0C& pg=PA3& lpg=PA3& dq=vaudeville+ "chalk+ talks"& source=bl& ots=phFiS5z0UB& sig=n7ZqUXzoMB0TEKYkURaaR-Wdevo& hl=en& ei=bePVSrGlJJTClAf95JidCQ& sa=X& oi=book_result& ct=result& resnum=1& ved=0CAwQ6AEwAA#v=onepage& q=vaudeville "chalk talks"& f=false) [3] Mint Condition: How Baseball Cards Became an American Obsession, p.126, Dave Jamieson, 2010, Atlantic Monthly Press, imprint of Grove/Atlantic Inc., New York, NY, ISBN 978-0-8021-1939-1

Sources
John Canemaker (2005). Winsor McCay: His Life and Art. Harry N. Abrams, Inc. ISBN0-8109-5941-0. Ohio State University (1 June 2006). "Cartoon Library Acquires McCay Collection" (http://www.lib.ohio-state. edu/sites/staff/Newsnotes/nn060601.pdf) (PDF). University Libraries New Notes. Leonard Maltin (1987). Of Mice and Magic: A History of American Animated Cartoons; Revised and Updated. Plume Books. ISBN0-452-25993-2. "The Cartoonist Group: Background About Winsor McCay;" (http://www.cartoonistgroup.com/properties/ daydream/about.php/).

External links
Spring Lake District Library "The Talented Winsor McCay" (http://www.sllib.org/Pages/Special Pages/ McCay/McCay.htm) The Fales Library of NYU's guide to the David C. Bohnett Collection of Winsor McCay Drawings (http://dlib. nyu.edu/findingaids/html/fales/mccay.html) Meeting McCay (http://www.springlakemccay.blogspot.com/) Winsor McCay (http://www.imdb.com/name/nm0565560/) at the Internet Movie Database on Internet Movie Database (French) Little Nemo in Slumberland Anniversary Special (http://www.coconino-world.com/sites_auteurs/ winsor/) Winsor McCay's The Centaurs. (http://www.centaur.org/mccay/) Comic Strip Library has a complete collection of out-of-copyright Little Nemo pages (http://www. comicstriplibrary.org/)

Little Nemo

330

Little Nemo

Little Nemo

Flip

King Morpheus

The Imp

The Princess

Little Nemo is the main fictional character in a series of weekly comic strips by Winsor McCay that appeared in the New York Herald and William Randolph Hearst's New York American newspapers from October 15, 1905 April 23, 1911 and April 30, 1911 July 26, 1914; respectively. The strip was first called Little Nemo in Slumberland and then In the Land of Wonderful Dreams when it changed papers. A brief revival of the original title occurred from 1924-27.

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Characters and story


Although a comic strip, it was far from a simple children's fantasy; it was often dark, surreal, threatening, and even violent. The strip related the dreams of a little boy: Nemo (meaning "nobody" in Latin), the hero. The last panel in each strip was always one of Nemo waking up, usually in or near his bed, and often being scolded (or comforted) by one of the grownups of the household after crying out in his sleep and waking them. In the earliest strips, the dream event that woke him up would always be some mishap or disaster that seemed about to lead to serious injury or death, such as being crushed by giant mushrooms, being turned into a monkey, falling from a bridge being held up by "slaves", or gaining 90 years in age. The adventures leading to these disasters all had a common purpose: to get to Slumberland, where he had been summoned by King Morpheus, to be the "playmate" of his daughter, the Princess. Sometime during early 1906, Nemo did indeed reach the gates of Slumberland, but had to go through about four months of troubles to reach the Princess. His problem was that he kept being awakened by Flip, who wore a hat with "Wake Up" written on it. One sight of Flip's hat was enough to take Nemo back to the land of the living during these early days. Although at first an enemy, Flip went on to become one of the recurring heroes. The others included: Dr. Pill, The Imp, the Candy Kid and Santa Claus as well as the Princess and King Morpheus. The "Slumberland" of the title soon acquired a double meaning, referring not only to Morpheus's fairy kingdom, but to the state of sleep itself: Nemo would have dream-adventures in other imaginary lands, on the Moon and Mars, and in our own "real" world, made fantastic by the dream-state. The strip was not a great popular success in its time. Most readers preferred the slapstick antics of such strips as Katzenjammer Kids, Happy Hooligan, and Buster Brown to the surreal fantasy of Nemo, and other comic strips like Krazy Kat. However, during the late 20th century and early 21st century, the strip received more recognition. Woody Gelman discovered many of the original strips at a cartoon studio where McCay's son worked in 1966.[1] Many of the original drawings that Gelman recovered were displayed at the Metropolitan Museum of Art under the direction of curator A. Hyatt Mayor. In 1973, Gelman would publish a collection of Little Nemo strips in Italy.[2] Among the most noticeable of its qualities were its intricate visual style often with high levels of background detail its vivid colours, fast pace of movement from panel to panel and the huge variety of strange characters and scenery. Certain episodes of the strip are particularly famous. Any list of these would have to include the Night of the Living Houses (said to be the first comic strip to enter the collection of the Louvre) wherein Nemo and a friend are chased down a city street by a gang of tenement houses on legs; the Walking Bed, in which Nemo and Flip ride over the rooftops on the increasingly long limbs of Nemo's bed (see illustration); and the Befuddle Hall sequence, wherein Nemo and his friends attempt to find their way out of a funhouse environment of a Beaux-Arts interior turned topsy-turvy. McCay's mastery of perspective, and the extreme elegance of his line work, make his visions graphically wondrous. The eccentric dialogue is delivered in a dreamy deadpan, and often appears to be hastily jammed into tiny word balloons that can scarcely contain it. A typical line: "Whoever named this place Befuddle Hall knew his business! I am certainly befuddled." The strips, along with most of the rest of McCay's works, fell into the public domain in most of the world on January 1, 2005, 70 years after McCay's death (see Copyright and the EU's Directive harmonizing the term of copyright protection for details). All of the works published before 1923 are in the public domain in the United States. The complete set of Little Nemo strips is available in a single volume from Taschen: Little Nemo 1905-1914 (ISBN 3-8228-6300-9), leaving out only the later revival from the 1920s, which is still under copyright in the U.S. 110 of the most famous strips have been reprinted in their original size and colors in the 2005 collection Little Nemo in Slumberland, So Many Splendid Sundays (ISBN 978-0-9768885-9-8), a 16x21 inch hardcover book from Sunday Press Books.

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Adaptations
Theater
An 'operatic spectacle' was based on the strip, with music by Victor Herbert (composer of Babes in Toyland) and lyrics by Harry B. Smith. This lavish production opened on October 20, 1908 in the New Amsterdam Theatre in New York, ran for 111 performances, and closed January 23, 1909. The opera introduced a new character called 'the dancing missionary', who was to appear in several episodes of the comic strip during 1909, and the word whiffenpoof. In spring 2007, an operatic adaptation of the comic strip was announced to be presented in spring 2009 by the Sarasota Opera, composed by the Pulitzer Prize-winning composer Ned Rorem. He announced on July 20, 2008 that he would not be able to complete it. Sarasota Opera announced in January 2010 that New York composer Daron Hagen and librettist Sandy McClatchy would create the work instead, for May 2012 premiere.

Films
James Stuart Blackton and Winsor McCay directed a ten-minute short film based on the comic strip, of which two minutes were animated. The film was first released on April 8, 1911.[3] The first animated effort of McCay, it later achieved the status of an early animated classic. Its on screen title is Winsor McCay, the Famous Cartoonist of the N.Y. Herald and his Moving Comics, but it is usually referred to as Little Nemo. This version was named to the National Film Registry in December 2009.[4] In 1984, Arnaud Slignac produced and directed a film called Nemo or Dream One 1908 starring Jason Connery, Harvey Keitel and Carole Bouquet. It involves a little boy called Nemo who also wears pajamas and travels to a fantasy world, but otherwise the connection to McCay's strip is a loose one. In this film the fantasy world is a dark and dismal beach, and Nemo encounters characters from other works of fiction rather than those from the original strip. Instead of Flip or the Princess, Nemo meets Zorro, Alice, and Jules Verne's Nautilus (which was led by Captain Nemo) (see IMDB entry [5] ). An animated feature film entitled Little Nemo: Adventures in Slumberland (known simply as "Nemo" in Japan) was finally released in Japan in July 1989 and in the US in 1992. It was directed by Masami Hata, Masanori Hata and William T. Hurtz from a screenplay by Chris Columbus and Richard Outten. Originally conceived in 1982, this Japanese-American co-production had a long and tumultuous history which included a 1984 pilot by Ghibli director Yoshifumi Kond.[6] Though regarded as a commercial failure in the States, it nevertheless went on to be nominated for and won several industry awards for its brilliant animation quality. Upon its initial VHS video release in 1993, it topped the charts for more than a month, selling over 2 million copies. The film was later released on DVD in October 2004, and quickly went out of print the following year. The DVD was once again released in January 2009.
The walking bed, July 26,

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Other media
In 1990, Capcom produced a video game for the NES, titled Little Nemo: The Dream Master (known as Pajama Hero Nemo in Japan), a licensed game based on the 1989 film. The film would not see a US release until 1992, two years after the game's US release, so the game is often thought to be a standalone adaptation of Little Nemo, not related to the film. An arcade game called simply Nemo was also released in 1990.[7] Throughout the years, various pieces of Little Nemo merchandise have been produced. In 1941, Rand, McNally & Co. published a Little Nemo children's storybook. Little Nemo in Slumberland in 3-D was released by Blackthorne Publishing in 1987; this reprinted Little Nemo issues with 3-D glasses. A set of 30 Little Nemo postcards was available through Stewart Tabori & Chang in 1996. In 1993, as promotion for the 1989 animated film, Hemdale produced a Collector's Set which includes a VHS movie, illustrated storybook, and cassette soundtrack. In 2001, Dark Horse Comics released a Little Nemo statue and tin lunchbox. The character and themes from the comic strip Little Nemo were used in a song "Scenes from a Night's Dream" written by Phil Collins and Tony Banks of the progressive rock group Genesis on their 1978 recording, ...And Then There Were Three... Another progressive rock group, from Germany, called Scara Brae also recorded a musical impression of the comic on their rare self titled disc from 1981 (the track was actually recorded 2 years earlier). Their concept piece was revived on the second album by the Greek band Anger Department, oddly called 'The Strange Dreams of A Rarebit Fiend', again after a McCay-comic. Their 'Little Nemo' was chosen for a theatre play, which was suggested for the cultural program for the Olympic Games in 2004. At Universal's Islands of Adventure, at the Toon Lagoon section, Little Nemo can be seen falling out of his bed near a shop. "Little Nemo in Slumberland" is also the inspiration for the video of the 1989 song Runnin' Down a Dream by Tom Petty and The Heartbreakers.

Cultural influences
Since its publishing, Little Nemo has had an influence on other artists, including Alan Moore, in Miracleman #4, when the Miracleman family end up in a palace called "Sleepy Town," which has imagery similar to Little Nemo's. In Moore (and J.H. Williams III)'s Promethea, a more direct pastiche - "Little Margie in Misty Magic Land [8]" showed Moore's inspiration and debt to McCay's landmark 1905 strip. The Sandman series occasionally references Little Nemo as well. Examples include The Sandman: The Doll's House, where an abused child escapes into dreams styled after McCay's comics and using a similar 'wake-up' mechanism, and The Sandman: Book of Dreams (pub. 1996), which features George Alec Effinger's short "Seven Nights in Slumberland" (where Nemo interacts with Neil Gaiman's characters The Endless). In children's literature, Maurice Sendak has said that this strip inspired his book In the Night Kitchen, and William Joyce included several elements from Little Nemo in his children's book Santa Calls, including appearances by Flip and the walking bed. In 1984, Italian comic artist Vittorio Giardino started producing a number of few-page stories under the title Little Ego, a parodic adaptation of Little Nemo, in the shape of erotic comics. Although not suitable for children, Giardino's work succeeded in imitating Winsor McCay's exquisite drawing technique, and the level of surrealism was fairly achieved. The comic strip Cul de Sac includes a strip-within-the-strip, "Little Neuro," a parody of Little Nemo. Neuro is a little boy who hardly ever leaves his bed. In 2006, electronic artist Daedelus used Little Nemo artwork for his album Denies the Day's Demise. In 2007, during the second episode of the fourth season of The L Word, Little Nemo in Slumberland is referenced during a brief conversation between Bette Porter and prospective TA Nadia.

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Collections
Little Nemo 1905-1906 Nostalgia Press Little Nemo in the Palace of Ice and Further Adventures Dover, ISBN 0-486-23234-4 Little Nemo In Slumberland, 1905-07 Fantagraphics ISBN 0-930193-63-6 Little Nemo In Slumberland, 1907-08 Fantagraphics ISBN 0-930193-64-4 Little Nemo In Slumberland, 1908-10 Fantagraphics ISBN 1-56097-025-1 Little Nemo In Slumberland, 1910-11 Fantagraphics ISBN 0-56097-045-6 ISBN 1-85286-153-3 Little Nemo In Slumberland #1 Blackthorne Publishing, 1986 Little Nemo In Land of Wonderful Dream, Part 1, 1911-12 Fantagraphics ISBN 0-924359-35-8 Little Nemo In Land of Wonderful Dream, Part 1, 1913-14 Fantagraphics ISBN 1-56097-130-4 Little Nemo, 1924-25 Fantagraphics, unpublished ? Little Nemo, 1926-27 Fantagraphics, unpublished ? Little Nemo, 1905-14 Evergreen/Taschen, 2000, ISBN 3-8228-6300-9 Little Nemo in Slumberland: So Many Splendid Sundays (1905-10) Sunday Press Books, 2005 ISBN 0-9768885-0-5 Little Nemo in Slumberland: So Many Splendid Sundays, Vol. 2 (1906-24) Sunday Press Books, 2008 ISBN 0-9768885-5-6 Best of Little Nemo in Slumberland Stewart, Tabori, & Chang, ISBN 1-55670-647-2 Little Nemo in Slumberland, v1 (1905-09) Checker Books ISBN 1-933160-21-7 Little Nemo in Slumberland, v2 (1910-1926) Checker Books ISBN 1-933160-22-5

Gallery
Full Little Nemo in Slumberland strips:

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References
[1] Mint Condition: How Baseball Cards Became an American Obsession, p.126, Dave Jamieson, 2010, Atlantic Monthly Press, imprint of Grove/Atlantic Inc., New York, NY, ISBN 978-0-8021-1939-1 [2] Mint Condition: How Baseball Cards Became an American Obsession, p.126, Dave Jamieson, 2010, Atlantic Monthly Press, imprint of Grove/Atlantic Inc., New York, NY, ISBN 978-0-8021-1939-1 [3] Little Nemo (http:/ / www. imdb. com/ title/ tt0001737/ ). IMDB.com. Retrieved 19 December 2009. [4] "Thriller and 24 Other Films Named to National Film Registry", Associated Press via Yahoo News (December 30, 2009) (http:/ / news. yahoo. com/ s/ ap/ 20091230/ ap_en_mo/ us_classic_films) [5] http:/ / www. imdb. com/ title/ tt0087784/ [6] http:/ / ghiblicon. blogspot. com/ 2006/ 06/ nemo-pilot-1984. html [7] http:/ / www. klov. com/ game_detail. php?game_id=8843 [8] http:/ / www. angelfire. com/ comics/ eroomnala/ LM. html

External links
Winsor McCay Biography (http://www.bpib.com/illustrat/mccay.htm) Meeting McCay (http://www.springlakemccay.blogspot.com/) Little Nemo (http://www.archive.org/details/LittleNemo) at the Internet Archive Internet Movie Database profile of the 1911 short film (http://www.imdb.com/title/tt0001737/)

Internet Movie Database profile of the 1984 movie Nemo or Dream One (http://www.imdb.com/title/ tt0087784/) Internet Movie Database profile of the 1990 video game (http://www.imdb.com/title/tt0206895/) Internet Movie Database profile of the 1992 feature film (http://www.imdb.com/title/tt0104740/) " Finding 'Little Nemo' (http://www.salon.com/books/review/2005/12/03/mccay/)" (review of So Many Splendid Sundays!), Douglas Wolk, Salon.com, December 3, 2005. Interview with Peter Maresca (editor of So Many Splendid Sundays) and Art Spiegelman from the KCRW radio show Bookworm (http://www.kcrw.org/cgi-bin/db/kcrw.pl?show_code=bw&air_date=12/1/05& tmplt_type=Show) - excerpt from the book (http://www.kcrw.com/dialabook/Little_Nemo.htm) "Little Nemo in Comicsland" (http://www.vqronline.org/articles/2006/spring/heer-little-nemo-comicsland) (Winsor McCay's influence on comics), Jeet Heer, Virginia Quarterly Review, Spring 2006. I Love Comix Archive: Little Nemo in Slumberland (http://www.ilovecomixarchive.com/L/ Little-Nemo-in-Slumberland) Comic Strip Library (http://www.comicstriplibrary.org) - Archive of many strips in high resolution. iPhone App (http://itunes.apple.com/us/app/little-nemo-reference/id388501808?mt=8) - iPhone App

Gertie the Dinosaur

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Gertie the Dinosaur


Gertie the Dinosaur

Directed by Written by Starring

Winsor McCay Winsor McCay Winsor McCay George McManus Roy McCardell Max Fleischer

Release date(s) September 14, 1914 Running time Country Language 12 minutes United States Silent film English intertitles

Gertie the Dinosaur is a 1914 American animated short film by Winsor McCay. Although not the first animated film, as is sometimes thought, it was the first cartoon to feature a character with an appealing personality. The appearance of a true character distinguished it from earlier animated "trick films", such as those of Blackton and Cohl, and makes it the predecessor to later popular cartoons such as those by Walt Disney. The film was also the first to be created using keyframe animation. The film has been selected for preservation in the United States National Film Registry, and was named #6 of The 50 Greatest Cartoons of all time in a 1994 survey of animators and cartoon historians by Jerry Beck.[1]

Vaudeville
Gertie the Dinosaur was originally created to be used in McCay's vaudeville performances. McCay started performing "chalk talks" on vaudeville in 1906, as a sideline to his regular newspaper cartooning. In 1911, he began presenting animated films on stage, first an animation of Little Nemo in Slumberland, then How a Mosquito Operates. Plans for Gertie were announced in 1912. The episode of McCay's newspaper comic In the Land of Wonderful Dreams published in newspapers on the 21st of September 1913 showed the reader some of the creatures from the upcoming film: a "dinosaurus", a sea serpent and a four-winged lizard. In January 1914, the drawings were

The complete film

Gertie the Dinosaur photographed by Vitagraph Studios. The first presentation of the film was at the Palace Theater in Chicago on February 8, 1914; later performances were at the Hammerstein Theater in New York City. The performance consisted of McCay interacting with Gertie, a cartoon dinosaur based on the Brontosaurus skeleton in the American Museum of Natural History.[2] McCay would stand on stage in front of a projection screen, dressed in a tuxedo and wielding a whip. He would call Gertie, who appeared from behind some rocks. He then instructed her to perform various tricks, similar to a circus act. He would appear to toss a prop apple to her McCay palmed the apple while Gertie caught an animated copy of it. Gertie was also seen to swallow a large rock, play with a Mastodon, and drink an entire lake dry. At one point, McCay would scold Gertie for misbehaving, at which she would begin to cry. For the finale, McCay disappeared behind the screen just as a cartoon version of him climbed onto Gertie's head and rode off.

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Movie theaters
McCay's employer, William Randolph Hearst, was displeased with McCay's success outside of the newspapers, and used his contractual power to reduce McCay's stage activities. In late 1914, William Fox offered to market Gertie the Dinosaur to moving-picture theaters. McCay accepted, and extended the film to include a live-action prologue and intertitles to replace his stage patter. This is the version of the film generally seen today; the original animation comprises roughly 5 minutes of the entire 12-minute film. The film features McCay with several of his cartoonist friends, such as George McManus (creator of Bringing Up Father), Roy McCardell, and Thomas A. Dorgan. As the film opens, they are "on a joy ride", when their automobile suffers a flat tire in front of a museum. The cartoonists enter the museum, and see a "Dinosaurus" skeleton. McCay bets McManus a dinner that he can "make the Dinosaurus live again by a series of hand-drawn cartoons". He then spends six months making "ten thousand cartoons"; when McManus visits, McCay shows him the drawings, although an assistant trips and scatters a large pile of them McCay sketching Gertie over the floor (a gag also used in the Little Nemo film). The scene then shifts to a dinner party with the group of cartoonists. McCay begins by sketching a single drawing of Gertie. Someone complains that "your bet was that you could make it move", following which the film shifts to the original animated Gertie. McCay, through intertitles, tells Gertie to come out and bow, and continues through the same interaction as in the vaudeville show (although the "apple" that McCay throws to her is now referred to as a pumpkin, which was more appropriate for the size of Gertie's mouth). The film concludes with the group telling George (McManus) to pay for the dinner.

Production
Gertie the Dinosaur was produced before the introduction of later time-saving techniques such as cel animation. To create the film, McCay himself drew thousands of frames of Gertie on individual 6.5 x 8.5inch sheets of rice paper. He hired neighbor and art student John A. Fitzsimmons to draw the backgrounds. Fitzsimmons carefully re-traced the rocks, lake and tree from a master drawing onto each sheet of rice paper.
Thousands of drawings for the film

Gertie the Dinosaur In creating the film, McCay came up with a number of techniques that would later become standard in the animation industry. He used registration marks to keep the background aligned from frame to frame, so that it did not appear to "swim", as often happened in early cartoons. He avoided some repetitious work by re-using drawings, in what would later be called cycling. He devised what he called the "McCay Split System", the first occurrence of keyframe animation. Rather than draw each frame in sequence, he would start by drawing Gertie's key poses, and then go back and fill in the frames between. McCay was also very concerned with accurate timing and motion; he timed his own breathing to determine how to animate Gertie's breathing, and included subtle details such as the ground sagging beneath Gertie's great weight. McCay was very open about the techniques that he developed. During production of Gertie, he showed all the details to a visitor who claimed to be writing an article about animation. The visitor turned out to be John Randolph Bray, who later patented many of McCay's methods and tried to sue him. McCay prevailed, however, and received royalties from Bray for several years thereafter.

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Other versions
Around 1921, McCay worked on a second animated film featuring Gertie, titled Gertie on Tour. The film would have Gertie visiting New York and Washington, D.C., bouncing on the Brooklyn Bridge and attempting to eat the Washington Monument, among other scenes. The film may have been designed for performance on the vaudville stage; it exists today only in fragments and concept sketches. A plagiarization of Gertie, from roughly 1915, was distributed for many years, incorrectly identified as McCay's film. Donald Crafton suggests that this other Gertie may have been created by Bray Productions, based on its graphical style.[3] McCay's son Robert, along with Disney animator Richard Huemer, recreated the original vaudeville performance for the Disneyland television program in 1955. Dinosaur Gertie's is a soft serve ice cream location at Disney's Hollywood Studios in Walt Disney World, Florida. The building is an example of Programmatic architecture, meaning it is shaped like Dinosaur Gertie. The shop is located on Echo Lake (across from the Giant Sorcerer Hat).

References
[1] Jerry Beck, ed. (1998). The 50 Greatest Cartoons: As Selected by 1,000 Animation Professionals. JG Press, Inc.. ISBN1-57215-271-0. [2] http:/ / www. sdnhm. org/ exhibits/ dinosrr/ index. html [3] Donald Crafton (1982). Before Mickey: The Animated Film 1898-1928. MIT Press. ISBN0-262-03083-7.

Further readings John Canemaker (2005). Winsor McCay: His Life and Art. Harry N. Abrams, Inc. ISBN0-8109-5941-0.

External links
Gertie the Dinosaur (http://www.archive.org/details/Gertie) available for free download at the Internet Archive [more] Gertie the Dinosaur (http://www.imdb.com/title/tt0004008/) at the Internet Movie Database Gertie the Dinosaur (http://www.allrovi.com/movies/movie/v151281) at AllRovi Gertie on Tour (http://hdl.loc.gov/loc.mbrsmi/animp.4082) at the Library of Congress Meeting McCay (http://www.springlakemccay.blogspot.com/)

George Herriman

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George Herriman
George Herriman

Born

George Joseph Herriman August 22, 1880 New Orleans, LA April 25, 1944 (aged63) Los Angeles, CA American Artist, writer

Died

Nationality Area(s)

Notable works Krazy Kat

George Joseph Herriman (August 22, 1880 April 25, 1944) was an American cartoonist, best known for his classic comic strip Krazy Kat.

Early life
George Herriman was born in a light-skinned, Creole African-American family in New Orleans, Louisiana. Both of his parents were listed as "mulatto" in the 1880 census.[1] In his adolescence, Herriman's father moved the family to Los Angeles, California, as did many educated New Orleans Creoles of color at the time in order to avoid the increasing restrictions of Jim Crow laws in Louisiana. In later life, many of Herriman's newspaper colleagues were under the impression that Herriman's ancestry was Greek, and Herriman did nothing to disabuse them of this notion. According to close friends of Herriman, he wore a hat at all times in order to hide his "kinky" hair. He was listed on his death certificate as "Caucasian".

Career
At the age of 17, Herriman began working as an illustrator and engraver for the Los Angeles Herald-Examiner, and over the next few years did many newspaper spot illustrations, observational and political cartoons, and produced several early comic strips, at times producing several daily strips at the same time. Herriman's early strips included Major Ozone, Musical Mose, Acrobatic Archie, Professor Otto and his Auto, Two Jolly Jackies and several others, most of which were only slightly above the average quality of newspaper strips of the time. Perhaps the first indication of Herriman's unusual creativity and poetical sense of humor which would make him famous surfaced in 1909 with his strip Gooseberry Sprig. The following year Herriman began a domestic comedy strip called The Dingbat Family. The precursors to the characters of Krazy and Ignatz first appeared in a small, unrelated side comic that began on July 26, 1910, that ran below The Dingbat Family.[1] The small comic appeared

George Herriman intermittently before becoming a regular feature of the strip: the main action happening with the human family taking up most of each panel, and an unrelated storyline involving a cat and mouse underneath the family's floorboards taking place in the bottom segment of each panel. This strip was then renamed The Family Upstairs. The cat and mouse strip was then spun off into another strip in 1913 , originally Krazy Kat and Ignatz, and then simply Krazy Kat. Herriman also continued drawing the domestic comedy strip, again named The Dingbat Family, until 1916 . From 1916 through 1919 Herriman also drew the daily strip Baron Bean. Herriman would continue to draw other strips in addition to Krazy Kat through 1932. Krazy Kat, however, was the strip which became Herriman's most famous. It reached its greatest level of popularity in the early 1920s, when it inspired merchandise, critical acclaim and even an interpretive ballet. Over the years it gradually lost readers, and many complained that "it made no sense." However, it had an enthusiastic (if relatively small) following among art-lovers, artists and intellectuals of the era, such as the critic Gilbert Seldes and the poet E. E. Cummings. Most important, it was championed by Herriman's publisher, William Randolph Hearst. Herriman was also the illustrator for the first printed edition of Don Marquis' archy and

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A Herriman political cartoon featuring California Governor James Gillett as a mule surrounded by prominent Southern Pacific Railroad lobbyists in 1906.

mehitabel stories.[2] The 1930s were a period of tragedy for Herriman. On September 29, 1931,[3] his wife Mabel died[4] as the result of an automobile accident.[5] In 1939, his daughter Bobbie died unexpectedly at age 30. He never remarried, choosing to live in Los Angeles with his cats and dogs.

Death
He died in his sleep on 26 April 1944.[6] [7] His cause of death was listed on his death certificate as "non-alcoholic cirrhosis of the liver". According to his request, his ashes were scattered by airplane over Monument Valley, Arizona. On June 25, 1944, two months after Herriman's death, the last of his completed Krazy Kat strips, a full-page Sunday, was printed. An incompletely inked pencilling of six daily strips was found on his drawing board at the time of his death. At the time, Hearst usually brought in new cartoonists when the artists of a popular strip died or quit, but an exception was made for Herriman, as no one else could take his place.[8] Friends and biographers described him as a solitary man who gave generously to charity, loved his family and enjoyed a good game of poker.

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Identity in Herriman's work


Herriman's work has been analyzed by numerous critics and theorists. Some see reflections of Herriman's complex experience of America's identity reflected in his work. His surreal and shifting settings are a background to changing ethnicity and gender of the central characters. Eyal Amiran points out in an essay in Mosaic that, in some later strips, Krazy and the other characters switch between black and white. The strip's love triangle has also been described as a "thwarted fantasy of miscegenation"[9] in which "the white (mouse) Ignatz loves to hate Krazy, but only as long as he/she is black. Black Krazy loves Ignatz only as long as he's white." Meanwhile, the white police dog, Offisa Bull Pupp, is secretly in love with Krazy, the black cat. Heer highlights one strip in which Krazy leaves a beauty salon covered in white makeup. Ignatz sees Krazy and is in love. In another strip, Ignatz is blackened after hiding in a pipe and Krazy's love for the mouse does not resume until his black face is washed clean.[9] However, this interpretation is perhaps somewhat invalidated by Herriman's insistence that Krazy was not female he saw Krazy as a "pixie", beyond gender or sexuality.[10] In another strip published in 1931, an art critic visits and describes Krazy and Ignatz as "a study in black & white". Krazy responds saying "he means us: Me bleck, You white" and suggests that the two "fool him. You be bleck and I'll be white" and in the next panel Krazy is white while Ignatz is black. The critic responds by declaring the transformation "another study in black & white". An earlier cartoon of Herriman's, Musical Mose (1902) features a black man who tries to impersonate a white man declaring, in dialect, "I wish mah color would fade", might be an example of Herriman mocking himself.[9]

Strip bibliography

Krazy Kat Saturday page published on January 21, 1922 in New York Evening Journal

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Year 1902 Musical Mose

Strip

Professor Otto and his Auto Acrobatic Archie 1903 Two Jollie Jackies Lariat Pete 1904 Major Ozone's Fresh Air Crusade Home Sweet Home Bubblespikers Bud Smith 1906 Mr. Proones the Plunger Rosy Posy, Mama's Girl Zoo Zoo Grandma's Girl 1909 Baron Mooch Mary's Home from College Gooseberry Sprig Alexander the Cat Daniel and Pansy 1910 1913 1916 1919 1922 1926 The Dingbat Family/The Family Upstairs Krazy Kat Baron Bean Now Listen Mabel Stumble Inn Us Husbands Mistakes Will Happen 1928 1930 Embarrassing Moments archy and mehitabel

Reprints
Several reprints have been done of Krazy Kat. The most comprehensive one has been Fantagraphics, which is reprinting all the Sundays and will soon do all the dailies. Fantagraphics plans to do all of Herriman's other strips over the next few years. Herriman's Humans: The Complete Stumble Inn and Us Husbands ISBN 1606991515 (May 2009, Hardcover)

References
[1] Boxer, Sarah (July 7, 2007). "Herriman: Cartoonist who equalled Cervantes" (http:/ / www. telegraph. co. uk/ culture/ books/ 3666365/ Herriman-Cartoonist-who-equalled-Cervantes. html). The Daily Telegraph (London). . Retrieved 2009-02-03. "In 1971, however, the Krazy world changed. While researching an article on Herriman for the Dictionary of American Biography, the sociologist Arthur Asa Berger got a copy of Herrimans birth certificate. Although Herriman died Caucasian, in Los Angeles in 1944, the very same George Herriman, the son of

George Herriman
two mulatto parents, was born "colored" in New Orleans in 1880. If Herriman knew he was black, he certainly did not flaunt it. Thats no surprise. In 1880 Herriman would have been considered a "free person of color". But by the turn of the century, when he was a fledgling cartoonist, the newspaper bullpens "were open to immigrants but not to blacks"." [2] Don Markstein's Toonopedia. "archy and mehitabel" (http:/ / www. toonopedia. com/ mehitabl. htm). . [3] Los Angeles Times, September 30, 1931 [4] This event has frequently and erroneously been published as having occurred in November 1934 [5] Chicago Daily Tribune, September 30, 1931 [6] "George Herriman, Noted Cartoonist. Creator of 'Krazy Kat' Comic Strip Dies in Hollywood at 66. Once a House Painter." (http:/ / select. nytimes. com/ gst/ abstract. html?res=F10B17F83959147B93C5AB178FD85F408485F9). New York Times. April 27, 1944. . Retrieved 2009-02-03. [7] "Among the Unlimitless Etha" (http:/ / www. time. com/ time/ magazine/ article/ 0,9171,933397,00. html). Time (magazine). May 8, 1944. . Retrieved 2008-05-10. "George Herriman, 63, creator of the sovereign comic strip, Krazy Kat, died after a long illness." [8] "The Lyons Den" (http:/ / news. google. com/ newspapers?id=DgENAAAAIBAJ& sjid=uGkDAAAAIBAJ& pg=5958,3766610& dq=george+ herriman+ died). Pittsburgh Post-Gazette. May 3, 1944. . Retrieved 2009-02-03. "The Krazy cartoon strip, created by George Herriman, who died last week, will be discontinued. His syndicate believes that no other cartoonist can continue ..." [9] Heer, Jeet (2005-12-11). "A cat-and-mouse game of identity (Abstract)" (http:/ / pqasb. pqarchiver. com/ thestar/ access/ 939856981. html?dids=939856981:939856981& FMT=ABS& FMTS=ABS:FT& date=Dec+ 11,+ 2005& author=Jeet+ Heer& pub=Toronto+ Star& edition=& startpage=D. 04& desc=A+ cat-and-mouse+ game+ of+ identity). thestar.com. Toronto Star. . Retrieved 2007-06-20. ""A cat-and-mouse game of identity: Excerpt: George Herriman played with race in his work and real life"" [10] Walker, Brian, The Comics Before 1945

343

Further reading
Patrick McDonell, Karen O'Connell, and Georgia Riley De Havenon, Krazy Kat: The Comic Art of George Herriman (New York:Abradale Press, 1986). Krazy & Ignatz in "A Wild Warmth of Chromatic Gravy": The Komplete Kat Komics 1935 - 1936 by George Herriman (Fantagraphics Books:2005 ISBN 1-56097-690-X ) George Herriman dossier (http://www.krazy.com/herriman.htm) Krazy.com George Herriman dossier (http://replay.web.archive.org/20090504111349/http://www.readyourselfraw. com/profiles/herriman/profile_herriman.htm) ReadYourselfRAW

External links
George Herriman biography (http://lambiek.net/artists/h/herriman.htm) on Lambiek Comiclopedia George Herriman biography (http://www.toonopedia.com/herriman.htm) on Don Markstein's Toonopedia Major Ozone (http://www.toonopedia.com/ozone.htm), Krazy Kat (http://www.toonopedia.com/krazy. htm), Gooseberry Sprigg (http://www.toonopedia.com/gooseber.htm), The Family Upstairs (http://www. toonopedia.com/dingbat.htm) articles on Don Markstein's Toonopedia Krazy Kat - The Coconino County Home Page (http://www.krazy.com/) George Herriman biography (http://www.clstoons.com/paoc/herriman.htm) on Pioneering Cartoonists of Color Krazy Kat and Ignatz Mouse at the circus (http://memory.loc.gov/mbrs/animp/4072.mpg) (26 MB), Krazy Kat goes a-wooing (http://memory.loc.gov/mbrs/animp/4070.mpg) (20 MB), Krazy Kat, bugologist (http:// memory.loc.gov/mbrs/animp/4071.mpg) (30 MB) MPEG animation files

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Krazy Kat
Krazy Kat

Ignatz hurls a brick at Krazy Kat, who interprets it as an expression of love. Author(s) Current status / schedule Launch date End date Syndicate(s) Genre(s) George Herriman Ended October 13, 1913 June 25, 1944 King Features Syndicate Humor, romance

Krazy Kat is an American comic strip created by cartoonist George Herriman, published daily in newspapers between 1913 and 1944. It first appeared in the New York Evening Journal, whose owner, William Randolph Hearst, was a major booster for the strip throughout its run. The characters had been introduced previously in a side strip with Herriman's earlier creation, The Dingbat Family.[1] The phrase "Krazy Kat" originated there, said by the mouse by way of describing the cat. Set in a dreamlike portrayal of Herriman's vacation home of Coconino County, Arizona, Krazy Kat's mixture of offbeat surrealism, innocent playfulness and poetic, idiosyncratic language has made it a favorite of comics aficionados and art critics for more than 80 years.[2] [3] [4] The strip focuses on the curious love triangle between its title character, a guileless, carefree, simple-minded cat of indeterminate gender (referred to as both "he" and "she"); the obsessive antagonist Ignatz Mouse; and the protective police dog, Offissa Bull Pupp. Krazy nurses an unrequited love for the mouse. However, Ignatz despises Krazy and constantly schemes to throw bricks at Krazy's head, which Krazy misinterprets as a sign of affection, uttering grateful replies such as "Li'l dollink, allus f'etful". Offissa Pupp, as Coconino County's administrator of law and order, makes it his unwavering mission to interfere with Ignatz's brick-tossing plans and lock the mouse in the county jail. Despite the slapstick simplicity of the general premise, it was the detailed characterization, combined with Herriman's visual and verbal creativity, that made Krazy Kat one of the first comics to be widely praised by intellectuals and treated as "serious" art.[2] Art critic Gilbert Seldes wrote a lengthy panegyric to the strip in 1924, calling it "the most amusing and fantastic and satisfactory work of art produced in America today."[5] Poet E. E. Cummings, another Herriman admirer, wrote the introduction to the first collection of the strip in book form. Though only a modest success during its initial run, in more recent years, many modern cartoonists have cited Krazy Kat as a major influence.

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Overview
Krazy Kat takes place in a heavily stylized version of Coconino County, Arizona, with Herriman filling the page with caricatured flora and fauna, and rock formation landscapes typical of the Painted Desert.[6] These backgrounds tend to change dramatically between panels, even while the characters remain stationary. While the local geography is fluid, certain sites were stableand featured so often in the strip as to become iconic. These latter included Offissa Pupp's jailhouse and Kolin Kelly's brickyard. A Southwestern visual style is evident throughout, with clay-shingled rooftops, trees planted in pots with designs imitating Navajo art, along with references to Mexican-American culture. The strip also occasionally features incongruous trappings borrowed from the stage, with curtains, backdrops, theatrical placards, and sometimes even upstage floor lights framing the panel borders.

Note the ever-changing backgrounds in this January 21, 1922 page as Krazy tries to understand why Door Mouse is carrying a door.

The descriptive passages mix whimsical and often alliterative language with phonetically-spelled dialogue and a strong poetic sensibility ("Agathla, centuries aslumber, shivers in its sleep with splenetic splendor, and spreads abroad a seismic spasm with the supreme suavity of a vagabond volcano.").[7] Herriman was also fond of experimenting with unconventional page layouts in his Sunday strips, including panels of various shapes and sizes, arranged in whatever fashion he thought would best tell the story. Though the basic concept of the strip is simple, Herriman always found ways to tweak the formula. Ignatz's plans to surreptitiously lob a brick at Krazy's head sometimes succeed; other times Offissa Pupp outsmarts the wily mouse and imprisons him. The interventions of Coconino County's other anthropomorphic animal residents, and even forces of nature, occasionally change the dynamic in unexpected ways. Other strips have Krazy's imbecilic or gnomic pronouncements irritating the mouse so much that he goes to seek out a brick in the final panel. Even self-referential humor is evidentin one strip, Offissa Pupp, having arrested Ignatz, berates the cartoonist for not having finished drawing the jail.[8] Public reaction at the time was mixed; many were puzzled by its iconoclastic refusal to conform to linear comic strip conventions and straightforward gags. But publishing magnate William Randolph Hearst loved Krazy Kat, and it continued to appear in his papers throughout its run, sometimes only by his direct order.[9]

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Cast of characters
Krazy Kat
Simple-minded, curious, mindlessly happy and perpetually innocent, the strip's title character drifts through life in Coconino County without a care. Krazy's dialogue is a highly stylized argot ("A fowl konspirissy is it pussible?")[10] phonetically evoking a mixture of English, French, Spanish, Yiddish and other dialects, often identified as George Herriman's own native New Orleans dialect, Yat.[3] Often singing and dancing to express the Kat's eternal joy, Krazy is hopelessly in love with Ignatz and thinks that the mouse's brick-tossing is his way of returning that love. Krazy is also completely unaware of the bitter rivalry between Ignatz and Officer Pupp and mistakes the dog's frequent imprisonment of the mouse for an innocent game of tag ("Ever times I see them two playing games togedda, Ignatz seems to be It").[11] On those occasions when Ignatz is caught before he can launch his brick, Krazy is left pining for the "l'il ainjil" and wonders where the beloved mouse has gone. Krazy's own gender is never made clear and appears to be fluid, varying from strip to strip. Most authors post-Herriman (beginning with cummings) have mistakenly referred to Krazy only as female,[12] but Krazy's creator was more ambiguous and even published several strips poking fun at this uncertainty.[13] [14] When filmmaker Frank Capra, a fan of the strip, asked Herriman to straightforwardly define the character's sex, the cartoonist admitted that Krazy was "something like a sprite, an elf. They have no sex. So that Kat can't be a he or a she. The Kat's a spirita pixiefree to butt into anything."[15] Most characters inside the strip use "he" and "him" to refer to Krazy, likely as a gender-neutral "he".

Ignatz Mouse
Ignatz is driven to distraction by Krazy's navet, and he throws bricks at Krazy Kat's head. To shield his plans from Offissa Pupp, Ignatz hides his bricks, disguises himself, or enlists the aid of willing Coconino County denizens (without making his intentions clear). Easing Ignatz's task is Krazy Kat's willingness to meet him anywhere at any appointed time, eager to receive a token of affection in the form of a brick to the head. Ignatz is married with three children, though they are rarely seen. Ironically, although Ignatz seems to generally dislike Krazy, one strip shows his ancestor, Mark Antony Mouse, fall in love with Krazy's ancestor, an Egyptian cat princess (calling her his "Star of the Nile"), and pay a sculptor to carve a brick with a love message. When he throws it at her, he is arrested, but she announces her love for him, and from that day on, he throws bricks at her to show his love for her (which would explain why Krazy believes that Ignatz throwing bricks is a sign of love). In another strip, Krazy kisses a sleeping Ignatz, and hearts appear above the mouse's head.

Ignatz being marched off by Officer Pupp for trying to throw a brick at Krazy Kat. Behind the newspaper, Krazy is reading and describing aloud the very same cartoon in which they are all appearing.

In the last five (or so) years of the strip, Ignatz's dislike for Krazy was noticeably downplayed. While earlier, one got the sense of his taking advantage of Krazy's willingness to be "bricked", now one gets the sense of Ignatz and Krazy as chummy co-conspirators against Pupp, with Ignatz at times quite aware of the positive way Krazy interprets his missiles.

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Offissa Pupp
"Limb of Law and Arm of Order", Offissa Bull Pupp always triesand sometimes succeedsto thwart Ignatz's designs to pelt bricks at Krazy Kat. Offissa Pupp and Ignatz often try to get the better of each other even when Krazy is not directly involved, as they both enjoy seeing the other played for a fool.

Secondary characters
Beyond these three, Coconino County is populated with an assortment of incidental, recurring characters. Kolin Kelly: a dog; a brickmaker by trade who bakes his wares in a kiln. Often Ignatz's source for projectiles, although he distrusts the mouse. Mrs. Kwakk Wakk: a duck in a pillbox hat, a scold and busybody who frequently notices Ignatz in the course of his plotting and informs Offissa Pupp. On her own, she is also a deadpan snarker and occasional social climber, attempting in one strip continuity to replace Pupp as police chief. Joe Stork: the "purveyor of progeny to prince & proletarian",[16] often makes unwanted baby deliveries to various characters. (In one strip, Ignatz tries to trick him into dropping a brick onto Krazy's head from above). Other characters who make semi-frequent appearances are: Walter Cephus Austrige: a nondescript ostrich Bum Bill Bee: a transient, bearded insect Don Kiyote: a dignified and aristocratic Mexican coyote Mock Duck: a clairvoyant fowl of Chinese descent who resembles a coolie and operates a cleaning establishment. Gooseberry Sprig: the Duck Duke, who briefly starred in his own strip before Krazy Kat was created. Also: Krazy's cousins Krazy Katbird and Krazy Katfish. Ignatz also has relations; his family of look-alike mice includes his wife, Magnolia and a trio of equally-unruly sons named Milton, Marshall and Irving, respectively.

History
Krazy Kat evolved from an earlier comic strip of Herriman's, The Dingbat Family, which started in 1910 and would later be renamed The Family Upstairs. This comic chronicled the Dingbats' attempts to avoid the mischief of the mysterious unseen family living in the apartment above theirs and to unmask that family. Herriman would complete the cartoons about the Dingbats, and finding himself with time left over in his 8-hour work day, filled the bottom of the strip with slapstick drawings of the upstairs family's mouse preying upon the Dingbats' cat.[17]

Krazy Kat

348 This "basement strip" grew into something much larger than the original cartoon. It became a daily comic strip with a title (running vertically down the side of the page) on October 28, 1913 and a black and white full-page Sunday cartoon on April 23, 1916. Due to the objections of editors, who didn't think it was suitable for the comics sections, Krazy Kat originally appeared in the Hearst papers' art and drama sections.[18] Hearst himself, however, enjoyed the strip so much that he gave Herriman a lifetime contract and guaranteed the cartoonist complete creative freedom.

Despite its low popularity among the general public, Krazy Kat gained a wide following among intellectuals. In 1922, a jazz ballet based on the comic was produced and scored by John Alden Carpenter; though the performance played to sold-out crowds on two nights[19] and was given positive reviews in The New York Times and The New Republic,[20] it failed to boost Ignatz Mouse resolves not to throw any more bricks at Krazy. the strip's popularity as Hearst had hoped. In addition to Temptation follows him at every turn, and ultimately he finds a loophole to indulge his passion. (January 6, 1918) Seldes and cummings, contemporary admirers of Krazy Kat included Willem de Kooning, H. L. Mencken, and Jack Kerouac.[4] More recent scholars and authors have seen the strip as reflecting the Dada movement[21] and prefiguring postmodernism.[3] [22] Beginning in 1935, Krazy Kat's Sunday edition was published in full color. Though the number of newspapers carrying it dwindled in its last decade, Herriman continued to draw Krazy Katcreating roughly 3,000 cartoonsuntil his death in April 1944 (the final page was published exactly two months later, on June 25). Hearst promptly canceled the strip after the artist died, because, contrary to the common practice of the time, he did not want to see a new cartoonist take over.[23]

Animated adaptations
The comic strip was animated several times. The earliest Krazy Kat shorts were produced by Hearst in 1916. They were produced under Hearst-Vitagraph News Pictorial and later the International Film Service (IFS), though Herriman was not involved. In 1920, after a two-year hiatus, the John R. Bray studio began producing a second series of Krazy Kat shorts.[24] These cartoons hewed close to the comic strips, including Ignatz, Pupp and other standard supporting characters. Krazy's ambiguous gender and feelings for Ignatz were usually preserved; bricks were occasionally thrown. In 1925, animation pioneer Bill Nolan decided to bring Krazy to the screen again. Nolan intended to produce the series under Associated Animators, but when it dissolved, he sought distribution from Margaret J. Winkler. Unlike earlier adaptations,
The title card of this 1916 silent short read "Krazy Kat - Bugologist. A Cartoon By George Herriman. Animated by Frank Moser." Length 3m24s, 416kbps

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Nolan did not base his shorts on the characters and setting of the Herriman comic strip. Instead, the feline in Nolan's cartoons was an explicitly male cat whose design and personality both reflected Felix the Cat. This is probably due to the fact that Nolan himself was a former employee of the Pat Sullivan studio.[25] Other Herriman characters appeared in the Nolan cartoons at first, though similarly altered: Kwakk Wakk was at times Krazy's paramour,[26] with Ignatz often the bully trying to break up the romance.[27] Over time, Nolan's influence waned and new directors, Ben Harrison and Manny Gould, took over the series. By late 1927, they were solely in charge. One of their early innovations was to turn Ignatz from a white mouse into a black mouse.[28]

A scene from the 1930 Charles Mintz Krazy Kat cartoon, Lambs Will Gambol.

Winkler's husband, Charles B. Mintz, slowly began assuming control of the operation. Mintz and his studio began producing the cartoons in sound beginning with 1929's Ratskin. In 1930, he moved the staff to California and ultimately changed the design of Krazy Kat. The new character bore even less resemblance to the one in the newspapers. Mintz's Krazy Kat was, like many other early 1930s cartoon characters, imitative of Mickey Mouse, and usually engaged in slapstick comic adventures with his look-alike girlfriend and loyal pet dog.[29] In 1936, animator Isadore Klein, with the blessing of Mintz, set to work creating the short, Lil' Ainjil, the only Mintz work that was intended to reflect Herriman's comic strip. However, Klein was "terribly disappointed" with the resulting cartoon, and the Mickey-derivative Krazy returned.[30] In 1939, Mintz became indebted to his distributor, Columbia Pictures, and subsequently sold his studio to them.[31] Under the name Screen Gems, the studio produced only one more Krazy Kat cartoon, The Mouse Exterminator in 1940.[32] King Features produced 50 Krazy Kat cartoons from 19621964, most of which were created at Gene Deitch's Rembrandt Films in Prague, Czechoslovakia (now the Czech Republic), whilst the rest were produced by Artransa Film Studios in Sydney, Australia. The cartoons were initially televised interspersed with Beetle Bailey (some of which were also produced by Artransa) and Snuffy Smith cartoons to form a half-hour TV show. These cartoons helped to introduce Herriman's cat to the baby boom generation. The King Features shorts were made for television and have a closer connection to the comic strip; the backgrounds are drawn in a similar style, and Ignatz and Offissa Pupp are both present. This incarnation of Krazy was made explicitly female; Penny Phillips voiced Krazy while Paul Frees voiced Ignatz and Offissa Pupp. Jay Livingston and Ray Evans did the music for most of the episodes.[24] Most of the episodes are available on DVD.

A "Kounterfeit Krazy"
In 1951, Dell Publishing revived the characters for a run of comic books. All five issues were drawn by cartoonist John Stanley, best known for his Little Lulu comic books [33]. While the general plot premise is reminiscent of Herriman's strip, the look and feel are entirely different: firmly in the visual and written style of 1950's "funny animal" strips for children. Krazy is male in this version of the strip. This "Krazy Kat" also made several one-shot appearances in Dell's "Four Color Comics" series, from 1953 through 1956 (#454, 504, 548, 619, 696)[34], and was reprinted in some Gold Key and Page Comics over the next decade.

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Chronology of formats
The strip went through several format changes during its run, each of which impacted the artwork and the narratives that the form of the strip could accommodate. What follows are the landmarks, which can also help to date the era of a given strip. July 26, 1910: First "beaning" of Kat by Mouse at bottom of The Dingbat Family. Strip is not sectioned off, but a detail at the bottom of the panels. Strip as a whole tended to run 4inches 13inches. Soon the Kat and Mouse were a five-panel 1 inch strip at the bottom of the cartoon.[35] 1911: First brief run of Krazy and I. Mouse standalone strips (probably as a replacement to The Family Upstairs). Also, the characters briefly take over the strip for a couple of periods in 1912 (at least once, while the Dingbats are "on holiday" in July 1912.) October 28, 1913. Krazy Kat debuts as a five-panel daily vertical strip which runs down the side of a full comics page. This remains its daily format until sometime in 1920.[36] April 23, 1916: First black & white full page Sunday strip. March 4, 1920October 30, 1920: The "Panoramic Dailies" period, where Herriman is allowed to experiment wildly in an unbroken daily horizontal 3 13inch space. November 1920 on: Herriman is constrained to a more conventional daily horizontal format containing three equal split sections, with the center section further split in two. This allows the strip to be run full page, half page or a third of a page, according to editorial whim. From September 13 to October 15, 1921, Herriman regains some control (no split center section) and resumes the previous years' format experiments. January 7, 1922March 11, 1922: In the New York Journal, 10 weeks of Saturday full-page color strips, in addition to the ongoing Sunday full page black-and-white strips. (In other words, two original full-page strips every week). This is then canceled due to its lack of noticeable commercial success, compared to the new Saturday color sections in out-of-town Hearst papers which contained no Krazy Kat.[37] August 1925 to September 1929: Sundays are confined to 3-row, split-middle-line format allowing some papers to reduce cartoon's size and reformat into two daily-sized rows.[38] Summer 1934: Full page Sunday strips cease entirely, for roughly a year. June 1, 1935: Full page Sunday strips resume, now in color, until Herriman's death. December 11, 1938: "Optional" horizontal panel begins running on bottom of Sunday strips, as placeholder for potential advertising. June 25, 1944: Final Sunday strip published.

Legacy
In 1999, Krazy Kat was rated #1 in a Comics Journal list of the best American comics of the 20th century; the list included both comic books and comic strips.[39] In 1995, the strip was one of 20 included in the Comic Strip Classics series of commemorative U.S. postage stamps. While Chuck Jones' Wile E. Coyote and Road Runner shorts, set in a similar visual pastiche of the American Southwest, are among the most famous cartoons to draw upon Herriman's work,[22] Krazy Kat has continued to inspire artists and cartoonists to the present day. Patrick McDonnell, creator of the current strip Mutts and co-author of Krazy Kat: The Comic Art of George Herriman, cites it as his "foremost influence."[40] Bill Watterson of Calvin and Hobbes fame named Krazy Kat among his three major influences (along with Peanuts and Pogo).[41] Watterson would revive Herriman's practice of employing varied, unpredictable panel layouts in his Sunday strips. Charles M. Schulz[42] and Will Eisner[43] both said that they were drawn towards cartooning partly because of the impact Krazy Kat made on them in their formative years. Bobby London's Dirty Duck was styled after Krazy Kat.

Krazy Kat Jules Feiffer,[44] Philip Guston,[44] and Hunt Emerson[45] have all had Krazy Kat's imprint recognized in their work. Larry Gonick's comic strip Kokopelli & Company is set in "Kokonino County", an homage to Herriman's exotic locale. Chris Ware admires the strip, and his frequent publisher, Fantagraphics, is currently reissuing its entire run in volumes designed by Ware (which also include reproduction of Herriman miscellanea, some of it donated by Ware) . In the 1980s, Sam Hurt's syndicated strip Eyebeam shows a clear Herriman influence, particularly in its continually morphing backgrounds. Among non-cartoonists, Jay Cantor's 1987 novel Krazy Kat uses Herriman's characters to analyze humanity's reaction to nuclear weapons, while Michael Stipe of the rock band R.E.M. has a tattoo of Ignatz and Krazy.[46] In one Garfield comic strip, where it shows the Garfield logo, you can see Ignatz throwing a brick at Garfield. Also, in the Garfield TV special Garfield: His 9 Lives, Garfield plays a stunt double for Krazy Kat.

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Reprints and compilations


For many decades, Herriman's strip was only sporadically available. The first Krazy Kat collection, published by Henry Holt & Co. in 1946, just two years after Herriman's death, gathered 200 selected strips.[47] In Europe, the cartoons were first reprinted in 1965 by the Italian magazine Linus, and appeared in the pages of the French monthly Charlie Mensuel starting in 1970.[48] In 1969, Grosset & Dunlap produced a single hardcover collection of selected episodes and sequences spanning the entire length of the strip's run. The Netherlands' Real Free Press published five issues of "Krazy Kat Komix" in 1974-1976, containing a few hundred strips apiece; each of the issues' covers was designed by Joost Swarte. However, owing to the difficulty of tracking down high-quality copies of the original newspapers, no plans for a comprehensive collection of Krazy Kat strips surfaced until the 1980s. All of the Sunday strips from 1916 to 1924 were reprinted by Eclipse Comics in cooperation with Turtle Island Press. The intent was to eventually reprint every Sunday Krazy Kat, but this planned series was aborted when Eclipse ceased business in 1992. Beginning in 2002, Fantagraphics resumed reprinting Sunday Krazy Kats where Eclipse left off; in 2008, their tenth release completed the run with 1944. Fantagraphics' future plans involve reissuing in the same format the strips previously printed in Eclipse's now out-of-print volumes.[49] Both the Eclipse and Fantagraphics reprints include additional rarities such as older George Herriman cartoons predating Krazy Kat. Kitchen Sink Press, in association with Remco Worldservice Books, reprinted two volumes of color Sunday strips dating from 1935 to 1937; but like Eclipse, they collapsed before they could continue the series.[50] The daily strips for 1921 to 1923 were reprinted by Pacific Comics Club. The 1922 and 1923 books skipped a small number of strips, which have now been reprinted by Comics Revue. Comics Revue has also published all of the daily strips from September 8, 1930 through December 31, 1934. Fantagraphics come out with a one-shot reprint of daily strips from 1910s and 1920s in 2007, and plans a more complete reprinting of the daily strip in the future. Scattered Sundays and dailies have appeared in several collections, including the Grosset & Dunlap book reprinted by Nostalgia Press, but the most readily available sampling of Sundays and dailies from throughout the strip's run is Krazy Kat: The Comic Art of George Herriman, published by Harry N. Abrams, Inc. in 1986.[50] [51] It includes a detailed biography of Herriman and was, for a long time, the only in-print book to republish Krazy Kat strips from after 1940. Although it contains over 200 strips, including many color Sundays, it is light on material from 1923 to 1937.

Krazy Kat Henry Holt & Co. Krazy Kat (1946) Introduction by e.e. cummings. Hardcover B&W compilation of daily and Sunday strips, concentrating on 19301944. Grosset & Dunlap/Nostalgia Press/Madison Square Press Krazy Kat: A Classic from the Golden Age of Comics (1969, 1975) An entirely different compilation of dailies and Sundays, with examples from the entire run of the stripincluding 23 "Dingbat Family" bottom strips. Reprints the e.e. cummings introduction from the Henry Holt volume. 8 pages in full color; some later editions have daily strips reproduced in blue ink. ISBN 0-448-11945-5 (hardcover), ISBN 0-448-11951-X (paperback) Street Enterprises (Menomonee Falls) (George Herriman's) Krazy Kat Vol. 1, No. 1 (March 1973) 32-page newsprint magazine reprinting 60 daily strips from July 3October 28, 1933. (Inside cover claims inaccurately that they are from 1935.) Real Free Press Krazy Kat Komix, Nos. 1-5 (19741976) Joost Swarte, ed. The 5-issue magazine also features other Herriman strips. Hyperion Press The Family Upstairs: Introducing Krazy Kat: The Complete Strip, 19101912 (1977, 1992) Introduction by Bill Blackbeard. ISBN 0-88355-643-X (hardcover), ISBN 0-88355-642-1 (softcover) Harry N. Abrams Krazy Kat: The Comic Art of George Herriman (1986) Patrick McDonnell, Karen O'Connell, eds. Various strips in B&W and color, mostly from original art, including some watercolor paintings. ISBN 0-8109-8152-1 (hardcover), ISBN 0-8109-9185-3 (softcover) Morning Star Publications Coconino Chronicle (1988) Alec Finlay, ed. 130 strips from 19271928. Eclipse Comics "Krazy and Ignatz: The Komplete Kat Komics" (series), Bill Blackbeard, ed. Each of these volumes reprints a year of Sunday strips. Vol 1: Krazy & Ignatz (1988) 1916 strips. ISBN 0-913035-49-1 Vol 2: The Other Side To the Shore Of Here (1989) 1917 strips. ISBN 0-913035-74-2 Vol 3: The Limbo of Useless Unconsciousness (1989) 1918 strips. ISBN 0-913035-76-9 Vol 4: Howling Among the Halls of Night (1989) 1919 strips. ISBN 1-56060-019-5 Vol 5: Pilgrims on the Road to Nowhere (1990) 1920 strips. ISBN 1-56060-023-3 Vol 6: Sure As Moons is Cheeses (1990) 1921 strips. ISBN 1-56060-034-9 Vol 7: A Katnip Kantata in the Key of K (1991) 1922 strips, including 10 color Saturday strips. ISBN 1-56060-063-2 Vol 8: Inna Yott On the Muddy Geranium (1991) 1923 strips. ISBN 1-56060-066-7 Vol 9: Shed a Soft Mongolian Tear (1992) 1924 strips. ISBN 1-56060-102-7 Vol 10: Honeysuckil Love is Doubly Swit (unpublished) 1925 strips. ISBN 1-56060-203-1

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Krazy Kat Kitchen Sink Press "The Komplete Kolor Krazy Kat" (series). Each volume reprinted two years of Sundays. (The publisher dissolved before the series' aim of completeness could be achieved.) Vol 1: 19351936 (1990) Rick Marshall, Bill Watterson, contributors. ISBN 0-924359-06-4 Vol 2: 19361937 (1991) Rick Marshall, ed. ISBN 0-924359-07-2 Stinging Monkey/BookSurge Krazy & Ignatz, The Dailies. Vol 1: 19181919 (2001, 2003) Gregory Fink, ed., introduction by Bill Blackbeard. (Stinging Monkey edition in large format, ISBN 978-0-9688676-0-0. BookSurge reprint in smaller 7.9 6inch format, ISBN 1-59109-975-7, ISBN 978-1-59109-975-8) Pacific Comics "All the Daily Strips...." (series) 6 x 6 inch format. Krazy Kat vol 1: 1921 (2003) Krazy Kat vol 2: 1922 (2004) Krazy Kat Vol 3: 1923 (2005) "Presents Krazy and Ignatz" (series) Four 3 x 4inch volumes reproducing the 1921 strips in miniature. Fantagraphics Books (Picking up where Eclipse left off, each of the following volumes reprints 2 years of Sundays. Bill Blackbeard, series editor. Chris Ware, designer. The first five volumes are in B&W, as originally printed.) Krazy & Ignatz in "There Is A Heppy Lend Furfur A-Waay": 19251926 (2002) ISBN 1-56097-386-2 Krazy & Ignatz in "Love Letters In Ancient Brick": 19271928 (2002) ISBN 1-56097-507-5 Krazy & Ignatz in "A Mice, A Brick, A Lovely Night": 19291930 (2003) ISBN 1-56097-529-6 Krazy & Ignatz in "A Kat Alilt with Song": 19311932 (2004) ISBN 1-56097-594-6 Krazy & Ignatz in "Necromancy by the Blue Bean Bush": 19331934 (2005) ISBN 1-56097-620-9 Krazy & Ignatz: The Complete Sunday Strips: 19251934 (Collects the five paperback volumes 19251934 in a single hardcover volume. Only 1000 copies printed, only available by direct order from the publisher.) ISBN 1-56097-522-9 (The following volumes, through 1944, are in color, reflecting the shift to color in the Sunday newspaper version.) Krazy & Ignatz in "A Wild Warmth of Chromatic Gravy": 19351936 (2005) ISBN 1-56097-690-X, 2005 Krazy & Ignatz in "Shifting Sands Dusts its Cheeks in Powdered Beauty": 19371938 (2006) ISBN 1-56097-734-5 Krazy & Ignatz in "A Brick Stuffed with Moom-bins": 19391940 (2007) ISBN 1-56097-789-2 Krazy & Ignatz in "A Ragout of Raspberries": 19411942 (2007) ISBN 1-56097-887-2 Krazy & Ignatz in "He Nods in Quiescent Siesta": 19431944 (2008) ISBN 1-56097-932-1 Krazy & Ignatz: The Complete Sunday Strips: 19351944 (Collects the five paperback volumes 19351944 in a single hardcover volume. Only 1000 copies printed, only available by direct order from the publisher.) Krazy & Ignatz: The Kat Who Walked in Beauty (2007) 11" 15" horizontal hardcover; reprints dailies from 191112, 1914, 9 months of large-format dailies from 1920 with an additional month from late 1921, and 1922 pantomime ballet artwork. ISBN 1-56097-854-6 Krazy & Ignatz in "Love in a Kestle or Love in a Hut": 19161918 (2010) ISBN 1-60699-316-3 Krazy & Ignatz in "A Kind, Benevolent and Amiable Brick": 19191921 (2011) ISBN 1-60699-364-4 Krazy & Ignatz: The Sketchbook Strips: 19101913 (2011) ISBN 1-60699-387-9 (hardcover) (apparently not yet released)

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Krazy Kat Sunday Press Books Krazy Kat: A Celebration of Sundays (2010) Patrick McDonnell, Peter Maresca, eds. Various Sundays reprinted in their original size and colors. ISBN 0-9768885-8-0 (hardcover) IDW Publishing George Herriman's Krazy + Ignatz in Tiger Tea (January 2010) Craig Yoe, ed. Collects the "Tiger Tea" storyline from the daily strips, May 1936-March 1937. ISBN 978-1-60010-645-3 (hardcover)

354

References
Blackbeard, Bill. "A Kat of Many Kolors: Jazz pantomime and the funny papers in 1922." (1991). Printed in A Katnip Kantata in the Key of K (q.v.) Bloom, John. "Krazy Kat keeps kracking." United Press International, June 23, 2003. Crafton, Donald (1993). Before Mickey: The Animated Film, 18981928. University of Chicago Press. ISBN 0-226-11667-0. Crocker, Elisabeth. "'To He, I Am For Evva True [52]': Krazy Kat's Indeterminate Gender." Postmodern Culture, January 1995. January 12, 2006. Heer, Jeet. "Cartoonists in Navajo Country." Comic Art, Summer 2006. 4047. Herriman, George (1990). Pilgrims on the Road to Nowhere. Forestville: Turtle Island, Eclipse Books. ISBN 1-56060-024-1. Herriman, George (1991). A Katnip Kantata in the Key of K. Forestville: Turtle Island/Eclipse Books. ISBN 1-56060-064-0. Herriman, George (2002). Krazy & Ignatz 19251926: "There Is A Heppy Land, Fur, Far Awa-a-ay -". Seattle: Fantagraphics Books. ISBN 1-56097-386-2. Herriman, George (2003). Krazy & Ignatz 19291930: "A Mice, A Brick, A Lovely Night". Seattle: Fantagraphics Books. ISBN 1-56097-529-6. Herriman, George (2004). Krazy & Ignatz 19331934: "Necromancy by the Blue Bean Bush". Seattle: Fantagraphics Books. ISBN 1-56097-620-9. Inge, Thomas (1990). "Krazy Kat as American Dada Art" Comics as Culture, Jackson: University Press of Mississippi. ISBN 0-87805-408-1. Kramer, Hilton. Untitled review of Herriman art exhibition. The New York Times, January 17, 1982. Maltin, Leonard (1987). Of Mice and Magic: A History of American Animated Cartoons. Penguin Books. ISBN 0-452-25993-2. McDonnell, Patrick; O'Connell, Karen; de Havenon, Georgia Riley (1986) Krazy Kat: The Comic Art of George Herriman. New York: Harry N. Abrams, Inc. ISBN 0-8109-2313-0. Schwartz, Ben (2003). "Hearst, Herriman, and the Death of Nonsense." Printed in Krazy & Ignatz 19291930: "A Mice, A Brick, A Lovely Night." (q.v.) Shannon, Edward A. "'That we may mis-unda-stend each udda': The Rhetoric of Krazy Kat." Journal of Popular Culture, Fall 1995, vol. 29, issue 2. Tashlin, Frank. "In Coconino County". The New York Times, November 3, 1946, p.161. Watterson, Bill (1995). The Calvin and Hobbes Tenth Anniversary Book. Kansas City: Andrews and McMeel. ISBN 0-8362-0438-7

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Notes
[1] [2] [3] [4] [5] Blackbeard, Bill and Martin Williams, "The Smithsonian Collection of Newspaper Comics". pp. 5960. Kramer. Shannon. McDonnell/O'Connell/De Havenon 26. Seldes, Gilbert. " The Krazy Kat That Walks By Himself (http:/ / xroads. virginia. edu/ ~HYPER/ SELDES/ ch15. html)". The Seven Lively Arts. New York: Harper and Brothers, 1924, p. 231. [6] Heer 4145. [7] A Mice, A Brick, A Lovely Night 71. [8] Krazy Kat: The Comic Art of George Herriman 97. [9] Schwartz 810. [10] Pilgrims on the Road to Nowhere, 47. [11] There is a Heppy Lend, Fur, Fur Awa-a-ay-, 62. [12] Crocker. [13] Necromancy By the Blue Bean Bush, 1617. [14] A Katnip Kantata in the Key of K, 71. [15] Schwartz 9. [16] A Mice, A Brick, A Lovely Night 67, et al. [17] McDonnell/O'Connell/De Havenon 52. [18] McDonnell, O'Connell and De Havenon 58. [19] Blackbeard 13. [20] McDonnell, O'Connell and De Havenon 6667. [21] Inge. [22] Bloom. [23] Schwartz 910. [24] Crafton. [25] Maltin 20506. [26] Winkler Productions: copyright synopsis for Web Feet (1927). [27] Rail Rode (1927), as viewed online: http:/ / www. youtube. com/ watch?v=uYSJD57FYdE (cartoon misidentified here as Felix the Cat). [28] Rail Rode. [29] Maltin 207. [30] Maltin 21011. [31] Maltin 213. [32] Screen Gems (http:/ / columbia. goldenagecartoons. com/ history/ screen/ ), The Columbia Crow's Nest Columbia Cartoon History. [33] http:/ / stanleystories. blogspot. com/ 2008/ 08/ from-krazy-kat-4-1952-soups-on. html [34] http:/ / www. dellfourcolorcomics. com/ Comics/ DellFourColor/ DellFour-ColorSeries2 [35] McDonnell/O'Connell/De Havenon 55. [36] McDonnell/O'Connell/De Havenon 57. [37] A Katnip Kantata in the Key of K, 1-3 [38] McDonnell/O'Connell/De Havenon 77. [39] "Kreem of the Komics!" (http:/ / www. metrotimes. com/ editorial/ story. asp?id=2302), Detroit Metrotimes. Retrieved on January 13, 2005. [40] comic masters (http:/ / muttscomics. com/ comicart/ masters. asp). Retrieved on January 13, 2005. Archived (http:/ / web. archive. org/ 20050318001851/ http:/ / muttscomics. com/ comicart/ masters. asp) March 18, 2005 at the Wayback Machine. [41] Watterson 1718. [42] Charles Schulz, interviewed by Rick Marschall and Gary Groth in Nemo 31, January 1992. Cited at (http:/ / www. krazy. com/ kuotes. htm) (URL retrieved January 13, 2005). Archived (http:/ / web. archive. org/ 20050208001505/ http:/ / www. krazy. com/ kuotes. htm) February 8, 2005 at the Wayback Machine. [43] The Onion AV Club interview with Will Eisner (http:/ / www. avclub. com/ content/ node/ 22822), September 27, 2000. Retrieved on January 13, 2005. [44] Comics in Context #20: This Belongs in a Museum (http:/ / comics. ign. com/ articles/ 595/ 595603p2. html). Retrieved on January 13, 2005. [45] The artsnet interview: Hunt EMERSON (http:/ / www. d-log. info/ hunt/ huntint. html). Retrieved January 13, 2005. [46] Rec.music.rem FAQ (http:/ / www. faqs. org/ faqs/ music/ rem-faq/ part1/ ) (#A15). Retrieved January 13, 2005. [47] Tashlin. [48] Exhibit catalog from the Muse de la bande dessine in Angoulme, 1997, cited in BDM 20052006, by Bera, Denni and Mellot. [49] There is a Heppy Lend, Fur, Fur Awa-a-ay-, 119. [50] Krazy Kat online bibliography (http:/ / www. krazy. com/ biblio. htm) [51] The Mouse Bibliography (http:/ / www. ignatzmouse. net/ us/ mouse-biblio. html)

Krazy Kat
[52] http:/ / www3. iath. virginia. edu/ pmc/ text-only/ issue. 194/ pop-cult. 194

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External links
Krazy Kat (http://www.archive.org/search.php?query=krazy kat) at Internet Archive (comic strips, video and audio) Coconino County (http://krazy.com/) History, bios, strip archive, bibliography and more. "'Some Say it With A Brick': George Herriman's Krazy Kat" (http://www.iath.virginia.edu/crocker/) A critical essay. Full video of the "Krazy Goes A-Wooing" silent animated short produced by Hearst (http://www. americaslibrary.gov/cgi-bin/page.cgi/sh/animation/kkat_2), with some similarities to the strip. The Columbia Crow's Nest (http://columbia.goldenagecartoons.com/) Includes information on the Mintz-era cartoons bearing the Krazy Kat name. Ignatz Mouse (http://www.ignatzmouse.net/) A site built around the second character of the strip. Forums, archives, etc... Krazy Kat Cartoons from the 1960s (http://toonrific.pazsaz.com/kkat.html) A list of Krazy Kat cartoons in full-colors. Comic Strip Library (http://www.comicstriplibrary.org) Archive of many strips in very high resolution. Bill Watterson's foreword of the book "The Komplete Kolor Krazy Kat" (http://ignatz.brinkster.net/cforeword. html)

357

Postmodern Innovations
Chris Ware
Chris Ware

Born

Franklin Christenson Ware December 28, 1967 American Cartoonist, Letterer, Colorist

Nationality Area(s)

Notable works Acme Novelty Library Jimmy Corrigan, the Smartest Kid on Earth Awards Eisner Award, 1995, 1996, 1997, 1998, 2000, 2001, 2002, 2006, 2008 Harvey Award, 1995, 1996, 1997, 1998, 2000, 2001, 2002, 2004, 2006 National Cartoonists Society Award, 1999 Guardian First Book Award, 2001 USA Hoi Fellow grant, 2006

Franklin Christenson Ware (b. December 28, 1967),[1] better known as Chris Ware, is an American comic book artist and cartoonist, notable for his Acme Novelty Library series and the graphic novel Jimmy Corrigan, the Smartest Kid on Earth. Born in Omaha, Nebraska, he resides in the Chicago area, Illinois.[2] His works explore themes of social isolation, emotional torment and depression.

Style
Ware's art reflects early 20th-century American styles of cartooning and graphic design, shifting through formats from traditional comic panels to faux advertisements and cut-out toys. Stylistic influences include advertising graphics from that same era; newspaper strip cartoonists Winsor McCay (Little Nemo in Slumberland) and Frank King (Gasoline Alley);[3] Charles Schulz's post-WWII strip Peanuts and the cover designs of ragtime-era sheet music. Ware has spoken about finding inspiration in the work of artist Joseph Cornell[4] and cites Richard McGuire's strip Here as a major influence on his use of non-linear narratives.[5] Ware has said of his own style: I arrived at my way of "working" as a way of visually approximating what I feel the tone of fiction to be in prose versus the tone one might use to write biography; I would never do a biographical story using the deliberately synthetic way of cartooning I use to write fiction. I try to use the rules of typography to govern the way that I "draw", which keeps me at a sensible distance from the story as well as being a visual analog to the way we remember and conceptualize the world. I figured out this way of working by learning from and looking at artists I admired and whom I thought came closest to getting at what

Chris Ware seemed to me to be the "essence" of comics, which is fundamentally the weird process of reading pictures, not just looking at them. I see the black outlines of cartoons as visual approximations of the way we remember general ideas, and I try to use naturalistic color underneath them to simultaneously suggest a perceptual experience, which I think is more or less the way we actually experience the world as adults; we don't really "see" anymore after a certain age, we spend our time naming and categorizing and identifying and figuring how everything all fits together. Unfortunately, as a result, I guess sometimes readers get a chilled or antiseptic sensation from it, which is certainly not intentional, and is something I admit as a failure, but is also something I can't completely change at the moment.[6] Although his precise, geometrical layouts may appear to some to be computer-generated, Ware works almost exclusively with manual drawing tools such as paper and ink, rulers and T-squares. He does, however, sometimes use photocopies and transparencies, and he employs a computer to color his strips.

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Career
Ware's earliest published strips appeared in the late 1980s on the comics page of The Daily Texan, the student newspaper of the University of Texas at Austin. In addition to numerous daily strips under different titles, Ware also had a weekly satirical science fiction serial in the paper titled Floyd Farland: Citizen of the Future. This was eventually published in 1988 as a prestige format comic book from Eclipse Publishing, and its publication even led to a brief correspondence between Ware and Timothy Leary. Now embarrassed by the book, which he considers amateurish and naive, Ware is reportedly purchasing and destroying all remaining copies. While still a sophomore at UT, Ware came to the attention of Art Spiegelman, who invited Ware to contribute to RAW, the influential anthology magazine Spiegelman was co-editing with Franoise Mouly. Ware has acknowledged that being included in the prestigious RAW gave him confidence and inspired him to explore printing techniques and self-publishing. His Fantagraphics series Acme Novelty Library defied comics publishing conventions with every issue. The series featured a combination of new material as well as reprints of work Ware had done for the Texan (such as Quimby the Mouse) and the Chicago weekly paper Newcity. Ware's work appeared originally in Newcity before he moved on to his current "home", the Chicago Reader. Beginning with the 16th issue of the Acme Novelty Library, Ware is self-publishing his work, while maintaining a relationship with Fantagraphics for distribution and storage. This is an interesting return to Ware's early career, when he self-published such books as Lonely Comics and Stories as well as miniature digests of stories based on Quimby the Mouse and an unnamed potato-like creature. In recent years he has also been involved in editing (and designing) several books and book series, including the new reprint series of Gasoline Alley from Drawn and Quarterly; Walt and Skeezix, the on-going reprint of Krazy Kat by Fantagraphics; and the 13th volume of Timothy McSweeney's Quarterly Concern, which is devoted to comics. He was the editor of The Best American Comics 2007, the second installment devoted to comics in the Best American series. In 2007, Ware curated an exhibition for the Phoenix Art Museum focused on the non-comic work of five contemporary cartoonists. The exhibition, titled "UnInked: Paintings, Sculpture and Graphic Works by Five Cartoonists," ran from April 21 through August 19.[7] Ware also edited and designed the catalog for the exhibition.

Recurring characters and stories


Quimby the Mouse
Quimby the Mouse was an early character for Ware and something of a breakthrough. Rendered in the style of an early animation character like Felix the Cat, Quimby the Mouse is perhaps Ware's most autobiographical character. Quimby's relationship with a cat head named Sparky is by turns conflict-ridden and loving, and thus intended to reflect all human relationships. While Quimby exhibits mobility, Sparky remains immobile and helpless, subject to all the indignities Quimby visits upon him. Quimby also acts as a narrator for Ware's reminiscences of his youth, in

Chris Ware particular his relationship with his grandmother. Quimby was presented in a series of smaller panels than most comics, almost providing the illusion of motion la a zoetrope. In fact, Ware once designed a zoetrope to be cut out and constructed by the reader in order to watch a Quimby "silent movie". Ware's ingenuity is neatly shown in this willingness to break from the confines of the page. Quimby the Mouse appears in the logo of a Chicago-based bookstore "Quimby's [8]", although their shared name was originally a coincidence.[9]

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Rusty Brown
Ware's Rusty Brown is ostensibly about an action-figure-collecting manchild and his somewhat-troubled childhood, but which, in Ware's fashion, diverges into multiple storylines about Brown's father's early life in the 1950s as a science fiction writer (Acme Novelty Library #19) and his best friend Chalky White's adult home life.

Building Stories
Ware's Building Stories first appeared as a monthly strip in Nest Magazine. Installments later appeared in a number of publications, including The New Yorker, Kramer's Ergot, and most notably, the Sunday New York Times Magazine. Building Stories appeared weekly in the New York Times Magazine from September 18, 2005 until April 16, 2006. A full chapter was published in Acme Novelty Library, number 18.

The Super-Man
The Super-Man is an antihero who wears a similar caped costume to Superman but also has a domino mask and receding hairline. Ware has said in interviews that he imagines that if the fictional superhero Superman were real, he would be much like Ware's Super-Man. The Super-Man originally appeared as God in Ware's early work, wreaking vengeance on people who annoyed him. The Super-Man later turned up in Ware's Jimmy Corrigan, the Smartest Kid on Earth. In one scene, Jimmy sees the Super-Man standing on the cornice of a skyscraper. Seeing Jimmy, he waves, to Jimmy's delight. The Super-Man then crouches as if to take off flying but instead falls to his death. In a series of strips appearing in the Chicago Reader, the Super-Man is seen walking about naked, eating a live deer, stealing money, killing people who annoy him, gambling, and kidnapping a young girl and living with her in the wild until she grows up, whereupon he impregnates her, grows bored with her and the child, then flies off. He then spends the next several million years in one spot, pondering it all even as the Earth falls away about him. His last thought remains of the girl and his child. These strips have been compiled and published in 2005 as part of a book, The Acme Novelty Library Final Report to Shareholders and Saturday Afternoon Rainy Day Fun Book. However, they are not listed in the table of contents.

Non-comics work
Ware is an ardent collector of ragtime paraphernalia and occasionally publishes a journal devoted to the music titled The Ragtime Ephemeralist.[10] He also plays the banjo and piano. The influence of the music and the graphics of its era can be seen in Ware's work, especially in regard to logos and layout. Ware has designed album covers and posters for such ragtime performers as the Et Cetera String Band, Virginia Tichenor, Reginald R. Robinson, the Paragon Ragtime Orchestra and Guido Nielsen. He has also designed covers and posters for non-ragtime performers such as Andrew Bird's Bowl of Fire and 5ive Style. [11] In October 2005 Ware designed the elaborate cover art for Penguin Books' new edition of Voltaire's Candide. In 2003-04, Ware worked with Ira Glass of This American Life and Chicago historian Tim Samuelson to illustrate and design Lost Buildings about Samuelson and the preservation of Chicago's old buildings, particularly Louis Sullivan's buildings.[12] [13] Originally produced for a live "Lost in America" stage show in 2003, Lost Buildings was

Chris Ware later published as a book and DVD.[14] In 2007-08, he produced animations for the This American Life television series on Showtime[12] and also contributed to the show as a color consultant. Ware created poster art for Tamara Jenkins' film The Savages (2007).

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Mural for 826 Valencia


Dave Eggers commissioned Ware to design the mural for the facade of San Francisco literacy project 826 Valencia.[15] The mural depicts "the parallel development of humans and their efforts at and motivations for communication, spoken and written."[15] The 3.9m x 6m mural was applied by artisans to Wares specifications.[15] Describing the work, Ware said "I didnt want it to make anyone 'feel good', especially in that typically muralistic 'hands across the water' sort of way,"..."I especially wanted it to be something that people living in the neighbourhood could look at day after day and hopefully not tire of too quickly. I really hoped whomever might happen to come across it would find something that showed a respect for their intelligence, and didnt force-feed them any 'message'."[15]

Fortune 500 cover


In 2010, Ware designed the cover for Fortune magazine's "Fortune 500" issue, but it was rejected.[16] Ware had mentioned the work at a panel at the Chicago Comic and Entertainment Expo on April 16, as first noted in an April 20 blog post by Matthew J. Brady.[17] The cover, featuring the circle-shaped humans common in Ware's more broadly socially satirical comic-strips, turned the numbers 500 into skyscrapers looming over the continental United States. On the roofs, corporate bosses drink, dance, and sun themselves as a helicopter drops a shovelful of money down for them. Below, among signs reading "Credit Default Swap Flea Market," "Greenspan Lube Pro," and "401K Cemetery," a helicopter scoops money out of the US Treasury with a shovel, cars pile up in Detroit, and flag-waving citizens party around a boiling tea kettle in the shape of an elephant. In the Gulf of Mexico, homes are sinking, while hooded prisoners sit in Guantanamo, a "Factory of Exploitation" keeps going in Mexico, China is tossing American dollars into the Pacific, and the roof of bankrupted Greece's Treasury has blown off. A spokesperson for the magazine only said that, as is their practice, they had commissioned a number of possible covers from different artists, including Ware.[18] Brady wrote in his blog that Ware said at the panel he "accepted the job because it would be like doing the [cover for the] 1929 issue of the magazine".[17]

Uncle Boonmee Who Can Recall His Past Lives


In 2011, Ware created the poster for the U.S. release of the 2010 Palme d'Or winning film Uncle Boonmee Who Can Recall His Past Lives by Thai director Apichatpong Weerasethakul.[19] Describing the poster, Ware said "I wanted to get at both the transcendent solemnity of the film while keeping some sense of its loose, very unpretentious accessibility... This being a poster, howeverand even worse, me not really being a designerI realized it also had to be somewhat punchy and strange, so as to draw viewers in and pique their curiosity without, hopefully, insulting their intelligence."[20]

Awards and honors


Over the years his work garnered several awards, including the 1999 National Cartoonists Society's Award for Best Comic Book for Acme Novelty Library. In addition, Acme Novelty Library won the 1996 and 2000 Eisner Awards for Best Continuing Series, as well as the 2000 Eisner for Best New Graphic Album. Jimmy Corrigan, the Smartest Kid on Earth won the 2001 Eisner for Best Reprint Graphic Album. In 2008, Ware won the Best Writer/Artist: Drama Eisner for Acme Novelty Library 18. Ware has won the Best Colorist Eisner four times, in 1996, 1998, 2001, and 2006. His publication design has been awarded the Eisner six times, in 19951997, 20012002, and 2006.

Chris Ware Ware has won the Harvey Award for Best Letterer four times, in 1996, 2000, 2002, and 2006. He has won the Best Colorist Harvey Award in 19961998, 2000, 2002, and 2004. He also won the Best Cover Artist Harvey Award in 2000. Ware won the Harvey Award for Excellence in Production/Presentation five consecutive years, from 19952000. In addition, Acme Novelty Library won the Best Continuing Series Harvey Award in 1995, and the Best Continuing or Limited Series in 19951996. Acme Novelty Library also won the Best Single Issue or Story Harvey Award in 1997 and 2000. The Jimmy Corrigan book won the 2001 Harvey Award for Best Graphic Album of Previously Published Work. In 2006, Ware was awarded the Harvey for Best Cartoonist. In 2002, Ware became the first comics artist to be invited to exhibit at Whitney Museum of American Art biennial exhibition.[21] With Will Eisner, Jack Kirby, Harvey Kurtzman, Robert Crumb and Gary Panter, Ware was among the artists honored in the exhibition "Masters of American Comics" at the Jewish Museum in New York City, New York, from September 16, 2006 to January 28, 2007.[22] [23] His work was the subject of solo exhibitions at the Museum of Contemporary Art, Chicago in 2006 and at the University of Nebraska's Sheldon Museum of Art, in 2007.[21] Ware's graphic novel Jimmy Corrigan, the Smartest Kid on Earth won the 2001 Guardian First Book Award, the first time a graphic novel has won a major United Kingdom book award.[24] It also won the prize for best album at the 2003 Angoulme International Comics Festival in France. In 2006, Ware received a USA Hoi Fellow grant from United States Artists.[25]

361

References
[1] [2] [3] [4] [5] [6] [7] Ball, p. xiii Chris Ware bio at Fantagraphics (http:/ / www. fantagraphics. com/ index. php?option=com_content& task=view& id=272& Itemid=82) Raeburn (2004) Pantheon Graphic Novels (http:/ / www. randomhouse. com/ pantheon/ graphicnovels/ warekiddprint. html) Ware, Chris (Summer 2006). "Richard McGuire and 'Here'". Comic Art 8. Chris Ware - On Cartooning | PBS (http:/ / www. pbs. org/ pov/ pov2006/ tintinandi/ sfartists_ware. html) UnInked: Paintings, Sculpture and Graphic Work by Five Cartoonists (http:/ / phxart. org/ exhibition/ exhibitionuninked. aspx), Retrieved March 2, 2010 [8] http:/ / www. quimbys. com [9] :: Quimby's :: (http:/ / www. quimbys. com/ premise. php) [10] Wondrich, David (January 21, 2001). "Ragtime: No Longer A Novelty In Sepia" (http:/ / query. nytimes. com/ gst/ fullpage. html?sec=technology& res=9F00E7D7103DF932A15752C0A9679C8B63). The New York Times. . Retrieved April 29, 2010. [11] http:/ / www. acmenoveltyarchive. org/ category. php?cat=3 [12] Ball, p. xvii [13] Ball, p. 13 [14] Ball, p. 118 [15] Thompson, David (2001). "Chris Wares new mural tells the story of the human race" (http:/ / www. eyemagazine. com/ feature. php?id=87& fid=460). Eye Magazine. . Retrieved 27 May 2011. [16] ComicsBeat.com (http:/ / www. comicsbeat. com/ 2010/ 04/ 22/ chris-wares-rejected-fortune-cover/ ?utm_source=twitterfeed& utm_medium=ping. fm) [17] http:/ / indiepulp. blogspot. com/ 2010/ 04/ c2e2-2010-pantheon-panel-featuring. html [18] http:/ / gawker. com/ 5523119/ fortune-magazine-rejects-satirical-chris-ware-cover [19] "Vulture Premieres the Poster for Cannes Hit Uncle Boonmee, Designed by Chris Ware" (http:/ / nymag. com/ daily/ entertainment/ 2011/ 02/ uncle_boonmee_poster. html). Vulture. New York (magazine). 2011-02-08. . Retrieved 26 May 2011. [20] "Ghost Stories" (http:/ / 6thfloor. blogs. nytimes. com/ 2011/ 05/ 23/ ghost-stories/ ). The New York Times. 2011-05-23. . Retrieved 26 May 2011. [21] Ball, p. 65 [22] "Exhibitions: Masters of American Comics" (http:/ / www. thejewishmuseum. org/ exhibitions/ Comics). The Jewish Museum. . Retrieved 2010-08-10.. WebCitation archive (http:/ / www. webcitation. org/ 5tDGL3Ci7). [23] Kimmelman, Michael. "See You in the Funny Papers" (http:/ / www. nytimes. com/ 2006/ 10/ 13/ arts/ design/ 13comi. html) (art review), The New York Times, October 13, 2006 [24] "Graphic novel wins First Book Award" (http:/ / www. guardian. co. uk/ books/ 2001/ dec/ 06/ guardianfirstbookaward2001. gurardianfirstbookaward). The Guardian (Guardian News and Media Limited). 2001-12-06. . Retrieved 4 October 2010.

Chris Ware
[25] USA Fellows 2006 Visual Arts: Chris Ware (http:/ / www. unitedstatesartists. org/ utility/ showArticle/ ?ObjectID=4587), United States Artists

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Sources
"The Art of Melancholy" (http://arts.guardian.co.uk/features/story/0,,1605193,00.html). The Guardian, October 31, 2005 Arnold, Andrew. "The Depressing Joy of Chris Ware." (http://www.time.com/time/columnist/arnold/article/ 0,9565,185722,00.html) Time, November 27, 2001. David M. Ball, Martha B. Kuhlman, ed (2010). The Comics of Chris Ware: Drawing Is a Way of Thinking. University Press of Mississippi. ISBN978-1604734430. Onstad, Chris. "Visual Tribute to Chris Ware" (http://achewood.com/index.php?date=01112008). Achewood, January 11, 2008. Peters, Tim. "Chris Ware's ANL #20" (http://www.thepointmag.com/archive/chris-wares-anl-20/). The Point, Spring 2011. Raeburn, Daniel (2004). Chris Ware. Monographics Series. Yale University Press. ISBN978-0300102918. Raeburn, Daniel (1999-07-04). "The Smartest Cartoonist on Earth" (http://danielraeburn.com/ The_Imp,_by_Daniel_Raeburn_files/Imp_FCW.pdf). The Imp. Schjeldahl, Peter. "Words and Pictures: Graphic novels come of age" (http://www.newyorker.com/archive/ 2005/10/17/051017crbo_books1). The New Yorker, October 17, 2005. Wolk, Douglas. "The inimitable Chris Ware" (http://archive.salon.com/books/review/2005/09/02/ware/ index.html). Salon.com, September 2, 2005. Wondrich, David. "Ragtime: No Longer a Novelty in Sepia" (http://query.nytimes.com/gst/fullpage. html?sec=technology&res=9F00E7D7103DF932A15752C0A9679C8B63), The New York Times, January 21, 2001.

External links
The Rag-Time Ephemeralist (http://home.earthlink.net/~ephemeralist/). Periodical written and published by Ware Acme Novelty Archive (http://www.acmenoveltyarchive.org/): Unofficial database of the works of Ware NNDB profile (http://www.nndb.com/people/357/000025282/) Acme Novelty Toy Gallery (http://www.niemworks.com/else/acmetoys.html) Stripped Books: A Comics Panel (http://www.strippedbooks.com/comics/stripped07/comics-00.html) comics-form adaptation of a panel featuring Chris Ware, Seth and moderator Ivan Brunetti Interview and evaluation (http://web.archive.org/web/20090205180103/http://www.randomhouse.com/ pantheon/graphicnovels/warekiddprint.html) of Ware by designer Chip Kidd Building Stories - the introduction by Chris Ware (http://www.independent.co.uk/arts-entertainment/books/ features/building-stories--the-introduction-419781.html) - The Independent Chris Ware's mural for 826 Valencia's facade (http://www.flickr.com/photos/unaesthetic/2207771948/)

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Acme Novelty Library


Acme Novelty Library

Cover of Acme Novelty Library No. 1 by Chris Ware Publication information Publisher Fantagraphics (115) Self-published (16current) Ongoing series 1993present 19 (Plus a special folioissue) Creative team Writer(s) Artist(s) Chris Ware Chris Ware

Format Publication date Number of issues

Acme Novelty Library is a comic book series created by Chicago cartoonist Chris Ware. Its first issue appeared in 1993. Published from 1994 by Fantagraphics Books and later self-published,[1] it is considered a significant work in alternative comics, selling over 20,000 copies per issue.[2]

Format, style and content


Acme Novelty Library has adopted numerous formats in the course of the series[1] and, similarly, doesn't feature a continuous cast of characters. It has showcased early Ware comics, such as Quimby the Mouse from The Daily Texan, and more recent strips from New City, a Chicago weekly paper. Ware's first major graphic novel, Jimmy Corrigan, the Smartest Kid on Earth, was originally serialized in Acme Novelty Library between 1995 and 2000. Jimmy Corrigan is the saga of a lonely childlike man and his alienated ancestors, partly inspired by Ware's hopeful but unhappy reunion with his absentee father.[3] The collected edition was released to much acclaim, winning the Guardian First Book Award, amongst others. Rusty Brown and Building Stories began serialization in issue 16. With this issue, Ware also began to self-publish the title, with Fantagraphics and later Drawn & Quarterly acting as distributor.[4] When asked why he chose to self-publish Ware stated: Well, its for a complicated variety of reasons, but mostly it was because I realized a year or two ago that I simply wasnt really inspired to do it any more, and when I imagined taking over every aspect of it myself, I was suddenly inspired, almost anxious, to work on it again. In short, it just feels a little more like art to me now, since Im responsible for everything that goes into it, and theres no one to blame but myself if its awful...[5]

Acme Novelty Library Issues are imbued with the defining characteristics of Ware's work; a pervasive sadness and nihilism permeate tales of disappointment, thwarted affection, and the dehumanization of the individual in a modern and mechanized world.[3] [6] Through the use of apparently extraneous novelties, such as cut-outs and flip-books,[7] and prose parodies set in tiny fonts,[8] Ware blurs the boundaries between author/reader/character. These interventions offer complex and simultaneous multilinear readings of the page that serve to thematise Ware's engagement with issues of narrative and continuity.[9] [10]

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Acme Novelty Library series


Issues 1-15 were published by Fantagraphics Books. Ware started self-publishing the series starting with #16, which was distributed by Fantagraphics, with subsequent issues distributed by Drawn and Quarterly.
# Main Content Publisher Date Notes

1 Jimmy Corrigan 2 Quimby the Mouse 3 Potato Guy 4 Sparky 5 Jimmy Corrigan, pt 1 6 Jimmy Corrigan, pt 2 7 Joke Book Big Tex Rocket Sam

Fantagraphics Books Winter 1993-1994 Summer 1994 Fall 1994 Winter 1994-1995 1995 Winter 1995-1996 1996

8 Jimmy Corrigan, pt 3 9 Jimmy Corrigan, pt 4 10 Jimmy Corrigan 11 Jimmy Corrigan, pt 5 12 Jimmy Corrigan, pt 6 13 Jimmy Corrigan, pt 7 14 Jimmy Corrigan, pt 8 15 Joke Book II 16 17 Rocket Sam Tales From The Future Quimby the Mouse Rusty Brown, pt 1 Building Stories, pt 1 Rusty Brown, pt 2 Branford, the Best Bee in the World Self-published

1997 1998 1998 1999 1999 1999 2000 2001

2005 2006 2007 2008 2010

hardcover distributed by Fantagraphics hardcover distributed by Drawn and Quarterly

18 Building Stories, pt 2 19 Rusty Brown, pt 3 20 Jordan Lint

Issue 1812 was published in 2007 containing Ware's "Thanksgiving" covers for the November 26, 2006 issue of The New Yorker, plus supplementary material, in portfolio format. The title has been collected into volumes published by Pantheon Books (US), Fantagraphics Books (US) and Jonathan Cape (UK):

Acme Novelty Library Jimmy Corrigan, the Smartest Kid on Earth (2000), Pantheon / Cape (collects issue 5, 6, 8, 9 and 11-14). Quimby the Mouse (2003), Fantagraphics / Cape (collects issues 2 and 4 with additional material). The Acme Novelty Library Final Report to Shareholders and Rainy Day Saturday Afternoon Fun Book (2005), Pantheon / Cape (collects issues 7 and 15 with additional material). Apart from the continuing Building Stories and Rusty Brown, numbers 1, 3, and 10 are the only issues to remain uncollected at this time.

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Awards
The series has been widely recognized in the industry. It won the Harvey Award for Best New Series of 1995, Best Continuing or Limited Series of 2000, and Best Continuing Series of 2001. Issues 7 and 13 won the Harvey Award for Best Single Issue or Story of 1997 and 2000, respectively. Furthermore, Acme Novelty Library won the Harvey Special Award for Excellence in Presentation every year from 1995 to 1999, followed by wins in the same category for issue 13 in 2000, Jimmy Corrigan in 2001, and the Acme Novelty Datebook in 2004. Acme Novelty Library also won the Eisner Award for Best Continuing Series of 1996 and 2000; Best New Graphic Album of 2000 (issue 13); and Best Publication Design of 1995, 1996, 1997 (issue 7), and 2002 (issue 15). Also, an Acme Novelty Library display stand won the Eisner Award for Best Comics-Related Product of 1998. The series also won Ignatz Awards for Outstanding Series of 1997, 1998; Outstanding Comic of 1998 (issue 9) and 2000 (issue 13); and Outstanding Story of 2000 (Jimmy Corrigan). Other awards won by Acme Novelty Library include Good Taste Awards for Best New Series of 1994; Best Continuing Series of 1995, 1996 (issue 7), 1997, 1999 (issues 11 to 13), and 2000; Best Single Issue of 1996 (issue 7), 1999 (issue 13), and 2000; Best Ongoing Serialized Story of 1999 (Jimmy Corrigan); and Best Production Design of 1998, 1999, and 2000.[11]

References
[1] Fantagraphics Books - Artist Bio - Chris Ware (http:/ / www. fantagraphics. com/ index. php?option=com_content& task=view& id=272& Itemid=82) [2] Daniel Raeburn (2004). Chris Ware. Laurence King. pp.9. ISBN0-300-10291-7 [3] The Guardian: The Art of Melancholy, October 31, 2005 (http:/ / arts. guardian. co. uk/ features/ story/ 0,,1605193,00. html) [4] Chris Ware(w).The Acme Novelty Library17 (2006) [5] BBC Collective, Chris Ware Interview Transcript (http:/ / www. bbc. co. uk/ dna/ collective/ A5760812) [6] Time: The Depressing Joy of Chris Ware, November 27, 2001 (http:/ / www. time. com/ time/ columnist/ arnold/ article/ 0,9565,185722,00. html) [7] A collection of assembled novelties at the ACME Novelty Toy Gallery (http:/ / www. niemworks. com/ else/ acmetoys. html) [8] Comic Creator: Chris Ware (http:/ / lambiek. net/ artists/ w/ ware1. htm) [9] Ware, Chris (Summer 2006). "Richard McGuire and 'Here'". Comic Art 8. [10] Bredehoft, Thomas A. (Winter 2006). "Comics architecture, multidimensionality, and time: Chris Ware's Jimmy Corrigan: the Smartest Kid on Earth". Modern Fiction Studies 52 (4). [11] Good Taste Awards (http:/ / www. hahnlibrary. net/ comics/ awards/ goodtaste. php)

"Acme Novelty Archive" (http://acmenoveltyarchive.org).

Jimmy Corrigan, the Smartest Kid on Earth

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Jimmy Corrigan, the Smartest Kid on Earth


Jimmy Corrigan, the Smartest Kid on Earth

Hardback cover Author(s) Illustrator Cover artist Country Language Genre(s) Publisher Publication date Media type Pages ISBN OCLC Number Dewey Decimal LC Classification Chris Ware Chris Ware Chris Ware U.S. English Graphic novel Pantheon Books 2000 paperback 380 0-375-71454-5 52190804 [1]

741.5/973 22 PN6727.W285 J56 2002

Jimmy Corrigan, the Smartest Kid on Earth is a widely acclaimed graphic novel by Chris Ware, published in 2000.[2] The story was previously serialized in the pages of Ware's comic book Acme Novelty Library, between 1995 and 2000 and previous to that, in the alternative Chicago weekly New City.

Plot summary
Jimmy Corrigan is a meek, lonely middle aged man who meets his father for the first time in a Michigan town over Thanksgiving weekend. Jimmy is an awkward and cheerless character with an overbearing mother and a very limited social life. Jimmy attempts to escape his unhappiness via an active imagination that gets him into awkward situations. A parallel story set in the Chicago World's Columbian Exposition of 1893 shows Jimmy's grandfather as a lonely little boy and his difficult relationship with an abusive father, Jimmy's great grandfather. Another storyline shows Jimmy as a lonesome child of divorce, suggesting that this was Jimmy's "real" childhood, while his "Smartest Kid on Earth" adventures are probably his fantasies.

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Autobiographical content
Elements of the novel appear to be autobiographical, particularly Jimmy's relationship with his father. Ware met his father only once in adulthoodwhile he was working on this bookand has remarked that his father's attempts at humor and casualness were not unlike those he'd already created for Jimmy's father in the book. However, the author states it is not an account of his personal life.

Storytelling techniques
The novel uses numerous flashback scenes and parallel storylines. Many pages are devoid of text, and some contain complex iconic diagrams. Notable leitmotifs in Jimmy Corrigan include a robot, a bird, a peach, a miniature horse, and a flawed superhero figure.

Appearances in other Ware works


In addition to the graphic novel, the character of Jimmy Corrigan has appeared in other Ware comic strips, sometimes as his imaginary child genius character, sometimes as an adult. Corrigan began as a child genius character in Ware's early work, but as Ware continued, the child genius strips appeared less frequently, and increasingly followed Corrigan's sad, adult existence.

Recognition
Jimmy Corrigan has been lauded by critics.[3] [4] The New Yorker cited it as "the first formal masterpiece of (the) medium."[5] It has received numerous awards, including: The Firecracker Alternative Book Award for Graphic Novel The American Book Award, 2001 The Guardian First Book Award, 2001, "the first time a graphic novel has won a major UK book award," according to the Guardian.[6] The Harvey Awards' Special Award for Excellence in Presentation and Best Graphic Album of Previously Published Work, 2001 The Eisner Awards' Best Publication Design and Best Graphic Album: Reprint, 2001 The Angoulme Festival's Prize for Best Comic Book, 2003 The ACBD's Prix de la critique, 2003 In 2005, Time chose it as one of the 10 best English language, graphic novels ever written.

Family Guy similarities


Several commentators, including Ware himself, have noted similarities between Seth MacFarlane's Stewie Griffin character from the animated series Family Guy and Jimmy Corrigan. Ware has remarked, "[The similarities are] a little too coincidental to be simply, well, coincidental."[7] He further stated, "I don't want a book of seven years' worth of my stuff to become available and then be accused of being a rip-off of Family Guy."[7] 20th Century Fox insists that Stewie is an entirely original character.[7] In a 2003 interview, Seth MacFarlane said that he had never seen the comic strip before, described the similarities as "pretty shocking" and said that he could see how Ware would reach that conclusion."[8]

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References
[1] [2] [3] [4] [5] [6] http:/ / worldcat. org/ oclc/ 52190804 Pantheon Books website (http:/ / www. randomhouse. com/ pantheon/ graphicnovels/ corrigan. html) book review, The Guardian UK, 21 July 2001 (http:/ / www. guardian. co. uk/ books/ 2001/ jul/ 21/ biography. highereducation) book review, Entertainment Weekly, Sept. 22, 2000 (http:/ / www. ew. com/ ew/ article/ 0,,277593,00. html) The New Yorker Magazine, Oct. 17, 2005 "Graphic novel wins First Book Award" (http:/ / www. guardian. co. uk/ books/ 2001/ dec/ 06/ guardianfirstbookaward2001. gurardianfirstbookaward). The Guardian (Guardian News and Media Limited). 2001-12-06. . Retrieved 4 October 2010. [7] Ken Tucker. ""Family Guy" baby may look familiar" (http:/ / www. ew. com/ ew/ article/ 0,,272303,00. html). Entertainment Weekly. . Retrieved Jul. 10, 2009. [8] "Interview with Seth MacFarlane" (http:/ / movies. ign. com/ articles/ 429/ 429628p10. html). IGN. . Retrieved December17, 2009.

Here (comic)
"Here" is an influential 6-page comic by Richard McGuire (born 1957) published in RAW Volume 2 #1 in 1989. The first panel of "Here" shows an unadorned corner of a room in a house. The 35 panels that follow all show the location in space depicted in the first panel at different points in time, ranging from the year 500,957,406,073 BCE to the year 2033 CE. The panels are not ordered chronologically, and most of the panels are subdivided into multiple panes to show different points in time within the same panel. A wide variety of people, animals, and furnishings are shown passing through the space, including several recurring The sixth panel of "Here" characters, such as a woman shown cleaning the room in 1973, 1983, 1993, 1994, 1995 and 1996. The corner of the room itself is the most enduring presence in the story; panels show the house being constructed in 1902 and sheltering several generations of occupants before burning in a fire in 2029 and being demolished in 2030. The space is shown to be a barnyard in the 19th century before the house is built, and the site of open-air band concerts after the house has been razed. "Here" has been recognized as a groundbreaking experiment with the formal properties of comics; Douglas Wolk wrote that its "influence has echoed through art comics for decades."[1] Its influence is particularly notable in the work of Chris Ware, who wrote a lengthy essay on it in the magazine Comic Art #8. "Here" was also reprinted for the first time in that issue.

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Citations
[1] Wolk, Douglas. Reading Comics: How Graphic Novels Work and What They Mean (Cambridge, MA: Da Capo Press, 2007), 84.

Kramers Ergot
Kramers Ergot is a series of anthology-style books of comic art edited by Sammy Harkham.

Publication history
Kramers Ergot started as a mini-comic self-published by Sammy Harkham under the imprint Avodah Books. Issues 4 and 5 were published by Gingko Press, while issues 6 and 7 were published by Buenaventura Press. Published in November 2008, Kramers Ergot 7 features almost 60 artists and is larger (16" by 21") and more expensive ($125) than previous editions.[1]

Reception
Kramers Ergot has been favorably reviewed and placed on numerous "best of" lists, including L.A. Weekly, Dazed & Confused, the Comics Journal, and Publishers Weekly.[2]

Issues and contributors


Issue Publisher, Date, ISBN Avodah Books Spring 2000 48 pp. Avodah Books Spring 2001 Avodah Books December 2002 Gingko Press ISBN 0967798957 ISBN 0980003970 Contributors

Includes work by Sammy Harkham, Justin Howe, David Brook, and Luke Quigley.

Includes work by Sammy Harkham, Justin Howe, David Brook, and Luke Quigley.

Includes work by Mark Burrier, Ben Jones, Sara Varon, Stefan Gruber, Kathleen Lolley, Neil Fitzpatrick, Joe Grillo, Hans Rickheit, Zack Soto, Luke Quigley, Mat Tait, and Sammy Harkham.

Includes work by Mat Brinkman, Renee French, Anders Nilsen, Leif Goldberg, Lauren Weinstein, Marc Bell, Allison Cole, C. F., Jim Drain, Tobias Schalken, Billy Grant, Andrew Brandou, Josh Simmons, Genevive Castre, Joe Grillo, David Heatley, Dave Kiersh, Souther Salazar, Laura Grant, Stefan Gruber, David Lasky, Ben Jones, Jeffrey Brown, Ron Reg, Jr., [3] John Hankiewicz, and many more. (incomplete list)

Gingko Press Includes work by Chris Ware, Dan Zettwoch, Fabio, Helge Ruemann, Jordan Crane, Marc Bell, Gabrielle Bell, Gary Panter, [4] December 31, Leif Goldberg, Souther Salazar, and Ron Reg, Jr. 2004 (incomplete list) ISBN 1584231726 Buenaventura Includes work by Elvis Studio, Ron Reg, Jr., Ben Jones, Jerry Moriarty, Tom Gauld, John Porcellino, Vanessa Davis, Chris [5] Press Cilla, Shary Boyle, Suiho Tagawa, Fabio Viscogliosi, and many others. July 2006 (incomplete list) ISBN 097668487X

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Buenaventura Press November 1, 2008 ISBN 0980003954

Includes work by Rick Altergott, Gabrielle Bell, Jonathan Bennett, Blanquet, Blex Bolex, Conrad Botes, Shary Boyle, Mat Brinkman, John Brodowski, Ivan Brunetti, C.F., Chris Cilla, Jacob Ciocci, Dan Clowes, Martin Cendreda, Joe Daly, Kim Deitch, Matt Furie, Tom Gauld, Leif Goldberg, Matt Groening, John Hankiewicz, Sammy Harkham, Eric Haven, David Heatley, Tim Hensley, Jaime Hernandez, Walt Holcombe, Kevin Huizenga, J. Bradley Johnson, Ben Jones, Ben Katchor, Ted May, Geoff McFetridge, Jesse McManus, James McShane, Jerry Moriarty, Anders Nilsen, John Pham, Pshaw, Aapo Rapi, Ron Reg, Jr., Xavier Robel, Helge Reumann, Ruppert & Mulot, Johnny Ryan, Richard Sala, Souther Salazar, Frank Santoro, Seth, Shoboshobo, Josh Simmons, Anna Sommer, Will Sweeney, Matthew Thurber, Adrian Tomine, Carol Tyler, [6] Chris Ware, and Dan Zettwoch.

Notes
[1] "Kramers Ergot 7 Anthology Debuts at SPX (http:/ / www. comicbookresources. com/ ?page=article& id=18404), Comic Book Resources, October 10, 2008. [2] "Sammy Harkham, Kevin Huizenga, & Anders Nilsen at Quimby's!" Quimby's Quimblog (Mar. 4, 2006). (http:/ / quimbys. com/ blog/ store-events/ sammy-harkham-kevin-huizenga-anders-nilsen-at-quimbys/ ) [3] Kramer's Ergot Four (http:/ / www. gingkopress. com/ _cata/ _grap/ kramer4. htm) [4] Kramer's Ergot 5 (http:/ / gingkopress. com/ _cata/ _popk/ kramer5. htm) [5] Kramer's Ergot 6 (http:/ / gingkopress. com/ _cata/ _popk/ kramer6. htm) [6] "CR Newsmaker: Sammy Harkham" (http:/ / www. comicsreporter. com/ index. php/ cr_newsmaker_sammy_harkham/ ), The Comics Reporter, August 27, 2008.

External links
Ford, Andrew. Review of Kramers Ergot 4. (http://www.popimage.com/content/viewnews. cgi?newsid1080706657,83713,) Kramers Ergot 6 (http://www.buenaventurapress.com/KE6/) at Buenaventura Press Review of Kramers Ergot 5 (http://www.time.com/time/columnist/arnold/article/0,9565,831415,00.html), Time Review of Kramers Ergot 6 (http://www.tcj.com/index.php?Itemid=70&id=414&option=com_content& task=view), The Comics Journal

Paper Rad

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Paper Rad
Paper Rad is a Pittsburgh, Pennsylvania/Providence, Rhode Island art collective that makes comics, zines, video art, net art, MIDI files, paintings, installations, and are in a variety of bands. The three primary members are Jacob Ciocci, Jessica Ciocci, and Ben Jones. Although they continue to publish their own zines, music, and online content, Paper Rad have shown at several major galleries including PaceWildenstein, The New Museum of Contemporary Art, and Deitch Projects. They also published a book, Paper Rad, BJ and da Dogs [1] in late-2005 as well a DVD on Load Records in 2006 (Trash Talking).

Screenshot from Paper Rad's Facemaker video (2005).

Style
Paper Rads lo-fi style is unmistakable, and can be considered within a number of art movements and styles. Most observable is the use of bright colors that engulf their work. Fluorescent palettes are juxtaposed with basic primary colors to create a distinctive aesthetic.

Do It Yourself
An excerpt from the Wyld File website states the rules of Wyld File and Paper Rads made-up style, "Dogman 99" (a play on words on the Danish filmmaking movement Dogme 95): "THE RULES OF DOGMAN 99: no Wacom tablet, no scanning, pure RGB colors only, only fake tweening, and as many alpha tricks as possible."[2] This self-imposed policy is indicative of Paper Rads methods overall, which seems to rely heavily on archaic methods (RGB colors), denies certain techniques (tweening) and equipment (scanning, Wacom tablets), and an over reliance on outdated, perhaps cheesy techniques and styles (alpha tricks). By extension, many other rules of production could be deducted from their work as a whole: MIDI audio, bad recording of original sound effects and voices, pixelazation, and an apparent lack of attention to detail.

Pop Art
Many characters from pop culture, presumably those near and dear to Paper Rads collective heart, have recurring roles in Paper Rad pieces, including Gumby, Garfield, Troll dolls, Bart Simpson, and Alf. This reclamation of forgotten characters and their proliferation ad nauseam can be compared to Pop Art. Though Paper Rad demonstrates a similar aesthetic vocabulary as a lot of Pop Art, the actual content differs greatly, evoking nostalgia in the forgotten rather than reverence of the ubiquitous. The key difference is that most Pop Art, by its definition, is inherently based in the historical and cultural context in which it was made. Instead, by hearkening back to the more obscure pieces of our cultural heritage, Paper Rad creates a dynamic based on a meditative state of cultural past and vague recollection instead of on common experience.

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Punk
Paper Rads messy, amateur, anti-aesthetic DIY approach, combined with the repeated appropriation of cultural symbols and images, harkens in a large degree to punk art. Combined with an internet-informed proliferation of popular imagery, the punk aspects of Paper Rad are hard to deny, though this aesthetic seems to have in turn be re-appropriated into a pseudo-nerdy, digital form.

Collage
The collage format, by its very nature, implies a collection of disparate images, symbols of culture which the artist is always assumed to have chosen and arranged. To this end, their work lends itself to questions concerning its creation the method behind the madness. These questions are particularly appropriate to the collage format and creative processes behind Paper Rad. By making art in such a rough and haphazard manner Paper Rad seems to draw attention to the constructedness of the spectacle and their hand in it, establishing Paper Rad with more established forms of visual collage. Paper Rad will often recycle or appropriate obscure pieces of culture, those that have been lost in the folds of time and popular culture. Old cartoons, bad commercials, bad products, programming relegated to late-night television, forgotten celebrities all find a place in Paper Rads pseudo-nostalgia. Most of Paper Rads art follows a similar pattern, marked by an overzealous accumulation of the detritus of modern life. As such, the crux of any successful collage is the found items and images which comprise it, and what those items in turn are meant to represent individually and within the collage itself. These items serve as representation, as a symbol of something larger than themselves in other words, to deconstruct their meaning is to deconstruct them as symbols, to focus on their semiotic nature.

Collaborations & Other Works


Super Mario Movie
Paper Rad collaborated with multi-media artist Cory Arcangel to make Super Mario Movie, a 15-minute video piece about the life and times of Nintendos Mario. The piece consisted of a hacked Nintendo Entertainment System video-game cartridge where the backgrounds and scenarios were altered and rearranged into a narrative story about the game world becoming corrupted and Marios existential crises about being a video game character.[3] The result is a crude sort of bootlegged, digital-collage/narrative. The movie debuted at Deitch Projects in New York in 2005.

Wyld File
Wyld File consisted of Ben Jones and Jacob Ciocci and collaborator Eric Mast (better known as E*ROCK).[4] Wyld File is a commercial entity that makes extravagantly lo-fi music videos for artists like Islands, The Gossip ("Standing in the Way of Control"), and Beck ("Gameboy Homeboy").

Music
Another element of Paper Rad is music. The collective has splintered into several bands in the genres of electronic music, noise, techno, and rock. Some of these bands are: Extreme Animals, Dr. Doo, Doo Man Group, ROTFLOL, Paz, Star Kings, Pajama Boys, Natural Reflex, Gay Nerds, Pracky Pranky, DJ Jazzy Jexx, and Running Free. These various side projects have released several records and CD-Rs on a number of independent labels including Breaking World Records, Scratch N Sniff Entertainment, FrequNC Records, Autumn Records, Vicious Pop, and most recently on the RatFace DreamAngel Label.

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Television
Ben Jones also collaborated with PFFR on a pilot for Adult Swim titled Neon Knome. It was passed by the network and went on to become rebranded as a Cartoon Network show called The Problem Solverz.

References
[1] [2] [3] [4] http:/ / quimbys. com/ product_info. php/ products_id/ 15516 Wyld File Official site. http:/ / www. wyldfile. org. Official Paper Rad site. http:/ / www. paperrad. org. http:/ / www. e--rock. com/

External links
Paper Rad website (http://www.paperrad.org) Paper Rad blog (http://www.paperrad.org/info) Paper Rod (http://retardriot.com/books/?p=15) Foxy Production gallery (http://www.foxyproduction.com/) Wyld File website (http://www.wyldfile.org/) Doctor Ninja's crictal analysis of Paper Rad's DVD Trash Talking (http://retardriot.com/reviews/?p=11)

Retard Riot Reviews Paper Rad's "Uniform" 7" record (http://retardriot.com/reviews/?p=56) Retard Riot Reviews Cartoon Workshop / Pig Tales by Paper Rad (http://retardriot.com/reviews/?p=20) "Insane Niche Comics Parodies For Awesome Nerds" (http://meathaus.com/2006/08/28/ insane-niche-comics-parodies-for-awesome-nerds/) Artkrush.com review of Paper Rad's DVD Trash Talking (http://artkrush.com/76069) Ben Jones Fan Club! (http://profile.myspace.com/114602682) Paper Rad at Black Floor on Art in the Age of Mechanical Reproduction (http://artintheage.com/post. php?x=57&m=8&y=2006) Paper Rad - wiz wiz cipher Show curated by Noah Lyon (http://www.retardriot.com/shows/2008/01/20/ wiz-wiz-cipher-black-ark-gallery-ridgewood-queens-ny/) Ratface the Dreamangel Catalog (http://www.rf-da.com/catalog.html)

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Historicity, documentary, and memoir


Seth (cartoonist)
Seth

Seth Born Gregory Gallant September 16, 1962 Clinton, Ontario Canadian Cartoonist, Writer/Artist

Nationality Area(s)

Pseudonym(s) Seth Notable works It's a Good Life, If You Don't Weaken Palookaville Awards Ignatz Award, 1997 Eisner Award, 2005 Harvey Award, 2005

Seth is the pen name of Gregory Gallant (born September 16, 1962), a Canadian comic book artist and writer. He is best known for comics such as Palookaville. Born in Clinton, Ontario, Seth attended the Ontario College of Art in Toronto. He currently lives in Guelph, Ontario, with his wife and two cats.[1]

Career
Seth's first published comics work was as an illustrator on the Vortex Comics series Mister X, but he soon moved to his own series, Palooka-ville (published by Drawn and Quarterly), which was part of a miniature boom in non-genre alternative comics from Canada in the 1990s. Seth, Chester Brown, and Joe Matt not only also began their own semi-autobiographical series at the same time but were friends and sometimes depicted each other in their stories. Palooka-Ville began as a low-key chronicle of the artist's daily life but moved on to longer and more ambitious stories, including what was later collected as the graphic novel It's a Good Life, If You Don't Weaken an apparently autobiographical tale that was actually fiction. He is also a magazine illustrator and book designer, perhaps best known for his work designing the complete collection of Charles M. Schulz's classic comic strip Peanuts. The books, released by Fantagraphics Books in 25

Seth (cartoonist) separate volumes (so far) combine Seth's signature aesthetic with Schulz's minimalistic comic creation. Similarly, he is designing the Collected Doug Wright, and the John Stanley Library. He provided the artwork of Aimee Mann's 2001 album Lost in Space. Clyde Fans, the story of two brothers whose trade in electric fans suffers and eventually goes out of business from the failure to adapt to the rise of air conditioning, was serialized in Palooka-ville. Seth's short graphic novel Wimbledon Green, about an eccentric comic-book collector, was published in November 2005. In April 2006, Penguin Classics released the revised Portable Dorothy Parker, with a jacket and French flaps designed and illustrated by Seth. He said, "Its fun when you care about the project, definitely. In fact, Ive been a commercial illustrator for years, besides being a cartoonist, and that's not fun. That's like the kind of thing, I find, you're just selling style in a way."[2]

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Graphic novels
From September 2006 to March 25, 2007, Seth serialized a graphic novel titled George Sprott (18941975), for the Funny Pages section of the New York Times Magazine.[3] Selections from George Sprott were featured in Best American Comics 2009. In the liner notes of that publication, Seth announced he was expanding Sprott into a book, filling in gaps that were cut to meet the restraints given by NYTM. The book was published by Drawn & Quarterly in May 2009.[4] Seth's affection for early- and mid-20th century popular culture and his relative disdain for pop culture since then is a recurrent theme in his work, both in terms of the characters (who are often nostalgic for the period) and his artistic style.[5] (Although, as a teenager, he was a vocal fan of mainstream superhero comics; he even had a couple of fan letters published.)[6] Seth's artwork has landed on the cover of The New Yorker three times, which he said was a professional milestone he was happy to achieve.[2]

Model buildings
A selection of Seth's original models (studies for his fictional city, Dominion) was included in an exhibition at the Phoenix Art Museum in Phoenix, AZ from April 21 through August 19, 2007.[7] In a collaboration between the Kitchener-Waterloo Art Gallery, Seth, and RENDER, one of the buildings from Seths Dominion City project has been re-built as a walk-in theatre in KW|AGs Eastman Gallery.

Awards
Eisner Award Best Publication Design (The Complete Peanuts), 2005 Harvey Award

Seth's Dominion models on display at the Confederation Centre of the Arts in Charlottetown, Prince Edward Island

Special Award for Excellence in Production/Presentation (The Complete Peanuts), 2005 Ignatz Award Outstanding Artist, 1997 Outstanding Graphic Novel or Collection (It's a Good Life If You Don't Weaken), 1997

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Bibliography
Graphic Novels ( ) "Bannock, Beans & Black Tea" - Montreal: Drawn and Quarterly, ISBN 1-896597-78-5 (1996) It's a Good Life, If You Don't Weaken Montreal: Drawn and Quarterly, ISBN 1-896597-70-X (2000) "Clyde Fans: Part One" - Montreal: Drawn and Quarterly, ISBN 978-1-894937-09-2 (2003) "Clyde Fans: Part Two" - Montreal: Drawn and Quarterly, (2004) Clyde Fans: Book One Montreal: Drawn and Quarterly, ISBN 1-896597-84-X (2005) Wimbledon Green Montreal: Drawn and Quarterly, ISBN 1-896597-93-9 (2009) "George Sprott" - Montreal: Drawn and Quarterly, ISBN 978-1-897299-51-7

Other (2001) Vernacular Drawings [sketchbook] Montreal: Drawn and Quarterly, ISBN 1-896597-41-6 (2002) Inner Drawings and Cover Art for the Record Lost In Space by Aimee Mann, Super Ego Records. (2005) Design and Inner drawings for "Christmas Days", by Derek McCormack, Anansi, 2005, ISBN 978-0-88784-193-4. (2006) Forty Books of Interest: A Supplement to Comic Art No. 8 (2007) Design and Inner drawings for "Cocktail Culture", by Mark Kingwell, 2007, ISBN 978-1-84627-114-4 (2008) Design and Inner drawings for "The Idler's Glossary," by Joshua Glenn and Mark Kingwell, Biblioasis, 2008, ISBN 978-1-897231-46-3. (2009) Cover [8] of the Criterion Collection's DVD release of Leo McCarey's Make Way for Tomorrow (spine #505).

Notes
[1] [2] [3] [4] [5] [6] [7] [8] drawn and quarterly (http:/ / www. drawnandquarterly. com/ artBio. php?artist=a3dff7dd55a576), Retrieved July 14, 2009. Seth's Dorothy Parker Society interview (http:/ / www. dorothyparker. com/ portable02. html), Retrieved November 18, 2006 Sequential interview (http:/ / sequential. spiltink. org/ ?p=1263), Retrieved September 2, 2006 Seth's catalog at Drawn & Quarterly. Retrieved August 7, 2009 (http:/ / www. drawnandquarterly. com/ shopCatalogLong. php?st=art& art=a3dff7dd55a576) "An Interview With Seth": Bookslut, June 2004 (http:/ / www. bookslut. com/ features/ 2004_06_002650. php) "From Fanboys to Pros" website. Retrieved July 11, 2008. (http:/ / joshcomix. home. mindspring. com/ and/ fanboypros/ ) UnInked: Paintings, Sculpture and Graphic Work by Five Cartoonists (http:/ / phxart. org/ exhibition/ exhibitionuninked. aspx), Retrieved March 5, 2008 http:/ / criterion_production. s3. amazonaws. com/ release_images/ 2569/ 505_Box_348x490. jpg

References
Seth (http://comicbookdb.com/creator.php?ID=3117) at the Comic Book DB Seth (http://lambiek.net/artists/s/seth.htm) at the Lambiek Comiclopedia

External links
"Quirky Canadian Leads the Return of the Classic Graphic Novel (http://www.theglobeandmail.com/servlet/ ArticleNews/TPStory/LAC/20050806/SETH06/TPEntertainment/TopStories), Globe and Mail, August 6, 2005 "Retro Man" (http://www.torontolife.com/features/retro-man/), Toronto Life, Dec. 2005 An audio slide show from Toronto Life profile (http://www.torontolife.com/features/seth-slideshow/) "Q&A: Seth" (http://www.walrusmagazine.com/blogs/?p=1114), The Walrus, August 21, 2008

Josh Neufeld

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Josh Neufeld
Josh Neufeld

Neufeld at his drawing table, c. 2005. Born Joshua Michael Rosler Neufeld August 9, 1967 New York, NY American Cartoonist, Penciller A.D.: New Orleans After the Deluge The Influencing Machine A Few Perfect Hours American Splendor

Nationality Area(s) Notable works

Notable collaborations Harvey Pekar Brooke Gladstone Rob Walker David Greenberger Awards Xeric Award, 2004 Official website [1]

Josh Neufeld (b. August 9, 1967, in New York City) is an alternative cartoonist known for his nonfiction comics on subjects like Hurricane Katrina, international travel, and finance, as well as his collaborations with writers like Harvey Pekar and Brooke Gladstone. He is the writer/artist of A.D.: New Orleans After the Deluge, and the illustrator of The Influencing Machine: Brooke Gladstone on the Media.

Biography and career highlights


Neufeld graduated from the High School of Music & Art in 1985 and Oberlin College with a B.A. in Art History in 1989.[2] Born in New York, Neufeld spent most of his youth in California (San Diego and San Francisco), and then moved back to New York City during his teenage years. Shortly after graduating from college, he spent over a year backpacking with his then-girlfriend (now his wife) through Southeast Asia and Central Europe, and living for a period in the Czech Republic.[2] He currently resides with his wife, the writer Sari Wilson, and their daughter, in Brooklyn, N.Y.

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Influences
As a child, Neufeld's influences were Belgian cartoonist Herg's Tintin, Goscinny & Uderzo's Asterix,[2] and the Curt Swan-Murphy Anderson issues of Action Comics and Superman. Later in life, as he gravitated toward alternative comics, Neufeld was inspired by the writing and work of Scott McCloud, Chris Ware, and Dan Clowes; and the real-life stories of Joe Sacco, Harvey Pekar, and David Greenberger.

Creator-owned titles
Neufeld was awarded a 2004 grant from the Xeric Foundation for his graphic novel, A Few Perfect Hours (and Other Stories From Southeast Asia & Central Europe), a collection of real-life stories about his travel experiences. He is the creator of the comic book series The Vagabonds (published by Alternative Comics), and co-creator (with high school friend Dean Haspiel) of Keyhole (Millennium/Modern and Top Shelf Productions) and (with R. Walker) Titans of Finance: True Tales of Money and Business (Alternative Comics).

Hurricane Katrina
In 2005, shortly after Hurricane Katrina struck the Gulf Coast, Neufeld spent three weeks as an American Red Cross volunteer in Biloxi, Mississippi. The blog he kept about that experience turned into a self-published book, Katrina Came Calling (2006).[2] Later, Neufeld was asked to write the introduction to a book called Signs of Life: Surviving Katrina, a collection of photos of the hand-made signs that appeared in New Orleans and along the Gulf Coast following Hurricane Katrina. Profits from sales of the book went two organizations still working in the area: Common Ground Relief and Hands On Network. A.D.: New Orleans After the Deluge In 20072008, Neufeld wrote and drew A.D.: New Orleans After the Deluge, an online graphic novel serialized on SMITH Magazine. A.D. tells the real stories of seven New Orleans residents and their experiences during and after Hurricane Katrina. A.D. received extensive press coverage, including in such venues as the Los Angeles Times,[3] the New Orleans Times-Picayune,[4] the Atlanta Journal-Constitution,[5] Rolling Stone, Wired.com,[6] BoingBoing,[7] the Toronto Star,[8] and National Public Radio's "News & Notes". In May 2008, it was announced that a four-color hardcover edition of A.D. would be published by Pantheon Graphic Novels.[9] The book included 25% more story and art, as well as extensive revisions to the material from the webcomic.[10] Debuting on August 18, 2009, shortly before Hurricane Katrina's fourth anniversary, A.D. went on to become a New York Times bestseller.[11]

Other Publications
His comics have also been published in World War 3 Illustrated, FSB, mMode magazine, ReadyMade, The Village Voice, The Chicago Reader, In These Times, and many other venues. Neufeld's illustrations have appeared in The New York Times, the Wall Street Journal, Forbes, Nickelodeon Magazine, the Austin American-Statesman, the Washington City Paper, New York Press, ShuttleSheet, and many other publications. Neufeld is one of the founding members of the online comics collective ACT-I-VATE. Neufeld co-wrote the "motion comics" element of the ABC News documentary Earth 2100, which premiered on ABC on June 2, 2009. Neufeld worked on the sections of the documentary dealing with the fictional character "Lucy," who witnesses the apocalyptic effects of climate change and societal upheaval during the course of the 21st century.[12]

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Collaboration
Neufeld was a long-time artist for Pekars American Splendor, and has collaborated with many writers from outside the comics world, including poets, memoirists, and theatre groups. Other comics writers Neufeld has illustrated stories for include Pekar's wife Joyce Brabner (in American Splendor),[13] and Greenberger in Duplex Planet Illustrated (published by Fantagraphics),[14] [15] R. Walker (in Titans of Finance),[16] and Peter Ross (in a self-published mini-comic called Mortgage Your Soul).[17] [18] Neufeld's collaborations with writers from outside the traditional comics world tend to be formalist and experimental in spirit. He has adapted a number of poet Nick Flynn's pieces into comics, which have appeared in various literary journals and websites.[19] [20] [21] Neufeld is an Associate Artist with the New York-based theatre collective The Civilians,[22] and has adapted portions of a number of their plays into comic book form. He has also collaborated with writer Eileen Myles,[23] and Neufeld's mother, artist Martha Rosler.[24] [25] A special issue (subtitled "Of Two Minds") of Neufeld's comics series The Vagabonds was dedicated to his many collaborations.[26] Most recently, Neufeld collaborated with journalist Brooke Gladstone, co-host of WNYC radio's On the Media. Their book, published by W.W. Norton, is titled The Influencing Machine[27] and was released in May 2011.[28] Gladstone describes the book as "a treatise on the relationship between us and the news media, . . . a manifesto on the role of the press in American history as told through a cartoon version of [me] that would preside over each page."[29]

Speaker/Specialist
In 2010, Neufeld was invited to act as a representative of the United States Department of State's Speaker and Specialist program, which sends Americans abroad as cultural "ambassadors."[30] In March 2010, Neufeld spent two weeks in Burma as part of the program; in October he visited Egypt, Algeria, Bahrain, and Israel/Palestine as part of the same program.[31]

Selected bibliography
Neufeld's website [32] features a complete bibliography.

The Influencing Machine (W. W. Norton & Company, 2011) A.D.: New Orleans After the Deluge (SMITH Magazine 20072008; Pantheon, 2009) ISBN 978-0-307-37814-9 A Few Perfect Hours (and Other Stories From Southeast Asia & Central Europe) (self-published through a grant from the Xeric Foundation, 2004) ISBN 978-1-891867-79-8 The Vagabonds 1-2 (Alternative Comics, 20032006) Titans of Finance #1 with writer R. Walker (Alternative Comics, 2001) ISBN 978-1-891867-05-7 Keyhole with cartoonist Dean Haspiel (issues #1-4 Millennium/Modern, 1996; issues #56 Top Shelf Productions, 1997)

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Awards
Harvey Award nomination for Best Previously Published Graphic Album (A.D.: New Orleans After the Deluge) (2010)[33] Eisner Award nomination for Best Graphic Album-Reprint (A.D.: New Orleans After the Deluge) (2010)[34] Harry Chapin Media Award nomination in the Book category (A.D.: New Orleans After the Deluge) (2010) [35] Xeric Award winner for A Few Perfect Hours (and Other Stories from Southeast Asia & Central Europe) (2004) Ignatz Award nomination for Outstanding Comic (Keyhole) (1997) CAAP (Chicago Arts Assistance Program) Grant, City of Chicago Department of Cultural Affairs (1996)

Notes
[1] http:/ / www. JoshComix. com [2] Richardson, Clem. "Comics Artist Has Serious Mission," New York Daily News (June 23, 2006). (http:/ / www. nydailynews. com/ archives/ ny_local/ 2006/ 06/ 23/ 2006-06-23_comic_artist_has_serious_mis. html) Accessed Feb. 24, 2009. [3] Boucher, Geoff (August 27, 2007). "A flood of emotions in a Katrina comics serial." Los Angeles Times. [4] MacCash, Doug (August 27, 2007). "Comic-book Katrina." New Orleans Times-Picayune [5] Rajagopalan, Megha (August 25, 2007). "Words and Pictures: Online strips will make you think." Atlanta Journal-Constitution [6] Jatras, Todd (May 1, 2007). "Following New Orleans After the Deluge." Wired.com [7] Frauenfelder, Mark (June 7, 2007). "Webcomic about Hurricane Katrina." BoingBoing [8] Mudhar, Raju (August 19, 2007). "Katrina captured on the computer screen." Toronto Star [9] " Pantheon to Publish A.D.:New Orleans After the Deluge: Josh Neufeld's Real-Life Saga (http:/ / www. icv2. com/ articles/ news/ 12535. html)," ICv2, May 8, 2008. Retrieved on June 4, 2008. [10] Jaffe, Sarah. "Webcomics: Josh Neufeld & A.D., Newsarama (Jan. 29, 2009). (http:/ / blog. newsarama. com/ 2009/ 01/ 29/ webcomics-josh-neufeld-ad/ ) Accessed Apr. 20, 2009. [11] "Graphic Books: Hardcover Graphic Books," (http:/ / www. nytimes. com/ 2009/ 09/ 13/ books/ bestseller/ bestgraphicbooks. html?_r=1) New York Times (September 3, 2009). [12] Marschall, Rick. "Comic Creators Play Big Role In Tonights Earth 2100 Special," (http:/ / splashpage. mtv. com/ 2009/ 06/ 02/ comic-creators-play-big-role-in-tonights-earth-2100-special/ ) SplashPage MTV (June 2, 2009). [13] "Be Careful Not to Pull too Hard on Loose Ends" (story by Brabner), American Splendor: Windfall #2 (Dark Horse, 1995). [14] "Pivot" (story by Greenberger), Duplex Planet Illustrated #10, (Fantagraphics, 1995) [15] "Ed Veshecco, Manhole Guard" (story by Greenberger), Duplex Planet Illustrated #12 (Fantagraphics, 1995) [16] Titans of Finance: True Tales of Money & Business (Alternative Comics, 2001). [17] Row, Heath. "From the Reading Pile XIV: Part 2," Heath Row's Media Diet (November 29, 2002). (http:/ / h3athrow. blogspot. com/ 2002/ 11/ from-reading-pile-xiv-part-2-before-i. html) [18] Spurgeon, Tom. "Minimalism Archives #11 -- Round-Up: Once and For All We Have Decided to Side with the Many Minimalism," The Comics Reporter (December 24, 2004). (http:/ / www. comicsreporter. com/ index. php/ briefings/ cr_reviews/ 2406/ ) [19] "Bag of Mice" (adaptation of Flynn poem), World Literature Today (Mar-Apr. 2007). [20] "Father Outside" (adaptation of Flynn poem), The Common Review (Fall 2004). [21] "Cartoon Physics, Part I" (adaptation of Flynn poem), CrossRoads: The Journal of the Poetry Society of America (Fall 2001). [22] "The Company," The Civilians website. (http:/ / thecivilians. org/ company3. html) Accessed May 26, 2009. [23] Provincetown Arts (2001). [24] "Scenes From an Illicit War: From Planet Invisible" (story by Rosler) System Error: War is a Force That Gives Us Meaning (Silvana Editoriale, 2007) [25] "Our Future?", a billboard produced for the show "How Many Billboards," put on by the MAK Center in 2010. (http:/ / www. howmanybillboards. org/ rosler-neufeld. html) [26] The Vagabonds #2: "Of Two Minds" (Alternative Comics, October 2006). [27] Publisher's Lunch, week of May 24, 2009, Publisher's Marketplace. (http:/ / www. publishersmarketplace. com/ lunch/ archives/ week_2009_05_24. php) [28] (http:/ / books. wwnorton. com/ books/ the-influencing-machine/ ) [29] Neyfakh, Leon. "Norton Buys Graphic Media Manifesto," New York Observer (May 26, 2009). (http:/ / www. observer. com/ 2009/ books/ norton-buys-graphic-media-manifesto) [30] Cavna, Michael. "State Dept. sends Katrina cartoonist JOSH NEUFELD to Mideast to 'showcase cultural freedoms'," (http:/ / voices. washingtonpost. com/ comic-riffs/ 2010/ 10/ josh_neufeld_heads_to_mideast. html) "Comic Riffs" column, Washington Post online (Oct. 8, 2010). [31] Rogers, Vaneta. "State Dept. Brings U.S. Creators to Algerian Comics Festival," (http:/ / www. newsarama. com/ comics/ state-department-algernian-comics-festival-101130. html) Newsarama (Nov. 30, 2010).

Josh Neufeld
[32] http:/ / www. joshcomix. com/ and/ comixography. htm [33] "2010 HARVEY AWARDS Nominees Announced," (http:/ / www. newsarama. com/ comics/ harvey-awards-2010-100712. html?utm_source=feedburner& utm_medium=feed& utm_campaign=Feed:+ Newsaramasite+ (Newsarama. com)) Newsarama (July 12, 2010). [34] "2010 Eisner Nominations Encompass Wide Range of Works," (http:/ / www. comic-con. org/ cci/ cci_eisners_main. shtml) Comic-Con website (Apr. 2010) [35] "Harry Chapin Media Awards Finalists Announced," (http:/ / www. whyhunger. org/ programs/ 3-newsflash/ 1033-harry-chapin-media-awards-finalists-announced. html) WHY website (April 15, 2010).

381

References
Sourced consulted American Prospect online A.D. feature (http://www.prospect.org:80//cs/ articles?article=a_graphic_portrayal_of_katrina) NPR "News & Notes" interview (http://www.npr.org/templates/story/story.php?storyId=13928549) USA Today's "Pop Candy" A.D. review (http://blogs.usatoday.com/popcandy/2007/07/read-this-now-j.html) Comicon.com "The Pulse" interview (http://www.comicon.com/cgi-bin/ultimatebb. cgi?ubb=get_topic;f=36;t=006217) N.Y. Daily News profile (http://www.nydailynews.com/boroughs/story/429030p-361776c.html) Sequential Tart interview (http://www.sequentialtart.com/archive/feb05/jneufeld.shtml)

External links
Official website (http://www.JoshComix.com) Interview with Josh Neufeld (http://bookbanter.podbean.com/2009/08/16/episode-014-josh-neufeld/) on BookBanter (http://www.bookbanter.net) Josh Neufeld (http://comicbookdb.com/creator.php?ID=7432) at the Comic Book DB Josh Neufeld's illustration website (http://www.JoshNeufeld.com) A.D.: New Orleans After the Deluge (http://www.smithmag.net/afterthedeluge/)

A.D.: New Orleans After the Deluge

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A.D.: New Orleans After the Deluge


A.D.: New Orleans After the Deluge

The cover to Pantheon's hardcover edition of A.D. Author(s) Cover artist Country Language Subject(s) Genre(s) Publisher Josh Neufeld Josh Neufeld United States English Hurricane Katrina Comics, New journalism Smith Magazine (webcomic) Pantheon Graphic Novels (book)

Publication date 20072008 (webcomic) 2009 (book) Media type Pages ISBN OCLC Number Preceded by Followed by Webcomic, hardcover, paperback 208 0307378144 277201932 [1]

A Few Perfect Hours: and Other Stories from Southeast Asia & Central Europe The Influencing Machine

A.D.: New Orleans After the Deluge is a non-fiction graphic novel by cartoonist Josh Neufeld. It tells the stories of a handful of real-life New Orleans residents and their experiences during and after Hurricane Katrina. A.D. was a New York Times best-seller and was nominated for a 2010 Eisner Award and a 2010 Harvey Award. In addition, A.D. was selected for inclusion in The Best American Comics 2010. In A.D., author Neufeld draws upon interviews with the actual people represented in the story; newspaper, magazine, and blog accounts of the events surrounding Hurricane Katrina and its effects on New Orleans; and his own experiences as a Red Cross volunteer in the weeks after the storm.[2]

A.D.: New Orleans After the Deluge

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Publication history
A.D. was serialized as a webcomic on SMITH Magazine in 20072008. The web version of A.D. utilizes the Internet in a variety of interesting ways to expand the scope of the story beyond the comic itself. Many pages and panels have links to outside sources such as audio and video clips, newspapers stories, photo essays, and the like. The A.D. website also features audio & video clips from the characters, a blogroll, a resource library, and a blog (in addition to a comments section for each chapter.)[3] (The shorter web version of A.D. continues to live on the SMITH website.) The hardcover edition of A.D. was released by Pantheon Graphic Novels on August 18, 2009, shortly before Hurricane Katrina's fourth anniversary. It went on to become a New York Times bestseller.[4] A Dutch translation of A.D. was published in 2010.[5] A.D. came out in paperback, with a new cover, and a new afterword, in the summer of 2010.

The characters
Denise, a sixth-generation New Orleanian with a masters degree in guidance and counseling. When Katrina strikes, she is living with her mother, Louise (a surgical tech at Memorial Baptist Hospital), her niece Cydney, and Cydneys daughter, Rnae, in an apartment above a boxing club in Mid-City. The Doctor, a medical man-about-town based in the French Quarter and often found at the legendary Galatoire's restaurant. Although personally unaffected by Katrina, The Doctor stays behind after the storm, setting up a street clinic to help tend to relief workers and refugees. Abbas (Hamid in the webcomic), Iranian-born, long-time New Orleanian, father of two, and owner of a family-run supermarket in Uptown who faces the storm with his friend Darnell (Mansell in the webcomic). Abbas and Darnell weather the storm in Abbas's convenience store. But when the power goes out and the water starts to rise, the two men realize they are literally in over their heads. Kwame (Kevin in the webcomic), son of a pastor from New Orleans East, who is just entering his senior year of high school as Katrina strikes. Fleeing to Tallahassee with his family the day before the storm, Kwame is shocked by the devastation left behind. His parents send him to live with a family friend in Berkeley, California, to finish high school. Like thousands of other Katrina refugees, Kwame faces the future in alien surroundings. Leo and Michelle, twenty-somethings who each grew up in the city. Hes a local music zine publisher and works with mentally challenged youth. Shes a waitress and gymnastics instructor. After evacuating to Houston, Texas, they learn that their apartment took at least five feet of water. Leos entire 15,000-strong comic book collection is ruined, and the couple face many hard choices about returning and rebuilding.

Plot
Webcomic
The online version of the story encompasses a two-part prologue, 13 chapters, and an epilogue 15 chapters in total. In the prologue, from a "God's eye" perspective, A.D. shows Hurricane Katrina as it builds from a tropical storm in the Bahamas and moves inexorably toward New Orleans. Katrina slams into the Gulf Coast. Winds and rain lash New Orleans and Biloxi, Mississippi. The levees burst and the city is flooded. Going back in time to more than a week before the storm, readers meet the protagonists in their pre-Katrina lives. Then in the days leading up to the hurricane, the characters learn about the approaching monster storm. On the Saturday before the hurricane, Leo tracks the storm on his computer as he and Michelle decide whether to evacuate. Meanwhile, The Doctor makes plans to host some friends at his French Quarter home for a hurricane party. On Sunday, August 28, 2005, one day before Katrina, Hamid sends his wife and family off to safety in Houston. Kevin helps his family prepare to evacuate to Tallahassee. Denise goes with her niece and grandniece to take shelter at the hospital where her mother works, but when they are turned away from a private room due to overcrowding, she

A.D.: New Orleans After the Deluge angrily returns to her apartment alone. Leo and Michelle spend hours in bumper-to-bumper traffic to Houston, while Kevin and his family do the same en route to Tallahassee. Meanwhile, Hamid and Mansell excitedly outfit themselves for the storm at Hamids store. Monday, August 29. As the storms pre-winds batter New Orleans, The Doctors hurricane party is in full swing. Hamid and Mansell hunker down at the store. When the full force of the hurricane hits, Denise learns just what a mistake it was to forsake the refuge of the hospital for her apartment. Her apartment is shaken repeatedly by the storm, the ceiling in the bedroom comes down, and she spends the night holding onto a bed wedged in the hallway. We also check in on Kevin and his family in Tallahassee, and Leo and Michelle in Houston. No one is yet aware that the levees have been breached. Tuesday, August 30. Katrina has finally passed New Orleans, and Hamid and Mansell emerge, blinking in the sunlight, ecstatic to have survived the storm. But then the flooding begins. Reluctant to abandon the store and fearful of looters, the two men stand fast in the rising waters. Wednesday, August 31. Hamid and Mansell wake up from a long night on the roof of Hamid's maintenance shed. They spend the day wading through the chest-high waters, refusing a boat ride out of the Calhoun Grocery, one of the settings of A.D.: New Orleans After the flooded sections of the city. Denise and her family, Deluge having momentarily escaped the flooding, await transport out of the flooded city. What they find instead is a van to the Convention Center. In Houston, Leo and Michelle are dismayed to discover that their neighborhood took over five feet of water. The Doctor makes the rounds of the French Quarter, administering aid where needed. Hamid and Mansell deliver much-needed water to a trapped neighbor. And in Tallahassee, Kevin sees footage of the flooding and realizes he wont be returning home any time soon. Denise arrive at the Convention Center to find it completely without vital services, and filled with abandoned people. Mansell narrowly avoids being crushed by a bobbing refrigerator case. Mansell's asthma and the high water makes Hamid face the fact that they probably should evacuate the flooded city. In Houston, Leo & Michelle discuss what their next move should be. And in Tallahassee, Kevin learns that he and his younger brother will be sent off to California to attend school there. Thursday, September 1. Three days after the hurricane and two days after the city began flooding. Denise and her family, having been dropped off at the New Orleans Convention Center, find themselves stranded and abandoned, surrounded by thousands of other refugees. And from there things only get worse. Denise and her family are still trapped at the New Orleans Convention Center. The NOLA police roll by in armored SWAT vehicles, with rifles loaded but no food or water. This companion section to Chapter 12 tells the real story from the perspective of the people who were there of what went down at the Convention Center in the days after Hurricane Katrina. In the epilogue, "Picking Up The Pieces," A.D. concluded its online run with a final look at all the characters. Picking up the story a year and a half after the hurricane, readers find out about Denise's escape from the Convention Center; Hamid & Mansell's rescue from the flooded store; Kevin's years-long odyssey; the Doctor's formation of the New Orleans Health Department in Exile; and Leo & Michelle's return to their flooded home. The epilogue concludes with a jump of another year ahead in time, to early 2008, and a final check-in with the Doctor, Leo, and Denise.

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A.D.: New Orleans After the Deluge

385

Book
The A.D. book includes 25% more story and art, as well as extensive revisions to the material from the webcomic. Other changes include dividing the book into five sections rather than 15 chapters, as well as the changing of some of the characters' names.[3]

Critical response
The A.D. webcomic received recognition from magazines, newspapers, and websites such as Newsweek,[6] the Los Angeles Times,[2] the New Orleans Times-Picayune,[7] the Atlanta Journal-Constitution,[8] Rolling Stone, BoingBoing,[9] the Toronto Star,[10] and National Public Radio's "News & Notes". USA Todays "Pop Candy" named A.D. one of 2007s best comics, Wired.com called it a sterling example of comics with a social conscience,"[11] and the New Orleans Gambit Weekly said "it took Josh Neufeld only 13 panels to storyboard New Orleans worst nightmare."[12] The 2009 hardcover edition of A.D. gained more critical recognition. The Los Angeles Times called the book "a work . . . of literature, of high art, and of reverence for nature and humanity."[13] The book was covered by (among others) the New York Times,[14] Newsweek,[15] National Public Radio's "Tell Me More,"[16] the New Orleans Times-Picayune,[17] USA Today,[18] Salon.com,[19] and the Wall Street Journal.[20]

Awards and recognition


A.D. was nominated for a 2010 Eisner Award (for Best Graphic AlbumReprint),[21] a Harvey Award (for Best Previously Published Graphic Album),[22] and a Harry Chapin Media Award (in the Book category).[23] It was also a YALSA 2010 Great Graphic Novels for Teens selection.[24] The A.D. hardcover was recognized on many top-ten lists for 2009.[25] It was declared MTV's Best Nonfiction Comic of 2009,[26] one of Vanity Fair magazine's top five books of 2009,[27] and a Salon Critics' Pick.[28] In addition, it was a Mother Jones magazine MoJo Top Book of 2009,[29] and a Daily Beast recommended book.[30] A.D. was selected for inclusion in The Best American Comics 2010, guest-edited by Neil Gaiman.[31]

Notes
[1] http:/ / worldcat. org/ oclc/ 277201932 [2] Boucher, Geoff. "A flood of emotions in a Katrina comics serial." Los Angeles Times (Aug. 27, 2007). [3] Jaffe, Sarah. "Webcomics: Josh Neufeld & A.D., Newsarama (Jan. 29, 2009). (http:/ / blog. newsarama. com/ 2009/ 01/ 29/ webcomics-josh-neufeld-ad/ ) Accessed Apr. 20, 2009. [4] "Graphic Books: Hardcover Graphic Books," (http:/ / www. nytimes. com/ 2009/ 09/ 13/ books/ bestseller/ bestgraphicbooks. html?_r=1) New York Times (September 3, 2009). [5] New Orleans na de Watersnood catalog page (http:/ / www. vaarmee. com/ result_titel. asp?T_Id=433& A_Id=369& A_Id2=& A_Id3=) (De Vliegende Hollander, 2010) ISBN 9789049501068. [6] Barlett, Jennifer. "Sketching the Deluge," Newsweek (Aug. 11, 2008). (http:/ / www. newsweek. com/ id/ 150496) [7] MacCash, Doug. "Comic-book Katrina." New Orleans Times-Picayune (Aug. 27, 2007). [8] Rajagopalan, Megha. "Words and Pictures: Online strips will make you think." Atlanta Journal-Constitution (Aug. 25, 2007.) [9] Frauenfelder, Mark. "Webcomic about Hurricane Katrina." BoingBoing (June 7, 2007). [10] Mudhar, Raju. "Katrina captured on the computer screen." Toronto Star (Aug. 19, 2007). [11] Jatras, Todd. "Following New Orleans After the Deluge." Wired.com (May 1, 2007). [12] Pais, Noah Bonaparte, " Art Begetting Art (http:/ / www. bestofneworleans. com/ dispatch/ 2008-02-19/ cover_story. php)," Gambit Weekly (Feb. 19, 2008). [13] Reed. John. "Book Review: 'A.D.: New Orleans After the Deluge' by Josh Neufeld: A graphic novel captures the storm and its aftermath," (http:/ / www. latimes. com/ features/ books/ la-ca-josh-neufeld23-2009aug23,0,1030247. story) Los Angeles Times (August 23, 2009). [14] Gustines, George Gene. "Graphic Memories of Katrina's Ordeal," (http:/ / www. nytimes. com/ 2009/ 08/ 24/ books/ 24neufeld. html?_r=1) New York Times (August 23, 2009). [15] Kushner, Adam B. "An Imperfect Storm," (http:/ / www. newsweek. com/ id/ 211757) Newsweek (Aug 14, 2009). [16] "Hurricane Katrina: An Illustrated Story Of Survival," (http:/ / www. npr. org/ templates/ story/ story. php?storyId=112506242) NPR (September 3, 2009).

A.D.: New Orleans After the Deluge


[17] Larson, Susan. "New Orleanians inspire Josh Neufeld's graphic novel A.D.: New Orleans After the Deluge," (http:/ / www. nola. com/ books/ index. ssf/ 2009/ 08/ new_orleanians_inspire_josh_ne. html#more) New Orleans Times-Picayune (August 19, 2009). [18] Wilson, Craig. "Book Roundup: Graphic titles," (http:/ / www. usatoday. com/ life/ books/ reviews/ 2009-09-09-roundup-graphic-titles_N. htm) USA Today (September 11, 2009). [19] Williams, Mary Elizabeth. "Critics' Picks: The Hurricane Katrina comic book: Josh Neufeld's haunting account of one of the worst disasters in U.S. history gives new meaning to graphic tragedy," (http:/ / www. salon. com/ ent/ critics_picks/ 2009/ 08/ 31/ a_d/ ) Salon.com (August 31, 2009). [20] Brophy-Warren, Jamin. "Capturing a Disaster in Cartoons," (http:/ / online. wsj. com/ article/ SB10001424052970204271104574294473044906160. html) Wall Street Journal online (July 17, 2009). [21] "2010 Eisner Nominations Encompass Wide Range of Works," (http:/ / www. comic-con. org/ cci/ cci_eisners_10nom. php) San Diego Comic-Con International website (Apr. 8, 2010). [22] "2010 HARVEY AWARDS Nominees Announced," (http:/ / www. newsarama. com/ comics/ harvey-awards-2010-100712. html?utm_source=feedburner& utm_medium=feed& utm_campaign=Feed:+ Newsaramasite+ (Newsarama. com)) Newsarama (July 12, 2010). [23] "Harry Chapin Media Awards Finalists Announced," (http:/ / www. whyhunger. org/ programs/ 3-newsflash/ 1033-harry-chapin-media-awards-finalists-announced. html) WHY website (April 15, 2010). [24] "YALSA names 2010 Great Graphic Novels for Teens," (http:/ / www. ala. org/ ala/ newspresscenter/ news/ pressreleases2010/ january2010/ ggnt_yalsa. cfm) American Library Association website (Jan. 20, 2010). [25] "Best Comics of 2009 Meta-List," (http:/ / iloverobliefeld. blogspot. com/ 2010/ 01/ best-comics-of-2009-meta-list. html) I Love Rob Leifeld blog (Jan. 13, 2010). [26] "Best of 2009: Comic Books, Webcomics And Graphic Novels," (http:/ / splashpage. mtv. com/ 2009/ 12/ 15/ best-of-2009-comics/ ) MTV SplashPage (Dec. 15, 2009). [27] Schappell, Elissa. "Hot Type," Vanity Fair (Dec. 2009), p. 111. [28] Williams, Mary Elizabeth. "Critics' Picks: The Hurricane Katrina comic book," (http:/ / www. salon. com/ entertainment/ critics_picks/ 2009/ 08/ 31/ a_d) Salon (Aug. 31, 2009). [29] "MoJo's Top Books of 2009," (http:/ / motherjones. com/ media/ 2009/ 12/ mojos-top-books-2009) Mother Jones (Dec. 30, 2009). [30] "The Daily Beast Recommends," (http:/ / www. thedailybeast. com/ blogs-and-stories/ 2009-08-25/ the-daily-beast-recommends-24/ full/ ) The Daily Beast (Aug. 24, 2009). [31] Maine, David. "'The Best American Comics 2010' Makes It Clear: Comics Have a Bright Future," PopMatters (Dec. 3, 2010). (http:/ / www. popmatters. com/ pm/ review/ 133968-the-best-american-comics-2010-by-neil-gaiman-ed)

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External links
A.D. website (http://www.smithmag.net/afterthedeluge) on SMITH A.D. on Pantheon's website (http://www.randomhouse.com/pantheon/graphicnovels/catalog/display. pperl?isbn=9780307378149) PulpSecret video of the making of A.D. (http://www.youtube.com/watch?v=j9E1bkpK_6U) Newsweek review (http://www.newsweek.com/id/150496) NPR News & Notes interview with creator Neufeld and characters Denise and Leo (http://www.npr.org/ templates/story/story.php?storyId=13928549)

Jessica Abel

387

Jessica Abel
Jessica Abel

Abel at the 2009 Brooklyn Book Festival. Born Jessica Courtney Clare Abel 1969 Illinois American Cartoonist, Writer, Artist

Nationality Area(s)

Notable works Life Sucks Artbabe La Perdida Drawing Words and Writing Pictures Radio: An Illustrated Guide Awards Xeric Award, 1995 Harvey Award, 1997, 2002 Official website [1]

Jessica Abel (born 1969) is an American comic book writer and artist, known as the creator of such works as Life Sucks, Drawing Words & Writing Pictures, Soundtrack, La Perdida, Mirror, Window, Radio: An Illustrated Guide (with collaborator Ira Glass), and the omnibus series Artbabe. Abel has stated that her major work is not autobiographical, and that although she is a feminist, her work is not explicitly political.[2] [3]

Early life
Abel was born in 1969 in Chicago, Illinois,[4] and raised in the Chicago metropolitan area.[3] She graduated from Evanston Township High School. She attended Carleton College for in 1987-88, and then transferred to the University of Chicago, where she published her first comics work in 1988, in the student anthology Breakdown. Additionally, she worked for three years in the administration at the School of the Art Institute of Chicago. She graduated with a BA degree.[5]

Jessica Abel

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Career
Abel started self-publishing the photocopied, hand-sewn and embellished' comic book Artbabe in 1992; four annual issues followed, with Abel having won a Xeric Foundation grant to self-publish and distribute issue #5. This was the first professionally printed Artbabe, and was subtitled The Four Seasons. With the publication of the Xeric issue of Artbabe, Abel came to the attention of Fantagraphics publisher Gary Groth, who offered to publish Artbabe. Each issue of Artbabe contained one or more complete stories; Abel did not begin any longer sequential work until La Perdida in 2000. The character Artbabe, who appears on every cover, does not actually appear in any of the stories. In 1998, Abel moved to Mexico City with her boyfriend, now husband, comics artist Matt Madden. She went on hiatus from Artbabe in 1999. From 1996-2005, Abel did a series of one-page journalistic comics for the University of Chicago Magazine, and also embarked on Radio: an Illustrated Guide for the radio program This American Life. This book depicted how an episode of the show is made, with behind-the-scenes reportage and a how-to guide to creating a radio show at home.

Abel at Delcourt Festival in Paris, France in 2006.

After two years in Mexico City, Abel moved to Brooklyn, New York. Abel created the five-issue, 250-page series La Perdida. Published by Fantagraphics Books, it concerns a Mexican-American woman, Carla, raised by her Anglo mother, who moves on a whim to Mexico City to search for her identity.
[3]

Abel teaches undergraduate cartooning courses at the School of Visual Arts, and gives workshops at other locations, such as Ox-Bow Summer School of Art. She appeared as a character in the back-cover story of Hate #10 by Peter Bagge.[5] Abel wrote and drew La Perdida, first published by Fantagraphics Books between 2000 and 2005 as a five-part mini-series. Abel revised the text for its compilation and publication in 2006 as a hardcover volume by Pantheon Books. The book has received a positive critical response.[6] [7] In 2008, Abel and Madden produced Drawing Words and Writing Pictures for First Second. The book is a product of the years Abel and Madden have spent as teachers, is a comprehensive manual on creating comics. That same year, Abel also collaborated on Life Sucks, written with Gabe Soria and Warren Pleece. Abel and Madden are now at work on the second volume of Drawing Words and Writing Pictures.

Exhibitions
Abel's one-person exhibitions include "Corridoio Altervox" in Rome, the Phoenix Gallery in Brighton; the Oporto International Comics Festival in Portugal, Vietas desde o Atlntico in A Coruna, Spain, and the Naples Comicon.[5] Her group exhibitions include the Jean Albano Gallery in Chicago, Athaneum, Stripdagen, in the Netherlands, the Davidson Galleries in Seattle, the Forbes Gallery at the Hyde Park Art Center, in New York, the Regina Miller Gallery and Vox Gallery in Philadelphia, Centre National de la Bande Dessine et de l'Image in Angoulme, France, and the Norman Rockwell Museum in Stockbridge, Massachusetts.[5]

Jessica Abel

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Awards and honors


Harvey Award[5] Chicago Artists International Program Grant[5] Xeric Grant[5]

Personal life
Abel and her husband, Matt Madden, live in Sunset Park, Brooklyn with their daughter.[3]

Bibliography
Abel, with Ira Glass, Radio: An Illustrated Guide, (WBEZ Alliance, 1999) ISBN 978-0-9679671-0-3 Soundtrack: Short Stories 1989-1996 (Fantagraphics Books, 2001) ISBN 978-1-56097-430-7 Mirror, Window: An Artbabe Collection (Fantagraphics Books, 2000) ISBN 978-1-56097-384-3; compilation of Artbabe Vol. 2, nos. 1-4 (19971999) La Perdida (Pantheon Books, 2006) ISBN 978-0-375-42365-9; a revised compilation of La Perdida nos. 1-5 (20012005, Fantagraphics Books) Illustrations by Abel, edited by Carrie Russell, Complete Copyright: An Everyday Guide for Librarians (American Library Association, 2004) ISBN 0838935435 Life Sucks (with Gabriel Soria and Warren Pleece, First Second, 2008) ISBN 978-1-596-43107-2 Abel, with Matt Madden, Drawing Words and Writing Pictures, (First Second, 2008) ISBN 978-1596431317

References
[1] http:/ / www. jessicaabel. com [2] Press, Joy. "The Further Adventures of Artbabe" (http:/ / www. villagevoice. com/ books/ 0612,press,72600,10. html) Villagevoice.com Retrieved on 05-09-07 [3] "Who is Jessica Abel?" (http:/ / www. jessicaabel. com/ ?s=about) JessicaAbel.com; Accessed September 5, 2010 [4] Biography page (http:/ / jessicaabel. com/ index. php?id=29) at Jessica Abel's official site [5] Jessica Abel at the (http:/ / www. schoolofvisualarts. edu/ index. jsp?page_id=313& FID=160089) School of Visual Arts; Accessed September 5, 2010 [6] "La Peridida by Jessica Abel" (http:/ / www. powells. com/ biblio/ 1-0375423656-0). Powell's City of Books. . Retrieved 2009-10-23. [7] Ruiz, Gina (April 10, 2007). "Graphic Novel Review: La Perdida by Jessica Abel" (http:/ / blogcritics. org/ books/ article/ graphic-novel-review-la-perdida-by/ ). Blog Critics. . Retrieved 2009-10-23.

External links
Official website (http://www.jessicaabel.com) Jessica Abel (http://www.comics.org/search.lasso/?sort=chrono&query=Jessica+Abel&type=credit) at the Grand Comics Database

La Perdida

390

La Perdida
La Perdida is an independent comic book series created by Jessica Abel (a Xeric Foundation grant winner) and published by Pantheon Books.

Content
La Perdida is a story centered on the life of a young American woman (Carla), living abroad in Mexico. Although Abel herself lived in Mexico City for two years (19982000) with her (now) husband Matt Madden, the story is not autobiographical. La Perdida is an expressively illustrated, emotional / relationship - based comic with strong cultural overtones. During her stay in Mexico City as an American expatriate attempting to gain a greater knowledge of her Mexican heritage, Carla encounters a variety of people, eventually rejecting her role within the expatriate social hierarchy and attempting to achieve a more authentic experience of life as an "ordinary" citizen of Mexico. Her encounters prove time and time again, however, that the dismissal of her background is not easily achieved and she eventually reconciles with the universality of human nature (in controversion to her initial notions of authenticity). Along the way, she confronts the complexities of an age-old civilization, upheavals of conflicting politics, and the criminal undercurrents of Mexico City.

Style
Abel's style of rendering is an expressive ink-and-brush method, emphasizing persons over objects. Abel devotes care, however, to depicting accurate and enthralling environments, as well as her complex characterizations of expression. Although the black & white brush technique has been used in other graphic novels to great effect (notably Frank Miller's Sin City or Jeff Smith's Bone), Abel's usage achieves and effect perhaps most credibly comparable to that of Art Spiegelman's Maus. Tight panels and gutters, often crowded with speech bubbles, identifies Abel's primary allegiance to dialogue in her works; this careful attention is supplemented further by her use of Spanish punctuation and vocabulary in her work (complete with glossary).

391

More North American texts and writers for student's choice assignment
Daniel Clowes
Daniel Clowes

Clowes at the 2010 Alternative Press Expo Born Daniel Gillespie Clowes April 14, 1961 Chicago, Illinois, U.S. Cartoonist, author, screenwriter Eightball (1989-present) Ghost World (1997) Erika Clowes Charlie

Occupation Knownfor

Spouse Children

Daniel Gillespie Clowes (born April 14, 1961 in Chicago, Illinois) is an American author, screenwriter and cartoonist of alternative comic books. Much of Clowes' work first appeared in his anthology comic Eightball, which featured self-contained and serialized narratives. All of the serialized narratives have been collected and published as graphic novels, most notably Ghost World. With filmmaker Terry Zwigoff, Clowes adapted Ghost World into the 2001 film of the same name, and he also adapted another Eightball story into the 2006 film Art School Confidential.

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Biography
In 1979, Clowes finished high school at the University of Chicago Laboratory Schools and attended Pratt Institute in Brooklyn, New York. After earning his BFA, he unsuccessfully attempted to find work in New York as an illustrator. From 1985 to 1989 he contributed both art and stories to Cracked magazine, working extensively on a feature called "The Uggly Family." In 1985, Clowes wrote his first Lloyd Llewellyn story, which he sent to Fantagraphics' Gary Groth, and his work soon appeared in issue 13 of the Hernandez brothers' Love and Rockets. Lloyd Llewellyn became a comic book series; the six regular issues, published in 1986 and 1987, were followed by a special, The All-New Lloyd Llewellyn in Black and White, in 1988. In 1989, Fantagraphics published the first issue of his periodic comic collection Eightball. Many of Clowes' serials in Eightball have been collected and released as graphic novels, garnering significant critical acclaim and mainstream sales. The first dozen or so issues of Eightball typically contained a number of short comedic stories featuring absurd characters such as Shamrock Squid and Grip Glutz, along with topical satires such as Art School Confidential. The first extended piece serialized in Eightball is Like a Velvet Glove Cast in Iron. Appearing in issues 1-10, this story features a complex, surrealistic storyline. Later issues have tended to focus on longer narratives, however. Ghost World was released as a collection in 1997 Daniel Clowes' Wilson (2010) after being serialized in Eightball (11-18). It was adapted by Clowes and Zwigoff into a full-length feature film in 2001; both were nominated for an Academy Award for the screenplay. Issues 19-21 serialized David Boring, which was released as a graphic novel by Pantheon Books. The last two issues of Eightball, ("Ice Haven" #22 [2001] and "The Death-Ray" #23 [2004]), were each conceived as an artistically ambitious and self-contained work, featuring an oversized, all-color format. Ice Haven was released in June 2005 by Pantheon in a revised and reformatted hardcover edition. On September 16, 2007, The New York Times Magazine published the first installment of Mister Wonderful, a serialized graphic novel written by Clowes. Clowes described the novel as a "romance";[1] it ran for 20 installments, until mid-January 2008.[2] [3] Clowes's most recent graphic novel, Wilson, which did not appear in Eightball, was published by D&Q in May 2010.[4] Clowes lives in Oakland, California with his wife Erika and son Charlie. In 2006, after a prolonged health crisis,[5] Clowes underwent open heart surgery. His latest graphic novel is a collection of his Mister Wonderful strip featuring added content specific to the standalone release of the story.[6] [7]

Daniel Clowes

393

Cultural context
Clowes' most famous work is associated with the late 1980s and 1990s, a transformational time for alternative comics. Clowes' work was an important part of the explosion in the popularity of this genre and the newfound respect that it garnered from critics and academics. Ghost World was among the earliest "literary" comics to be marketed and sold through conventional book stores as a graphic novel (this despite the fact that he has been critical of the term "graphic novel"). His most famous work also coincides temporally with the so-called Generation X, and the post-adolescent aimlessness identified with that movement has remained one of his signature themes. He has led the way for younger comic artists like Adrian Tomine and Craig Thompson who tend to focus on post-adolescent characters and their conflicts. Like his contemporary David Lynch, Clowes is famous for mixing elements of kitsch and the grotesque in his comics, drawn in particular from 1960s pop culture, Mad, and the San Francisco underground comics scene of that era. This juxtaposition of superficial kitsch and horrific subject matter has since become something of a zeitgeist in much visual art, independent film and underground comics themselves.

Awards
His work in comics has won him a good deal of recognition, including a nomination for the Comics Buyer's Guide Award for Favorite Writer in 1999. He has won numerous Harvey Awards, including Best Writer in 1997 and 2005, Best Cartoonist in 2002, and Best Single Issue or Story in 1990, 1991, 1998 and 2005.

Screenwriting career
Clowes has written two movies based on his comic works, Ghost World and Art School Confidential, both of which were directed by Terry Zwigoff. He has begun work on three proposed film projects.

Ghost World (2001)


Set in a non-descript American town, Ghost World follows the misadventures of two best friends, Enid (Thora Birch) and Rebecca (Scarlett Johansson) who detest their high school classmates and delight in mocking others. After graduation they plan on moving in together and avoiding college but instead begin to grow apart as adult alienation takes its toll. The two play a prank on a geeky, old record collector (Steve Buscemi) who quickly becomes Enid's unlikely friend and confidante as her relationship with Rebecca deteriorates. The movie was nominated for a host of awards,[8] most notably Best Adapted Screenplay for the 2002 Academy Awards.

Art School Confidential (2006)


The movie is based very loosely on a short story of the same name that appeared in Eightball #7. Art School Confidential follows Jerome (Max Minghella), an art student who dreams of becoming the greatest artist in the world. The movie was not as well received as Ghost World and garnered many poor reviews.

The Death Ray


In the summer of 2004, Clowes released issue 23 of Eightball, a single-story issue entitled "The Death Ray." In July 2006, Clowes announced that he would be writing a script for The Death Ray, to be produced by Jack Black's Black and White Productions.[9] On December 1, a press release was sent by Drawn & Quarterly, which stated: "Motion-picture rights to The Death-Ray are in development with Jack Blacks Electric Dynamite Productions, with noted director Chris Milk attached to direct."

Daniel Clowes Drawn & Quarterly has announced that they will be publishing The Death Ray as a hardcover graphic novel in October 2011.[10]

394

Master of Space and Time (TBD)


Clowes and Michel Gondry have discussed collaborating on a film version of Master of Space and Time, a Rudy Rucker novel. Clowes would write the screenplay and Gondry would direct. This project has not advanced beyond the discussion stage.[11]

Untitled Raiders adaptation project (TBD)


Clowes has been attached to write a screenplay based on the true story of three boys who made a shot-for-shot remake of Raiders of the Lost Ark over the course of 7 years. The project is currently untitled.[12]

Illustrations
Clowes's artwork can be seen in the Ramones video for their Tom Waits cover "I Don't Want to Grow Up". He has illustrated over 20 record covers, including The Supersuckers album The Smoke of Hell and Everything Looks Better in the Dark[13] by Frank French and Kevn Kinney . An OK Soda vending machine, with art by Clowes, appears in several shots in director Christopher Guest's 1997 mockumentary Waiting for Guffman. Clowes created the movie poster for the 1998 film Happiness (directed by Todd Solondz). Clowes Eightball illustrations appeared on skateboard decks for Santa Cruz Skateboards in the early 1990s. One deck was re-issued in black and white in 2006.[14]

Selected works
Comic books
Lloyd Llewellyn #1-#6 (19861987) and a special (1988) Eightball #1-#23. #23 was released in June 2004 Wilson (2010). Wilson was Clowes' first all-new graphic novel that had not been serialized before being presented in book form.

Collections and graphic novels


#$@&!: The Official Lloyd Llewellyn Collection (Fantagraphics, 1989, ISBN 0930193903) Lout Rampage! (Fantagraphics, 1991, ISBN 978-1560970705) Short stories from Eightball Like a Velvet Glove Cast in Iron (Fantagraphics, 1993, ISBN 1560971169) Eightball #1-#10 Pussey!: The Complete Saga of Young Dan Pussey (Fantagraphics, 1995, ISBN 978-1560971832) Eightball #1, #3, #4, #6, #8, #9, #12, #14

Clowes at the 2006 San Diego Comic-Con Convention

Orgy Bound (Fantagraphics, 1996, ISBN 978-1560973027) Short stories from Eightball Ghost World (Fantagraphics, 1997, ISBN 1560974273) Eightball #11-#18

Daniel Clowes Caricature (Fantagraphics, 1998, ISBN 978-1560973294) Compilation of several Eightball short stories and one story ("Green Eyeliner") that appeared in Esquire David Boring (Pantheon Books, 2000, ISBN 978-0375406928) Eightball #19-#21 Twentieth Century Eightball (Fantagraphics, 2002, ISBN 978-1560974369) Compilation of several Eightball short stories Ice Haven (Pantheon, 2005, ISBN 9780375423321) Reformatted and expanded version of the experimental, multi-layered narrative in Eightball #22 Wilson (Drawn and Quarterly, 2010, ISBN 978-1770460072) One of nine Amazon Best Books of the Month selections for April 2010 Mister Wonderful: A Love Story (Pantheon Books, 2011, ISBN 978-0307378132) The Death-Ray (Drawn and Quarterly, 2011, ISBN 9781770460515) Eightball #23

395

Other appearances
"Justin M. Damiano" in The Book of Other People (2008)

Movies
Ghost World (2001) Art School Confidential (2006)

Miscellaneous
Eightball postcards Ghost World: A Screenplay Dan DeBono's Indy - created original cover and interviewed Cracked recurring strip, "The UGGLY Family", in the mid-1980s National Lampoon Little Enid doll Enid & Rebecca Cloth Dolls Enid Hi-Fashion Glamour Doll Pogeybait Doll "Boredom" a mock board game Santa Cruz Skateboards Corey O'Brien board 1991 The New Yorker cover,[15] May 24, 2010

Commercial work
OK Soda Clowes was one of the main illustrators for OK Soda cans and print materials, along with fellow Fantagraphics artist Charles Burns.[16]

References
[1] "New Daniel Clowes Comic Strip Launches Sunday in NY Times" (http:/ / www. comicbookbin. com/ fantagraphicsbooks030. html), The Comic Book Bin, 2007-09-13. Retrieved on 2007-09-15. [2] Clowes, Daniel. "Mister Wonderful" (http:/ / www. nytimes. com/ 2008/ 02/ 16/ magazine/ funnypagesClowes. html). The New York Times. . Retrieved 8 June 2011. [3] Garner, Dwight. Stray Questions for: Daniel Clowes (http:/ / papercuts. blogs. nytimes. com/ 2007/ 08/ 24/ stray-questions-for-daniel-clowes/ ). The New York Times Paper Cuts: A Blog About Books, 2007-08-24. Retrieved on 2007-09-15. [4] (http:/ / www. drawnandquarterly. com/ shopCatalogLong. php?item=a4b4b5cebd9151) [5] Comics Panel. [The best comics of the 00s," (http:/ / www. avclub. com/ articles/ the-best-comics-of-the-00s,35713/ ) The Onion A.V. Club (NOvember 24, 2009).

Daniel Clowes
[6] The Comics Journal (ISBN 987-1-56097-984-5), issue 294, Dec.2008, page 102: In a one-page strip, sent to the magazine as a holiday card, Clowes has his son, Charlie, "looking back at 2006 AD". "Charlie Clowes" says "2006 was quite a year... Daddy had open-heart surgery and mommy had to take care of him while he just sat in a chair for two months, and he still can't even pick me up." [7] Interview: Daniel Clowes (http:/ / www. avclub. com/ articles/ daniel-clowes,14191/ ), The A.V. Club, 2008-01-03. [8] Ghost World (2001) Awards and Nominations Yahoo! Movies (http:/ / movies. yahoo. com/ movie/ 1804856723/ awards) [9] Clowes pockets 'Eightball' Entertainment News, Film News, Media Variety (http:/ / www. variety. com/ article/ VR1117947172?categoryid=13& cs=1) [10] "Clowes The Death-Ray hardcover coming from Drawn & Quarterly next fall" (http:/ / robot6. comicbookresources. com/ 2010/ 12/ clowes-the-death-ray-hardcover-coming-from-drawn-quarterly-next-fall/ ). Comic Book Resources. December 1, 2010. . Retrieved August 3, 2011. [11] It's no longer Confidential who is writing Michel Gondry's Master of Time and Space, if you guess you might be Clowes! Ain't It Cool News: The best in movie, TV, DVD, and co... (http:/ / www. aintitcoolnews. com/ display. cgi?id=22502) [12] IMDB entry (http:/ / www. imdb. com/ title/ tt0432251/ ), Internet Movie Database, 12-20-2007. [13] Everything Looks Better in the Dark Frank French & Kevn Kinney (http:/ / www. frankfrench. com/ EverythingLooksBetterInTheDark. html) [14] Santa Cruz Skateboards (http:/ / www. santacruzskateboards. com/ decks/ pop. php?SKU=11111030) [15] The New Yorker , May 24, 2010 (http:/ / www. newyorker. com/ magazine/ toc/ 2010/ 05/ 24/ toc_20100517) [16] Mother Jones: Clowes Encounter: An Interview With Daniel Clowes (http:/ / motherjones. com/ media/ 2010/ 05/ dan-clowes-comics-cartoons-interview?page=2)

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External links
Daniel Clowes Bibliography (http://www.DanielClowesBibliography.com): The most detailed site on the web for information on Clowes and his work. Daniel Clowes at Fantagraphics (http://www.fantagraphics.com/artist/clowes/clowes.html): The publisher's page with biography. Daniel Clowes (http://outer-court.com/text/daniel_clowes.html): Biography & discussion of different comics and characters Daniel Clowes on BBC Collective (http://www.bbc.co.uk/dna/collective/A4500820): Interview and Ice Haven screensaver Girls' world (http://www.guardian.co.uk/Archive/Article/0,4273,4290067,00.html) The Guardian, November 3, 2001. Interview with Clowes around the time of the release of Ghost World. 2011 radio interview (http://www.edrants.com/segundo/daniel-clowes-bss-394/) at The Bat Segundo Show rcn.com Comic Book Awards Almanac (http://users.rcn.com/aardy/comics/awards/) McSweeney's: Daniel Clowes interviewed by Mike Sacks (http://www.mcsweeneys.net/links/sacks/clowes. html)

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Ghost World
Ghost World

The latest cover art for Ghost World Publisher Date Fantagraphics Books 1997 Creative team Creator(s) Daniel Clowes Original publication Published in Issue(s) Eightball 11-18

Date(s) of publication September 7, 1993-April 19, 1997 Language ISBN English 1-56097-280-7(hardcover)1-56097-427-3(softcover) Chronology Followed by David Boring

Ghost World is a comic book written and illustrated by Daniel Clowes. It was originally serialized in issues #11 through #18 (June 1993 to March 1997) of Clowes's comic book series Eightball,[1] and was first published in book form in 1997 by Fantagraphics Books. A commercial and critical success, it was very popular with teenage audiences on its initial release and developed into a cult classic. The book has been reprinted in multiple editions[2] and was the basis for the 2001 feature film of the same name. Ghost World follows the day-to-day lives of best friends Enid Coleslaw and Rebecca Doppelmeyer, two cynical, pseudo-intellectual and intermittently witty teenage girls recently graduated from high school in the early 1990s. They spend their days wandering aimlessly around their unnamed American town, criticizing popular culture and the people they encounter while wondering what they will do for the rest of their days. As the comic progresses and Enid and Rebecca make the transition into adulthood, the two develop tensions and drift apart. A darkly written comic, with intermittently sombre explorations of friendship and modern life, Ghost World has become renowned for its frank treatment of adolescence. The comic's success led to a movie adaptation of the same name, released in 2001 to critical acclaim and numerous nominations, including an Academy Award for Writing Adapted Screenplay, written by Clowes.

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Overview
Ghost World takes place in an unnamed town filled with shopping malls, fast food restaurants, and urban sprawl. The town plays a key part in the narrative, as it is constantly mocked and criticized by Enid and Rebecca. As the story progresses, the background changes dramatically. The phrase "Ghost World" is seen by the characters several times, painted or graffitied on garage doors, signs, and billboards for an undeclared reason. An interpretation of the phrase ghost world is that it illustrates the fact that today, everyone seems to be living in their own world, thus making the objective world a ghost world. The term can also apply to the way in which both Enid and Becky, but especially Enid, are haunted by the past.[3] In the special features of the film adaptation, it is said to refer to the fact that the town's individuality is being encroached upon by franchises that are seen everywhere. Critical response to Ghost World was extensive: many critics praised it for its analysis of teenage life, relationships, and the decay of todays society, while others criticized it for being disconnected and morbid. Some reviews even drew comparisons to J.D. Salingers Catcher in the Rye (1950). The Village Voice stated that Clowes spells out the realities of teen angst as powerfully and authentically as Salinger did in Catcher in the Rye for an earlier generation.[4] The Guardian praised the strip's illustrations and visuals, saying it is beautifully drawn, with subtle and convincing storylines. A classic portrait of teenage life and Time magazine called it an instant classic.

Synopsis
Enid Coleslaw (her father had their surname legally changed from "Cohn" before she was born) and Rebecca (Becky) Doppelmeyer are two cynical, intelligent teenage girls who are best friends in the 1990s. They have recently graduated from high school and spend their days wandering around their unnamed town criticizing pop culture and the people they encounter while wondering what they're going to do with the rest of their lives. They are attracted to boys, in theory, but also unhappily entertain the possibility that they might be lesbians. Their friendship is very close, but as the book goes on tensions between them build, especially over Enid's plans to move away to college. They also have a quiet friend named Josh; throughout the book the two girls enjoy teasing him, but they are also attracted to him and eventually a romantic triangle of sorts forms. A section in the middle of the story features Clowes (referred to as David Clowes) in a cameo, as a cartoonist that Enid admires and with whom she is infatuated, but finds creepy and a "perv" when she actually sees him. The comic ends with Enid and Rebecca separating; while they speak half-heartedly of "getting together sometime", the easy intimacy they once knew is long gone. Rebecca is now in a relationship with Josh and seems on her way to settling into a "normal" life, while Enid, having failed to get into college, is as much of a misfit as ever and finally leaves town alone to start a new life.

Characters
Enid Coleslaw
Impulsive, cynical and bitter, the strip's lead character drifts through her life without care, criticizing almost everyone she meets. Enid Coleslaw is an 18-year-old teenager,[5] who has recently graduated from her high school, with best friend Rebecca Doppelmeyer. Enid takes an interest in playing pranks on other people, purely for her own benefit, especially a classmate named Josh who may be Enids love interest. Enid also enjoys anything morbid, forcing Josh to take her to a pornographic store, saying ...Becky and I are dying to go in there, but we can't get any boys to take us... Clowes said of Enids character When I started out I thought of her as this id creature . . . Then I realized halfway through that she was just more vocal than I was, but she has the same kind of confusion, self-doubts and identity issues that I still have -- even though she's 18 and I'm 39!".[3] Enids eventual fate in Ghost World is not explicitly shown; however, she does pack her bags and leave the city on a bus after her relationship with Rebecca ends. Some readers interpret this final section as a metaphor for suicide. This

Ghost World interpretation can be supported by a few subtle indications in the text: Norman at the bus stop, the cemetery pictured in the table of contents, Enids hearse for sale, and a panel depicting Enids father and Carol looking very mournfully at an object not pictured. However, interpretation and significance is ultimately left up to each individual reader. One extratextual factor militating against this interpretation is that Enid (as well as Rebecca) makes a cameo appearance as an old lady in Clowes's Dan Pussey collection of comics. Pussey is a self-important, nerdy superhero comics artist, and the book ends in the future as Pussey dies alone and unloved, with Rebecca and Enid as two bitter crones in his rest home going through his possessions. When they discover his stash of "silly books" (comic books), they wonder, "What would a grown man want with such foolishness?" Enid Coleslaw is also an anagram of "Daniel Clowes."

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Rebecca Doppelmeyer
Rebecca Doppelmeyer, the secondary protagonist of Ghost World is a far more passive and naive character than Enid, as she has a more mainstream personality while Enid enjoys more peculiar things in life, Rebecca enjoys things that most teenage girls of her age would take an interest in; for example, she reads a teen magazine (Sassy) that was popular among young women in the early to mid 1990s (Enid, while criticising Rebecca for owning the magazine, still peruses it), and is also sexually curious about men, having a crush on Josh. Rebecca spends much of the novel either following Enid, to whom she feels inferior, to places she has become fascinated with or listening to Enid talk about the various ins and outs of her life, usually responding in a uninterested and/or sarcastic mannerin fact, most of the time, her responses have nothing to do with what Enid is talking about. She has no particular aspiration in life, clinging to and obsessing over the past. In the end of the novel, Rebecca matures into a sensible young woman. It is made ambiguous whether she pursued a relationship with Josh.

Minor characters
Beyond Enid and Rebecca, there are many minor and recurring characters in the comic strip: Josh, a soft-spoken employee at a self-service convenience store. Both Enid and Rebecca are infatuated with him at different points in the story. Melorra, an overachieving, perky and popular classmate of Enid and Rebecca who seems to unexpectedly appear out of the blue wherever Enid and Rebecca may be. Bob Skeetes, an astrologer that early in the book is referred to as the creepy Don Knotts guy. Oomi, Rebeccas fragile old grandmother, with whom Rebecca lives. Norman, an old man who waits on a bench for a bus that never comes. Enids somewhat effeminate father and his girlfriend Carol, who resurfaces from Enid's past. Allen, or "Weird Al", the waiter at the fake 1950s diner called Hubba Hubba (the name is changed to Wowsville in the film). John Ellis, an acquaintance of Enid and Becky's, who often associates with them despite their dislike of him. John Ellis is obsessed with stereotypically "morbid" and "offensive" things, such as Nazis, serial killers, child pornography, guns, circus freaks, torture, snuff films, and so forth. He is referred to as having a zine called Mayhem which runs stories on these topics. Johnny Apeshit, a former punk rocker and heroin addict turned would-be businessman, who is famous among the girls for spray painting the word "anarchy" on Enid's dad's car. Naomi, a classmate of Enid and Rebecca, called along with Melorra by Enid, "the junior JAPs of America". Enid tells Naomi the story of her first sexual experience and suggests that the two have a casual friendship. Allen Weinstein, the boy with whom Enid had her first sexual experience. He smokes pot, listens to reggae and is interested in counter-culture as a way of rebelling against his wealthy parents. The Satanists, a middle-aged satanic couple who eat at the diner Enid frequents, Angel's. They may not actually be satanic, but rather appear that way in Enids imagination. Enid makes fun of their use of an umbrella in broad

Ghost World daylight (an umbrella can often be used as a sunshade).

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History
Ghost World was first conceived in the late 1980s and early 1990s by Daniel Clowes, when he was a teenager. Much of the comic is partially inspired by Clowes's own life, for example, Clowes moved from Los Angeles to San Francisco, and he has said that the town in the story is a visual combination of both places.[6] Most of the novel was not written in chronological order. Clowes began writing Ghost World on September 9, 1993, and stated that he created the first chapter without any plans to continue it. Clowes also credits as having drawn some inspiration from the film The World of Henry Orient, in which two curious young girls stalk a middle-aged man who is having an affair.[7] In the book, Enid and Rebecca are obsessed with various strange people in the neighborhood, including The Satanists" and a psychic named Bob Skeetes. Many readers have tried to interpret where the title Ghost World comes from; Clowes has said it comes from something he saw scrawled on a building in his Chicago neighborhood.[8] Some of the references in the book (Sassy, etc.) date the book very specifically to the 1990s, which Clowes has said was intentional. He wanted to emulate the way that throwaway cultural references in The Catcher in the Rye root the novel in a time and place. The series was a major departure for Clowes, who had previously populated Eightball with considerably more outlandish material. Clowes has said in interviews that he chose two teenage girls for his protagonists partly because he could use them to express his more cynical opinions without readers taking the characters as author surrogates.

Art work and illustration of Ghost World


Clowes has said he chose the pale blue coloring for the book because he wanted to reflect the experience of walking home in the twilight, when every house has a television on and the living rooms are bathed in a ghostly blue light. He also made various changes to the artwork between the original issues and the book collection, perhaps most notably changing Becky's face early in the story so it more closely matches her appearance at the end.

Differences between the comic book version and the graphic novel
With one exception, in which a small amount of yellow was included, the comics as they originally appeared in Eightball employed only two colors; the early chapters were in black and dark blue, then black and a lighter shade of blue later on, and black and light green for the final two chapters. The graphic novel reprint uses this light green and black color scheme throughout. The character design also changed significantly during the original run of the story, with characters' faces becoming cleaner and less detailed, indicative of a shift in Clowes's changing aesthetic in all his comics, eschewing the minute facial details that had long been one of his trademarks, for more simplified designs. The character of John Ellis, for example, had significant shading and cross-hatching on his face in the original comics, where in the book he has a simpler, uncluttered design. Another striking example is a panel on the second page of the first chapter that shows Rebecca reading a magazine. In the original comic, her eyes and chin are shaded in, her hair reaches her shoulders, and she appears to be scowling. In the graphic novel, this panel was redrawn, softening and lightening Rebecca's features. Enid's appearance was also reworked in this panel, and in several others in the first chapter of the book. The graphic novel includes five new drawings on the copyright, table of contents, acknowledgments, and other prefatory pages. These new drawings are tableaux of events in the characters' lives that take place prior to the story, including their high school graduation, and a graveyard visit, presumably either for Rebecca's parents (who are never seen or mentioned in the story, though the girl lives with her grandmother) or Enid's mother (who is similarly absent). Interestingly, the graduation scene, which shows the two girls in caps and gowns, and Enid giving the finger, was recreated in the film version.

Ghost World As with Like a Velvet Glove Cast in Iron, the chapters of the story were given names in the novel, and a table of contents was added to reflect this.

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Film adaptation
The book was made into a 2001 movie, Ghost World, directed by Terry Zwigoff (also known for his award-winning documentary about underground cartoonist Robert Crumb). Thora Birch played Enid, Scarlett Johansson played Rebecca, and Steve Buscemi played Seymour (a composite character, based on elements from the comic characters of Bob Skeetes and Bearded Windbreaker). Josh was played by Brad Renfro.

Merchandise and spin-off material


A collection of merchandise and spin-off material for Ghost World has been sold since its release, some of it still available today. This includes a three alternate versions of dolls of Enid. One is available from Fantagraphics with artwork by Clowes depicting Enid having various adventures, and comes with objects featured in the comic (such as the mask she buys from the pornographic store), another "Little Enid" from the Eightball comic, and an Enid/Rebecca pairing with the likeness of voodoo dolls. The price ranges from US$1035.

Cover art for Ghost World, the 2001 film adaptation starring Thora Birch as Enid (right) and Scarlett Johansson as Rebecca (left)

Works influenced
The comic was the influence for Aimee Mann's song "Ghost World" on her album Bachelor No. 2 (2000).[9]

Collections
Hardcover Edition: ISBN 1-56097-280-7 Fantagraphics Books (December 1, 1997) Paperback Edition: ISBN 1-56097-427-3 Fantagraphics Books; 4th edition (April 1, 2001) Paperback Edition: ISBN 1-56097-427-3 Fantagraphics Books; 13th edition (December, 2005)

References
[1] Daniel Clowes: Lloyd Llewellyn and Eightball Contents (http:/ / core. ecu. edu/ ENGL/ parillek/ dctitles. htm) [2] Amazon.com: Ghost World: Books: Daniel Clowes (http:/ / www. amazon. com/ dp/ 1560974273/ ) [3] Daniel Clowes - Ghost World - Bio at Northern State University (from archive.org) (http:/ / web. archive. org/ web/ 20071102191544/ http:/ / www. northern. edu/ hastingw/ ghost_world. html) [4] Fantagraphics Books (http:/ / www. fantagraphics. com/ artist/ clowes/ clowes. html) [5] Daniel Clowes (http:/ / www. outer-court. com/ text/ daniel_clowes. html) [6] Guardian Unlimited | Archive Search (http:/ / www. guardian. co. uk/ Archive/ Article/ 0,4273,4290067,00. html) [7] BBC - collective - daniel clowes interview (http:/ / www. bbc. co. uk/ dna/ collective/ A4500820) [8] Sperb, Jason. "Ghost Without a Machine: Enid's Anxiety of Depth(lessness) in Terry Zwigoff's Ghost World. Quarterly Review of Film and Video. 21:209-217, 2004. [9] Details Magazine - November, 1999 (http:/ / www. aimeemanninprint. com/ 1999/ dm1199. htm)

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External links
Detailed fansite for the book and film adaptation (http://www.acidlogic.com/ghostworld.htm)

Astro City
Astro City

Astro City vol. 2, #1. Art by Alex Ross. Publication information Publisher Image Comics Homage Comics Wildstorm (DC) Ongoing series Superhero 1995 present Honor Guard Creative team Writer(s) Artist(s) Kurt Busiek Alex Ross Brent Anderson Kurt Busiek and Brent Anderson Kurt Busiek Ann Huntington-Busiek John Layman Collected editions Life in the Big City Family Album Confession Tarnished Angel Local Heroes ISBN 1-56389-551-X ISBN 1-56389-552-8 ISBN 1-56389-550-1 ISBN 1-56389-663-X ISBN 1-40120-284-5

Format Genre Publication date Main character(s)

Creator(s) Editor(s)

The Dark Age Book One: Brothers and Other Strangers ISBN 9781401220778 The Dark Age Book Two: Brothers in Arms Shining Stars ISBN 9781401228439 ISBN 9781401229849

Astro City Kurt Busiek's Astro City is a comic book series centered on a fictional American city of that name. Written by Kurt Busiek, the series is co-created and illustrated by Brent Anderson with character designs and painted covers by Alex Ross. The first series debuted in August 1995, published by Image Comics, and since then has been published by Homage Comics (now part of Wildstorm Signature Series). The most recent saga in the ongoing series, The Dark Age, is a sixteen-issue story arc set in the 1970s and 1980s, a period when the citizens of Astro City are pondering the functions and motivations of super-powered individuals, and their overall positions within the community at large. The series is notorious for its sporadic publishing schedule. The Dark Age was begun in 2005 and finished its 16 issue run in May 2010, with the final four issues published monthly.

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Overview
The metro area of Astro City is a mecca for super-powered beings, largely because Air Ace, the first public super-hero and a decorated veteran, established residency there shortly after World War I. The series has established a large cast of characters, from small cameo roles of a few panels to full center stage attention spanning several issues. The series is an anthology that focuses on different characters living within Astro City, using a wide range of viewpoints. Some issues are told from the viewpoint of heroes, some from the more typical vantage point of average people, others from villains and shady criminals. Stories also vary greatly in length, from one issue to sixteen in the case of the story arc, Dark Age, whose main viewpoint remains that of Charles and Royal Williams, two brothers in their early adult years living in Astro City. As another interesting twist, this story is set in the 1970s, when some super-heroes were declining in popularity, due to general mistrust of authority figures, along with the more violent, gritty tactics that some super-heroes were practicing. Hence the notion of a "Dark Age." The essential hook of Astro City is that it explores how people both ordinary people and the heroes and villains themselves react to living in their world. For example, in the first story, Samaritan reflects on his life during a typical day in which he spends almost all of his waking hours flying around the world to help people, and never has any time to enjoy the sheer physical sensation of flight. Other stories involve a date between two high-profile heroes, the initiation of a "kid sidekick" hero, the efforts of a reformed supervillain to find a life outside of prison, a superhero being driven away from Earth by his "love's" attempts to expose him, and the life of an innocent bystander in the days after having been held hostage by a super-villain. While the focus has been on the heroes of Astro City itself, the series does mention, and at times occasionally shows, heroes from other cities such as Boston's Silversmith, Chicago's The Untouchable and New York City's Skyscraper.

The City
The city was originally called Romeyn Falls (until its rebuilding, post-World War II). At that time, it was renamed in honor of the superhero Astro-Naut, who apparently, at the cost of his own life, saved the city from an as yet unrevealed devastating disaster.

Description
Astro City is made up of numerous neighborhoods, which include the rebuilt Center City, centered around Binderbeck Plaza; Old Town; Chesler (also known as "The Sweatshop"); Shadow Hill; Bakerville; Derbyfield; Museum Row/Centennial Park; Iger Square; Kiefer Square; Kanewood; South Kanewood; Fass Gardens; Gibson Hills; and Patterson Heights. Shadow Hill, protected exclusively by the Hanged Man, is featured and focused on in many stories. Notable locations in Astro City are the Astrobank Tower, home of the Astro City Beacon, the city's warning beacon; the tower also has a statue of Air Ace in front. Other locations include Grandenetti Cathedral; the Outcault Bridge;

Astro City Bruiser's, a bar catering to heroes; Butler's, a private club for the superhero set; and Beefy Bob's, a fast-food chain. Astro City's world is also populated by additional fictional towns, as well as real ones. One other fictional town that has been shown is Buchanan Corners, a long overnight bus-ride somewhere to the east of the city. Hood County in an unspecified state. Though there is an actual Hood County in Texas, the name was chosen by Busiek because it "is another play on secret IDs; Mask County or Cowl County wouldn't have sounded right." Most of the city's physical features, neighborhoods, streets and businesses, as well as the other fictional locales in its world, are named for past individuals or characters associated with the comic book industry and comics history. For example, the nearby Alcatraz-like penitentiary, Biro Island (where Steeljack once served time) is a reference to comics creator Charles Biro, who is noted for the comics series Crime Does Not Pay.

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Characters
Some of the more prominent Heroes and Villains of Astro City are listed below; see the article on Astro City Characters for a more complete listing.

Heroes
Samaritan an extremely powerful hero and Superman analog. Time-traveler, appeared in this era in 1985; active as a hero since 1986. A current member of Honor Guard. Is sometimes referred to as "Big Red." Was the first hero in the series to receive an origin story. The Confessor a mysterious vigilante detective, apparently active from the 1950s to the mid-1990s. His history is a blur of myths and assumptions, as dark as his crime fighting methods. In the Confession arc from the second volume of the series, even his new sidekick struggles to know more about his mentor. He is eventually revealed as a vampire and killed, but his (human) sidekick takes over the role after four years of training. Crackerjack an egocentric, reckless crime-fighter, with amazing agility and a staff weapon. Active since 1991. Visually akin to screen swashbucklers and actors like Errol Flynn who portrayed them, he also reflects the disconnect that frequently existed between their sterling public persona and unappealing private behavior. He is arrogant, over-zealous, and shallow. The Hanged Man a ghostly figure who protects Shadow Hill, appearing as a floating apparition with a burlap sack over his head and a noose around his neck. Active in Astro City since the 19th century; rumored to have existed since at least the Middle Ages. The Gentleman Impeccably dressed in a tuxedo, he is a powerful, super-strong, immaculate and unfailingly-polite hero active in Astro City. His earliest known adventures began in the 1940s. He has yet to show any noticeable signs of aging. MPH "The Acceleration Ace", an African-American with super-speed and member of Honor Guard. His powers apparently come from a "15% overlay" of alien DNA. Besides his membership duties with Honor Guard, he operates in his home city of Detroit. Jack-in-the-Box a clown-themed vigilante with no known powers but agility and an arsenal of clown and toy inspired weaponry. Currently in his third incarnation. Silver Agent an armored vigilante who suffered a tragic fate, hinted at for years and finally revealed as having been convicted and executed by the law, on false evidence. Active from 1956 through the early 1970s, and via time travel, sporadically throughout millions of years into the future, and now deceased. A founding member of Honor Guard. Portrays the patriotic hero archetype. He embodies and is even named after the Silver Age of Comic Books. Winged Victory a feminist Greco-Roman themed superhero, controversial due to her habit of saving women before men regardless of the situation. Beautie a sophisticated android modelled on a popular doll.

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Villains
Bridwell Enelsian spy gathering intelligence on Earth's heroes; enamored of humanity's better instincts, but ultimately disgusted by mankind's baser ones. Name and encyclopedic knowledge based on E. Nelson Bridwell. The Conquistador (featured) a mysterious armored villain who hired villains from Kiefer Square as part of a grand scheme to gain back lost respect; secretly the disgraced hero El Hombre. The Deacon soft-spoken lord of "ordinary" organized crime in Astro City; obtained his position after murdering Astro City's premiere crime-boss, The Platypus, in the 1970s. The police have never been able to connect him with the crimes his underlings commit. The Enelsians a matriarchal alien race that invaded Earth, with Astro City as their focal point. Defeated when the Confessor sacrificed his life to expose their plan. The name of the race pays homage to comics fan and professional E. Nelson Bridwell. Infidel a slave who became an immortal mystic during the Middle Ages, and traveled through time to become a tyrant in the 36th century. Infidel became the arch-enemy of Samaritan after Samaritan's heroics changed history, erasing Infidel's future empire. Essentially a mad scientist who uses alchemy and magic to warp reality. The Junkman an aged villain seeking vengeance on society for age discrimination. Recycles and enhances his weaponry from discarded trash. The Mock Turtle a generally docile and polite man who grew up obsessed with fantasies, especially Alice in Wonderland. He eventually became a costumed criminal, employing a weaponized armor themed after the Alice character from which he drew his name. He was murdered as a part of The Conquistador's scheme, thrown off the top of a building to his death. Shirak the Devourer a shark-like demon from another dimension that attempted to invade the Earth in 1959 and 1964. Stopped in one of the first (and rather odd) missions of the newly-formed Honor Guard. The Time-Keeper a time-stopping villain from the 1940s who nearly destroyed time itself in an attempt to remove superheroes from the world.

Groups
The Apollo Eleven a group of astronauts mutated by something they came across on the moon. The Astro City Irregulars a group of outcast heroes founded by Bravo in the early to mid 1970s; its original roster also included Alligator, Skitter, Switchblade, and Umbra; Orphan was added to the membership as a result of their first case. The modern roster consists of Juice (the apparent leader), Ruby, Palmetto, Homegirl (formerly Jailbait), El Robo and Stray. The Crossbreed a group of pariah religious heroes, consisting of Noah, Daniel, Peter, Mary, David and Joshua. Stigmatized by society as "Jesus freaks." Based on biblical figures. The First Family A family of interdimensional explorers and superheroes consisting of brothers Augustus and Julius Furst, Augustus adopted children Nick and Natalie, Natalie's dinosaur-like husband Rex, and their daughter Astra. They are an analogue of the Fantastic Four. Julius Furst is named for, and as resembles, late DC Comics editor Julius Schwartz. Honor Guard the most prestigious superhero group. Founded in 1959 by Max O'Millions, its original roster also included the Silver Agent, Starwoman, Leopardman and Kitkat, the first N-Forcer, and the first Cleopatra. Other heroes who have been members include the Mermaid, El Hombre, Hummingbird, Mirage, the Living Nightmare, and Starfighter. The modern roster consists of the Black Rapier(current leader), Beautie, Cleopatra (II), M.P.H., the current N-Forcer, Quarrel (II), and Samaritan. The Unholy Alliance (featured) a group of villains led by Demolitia. Current members include Flame-thrower, Glowworm, Slamburger and Spice; apparently other villains have also been members in the past.

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Civilians
Looney Leo a cartoon lion brought to life in 1946, he was briefly the Gentleman's sidekick, then a media star, homeless bum, supervillain's pawn and recluse before becoming host of a nostalgic nightclub bearing his name in the entertainment district. Steeljack (Carl "Carlie" Donewicz) a former supervillain and member of the villain group the Terrifying Three. He is a resident of Kiefer Square who attempts to reform after serving his time. Active as a villain from about 1970 to 1978; in prison from 19781998. Later tapped by former associates to investigate the string of "Black Mask" murders. Modeled after Robert Mitchum. Charles Raymond Williams and Royal James Williams Brothers whose parents are killed in 1959 during a superhero battle. They grew up following very different paths with Charles becoming a police officer and Royal a petty criminal. They are the focus of The Dark Age four-book maxiseries.

Collected editions
The series has been collected into a number of trade paperbacks: Astro City: Life in the Big City (ISBN 1-56389-551-X, collects Astro City Vol. 1 #1-6) Astro City: Family Album (ISBN 1-56389-552-8, collects Astro City Vol. 2 #1-3, 10-13) Astro City: Confession (ISBN 1-56389-550-1, collects Astro City Vol. 2 #1/2, 4-9) Astro City: Tarnished Angel (ISBN 1-56389-663-X, collects Astro City Vol. 2 #14-20) Astro City: Local Heroes (ISBN 1401202845, collects Astro City Vol. 2 #21-22, Astro City: Local Heroes #1-5, Astro City Special: Supersonic, "Since the Fire") Astro City: The Dark Age Book One: Brothers and Other Strangers (ISBN 9781401220778, collects Astro City: The Dark Age Vol. 1 #1-4, Vol. 2 #1-4) Astro City: The Dark Age Book Two: Brothers in Arms (ISBN 1401228437, collects Astro City: The Dark Age Vol. 3 #1-4, Vol. 4 #1-4) Astro City: Shining Stars (ISBN 978-1401229849, collects Astro City: Samaritan Special, Astro City: Astra #1-2, Astro City: Silver Agent #1-2 and Astro City: Beautie #1.)

Awards
Astro City and its creators have won a number of Eisner Awards and Harvey Awards, the American comic industry's equivalent of science fiction's Hugo Awards, as well as several Comics Buyer's Guide Fan Awards. Astro City won both the Eisner and Harvey Awards for Best New Series for 1996, the Eisner for Best Continuing Series for 1997 and 1998, the Harvey for Best Continuing or Limited Series for 1998, and was a top votegetter for the Comics Buyer's Guide Fan Award for Favorite Limited Series for 1997. The earliest collection Astro City: Life in the Big City, won the Harvey Award for Best Graphic Album of Previously Published Work for 1997 and the Comics Buyer's Guide Fan Award for Favorite Reprint Graphic Novel/Album for 1997. Astro City: Confession was a top votegetter for the Comics Buyer's Guide Fan Award for Favorite Reprint Graphic Album of 1998 and 1999. Astro City: Family Album was a top votegetter for the Comics Buyer's Guide Fan Award for Favorite Reprint Graphic Album of 1999. Particular stories or storylines have also come in for honors. Astro City #1 won the 1996 Harvey for Best Single Issue or Story, while #4, "Safeguards", took the Eisner for Best Single Issue/Single Story for the same year. The 1997 and 1998 Eisners went to vol. 2, #1, "Welcome to Astro City", and vol. 2, #10, "Show 'Em All", respectively, and the 1998 Eisner for Best Serialized Story went to vol. 2, #4-9's "Confession" storyline. "Welcome to the Big City" in Volume 2 #1 was a top vote-getter for the Comics Buyer's Guide Fan Award for Favorite Comic-Book Story for 1997. The story "The Nearness of You" from the 1/2 issue received votes for the same award that year, as did the "Everyday Life" story which ran in Volume 2 issues 2 and 3. The story

Astro City "Confession" from Volume 2 issues 5-9 won the Comics Buyer's Guide Fan Award for Favorite Story for 1998. "Show 'Em All" from issue 10 was a top votegetter for the Comics Buyer's Guide Fan Award for Favorite Story for 1998. Kurt Busiek was honored with 1998's Harvey and 1999's Eisner for Best Writer, in both instances for bodies of work including Astro City. Alex Ross took both awards for Best Cover Artist in 1996, 1997, and 1998, in all instances but one for Astro City or bodies of work including it (the exception was the 1997 Harvey, awarded for Kingdom Come #1). He also took 1999's Harvey and 2000's Eisner for Best Cover Artist, again for bodies of work including Astro City.

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Other media
In July 2010, it was announced that Working Title Films had acquired the rights to make a live-action feature film adaptation of Astro City.[1] [2] Busiek will executive-produce, along with Ben Barenholtz and Jonathan Alpers. Busiek will also write a script treatment.[2] In 2003, Barenholtz, Alpers and Busiek had previously hoped to develop an Astro City movie, with Barenholtz as producer and Alpers as lead scripter,[3] but the plans did not take off,[1] whereupon Barenholtz subsequently brought the project to Working Title.[2]

Notes
[1] Fleming, Mike (July 21, 2010). "Working Title Plants Flag in Kurt Busiek's Graphic Novel 'Astro City'" (http:/ / www. deadline. com/ 2010/ 07/ working-title-plants-flag-in-kurt-busieks-graphic-novel-astro-city/ ). Deadline.com. . [2] "SDCC: Working Title Films Adapting Astro City" (http:/ / www. comingsoon. net/ news/ movienews. php?id=68144). ComingSoon.net. July 21, 2010. . [3] Rooney, David (November 19, 2003). "Panama Leo shapes up 'Astro' pic" (http:/ / www. variety. com/ article/ VR1117895971. html?categoryid=1350& cs=1). Variety. .

References
Comics Buyer's Guide Fan Awards index (http://www.hahnlibrary.net/comics/awards/cbg.php) Kurt Busiek's Astro City vol. 1 (http://www.comics.org/series/5420) at the Grand Comics Database Kurt Busiek's Astro City vol. 1 (http://comicbookdb.com/title.php?ID=2204) at the Comic Book DB Kurt Busiek's Astro City vol. 2 (http://www.comics.org/series/5651) at the Grand Comics Database Kurt Busiek's Astro City vol. 2 (http://comicbookdb.com/title.php?ID=1225) at the Comic Book DB Astro City: Local Heroes (http://www.comics.org/series/10797) at the Grand Comics Database Astro City: Local Heroes (http://comicbookdb.com/title.php?ID=1050) at the Comic Book DB Astro City: The Dark Age, Book One (http://www.comics.org/series/13437) at the Grand Comics Database Astro City: The Dark Age, Book One (http://comicbookdb.com/title.php?ID=403) at the Comic Book DB Astro City: The Dark Age, Book Two (http://www.comics.org/series/18869) at the Grand Comics Database Astro City: The Dark Age, Book Two (http://comicbookdb.com/title.php?ID=10722) at the Comic Book DB Astro City: The Dark Age, Book Three (http://www.comics.org/series/36521) at the Grand Comics Database Astro City: The Dark Age, Book Three (http://comicbookdb.com/title.php?ID=23254) at the Comic Book DB Astro City: The Dark Age, Book Four (http://www.comics.org/series/42241) at the Grand Comics Database Astro City: The Dark Age, Book Four (http://comicbookdb.com/title.php?ID=26760) at the Comic Book DB

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External links
Official website (http://www.astrocity.us) Herocopia (http://www.herocopia.com) -Astro City wiki

Charles Burns (cartoonist)


Charles Burns
Born September 27, 1955 Washington, D.C. American Cartoonist, Writer, Artist

Nationality Area(s)

Notable works Black Hole

Charles Burns (born September 27, 1955) is an American cartoonist, illustrator and film director.

Life
Burns is renowned for his meticulous, high-contrast and creepy artwork and stories. He lives in Philadelphia with his wife, painter Susan Moore, and their two young daughters Ava and Rae-Rae. His father was an oceanographer for the government. The family moved frequently, living in Colorado, Maryland and Missouri before settling in Seattle when Burns was in fifth grade.

Comics works
Charles Burns' earliest works include illustrations for the Sub Pop fanzine, and Another Room Magazine of Oakland, CA, but he came to prominence when his comics were published for the first time in early issues of RAW, the avant-garde comics magazine founded in 1980 by Franoise Mouly and Art Spiegelman. In 1982, Burns did a die-cut cover for RAW #4. Raw Books also published two books of Burns as 'RAW One-Shot': Big Baby and Hard-Boiled Defective Stories. In 1994, he was awarded a Pew Fellowships in the Arts.[1] In 1999, he showed at the Pennsylvania Academy of the Fine Arts.[2] Most of Burns' short stories, published in various supports over the decades, were later collected in the three volumes of the "Charles Burns' Library" (hardcovers from Fantagraphics Books): El Borbah (1999), Big Baby (2000), and Skin Deep (2001). (A fourth and last volume, Bad Vibes, has yet to be published, which would have the Library collecting the entirety of his pre-Black Hole comics work.) From 1993 to 2004, he serialized the 12 chapters of his Harvey Award-winning graphic novel Black Hole (12 issues from Kitchen Sink Press and Fantagraphics Books). In October 2005, he released a slightly remastered collection of Black Hole (hardcover from Pantheon Books). In 2007 Burns contributed material for the French made animated horror anthology Peur(s) Du Noir. In October 2010, Burns released the first part of a new series, X'ed Out.

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Illustration works
Burns' high-profile illustrations include work for the Iggy Pop album Brick by Brick. His art was also licensed by The Coca-Cola Company to illustrate product and advertising material for their failed OK Soda product. More recently, he has worked on advertising campaigns for Altoids and portrait illustrations for The Believer. In the early 1990s, his Dogboy stories were adapted by MTV as a live-action serial for Liquid Television. In 1991, choreographer Mark Morris commissioned him to create illustrations that were then used as a basis for his version of Tchaikovsky's Nutcracker, calling it The Hard Nut [3]. Burns's style was a source of inspiration for Martin Ander's artwork for Fever Ray, Karin Dreijer Andersson's solo project.[4]

References
[1] [2] [3] [4] http:/ / www. pcah. us/ fellowships/ artist-profile/ 1994-charles-burns/ http:/ / www. tfaoi. com/ newsm1/ n1m521. htm http:/ / www. mmdg. org/ hardnut Willens, Max (28 September 2009). "Fever Ray Likes Google Image Search, Has No Master Plan" (http:/ / blogs. villagevoice. com/ music/ archives/ 2009/ 09/ fever_ray_likes. php). The Village Voice. . Retrieved 25 March 2011.

External links
Charles Burns page at Fantagraphics (http://www.fantagraphics.com/index.php?option=com_content& task=view&id=33&Itemid=82l) - Books in print from this publisher. Brian Heater, "Interview: Charles Burns Pt. 1" (http://thedailycrosshatch.com/2008/11/10/ interview-charles-burns-pt-1-of-3/), The Daily Cross Hatch, (November 10, 2008). Charles Burns (http://lambiek.net/artists/b/burns.htm) at Lambiek's Comiclopedia Charles Burns (http://comicbookdb.com/creator.php?ID=1529) at the Comic Book DB

Art Spiegelman

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Art Spiegelman
Art Spiegelman

Born

February 15, 1948 Stockholm, Sweden American Cartoonist, Writer, Artist, Editor

Nationality Area(s)

Notable works Maus: A Survivor's Tale In the Shadow of No Towers Awards full list

Art Spiegelman (born February 15, 1948) is an American comics artist, editor, and advocate for the medium of comics, best known for his Pulitzer Prize-winning comic book memoir, Maus. His works are published with his name in lowercase: art spiegelman.

Biography
Spiegelman was born in Stockholm, Sweden,[1] to Polish Jews Vladek Spiegelman (19061982) and Anja Spiegelman (ne Zylberberg) (19121968). Spiegelman grew up in Rego Park in Queens, New York City, New York and graduated from the High School of Art and Design in Manhattan. Spiegelman attended Harpur College,[1] now Binghamton University. He did not graduate but received an honorary doctorate from there 30 years later. At Harpur, Spiegelman audited classes by the avant-garde filmmaker Ken Jacobs and became friends with him. Spiegelman has acknowledged Jacobs as one of the artists who inspired him, though he claims Harvey Kurtzman, the creator of Mad as his true spiritual father.[2] He had one brother named Richieu who died before Art was born. Richieu was caught in the conflicts of World War II and was sent to live with an aunt, Tosha, since the Zawiercie ghetto where she resided seemed safer than the Sosnowiec ghetto. When the Germans started to deport people from the Zawiercie ghetto, Tosha poisoned herself, Richieu, her own daughter (Bibi) and her niece (Lonia). (Maus, Volume 2) Art mentions in Maus that he felt like he had a sibling rivalry with a photograph, since his parents were still upset over the death of their first-born son. The second volume of Maus was dedicated to Richieu and to Spiegelman's daughter Nadja. In the late winter of 1968, he suffered a brief but intense nervous breakdown, an event occasionally referred to in his work.[3] After his release from a mental hospital, his mother, Anja, committed suicide.[4] Spiegelman was a major figure in the underground comix movement of the 1960s and 1970s, contributing to publications such as Real Pulp, Young Lust and Bizarre Sex. He co-founded a significant comics anthology publications, Arcade (with Bill Griffith) in San Francisco during the early 1970s. In 1973 he co-edited with Bob Schneider Whole Grains: A Book of Quotations, featuring the notable words of countercultural icons like Timothy Leary, Allen Ginsberg and Bob Dylan

Art Spiegelman before they got much play in such mainstream reference works as Bartlett's Familiar Quotations. The book was mistakenly racked on the "Cookbook" shelves at some bookstores. In 1976, Spiegelman moved back to New York, where he met Franoise Mouly, an architectural student on a hiatus from her studies at the Beaux-Arts in Paris. They married and he moved into her Soho loft in 1978. He lobbied to see Breakdowns, an anthology of his formal experiments in comics published around that time; it eventually came out from Belier Press to "resounding indifference".[5] Undaunted, Mouly insisted on launching a new magazine with Spiegelman, parts of which she would print on the printing press she had brought into her loft, so together they started RAW in 1980. Among many other innovative works, RAW serialized Maus, which retraces Spiegelman's parents' story as they survived the Holocaust. In 1986, he released the first volume of Maus (Maus I: A Survivor's Tale, also known as Maus I: My Father Bleeds History) The second volume, Maus II: And Here My Troubles Began followed in 1991. Maus attracted an unprecedented amount of critical attention for a work in the form of comics, including an exhibition at the Museum of Modern Art in New York and a special Pulitzer Prize in 1992.[1] Spiegelman has also worked in more commercial forums: After a summer internship (when he was 18) at Topps Bubble Gum, he was hired as a staff writer-artist-editor in Woody Gelman's Product Development Department.[6] During his 20 years with Topps, Spiegelman invented Garbage Candy (candy in the form of garbage, sold in miniature plastic garbage cans), the Wacky Packages card series, Garbage Pail Kids and countless other hugely successful novelties. He farmed out Topps work to many of his friends, such as Jay Lynch, and to his former students, such as Mark Newgarden, collaborating on some products with Lynch and Bhob Stewart. After 20 years of asking Topps to grant the creators a percentage of the profits, and after other industries (such as Marvel Comics and DC Comics) had grudgingly conceded, Topps still refused. Spiegelman, who had assigned Topps work to many of his cartoonist friends or students, left over the issue of creative ownership and ownership of artwork. In 1989 Topps auctioned off the original artwork they had accumulated over the decades and kept the profits. Hired by Tina Brown in 1992, Spiegelman worked for The New Yorker for ten years but resigned a few months after the September 11 terrorist attacks. The cover created by Spiegelman and Mouly for the September 24 issue of The New Yorker received wide acclaim and was voted in the top ten of magazine covers of the past 40 years by the American Society of Magazine Editors. At first glance, the cover appears to be totally black, but upon close examination it reveals the silhouettes of the World Trade Center towers in a slightly darker shade of black. Mouly repositioned the silhouettes so that the North Tower's antenna breaks into the "W" of the logo. The towers were printed in a fifth black ink on a black field employing standard four-color printing inks, and an overprinted clear varnish was added. In some situations, the ghost images only became visible when the magazine was tilted toward a light source.[7] Spiegelman states that his resignation from The New Yorker was to protest the "widespread conformism" in the United States media. Spiegelman is a sharp critic of the administration of former President George W. Bush and claims that the American media has become "conservative and timid." In September 2004, he released In the Shadow of No Towers, a book relating his experience of the Twin Towers attack and the psychological after-effects. Beginning fall 2005, Spiegelman's new series "Portrait of the Artist as a Young %@&*!" appeared in The Virginia Quarterly Review. In 2005, Time Magazine named Spiegelman one of their "Top 100 Most Influential People."[8] In the June 2006 edition of Harper's magazine, he published an article on the Jyllands-Posten Muhammad cartoons controversy which had occurred earlier in the year. At least one vendor, Canada's Indigo chain of booksellers, refused to sell the particular issue. Called "Drawing Blood: Outrageous Cartoons and the Art of Outrage" the article contained a survey of the sometimes dire effect of political cartooning on its creators, ranging from Honor Daumier (who was imprisoned for a satirical work) to George Grosz (who was exiled). The article raised the ire of Indigo

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Art Spiegelman because it seemed to promote the continuance of racially-motivated cartooning.[9] Spiegelman is a prominent advocate for the medium of comics. He taught courses in the history and aesthetics of comics at schools including the University of California, Santa Cruz, and the School of Visual Arts in New York. He tours the country giving a lecture he calls "Comix 101." An anthology of interviews with Spiegelman, spanning 25 years and a wide variety of printed venues, was published by University Press of Mississippi in 2007 as Art Spiegelman: Conversations. Together with Franoise Mouly, he published three hardcover anthologies of comics for children, called Little Lit, and in 2006, Big Fat Little Lit. He is an advisor for Mouly's newest publishing project, the TOON Books, a line of hardcover comics for young readers, which started publishing in 2008. Spiegelman played himself in the 2007 episode "Husbands and Knives" of The Simpsons, alongside actor Jack Black and other comic book writers Dan Clowes and Alan Moore.

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Awards
1982: Yellow Kid Award, Lucca, Italy, for Best Foreign Author [10] 1987: Inkpot Award 1988: Adamson Award, Sweden, for Maus 1988: Angoulme International Comics Festival, France, Prize for Best Comic Book, for Maus 1988: Urhunden Prize, Sweden, Best Foreign Album, for Maus 1990: Max & Moritz Prize, Erlangen, Germany, Special Prize, for Maus 1992: Pulitzer Prize Letters award, for Maus 1992: Eisner Award, Best Graphic Album (reprint), for Maus 1992: Harvey Award, Best Graphic Album of Previously Published Work, for Maus 1993: Angoulme International Comics Festival, Prize for Best Comic Book, for Maus part 2 1993: Sproing Prize, Norway, Best Foreign Album, for Maus 1993: Urhunden Prize, Best Foreign Album, for Maus part 2 1999: Eisner Award, inducted into the Hall of Fame 2011: Angoulme International Comics Festival, Grand Prix

Bibliography
Author
Breakdowns: From Maus to Now, an Anthology of Strips. Nostalgia Press, 1977. ISBN 978-0-87897-052-0 / Belier Press ISBN 978-0-914646-14-3 changed publisher between initial printing and publication Maus The Wild Party Open Me, I'm A Dog (children's book) Jack Cole and Plastic Man: Forms Stretched to Their Limits. Chronicle Books, 2001. ISBN 978-0-811-83179-6 In the Shadow of No Towers Breakdowns: Portrait of the Artist as a Young %@&*!. Pantheon, 2008. ISBN 978-0-375-42395-6

centerpiece is a facsimile reprint of Breakdowns: From Maus to Now, also contains extensive foreword and afterword Be a Nose Jack and the Box. Toon Books, 2008. ISBN 978-0-979-92383-8

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413

Editor
Arcade (with Bill Griffith) RAW (with Franoise Mouly) The Narrative Corpse The TOON Treasury of Classic Children's Comics (with Franoise Mouly). Abrams ComicArts, 2009. ISBN 978-0-810-95730-5 Lynd Ward: Six Novels in Woodcuts. New York: Library of America, 2010. ISBN 978-1-59853-082-7

Works about Spiegelman


Art Spiegelman: Comics, Essays, Graphics and Scraps: From Maus to Now to MAUS to Now Published by Sellerio Editore - La Centrale dell'Arte (1999), ISBN 978-0-915043-07-1

References
[1] Spiegelman bio, "Special Guests," New York Comic-Con program booklet (Reed Exhibitions, 2009), p. 16. [2] Indy Magazine (http:/ / 64. 23. 98. 142/ indy/ winter_2005/ chute/ index. html) [3] Gordon, Andrew (2004). "Jewish Fathers and Sons in Spiegelman's Maus and Roth's Patrimony" (http:/ / www. english. ufl. edu/ imagetext/ archives/ volume1/ issue1/ gordon/ ). ImageTexT 1 (1). Archived (http:/ / www. webcitation. org/ 5wQIez7VP) from the original on 2011-02-11. . [4] Art Spiegelman(w,a)."Prisoner on the Planet Hell" Short Order Comix1 (1972), Head Press And see Maus I: Prisoner on the Hell Planet, p. 100. [5] will add exact reference here. [6] Mint Condition: How Baseball Cards Became an American Obsession, p.116, Dave Jamieson, 2010, Atlantic Monthly Press, imprint of Grove/Atlantic Inc., New York, NY, ISBN 978-0-8021-1939-1 [7] "ASME's Top 40 Magazine Covers of the Last 40 Years", October 17, 2005. (http:/ / www. magazine. org/ ASME/ top_40_covers/ index. aspx) Archived (http:/ / www. webcitation. org/ 5wQIf5m45) 11 February 2011 at WebCite [8] "Time 100" (http:/ / www. time. com/ time/ 2005/ time100/ ). Time. April 18, 2005. Archived (http:/ / www. webcitation. org/ 5wQIfXO4j) from the original on 2011-02-11. . Retrieved April 25, 2010. [9] James Adams, "Indigo pulls controversial Harper's off the shelves" (http:/ / www. theglobeandmail. com/ servlet/ story/ RTGAM. 20060526. wxchapters27/ BNStory/ Entertainment/ home), Globe and Mail, May 27, 2006 Archived (http:/ / www. webcitation. org/ 5wQIgBo5R) 11 February 2011 at WebCite [10] Immagine-Centro Studi Iconografici. "15 SALONE, 1982" (http:/ / www. immaginecentrostudi. org/ saloni/ salone15. asp) (in Italian). Archived (http:/ / www. webcitation. org/ 5wQIgLe0i) from the original on 2011-02-11. .

External links
TOON Books (http://www.toon-books.com/), hardcover comics for beginning readers, published by Franoise Mouly, for which Spiegelman is an advisor Art Spiegelman (http://comicbookdb.com/creator.php?ID=5328) at the Comic Book DB Art Spiegelman (http://www.imdb.com/name/nm818554/) at the Internet Movie Database Official biography for Art Spiegelman at the Steven Barclay Agency (http://www.barclayagency.com/ spiegelman.html) Art Spiegelman biography (http://lambiek.net/artists/s/spiegelman.htm) on Lambiek Comiclopedia Art Directors Club biography, portrait and images of work (http://www.adcglobal.org/archive/hof/2006/ ?id=302) Audio interview on The Sound of Young America: MP3 Link (http://libsyn.com/media/tsoya/tsoya102205. mp3) Gary Groth interviews Art Spiegelman (http://tcj.com/2_archives/i_spiegelman.html) (Lengthy excerpts from The Comics Journal 180 & 181). GreenCine interviews Art Spiegelman on Comics and Film, conducted by NPR's David D'Arcy (http://www. greencine.com/article?action=view&articleID=256)

Art Spiegelman Jeff Fleischer interviews Art Spiegelman about In The Shadow of No Towers (http://motherjones.com/media/ 2004/10/shadow-no-towers) from [Mother Jones] Grant Rogers interviews Art Spiegelman about Maus and Breakdowns (http://panelborders.wordpress.com/ 2008/11/28/panel-borders-the-work-of-art-spiegelman) in a Radio interview from Resonance FM Art Spiegelman: Conversations (http://www.upress.state.ms.us/books/1036) edited by Joseph Witek, University Press of Mississippi, 2007 Art Spiegelman interviewed about graphic novelist Lynd Ward (http://www.loa.org/images/pdf/ LOA_Spiegelman_on_Ward.pdf) Kartalopoulos, Bill (Winter 2005). "Comics as Art: Spiegelman's Breakdowns" (http://web.archive.org/web/ 20080622142420/http://64.23.98.142/indy/winter_2005/breakdowns/index.html). Indy Magazine. Archived from the original (http://64.23.98.142/indy/winter_2005/breakdowns/index.html) on June 22, 2008. Excerpts from Portrait of the Artist as a Young %@?*! in the Virginia Quarterly Review: Portrait of the Artist as a Young %@?*! ( Installment #1 (http://www.vqronline.org/articles/2005/fall/spiegelman-portrait1/)) ( Installment #2 (http://www.vqronline.org/articles/2006/winter/spiegelman-portrait2/)) ( Installment #3 (http://www.vqronline.org/articles/2006/fall/spiegelman-portrait3/)) ( Installment #4 (http://www. vqronline.org/articles/2007/winter/spiegelman-portrait-4/)) Excerpts: Art Spiegelman's Breakdowns: Comic excerpts from Art Spiegelman's Breakdowns (http://thephoenix. com/Boston/Arts/72128-Excerpts-Art-Spiegelmans-Breakdowns/) in The Phoenix 2010 Interview in EXBERLINER Magazine (http://www.exberliner.com/reviews/interview-art-spiegelman/ index.html)

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Maus

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Maus
Maus

Cover of Maus: A Survivor's Tale Part I: "My Father Bleeds History" Publication information Publisher Apex Novelties Pantheon Books Autobiography, historical Comics series featuring anthropomorphism 1972 1991 Creative team Writer(s) Artist(s) Creator(s) Art Spiegelman Art Spiegelman Art Spiegelman Collected editions My Father Bleeds History ISBN 0-394-54155-3

Genre

Publication date

And Here My Troubles Began ISBN 0-394-55655-0

Maus: A Survivor's Tale, by Art Spiegelman, is a biography of the author's father, Vladek Spiegelman, a Polish Jew and Holocaust survivor. It alternates between descriptions of Vladek's life in Poland before and during the Second World War and Vladek's later life in the Rego Park neighborhood of New York City. The work is a graphic narrative in which Jews are depicted as mice, while Germans are depicted as cats. It is the only comic book ever to have won a Pulitzer Prize. The complete work was first published in two volumes: the first volume in 1986, and the second in 1991. In 1992, the work won a Pulitzer Prize Special Award. In reporting the selection of Maus for the honor, The New York Times noted that "the Pulitzer board members ... found the cartoonist's depiction of Nazi Germany hard to classify."[1]

Publication history
Maus (German for 'Mouse') took thirteen years to complete. Spiegelman's first published version of Maus was a three-page strip, printed in 1972 in Funny Aminals (cq), an underground comic published by Apex Novelties. In 1977, Spiegelman decided to lengthen the work,[2] publishing most of the work serially in RAW magazine, a publication Spiegelman co-edited along with his wife Franoise Mouly. It was then published in its final form in two parts (Volume I: "My Father Bleeds History" in 1986 and Volume II: "And Here My Troubles Began" in 1991), before eventually being integrated into a single volume.[3]

Maus

416

Overview
Art Spiegelman, wanting to record his father's (Vladek Spiegelman) history as a graphic novel, conducts a series of interviews with him over several years. Vladek tells how German policy towards Jews slowly changed in the late 1930s, and how his well-to-do family came to suffer penury, persecution, and loss of life. Vladek tried to make the most of difficult situations in Radomsko, Czstochowa, Sosnowiec, and Bielsko. Eventually, he was sent to Auschwitz as a prisoner. Between interviews, the novel records the contemporary (1970s-1980s) life of the Spiegelman family in the Rego Park neighborhood of New York City. In particular, it depicts Vladek's difficult personality and Art's attempt to make sense of it. He is exceedingly stingy and makes life very difficult for his first wife Anja (Art's mother, a concentration camp survivor who committed suicide) and his second wife Mala (also a concentration camp survivor). Art contrasts the contemporary Vladek with the historical Vladek, whom he only knows indirectly through his research. He comments about the difficulties of presenting Vladek's story accurately.

Use of animals
Throughout Maus, Jews are represented as mice, while Germans are represented as cats. Other animals are used to represent other nationalities, religions, and races. Almost all the characters of a single "nationality" were drawn identically, with only their clothing or other details helping to distinguish between them. In making people of a single nationality look "all alike", Spiegelman hoped to show the absurdity of dividing people by these lines. In a 1991 interview, Spiegelman noted that "these metaphors... are meant to self-destruct in my book and I think they do self-destruct."[4]

Impact
Since its publication, Maus has been the subject of numerous essays. Deborah R. Geis published a collection of essays involving Maus titled Considering Maus: Approaches to Art Spiegelman's "Survivor's Tale" of the Holocaust. Alan Moore praised Maus, saying "I have been convinced that Art Spiegelman is perhaps the single most important comic creator working within the field and in my opinion Maus represents his most accomplished work to date."[5] Maus has also been studied in schools and universities.[6] It is used in courses dedicated to the study of modern English literature, European History, and Jewish culture. It has been translated into 18 languages.[7] In 2008, Entertainment Weekly listed Maus as #7 on their list of The New Classics: Books - The 100 best reads from 1983 to 2008, making it the highest ranking graphic narrative on the list.[8]

Collected editions
The series has been collected into a number of volumes published by companies like Pantheon Books:

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Volume Volume I paperback hardcover Volume II paperback hardcover

Binding

ISBN 0-394-74723-2 0-394-54155-3 0-679-72977-1 0-394-55655-0 0-679-41038-4 0-679-74840-7

Hardcover boxed set two-volume hardcover set with slipcase Paperback boxed set two-volume paperback set with slipcase Complete Maus

paperback containing both volumes in one book 978-0-141-01408-1 hardcover containing both volumes in one book 978-0-679-40641-9

In the fall of 2011, Pantheon Books will publish a companion to The Complete Maus entitled Meta Maus. This is stated to explain why Spiegelman wrote Maus, why he chose certain animals, and how he was able to get his father to open up about his life and experiences. It will contain illustrations, photos, and a DVD that includes video footage of conversations and interviews with his father.[9]

Awards and nominations


Awards and nominations
Year Organisation Award Result

1986

National Book Critics Circle

National Book Critics Circle Award

Nominated

1988

Angoulme International Comics Festival Awards

Religious Award: Christian Testimony Prize for Best Comic Book: Foreign Comic Award (Maus: un survivant raconte) Foreign Album Special Prize Special Awards and Citations - Letters Best Graphic Album: Reprint (Maus II). Best Graphic Album of Previously Published Work (Maus II) National Book Critics Circle Award

Won Won Won Won Won [10]

Urhunden Prize 1990 1992 Max & Moritz Prizes Pulitzer Prize Eisner Award Harvey Award National Book Critics Circle

Won Won [11]

Nominated

1993

Los Angeles Times Angoulme International Comics Festival Awards Urhunden Prize

Book Prize for Fiction (Maus II, A Survivor's Tale) Prize for Best Comic Book: Foreign comic (Maus: un survivant raconte, part II). Foreign Album (Maus II).

Won

[12]

Won Won

Maus

418

Notes
[1] Stanley, Alessandra (April 8, 1992). "'Thousand Acres' Wins Fiction As 21 Pulitzer Prizes Are Given" (http:/ / www. nytimes. com/ books/ 98/ 04/ 05/ specials/ smiley-pulitzer. html). The New York Times. . "Art Spiegelman won a special award for his "Maus" chronicles, the history of an Auschwitz survivor told in comic book form. The Pulitzer board members, like book reviewers and book store owners before them, found the cartoonist's depiction of Nazi Germany hard to classify." (requires login) [2] "Art Spiegelman" (http:/ / sunsite. utk. edu/ witness/ artists/ spiegelman/ ) (http). Witness & Legacy - Contemporary Art about the holocaust:. . Retrieved February 14, 2006. [3] "Art Spiegelman's MAUS: Working-Through The Trauma of the Holocaust (http:/ / www2. iath. virginia. edu/ holocaust/ spiegelman. html) Retrieved May 20, 2010 [4] Bolhafner, J. Stephen (October 1991). The Comics Journal. 145. p. 96. [5] "RAW: "recommended by Alan Moore"" (http:/ / www. readyourselfraw. com/ recommended/ rec_alanmoore/ recommended_alanmoore. html). Readyourselfraw.com. . Retrieved 2010-10-04. [6] "Teaching Resources for Art Spiegelman's Maus: A Survivor's Tale" (http:/ / www. buckslib. org/ OneBook/ Maus/ unit2student. htm). Buckslib.org. 2004-07-11. . Retrieved 2010-10-04. [7] "MAUS - A Resource Guide for Readers" (http:/ / www. uta. edu/ uac/ files/ maus-readers-guide. pdf) (PDF) University of Texas, Arlington, official website. Retrieved May 20, 2010 [8] "The New Classics: Books" (http:/ / www. ew. com/ ew/ article/ 0,,20207076_20207387_20207349,00. html). Ew.com. 2008-06-27. . Retrieved 2010-10-04. [9] "Pulitzer Prize-winning Artist/Illustrator" (http:/ / www. barclayagency. com/ spiegelman. html). . [10] Pulitzer Prizes, official website (http:/ / www. pulitzer. org/ ) [11] Harvey Awards 1992 winners (http:/ / www. harveyawards. org/ awards_1992win. html) [12] Los Angeles Times website (http:/ / home. comcast. net/ ~netaylor1/ latimesfiction. html)

References
"Art Spiegelman" (http://sunsite.utk.edu/witness/artists/spiegelman/) (http). Witness & Legacy Contemporary Art about the Holocaust:. Retrieved February 14, 2006. Allen, Sara (1997). "MAUS: A Narrative History of Family and Tragedy" (http://www.georgetown.edu/ faculty/bassr/218/projects/allen/maussea1.htm) (http). Retrieved July 27, 2006. Feinstein, Stephen C.. "Witness and Legacy" (http://sunsite.utk.edu/neighborhoods/witness/essays/feinstein/ feinstein.html) (http). Witness & Legacy - Contemporary Art about the Holocaust:. Retrieved February 14, 2006. McQuade, Donald (2003). "Embodying Identity" (http://bedfordstmartins.com/seeingandwriting2e/instructor/ pdfs/mcquade_ch04.pdf) (PDF). Seeing & Writing 2. Retrieved February 14, 2006. Maso, Krzysztof. "Goebbels' Tradition in the Comic Book" (http://www.forum-znak.org.pl/index-en. php?t=przeglad&id=1020) (http). Retrieved February 14, 2006. "Maus" (http://www.nmajh.org/exhibitions/maus/maus2.html) (http). National Museum of American Jewish History. 1996. Retrieved February 14, 2006. Dooley, Michael (2005). "The Unsinkable Denis Kitchen" (http://journal.aiga.org/content. cfm?ContentAlias=_getfullarticle&aid=1239039) (http). AIGA Journal of Design. Retrieved February 14, 2006. Spiegelman, Art (1986). Maus. New York: Pantheon Books. ISBN0394747232.

External links
Teacher's guide (http://www.randomhouse.com/highschool/catalog/display.pperl?isbn=9780394747231& view=tg) at Random House Reconstructivist Art (http://kitoba.com/pedia/Reconstructivist+Art.html#maus): Maus Questions and Resources for Art Spiegelman's Maus (http://www.history.ucsb.edu/faculty/marcuse/classes/ 33d/33dTexts/maus/MausResources.htm) college study guide with archived articles Art Spiegelman's MAUS: Working Through the Trauma of the Holocaust (http://www3.iath.virginia.edu/ holocaust/spiegelman.html). In Responses to the Holocaust, U. Virginia

James Sturm

419

James Sturm
James Sturm
Born James Sturm October 8, 1965 New York City, New York American Cartoonist, Writer, Penciller, Inker, Editor, Publisher, Letterer

Nationality Area(s)

Notable works The Golem's Mighty Swing The Revival Hundreds of Feet Below Daylight Fantastic Four: Unstable Molecules Awards Eisner, Xeric

James Sturm (b. 1965 in New York City) is an American cartoonist, Xeric Award-winner,[1] and co-founder of the Center for Cartoon Studies in White River Junction, Vermont. Sturm is also the founder of The National Association of Comics Art Educators (NACAE); an organization committed to helping facilitate the teaching of comics in higher education.

Biography
Sturm became a big fan of comics as a child, starting with Peanuts. While at the University of WisconsinMadison, Sturm was pulled back into comics by a chance encounter with a neighbors box of underground comics and a copy of Mark Alan Stamaty's Macdoodle Street. In 1988, one year after graduating from UWMadison, Sturm self-published Down and Out Dawg, a book collecting his college newspaper strips, and Commix, an anthology that featured some of the first works of Chris Ware and Scott Dikkers. In 1990, Sturm was hired as a production assistant on Art Spiegelmans groundbreaking RAW magazine, and subsequently was published in the second and fourth issues of the Drawn & Quarterly anthology magazine. 1991 was extremely busy for Sturm as he received a Master of Fine Arts from the School of Visual Arts in New York, moved to Seattle and co-founded the alternative newsweekly, The Stranger. Meanwhile, Fantagraphics published his first comic book The Cereal Killings #1. During the next five years James juggled jobs as art director of The Stranger, publisher of his own Bear Bones Press, and work on his own comics, like The Revival, published in 1996. In 1997, Sturm became a professor at the Savannah College of Art and Design, in Savannah, Georgia. In 1998, Drawn & Quarterly published the story Hundreds of Feet Below Daylight, the second in Sturm's trilogy of American historical fiction pieces. Two years later came the last installment of the trilogy, the best-selling and award-winning graphic novel The Golem's Mighty Swing. This book went on to be printed in three languages, earned praise from such publications as The Sunday Observer, Entertainment Weekly, and The Washington Post Book World, and was chosen as the Best Graphic Novel of 2000 by Time. In 2004, Drawn & Quarterly collected Hundreds of Feet Below Daylight and The Revival as a deluxe comic book titled Above & Below. In October 2007, the trilogy was collected in a volume entitled James Sturm's America: God, Gold, and Golems. In the 1970s, James saw an interview with Stan Lee on Wonderama, a show on WPIX-TV, and the next day he went out and bought a Fantastic Four Marvel comic book. In 2003, James got the chance to write Fantastic Four: Unstable Molecules, a four-issue series (later released as a trade paperback) featuring characters based on the Fantastic Four and published by Marvel Comics. Unstable Molecules went on to win an Eisner Award for Best Limited Series.

James Sturm In 2004, Sturm and Michelle Ollie founded the Center for Cartoon Studies, with its first classes offered in the fall of 2005. On April 7, 2010, Sturm announced he was "quitting the Internet" and, ironically, will write and draw about it for Slate Magazine[2] Sturm, his wife, and their two daughters live in White River Junction, Vermont.

420

Awards
2004: Won "Best Limited Series" Eisner Award, for Fantastic Four: Unstable Molecules, with Guy Davis[3]

Bibliography
(writer and artist unless otherwise noted) Above and Below: Two Stories of the American Frontier (Autumn 2004)[4] Aesop's Fables #2 (Fall 1991), Fantagraphics Books, story "The Lion and the Mouse"[4] The Cereal Killings #18 (March 1992September 1995), Fantagraphics Books[4] Drawn & Quarterly #2 (October 1990), Drawn and Quarterly, story "Friday Night"[4] Drawn & Quarterly #3 (January 1991), Drawn and Quarterly, story "Signs of the Times"[4] Drawn & Quarterly #4 (March 1991), Drawn and Quarterly, story "Ring"[4] Market Day (2010), Drawn and Quarterly ISBN 1897299974 The Golem's Mighty Swing (July 2001), Drawn and Quarterly[4] The Revival (1996), Bear Bones Press[4] Satchel Paige: Striking Out Jim Crow (2007), Hyperion/Jump at the Sun (script only)[4] Startling Stories: Fantastic Four - Unstable Molecules #14 (MarchJune 2003), Marvel Comics (script and layouts only)[4]

Notes
[1] [2] [3] [4] Xerix Awards 1996 (http:/ / www. xericfoundation. org/ comicbooks/ 1996. html) Sturm, James. "I'm Quitting the Internet," (http:/ / www. slate. com/ id/ 2249562/ entry/ 0/ ) Slate (April 7, 2010). 2004 Will Eisner Comic Industry Award Nominees and Winners (http:/ / www. hahnlibrary. net/ comics/ awards/ eisner04. php) "Search Results for 'James Sturm'" (http:/ / www. comics. org/ credit/ name/ James Sturm/ sort/ chrono/ ). Grand Comics Database. . Retrieved 3 May 2010.

References
James Sturm (http://www.comics.org/search.lasso/?sort=chrono&query=James+Sturm&type=credit) at the Grand Comics Database James Sturm (http://comicbookdb.com/creator.php?ID=2909) at the Comic Book DB

External links
James Sturm (http://www.cartoonstudies.org/jamessturm.html) at the Center for Cartoon Studies James Sturm (http://lambiek.net/artists/s/sturm_jame.htm) at Lambiek Comiclopedia Read Yourself Raw profile (http://www.readyourselfraw.com/profiles/sturm/profile_sturm.htm) Drawing on Life (http://www.jewishjournal.com/arts/article/drawing_on_life_20010713/), JewishJournal review of The Golem's Mighty Swing

Jeet Heer's examination of the CCS (http://www.jeetheer.com/comics/sturm.htm), originally published in Boston Globe Ideas

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421

Interviews
Booklist Online interview (http://www.booklistonline.com/default.aspx?page=show_product&pid=2428627) Entering James Sturm's America (http://forum.newsarama.com/showthread.php?t=105247), Newsarama, March 15, 2007 Excerpt from The Comics Journal interview (http://www.tcj.com/251/i_sturm.html)

Fun Home

422

Fun Home
Fun Home: A Family Tragicomic

Cover of the hardback edition Author(s) Cover artist Country Language Genre(s) Publisher Alison Bechdel Alison Bechdel United States English Graphic novel, Memoir Houghton Mifflin (hardcover); Mariner Books (paperback) June 8, 2006 Print (hardcover, paperback) 240 p. ISBN 0-618-47794-2 (hardcover); ISBN 0-618-87171-3 (paperback) 62127870 [1]

Publication date Media type Pages ISBN

OCLC Number Dewey Decimal

741.5/973 22

LC Classification PN6727.B3757 Z46 2006

Fun Home (subtitled A Family Tragicomic) is a 2006 graphic memoir by American writer Alison Bechdel, author of the comic strip Dykes to Watch Out For. It chronicles the author's childhood and youth in rural Pennsylvania, USA, focusing on her complex relationship with her father. The book addresses themes of sexual orientation, gender roles, suicide, dysfunctional family life, and the role of literature in understanding oneself and one's family. Writing and illustrating Fun Home took seven years, in part because of Bechdel's laborious artistic process, which includes photographing herself in poses for each human figure.[2] [3] [4] [5] Fun Home has been both a popular and critical success, and spent two weeks on the New York Times Best Seller list.[6] [7] In The New York Times Sunday Book Review, Sean Wilsey called it "a pioneering work, pushing two genres (comics and memoir) in multiple new directions."[8] Several publications named Fun Home as one of the best books of 2006; it was also included in several lists of the best books of the 2000s.[9] It was nominated for several awards, including the National Book Critics Circle Award and three Eisner Awards (one of which it won).[9] [10] A French translation of Fun Home was serialized in the newspaper Libration; the book was an official selection of the Angoulme International Comics Festival and has been the subject of an academic conference in France.[11] [12] [13]

Fun Home Fun Home has been the subject of numerous academic publications in areas such as biography studies and cultural studies, as part of a larger turn towards serious academic investment in the study of comics/sequential art.[14] Fun Home also generated controversy: a public library in Missouri removed Fun Home from its shelves for five months after local residents objected to its contents.[15] [16]

423

Plot and thematic summary


The narrative of Fun Home is non-linear and recursive.[17] Incidents are told and re-told in the light of new information or themes.[18] Bechdel describes the structure of Fun Home as a labyrinth, "going over the same material, but starting from the outside and spiraling in to the center of the story."[19] In an essay on memoirs and truth in the academic journal PMLA, Nancy K. Miller explains that as Bechdel revisits scenes and themes "she re-creates memories in which the force of attachment generates the structure of the memoir itself."[20] Additionally, the memoir derives its structure from allusions to various works of literature, Greek myth and visual arts; the events of Bechdel's family life during her childhood and adolescence are presented through this allusive lens.[17] Miller notes that the narratives of the referenced literary texts "provide clues, both true and false, to the mysteries of

A panel from Fun Home. Bruce (left) and Alison Bechdel

family relations."[20] The memoir focuses on Bechdel's family, and is centered around her relationship with her father, Bruce. Bruce Bechdel was a funeral director and high school English teacher in Beech Creek, where Alison and her siblings grew up. The book's title comes from the family nickname for the funeral home, the family business in which Bruce Bechdel grew up and later worked; the phrase also refers ironically to Bruce Bechdel's tyrannical domestic rule.[21] Bruce Bechdel's two occupations are reflected in Fun Home's focus on death and literature.[22] In the beginning of the book, the memoir exhibits Bruce Bechdel's obsession with restoring the family's Victorian home.[22] His obsessive need to restore the house is connected to his emotional distance from his family, which he expressed in coldness and occasional bouts of abusive rage.[22] [23] This emotional distance, in turn, is connected with his closeted homosexual tendencies.[24] Bruce Bechdel had homosexual relationships in the military and with his high school students; some of those students were also family friends and babysitters.[25] At the age of 44, two weeks after his wife requested a divorce, he stepped into the path of an oncoming Sunbeam Bread truck and was killed.[26] Although the evidence is equivocal, Alison Bechdel concludes that her father committed suicide.[22] [27]
[28]

The story also deals with Alison Bechdel's own struggle with her sexual identity, reaching a catharsis in the realization that she is a lesbian and her coming out to her parents.[22] [29] The memoir frankly examines her sexual development, including transcripts from her childhood diary, anecdotes about masturbation, and tales of her first sexual experiences with her girlfriend, Joan.[30] In addition to their common homosexuality, Alison and Bruce Bechdel share obsessive-compulsive tendencies and artistic leanings, albeit with opposing aesthetic senses: "I was Spartan to my father's Athenian. Modern to his Victorian. Butch to his nelly. Utilitarian to his aesthete."[31] This opposition was a source of tension in their relationship, as both tried to express their dissatisfaction with their given gender roles: "Not only were we inverts, we were inversions of each other. While I was trying to compensate for something unmanly in him, he was attempting to express something feminine through me. It was a war of cross-purposes, and so doomed to perpetual escalation."[32] However, shortly before Bruce Bechdel's death, he and his daughter have a conversation in which Bruce confesses some of his sexual history; this is presented as a partial resolution to the conflict between father and daughter.[33]

Fun Home At several points in the book, Bechdel questions whether her decision to come out as a lesbian was one of the triggers for her father's suicide.[20] [34] This question is never answered definitively, but Bechdel closely examines the connection between her father's closeted sexuality and her own open lesbianism, revealing her debt to her father in both positive and negative lights.[20] [22] [28]

424

Themes
Fun Home had several themes recurring throughout the book. The biggest theme, arguably, is sexual orientation. Bechdel tells the readers of her journey of discovering her own sexuality through books. "My realization at nineteen that I was a lesbian came about in a manner consistent with my bookish upbringing.""[35] Her exposure (from reading literal definitions in dictionaries, reading interviews of others like her, etc.) helped her come to terms with her sexuality, but in truth, the hints of it plagued her childhood: her desire "for the right to exchange [her] tank suit for a pair of shorts" in Cannes"[36] or her desire for her brothers to call her Albert instead of Alison on one camping trip ".[37] However, Bechdel also reveals that she wasn't alone in her choice of partners; her father also exhibited some homosexual behaviors, but in a different way than Alison. "I'd been upstaged, demoted from protagonist in my own drama to comic relief in my parents' tragedy" quoted on page 58 when her mother reveals Bechdel's father's secret. Though both, father and daughter, had similar situations (Bechdel was a lesbian while her father was gay or bisexual), the two handled their issues differently. Bechdel chose to accept the fact and not hide from the issue, taking a female partner and going to "gay union" meetings. Bechdel was open about her sexuality before she'd even been in a same-sex relationship (of any sort). Her father, on the other hand, had had countless affairs with men but wasn't open about it ".[38] This may be due to homophobia (his and/or others'), or because he was married with a family. In any case, it's clear that he's afraid of coming out, as illustrated by "the fear in his eyes" when the conversation topic is dangerously close to homosexuality ".[39] In addition to sexual orientation, the memoir touches on the theme of gender identity. Bechdel had viewed her father as "a big sissy""[40] while her father tried constantly tried to change his daughter into a more feminine person throughout her childhood. Through the exhibition of various feminine behaviors of Bechdel's father and various masculine behaviors of Bechdel, we see how the two are opposite of each other, opposite of each of their sex's roles, yet the same in their opposition. The third, underlying theme of death is also portrayed. Though there is debate as to whether Bechdel's father's death was an accident or suicide, she thinks it much more likely that he killed himself ".[41] Whether this was because of his own sexuality or Bechdel's (or some other cause) remains unclear.

Allusions
The allusive references used in Fun Home are not merely structural or stylistic: Bechdel writes, "I employ these allusions ... not only as descriptive devices, but because my parents are most real to me in fictional terms. And perhaps my cool aesthetic distance itself does more to convey the Arctic climate of our family than any particular literary comparison."[42] Bechdel, as the narrator, considers her relationship to her father through the myth of Daedalus and Icarus.[43] As a child, she confused her family and their Gothic Revival home with the Addams Family seen in the cartoons of Charles Addams.[44] Bruce Bechdel's suicide is discussed with reference to Albert Camus' novel A Happy Death and essay The Myth of Sisyphus.[45] His careful construction of an aesthetic and intellectual world is compared to The Great Gatsby by F. Scott Fitzgerald, and the narrator suggests that Bruce Bechdel modeled elements of his life after Fitzgerald's, as portrayed in the biography The Far Side of Paradise.[46] His wife Helen is compared with the protagonists of the Henry James novels Washington Square and The Portrait of a Lady.[47] Helen Bechdel was an amateur actress, and plays in which she acted are also used to illuminate aspects of her marriage. She met Bruce Bechdel when the two were appearing in a college production of The Taming of the Shrew, and Alison Bechdel intimates that this was "a harbinger of my parents' later marriage".[48] Helen Bechdel's role as Lady Bracknell in a local production of The Importance of Being Earnest is shown in some detail; Bruce Bechdel is

Fun Home compared with Oscar Wilde.[49] His homosexuality is also examined with allusion to Marcel Proust's In Search of Lost Time.[50] The father and daughter's artistic and obsessive-compulsive tendencies are discussed with reference to E. H. Shepard's illustrations for The Wind in the Willows.[51] Bruce and Alison Bechdel exchange hints about their sexualities by exchanging memoirs: the father gives the daughter Earthly Paradise, an autobiographical collection of the writings of Colette; shortly afterwards, in what Alison Bechdel describes as "an eloquent unconscious gesture", she leaves a library copy of Kate Millett's memoir Flying for him.[52] Finally, returning to the Daedalus myth, Alison Bechdel casts herself as Stephen Dedalus and her father as Leopold Bloom in James Joyce's Ulysses, with parallel references to the myth of Telemachus and Odysseus.[53] In addition to the literary allusions which are explicitly acknowledged in the text, Bechdel incorporates visual allusions to television programs and other items of pop culture into her artwork, often as images on a television in the background of a panel.[24] These visual references include the film It's a Wonderful Life, Bert and Ernie of Sesame Street, the Smiley Face, Yogi Bear, Batman, the Road Runner and Wile E. Coyote, the resignation of Richard Nixon and The Flying Nun.[24] [54]

425

Characters
In Order of appearance:

Main characters
Alison Bechdel (Narrator and Author): In the book, Alison shows the reader different times in her and her father's life ; she does this starting from her and her father playing when she was just a little girl all the way to her adulthood. During the story, she talks about her strangled relationship with her father and her confusion as to why she believes that he killed himself. In the book, she also shows flashes of her personality, like her case of OCD. An important scene in the book is when she comes out to her parents. This is an emotional point in her life because she realizes she's doing the exact opposite of what her father had done.[55] Bruce Bechdel: Bruce is the father of Alison and her two brothers and was married to his wife Helen. While the book is based on Alison's life, it is emotionally centered on her father. During the book, Alison talks about her relationship with her father and what she believed were the physical causes and the underlying thoughts in her father's head before his death. In the book, it talks about how he had been having affairs with men ever since he was in the military. He was a closet homosexual and had never openly admitted to it to his family, causing much emotional strife. He was an English teacher, an actor, and a Funeral Director at Beech Creek. Throughout the book, it shows how he loved the book The Great Gatsby by F. Scott Fitzgerald and admires and strives to be like the main character in the book, Jay Gatsby. This was symbolic because at many points of the memoir Alison would come up with stunningly similar comparisons between the two men's lives. He would be seen doing work on the family's home to bring it back to the state that it once was. Two weeks after he has his divorce with his ex-wife, he is hit by a truck by the side of the road. Everyone but his daughter thought it was an accident while she thought it was suicide. Helen Bechdel: Helen is the wife of Bruce and the mother of Alison. She appears throughout the book, sometimes giving Alison guidance. She is an actor, a writer, and an English teacher. In the book, she was shocked to find out that her daughter was gay and even grow upset over it. In the book her discontent with her uneventful life was shown in her progression through life through Alison's speculations.

Fun Home

426

Minor Characters
Joan: Joan was Alison's first girlfriend. Alison meets her in college while experimenting with her sexuality. She was Alison's first experience. Roy: Roy was one of Bruce's "friends" that would come over to help him around the house. Roy was really one of the affairs that Bruce had. He was also the babysitter.

Artwork
Fun Home is drawn in black line art with a gray-green ink wash.[3] Sean Wilsey wrote that Fun Home's panels "combine the detail and technical proficiency of R. Crumb with a seriousness, emotional complexity and innovation completely its own."[8] Writing in the Gay & Lesbian Review Worldwide, Diane Ellen Hamer contrasted "Bechdel's habit of drawing her characters very simply and yet distinctly" with "the attention to detail that she devotes to the background, those TV shows and posters on the wall, not to mention the intricacies of the funeral home as a recurring backdrop."[24] Bechdel told an interviewer for The Comics Journal that the richness of each panel of Fun Home was very deliberate: It's very important for me that people be able to read the images in the same kind of gradually unfolding way as they're reading the text. I don't like pictures that don't have information in them. I want pictures that you have to read, that you have to decode, that take time, that you can get lost in. Otherwise what's the point?[56] Bechdel wrote and illustrated Fun Home over a seven-year period.[2] Her meticulous artistic process made the task of illustration slow. She began each page by creating a framework in Adobe Illustrator, on which she placed the text and drew rough figures.[3] [4] She used extensive photo reference and, for many panels, posed for each human figure herself, using a digital camera to record her poses.[3] [4] [5] [28] Bechdel also used photo reference for background elements. For example, to illustrate a panel depicting fireworks seen from a Alison Bechdel took photographs of herself posing as each character, to use as reference in Greenwich Village rooftop on July 4, 1976, she used Google Images to her drawing. Here, she poses for a drawing of her find a photograph of the New York skyline taken from that particular father. building in that period.[4] [57] [58] She also painstakingly copied by hand many family photographs, letters, local maps and excerpts from her own childhood journal, incorporating these images into her narrative.[57] After using the reference material to draw a tight framework for the page, Bechdel copied the line art illustration onto plate finish Bristol board for the final inked page, which she then scanned into her computer.[3] [4] The gray-green ink wash for each page was drawn on a separate page of watercolor paper, and combined with the inked image using Photoshop.[3] [4] [28] Bechdel chose the greenish wash color for its flexibility, and because it had "a bleak, elegiac quality" which suited the subject matter.[59] Bechdel attributes this detailed creative process to her "barely controlled obsessive-compulsive disorder".[57] [60]

Publication and reception


Fun Home was first printed in hardcover by Houghton Mifflin (Boston, New York) on June 8, 2006.[61] This edition appeared on the New York Times' Hardcover Nonfiction bestseller list for two weeks, covering the period from June 18 to July 1, 2006.[6] [7] It continued to sell well, and by February 2007 there were 55,000 copies in print.[62] A trade paperback edition was published in the United Kingdom by Random House under the Jonathan Cape imprint on September 14, 2006; Houghton Mifflin published a paperback edition under the Mariner Books imprint on June 5, 2007.[63] [64]

Fun Home

427 In the summer of 2006, a French translation of Fun Home was serialized in the Paris newspaper Libration (which had previously serialized Persepolis by Marjane Satrapi).[11] This translation, by Corinne Julve and Lili Sztajn, was subsequently published by ditions Denol on October 26, 2006.[65] In January 2007, Fun Home was an official selection of the Angoulme International Comics Festival.[12] In the same month, the Anglophone Studies department of the Universit Franois Rabelais, Tours sponsored an academic conference on Bechdel's work, with presentations in Paris and Tours.[13] At this conference, papers were presented examining Fun Home from several perspectives: as containing "trajectories" filled with paradoxical tension; as a text interacting with images as a paratext; and as a search for meaning using drag as a metaphor.[66] [67] [68] These papers and others on Bechdel and her work were later published in the peer-reviewed journal GRAAT (Groupe de Recherches Anglo-Amricaines de Tours, or Tours Anglo-American Research Group).[69] [70]

An Italian translation was published by Rizzoli in January 2007.[71] [72] In Brazil, Conrad Editora published a Portuguese translation in [73] 2007. A German translation was published by Kiepenheuer & Witsch in January 2008.[74] The book has also been translated into Hungarian, Korean, and Polish,[75] and a Chinese translation has been scheduled for publication.[76] In October 2006, a resident of Marshall, Missouri attempted to have Fun Home and Craig Thompson's Blankets, both graphic novels, removed from the city's public library.[77] Supporters of the books' removal characterized them as "pornography" and expressed concern that they would be read by children.[15] [78] Marshall Public Library Director Amy Crump defended the books as having been well-reviewed in "reputable, professional book review journals," and characterized the removal attempt as a step towards "the slippery slope of censorship".[77] [78] On October 11, 2006, the library's board appointed a committee to create a materials selection policy, and removed Fun Home and Blankets from circulation until the new policy was approved.[79] [80] The committee "decided not to assign a prejudicial label or segregate [the books] by a prejudicial system", and presented a materials selection policy to the board.[81] [82] On March 14, 2007, the Marshall Public Library Board of Trustees voted to return both Fun Home and Blankets to the library's shelves.[16] Bechdel described the attempted banning as "a great honor", and described the incident as "part of the whole evolution of the graphic-novel form."[83] In 2008, an instructor at the University of Utah placed Fun Home on the syllabus of a mid-level English course, "Critical Introduction to English Literary Forms".[84] One student objected to the assignment, and was given an alternate reading in accordance with the university's religious accommodation policy.[84] The student subsequently contacted a local organization called "No More Pornography", which started an online petition calling for the book to be removed from the syllabus.[85] Vincent Pecora, the chair of the university's English department, defended Fun Home and the instructor.[85] The university said that it had no plans to remove the book.[85] Fun Home has been chosen by Brandeis University for their 2015 class as its freshman entry novel, amidst much praise and critical acclaim for its memoir style and teachings of what has been considered by others to be explicit content.

The French edition of Fun Home, published by ditions Denol

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428

Reviews and awards


Fun Home was positively reviewed in many publications. The Times of London described Fun Home as "a profound and important book;" Salon.com called it "a beautiful, assured piece of work;" and The New York Times ran two separate reviews and a feature on the memoir.[8] [22] [86] [87] [88] In one New York Times review, Sean Wilsey called Fun Home "a pioneering work, pushing two genres (comics and memoir) in multiple new directions" and "a comic book for lovers of words".[8] Jill Soloway, writing in the Los Angeles Times, praised the work overall but commented that Bechdel's reference-heavy prose is at times "a little opaque".[89] Similarly, a reviewer in The Tyee felt that "the narrator's insistence on linking her story to those of various Greek myths, American novels and classic plays" was "forced" and "heavy-handed".[58] By contrast, the Seattle Times' reviewer wrote positively of the book's use of literary reference, calling it Alison Bechdel at a London signing for Fun "staggeringly literate".[90] The Village Voice said that Fun Home Home "shows how powerfullyand economicallythe medium can portray autobiographical narrative. With two-part visual and verbal narration that isn't simply synchronous, comics presents a distinctive narrative idiom in which a wealth of information may be expressed in a highly condensed fashion."[17] Several publications listed Fun Home as one of the best books of 2006, including The New York Times, Amazon.com, The Times of London, New York magazine and Publishers Weekly, which ranked it as the best comic book of 2006.[91] [92] [93] [94] [95] [96] Salon.com named Fun Home the best nonfiction debut of 2006, admitting that they were fudging the definition of "debut" and saying, "Fun Home shimmers with regret, compassion, annoyance, frustration, pity and loveusually all at the same time and never without a pervasive, deeply literary irony about the near-impossible task of staying true to yourself, and to the people who made you who you are."[97] Entertainment Weekly called it the best nonfiction book of the year, and Time named Fun Home the best book of 2006, describing it as "the unlikeliest literary success of 2006" and "a masterpiece about two people who live in the same house but different worlds, and their mysterious debts to each other."[98] [99] Fun Home was a finalist for the 2006 National Book Critics Circle Award, in the memoir/autobiography category.[100] [101] In 2007, Fun Home won the GLAAD Media Award for Outstanding Comic Book, the Stonewall Book Award for non-fiction, the Publishing Triangle-Judy Grahn Nonfiction Award, and the Lambda Literary Award in the "Lesbian Memoir and Biography" category.[102] [103] [104] [105] Fun Home was nominated for the 2007 Eisner Awards in two categories, Best Reality-Based Work and Best Graphic Album, and Bechdel was nominated as Best Writer/Artist.[106] Fun Home won the Eisner for Best Reality-Based Work.[10] In 2008, Entertainment Weekly placed Fun Home at #68 in its list of "New Classics" (defined as "the 100 best books from 1983 to 2008").[107] The Guardian included Fun Home in its series "1000 novels everyone must read", noting its "beautifully rendered" details.[108] In 2009, Fun Home was listed as one of the best books of the previous decade by The Times of London, Entertainment Weekly and Salon.com, and as one of the best comic books of the decade by The Onion's A.V. Club.[9]
[109]

In 2010, the Los Angeles Times literary blog "Jacket Copy" named Fun Home as one of "20 classic works of gay literature".[110]

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429

References
[1] http:/ / worldcat. org/ oclc/ 62127870 [2] Emmert, Lynn (April 2007). "Life Drawing" (http:/ / www. tcj. com/ index. php?option=com_content& task=view& id=598& Itemid=48). The Comics Journal (Seattle, Washington: Fantagraphics Books) (282): 36. . Retrieved August 6, 2007. [3] Emmert, Lynn (April 2007). "Life Drawing". The Comics Journal (Seattle, Washington: Fantagraphics Books) (282): 4448. Print edition only. [4] Harrison, Margot (May 31, 2006). "Life Drawing" (http:/ / www. sevendaysvt. com/ features/ 2006/ life-drawing. html). Seven Days. . Retrieved August 7, 2007. [5] Bechdel, Alison (April 18, 2006). "OCD" (http:/ / www. youtube. com/ watch?v=_CBdhxVFEGc) (video). YouTube. . Retrieved August 8, 2007. [6] "Hardcover Nonfiction" (http:/ / www. nytimes. com/ 2006/ 07/ 09/ books/ bestseller/ 0709besthardnonfiction. html?ex=1155096000& en=aaca93d5bcae9024& ei=5070) (free registration required). The New York Times. July 9, 2006. . Retrieved December 18, 2006. [7] "Hardcover Nonfiction" (http:/ / www. nytimes. com/ 2006/ 07/ 16/ books/ bestseller/ 0716besthardnonfiction. html?ex=1155096000& en=516fbdccced8ce0c& ei=5070) (free registration required). The New York Times. July 16, 2006. . Retrieved December 18, 2006. [8] Wilsey, Sean (June 18, 2006). "The Things They Buried" (http:/ / www. nytimes. com/ 2006/ 06/ 18/ books/ review/ 18wilsey. html?ex=1155009600& en=491c2ec2373a9fee& ei=5070) (free registration required). Sunday Book Review (The New York Times). . Retrieved August 7, 2006. [9] Bechdel, Alison. "News and Reviews" (http:/ / dykestowatchoutfor. com/ news). dykestowatchoutfor.com. . Retrieved December 14, 2009. [10] "The 2007 Eisner Awards: Winners List" (http:/ / www. comic-con. org/ cci/ cci_eisners_07win. shtml). San Diego Comic-Con website. . Retrieved July 31, 2007. [11] Bechdel, Alison (July 26, 2006). "Tour de France" (http:/ / dykestowatchoutfor. com/ tour-de-france). Blog. . Retrieved August 8, 2007. [12] "Official 2007 Selection" (http:/ / web. archive. org/ web/ 20070715052051/ http:/ / www. bdangouleme. com/ prixJury/ index. ideal?action=nommes& annee=2007& id=10& voir=tout). Angoulme International Comics Festival. Archived from the original (http:/ / www. bdangouleme. com/ prixJury/ index. ideal?action=nommes& annee=2007& id=10& voir=tout) on July 15, 2007. . Retrieved August 8, 2007. [13] Cherbuliez, Juliette (January 25, 2007). "There's No Place like (Fun) Home" (http:/ / www. transatlantica. org/ document1227. html). Transatlantica. . Retrieved August 8, 2007. [14] e.g. Tolmie, Jane (2009). Modernism, Memory and Desire: Queer Cultural Production in Alison Bechdels Fun Home. Topia: Canadian Journal of Cultural Studies. 22: 77-96; Watson, Julia (2008). Autographic Disclosures and Genealogies of Desire in Alison Bechdels Fun Home (http:/ / muse. jhu. edu/ login?uri=/ journals/ biography/ v031/ 31. 1. watson. html). Biography. 31.1: 27-58. [15] Twiddy, David (November 14, 2006). "As more graphic novels appear in libraries, so do challenges" (http:/ / www. iht. com/ articles/ ap/ 2006/ 11/ 14/ arts/ NA_A-E_BKS_US_Banned_Graphic_Novels. php). Associated Press. International Herald Tribune. . Retrieved August 14, 2007. [16] Harper, Rachel (March 15, 2007). "Library board approves new policy/Material selection policy created, controversial books returned to shelves" (http:/ / www. marshallnews. com/ story/ 1193923. html). The Marshall Democrat-News. . Retrieved March 15, 2007. [17] Chute, Hillary (July 11, 2006). "Gothic Revival" (http:/ / www. villagevoice. com/ books/ 0628,chute,73800,10. html). The Village Voice. . Retrieved August 7, 2006. [18] Deppey, Dirk (January 17, 2007). "12 Days" (http:/ / tcj. com/ index. php?option=com_content& task=view& id=510& Itemid=70). The Comics Journal. . Retrieved August 16, 2007. [19] Bechdel, Alison (Interviewee), Seidel, Dena (Editor). (2008) (Flash video). Alison Bechdel's Graphic Narrative (http:/ / wh. rutgers. edu/ index. php?option=com_content& view=article& id=140:alison-bechdels-graphic-narrative& catid=52:warVideos& Itemid=91). [Web video]. New Brunswick, New Jersey: Rutgers University Writers House. Event occurs at 04:57. . Retrieved April 16, 2008. [20] Miller, Nancy K. (March 2007). "The Entangled Self: Genre Bondage in the Age of the Memoir" (http:/ / www. mlajournals. org/ doi/ abs/ 10. 1632/ pmla. 2007. 122. 2. 537) (subscription required for online access). PMLA 122 (2): 543544. doi:10.1632/pmla.2007.122.2.537. ISSN0030-8129. . Retrieved August 16, 2007. [21] Bechdel, Alison (2006). Fun Home: A Family Tragicomic. New York: Houghton Mifflin. p.36. ISBN0-618-47794-2. [22] Gustines, George Gene (June 26, 2006). "'Fun Home': A Bittersweet Tale of Father and Daughter" (http:/ / www. nytimes. com/ 2006/ 06/ 26/ books/ 26gust. html?ex=1155009600& en=88647dc021a0b412& ei=5070) (free registration required). The New York Times. . Retrieved August 7, 2006. [23] Bechdel, Fun Home, pp. 11, 18, 21, 6869, 71. [24] Hamer, Diane Ellen (May 2006). "My Father, My Self" (http:/ / www. glreview. com/ issues/ 13. 3/ 13. 3-hamer. php). Gay & Lesbian Review Worldwide 13 (3): 37. ISSN1532-1118. . Retrieved August 16, 2007. [25] Bechdel, Fun Home, pp. 5859, 61, 71, 79, 9495, 120. [26] Bechdel, Fun Home, pp. 2730, 59, 85. [27] Bechdel, Fun Home, pp. 23, 2729, 89, 116117, 125, 232. [28] Bechdel, Alison. Interview with Michelle Paradise. Alison Bechdel: Comic Con 2007 (http:/ / www. velvetparkmagazine. com/ blogit/ ) (Flash Video). Velvetpark website video.Retrieved on August 24, 2007.

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[29] [30] [31] [32] [33] [34] [35] [36] [37] [38] [39] [40] [41] [42] [43] [44] [45] [46] [47] [48] [49] [50] Bechdel, Fun Home, pp. 58, 7481, Bechdel, Fun Home, pp. 76, 8081, 140143, 148149, 153, 157159, 162, 168174, 180181, 183186, 207, 214215, 224. Bechdel, Fun Home, p. 15. Bechdel, Fun Home, p. 98. Bechdel, Fun Home, pp. 220221. Bechdel, Fun Home, pp. 5759, 86, 117, 230232. Bechdel, Fun Home, p. 74 Bechdel, Fun Home, p. 73 Bechdel, Fun Home, p. 113 Bechdel, Fun Home, p. 76-81 Bechdel, Fun Home, p. 219 Bechdel, Fun Home, p. 97 Bechdel, Fun Home, p. 27-29 Bechdel, Fun Home, p. 67 Bechdel, Fun Home, pp. 34, 231232. Bechdel, Fun Home, pp. 3435. Bechdel, Fun Home, pp. 2728, 4749. Bechdel, Fun Home, pp. 6166, 8486. Bechdel, Fun Home, pp. 6667, 7071. Bechdel, Fun Home, pp. 6970. Bechdel, Fun Home, pp. 154155, 157158, 163168, 175, 180, 186. Bechdel, Fun Home, pp. 9297, 102, 105, 108109, 113, 119120.

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[51] Bechdel, Fun Home, pp. 130131, 146147, 150. [52] Bechdel, Fun Home, pp. 205, 207208, 217220, 224, 229. [53] Bechdel, Fun Home, pp. 201216, 221223, 226, 228231. [54] Bechdel, Fun Home, pp. 1011 (It's a Wonderful Life), 14 (Sesame Street), 15 (Smiley Face), 92 (Yogi Bear), 130 (Batman), 174175 (Road Runner and Wile E. Coyote), 181 (Nixon), 131, 193 (The Flying Nun). [55] Bechdel, Fun Home, pp. 58 [56] Emmert, p. 46. Print edition only. [57] Swartz, Shauna (May 8, 2006). "Alison Bechdel's Life in the Fun Home" (http:/ / www. afterellen. com/ archive/ ellen/ Print/ 2006/ 5/ bechdel. html). AfterEllen.com. . Retrieved August 7, 2007. [58] Brooks, Carellin (August 23, 2006). "A Dyke to Watch Out For" (http:/ / thetyee. ca/ Books/ 2006/ 08/ 23/ FunHome/ ). The Tyee. . Retrieved August 7, 2007. [59] Emmert, pp. 4748. Print edition only. [60] Emmert, p. 45. Print edition only. [61] "Fun Home; ISBN 0-618-47794-2" (http:/ / www. houghtonmifflinbooks. com/ catalog/ titledetail. cfm?titleNumber=689441). Houghton Mifflin website. . Retrieved August 14, 2007. [62] "Comics Bestsellers: February 2007" (http:/ / web. archive. org/ web/ 20080107133124/ http:/ / publishersweekly. com/ article/ CA6413947. html). Publishers Weekly. February 6, 2007. Archived from the original (http:/ / publishersweekly. com/ article/ CA6413947. html) on January 7, 2008. . Retrieved August 14, 2007. [63] "Book Details for Fun Home" (http:/ / www. randomhouse. co. uk/ catalog/ book. htm?command=Search& db=main. txt& eqisbndata=0224080512). Random House UK website. . Retrieved August 14, 2007. [64] "Fun Home; ISBN 0-618-87171-3" (http:/ / www. houghtonmifflinbooks. com/ catalog/ titledetail. cfm?textType=reviews& titleNumber=694163). Houghton Mifflin website. . Retrieved August 14, 2007. [65] "Fun Home" (http:/ / www. denoel. fr/ Denoel/ Control. go?action=rech& prod_code=B25894) (in French). ditions Denol website. . Retrieved August 8, 2007. [66] Chabani, Karim (March 2007). "Double Trajectories: Crossing Lines in Fun Home" (http:/ / www. graat. fr/ bechdel001aaaa. pdf) (PDF). GRAAT (Tours: Universit Franois Rabelais) on-line edition (1). . Retrieved August 8, 2007. [67] Muller, Agns (March 2007). "Image as Paratext in Alison Bechdels Fun Home" (http:/ / www. graat. fr/ bechdel002aaaa. pdf) (PDF). GRAAT (Tours: Universit Franois Rabelais) on-line edition (1). . Retrieved August 8, 2007. [68] Tison, Hlne (March 2007). "Drag as metaphor and the quest for meaning in Alison Bechdels Fun Home: A Family Tragicomic" (http:/ / www. graat. fr/ bechdel003aaaa. pdf) (PDF). GRAAT (Tours: Universit Franois Rabelais) on-line edition (1). . Retrieved August 8, 2007. [69] Tison, Hlne, ed. (March 2007). "Reading Alison Bechdel" (http:/ / www. graat. fr/ backissueabechdel. htm). GRAAT (Tours: Universit Franois Rabelais) on-line edition (1). . Retrieved October 14, 2008. [70] "Groupe de Recherches Anglo-Amricaines de Tours" (http:/ / www. univ-tours. fr/ graat/ ) (in French). Universit Franois Rabelais, Tours. . Retrieved August 21, 2007. [71] "Fun Home" (http:/ / rizzoli. rcslibri. corriere. it/ rizzoli/ libro/ 1608_fun_home_bechdel. html) (in Italian). Rizzoli. RCS MediaGroup. . Retrieved August 14, 2009.

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[72] "Libro Fun Home" (http:/ / libreriarizzoli. corriere. it/ libro/ bechdel_alison-fun_home. aspx?ean=9788817016087& utm_source=RCSLibri& utm_medium=RCSLibri& utm_campaign=RCSLIbri) (in Italian). Libraria Rizzoli. RCS MediaGroup. . Retrieved August 14, 2009. [73] Magnani, Deborah (March 20, 2010). "Fun Home: Uma Tragicomdia Em Famlia" (http:/ / cubo3. com. br/ ?p=1661) (in Portuguese). cubo3. . Retrieved May 21, 2010. [74] "Fun Home" (http:/ / www. kiwi-verlag. de/ 36-0-buch. htm?isbn=9783462039221) (in German). Kiepenheuer & Witsch. January 2008. . Retrieved April 16, 2008. [75] Abiekt.pl (October 9, 2008). "Fun Home. Tragikomiks rodzinny" (http:/ / www. abiekt. pl/ ksiazki/ funhome) (in Polish). abiekt.pl. . Retrieved October 9, 2008. [76] Bechdel, Alison (August 14, 2008). "china, translated" (http:/ / dykestowatchoutfor. com/ china-translated). dykestowatchoutfor.com. . Retrieved August 14, 2008. [77] Sims, Zach (October 3, 2006). 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"Images of the fragile self" (http:/ / entertainment. timesonline. co. uk/ tol/ arts_and_entertainment/ books/ fiction/ article639274. ece). The Times (London). . Retrieved August 7, 2007. [88] Bellafante, Ginia (August 3, 2006). "Twenty Years Later, the Walls Still Talk" (http:/ / www. nytimes. com/ 2006/ 08/ 03/ garden/ 03bechdel. html?_r=2& adxnnl=1& oref=slogin& ref=garden& adxnnlx=1154913282-+ 1SNH8sRkuz5azY4XDISuQ) (paid archive). The New York Times. . Retrieved August 7, 2006. [89] Soloway, Jill (June 4, 2006). "Skeletons in the closet" (http:/ / pqasb. pqarchiver. com/ latimes/ access/ 1047943011. html?dids=1047943011:1047943011& FMT=FT& FMTS=ABS:FT& type=current& date=Jun+ 4,+ 2006& author=Jill+ Soloway& pub=Los+ Angeles+ Times& desc=SPECIAL+ ISSUE+ |+ THE+ OTHER+ SIDE+ OF+ SUMMER) (paid archive). Los Angeles Times: p.R. 12. . Retrieved August 1, 2007. [90] Pachter, Richard (June 16, 2006). ""Fun Home": Sketches of a family circus" (http:/ / archives. seattletimes. nwsource. com/ cgi-bin/ texis. cgi/ web/ vortex/ display?slug=funhome18& date=20060616& query="Fun+ Home"+ Alison+ Bechdel). Seattle Times. . Retrieved August 9, 2007. [91] "100 Notable Books of the Year" (http:/ / www. nytimes. com/ ref/ books/ review/ 20061203notable-books. html?ref=books) (free registration required). Sunday Book Review (The New York Times). December 3, 2006. . Retrieved December 12, 2006. [92] "Best Books of 2006: Editors' Top 50" (http:/ / www. amazon. com/ gp/ feature. html?ref_=amb_link_3914172_1& docId=1000024441& plpage=2). amazon.com. . Retrieved December 18, 2006. [93] "Best of 2006 Top 10 Editors' Picks: Memoirs" (http:/ / www. amazon. com/ exec/ obidos/ tg/ feature/ -/ 1000020751/ ). amazon.com. . Retrieved December 18, 2006. [94] Gatti, Tom (December 16, 2006). "The 10 best books of 2006: number 10 Fun Home" (http:/ / www. timesonline. co. uk/ article/ 0,,923-2504697,00. html). The Times (London). . Retrieved December 18, 2006. [95] Bonanos, Christopher; Logan Hill, Jim Holt et al. (December 18, 2006 cover date). "The Year in Books" (http:/ / nymag. com/ arts/ cultureawards/ 2006/ 25308/ ). New York. . Retrieved December 12, 2006. [96] "The First Annual PW Comics Week Critic's Poll" (http:/ / www. webcitation. org/ 5mpyYaNfQ). Publishers Weekly Online (Publishers Weekly). December 19, 2006. Archived from the original (http:/ / www. publishersweekly. com/ article/ CA6401289. html?nid=2789) on 2010-01-17. . Retrieved December 19, 2006. [97] Miller, Laura; Hillary Frey (December 12, 2006). "Best debuts of 2006" (http:/ / www. salon. com/ books/ awards/ 2006/ 12/ 12/ debut/ ). salon.com. . Retrieved December 12, 2006. [98] Reese, Jennifer (December 29, 2006). "Literature of the Year" (http:/ / www. ew. com/ ew/ article/ 0,,20006513_3,00. html). Entertainment Weekly (913914). . Retrieved August 6, 2007.

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[99] Grossman, Lev; Richard Lacayo (December 17, 2006). "10 Best Books" (http:/ / www. time. com/ time/ magazine/ article/ 0,9171,1570801,00. html). Time. . Retrieved December 18, 2006. [100] Getlin, Josh (January 21, 2007). "Book Critics Circle nominees declared" (http:/ / pqasb. pqarchiver. com/ latimes/ access/ 1198215671. html?dids=1198215671:1198215671& FMT=ABS& FMTS=ABS:FT& type=current& date=Jan+ 21,+ 2007& author=Josh+ Getlin& pub=Los+ Angeles+ Times& edition=& startpage=A. 17& desc=THE+ NATION) (free abstract of paid archive). Los Angeles Times. . Retrieved January 22, 2007. [101] "NBCC Awards Finalists" (http:/ / web. archive. org/ web/ 20061002082415/ http:/ / www. bookcritics. org/ ?go=finalists). National Book Critics Circle website. Archived from the original (http:/ / www. bookcritics. org/ ?go=finalists) on October 2, 2006. . Retrieved January 22, 2007. [102] "18th Annual GLAAD Media Awards in San Francisco" (http:/ / www. glaad. org/ publications/ archive_detail. php?id=4010& ). . Retrieved April 15, 2009. [103] "Holleran, Bechdel win 2007 Stonewall Book Awards" (http:/ / www. ala. org/ ala/ eventsandconferencesb/ midwinter/ 2007/ Cognotes-MonJan22. pdf) (PDF). Cognotes. American Library Association. January 22, 2007. p. 4. . Retrieved January 24, 2007. [104] "Alison Bechdel Among Triangle Award Winners" (http:/ / web. archive. org/ web/ 20070512115804/ http:/ / www. thebookstandard. com/ bookstandard/ news/ author/ article_display. jsp?vnu_content_id=1003582214). The Book Standard. May 8, 2007. p. 1. Archived from the original (http:/ / www. thebookstandard. com/ bookstandard/ news/ author/ article_display. jsp?vnu_content_id=1003582214) on 2007-05-12. . Retrieved May 9, 2007. [105] "Lambda Literary Awards Announce Winners" (http:/ / web. archive. org/ web/ 20070610142337/ http:/ / www. lambdaliterary. org/ awards/ current_winners. html). Lambda Literary Foundation. Archived from the original (http:/ / www. lambdaliterary. org/ awards/ current_winners. html) on June 10, 2007. . Retrieved June 5, 2007. [106] "The 2007 Eisner Awards: 2007 Master Nominations List" (http:/ / www. comic-con. org/ cci/ cci_eisners_07nom. shtml#nomlist). San Diego Comic-Con website. . Retrieved July 31, 2007. [107] "The New Classics: Books" (http:/ / www. ew. com/ ew/ gallery/ 0,,20207076_20207079_20210735_7,00. html). Entertainment Weekly (9991000). June 27, 2008 cover date. . Retrieved June 22, 2008. [108] Taylor, Craig (January 20, 2009). "1000 novels everyone must read: The best graphic novels" (http:/ / www. guardian. co. uk/ books/ 2009/ jan/ 20/ 1000-novels-graphic-comics). The Guardian (Guardian Media Group). . Retrieved January 20, 2009. [109] "The 100 Best Books of the Decade" (http:/ / entertainment. timesonline. co. uk/ tol/ arts_and_entertainment/ books/ book_reviews/ article6914181. ece?token=null& offset=108& page=10). The Times (London). November 14, 2009. . Retrieved December 14, 2009. Listed as #42 of 100. "Books: The 10 Best of the Decade" (http:/ / www. ew. com/ ew/ gallery/ 0,,20321301_20324272_4,00. html). Entertainment Weekly. December 3, 2009. . Retrieved December 14, 2009. Listed as #7 of 10. Miller, Laura (December 9, 2009). "The best books of the decade" (http:/ / www. salon. com/ entertainment/ best_of_the_decade_20002009/ index. html?story=/ books/ laura_miller/ 2009/ 12/ 09/ best_books_decade). Salon.com. . Retrieved December 14, 2009. Listed chronologically in a list of 10 non-fiction works. Handlen, Zack; Jason Heller, Noel Murray, et al. (November 24, 2009). "The best comics of the 00s" (http:/ / www. avclub. com/ articles/ the-best-comics-of-the-00s,35713/ ). The A.V. Club. The Onion. . Retrieved December 14, 2009. Listed alphabetically in a list of 25. [110] Kellog, Carolyn; Nick, Owchar; Ulin, David L. (August 4, 2010). "20 classic works of gay literature" (http:/ / latimesblogs. latimes. com/ jacketcopy/ 2010/ 08/ 20-classic-works-of-gay-literature. html). Los Angeles Times. . Retrieved August 5, 2010.

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External links
Houghton Mifflin's Fun Home press release (http://www.houghtonmifflinbooks.com/booksellers/ press_release/bechdel/), with excerpts from the book and video of Bechdel's artistic process dykestowatchoutfor.com (http://www.dykestowatchoutfor.com/index.php), author Alison Bechdel's blog and official website What the Little Old Ladies Feel: How I told my mother about my memoir. (http://www.slate.com/id/2162410/ ) Slate article by Bechdel

Dash Shaw

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Dash Shaw
Dash Shaw

Shaw at the New York Comic Convention in Manhattan, October 8, 2010. Born April 6, 1983 Hollywood, California American Cartoonist Bottomless Belly Button BodyWorld Official website [1]

Nationality Area(s) Notable works

Dash Shaw (born April 6, 1983) is a U.S. comic book writer/artist and animator. He is the author of the graphic novels Love Eats Brains published by Odd God Press, GardenHead published by Meathaus, The Mother's Mouth published by Alternative Comics, Bottomless Belly Button published by Fantagraphics, and BodyWorld published by Pantheon Books. Shaw's comic short stories have appeared in many different anthologies, newspapers and magazines. His square-sized short stories were collected in the 2005 book GoddessHead published by Hidden Agenda Press. His comics are known for their emphasis on emotional, lyrical logic and innovative design. He was named one of the top ten artists to check out at the 2002 "Small Press Expo" when he was 19 years old. He also writes lyrics and plays with James Blanca in the weirdo pop band Love Eats Brains! and has co-written and acted in various short film projects.

Early life
Dash Shaw was born April 6, 1983, in Hollywood, California, and moved with his family from Hollywood to Richmond, Virginia in 1985. He started creating comics at age four (drawing the art over captions penciled by his father) and has maintained a fascination and focus on the form ever since. He began self-publishing while in high school, while also doing illustrations for "InSync", the now defunct youth supplement of the Richmond Times-Dispatch. Some six months of his high school years were spent in a small town outside Nagoya, Japan. Shaw studied at the School of Visual Arts in Manhattan.[2]

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Career
Throughout college and since, Shaw has published sequential art short stories in a variety of publications in the United States and abroad, plus numerous magazine illustrations. Amy Taubin of Film Comment magazine writes: Dash Shaw's comics are fearless, tender and smart. Shaw's drawings and texts turn the blank page into an imaginary friend an alter-ego onto which he and the reader can project and try to make sense of dangerous, contradictory, consuming fantasies and ideas about life (especially that crazy thing called love) and its representation. Comics and movies have lots in common, but few movies are as inspired and intimate as 'Goddess Head'. Shaw's Bottomless Belly Button was published by Fantagraphics in June 2008.[3] His BodyWorld webcomic was bought by Pantheon Books and published in a single printed volume in April 2010.[4] Bottomless, an exhibition of Shaw's original drawings, storyboards, color background overlays and a new video animation, was on display at Duke University's John Hope Franklin Center from September 25 through October 31, 2008.[5] Late 2009 saw the release of The Unclothed Man In the 35th Century A.D., a collection of short stories previously published in MOME,[6] along with several pages of storyboards and other ephemera from his animated shorts for IFC.

Technique and materials


Shaw employs a combination of hand drawing, animation techniques and Photoshop to produce his artwork. Shaw started working on acetate sheets while studying at the School of Visual Arts. Pointing to pre-Photoshop comics that were colored via clear celluloid containing the black line art, under which would be placed a board with the painted colors, Shaw explains that he took this process and combined it with animation-style use of celluloid, where the backs of the acetate are painted with gouache and laid over a painted background, in addition to color separations where black line art is used to mark the different colors. In addition to using hand-drawing media such as crow quill pens, colored pencils, and markers, Shaw incorporates collage, Photoshop, and painting directly over photocopies, though he does not work with a separate line art layer, preferring to treat black as simply another color, and not a separate or more important element. On BodyWorld, for example, Shaw did the color separations by hand, used the paint bucket tool in Photoshop to color the shapes, and then printed it out and painted over the photocopy, before scanning it again and making final adjustments in Photoshop to achieve like the original art.[2] Shaw explains that his key motive is combining what he likes about hand drawing with the processes available in Photoshop. He has stated that he does not own a drawing tablet, and that his actual knowledge of Photoshop is limited, compared to most mainstream colorists who rely on it exclusively, explaining, "that coloring leaves me cold."[2]

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References
[1] [2] [3] [4] http:/ / www. dashshaw. com Judith Salavetz and Spencer Drate. Creating Comics!, 2010, Rockport Publishers, pages 128-130 Bottomless Belly Button (http:/ / www. flickr. com/ photos/ fantagraphics/ sets/ 72157604678460262) at Fantagraphics Dash Shaw, Pantheon Ink Deal (http:/ / www. publishersweekly. com/ article/ CA6588704. html?nid=2789), Publishers Weekly, August 19, 2008 [5] Duke University Center for International Studies (2008-08-22). "Graphic novelist Dash Shaw to exhibit Bottomless at the Franklin Center Gallery on the Duke campus". Press release. [6] Chris Mautner (November 27, 2009). "The clothed cartoonist in the 21st century: An interview with Dash Shaw" (http:/ / robot6. comicbookresources. com/ 2009/ 11/ an-interview-with-dash-shaw/ ). Robot 6. Comic Book Resources. . Retrieved 2009-11-28.

External links
Official website (http://www.dashshaw.com) Robert Young's Podcast Interview w/ Dash Shaw (http://tci.libsyn.com/index.php?post_id=123179) Dash Shaw's Indie Mind (http://www.comicfoundry.com/?p=826Inside) Comic-Book Hero (New York magazine profile) (http://nymag.com/arts/books/profiles/47808/) Dash Shaw's Unlikely Imagery (http://www.publishersweekly.com/article/CA6397274.html), Publishers Weekly, December 5, 2006

Comics Class of '08 (http://www.publishersweekly.com/article/CA6557087.html?q=Dash+Shaw), Publishers Weekly, May 5, 2006 The Comics Journal #300 (http://www.tcj.com/?p=1487), interview/discussion with artist David Mazzucchelli (Fantagraphics Books, 2009)

Ben Katchor
Ben Katchor (b. 1951) is an American cartoonist best known for his comic strip Julius Knipl, Real Estate Photographer. He has contributed comics and drawings to The New Yorker and The New York Times. In Michael Chabon's collected essays, Maps and Legends, (McSweeney's Books, 2008, San Francisco), Chabon describes Katchor as "the creator of the last great American comic strip." In 1993, Katchor was the subject of a lengthy profile by Lawrence Weschler in The New Yorker.[1] and an extended essay by John Crowley in The Yale Review, 1998. Born in Brooklyn, New York, Katchor was an early contributor to RAW. He edited and published two issues of Picture Story, which featured his own work with articles and stories by Peter Blegvad and Jerry Moriarty.

Julius Knipl
Julius Knipl, Real Estate Photographer paints an evocative picture of a slightly surreal, historical New York City with a decidedly Jewish sensibility. Julius Knipl has been published in several book collections including Cheap Novelties: The Pleasure of Urban Decay and The Beauty Supply District. Other serialized comics by Katchor include The Jew Of New York (collected and published as a graphic novel in 1998), The Cardboard Valise, Hotel & Farm and "Shoehorn Technique". Katchor wrote and illustrated a "weeklong electronic journal" for Slate in 1997, and he contributed articles to the now-defunct Civilization: The Magazine of the Library of Congress. His comics have been translated into French, Italian, German and Japanese. He currently produces a monthly strip for Metropolis Magazine. [2]

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Awards
He won an Obie Award for his collaboration with Bang on a Can on The Carbon Copy Building, a "comic book opera" based on his writings and drawings that premiered in 1999. The same year, he was the subject of Pleasures of Urban Decay, a documentary by the San Francisco filmmaker Samuel Ball. The first cartoonist to receive a MacArthur Fellowship, Katchor has also received a Guggenheim Fellowship and is a fellow of the American Academy in Berlin.

Theater
Katchor has written several works of musical theater, including The Rosenbach Company (a tragi-comedy about the life and times of Abe Rosenbach, the preeminent rare-book dealer of the 20th century);The Slug Bearers of Kayrol Island, or, The Friends of Dr. Rushower, an absurdist romance about the chemical emissions and addictive soft-drinks of a ruined tropical factory-island; and "A Checkroom Romance," about the culture and architecture of coat-checkrooms. All feature music by Mark Mulcahy. Katchor also gives "illustrated lectures" at colleges and museums accompanied by slide projections of his work. He is an associate professor at Parsons.[3]

Bibliography
The Cardboard Valise (Pantheon Books, 2011) Julius Knipl, Real Estate Photographer: The Beauty Supply District (Pantheon Books, 2000) The Jew of New York (Pantheon Books, 1998) Julius Knipl, Real Estate Photographer: Stories (Little, Brown & Co., 1996) Cheap Novelties: The Pleasures of Urban Decay (Penguin, 1991) Picture Story 2 (editor and contributor) (self-published, 1986)

References
[1] Lawrence Weschler, "A Wanderer in the Perfect City," New Yorker, 9 August 1993, 58-66, [2] http:/ / www. metropolismag. com [3] Parsons, The New School. (http:/ / www. newschool. edu/ parsons/ faculty. aspx?id=48877)

External links
Homepage (http://www.katchor.com/) Ben Katchor blog (http://benkatchor.wordpress.com/) Author page at Random House (http://www.randomhouse.com/pantheon/graphicnovels/catalog/author. pperl?authorid=15143) Comics Research Bibliography page on Ben Katchor (http://www.rpi.edu/~bulloj/search/KATCHOR.html) accessed June 12. 2006 Lambiek: Ben Katchor (http://lambiek.net/artists/k/katchor.htm) Slate: Katchor's "electronic journal" (http://www.slate.com/id/3733/entry/24714/) Bang on a Can: The Carbon Copy Building (http://www.bangonacan.org/carboncopy.html) Vineyard Theatre: The Slug Bearers of Kayrol Island (http://www.vineyardtheatre.org/1/show-slug-bearers. htm)

Chester Brown

437

Chester Brown
Chester Brown

Chester Brown. Photo: Joel Friesen Born May 16, 1960 Montreal, Canada Cartoonist, comic book artist Canadian 1983present

[1]

Occupation Nationality Period Genres

Autobiography, Biography, Black comedy, Religion, Surrealism

Literary movement Alternative comics

Chester William David Brown (born May 16, 1960 in Montreal), is a Canadian alternative cartoonist and, since 2008, the Libertarian Party of Canada's candidate for the riding of Trinity-Spadina in Toronto, Canada. Brown is best known for his controversial autobiographical comics of the early 1990s and his biographical graphic novel of rebellious Mtis leader Louis Riel. His underground work was initially self-published, then released by the independent publishing company Vortex Comics. Since 1991, most of his output has been published by Drawn and Quarterly. Brown often signs his work CWDB.

Biography
Brown was born in Montreal on May 16, 1960, at the Royal Victoria Hospital, but grew up in Chteauguay, Quebec. His mother suffered from schizophrenia, and died while in Montreal General Hospital when Brown was 17 years old.[2] Brown was a "nerdy teeneager" who was attracted to comic books, especially about superheroes, since a young age, and decided he wanted to make drawing superhero comics his career. He attended Dawson College in Montreal, but since the program wasn't one that aimed at a career in comics, he dropped out after a little more than a year.[3] Around the age of twenty, Brown started to move away from superhero comics and more towards undergrounds like Robert Crumb. He also came across Heavy Metal and Will Eisner's A Contract with God around this time.[3]

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Career
At the urging of his girlfriend, Kris,[4] Brown made his debut in comics in 1983 with a sporadically self-published mini-comic called Yummy Fur, which he made in his spare time while working for a copy shop. Later, Bill Marks of Vortex Comics approached Brown to publish Yummy Fur as a full-sized comic. In 1986, the first three issues of Yummy Fur reprinted the contents of the seven issues of the earlier mini, and Brown quit his job at the copy shop.[5] Its contents included the surreal black comedy strip Ed the Happy Clown, collected in graphic novel form first in 1989 and later in a "Definitive" edition 1992, both from Vortex. The bizarre misfortunes of the title character include being chased by cannibalistic pygmies and having the tip of his penis replaced by the head of a miniature Ronald Reagan from another universe. The book was selected as one of the best comics of 2003 by Time columnist Andrew D. Arnold and was nominated for a 2004 Eisner Award. Brown has begun to reprint the original, unaltered versions of the Ed stories with the publisher Drawn & Quarterly. They plan to eventually publish a revised third and definitive book-length version of the saga. In later Vortex issues of Yummy Fur, Brown experimented with autobiography, and in the early 1990s had structured narratives about his childhood serialized in his comic. Yummy Fur switched publishers to Drawn and Quarterly in 1991. The two longer autobiographical stories were later collected as the graphic novels The Playboy in 1992 and I Never Liked You in 1994. The former deals with his obsessive preoccupation with Playboy magazines in his youth, and is promoted as "[a]n autobiographical look at how pornography has affected my life" by the author. I Never Liked You (originally titled Fuck when serialized in Yummy Fur) is an often grim coming-of-age tale, which depicts the author as an introvert who is constantly picked on by his schoolmates and cannot relate to the opposite sex. It also briefly touches on his mother's schizophrenia. Brown's longest-running work was a series of adaptations of the Christian gospels: he finished the Gospel of Mark as a backup feature in Yummy Fur, and the still unfinished Gospel of Matthew appeared in Yummy Fur and Underwater. These adaptations adhere closely to Biblical events but use colloquial language and often grotesque caricature; Brown's portrayal of Jesus not only is idiosyncratic and often harsh, but varies considerably between the two books, reflecting the differences in emphasis between gospels. The gospel strips have not been reprinted; Brown had long said he intended to finish them, but in a 2011 interview with The Comics Journal, he said it is no longer likely, as his "heart just isnt in it."[6] Recently Chester was asked by Cerebus comic book creator Dave Sim for permission to print previously unpublished material related to this work. At last mention Chester hadn't said yes or no.

After Yummy Fur


Underwater, Brown's first series after Yummy Fur, was an experimental work that attempted to portray life from the point of view of an infant, starting with seemingly incomprehensible events and dialogue[7] which gradually become more coherent as the child matures. The series was not well received by critics and sold poorly;[8] Brown abandoned it in an unfinished state. He followed it up with the series Louis Riel, which was supported in part by a CAD $16,000 grant[9] from the Canadian Council for the Arts. The collected version appeared in hardcover in 2004, and in softcover in 2006. Following Louis Riel was the longest gap between published works for Brown. For the first time, Brown produced a full-length graphic novel without the benefit of serializing it first. The result was the long awaited[10] Paying For It, about Brown's "two competing desires--the desire to have sex, versus the desire to NOT have a girlfriend."[10] [11] Brown's solution to the problem is to forgo traditional boyfriend/girlfriend relationships and marriage and to take up the life of a "john" by frequenting prostitutes. In 2007, Brown provided six weeks worth of strips to Toronto's NOW magazine as part of the "Live With Culture" ad campaign, featuring a male zombie and a living human girl participating in various cultural activities, culminating in the two going to the movies to watch Bruce McDonald's as-yet-unmade Yummy Fur adaptation.[12]

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Title changes
Many of his books have undergone title changes, sometimes at the behest of his publisher, sometimes without his permission. Ed the Happy Clown: the Definitive Ed Book was given the Definitive title, despite the fact that he "didn't want to put that as the subtitle of the second edition. Vortex did it for marketing reasons."[13] The Playboy was originally titled Disgust and then The Playboy Stories, and I Never Liked You was called Fuck (the German translation retains that title[14] ). Underwater was originally intended to appear in Yummy Fur, but Brown's new publisher felt they could attract more readers with a different title. Paying For It carries the sense of a double entendre that Brown dislikes[15] he would have preferred to call the book I Pay For Sex.[16]

Thematic subjects
Regarding his early work, Brown has explained that "the Ed story came automatically, without any thought."[17] Throughout his early years as a cartoonist he mostly experimented with drawing on the darker side of his subconscious, basing his comedy on free-form association, much like the surrealist technique Automatism. An example of such methods in Brown's work can be found in short one-pagers where he randomly selects comic panels from other sources and then mixes them up, often altering the dialogue. This produced an experimental, absurdist effect in his early strips. Brown first discusses mental illness in his strip "My Mother Was A Schizophrenic". In it, he puts forward the anti-psychiatric idea that what we call "schizophrenia" isn't a real disease at all, but instead a tool our society uses to deal with people who display socially unacceptable beliefs and behaviour. Inspired by the evangelical tracts of Jack T. Chick, Brown left Xeroxes of these strips at bus stops and phone booths around Toronto so its message would reach a wider audience. It first appeared in Underwater #4, and is also reprinted in the collection The Little Man. Brown's Louis Riel book was inspired by the alleged mental instability of Riel, and Brown's own anarchist politics, and he began his research for the book in 1998. Over the course of researching for the book, he shifted his politics over the course of several years until he was a libertarian.[18] Regarding anarchy, Brown has said, "Im still an anarchist to the degree that I think we should be aiming towards an anarchist society but I dont think we can actually get there. We probably do need some degree of government."[19]

Style
Brown's style has evolved and changed a lot throughout his career. He's been known to switch between using Rapidograph pens, dip pens and brushes for his black-and-white cartooning, and has used paints for some colour covers (notably in Underwater).

Working Method
Brown does not follow the tradition of drawing his comics by the page he draws them one panel at a time, and then arranges them on the page.[20] In the case of his acclaimed graphic novels The Playboy and I Never Liked You, this allowed him to rearrange the panels on the page as he saw fit. In the case of I Never Liked You, this resulted in a different page count when the book was collected than when it was serialized in Yummy Fur. The panels were slightly rearranged again when the "New Definitive Edition" of I Never Liked You was released in 2002. Brown depicted himself making comics in this way in the story Showing Helder in Yummy Fur #20 (also collected in The Little Man).

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Drawing influences
In an interview with Seth, Brown says his earliest childhood cartoon was an imitation of Doug Wright's Little Nipper.[21] He frequently mentions Steve Gerber as amongst his foremost influences of his teenage years. From about the age of 20, Brown discovered the work of Robert Crumb and other underground artists, as well as class comic strip artists such as Harold Gray, whose influence is most evident in Brown's Louis Riel. Brown often talks of contemporaries Seth, Joe Matt and Julie Doucet's influence on his work, especially during his autobiographical period. He also had been reading the Little Lulu Library around this time, and credit's the cartooning of Little Lulu's John Stanley and Seth with his desire to simplify his style during this period.[22] The stiff, stylized look of Fletcher Hanks' comics, reprints from Fantagraphics of which Brown had been reading around the time, was the primary influence on the style Brown used in Paying For It.[23]

Personal life
Religious beliefs
Brown was brought up in a strictly Christian Baptist[24] household.[25] He considered himself a Christian until his early 20s, when he started to do a lot of reading on Christianity.[24] Brown took on his retelling of the Gospels "trying to figure out what I believed about this stuff. It was a matter of trying to figure out whether I even believed the Christian claims whether or not Jesus was divine."[26] While doing the Gospels, Brown came to abandon Christianity. At the time he said, "I just realized that this was something that didn't make sense to me".[25] He returned to it later,[21] but as of 2011, he once again no longer considers himself a Christian.[27]

Personal relations
A longtime friend of fellow cartoonists Joe Matt and Seth, Brown has been regularly featured in their autobiographical comics over the years, and collaborated with them on various projects. The three were often mentioned together, and have been called "the Three Musketeers of alternative comics" [28] forming "a kind of gutter rat pack trying to make it through their drawing boards in 1990s Toronto."[9] Brown dedicated The Playboy to Seth, "for his example as an artist", and Seth dedicated his graphic novel George Sprott to Brown ("Best Cartoonist, Best Friend"). Brown had a long-term relationship with the musician, actress and media personality Sook-Yin Lee from 1992 until 1996. She is depicted in several of his comics. He moved to Vancouver for two years to be with her, and moved back to Toronto with her when she became a VJ for MuchMusic. He also drew the cover for her 1996 solo album Wigs 'n Guns. Brown's relationship with Lee is the last boyfriend/girlfriend relationship he had, as he explains in Paying For It. They remain good friends, and Brown has contributed artwork to her productions as recently as 2009's Year of the Carnivore.

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Politics
In September 2008, Brown entered politics as the Libertarian Party of Canada's candidate for the riding of Trinity-Spadina in the 2008 federal election;[9] he came in fifth out of seven candidates. He stood in the same riding for the same party in the Canadian federal election, 2011,[29] coming in fifth out of six candidates.[30]

Recognition
Over the years, Brown has received four Harvey Awards and numerous Harvey and Ignatz award nomitions. "The autobiographical comics from Yummy Fur" placed #38 on the Comics Journal's list of the 100 best comics of the century. Brown was one of the cartoonists to appear in the first volume of Fantagraphics Books' two-volume The Best Comics of the Decade (1990. ISBN 9781560970361). Brown was inducted into the Canadian Comic Book Creator Hall of Fame, on June 18, 2011 at the Joe Shuster Awards in Calgary.[31]

Awards
Awards Year 1990 Organization Harvey Awards Award for Best Cartoonist Award

[32] Chester Brown

Ed the Happy Clown (1st Ed.) Best Graphic Album 2004 Louis Riel Best Writer Best Graphic Album of Previously Published Work

Nominations
Award Nominations Year 1989 Organization Harvey Awards [32] Yummy Fur Award for Best Writer Best Cartoonist Best Continuing or Limited Series Special Achievement in Humor 1990 1991 Chester Brown Yummy Fur Special Award for Humor Best Continuing or Limited Series Award

"The Playboy Stories" in Yummy Fur #21-23 Best Single Issue or Story Yummy Fur 1992 1993 The Playboy Best Cartoonist (Writer/Artist) Best Cartoonist Best Graphic Album of Previously Released Material

Chester Brown
[33] [32]

442
The Little Man Outstanding Graphic Novel or Collection Special Award for Excellence in Presentation Best Graphic Album of Previously Published Work Louis Riel Ignatz Awards [33] [32] Chester Brown Louis Riel Best New Series Outstanding Artist Best Cartoonist Best Continuing or Limited Series Outstanding Graphic Novel or Collection Outstanding Artist

1998 1999 1999 2000 2002 2003

Ignatz Awards

Harvey Awards

Harvey Awards

2004

Ignatz Awards

[33]

Comic book series


Date Title Publisher Issues Notes

1983-1986 Yummy Fur (mini-comic) 1986-1995 Yummy Fur #

self-published

[34]

32 1 - 24 Vortex Comics

# 25 - 32 Drawn and Quarterly

1995-1998 Underwater 1999-2004 Louis Riel 2004-2006 Ed the Happy Clown

Drawn and Quarterly

11 10 9

Left unfinished

Reprinted material from Yummy Fur with extra background information

Graphic novels and collections


Year 1989 Title Ed the Happy Clown: a Yummy Fur Book Publisher Vortex Comics ISBN 978-0-921-45104-4 978-0-921-45108-2 Drawn and Quarterly 978-0-969-67011-7 978-0-969-67016-2 978-1-896-59713-3 978-1-896-59714-0 978-1-894-93789-4 978-1-770-46048-5 introduction by Robert Crumb black page backgrounds changed to white added two-page appendix Notes forward by Harvey Pekar not complete abridged changed ending

1992

Ed the Happy Clown: the Definitive Ed Book

The Playboy: A Comic Book 1994 1998 2002 I Never Liked You The Little Man: Short Strips 1980-1995 I Never Liked You (Second Edition)

2006 2011

Louis Riel: A Comic-Strip Biography Paying For It

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Illustration
Brown has also done a certain amount of illustration work. In 1998, he did the cover to Sphinx Productions' Comic Book Confidential #1;[35] in 2005 he did the cover to True Porn 2 from Alternative Comics; and he illustrated the cover for Penguin Books' Deluxe Classics edition of Lady Chatterly's Lover by D. H. Lawrence.[36] He has done the cover for Sook-Yin Lee's 1996 solo album Wigs 'n Guns (to which he also contributed lyrics for one song),[37] and the poster for her film, Year of the Carnivore.[38] Brown illustrated the cover to the July 11, 2004 issue of The New York Times Magazine, an issue whose theme was graphic novels.[39] [40]

Collaborations
Brown provided the illustrations for the story "A Tribute To Bill Marks" Harvey Pekar's American Splendor #15 in 1990, and "How This Forward Got Written" in The New American Splendor Anthology in 1991. He inked Seth's pencils for the story "Them Changes" in Dennis Eichhorn's Real Stuff #6 in 1992, and shared artwork duties with Sook-Yin Lee on the story "The Not So Great Escape" in Real Stuff #16 in 1993. He also inked Steve Bissette's pencils for the story "It Came From...Higher Space!" in Alan Moore's 1963 #3 in 1993.[41] A jam piece with Dave Sim was included in the Cerebus World Tour Book in 1995.[42]

Notes
[1] [2] [3] [4] [5] [6] [7] http:/ / www. flickr. com/ people/ 93824428@N00 I Never Liked You, page 191 (appendix, first page) Juno, page 132 Juno, page 131 Juno, page 135 Rogers, part 3 (http:/ / www. tcj. com/ a-johns-gospel-the-chester-brown-interview/ 3/ ) Verstappen, Nicolas (2008-08). "Chester Brown" (http:/ / www. du9. org/ Chester-Brown,1030). du9.org (http:/ / www. du9. org/ ). . Retrieved 2011-04-19. "It's really just a code. Simple letter substitution." [8] Juno, pg. 144 [9] Marc Weisblott (17 September 2008). "Chester the Libertarian" (http:/ / www. eyeweekly. com/ blog/ post/ 39716--chester-the-libertarian). . Retrieved 14 September 2009. [10] Panel from Paying For It from The Beat: the News Blog of Comics Culture (http:/ / www. comicsbeat. com/ 2010/ 09/ 17/ chester-browns-paying-for-it-coming-in-2011/ ). 2010-09-17. retrieved 2011-04-10 [11] Paying For It, page 16 [12] Review (http:/ / webcache. googleusercontent. com/ search?q=cache:http:/ / www. walrusmagazine. com/ blogs/ 2008/ 09/ 22/ chester-browns-zombie-romance/ ) of Zombies Take Toronto at walrusmagazine.com. retrieved 2011-04-10 [13] Arnold, Andrew D. (2004-04-12). "Keeping It 'Riel'" (http:/ / www. time. com/ time/ columnist/ arnold/ article/ 0,9565,609686,00. html). Time magazine. . Retrieved 2011-05-01. [14] Reprodukt product page for Fuck (http:/ / www. reprodukt. com/ product_info. php?products_id=308) [15] Paying For It, page 259. "It suggests that not only am I paying for sex but Im also paying for being a john in some non-monetary way. Many would think that theres an emotional cost that johns are sad and lonely...I havent been 'paying for it' in any of those ways. Im very far from being sad or lonely, I havent caught an S-T-D, I havent been arrested, I havent lost my career, and my friends and family havent rejected me." [16] Wagner, Vit (2011-04-29). "Paying for It: A Comic-Strip Memoir About Being a John by Chester Brown" (http:/ / www. thestar. com/ news/ books/ article/ 982927--paying-for-it-a-comic-strip-memoir-about-being-a-john-by-chester-brown). "The Toronto Star". . Retrieved 2011-05-01. [17] Pub.eu (http:/ / 83. 149. 74. 172/ chester_brown_en. html) Chester Brown [18] Matheson, Emmet (2004). "Chester Brown" (http:/ / archives. cbc. ca/ arts_entertainment/ visual_arts/ clips/ 9905/ ). Riel: a comic-book hero. CBC Digital Archives. . Retrieved 2008-06-18. "I was an anarchist when I began the strip and I knew the story would make the government look bad. [...] But in doing all the research for this book [Louis Riel: A Comic-Strip Biography], I learned a lot about general political theory. I came to realize that anarchy is completely unworkable, which I sort of suspected all along." [19] Daniel Epstein. "Chronicling the revolutionary:Chester Brown on Louis Riel" (http:/ / forum. newsarama. com/ showthread. php?t=7360). .

Chester Brown
[20] Tousley, Nancy (2005-03-01). "Interview: Chester Brown: Louis Riel's comic-strip biographer" (http:/ / www. canadianart. ca/ art/ features/ 2005/ 03/ 01/ 298/ ). Canadian Art. . Retrieved 2010-04-19. [21] Seth Interviews Chester Brown (http:/ / sequential. spiltink. org/ dw2006/ S& CatDW2. mp3), hosted at sequential.spiltink.org (http:/ / sequential. spiltink. org/ ). retrieved 2011-05-15 [22] Juno, pg. 136 [23] Rogers, part 1 (http:/ / www. tcj. com/ a-johns-gospel-the-chester-brown-interview/ ) [24] Juno, page 143 [25] Hwang, Francis (1998-21-23). "Graven Images" (http:/ / www. citypages. com/ 1998-12-23/ feature/ graven-images/ ). City Pages. . Retrieved 2011-04-26. [26] Epp, Darell (2002-01-29). "Two-Handed Man interviews cartoonist Chester Brown" (http:/ / replay. web. archive. org/ 20080509104034/ http:/ / www. twohandedman. com/ Interviews/ Chester/ Index. html). twohandedman.com. . Retrieved 2011-04-23. [27] Chester Brown. Interview. The Difference Between Giving and Taking (a conversation with Chester Brown) (http:/ / soundcloud. com/ bwalker/ the-difference-between-giving) (Audio). 2011-05-17.Retrieved on 2011-05-23. [28] "Fred Hembeck's Dateline" (http:/ / www. sparehed. com/ 2007/ 01/ 10/ fred-hembecks-dateline/ ). The Ephemerist (http:/ / www. sparehed. com/ ). . [29] "Time to ask your west-downtown Toronto federal candidates some questions" (http:/ / gleanernews. ca/ index. php/ 2011/ 04/ 04/ time-to-ask-your-federal-reps-in-trinity-spadina-some-questions/ ). Gleaner Community Newspapers. 2011-04-04. . Retrieved 2011-04-13. [30] (http:/ / westannexnews. wordpress. com/ 2011/ 05/ 03/ trinity-spadina-2011-federal-election-results-chow-crushes-opposition/ ) [31] Nominations For The 2011 Joe Shuster Awards (http:/ / joeshusterawards. com/ awards/ about/ 2011-nominees/ ) [32] Harvey Awards official website (http:/ / www. harveyawards. org) [33] Ignatz Awards official website (http:/ / www. spxpo. com/ ignatz-awards) [34] inside front cover of Yummy Fur #1. Vortex Comics (1986) [35] Sterling, Mike (2010-01-25). "COMIC BOOK CONFIDENTIAL #1 (SPHINX PRODUCTIONS, 1988)." (http:/ / www. progressiveruin. com/ 2010/ 01/ 25/ comic-book-confidential-1-sphinx-productions-1988/ ). Mike Sterling's Progressive Ruin (http:/ / www. progressiveruin. com). . Retrieved 2011-04-10. [36] Penguin Books' product page (http:/ / www. penguinclassics. co. uk/ nf/ Book/ BookDisplay/ 0,,9780143039617,00. html?Lady_Chatterley's_Lover_D. _H. _Lawrence) for Lady Chatterly's Lover (Deluxe Classics edition, 2007). ISBN 9780143039617) [37] Carruthers, Sean. "Wigs 'n' Guns" (http:/ / www. allmusic. com/ album/ r498184). . Retrieved 2011-05-19. [38] Balkissoon, Denise (2010-06-11). "Sook-Yin Lee: Candid with the camera except for one thing" (http:/ / www. thestar. com/ news/ insight/ article/ 822672--sook-yin-lee-candid-with-the-camera-except-for-one-thing). The Toronto Star. . Retrieved 2011-05-25. [39] "Cover Story on Graphic Novels in N.Y. Times Magazine: Will They Replace Traditional Novels?" (http:/ / www. icv2. com/ articles/ news/ 5300. html). ICv2 (http:/ / www. icv2. com). 2004-07-13. . Retrieved 2011-05-26. [40] "Chester Brown on the NY Times Magazine Cover" (http:/ / tjaxckson. tumblr. com/ post/ 344143570/ chester-brown-on-the-ny-times-magazine-cover-via). Inappropriate Laughter (http:/ / tjaxckson. tumblr. com). 2010-01-20. . Retrieved 2011-05-26. [41] "Annotated 1963 Annotations" (http:/ / www. enjolrasworld. com/ Annotations/ Alan Moore/ 1963 Annotations. htm). . Retrieved 2011-05-19. [42] Sim, Dave et al. Cerebus World Tour Book 1995, pages 47-65. Aardvark-Vanaheim, 1995. ISSN 0712-7774

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References
Chester Brown (http://www.comics.org/search.lasso/?sort=chrono&query=Chester+Brown&type=credit) at the Grand Comics Database Chester Brown (http://comicbookdb.com/creator.php?ID=5607) at the Comic Book DB Grammel, Scott (April 1990). "Chester Brown (interview)". The Comics Journal (Fantagraphics Books) (135): 6690. Juno, Andrea. Dangerous Drawings. Interview with Chester Brown. Juno Books, LLC, (1997). pp 130147. ISBN 0-9651042-8-1. Brown, Chester. I Never Liked You (Second Edition). Drawn and Quarterly, 2002. ISBN 978-1-896-59714-0. Sim, Dave. "Getting Riel" interview Part 1 (http://www.cerebusfangirl.com/artists/louisriel1.php) 2 (http:// www.cerebusfangirl.com/artists/louisriel2.php) 3 (http://www.cerebusfangirl.com/artists/louisriel3.php). Cerebus (295297). Aardvark-Vanaheim. Retrieved 2011-04-07. Rogers, Sean. A Johns Gospel: The Chester Brown Interview part 1 (http://www.tcj.com/ a-johns-gospel-the-chester-brown-interview/) 2 (http://www.tcj.com/ a-johns-gospel-the-chester-brown-interview/2/) 3 (http://www.tcj.com/

Chester Brown a-johns-gospel-the-chester-brown-interview/3/) 4 (http://www.tcj.com/ a-johns-gospel-the-chester-brown-interview/4/) 5 (http://www.tcj.com/ a-johns-gospel-the-chester-brown-interview/5/) 6 (http://www.tcj.com/ a-johns-gospel-the-chester-brown-interview/6/) 7 (http://www.tcj.com/ a-johns-gospel-the-chester-brown-interview/7/) 8 (http://www.tcj.com/ a-johns-gospel-the-chester-brown-interview/8/). The Comics Journal. 2011-05-09. Retrieved 2011-05-10. Brown, Chester(w,a).Paying For It (2011-05-03), Montreal: Drawn and Quarterly, ISBN 978-1-77046-048-5

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External links
News Briefs featuring Chester Brown (http://www.drawnandquarterly.com/newsList.php?st=art& art=a3dff7dd51fc01) at Drawn and Quarterly's website (http://www.drawnandquarterly.com/) Time.com interview with Chester Brown (http://www.time.com/time/columnist/arnold/article/ 0,9565,609686,00.html) CBC Arts Online article about Chester Brown's Ed The Happy Clown series (http://www.cbc.ca/arts/books/ edclown.html) Chester Brown induction into CBC Arts Online's Alternative Canadian Walk of Fame (http://www.cbc.ca/arts/ walkoffame/chesterbrown.html) Interview with Chester Brown on twohandedman.com (http://www.twohandedman.com/Interviews/Chester/ Index.html) Audio interview (http://sequential.spiltink.org/dw2006/S&CatDW2.mp3) of Brown by Seth Brown's candidacy (http://www.eyeweekly.com/scrollingeye/article/41393) in Eye Weekly in 2008 Zombies Take Toronto (http://www.toronto.ca/culture/pdf/zombies_take_toronto.pdf)

Joe Matt
Joe Matt (born September 3, 1963 in Philadelphia, Pennsylvania) is an American cartoonist. He started drawing comics in 1987 and is best known for his autobiographical work, Peepshow. In addition to his cartooning career, he is known for his large collection of vintage Gasoline Alley comic strips. Matt lived (illegally) in Canada from 1988 to 2002. He currently lives in the Los Feliz neighborhood of Los Angeles, California.[1]

Peepshow
He is the author of the autobiographical comic Peepshow, in which he examines his inadequate social skills, his addiction to pornography and the lingering effects of his Catholic upbringing. His work is published by Canadian publishing house Drawn and Quarterly. Joe Matt's work on Peepshow is part of the autobiographical comics genre, kickstarted by the confessional stories of Harvey Pekar and Robert Crumb. As with these artists, Joe Matt's work frequently involves soliloquies "to camera". Peepshow is part of a self-referential universe that includes Matt's contemporaries Chester Brown and Seth, all of whom have included each other in their books. In 2004, it was reported that HBO was developing an animated series based on "The Poor Bastard" that would be produced by Matt and David X. Cohen [2]. Joe Matt has later stated, "Yes, HBO was interested in making a series based on The Poor Bastard, but they came to their senses and changed their mind. Please feel sorry for me and buy the book when it comes back into print in January 2007." The most recent issue of Peepshow, #14, went on sale November 1, 2006. A collection featuring Peepshow #11-14 titled SPENT was released in June 2007. Matt has stated that "I'll soon be writing / drawing about L.A. for a book

Joe Matt that most likely will not be released as single issues, but rather a self-contained book."

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Colorist
Though Peepshow has developed a solid fan base, Matt has served as a colorist for other comics to make ends meet, most notably on superhero comics, a genre which Matt himself dislikes. Among his credits as a colorist are the Batman / Grendel - Limited Series, Fish Police, Moebius: The Exotics and Jonny Quest.

Awards
He has received recognition for his work in the comics industry. For Peepshow, he has been nominated for four Harvey Awards: for Best New Talent in 1990 and for the Award for Humor in 1991, 1992, and 1993. Also, despite his view on coloring as a task that merely "pays the bills," Matt was nominated for a 1989 Harvey Award for his coloring work on the Batman/Grendel series [3].

Selected works
Peepshow # 1, February 1992 (Drawn & Quarterly) Peepshow # 2, May 1992 (Drawn & Quarterly) Peepshow # 3, November 1992 (Drawn & Quarterly) Peepshow # 4, April 1993 (Drawn & Quarterly) Peepshow # 5, October 1993 (Drawn & Quarterly) Peepshow # 6, April 1994 (Drawn & Quarterly) Peepshow # 7, March 1995 (Drawn & Quarterly) Peepshow # 8, July 1995 (Drawn & Quarterly) Peepshow # 9, April 1996 (Drawn & Quarterly) Peepshow # 10, July 1997 (Drawn & Quarterly) Peepshow # 11, June 1998 (Drawn & Quarterly) Peepshow # 12, April 2000 (Drawn & Quarterly) Peepshow # 13, February 2002 (Drawn & Quarterly) Peepshow # 14, October 2006 (Drawn & Quarterly)

Four collections of Joe Matt's comics have been published as books, as well as a "jam" sketchbook: Peepshow - The Cartoon Diary of Joe Matt, 1992 (Kitchen Sink)/1999 (Drawn & Quarterly), a collection of mostly one-page strips, usually dealing with a single subject, originally published between 1987 and 1991. The Poor Bastard, 1996 (Drawn & Quarterly), which collects stories published in Peepshow numbers #1 to #6. This book chronicles Joe's relationship and breakup with then-girlfriend Trish. Joe Matt's "Jam" Sketchbook , 1998, Collaborations with Chris Ware, Seth, Chester Brown, Julie Doucet, Adrian Tomine, Max, Jason Lutes, Dave Sim, Will Eisner, Marc Bell, James Kochalka, Ivan Brunetti, Steven Weisman, etc., limited print. Fair Weather, 2002 (Drawn & Quarterly), which collects Peepshow numbers #7 to #10. In this book Matt chronicles an episode from his childhood in 1970s suburbia. Spent, 2007 (Drawn & Quarterly), which collects Peepshow numbers #11 to #14. In this book Matt chronicles a story arc that documents his obsessive editing of porn videos.

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References
[1] Matt, J. (2007). Spent. Drawn and Quarterly. [2] http:/ / icv2. com/ articles/ home/ 4783. html [3] http:/ / users. rcn. com/ aardy/ comics/ awards/ harvey89. shtml

External links
Biography at Drawn and Quarterly (http://www.drawnandquarterly.com/artBio.php?artist=a3e4e9bab51f0d) Interview from MungBeing (http://www.mungbeing.com/issue_15.html?page=26&sub_id=867#867) Comic Book Awards Almanac (http://users.rcn.com/aardy/comics/awards/) Drawn and Quarterly (http://www.drawnandquarterly.com/) Hand-written interview with Joe Matt (http://www.ifpthendirt.com/matt1.html) From ifpthendirt.

Pascal Blanchet
Pascal Blanchet is a Canadian comic book creator, who created the lauded graphic novel White Rapids in 2007.[1] In 2009 he published another graphic novel, Baloney.

References
[1] http:/ / www. canada. com/ montrealgazette/ news/ arts/ story. html?id=57cd473a-7c72-4865-bd80-e237eaaa10d6

Adrian Tomine
Adrian Tomine
Born May 31, 1974 Sacramento, CA, USA American Writer, Artist

Nationality Area(s)

Notable works Optic Nerve

External images
Adrian Tomine
[1]

(author picture)
[3][4]

[2]

Excerpt from Shortcomings

Adrian Tomine (born May 31, 1974), a popular contemporary cartoonist, is best known for his ongoing comic book series Optic Nerve and his periodical illustrations in The New Yorker.

Adrian Tomine

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Biography
Adrian Tomine was born May 31, 1974 in Sacramento, California. His parents divorced when he was two years old. His father is Dr. Chris Tomine [5], Ph.D. and Professor Emeritus Environmental Engineering at California State University Sacramento's Department of Civil Engineering. His mother is Dr. Satsuki Ina, Ph.D. and Professor Emeritus at California State University Sacramento's School of Education. Tomine is fourth-generation Japanese American, and both of his parents spent part of their childhoods in Japanese internment camps in the U.S. during World War II.[6] He also has a brother, Dylan, who is eight years his senior. After his parents divorced, Tomine moved frequently, accompanying his mother to Fresno, Oregon, Germany, and Belgium, while spending summers with his father in Sacramento. He attended high school at Rio Americano in Sacramento, where he started writing, drawing and self-publishing his comic Optic Nerve. Tomine has continued producing Optic Nerve as a regular comic book series for Drawn and Quarterly; the most recent issue was published in 2007. Tomine graduated from UC Berkeley with a degree in English Literature. He currently resides in Brooklyn, New York with his wife Sarah Brennan, a longtime New Yorker. On October 31, 2009, Tomine and Brennan welcomed their first child, Nora Emiko Tomine. As a young child, Tomine enjoyed Spider-Man and Indiana Jones comics. In an interview, Tomine said that "something about the medium just transfixed me at an early age"[7] and that his influences include Jaime Hernandez and Daniel Clowes. He is also a fan of contemporary Chris Ware. In addition to writing graphic novels such as Summer Blonde, Shortcomings, and Optic Nerve, Tomine regularly works in commercial illustration. He has done several covers and illustrations for The New Yorker; his first was "Missed Connection".

Background
Tomine began publishing his work when he was still a teenager; he was mainly self-published, but was also published in mainstream publications like Pulse while still in high school. While his early work was greeted with much acclaim, he faced severe backlash around the time when he made the jump to professional publication, and the letters pages of his modern comics typically feature several highly critical letters where he is accused of creating "trendy" or "emo" characters. He is often compared to his friend Dan Clowes for his signature clean-line style; in fact, he is sometimes accused of ripping off Clowes' style. In an interview published in The Comics Journal #205, Tomine addressed many of these criticisms and discussed his influences in detail, admitting that he was strongly influenced by Clowes but perhaps even more so by Jaime Hernandez. The cover of his Journal issue featured a self-parody of sorts, featuring a sequence where a hipster girl says to the reader, "I'm so cute! I listen to indie rock! But... I'm sad. Can you relate?" In an interview published on the Drawn and Quarterly website, Tomine discussed printing critical letters in his book: "I imagine most cartoonists receive some negative mail. I just thought it was fair (and entertaining) to allow a range of reactions to be heard. And as for my response, it really varies: some criticism I dismiss completely, and some I take to heart." Most of Tomine's early works rarely mentioned racial issues and most of his characters appeared to be Caucasian. Tomine, who is Asian American, drew himself in many of his early strips, but did not make his ethnicity clear (he often drew his glasses as being opaque, so his eyes couldn't be seen). In later works, he has explored racial issues more directly, such as in his latest graphic novel Shortcomings. In the '90s, Tomine made an appearance on The Jane Pratt Show, which he documented in Optic Nerve.

Adrian Tomine

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Serialized Comics
Optic Nerve
Optic Nerve is the ongoing series of comics by Adrian Tomine that were originally self-published and are currently published by Drawn and Quarterly. Originally, the self-published comics were in "mini-comic" form, and there were seven issues (most of them later republished in 32 Stories). After Drawn and Quarterly became the publisher, the comics were published at standard size, and the issue numbering was restarted, making the first Drawn and Quarterly published issue to be numbered #1. These comics range from a few pages per story to the 32-page standard in later issues. Issues 1-4 included several stories each and are collected in Sleepwalk and Other Stories, and issues 5-8 included one story each and are collected in Summer Blonde. Issues 9-11 were compiled into a graphic novel called 'Shortcomings,' released in September 2007. Optic Nerve #1 The first issue published by Drawn and Quarterly in April 1995 included five short stories entitled "Sleepwalk", "Echo Ave.", "Long Distance", "Drop" and "Lunch Break". Optic Nerve #2 The second issue contains four stories. "The Connecting Thread" is a story of a young woman convinced that she is being watched from afar by a mysterious admirer who repeatedly places advertisements about her in the "I Saw You" section of her local newspaper. "Summer Job" tells the experiences of an adolescent named Eric who is employed at a photocopying store for a summer. "Pink Frosting" depicts a violent confrontation that takes place after a car accident almost occurs, culminating in a curb-stomp.[8] "Layover" shows a young man who misses his flight and instead of returning home to people who assume he has caught his flight wanders aimlessly for the whole day. This issue was published by Drawn and Quarterly in November 1995. Optic Nerve #5-8 Summer Blonde is one of Adrian Tomine's most commercially popular collections of comics from his Optic Nerve series. These four stories were originally published individually. Summer Blonde begins with "Alter Ago", originally published in Optic Nerve #5, which chronicles a promising young author struggling to write a sophomore novel. In the wake of his writer's block, he becomes obsessed with re-connecting with his high school crush, despite currently being in a relationship. His feelings are further complicated when he begins spending time with his crush's teenage sister. "Hawaiian Getaway", originally published in Optic Nerve #6, is the story of Hilary Chan's evolving circumstances when she finds herself unemployed and with no meaningful social relationships. In order to compensate for these voids, she becomes more eccentric and isolated. The format of the story is unlike the others included in Summer Blonde, as it divided into 13 chapters that separate defining moments in Hilary's life. This format also succeeds in illustrating the protagonist's disconnection from society. "Summer Blonde", the title story, was first seen in Optic Nerve #7, and is centered on a beautiful young woman named Vanessa who finds herself the object of three men's desires: her boyfriend, a misogynistic lover named Carlo, and Carlo's obsessive and unstable neighbor, Neil. "Bomb Scare", originally published in Optic Nerve #8, tells the story of two outcast teenagers and the scrutiny that they must endure at the hand of their high school's social hierarchy. "Bomb Scare" was chosen by Dave Eggers to be included in the book "The Best American Non-Required Reading 2002" (Houghton Mifflin).

Adrian Tomine

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Collected works
1998 - 32 Stories: The Complete Optic Nerve Mini-Comics (ISBN 1-896597-00-9) 1998 - Sleepwalk and Other Stories (ISBN 1-896597-12-2) 2002 - Summer Blonde (ISBN 1-896597-57-2) 2004 - Scrapbook: Uncollected Work 1990-2004 (ISBN 1-896597-77-7) 2005 - New York Sketches 2004 (ISBN 0-9766848-2-9) 2007 - Shortcomings (ISBN 978-1-897299-16-6) 2011 - Scenes From an Impending Marriage (ISBN 978-1770460348)

Other work
Tomine has worked on several albums, including liner notes and album art for Eels' Electro-Shock Blues, "Last Stop: This Town", "Cancer for the Cure", and End Times, as well as The Softies' album "It's Love" and The Crabs's "What Were Flames Now Smolder".

Footnotes
[1] http:/ / hotink. theorem. ca/ system/ varsity/ images/ 000/ 000/ 641/ 20071029-pp08-09-1_large. jpg [2] " The Shortcomings of Adrian Tomine (http:/ / www. thevarsity. ca/ articles/ 933)", Chandler Levack, theVarsity.ca Oct 29, 2007 [3] http:/ / graphics8. nytimes. com/ images/ 2007/ 11/ 11/ books/ windolf-450. jpg [4] " Asian Confusion (http:/ / www. nytimes. com/ 2007/ 11/ 11/ books/ review/ Windolf-t. html)" (Review of Shortcomings), by Jim Windolf, The New York Times, November 11, 2007 [5] http:/ / www. ecs. csus. edu/ ce/ tomine. html [6] Melissa Hung (Oct 16, 2002). "Geek Chic" (http:/ / www. eastbayexpress. com/ news/ geek_chic/ Content?oid=284211). East Bay Express. . Retrieved 2006-09-17. [7] http:/ / www. creativereview. co. uk/ cr-blog/ 2009/ march/ qa-adrian-tomine [8] Touching the Fictional Nerve: Adrian Tomine's "Sleepwalk and Other Stories" (http:/ / graphicneophyte. blogspot. com/ 2009/ 11/ touching-fictional-nerve-adrian-tomines. html)

External links
Adrian Tomine's official website (http://www.adrian-tomine.com/) Tomine page at Drawn & Quarterly (http://www.drawnandquarterly.com/artStudio. php?artist=a3dff7dd5641ba) Tomine page at lambiek.net (http://lambiek.net/artists/t/tomine_a.htm) Nichi Bei Times interview (http://www.nichibeitimes.com/articles/artsent.php?subaction=showfull& id=1157664061&archive=&start_from=&ucat=3&) Scene Missing Magazine interviews Adrian Tomine (http://scenemissingmagazine.com/article/?p=1054) Hand-written interview with Adrian Tomine (http://www.ifpthendirt.com/interviews.html) from ifpthendirt. Comics Reporter: Tom Spurgeon: A short interview with Adrian Tomine (http://www.comicsreporter.com/ index.php/resources/interviews/9408/) Adrian Tomine interview (December 2004) for QRD (http://www.silbermedia.com/qrd/archives/ 28adriantomine.html) Review of Shortcomings (http://culturatti.com/2007/10/24/same-old-tomine-which-is-always-a-good-thing/) @ The Culturatti] Tomine interview (Jan 2008) Fresh Air, NPR (http://www.npr.org/templates/story/story. php?storyId=18571923) 2011 radio interview (50 minutes) (http://www.edrants.com/segundo/adrian-tomine/) at The Bat Segundo Show

Adrian Tomine Ahora: Interview with Adrian Tomine on The New Yorker (http://www.joannarieke.wordpress.com/2010/07/ 22/this-weeks-new-yorker-cover-summer-getaway/)

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Steve Mumford
Steve Mumford (born 1960) is a contemporary American painter. His practice has lately included the depiction of scenes from the ongoing American wars in Iraq and Afghanistan. Typically he works in large, realist oil paintings, as well as watercolor on paper. Mumford entered Iraq on April 9, 2003, the day the statue of Saddam Hussein was toppled in Baghdad, and he has periodically returned to the region to document the daily lives of both Iraqi citizens and American soldiers. These works were recently published, along with journalistic text by Mumford, in a book released through Drawn and Quarterly. In April 2007, a major exhibition of his war works was held at the Pritzker Military Library in Chicago. In February 2010 Mumford opened a solo show of new works at Postmasters Gallery in New York City. Mumford lives in New York City and is married to artist Inka Essenhigh. He is the son of renowned mathematician David Mumford.

External links
Baghdad Journal [1] Latest Baghdad Journal installments [2] About his book (Baghdad Journal) [3] ArtVitae [4] PostMastersArt [5] Drawn to War: The Art of Steve Mumford at the Pritzker Military Library [6] New York art worlds apology for the Iraq war [7]

References
[1] [2] [3] [4] [5] [6] [7] http:/ / www. artnet. com/ Magazine/ features/ baghdadjournal. asp http:/ / www. artnet. com/ magazineus/ features/ mumford/ mumford10-2-07. asp http:/ / www. artloversnewyork. com/ artlovers/ report/ 2005-12-18. html http:/ / www. artvitae. com/ artist_portfolio. asp?aist_id=215 http:/ / www. postmastersart. com/ artists/ steve_mumford/ mumford_window. html http:/ / www. pritzkermilitarylibrary. org/ events/ 2007-03-15-steveMumford. jsp http:/ / www. wsws. org/ articles/ 2005/ jun2005/ mumf-j13. shtml

Joe Sacco

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Joe Sacco
Joe Sacco
Born Nationality Area(s) 2 October 1960 Maltese-American Cartoonist

Notable works Palestine Safe Area Gorade Awards American Book Award, 1996 Guggenheim Foundation Fellowship, 2001 Eisner Award, 2001 Ridenhour Book Prize, 2010

Joe Sacco (born October 2, 1960)[1] is a Maltese-American comics artist and journalist. He achieved international fame through the 1996 American Book Award-winning Palestine, and his graphic novel on the Bosnian War, Safe Area Gorade.

Biography
Sacco was born in Malta on October 2, 1960. His father was an engineer and his mother was a teacher.[2] At the age of one, he moved with his family to Australia,[3] where he spent his childhood until 1972, when they moved to Los Angeles.[1] He began his journalism career working on the Sunset High School newspaper in Beaverton, Oregon. While journalism was his primary focus, this was also the period of time in which he developed his penchant for humor and satire. He graduated from Sunset High in 1978. Sacco earned his B.A. in journalism from the University of Oregon in 1981 in three years. He was greatly frustrated with the journalist work that he found at the time, later saying, "[I couldn't find] a job writing very hard-hitting, interesting pieces that would really make some sort of difference."[3] After being briefly employed by the journal of the National Notary Association, a job which he found "exceedingly, exceedingly boring,"[2] and several factories, he returned to Malta, his journalist hopes forgotten. "...I sort of decided to forget it and just go the other route, which was basically take my hobby, which has been cartooning, and see if I could make a living out of that," he later told the BBC.[4] He began working for a local publisher writing guidebooks.[3] Returning to his fondness for comics, he wrote a Maltese romance comic named Imabba Vera ("True Love"), one of the first art-comics in the Maltese language. "Because Malta has no history of comics, comics weren't considered something for kids," he told The Village Voice. "In one case, for example, the girl got pregnant and she went to Holland for an abortion. Malta is a Catholic country where not even divorce is allowed. It was unusual, but it's not like anyone raised a stink about it, because they had no way of judging whether this was appropriate material for comics or not."[5] Eventually returning to the United States, by 1985 Sacco had founded a satirical, alternative comics magazine called Portland Permanent Press in Portland, Oregon. When the magazine folded fifteen months later, he took a job at The Comics Journal as the staff news writer.[6] This job provided the opportunity for him to create another satire: the comic Centrifugal Bumble-Puppy,[7] a name he took from an overly-complicated children's toy in Aldous Huxley's Brave New World. But Sacco was more interested in travelling. In 1988, he left the U.S. again to travel across Europe, a trip which he chronicled in his autobiographical comic Yahoo.[7] The trip led him towards the ongoing Gulf War (his obsession

Joe Sacco with which he talks about in Yahoo #2), and in 1991 he found himself nearby to research the work he would eventually publish as Palestine. The Gulf War segment of Yahoo drew Sacco into a study of Middle Eastern politics, and he traveled to Israel and the Palestinian territories to research his first long work. Palestine was a collection of short and long pieces, some depicting Sacco's travels and encounters with Palestinians (and several Israelis), and some dramatizing the stories he was told. It was serialized as a comic book from 1993 to 1995 and then published in several collections, the first of which won an American Book Award in 1996. Sacco next travelled to Sarajevo and Gorade near the end of the Bosnian War, and produced a series of reports in the same style as Palestine: the comics Safe Area Gorade, The Fixer, and the stories collected in War's End; the financing for which was aided by his winning of the Guggenheim Fellowship in April 2001.[7] [8] Safe Area Gorade won the Eisner Award for Best Original Graphic Novel in 2001. He has also contributed short pieces of graphic reportage to a variety of magazines, on subjects ranging from war crimes to blues, and was a frequent illustrator of Harvey Pekar's American Splendor. In 2005 he wrote and drew two eight-page comics depicting events in Iraq published in The Guardian. He also contributed a 16-page piece in April 2007's issue of Harper's Magazine, entitled Down! Up! You're in the Iraqi army now. His most recent major journalistic work is Footnotes in Gaza.[9] Sacco currently lives in Portland, Oregon.[7]

453

Bibliography
Comics 198892: Yahoo #16. Collected and published in Notes from a Defeatist (2003), Fantagraphics Books, ISBN 1-56097-510-5. 19935: Palestine #19. Collected and published in Palestine (2001), Fantagraphics Books, ISBN 1-56097-432-X. 1994: Spotlight on the Genius that is Joe Sacco. Fantagraphics Books. 1997: Christmas with Karadzic, published in Zero Zero #15 (Fantagraphics Books) and later in the collection War's End (2005), Drawn and Quarterly, ISBN 1-56097-510-5. 1997: War Junkie, Fantagraphics Books, ISBN 1-56097-170-3. 1998: Soba, published in Stories from Bosnia #1 and later in the collection War's End (2005), Drawn and Quarterly, ISBN 1-56097-510-5. 1998: Stones, published in Zero Zero #25 (Fantagraphics Books). 2008: Oregon, published in State by State: A Panoramic Portrait of America, Ecco, ISBN 9780061470905 Collections 2000: Safe Area Gorade: The War in Eastern Bosnia 19921995. Fantagraphics Books. ISBN 1-56097-470-2 2001: Palestine. Fantagraphics Books. ISBN 1-56097-432-X 2003: The Fixer: A Story from Sarajevo. Drawn and Quarterly Books. ISBN 1-896597-60-2 2003: Notes from a Defeatist. Fantagraphics Books. ISBN 1-56097-510-5 2005: War's End: Profiles from Bosnia 199596. Drawn and Quarterly. ISBN 1-896597-92-0 2006: But I Like It. Fantagraphics Books. ISBN 1-56097-729-9 2009: Footnotes in Gaza. Metropolitan Books, ISBN 0805073477. Jonathan Cape, ISBN 0224071092

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Awards
In addition to his 1996 American Book Award, 2001 Guggenheim Fellowship, and 2001 Eisner Award, Sacco's Footnotes in Gaza was nominated for the 2009 Los Angeles Times Book Prize Graphic Novel award.[10] Sacco was awarded the 2010 Ridenhour Book Prize for Footnotes in Gaza.[11]

Notes
[1] Drawn and Quarterly (2004). Joe Sacco: Biography (http:/ / www. drawnandquarterly. com/ artBio. php?artist=a3dff7dd55575b). URL accessed on April 24, 2006. [2] Duncan Campbell (October 23, 2003). 'I do comics, not graphic novels' (http:/ / www. guardian. co. uk/ g2/ story/ 0,3604,1068677,00. html). The Guardian. URL accessed April 26, 2006. [3] Read Yourself RAW. Profile: Joe Sacco (http:/ / www. readyourselfraw. com/ profiles/ sacco/ profile_sacco. htm). URL accessed April 25, 2006. [4] Ben Arnold (August 27, 2004). Telephone interview with Joe Sacco (http:/ / www. bbc. co. uk/ collective/ audio/ joesacco1. ram) (.ram file, source: Interview with Joe Sacco (http:/ / www. bbc. co. uk/ dna/ collective/ A2948123)). BBC. URL accessed April 26, 2006. [5] Hillary Chute (July 19, 2005). Stand Up Comics (http:/ / www. villagevoice. com/ people/ 0530,interview,66032,24. html). Village Voice. URL accessed April 26, 2006. [6] Gary Groth (October 4, 2001). Joe Sacco, Frontline Journalist: Why Sacco went to Gorazde (http:/ / www. tcj. com/ aa02ws/ i_sacco. html). The Comics Journal (a magazine owned and operated by Fantagraphics Books). URL accessed on April 26, 2006. [7] Fantagraphics Books. Joe Sacco (http:/ / www. fantagraphics. com/ artist/ sacco/ sacco_bio. html). URL accessed on April 25, 2006. [8] Guggenheim Foundation 2001 Fellows Page, [[John Simon Guggenheim Memorial Foundation|Guggenheim Foundation (http:/ / www. gf. org/ 01fellow. html)] (2001)]. URL accessed October 7, 2006. [9] Cooke, Rachel (November 22, 2009). "Eyeless in Gaza" (http:/ / www. guardian. co. uk/ books/ 2009/ nov/ 22/ joe-sacco-interview-rachel-cooke). The Observer. . Retrieved November 22, 2009. [10] "2009 Los Angeles Times Book Prize Finalists" (http:/ / events. latimes. com/ bookprizes/ previous-winners/ year-2009/ ). Los Angeles Times. . [11] "Joe Sacco: 2010 Recipient of The Ridenhour Book Prize," (http:/ / www. ridenhour. org/ recipients_02h. shtml) Ridenhour website. Accessed Aug. 26, 2011.

References
Joe Sacco (http://www.comics.org/search.lasso/?sort=chrono&query=Joe+Sacco&type=credit) at the Grand Comics Database Joe Sacco (http://comicbookdb.com/creator.php?ID=3236) at the Comic Book DB

External links
Fantagraphics Books: Joe Sacco (http://www.fantagraphics.com/index.php?option=com_virtuemart& page=shop.browse&category_id=273&Itemid=62) Joe Sacco Biography From Fantagraphics (http://www.fantagraphics.com/artist/sacco/sacco_bio.html) PDF of first Guardian piece (http://image.guardian.co.uk/sys-files/Guardian/documents/2006/01/20/ fullsacco1.pdf) PDF of second Guardian piece (http://image.guardian.co.uk/sys-files/Guardian/documents/2005/02/25/ sacco1.pdf) Harpers magazine piece (http://www.harpers.org/archive/2007/04/0081476) An Evening With Joe Sacco in Los Angeles (http://www.transmopolis.com/2010/01/ an-evening-with-joe-sacco-in-los-angeles/)

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Interviews
Joe Sacco on Footnotes in Gaza (http://7thavenueproject.com/post/451008662/joe-sacco-footnotes-in-gaza) Interview on the 7th Avenue Project radio show Joe Sacco on Palestine (http://english.aljazeera.net/news/middleeast/2007/11/2008525185042679346.html) - Interview by Al Jazeera English Brueghel in Bosnia (http://www.laweekly.com/general/features/brueghel-in-bosnia/2120/) Interview in L.A. Weekly. The Art Of War (http://www.motherjones.com/arts/qa/2005/07/joe_sacco.html) Interview in Mother Jones. Joe Sacco, Man of the World (http://crowncommission.com/?p=74) Audio interview on mp3 from The Crown Commission. Interview with Joe Sacco (http://weekendamerica.publicradio.org/display/web/2007/12/12/sacco/) interview on Weekend America Interview with Joe Sacco (http://www.bdtheque.com/interview-joe-sacco-vo-136.html) on bdtheque.com for the release of Footnotes in Gaza.

Harvey Pekar

456

Harvey Pekar
Harvey Pekar

Born

Harvey Lawrence Pekar October 8, 1939 Cleveland, Ohio, United States July 12, 2010 (aged70) Cleveland Heights, Ohio, United States

Died

Occupation Comic book writer, filing clerk, music & literary critic Nationality American Genres Subjects Underground comics Autobiography [1]

harveypekar.com

Harvey Lawrence Pekar ( /pikr/; October 8, 1939 July 12, 2010) was an American underground comic book writer, music critic and media personality, best known for his autobiographical American Splendor comic series. In 2003, the series inspired a critically acclaimed film adaptation of the same name. Pekar described American Splendor as "an autobiography written as it's happening. The theme is about staying alive. Getting a job, finding a mate, having a place to live, finding a creative outlet. Life is a war of attrition. You have to stay active on all fronts. It's one thing after another. I've tried to control a chaotic universe. And it's a losing battle. But I can't let go. I've tried, but I can't."[2]

Early life
Harvey Pekar and his younger brother Allen were born in Cleveland, Ohio to Saul and Dora Pekar, immigrants from Biaystok, Poland. Saul Pekar was a Talmudic scholar who owned a grocery store on Kinsman Avenue, with the family living above the store. Harvey Pekar graduated from Shaker Heights High School in 1957, then attended Case Western Reserve University, where he dropped out after a year. He then served in the United States Navy, and after discharge returned to Cleveland where he worked odd jobs before being hired as file clerk at Cleveland's Veteran's Administration Hospital. He held this job even after becoming famous, finally retiring in 2001.[3]

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Career
American Splendor
Pekar's friendship with Robert Crumb led to the creation of the self-published, autobiographical comic book series American Splendor. Crumb and Pekar became friends through their mutual love of jazz records[4] when Crumb was living in Cleveland in the mid-1960s. Crumb's work in underground comics led Pekar to see the form's possibilities, saying, "Comics could do anything that film could do. And I wanted in on it."[5] It took Pekar a decade to do so: "I theorized for maybe ten years about doing comics."[6] Pekar laid out some stories with crude stick figures and showed them to Crumb and another artist, Robert Armstrong. Impressed, they both offered to illustrate, and soon Pekar's story "Crazy Ed" appeared in Crumb's The People's Comics, and Crumb became the first artist to illustrate American Splendor. The comic documents daily life in the aging neighborhoods of Pekar's native Cleveland. The first issue of American Splendor appeared in 1976. Pekar's most well-known and longest-running collaborators include Crumb, Gary Dumm, Greg Budgett, Spain Rodriguez, Joe Zabel, Gerry Shamray, Frank Stack, Mark Zingarelli, and Joe Sacco. In the 2000s, he teamed regularly with artists Dean Haspiel and Josh Neufeld. Other cartoonists who worked with him include Jim Woodring, Chester Brown, Alison Bechdel, Gilbert Hernandez, Eddie Campbell, David Collier, Drew Friedman, Ho Che Anderson, Rick Geary, Ed Piskor, Hunt Emerson, Bob Fingerman, Brian Bram, and Alex Wald; as well as such non-traditional illustrators as Pekar's wife, Joyce Brabner, and comics writer Alan Moore. Stories from the American Splendor comics have been collected in many books and anthologies.

American Splendor film


A film adaptation of American Splendor was released in 2003, directed by Robert Pulcini and Shari Springer Berman.[7] It featured Paul Giamatti as Pekar, as well as appearances by Pekar himself. Pekar wrote about the effects of the film in American Splendor: Our Movie Year. In 2006, Pekar released a four-issue American Splendor miniseries through the DC Comics imprint Vertigo.[8] This was collected in the American Splendor: Another Day paperback. In 2008 Vertigo released a second "season" of American Splendor that was collected in the American Splendor: Another Dollar paperback. In addition to his autobiographical work on American Splendor, Pekar wrote a number of biographies. The first of these, American Splendor: Unsung Hero (2003), documented the Vietnam War experience of Robert McNeill, one of Pekar's African-American coworkers at Cleveland's VA hospital.

Other comics work


On October 5, 2005, the DC Comics imprint Vertigo released Pekar's autobiographical hardcover The Quitter, with artwork by Dean Haspiel. The book detailed Pekar's early years. In 2006 Pekar released another biography for Ballantine/Random House, Ego & Hubris: The Michael Malice Story, about the life of Michael Malice, who was the founding editor of OverheardinNewYork.com[9] Pekar was the first guest editor for the collection The Best American Comics 2006 published by Houghton Mifflin, the first comics collection in the "Best American series" series. In June 2007 Pekar collaborated with student Heather Roberson and artist Ed Piskor on the book Macedonia, which centers around Roberson's studies in the country.[10] [11] January 2008 saw another biographical work from Pekar, Students for a Democratic Society: A Graphic History, released through Hill & Wang. In March 2009 Pekar released The Beats, a history of the Beat Generation, including Jack Kerouac and Allen Ginsberg, illustrated by Ed Piskor.[12] In May 2009 he released Studs Terkel's Working: A Graphic Adaptation.

Harvey Pekar In 2010, Pekar launched a webcomic with the online magazine Smith, titled The Pekar Project.[13]

458

Theater, music and media appearances


In the late 1980s, Pekar's comic book success led to eight guest appearances on Late Night with David Letterman. His confrontational style and overt on-air criticism of General Electric (which owned NBC) led to the show banning him as a guest until the early 1990s. Pekar was a prolific record collector as well as a freelance book and jazz critic, focusing on significant figures from jazz's golden age but also championing out-of-mainstream artists such as Birth, Scott Fields, Fred Frith and Joe Maneri. Pekar won awards for his essays broadcast on public radio. He appeared in Alan Zweig's 2000 documentary film about record collecting, Vinyl.[14] In August 2007, Pekar was featured on the Cleveland episode of Anthony Bourdain: No Reservations with host Anthony Bourdain.[15] While American Splendor theater adaptations have occurred before,[16] in 2009, Pekar made his theatrical debut with Leave Me Alone!, a jazz opera for which Pekar wrote the libretto. Leave Me Alone! featured music by Dan Plonsey and premiered at Oberlin College on January 31, 2009.[17] In 2009, Pekar was featured in The Cartoonist, a documentary film on the life and work of Jeff Smith, creator of Bone.[18]

Personal life
Pekar was married from 1960 to 1972 to his first wife, Karen Delaney. His second wife was Helen Lark Hall. Pekar's third wife was writer Joyce Brabner, with whom he collaborated on Our Cancer Year, a graphic novel autobiography of his harrowing yet successful treatment for lymphoma. He lived in Cleveland Heights, Ohio with Brabner and their foster daughter Danielle.

Death
Shortly before 1 a.m. on July 12, 2010, Pekar's wife found him dead in his Cleveland Heights, Ohio, home.[3] No immediate cause was determined. Pekar had been diagnosed with cancer for the third time in his life and was about to undergo treatment.[3] [19] In October 2010, it was determined that Pekar's cause of death was an accidental overdose of antidepressants fluoxetine and bupropion.[20] Pekar was cremated and buried in Lake View Cemetery, next to Eliot Ness.[21]

Posthumous work
According to a September 2010 New York Times article, many Pekar works are planned to be released posthumously:[21] Harvey Pekars Cleveland - A graphic history of the city of Cleveland, Ohio and Pekar's upbringing there. Illustrated by Joseph Remnant (Zip Comics). Huntington, West Virginia, "On the Fly" - Stories of Pekar promoting the 2003 American Splendor film (Random House). Harvey and Joyces Big Book of Marriage - Co-authored by Joyce Brabner (Random House) Not the Israel My Parents Promised - Pekar's thoughts on Zionism and Israel. Illustrated by JT Waldman (Farrar, Straus & Giroux)

Harvey Pekar

459

Awards
1987: American Book Award for the first American Splendor anthology[3] 1995: Harvey Award Best Graphic Album of Original Work (for Our Cancer Year)[22]

Bibliography
American Splendor: The Life and Times of Harvey Pekar (Doubleday, 1986) More American Splendor (Doubleday, 1987) ISBN 0-385-24073-2 The New American Splendor Anthology (Four Walls Eight Windows, 1991) ISBN 0-941423-64-6 Our Cancer Year, with Joyce Brabner and Frank Stack (Four Walls Eight Windows, 1994) ISBN 1-56858-011-8 American Splendor Presents: Bob & Harv's Comics, with R. Crumb (Four Walls Eight Windows, 1996) ISBN 1-56858-101-7 American Splendor: Unsung Hero, with David Collier (Dark Horse, 2003) ISBN 1-59307-040-3 American Splendor: Our Movie Year (Ballantine Books, 2004) ISBN 0-345-47937-8 Best of American Splendor (Ballantine Books, 2005) ISBN 0-345-47938-6 The Quitter, with Dean Haspiel (DC/Vertigo, 2005) ISBN 1-4012-0399-X
Harvey Pekar and Joyce Brabner at Hallwalls, Buffalo, New York (October 4, 1985)

Ego & Hubris: The Michael Malice Story, with Gary Dumm (Ballantine Books, 2006) ISBN 0-345-47939-4 Macedonia, with Heather Roberson and Ed Piskor (Ballantine Books, 2006) ISBN 0-3454-9899-2 American Splendor: Another Day (DC/Vertigo, 2007) ISBN 978-1-4012-1235-3 Students for a Democratic Society: A Graphic History (Hill and Wang, 2008) ISBN 978-0809095391 American Splendor: Another Dollar (2009) ISBN 978-1-4012-2173-7 The Beats (2009) ISBN 978-0-2856-3858-7 Studs Terkel's Working: A Graphic Adaptation (2009) ISBN 978-1-59558-321-5 Circus Parade [23] by Jim Tully. Foreword by Harvey Pekar. Introduction by Paul J. Bauer and Mark Dawidziak. (Kent State Univ. Press, 2009) 978-1-60635-001-0 Huntington, West Virginia "On the Fly" (2011) ISBN 978-0-3454-9941-7

References
[1] http:/ / www. harveypekar. com [2] "Harvey Pekar" (http:/ / www. telegraph. co. uk/ news/ obituaries/ culture-obituaries/ books-obituaries/ 7888494/ Harvey-Pekar. html) (obituary), The Daily Telegraph, July 13, 2010 [3] Connors, Joanna. "Cleveland Comic-Book Legend Harvey Pekar Dead at Age 70" (http:/ / blog. cleveland. com/ metro/ 2010/ 07/ cleveland_comic-book_legend_ha. html), The Plain Dealer, July 12, 2010; "He was recently diagnosed with prostate cancer, and also suffered high blood pressure, asthma and clinical depression, which fueled his art but often made his life painful." [4] "Who is Harvey Pekar?" (http:/ / www. wksu. org/ features/ harveypekar/ ), WKSU.org [5] Momo College (http:/ / www. momocollege. com/ article/ harvey_pekar) [6] "Harvey Pekar" (http:/ / metajam. mobi/ cinema-actor/ -/ -/ Harvey+ Pekar/ e+ harvey_pekar), Metajam.mobi [7] IMDB Movie Page (http:/ / www. imdb. com/ title/ tt0305206/ ). Retrieved December 28, 2008. [8] Irvine, Alex (2008). "American Splendor". In Dougall, Alastair. The Vertigo Encyclopedia. New York: Dorling Kindersley. p.21. ISBN0-7566-4122-5. OCLC213309015 [9] Overheard in New York | The Voice of the City (http:/ / www. overheardinnewyork. com)

Harvey Pekar
[10] Macedonia - Yahoo! Shopping (http:/ / shopping. yahoo. com/ p:Macedonia:3004941646;_ylc=X3oDMTB1c21tcDhkBF9TAzk2NjMyOTA3BHNlYwNmZWVkBHNsawNib29rcw--) [11] Sequart Research & Literacy Organization Columns - High-Low #15: Pekar, Piskor and a Preview of Macedonia (http:/ / www. sequart. com/ columns/ ?column=1210) [12] "Novel Graphics looks at Hoover, Beats, Genetics" (http:/ / pwbeat. publishersweekly. com/ blog/ 2006/ 07/ 13/ novel-graphics-looks-at-hoover-beats-genetics) San Diego Comicon International v2, July 13, 2006. Retrieved July 10, 2008. [13] "The Pekar Project" (http:/ / www. smithmag. net/ pekarproject). Smithmag.net. . Retrieved 2010-07-12. [14] "SHOOTING MYSELF IN THE MIRROR: The Obsessive Cinema of Alan Zweig" (http:/ / www. winnipegfilmgroup. com/ cinematheque/ shooting_myself_in_the_mirror_the_obsessive_cinema_of_alan_zweig. aspx). Winnipeg Film Group. . Retrieved 12 February 2011. [15] Harvey Pekar Meets Anthony Bourdain (http:/ / potrzebie. blogspot. com/ 2007/ 08/ celeb-chef-anthony-bourdain-meets_18. html) [16] http:/ / www. comicsalliance. com/ 2010/ 07/ 13/ harvey-pekar-a-timeline-of-a-comic-book-icon/ [17] Leave Me Alone - About the Opera (http:/ / www. leavemealoneopera. com/ about. asp) [18] "The Cartoonist: Jeff Smith, Bone and the Changing Face of Comics" (http:/ / www. thecartoonistmovie. com). Thecartoonistmovie.com. . Retrieved 2010-07-12. [19] William Grimes (July 12, 2010). "Harvey Pekar, American Splendor Creator, Dies at 70" (http:/ / www. nytimes. com/ 2010/ 07/ 13/ arts/ design/ 13pekar. html?ref=harvey_pekar). New York Times. . Retrieved 2010-09-02. "A spokesman for the Cuyahoga County coroners office said that no cause of death had yet been determined. Capt. Michael Cannon of the Cleveland Heights Police Department, which was summoned to Mr. Pekars home by his wife, Joyce Brabner, told The Associated Press that Mr. Pekar had suffered from prostate cancer, asthma, high blood pressure and depression." [20] Galbinca, Pat (2010-10-20). "Coroner rules that Harvey Pekar's death due to 'natural causes'" (http:/ / blog. cleveland. com/ metro/ 2010/ 10/ coroner_rules_that_harvey_peka. html). The Plain Dealer. . Retrieved 2010-10-20. [21] Itzkoff, Dave (September 1, 2010). "The Unsettled Afterlife of Harvey Pekar" (http:/ / www. nytimes. com/ 2010/ 09/ 05/ arts/ design/ 05pekar. html?_r=1& pagewanted=2& bl). The New York Times. . [22] "The Harvey Awards" (http:/ / www. harveyawards. org/ awards_1995win. html). The Harvey Awards. . Retrieved 2010-07-12. [23] http:/ / upress. kent. edu/ books/ Tully_J2. htm

460

External links
Harvey Pekar's official website (http://www.harveypekar.com/) Redirects to New Line Cinema's official website for American Splendor "Harvey Pekar, American Splendor Creator, Dies at 70" (http://www.nytimes.com/2010/07/13/arts/design/ 13pekar.html?hpw) William Grimes, The New York Times, 12 July 2010 "His Everyday Life Was in His Comics" (http://online.wsj.com/article/ SB10001424052748703283004575363401138034466.html?mod=WSJ_LifeStyle_Lifestyle_5) Stephen Miller, The Wall Street Journal, 13 July 2010 Interview on The Sound of Young America: MP3 Link (http://libsyn.com/media/tsoya/tsoya102905.mp3) New York Press Interview (http://www.nypress.com/19/21/books/) Walrus Comix interview (http://www.walruscomix.com/pekarinterview.html) Article (http://www.inthesetimes.com/site/main/article/109/) by James Hynes about Pekar's last appearance on Late Night with David Letterman Harvey Pekar (http://www.imdb.com/name/nm0670688/) at the Internet Movie Database List of American Splendor collaborators (http://joshcomix.home.mindspring.com/and/pekar_artists/) Archive of Pekar's Jazz Reviews (http://www.austinchronicle.com/issues/dispatch/authors/harveypekar. html) for the Austin Chronicle (http://www.austinchronicle.com) Another archive of Jazz reviews (http://weeklywire.com/ww/archives/authors/austin_harveypekar.html) November 10, 2005 Interview (http://www.npr.org/templates/story/story.php?storyId=5005754) on Fresh Air with Terry Gross Profile of and Commentaries by Pekar (http://www.wksu.org/features/harveypekar/) on WKSU-FM, Kent, Ohio Preview of "The Beats" (http://www.edpiskor.com/beatpreview.html) Boppin' With Pekar (http://www.prx.org/pieces/20883), a one-hour public radio program on jazz history with Harvey Pekar, Jerry Zolten and Phoebe Gloeckner Online obituary for Harvey Pekar (http://www.tributes.com/Harvey-Pekar)

Harvey Pekar "Harvey Pekar dead: American Splendor comic writer was 70" (http://www.washingtonpost.com/wp-dyn/ content/article/2010/07/12/AR2010071202413.html?hpid=moreheadlines) Terence McArdle, The Washington Post, 13 July 2010 Video: Harvey Pekar talks about Toby Radloff (http://blip.tv/file/5110235) "Tribute in La Cucaracha" (http://www.gocomics.com/lacucaracha/2010/07/28/)

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UK authors and texts worth noting


Punch (magazine)
Punch, or the London Charivari was a British weekly magazine of humour and satire established in 1841 by Henry Mayhew and engraver Ebenezer Landells. Historically, it was most influential in the 1840s and 50s, when it helped to coin the term "cartoon" in its modern sense as a humorous illustration. It became a British institution, but after the 1940s, when its circulation peaked, it went into a long decline, finally closing in 1992. It was revived in 1996, but closed again in 2002.

History
Punch was founded on 17 July 1841 by Henry Mayhew and engraver Ebenezer Landells. It was jointly edited by Mayhew and Mark Lemon. Initially it was subtitled The London Charivari, this being a reference to a satirical humour magazine published in France as Le Charivari. Reflecting their satiric and humorous intent, the two editors took for their name and masthead the anarchic glove puppet, Mr. Punch, of Cover of the first Punch, or the London Charivari depicts Punch hanging a caricatured Devil, 1841 Punch and Judy; the name also referred to a joke made early on about (see gallery below for enlarged detail) one of the magazine's first editors, Lemon, that "punch is nothing without lemon". Mayhew ceased to be joint editor in 1842 and became "suggestor in chief" until he severed his connection in 1845. In December 1842 due to financial difficulties the magazine was sold to Bradbury and Evans, both printers and publishers. Bradbury and Evans capitalised on newly evolving mass printing technologies and also were the publishers for Charles Dickens and Thackeray. Punch was responsible for the word sense "cartoon" as a comic drawing. The illustrator Archibald Henning designed the cover of the magazine's first issues. The cover design varied in the early years, though Richard Doyle designed what became the magazine's masthead in 1849. Artists who published in Punch during the 1840s and 50s included John Leech, Richard Doyle, John Tenniel, Charles Keene, Harry Furniss, Linley Sambourne, Francis Carruthers Gould, and Phil May.[1] This group became known as "The Punch Brotherhood", which also included Charles Dickens who joined Bradbury and Evans after leaving Chapman and Hall in 1843.[1] Punch authors and artists also contributed to another Bradbury and Evans literary magazine called Once A Week (est.1859), created in response to Dickens' departure from Household Words.[1] In the 1860s and 1870s, conservative Punch faced competition from upstart liberal journal Fun, but after about 1874, Fun's fortunes faded. At Evans's caf in London, the two journals had "Round tables" in competition with each other.[2]

Punch (magazine)

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After months of financial difficulty and lack of market success, Punch became a staple for British drawing rooms because of its sophisticated humour and absence of offensive material, especially when viewed against the satirical press of the time. The Times and the Sunday paper News of the World used small pieces from Punch as column fillers, giving the magazine free publicity and indirectly granting a degree of respectability, a privilege not "True Humility": Bishop: "I'm afraid you've got a bad egg, Mr Jones"; Curate: "Oh, no, enjoyed by any other comic my Lord, I assure you that parts of it are excellent!" publication. Punch would share a George du Maurier, originally published in 1895 friendly relationship with not only The Times but journals aimed at intellectual audiences such as the Westminster Review, which published a fifty-three page illustrated article on Punch's first two volumes. Historian Richard Altick writes that "To judge from the number of references to it in the private letters and memoirs of the 1840s...Punch had become a household word within a year or two of its founding, beginning in the middle class and soon reaching the pinnacle of society, royalty itself".[3] Increasing in readership and popularity throughout the remainder of the 1840s and 1850s, Punch was the success story of a threepenny weekly paper that had become one of the most talked-about and enjoyed periodicals. Punch enjoyed an audience including: Elizabeth Barrett, Robert Browning, Thomas Carlyle, Edward FitzGerald, Charlotte Bront, Queen Victoria, Prince Albert, Ralph Waldo Emerson, Emily Dickinson, Herman Melville, Henry Wadsworth Longfellow, and James Russell Lowell. Punch gave several phrases to the English language, including The Crystal Palace, and the "Curate's egg" (first seen in an 1895 cartoon). Several British humour classics were first serialised in Punch, such as the Diary of a Nobody and 1066 and All That. Circulation peaked during the 1940s at 175,000 and declined thereafter, until the magazine was forced to close in 1992 after 150 years of publication.

Later years
Punch material was collected in book formats from the late nineteenth century, including Pick of the Punch annuals with cartoons and text features, Punch and the War (a 1941 collection of WWII-related cartoons), and A Big Bowl of Punch which was republished a number of times. Many Punch cartoonists of the late 20th century published collections of their own, partly based on Punch contributions. In early 1996, the Egyptian businessman Mohamed Al-Fayed bought the rights to the name, and it was re-launched later that year. It was reported that the magazine was intended to be a spoiler aimed at Private Eye, which had published many items critical of Fayed. The magazine never became profitable in its new incarnation, and at the end of May 2002 it was announced that Punch would once more cease publication. Press reports quoted a loss of 16 million over the six years of publication, with only 6,000 subscribers at the end. Whereas the earlier version of Punch prominently featured the clownish character Punchinello (Punch of Punch and Judy) performing antics on front covers, the resurrected Punch magazine did not use this character, but featured on its weekly covers a photograph of a boxing glove, thus informing its readers that the new magazine intended its name to mean "punch" in the sense of a punch in the eye. In 2004, much of the archive, including the famous Punch table, was acquired by the British Library.

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Gallery of selected early covers

Detail of Punch hanging the Devil from first cover in 1841

1843: 1 July cover shows Punch straddling a trumpeter

Punch (magazine)

465 Punch magazine cover from 1867 shows Richard Doyle's 1849 illustration

1916: 26 April cover shows Richard Doyle's masthead with colour and advertisements

Contributors
Editors of Punch were: Mark Lemon (18411870) Henry Mayhew (18411842) Charles William Shirley Brooks (18701874) Tom Taylor (18741880) Sir Francis Burnand (18801906) Sir Owen Seaman (19061932) E.V. Knox (19321949) Kenneth Bird (19491952) Malcolm Muggeridge (19531957) Bernard Hollowood (19581968) William Davis (19691977) Alan Coren (19781987) David Taylor (1988) David Thomas (19891992) Peter McKay (September 19961997) Paul Spike (1997) James Steen (19972001) Richard Brass (20012002)
Editorial meeting of Punch magazine in the late 19th century

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Cartoonists who worked for the magazine included: Acanthus (Frank Hoar) Anton (Antonia Yeoman) Edward Ardizzone C. H. Bennett Nicolas Bentley Murray Ball Quentin Blake Russell Brockbank Clive Collins[4]

Richard Doyle (who also illustrated Charles Dickens' Christmas books) Rowland Emett Noel Ford[5] ffolkes (Michael Davies) Fougasse (Kenneth Bird) Alex Graham (creator of Fred Basset) J.B. Handelsman Leslie Illingworth[6] John Jensen[7] Charles Keene David Langdon Larry (Terrence Parkes) John Leech George du Maurier Phil May Brooke McEldowney Nick Newman Bernard Partridge Matt Percival John Phillips[8] Pont (Graham Laidler) Matt Pritchett[9] Arthur Rackham Albert Rusling Edward Linley Sambourne Gerald Scarfe Ronald Searle E.H. Shepard (who also illustrated Winnie-the-Pooh) Robert Sherriffs William Sillince George Sprod John Tenniel (who also illustrated Alice in Wonderland) Norman Thelwell
John Tenniel's "Our New 'First Lord' at Sea" for the 13 October 1877 issue

Bill Tidy (who attempted to buy Punch when it went out of publication) Trog (Wally Fawkes) E A Worthington

Punch (magazine) Notable authors who contributed at one time or another include Kingsley Amis, Alex Atkinson, John Betjeman, Willard R. Espy, A.P. Herbert, Thomas Hood, Douglas William Jerrold (18411857), James Leavey, George du Maurier, George Melly, John McCrae, A.A. Milne, Anthony Powell, W.C. Sellar and R.J. Yeatman, William Makepeace Thackeray, Sir Henry Lucy, John Hollingshead, Artemus Ward, Somerset Maugham, P.G. Wodehouse, Keith Waterhouse, Quentin Crisp, Olivia Manning, Sylvia Plath, Joyce Grenfell, E.M. Delafield, Stevie Smith, Virginia Graham, Joan Bakewell, Penelope Fitzgerald, and Peter Dickinson.

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Influence
Punch gave its name to the Lucknow-based satirical Urdu weekly Awadh Punch (18771936), which in turn inspired dozens of other "Punch" periodicals in India. University of Pennsylvania humor magazine the Pennsylvania Punch Bowl derived its name from this magazine. Australia's Melbourne Punch was inspired by the London original.

Notes
[1] Punch, or the London Charivari (1841-1992) A British Institution (http:/ / www. victorianweb. org/ periodicals/ punch/ pva44. html), Philip V. Allingham; Contributing Editor, Victorian Web; Faculty of Education, Lakehead University, Thunder Bay, Ontario. [2] See Schoch, Richard, Performing Bohemia (2004) (http:/ / journals. mup. man. ac. uk/ cgi-bin/ pdfdisp/ / MUPpdf/ NCTF/ V30I2/ 300001. pdf) (copy downloaded 13 October 2006). [3] See Altick, Richard. Punch: The Lively Youth of a British Institution, 18411851 (Ohio State University Press, 1997), 17. [4] Cartoons.ac.uk (http:/ / www. cartoons. ac. uk/ artists/ clivecollins/ biography) [5] Noel Ford (http:/ / www. fordcartoon. com) [6] Cartoons.ac.uk (http:/ / www. cartoons. ac. uk/ artists/ leslie-gilbertillingworth/ biography) [7] Cartoons.ac.uk (http:/ / www. cartoons. ac. uk/ artists/ johnjensen/ biography) [8] Spielmann, Marion Harry (1895). The history of "Punch", Volume 1 (http:/ / books. google. com/ books?id=o5o4AAAAIAAJ& dq="The+ History+ of+ Punch"+ Phillips& source=gbs_navlinks_s). Cassell and company, limited. pp.412. . [9] "David Myers Award-winning joke cartoonist" (http:/ / news. independent. co. uk/ people/ obituaries/ article2686799. ece). The Independent. 21 June 2007. . Retrieved 24 October 2010.

External links
Punch (http://www.archive.org/search.php?query=title:punch AND mediatype:texts&page=1) at Internet Archive and Google Books (scanned books original editions illustrated) Punch (http://www.gutenberg.org/wiki/Punch_(Bookshelf)) at Project Gutenberg (plain text and HTML) The History of "Punch" (http://www.gutenberg.org/ebooks/23881) by Marion H. Spielmann, 1895, from Project Gutenberg Punch cartoon library (http://www.punch.co.uk/), including a history of the magazine Gallery of Punch cartoons (http://www.punchcartoons.com) at Punchcartoons.com British Cartoon Archive (http://www.cartoons.ac.uk/search/cartoon_item/publication=Punch) at University of Kent John Leech Sketch archives from Punch (http://www.john-leech-archive.org.uk/), website with 600 of Leech's sketches

Grant Morrison

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Grant Morrison
Grant Morrison

Grant Morrison at the 2006 San Diego Comic-Con International. Born 31 January 1960 Glasgow, Scotland Scottish Writer All-Star Superman Animal Man Batman and Robin Batman R.I.P. The Filth Final Crisis The Invisibles Seven Soldiers New X-Men Zenith

Nationality Area(s) Notable works

Official website

[1]

Grant Morrison (born 31 January 1960) is a Scottish comic book writer and playwright. He is known for his nonlinear narratives and counter-cultural leanings, as well as his successful runs on titles like Animal Man, Doom Patrol, JLA, The Invisibles, New X-Men, Fantastic Four, All-Star Superman, and Batman.

Early life
Grant Morrison was born in Glasgow, Scotland in 1960. His first published works were Gideon Stargrave strips for Near Myths in 1978 (when he was about 17[2] ), one of the first British alternative comics. His work appeared in four of the five issues of Near Myths and he was suitably encouraged to find more comic work. This included a weekly comic strip Captain Clyde, an unemployed superhero based in Glasgow, for The Govan Press, a local newspaper, plus various issues of DC Thomson's Starblazer, a science fiction version of that company's Commando title.

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Career
1980s
Morrison spent much of the early 1980s touring and recording with his band The Mixers, writing the occasional Starblazer for D. C. Thompson and contributing to various UK indie titles. In 1982 he submitted a proposal involving the Justice League of America and Jack Kirby's New Gods entitled Second Coming to DC Comics, but it was not commissioned. After writing The Liberators for Dez Skinn's Warrior in 1985, he started work for Marvel UK the following year. There he wrote a number of comic strips for Doctor Who Magazine, his final one a collaboration with a then-teenage Bryan Hitch, as well as a run on the Zoids strip in Spider-Man and Zoids. 1986 also saw publication of Morrison's first of several two- or three-page Future Shocks for 2000AD. Morrison's first continuing serial began in 2000AD in 1987, when he and Steve Yeowell created Zenith, an early example of deconstructing the superhero genre. Morrison's work on Zenith brought him to the attention of DC Comics, who asked him to pitch for them. They accepted his proposals for Animal Man, a little-known character from DC's past whose most notable recent appearance was a cameo in the Crisis on Infinite Earths limited series, and for a 48-page Batman one-shot that would eventually become Arkham Asylum: A Serious House on Serious Earth. Animal Man placed Morrison at the head of the so-called "Brit Wave" invasion of American comics, along with such writers as Neil Gaiman, Peter Milligan, Jamie Delano and Alan Moore (who had launched the 'invasion' with his work on Swamp Thing).[3] After impressing with Animal Man, Morrison was asked to take over Doom Patrol, starting his uniquely surreal take on the superhero genre with issue #19 in 1989. Previously, a formulaic superhero title, Morrison's Doom Patrol introduced more surreal elements, introducing concepts such as dadaism into his first several issues. DC published Arkham Asylum: A Serious House on Serious Earth in 1989 as a 128 page graphic novel. Painted by Dave McKean, Arkham Asylum featured uses of symbolic writing not common in comics at the time. (The story was to have included a transvestite Joker, an element toned down by DC.) The book went on to become one of the best selling graphic novels of all time. During the late 80s, Morrison also wrote various other titles for DC, most notably Gothic in issues 6-10 of the Batman title Legends of the Dark Knight. Whilst working for DC in America, Morrison kept contributing to British indie titles, most notably writing St. Swithin's Day for Trident Comics. St. Swithin's Day's anti-Margaret Thatcher themes proved controversial, provoking a small tabloid press fury and a complaint from Conservative MP Teddy Taylor. The controversy continued with the publication of The New Adventures of Hitler in Scottish music and lifestyle magazine Cut in 1989, due to its use of Adolf Hitler as its lead character. The strip was unfinished when Cut folded, and was later reprinted and completed in Fleetway's 2000AD spin-off title Crisis.

1990s
The early 1990s saw Morrison revamping Kid Eternity for DC with artist Duncan Fegredo, and Dan Dare, with artist Rian Hughes. Morrison coloured Dare's bright future with Thatcherism in Fleetway's Revolver. In 1991 Morrison wrote Bible John-A Forensic Meditation for Fleetway's Crisis, drawn by fellow member of 'The Mixers' Daniel Vallely, and based on an analysis of possible motivations for the crimes of the serial killer Bible John. Covering similar themes to Alan Moore and Eddie Campbell's From Hell, the story was highly experimental in terms of story and art, with Vallely and Morrison claiming to have used a Ouija board to write the script and Vallely using a series of collages rather than conventional panels to tell the story. Morrison used the term "Forensic Meditation" to refer his mixture of scientific and magical techniques to tell the story. Vallely allegedly destroyed his art work upon the story's completion and left the comic industry. Bible John has not been reprinted.

Grant Morrison In 1993 Morrison, fellow Glaswegian comic writer Mark Millar and John Smith were asked to reinvigorate 2000 AD for an eight-week run called "The Summer Offensive". Morrison wrote Judge Dredd and Really and Truly, and co-wrote the highly controversial Big Dave with Millar. DC Comics launched its Vertigo imprint in 1993, publishing several of Morrison's creator-owned projects, such as the steampunk mini-series Sebastian O and the graphic novel The Mystery Play. 1995 saw the release of Kill Your Boyfriend, with artist Philip Bond, originally published as a Vertigo Voices one-shot. In 1996 Morrison wrote Flex Mentallo, a Doom Patrol spin-off with art by Frank Quitely,[4] and also returned briefly to DC Universe superheroics with the critically acclaimed but short-lived Aztek, co-written with Mark Millar. In 1996, Morrison was given the Justice League of America to revamp as JLA, a comic book that gathered the 'Big Seven' superheroes of the DC universe into one team. This run was hugely popular and returned the title back to best-selling status. It was also influential in creating the type of "widescreen" superhero action later seen in titles such as Warren Ellis and Bryan Hitch's The Authority. Morrison wrote several issues of The Flash with Mark Millar, as well as DC's crossover event of 1998, the four-issue mini-series DC One Million, in addition to plotting many of the multiple crossovers. With the three volumes of the creator-owned The Invisibles, Morrison would start his largest and possibly most important[5] work. The Invisibles combined political, pop- and sub-cultural references. Tapping into pre-millennial tension, the work was influenced by the writings of Robert Anton Wilson, Aleister Crowley and William Burroughs and Morrison's practice of chaos magic.[6] At DisinfoCon in 1999, Morrison said that much of the content in The Invisibles was information given to him by aliens that abducted him in Kathmandu, who told him to spread this information to the world via a comic book. He later clarified that the experience he labeled as the "Alien Abduction Experience in Kathmandu" had nothing to do with aliens or abduction, but that there was an experience that he had in Kathmandu that The Invisibles is an attempt to explain.[7] The title was not a huge commercial hit to start with. (Morrison actually asked his readers to participate in a "wankathon" while concentrating on a magical symbol, or sigil, in an effort to boost sales).[8] The first issues were critically acclaimed, but many readers found the second arc in issues 5-8 too confusing or lacking in action. When the title was relaunched with volume two, the characters relocated to America and the style became intentionally more "American", featuring more action while still maintaining Morrison's ideas and themes. Volume three appeared with issue numbers counting down, signaling an intention to conclude the series with the turn of the new millennium in 2000. However, due to the title shipping late, its final issue did not ship until April 2000. The entire series has been collected by Vertigo as a series of seven trade paperbacks.

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2000s
In 2000, Morrison's graphic novel JLA: Earth 2 was released with art by Frank Quitely. It was Morrison's last mainstream work for DC for a while, as he moved to Marvel Comics to take over the writing of the main X-Men title, renamed New X-Men for his run, with Quitely providing much of the art.[9] Again, Morrison's revamping of a major superhero team proved to be a critical and commercial success, with the title jumping to the #1 sales[10] and established Morrison as the kind of creator whose name on a title would guarantee sales.[11] His penultimate arc "Planet X" depicted the villain Magneto infiltrating and defeating the X-Men in the guise of new character Xorn and developing an addiction to the power-enhancing drug "Kick".[12] [13] This has since been retconned by other writers to portray Morrison's Xorn as a separate character distinct from Magneto.[14]

Grant Morrison

471 In 2002, Morrison launched his next creator-owned project at Vertigo: The Filth, drawn by Chris Weston and Gary Erskine, a 13-part mini-series,[15] said by Warren Ellis to be heavily influenced by Chris Morris's Blue Jam radio series. While at Marvel, Morrison also wrote the six-part Marvel Boy series,[16] and Fantastic Four: 1234, his take on another major superhero team. Morrison helped challenge Marvel's reputation for being closed to new ideas, but after finishing his New X-Men, he returned to DC Comics to work on several titles and help revamp the DC Universe. In 2004, Vertigo published three Morrison mini-series. Seaguy, We3 and Vimanarama involving, respectively, a picaresque hero in a post-utopian world that does not need him; cyber-enhanced pets running from their captors in what Morrison calls his "western manga"; and ancient Hindu/Pakistani myths translated into Jack Kirby-style adventures. We3 came in for particular praise for its bold storytelling techniques and artwork by Frank Quitely. Morrison also returned to the JLA with the first story in a new anthology series, JLA Classified, tales set within the JLA mythos by various creative teams.

Morrison at the 2008 San Diego Comic-Con International.

In 2005, DC Comics started publishing what was dubbed the first ever "megaseries". The Grant Morrison-scripted Seven Soldiers features both new characters and reimagined obscure DC characters: The Manhattan Guardian, Mister Miracle, Klarion the Witch Boy, Bulleteer, Frankenstein, Zatanna and Shining Knight. The maxi-series consists of seven interlinked four-issue mini-series with two "bookend" volumes 30 issues in all. Dan DiDio (current editorial vice president of DC Comics) was impressed with Morrison's ideas for revitalizing many of DC's redundant characters. Giving him the unofficial title of "revamp guy", DiDio asked him to assist in sorting out the DC Universe in the wake of the Infinite Crisis.[17] Morrison was also one of the writers on 52, a year long weekly comic book series that started in May 2006 and concluded in May 2007.[18] Starting in November 2005, DC published All-Star Superman, a twelve-issue story arc by Morrison and Frank Quitely. Not so much a revamp or reboot of Superman, the series presents an out-of-continuity "iconic" Superman for new readers. All-Star Superman won the Eisner Award for Best New Series in 2006, the Best Continuing Series Eisner Award in 2007 and several Eagle Awards in the UK. It also won 3 Harvey Awards in 2008 and the Eisner Award for Best Continuing Series in 2009. In the same year, Morrison and Quitely worked on pop star Robbie Williams' album Intensive Care, providing intricate Tarot card designs for the packaging and cover of the CD. In 2006 Morrison was voted as the #2 favorite comic book writer of all time by Comic Book Resources, beating Neil Gaiman at #3 (Alan Moore was #1).[19] That same year, Morrison began writing Batman for DC with issue #655. He also masterminded the relaunch of The Authority and Wildcats, with the art of Gene Ha and Jim Lee respectively, for DC's Wildstorm imprint. WildC.A.T.S. went on hiatus after one issue, The Authority was discontinued after two. The scheduling of The Authority conflicted with 52 and Morrison was unhappy with the reviews: "I said fuck it.".[20] It eventually concluded without Morrison's involvement in Keith Giffen's The Authority: The Lost Year. At the 2007 San Diego Comic-Con, DC Comics announced that Morrison would write Final Crisis, a seven issue mini-series slated to appear in 2008 with J. G. Jones handling the art. Morrison also announced that 2008 would see publication of the follow-up to 2004's Seaguy called Seaguy 2: The Slaves of Mickey Eye, the second part of a planned three part series.[21] [22]

Grant Morrison At the 2008 New York Comic-Con, Morrison announced he would be working with Virgin Comics to produce "webisodes" (short animated stories) based on the Mahbhrata; it would not be a direct translation but, "Like the Beatles took Indian music and tried to make psychedelic sounds... I'm trying to convert Indian storytelling to a western style for people raised on movies, comics, and video games."[23]

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2010s
At San Diego Comic Con 2010 it was announced that Grant Morrison would be leaving Batman and Robin with #16 and launching a new series entitled Batman Incorporated with artist Yanick Paquette; a more team-oriented Batman book inspired by the Batman: The Brave and the Bold animated series.[24] [25] [26] Morrison's latest creator-owned work, an eight issue Vertigo series titled Joe the Barbarian, launched in January 2010 with artist Sean Murphy.[27] Originally a six issue series, Morrison felt that the story would benefit from an extra two issues. The titular Joe is a diabetic young boy who begins to hallucinate a fantasy world populated with his toys and other fantasy characters when he stops taking his medication.[28] Following the closure of Virgin Comics, Dynamite Entertainment and Liquid Comics announced a partnership to publish a hardcover of illustrated scripts of Grant Morrison's Mahbhrata-based, animated project 18 Days with illustrations by artist Mukesh Singh, that was released in August 2010.[29] [30]

He is the subject of a feature-length documentary titled Grant Morrison: Talking with Gods. The documentary features extensive interviews with Morrison as well as a number of comic artists, editors and professionals he has worked closely with.[31] Talking with Gods is being co-produced by Respect Films and Sequart Research & Literacy Organization, and was released in 2010 at the San Diego Comic Con.[32] Morrison was featured in My Chemical Romance's music video "Na Na Na (Na Na Na Na Na Na Na Na Na)" from their 2010 album Danger Days: True Lives of the Fabulous Killjoys as the concept's villain Korse.[33] He reprised the role of his character in the "SING" music video. Morrison will be completing the first 'season' of Batman Inc with issue #10, before returning in 2012 to complete the story with an additional 12 issues. He will be teaming with artist Chris Burnham for the relaunch.[34] In June 2011, as part of DC Comics' massive revamp of their entire superhero line, Morrison was announced as the writer on the new Action Comics #1, teaming with artist Rags Morales, marking Morrison's return to the Superman character after the All Star Superman.[35] Morrison's next major comic book project will be Multiversity, a metaseries of eight one-shots set in some of the 52 worlds in the DC Multiverse.[36] [37] In July 2011, Morrison's analysis of superheroes, Supergods: Our World in the Age of the Superhero, was published by Random House Spiegel & Grau in the United States and Jonathan Cape in the UK.[38] He has pitched a science fiction television series entitled Bonnyroad to the BBC with director Paul McGuigan and Stephen Fry, which is currently in development.[39] Morrison is writing a film to be directed by Adam Egypt Mortimer called Sinatoro, to be released in 2012.[40] [41]

Morrison signing copies of his 2011 superhero analysis, Supergods, at Midtown Comics in Manhattan, July 19, 2011.

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Appearances as a comics character


Grant Morrison first appeared as a comics character with a cameo in Animal Man #14. He made a full appearance at the end of issue #25, and spent most of #26 in a lengthy conversation with the comic's title character on the impact of 'realism' on comic books. He is killed off in Suicide Squad #58.[42] Morrison would later be counted among the Seven Unknown Men of Slaughter Swamp, the body of "reality engineers" seen throughout the Seven Soldiers miniseries event, all of whom look exactly like him. During the series, one of these - referred to as the "Eighth of Seven" - went rogue, consolidating magical power for himself, releasing the Sheeda warrior-race on their Twenty-First Century ancestors, and becoming the silver-age character Zor, "The Terrible Time Tailor", a figure who looks exactly like Morrison but also wears a magician's outfit and sporting dark hair and a self-described 'magnificent beard'. This Zor was introduced in the original Spectre adventures in More Fun Comics #55 before he was re-invented in "Seven Soldiers." Zor is defeated by Zatanna and captured by his fellow Time Tailors who 'judge' him. Morrison himself, bearing a DC Comics-logo tie clip then becomes the narrator of the final chapter, treating the readers as if they were Zor themselves. Zor is eventually dressed to resemble a pedophiliac miser named Cyrus Gold, killed by an angry mob [43] (in DC history, after being killed by the mob Cyrus Gold's body falls into the swamp, and he is reborn as the Golden Age villain Solomon Grundy - see Solomon Grundy (comics)). He has also appeared in an issue of Simpsons Comics, where he is seen fighting with Mark Millar over the title of "Writer of X-Men".[44] In the notes to the Absolute Edition of DC: The New Frontier, writer Darwyn Cooke mentioned that this version of Captain Cold was visually based upon Morrison. It has also been suggested by Comics Bulletin's Thom Young that the near-future Batman depicted in Batman #666 is based on Morrison: "Oddly, the shaved-headed Batman in the trench coat looks a bit like Grant Morrison and he has a cat named Alfred. In other words, it looks like Morrison (who is known to love cats) made himself Batman in this story. Of course, in Animal Man, Morrison appeared as himself as the teller of tales of Animal Man's life; in Seven Soldiers, the tailors who tell the tales of the universe looked like Morrison; and now he seems to be the Batman of the not-too-distant future."[45] However, Morrison has stated that the decision to base the appearance of the future Batman on him was that of artist Andy Kubert: "I had written him as having a buzz cut, I think, but Andy drew him bald. I think a lot of people just assumed that I stuck myself into a comic again, but that was never intended."[46]

Screenwriting and playwriting


Morrison has become more involved in screenwriting and has written numerous scripts and treatments. His screenplays include Sleepless Knights for DreamWorks and WE3 for New Line (both in development with Don Murphy producing, John Stevenson is attached as Director for WE3). Most recently he wrote the adaptation of the video game Area 51 home console game[47] for Paramount (in development with CFP Productions producing). Morrison provided outline story and script work for two video games (Predator: Concrete Jungle and Battlestar Galactica) both by Vivendi Universal, though the finished products often did not contain all his contributions. He has also been a successful playwright, with two plays written for and performed by Oxygen House at the Edinburgh Fringe. The first was Red King Rising in 1989, about the (partly fictional) relationship between Lewis Carroll and Alice Liddell and the second in 1990, Depravity about Aleister Crowley. Both plays were critically acclaimed and won between them a Fringe First Award, the Independent Theatre Award for 1989 and the Evening Standard Award for New Drama. A film adaptation of Red King Rising is in discussion. Both plays were included in his collection of prose, Lovely Biscuits released in 1999.[48]

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Notes
[1] http:/ / www. grantmorrison. com [2] . "DC Comics Grant Morrison interview" (http:/ / www. youtube. com/ watch?v=SXEBGl9wbqs& mode=related& search=). YouTube. . Retrieved 2010-10-26. [3] Irvine, Alex (2008). "Animal Man". In Dougall, Alastair. The Vertigo Encyclopedia. New York: Dorling Kindersley. p.27. ISBN0-7566-4122-5. OCLC213309015 [4] "Before All Star - Grant Morrison on Kill Your Boyfriend" (http:/ / www. newsarama. com/ comics/ 110806-Kill-Boyfriend-Morrison. html). Newsarama, November 6, 2008 [5] CBR's #2 & #1 All Time Favorite Writer (http:/ / www. comicbookresources. com/ ?page=article& id=8388), Comics Bulletin [6] Irvine, Alex (2008). "The Invisibles". In Dougall, Alastair. The Vertigo Encyclopedia. New York: Dorling Kindersley. pp.9297. ISBN0-7566-4122-5. OCLC213309015 [7] "Barbelith Interviews: An Interview with Grant Morrison" (http:/ / www. barbelith. com/ old/ interviews/ interview_4. shtml). Barbelith.com. . Retrieved 2010-10-26. [8] "Barbelith Interviews: An Interview with Grant Morrison" (http:/ / www. barbelith. com/ old/ interviews/ interview_9. shtml). Barbelith.com. . Retrieved 2010-10-26. [9] Callahan, Timothy (November 16, 2009). "21st Century Mutant Chic: Grant Morrison's X-Men" (http:/ / www. comicbookresources. com/ ?page=article& id=23729). When Words Collide. Comic Book Resources. . Retrieved May 31, 2010. [10] "May 2001 Comic Book Sales Figures" (http:/ / www. comichron. com/ monthlycomicssales/ 2001/ 2001-05. html). The Comics Chronicle. . Retrieved May 31, 2010. [11] Deppey, Dirk. "X-Men... Retreat!" (http:/ / archives. tcj. com/ 262/ e_jista. html). Journalista!. The Comics Journal #262. . Retrieved May 31, 2010. "While longtime readers of this magazine have heard Morrison's name on any number of occasions, it's worth noting that the renowned writer was anything but a surefire guarantor of increased sales prior to his run on New X-Men." [12] Ellis, Jonathan (2004). "Grant Morrison: Master & Commander" (http:/ / www. popimage. com/ content/ grant20044. html). popimage.com. . Retrieved September 16, 2006. [13] Ness, Alex (September 5, 2005). "A Chat Abour Craft With Grant Morrison" (http:/ / www. popthought. com/ display_column. asp?DAID=861). Pop Thought. . Retrieved September 17, 2006. [14] Contino, Jennifer M. (2004). "Chuck Austen X-Men Writer" (http:/ / www. comicon. com/ ubb/ ubbthreads. php?ubb=showflat& Number=332492#Post332492). Comicon.com. . Retrieved September 17, 2006. [15] Irvine, Alex (2008). "Filth". In Dougall, Alastair. The Vertigo Encyclopedia. New York: Dorling Kindersley. p.83. ISBN0-7566-4122-5. OCLC213309015 [16] Ellis, Warren (June 9, 2000). "Come in Alone #28" (http:/ / www. comicbookresources. com/ ?page=article& id=13349). Comic Book Resources. . [17] "Grant Morrison on Being the DCU Revamp Guy" (http:/ / classic. newsarama. com/ dcnew/ MorrisonDCU. htm). Newsarama. June 20, 2005 [18] The 52 Exit Iinterviews" (http:/ / forum. newsarama. com/ showthread. php?t=111900). Newsarama. May 12, 2007 [19] "CBR's #2 & #1 All Time Favorite Writer" (http:/ / www. comicbookresources. com/ news/ newsitem. cgi?id=8684). Comic Book Resources. . [20] "NYCC '08: The Grant Morrison Panel" (http:/ / forum. newsarama. com/ showthread. php?t=154312). Newsarama. April 19, 2008 [21] "All Star Grant Morrison III: Superman" (http:/ / www. comicbookresources. com/ ?page=article& id=16045), Comic Book Resources. April 17, 2008 [22] "Morrison on the Return of Seaguy!" (http:/ / www. comicbookresources. com/ ?page=article& id=20507). Comic Book Resources. March 20, 2009 [23] "NYCC: Virgin Comics Announces Grant Morrison Webisodes" (http:/ / www. comicbookresources. com/ ?page=article& id=16079), Comic Book Resources. April 18, 2008 [24] DCU.blog.dccomics.com (http:/ / dcu. blog. dccomics. com/ 2010/ 07/ 23/ sdcc-2010-and-nowbatman-inc/ ) [25] "CCI: Batman The Return" (http:/ / www. comicbookresources. com/ ?page=article& id=27400). Comic Book Resources. 2010-07-23. . Retrieved 2010-10-26. [26] var authorId = "" by Richard George (2010-07-23). "SDCC 10: The Corporate Batman - Comics Feature at IGN" (http:/ / comics. ign. com/ articles/ 110/ 1108154p1. html). Comics.ign.com. . Retrieved 2010-10-26. [27] O'Shea, Tim (January 18, 2010). "Talking Comics with Tim: Sean Murphy" (http:/ / robot6. comicbookresources. com/ 2010/ 01/ talking-comics-with-tim-sean-murphy/ ). Robot6. Comic Book Resources. . [28] Melrose, Kevin (June 2009). "An early glimpse of Morrison and Murphy's Joe the Barbarian" (http:/ / robot6. comicbookresources. com/ 2009/ 06/ an-early-glimpse-of-morrison-and-murphys-joe-the-barbarian/ ). Robot6. Comic Book Resources. . [29] Comic Book Resources (March 25, 2010). "Morrison Spends "18 Days" with Dynamite" (http:/ / www. comicbookresources. com/ ?page=article& id=25392). Press release. . Retrieved May 31, 2010. [30] Brownfield, Troy (May 31, 2010). "Grant Morrison Wages War Using Indian Mythology for 18 DAYS" (http:/ / www. newsarama. com/ comics/ 18-days-grant-morrison-interview-100531. html). Newsarama. . Retrieved May 31, 2010.

Grant Morrison
[31] "''Grant Morrison: Talking with Gods'' official website" (http:/ / www. grantmorrisonmovie. com/ ). Grantmorrisonmovie.com. . Retrieved 2010-10-26. [32] Thil, Scott (November 30, 2009). "Counterculture Comics Hero Grant Morrison Gets a Biopic" (http:/ / www. wired. com/ underwire/ 2009/ 11/ grant-morrison-biopic/ ). The Underwire. Wired.com. . Retrieved December 18, 2009. [33] Youtube.com (http:/ / www. youtube. com/ watch?v=63lyA42Y6ug) [34] Cronin, Brian. "Batman Inc. to Return in 2012!" (http:/ / goodcomics. comicbookresources. com/ 2011/ 06/ 06/ batman-inc-1-to-return-in-2012/ ). Comic Book Resources. June 6, 2011 [35] Hyde, David. "History Happens Now" (http:/ / dcu. blog. dccomics. com/ 2011/ 06/ 10/ history-happens-now/ ), The Source, June 10, 2011 [36] "Grant Morrison's Multiversity" (http:/ / www. comicbookresources. com/ ?page=article& id=21104). Comic Book Resources. May 6, 2009 [37] Warren, Kirk (April 30, 2009). "The Multiversity - Grant Morrison, Watchmen 2, All-Star Captain Marvel & More!" (http:/ / www. weeklycrisis. com/ 2009/ 04/ multiversity-grant-morrison-watchmen-2. html). Weekly Crisis. . Retrieved February 3, 2010. [38] Page, Benedicte. "Cape swoops for superhero" (http:/ / www. thebookseller. com/ news/ cape-swoops-superhero. html), The Bookseller, June 18, 2009 [39] Tucker, Ken (2010-05-26). "'Batman: The Return of Bruce Wayne': An interview with writer Grant Morrison | EW.com" (http:/ / shelf-life. ew. com/ 2010/ 05/ 26/ batman-grant-morrison/ ). Shelf-life.ew.com. . Retrieved 2010-10-26. [40] Fitzpatrick, Kevin (2010-07-23). "Comic-Con 2010: Young Justice" (http:/ / www. ugo. com/ tv/ comic-con-2010-young-justice). UGO.com. . Retrieved 2010-10-26. [41] Marshall, Rick (2010-11-10). "Grant Morrison On The American Myth And Psychedelic Adventure Of 'Sinatoro'" (http:/ / splashpage. mtv. com/ 2010/ 11/ 10/ grant-morrison-sinatoro/ ). splashpage.mtv.com. . Retrieved 2011-02-21. [42] http:/ / goodcomics. comicbookresources. com/ 2011/ 08/ 19/ comic-book-legends-revealed-328/ [43] "Seven Unknown Men" (http:/ / www. barbelith. com/ faq/ index. php/ Seven_Unknown_Men). Barbelith. . Retrieved 2007-01-22. [44] Timemachinego.com (http:/ / www. timemachinego. com/ linkmachinego/ images/ gm_simpsons. jpg) [45] Murman, Chris. "Sunday Slugfest - Batman #666" (http:/ / www. comicsbulletin. com/ reviews/ 118574666948862. htm). Comics Bulletin. Sunday Slugfest - Batman #666 [46] "Talking Batman with Grant Morrison" (http:/ / forum. newsarama. com/ showthread. php?t=147734). Newsarama. February 22, 2008 [47] "Grant Morrison Goes Hollywood" (http:/ / www. chud. com/ index. php?type=news& id=9601). Chud.com. . Retrieved 2010-10-26. [48] "Journalism" (http:/ / www. grant-morrison. com/ journlist. htm). Grant-morrison.com. . Retrieved 2010-10-26.

475

References
Callahan, Timothy (2007) Grant Morrison: The Early Years (http://www.sequart.org/books/1/ grant-morrison-the-early-years/). Masters of the Medium. Sequart Research & Literacy Organization. ISBN 9780615212159 Meaney, Patrick (2010) Grant Morrison: Talking with Gods (http://www.sequart.org/movies/1/ grant-morrison-talking-with-gods/). Documentary film. Morrison, Grant (2003) "Pop magic!" in Book of Lies, pp.1625 ISBN 0-9713942-7-X Disinformation: The Complete Series Disc 2: DisinfoCon. (1999) Speech by Grant Morrison. Distr. Ryko Distribution. Meaney, Patrick (2009) Our Sentence is Up: Seeing the Invisibles (http://www.sequart.org/books/5/ our-sentence-is-up-seeing-grant-morrisons-the-invisibles/). Sequart.com. ISBN 9780578032337 Grant Morrison (http://www.comics.org/search.lasso/?sort=chrono&query=Grant+Morrison&type=writer) at the Grand Comics Database Grant Morrison (http://comicbookdb.com/creator.php?ID=3) at the Comic Book DB 2000 AD profile (http://www.2000adonline.com/?zone=droid&page=profiles&choice=GRANTM) Blazing Through the Secrecy (http://www.downthetubes.net/features/comics/starblazer/starblazer_jb_0506. html), about uncredited authors on Starblazer

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External links
Official website (http://www.grantmorrison.com) Grant Morrison (http://www.dmoz.org/Arts/Comics/Creators/M/Morrison,_Grant/) at the Open Directory Project The Story of Zero - Morrison's ambient, erotic prose for Cook and Brattell's Skin Two feature (http://www. alternity.co.uk/zero1.html) Grant Morrison (http://www.imdb.com/name/nm1634601/) at the Internet Movie Database Extended look at Morrison's work by Timothy Callahan on Sequart (http://www.sequart.com/columns/index. php?col=22&column=1000) Video of Morrison speaking at DisinfoCon (http://video.google.com/ videoplay?docid=-3039306070586717772) Video of Grant's performance at Steven Cook's 2002 Alternity show (http://vimeo.com/channels/alternity) Alternity - Morrison performed this spoken word piece at Steven Cook's first solo exhibition in London, (May 2002) (http://www.alternity.co.uk/grant.html) Grant Morrison on Cracked.com (http://www.cracked.com/funny-3006-grant-morrison/) Deep Space Transmissions (http://sites.google.com/site/deepspacetransmissions/), Fansite with bibliography, interview collection, annotations, proposals, and lists of unpublished works Review of Supergods at comicbookgrrrl.com (http://www.comicbookgrrrl.com/2011/07/05/ book-review-supergods-by-grant-morrison/)

Interviews
The Grant Morrison Interview Archive (http://www.barbelith.com/topic/23861) Archive of interviews from 1976 to 1997 (http://fish1000.blogspot.com/search/label/Lost and Found#gminterviews) PopImage interview (http://www.popimage.com/profile/index.html), February 2001 Punching Holes Through Time (http://www.sequentialtart.com/archive/aug02/gmorrison2.shtml), Sequential Tart, August 2002 Barbelith interview (http://www.barbelith.com/old/interviews/interview_1.shtml), September 2, 2002 Catching up with Professor M: Talking with Grant Morrison (http://www.comicbookresources.com/ ?page=article&id=2561), Comic Book Resources, August 2, 2003 PopImage interview (http://www.popimage.com/content/grant2004.html), 2004 Comixfan interview (http://www.comixfan.com/xfan/forums/showthread.php?threadid=27653), May 18, 2004 Grant Morrison's big-time return to the DCU (http://forum.newsarama.com/showthread.php?s=& threadid=15990), Newsarama, August 7, 2004 Suicide Girls interview (http://suicidegirls.com/words/Grant+Morrison/), March 4, 2005 Three-part interview on: Final Crisis (http://forum.newsarama.com/showthread.php?t=146753), Batman (http://forum.newsarama.com/showthread.php?t=147734) and All-Star Superman (http://forum.newsarama. com/showthread.php?t=149066), Newsarama, FebruaryMarch 2008 All Star Grant Morrison I: Final Crisis (http://www.comicbookresources.com/?page=article&id=16005), II: Batman (http://www.comicbookresources.com/?page=article&id=16024) and III: Superman (http://www. comicbookresources.com/?page=article&id=16045), Comic Book Resources, April 1517, 2008 Grant Morrison Talks Comics, Magic, Life, and Death (http://www.publishersweekly.com/article/ CA6586371.html?nid=2789), Publishers Weekly, August 12, 2008 Killing Batman And The DC Universe (http://comics.ign.com/articles/902/902992p1.html), IGN, August 26, 2008

Grant Morrison Klaehn, Jeffery. Grant Morrison, Batman and the Superhero Genre (http://www.publishersweekly.com/article/ CA6628840.html?nid=2789), Publisher Weekly, January 13, 2009 Alex Ness Interviews Grant Morrison (http://comicnews.info/?p=3269), ComicNews.info (http://comicnews. info/), Moviemotion (http://www.moviemotion.net/), Ghaneli (http://ghaneli.net/), January 20, 2009 Klaehn, Jeffery. Grant Morrison, Final Crisis and the Superhero Genre (http://www.publishersweekly.com/ article/CA6630704.html), Publishers Weekly, January 20, 2009 Interview with Grant Morrison at comicbookgrrrl.com (http://www.comicbookgrrrl.com/2011/07/18/ exclusive-interview-with-grant-morrison-signed-supergods-giveaway/), July 18, 2011

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The Invisibles

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The Invisibles
The Invisibles

Cover to (vol. 2) #1. Art by Brian Bolland. Clockwise from top: Lord Fanny, Boy, King Mob, Ragged Robin, Jack Frost Publication information Publisher Schedule Format Genre Publication date Vertigo Monthly Ongoing series Anarchist, science fiction September 1994 - October 1996 (vol. 1) February 1997 - February 1999 (vol. 2) April 1999 - June 2000 (vol. 3) 25 (vol. 1) 22 (vol. 2) 12 (vol. 3) Creative team Writer(s) Artist(s) Letterer(s) Creator(s) Grant Morrison Various Clem Robins, Todd Klein Grant Morrison Collected editions Say You Want a Revolution Apocalipstick Entropy in the U.K Bloody Hell in America Counting to None Kissing Mister Quimper The Invisible Kingdom ISBN 1-5638-9267-7 ISBN 1-5638-9702-4 ISBN 1-5638-9728-8 ISBN 1-5638-9444-0 ISBN 1-5638-9489-0 ISBN 1-5638-9600-1 ISBN 1-4012-0019-2

Number of issues

The Invisibles is a comic book series that was published by the Vertigo imprint of DC Comics from 1994 to 2000. It was created and scripted by Scottish writer Grant Morrison, and drawn by various artists throughout its publication.[1]

The Invisibles The plot follows (more or less) a single cell of The Invisible College, a secret organization battling against physical and psychic oppression using time travel, magic, meditation, and physical violence. For most of the series, the team includes leader King Mob; Lord Fanny, a Brazilian transsexual shaman; Boy, a former member of the NYPD; Ragged Robin, a telepath with a mysterious past; and Jack Frost, a young hooligan from Liverpool who may be the next Buddha. Their enemies are the Archons of Outer Church, interdimensional alien gods who have already enslaved most of the human race without its knowledge.

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Publication history
The Invisibles was Morrison's first major creator-owned title for DC Comics and it drew from his Zenith strip as well as 1990s conspiracy culture. His intent was to create a hypersigil to jump-start the culture in a more positive direction. The title initially sold well but sales dipped sharply during the first series, leading to concerns that the series might be canceled outright. To counteract this, Morrison suggested a "wankathon" in the hope of bringing about a magical increase in sales by a mass of fans simultaneously masturbating at a set time.[2] Morrison became seriously ill while writing the book, something he attributes to working on the title and the manner in which its magical influence affected him, and has stated that his work on the comic made him into a different person from the one who started it. He has also said that much of the story was told to him by aliens when he was abducted during a trip to Katmandu.[3] The third and final series was meant to be a countdown to the new millennium but shipping delays meant the final issue did not appear until April 2000. All of the series have been collected in a set of trade paperbacks. Morrison saw the series censored due to the publisher's concern over the possibility of paedophilic and child abuse content. The first such case was in volume one, issue 7 ("Arcadia part 3 : 120 Days Of Sod All"); dialogue was altered in one scene where a group rapes and degrades several nameless characters, and the term lost souls was used to ensure the characters could not be identified as children, as in the Marquis De Sade's original 120 Days of Sodom, the book the characters find themselves trapped in. Later in the series the names of people and organizations were simply blacked out, much to Morrison's dismay. DC had one line that originally read "Walt Disney was a shit" blacked out at the suggestions of their lawyers;[4] many of these examples of censorship were restored when reprinted in trade paperback. The title was optioned to be made into a television series by BBC Scotland, but neither this nor an optioned film version have been made. Morrison wrote The Filth for Vertigo in 2002, which he describes as a companion piece to The Invisibles, though there is no other connection between the two titles.

Plot summary
Volume 1
Say You Want a Revolution The first volume of The Invisibles introduces Dane McGowan, an angry teen from Liverpool, as he attempts to burn down his school. Abandoned by his father and neglected by his mother, Dane takes out his anger and frustration through destruction. In the first issue of the series, Dane is recruited by the Invisibles, a ragtag band of freedom fighters led by King Mob, a charismatic, cold-blooded assassin.[5] The next arc, "Down and Out in Heaven and Hell",[6] shows Dane as he tries to survive on his own in London after being abandoned by the Invisibles. Dane is mentored by Tom OBedlam, an old homeless man who is secretly a member of the Invisibles. Tom shows Dane the magic in the everyday world and helps him realize that his anger prevents him from experiencing real emotions. While wandering with Tom, Dane has a partially remembered alien abduction experience and is transported into a different dimension. Eventually Dane returns to the Invisibles, taking the codename "Jack Frost." The next arc,

The Invisibles "Arcadia",[7] follows the Invisibles as they go back in time via astral projection to the French Revolution. Jack is almost killed by a demonic agent of the Outer Church, the Invisibles chief enemy. As the volume closes, Jack declares that he is leaving the Invisibles. Apocalipstick The second volume continues with Jack Frost abandoning the Invisibles.[8] The tragic past of Lord Fanny, a Brazilian transvestite and a member of King Mob's Invisibles cell, is revealed in a story arc titled "She-Man",[9] which jumps back and forth through time. After an encounter with an agent of the Outer Church, both King Mob and Lord Fanny are captured. The volume closes with a look at Jack as he evades both the Invisibles and the Outer Church in London.[10] Jack remembers his abduction experience from the previous volume, recalling that his alien captors told him that he is the messiah. Jack is approached by Sir Miles, a high-ranking member of the Outer Church, who tries to recruit him. Jack refuses and battles Sir Miles telepathically. After winning the psychic duel, Jack escapes again, this time to Liverpool. This volume also introduces Jim Crow, a Haitian Invisible and Voodoo practitioner, and the Moonchild, a monstrous being who will one day be crowned the next King of England. The twelfth issue of the series, "Best Man Fall",[11] fleshes out the character of a soldier whom King Mob killed in the previous volume. Entropy in the U.K. Sir Miles' interrogates King Mob in an arc titled "Gideon Stargrave in Entropy in the U.K."[12] Ragged Robin and Boy, the other members of King Mobs Invisibles cell, team up with Jim Crow to rescue their teammates. In the 20th issue of the series, Boy reflects on her past while taking a train to Liverpool to bring Jack back into the fold. In the following issue, "Liverpool",[13] Jack returns to his mothers flat where he tells her everything that has happened to him since joining the Invisibles. He admits that he is scared of the responsibilities that he now has as humanitys savior and no longer knows what to do. Jack recalls that when he traveled to a different dimension with Tom OBedlam, a sentient satellite called Barbelith forced Jack to feel the collective suffering of humanity. Remembering this agony and realizing that he can put an end to it, Jack finally accepts his role and agrees to help save his friends. The next arc focuses on the regrouped Invisibles as they attempt to rescue King Mob and Lord Fanny.[14] During the Invisibles battle with the Outer Church, Jack is told that he will be responsible for destroying the world on December 22, 2012. Jack fully realizes the power at his disposal, defeating an extra-dimensional Archon of the Outer Church and healing King Mob of his injuries. Jack also heals Sir Miles, who had been severely hurt during the battle. The volume closes with a look at an Invisible named Mr. Six as he searches for traces of the Moonchild.[15]

480

Volume 2
Bloody Hell in America The second volume begins a year after the events in London. The arc "Black Science"[16] follows the Invisibles embarking on a mission after taking a year off in America at the New York estate of wealthy Invisible Mason Lang. While Jack Frost, Boy, and Lord Fanny explore New York City, King Mob and Ragged Robin begin a sexual relationship. Jolly Roger, an Invisible and an old friend of King Mobs, asks them to help her steal an AIDS vaccine from Dulce Base. There, the Invisibles face off against Mr. Quimper and Colonel Friday, two psychic agents of the Outer Church. The Invisibles are victorious, though Quimper plants a tiny part of his psyche in Ragged Robins subconscious.

The Invisibles Counting to None The Invisibles travel to San Francisco where they meet Takashi, an employee of Mason Lang's who is working on a time machine.[17] Ragged Robin reveals that she has been sent from the future using a working version of Takashis time machine when King Mob takes her to the dimension that the Invisible College, the Invisibles' headquarters, inhabits.[18] Meanwhile, Jack Frost and Lord Fanny obtain a powerful supernatural device called the Hand of Glory from a mysterious trio called the Harlequinade. In an arc titled "Sensitive Criminal",[19] King Mob travels back in time via astral projection to learn from past Invisibles how to operate the Hand of Glory. In the following arc, "American Death Camp",[20] Boy steals the Hand of Glory and attempts to use it to rescue her brother, whom she believes is being held in a secret detention camp in Washington. In reality, Boy is actually being deprogrammed by a separate cell of Invisibles who discovered that she had been brainwashed by the Outer Church to deliver the Hand to them. Kissing Mister Quimper The team vacation in New Orleans.[21] Boy and Jack Frost acknowledge their feelings for each other and begin a brief relationship. The Invisibles then go back to Dulce to steal a powerful substance called Magic Mirror from the Outer Church in an arc titled "Black Science 2."[22] Aware of Quimper's presence within her consciousness, Ragged Robin is able to trap and defeat him with Lord Fanny's help. In the Dulce facility, Jack is taken into the Magic Mirror substance where he is shown the horrific dimension that the Outer Church hails from. After leaving Dulce, Ragged Robin prepares to return to the future. Using the Hand of Glory as an engine, Takashi's time machine can be used to return her to her time. After saying goodbye to King Mob, with whom she has fallen in love, Robin leaves the past behind.[23] In the final issue of the volume, Boy leaves the Invisibles and King Mob destroys Mason Langs mansion, telling him that it is possible for even the most rigid man to change.[24]

481

Volume 3
The Invisible Kingdom Picking up a year after the previous volume, the third and final volume of the series follows the Invisibles as they prepare to stop the Moonchild from being used as a host for Rex Mundi, the extra-dimensional ruler of the Outer Church. Many of the Invisibles have significantly changed in this volume. King Mob no longer uses guns or kills people and Jack Frost has fully accepted his role as humanitys savior. The Invisibles also no longer consider themselves at war with the Outer Church. Instead, they are on a mission to rescue humanity before the world ends.[25] The arc "The Invisible Kingdom"[26] portrays the final battle between the Invisibles and the Outer Church. Sir Miles is killed, as is Jolly Roger (her body is later seen in a mass grave), while Jack Frost single-handedly defeats Rex Mundi. He then travels once again into the Magic Mirror and learns that the dimensions that the Outer Church and the Invisible College inhabit are one and the same. Afterwards, King Mob retires and devotes the rest of his life to nonviolence. Jack Frost and Lord Fanny are left to start their own Invisibles cell. Years later, on December 22, 2012, the world is about to end, just as predicted. Ragged Robin returns and is finally reunited with King Mob. Jack Frost then breaks the fourth wall and addresses the reader, stating that, Our sentence is up. [27] At that moment, the world ends and humanity transforms into its next stage of existence, guided by Jack Frost.

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Creators
While Grant Morrison wrote the entire series, The Invisibles never had a regular art team. It was intended that each story arc would be illustrated by a separate artist. The artists to work on each issue are: Volume 1 Issues #1-4, 22-24: Steve Yeowell Issues #5-9, 13-15: Jill Thompson Issue #10: Chris Weston Issue #11: John Ridgway Issue #12: Steve Parkhouse Issue #16, 21: Paul Johnson Issues #17-19: Phil Jimenez Issue #20: Tommy Lee Edwards Issue #25: Mark Buckingham Volume 2 Issues #1-13: Phil Jimenez (Issue #9 has Jimenez on layouts only, with the pencils handled by Chris Weston, credited as "Space Boy") Issues #14-17, 19-22: Chris Weston Issue #18: Ivan Reis Volume 3 Issues #12-9: Philip Bond, Warren Pleece Issues #8-5: Sean Phillips Issue #4: Steve Yeowell, Ashley Wood, Steve Parkhouse, Philip Bond, Jill Thompson, John Ridgway Issue #3: Steve Yeowell, Rian Hughes, John Ridgway, Michael Lark, Jill Thompson, Chris Weston Issue #2: Steve Yeowell, The Pander Brothers, John Ridgway, Cameron Stewart, Ashley Wood, Mark Buckingham, Dean Ormston, Grant Morrison Issue #1: Frank Quitely Issues #4-2 included artistic collaborators who did not illustrate Morrison's scripts precisely as written. The most notable examples were the three pages Ashley Wood drew in Vol. 3, #2 that were later redrawn by Cameron Stewart for The Invisible Kingdom trade paperback.

Collected editions
The Invisibles has been collected into seven trade paperbacks: Say You Want a Revolution, published 1999-06-01. Collects Volume 1, Issues #1-8 (ISBN 1-5638-9267-7) Apocalipstick, published 2001-04-01. Collects Volume 1, Issues #9-16 (ISBN 1-5638-9702-4) Entropy in the UK, published 2001-08-01. Collects Volume 1, Issues #17-25 (ISBN 1-5638-9728-8) Bloody Hell in America, published 1998-02-01. Collects Volume 2, Issues #1-4 (ISBN 1-5638-9444-0) Counting to None, published 1999-03-01. Collects Volume 2, Issues #5-13 (ISBN 1-56389-489-0) Kissing Mister Quimper, published 2000-02-01. Collects Volume 2, Issues #14-22 (ISBN 1-5638-9600-1) The Invisible Kingdom, published 2002-12-01. Collects Volume 3, Issues #1-12 (ISBN 1-4012-0019-2)

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Notes
[1] Irvine, Alex (2008), "The Invisibles", in Dougall, Alastair, The Vertigo Encyclopedia, New York: Dorling Kindersley, pp.9297, ISBN0-7566-4122-5, OCLC213309015 [2] Barbelith Interviews: Interview with an Umpire (http:/ / www. barbelith. com/ old/ interviews/ interview_9. shtml)". Retrieved 2006-11-28. [3] Disinfocon 2000 (http:/ / video. google. com/ videoplay?docid=-3039306070586717772). With Grant Morrison. The Disinformation Company, 1999. [4] Morrison, Grant (2002-06-13). " The Crack Issue 1 (http:/ / www. crackcomicks. com/ the_crack_issue_1. htm)". Crack Comics. Retrieved 2006-11-28. [5] The Invisibles (Vol. 1) #1 [6] The Invisibles (Vol. 1) #2-4 [7] The Invisibles (Vol. 1) #5-8 [8] The Invisibles (Vol. 1) #9 [9] The Invisibles (Vol. 1) #13-15 [10] The Invisibles (Vol. 1) #16 [11] The Invisibles (Vol. 1) #12 [12] The Invisibles (Vol. 1) #17-19 [13] The Invisibles (Vol. 1) #21 [14] The Invisibles (Vol. 1) #22-24 [15] The Invisibles (Vol. 1) #25 [16] The Invisibles (Vol. 2) #1-4 [17] The Invisibles (Vol. 2) #5 [18] [19] [20] [21] [22] [23] [24] [25] [26] [27] The Invisibles (Vol. 2) #6 The Invisibles (Vol. 2) #8-10 The Invisibles (Vol. 2) #11-13 The Invisibles (Vol. 2) #14 The Invisibles (Vol. 2) #17-20 The Invisibles (Vol. 2) #21 The Invisibles (Vol. 2) #22 The Invisibles (Vol. 3) #12 The Invisibles (Vol. 3) #4-2 The Invisibles (Vol. 3) #1

References
Meaney, Patrick (2009) Our Sentence is Up: Seeing Grant Morrison's The Invisibles (http://www.sequart.org/ books/5/our-sentence-is-up-seeing-grant-morrisons-the-invisibles/) (paperback, Sequart Research & Literacy Organization (http://www.sequart.org/), ISBN 9780578032337) Neighly, Patrick and Kereth Cowe-Spigai (2003) Anarchy For The Masses: The Disinformation Guide to The Invisibles (paperback, Disinfo, April 1, 2003, ISBN 0971394229) The Invisibles (http://comicbookdb.com/team.php?ID=387) at the Comic Book DB The Invisibles (http://www.comics-db.com/DC_Comics/I/The_Invisibles/index.html) at the Big Comic Book DataBase The Invisibles (vol. 1) (http://www.comics.org/series/4957) at the Grand Comics Database The Invisibles (vol. 1) (http://comicbookdb.com/title.php?ID=853) at the Comic Book DB The Invisibles (vol. 2) (http://www.comics.org/series/5744) at the Grand Comics Database The Invisibles (vol. 2) (http://comicbookdb.com/title.php?ID=7516) at the Comic Book DB The Invisibles (vol. 3) (http://www.comics.org/series/7866) at the Grand Comics Database The Invisibles (vol. 3) (http://comicbookdb.com/title.php?ID=7515) at the Comic Book DB

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External links
Unproduced scripts for BBC television series (http://www.grant-morrison.com/invis_tv.htm) Image gallery of Brian Bolland's The Invisibles covers (http://brianbollandgallery.com/?bolland=home. gallery&gallery=7) The Bomb - analysis and explication of the Invisibles (http://www.barbelith.com/bomb/) The Bomb wiki - for more thoroughly updated analysis and explication (http://www.barbelith.com/faq/ index.php/The_Bomb) Anarchy For The Masses: The Disinformation Guide To The Invisibles homepage (http://www.disinfo.com/ archive/pages/dossier/id94/pg1/index.html) Callahan, Timothy. Drafted Into The Invisible Army (http://www.comicbookresources.com/?page=article& id=20552), When Worlds Collide, Comic Book Resources, 25 March 2009

Warren Ellis

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Warren Ellis
Warren Ellis
Born 16 February 1968 Essex, England English Writer

Nationality Area(s)

Notable works Transmetropolitan Planetary Hellblazer The Authority Red Nextwave Global Frequency Iron Man: Extremis Awards Eagle Award Official website [1]

Warren Girard Ellis (born 16 February 1968) is an English author of comics, novels, and television, who is well-known for sociocultural commentary, both through his online presence and through his writing, which covers transhumanist themes (most notably nanotechnology, cryonics, mind transfer, and human enhancement). He is a resident of Southend-on-Sea, England.

Early life
Ellis was born in Essex in February 1968. Ellis has reported that the televised broadcast of the moon landing is his earliest coherent memory.[2] He was a student at the South East Essex Sixth Form College, commonly known as SEEVIC. He contributed comic work to the college magazine, Spike, along with Richard Easter, who also later followed a career in writing. Before starting his career as a writer, Ellis did "most of the shitty jobs you can imagine; ran a bookstore, ran a pub, worked in bankruptcy, worked in a record shop, lifted compost bags for a living".[3]

Career
Early Career
Ellis's writing career started in the British independent magazine Deadline with a six-page short story published in 1990. Other early works include a Judge Dredd short and a Doctor Who one-pager. His first ongoing work, Lazarus Churchyard with D'Israeli, appeared in Blast!, a short-lived British magazine. By 1994 Ellis had begun working for Marvel Comics, where he took over the series Hellstorm: Prince of Lies with issue number 12, which he wrote until its cancellation after issue number 21. He also did some work on the Marvel 2099 imprint, most notably in a storyline in which a futuristic Doctor Doom took over the United States. His most notable early Marvel work is a run on Excalibur, a superhero series set in Britain. He also wrote a four-issue arc of Thor called "Worldengine", in which he dramatically revamped both the character and book (though the changes lasted only as long as Ellis's run on the book), and tackled Wolverine with then-rising star Leinel Francis Yu.

Warren Ellis

486

The Authority, Transmetropolitan and critical acclaim


Ellis then started working for DC Comics, Caliber Comics, and Image Comics' Wildstorm studio, where he wrote the Gen spin-off DV8 and took over Stormwatch, a previously action-oriented team book, to which he gave a more idea- and character-driven flavour. He wrote issues 37-50 with artist Tom Raney, and the 11 issues of vol. 2 with artist Bryan Hitch. He and Hitch followed that with the Stormwatch spin-off The Authority, a cinematic super-action series for which Ellis coined the term "widescreen comics". In 1997 Ellis started Transmetropolitan, a creator-owned series about an acerbic "gonzo" journalist in a dystopian future America, co-created with artist Darick Robertson and published by DC's Helix imprint. When Helix was discontinued the following year, Transmetropolitan was shifted to the Vertigo imprint, and remained one of the most successful non-superhero comics DC was then publishing.[4] Transmetropolitan ran for 60 issues (plus a few specials), ending in 2002, and the entire run was later collected in a series of trade paperbacks. It remains Ellis's largest work to date. 1999 saw the launch of Planetary, another Wildstorm series by Ellis and John Cassaday, and Ellis's short run on the DC/Vertigo series Hellblazer.[5] He left that series when DC announced, following the Columbine High School massacre, that it would not publish "Shoot", a Hellblazer story about school shootings, although the story had been written and illustrated prior to the Columbine massacre.[6] [7] Planetary had been notoriously plagued with delays over the course of its run, finally concluding in October 2009 with the release of issue 27.[8]

Return to superhero titles


Ellis also returned to Marvel Comics as part of the company's "Revolution" event, to head the "Counter-X" line of titles. This project was intended to revitalize the X-Men spin-off books Generation X, X-Man, and X-Force, but it was not successful, and Ellis stayed away from mainstream superhero comics for a time. In 2003 Ellis started Global Frequency, a 12-issue limited series for Wildstorm, and continued to produce work for various publishers, including DC, Avatar Comics, AiT/Planet Lar, Cliffhanger and Homage Comics. In 2004 Ellis came back to mainstream superhero comics. He took over Ultimate Fantastic Four and Iron Man for Marvel under a temporary exclusive work for hire contract. Toward the end of 2004 Ellis released the "Apparat Singles Group", which he described as "An imaginary line of comics singles. Four imaginary first issues of imaginary series from an imaginary line of comics, even". The Apparat titles were published by Avatar, but carried only the Apparat logo on their covers. In 2006 Ellis worked for DC on Jack Cross, which was not well-received and was subsequently cancelled. For Marvel he worked on Nextwave, a 12-issue limited series. He also worked on the Ultimate Galactus trilogy. Ellis also took over the Thunderbolts monthly title, which deals with the aftermath of the Marvel Civil War crossover.[9] In honor of the 20th anniversary of Marvel's New Universe in 2006, Ellis and illustrator Salvador Larroca created a new series that reimagines the New Universe under the title newuniversal. The first issue was released on 6 December 2006.[10] Ellis continued to work on several projects for different publishers, including Fell (for Image), Desolation Jones (for DC/Wildstorm) and Blackgas and Black Summer (for Avatar Comics).[11] Ellis also wrote an episode of Justice League Unlimited entitled "Dark Heart".

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Current work
Ellis has managed a series of online forums and media to promote his written works and his creative ideals. These forums are sharply moderated by Ellis and his assistants to suit the particular purpose each one was created for. They include the Bad Signal mailing list, warrenellis.com [12], and Whitechapel [13]. Ellis is frequently referred to as "The Boss", "Stalin", "The Love Swami" or "Internet Jesus" on these forums.[14] Ellis's first prose novel, Crooked Little Vein, was published in the summer of 2007 by William Morrow (an imprint of HarperCollins), with a second novel, Listener, to follow. He was also asked to develop a television series for AMC called Dead Channel, but the project is currently on hiatus.[15] It has recently been announced that Ellis is writing the screenplay for an animated direct-to-DVD feature film, Castlevania: Dracula's Curse, which will be based on the similarly titled video game Castlevania III: Dracula's Curse.[16] [17] Ellis has described himself as "a notorious pain in the arse for getting involved in book design".[18] According to a comment made in the first issue of Fell, he has more trade paperbacks in print than anyone else in the American comic industry. Ellis wrote a column for the Suicide Girls website, entitled "The Sunday Hangover", which appeared every Sunday from July to December 2007.[19] He also wrote a Second Life column for Reuters, entitled Second Life Sketches.[20] In Second Life he was known under the name Integral Danton. On 29 July 2007 Ellis announced two new projects for Avatar Press: FreakAngels, a free long-form webcomic illustrated by Paul Duffield; and Ignition City, a five-issue miniseries.[21] He also has five other current series with Avatar: Anna Mercury,[22] [23] No Hero,[24] Doktor Sleepless, Supergod, and Gravel. On June 12, 2008, the front page of The Hollywood Reporter announced that Summit Entertainment had optioned Red (2003), Ellis's thriller with artist Cully Hamner, as a feature film. Whiteout screenwriters Eric and Jon Hoeber wrote the adaptation, directed by Robert Schwentke of The Time Traveler's Wife and produced by Lorenzo di Bonaventura and Mark Vahradian of Transformers.[25] Principal photography began in January 2010 in Toronto and Louisiana with stars Bruce Willis and Morgan Freeman.[26] The first quarter of 2009 saw the release of G.I. Joe: Resolute, a series of webisodes written by Warren Ellis and later released on DVD in December. He worked with D'Israeli again in 2010-2011 for a one-off comic, SVK, to be published by BERG, a London consultancy firm. It uses a UV torch to reveal the thoughts of the characters in the story.[27] [28] In 2010, a documentary film on Ellis, Warren Ellis: Captured Ghosts, was announced for 2011 completion. Its co-producer Sequart also plans on publishing, in 2011, three books studying Ellis's work: on Planetary, on Transmetropolitan, and on Ellis's overall career. Sequart has dubbed this push "The Year of Ellis."[29]

Online
Ellis has a prolific presence online. He started an email list called From the Desk of in 1998, when technical issues forced that list to shut down he started a new email list called "Bad Signal" in 2001. He started and maintained a number of message boards, and has maintained a personal web site since the late 1990s.

Awards
2004: Sidewise Award for Alternate History for Ministry of Space 2007: Eagle Awards:[30] [31]

Warren Ellis 2010: Nominated for and Winner of "Favourite Web-Based Comic" Eagle Award (for FreakAngels) Nominated for "Best Comic/Graphic Novel" British Fantasy Award (for FreakAngels)[32] Favourite Comics Writer Favourite New Comicbook (for Nextwave) Favourite Comics Story published during 2006 (for Nextwave) Favourite Comics Villain (for Dirk Anger) Roll of Honour

488

Further reading
Warren Ellis [33] at the Grand Comics Database Warren Ellis [34] at the Comic Book DB Warren Ellis [35] at the Internet Book List Works by or about Warren Ellis [36] in libraries (WorldCat catalog) The Complete Warren Ellis bibliography [37] Warren Ellis [38] on Marvel.com

Warren Ellis [39] at 2000 AD online

References
[1] [2] [3] [4] http:/ / warrenellis. com http:/ / www. scifidimensions. com/ 03 May/orbiter.htm Orbiter www.reallyscary.com 10 Questions w/Warren Ellis (http:/ / www. reallyscary. com/ interviewwarren. asp) "Top 300 Comics For September" (http:/ / www. comicbookresources. com/ news/ newsitem. cgi?id=1507). Comicbookresources.com. 2002-08-30. . Retrieved 2010-12-31. [5] Irvine, Alex (2008). "John Constantine Hellblazer". In Dougall, Alastair. The Vertigo Encyclopedia. New York: Dorling Kindersley. pp.102111. ISBN0-7566-4122-5. OCLC213309015. [6] Holmes, Thomas Alan (2005) "Warren Ellis 'Shoot' and Media Passivity." International Journal of Comic Art. 7 (2). 370-374 [7] ""Shoot" online" (http:/ / compsoc. man. ac. uk/ ~jp/ comics/ shoot/ ). Compsoc.man.ac.uk. . Retrieved 2010-12-31. [8] http:/ / www. warrenellis. com/ ?p=7560 [9] CONFIRMED: ELLIS & DEODATO ON THUNDERBOLTS (http:/ / forum. newsarama. com/ showthread. php?t=86724), Newsarama [10] "CCI, DAY 4: ELLIS TALKS "NEWUNIVERSAL"" (http:/ / www. comicbookresources. com/ news/ newsitem. cgi?id=7950). Comic Book Resources. 2006-07-23. . Retrieved 2010-12-31. [11] Avatar #01 [12] http:/ / www. warrenellis. com/ [13] http:/ / www. freakangels. com/ whitechapel/ [14] Simmons, Tony (2007-08-12). "Comic book writer's debut novel opens a new vein in U.S. culture.". News Herald. [15] "10 Minutes with Warren Ellis" (http:/ / www. timeoutsingapore. com/ books/ feature/ 10-minutes-with-warren-ellis). TimeOut Singapore. 2009-08-07. . Retrieved 2010-12-31. [16] "Castlevania" (http:/ / www. warrenellis. com/ ?p=3133). Warrenellis.com. 2006-10-14. . Retrieved 2010-12-31. [17] Castlevania: Dracula's Curse production blog (http:/ / castlevaniadraculascurse. com/ ) [18] Introduction to 'Strange Kiss Cover Notes', Strange Kiss Scriptbook (Avatar Press, May 2000) [19] "Warren Ellis To Join Suicide Girls As A Columnist" (http:/ / suicidegirls. com/ news/ culture/ 21774/ ) (news article). Suicide Girls. . Retrieved 2007-07-08. [20] "Second Life Sketches: Ellis Second Life Column For Reuters" (http:/ / secondlife. reuters. com/ stories/ category/ second-life/ warren-ellis/ ). Secondlife.reuters.com. . Retrieved 2010-12-31. [21] Warren Ellis Addresses His "Children" at Comic-Con (http:/ / www. comicsalliance. com/ 2007/ 07/ 29/ warren-ellis-addresses-his-children-at-comic-con/ ), 29 July 2007 [22] Who is "Anna Mercury?" Warren Ellis Gives Hints (http:/ / www. comicbookresources. com/ news/ newsitem. cgi?id=12993), Comic Book Resources, 14 February 2008 [23] Warren Ellis on Anna Mercury (http:/ / forum. newsarama. com/ showthread. php?t=147131), Newsarama, 18 February 2008 [24] Leveling the Playing Field: Ellis talks "No Hero" (http:/ / www. comicbookresources. com/ ?page=article& id=16536), Comic Book Resources, 23 May 2008

Warren Ellis
[25] "RED Aims For Green Light (http:/ / www. hollywoodreporter. com/ hr/ content_display/ film/ news/ e3i0858ea6aad195ebd3ffe4074f2490f74), Hollywood Reporter, June 12, 2008 [26] 'Red' To Begin Shooting In January (http:/ / splashpage. mtv. com/ 2009/ 10/ 23/ red-to-begin-shooting-in-january/ ), MTV [27] Burton, Charlie (March 3, 2011). "How Warren Ellis is using torchlight for his latest comic, SVK" (http:/ / www. wired. co. uk/ magazine/ archive/ 2011/ 04/ play/ comics-by-torchlight). Wired. . [28] Prigg, Mark (March 28, 2011). "The comeback of the comic book" (http:/ / www. thisislondon. co. uk/ lifestyle/ article-23936207-the-comeback-of-the-comic-book. do). London Evening Standard. . Retrieved March 28, 2011. [29] "2011: The Year of Ellis" (http:/ / www. sequart. org/ magazine/ 168/ 2011-the-year-of-ellis/ ). Sequart Research & Literacy Organization. 2010-12-30. . Retrieved 2011-01-27. [30] The Eagle Awards Results (http:/ / www. eagleawards. co. uk/ results. asp?year=2006) [31] http:/ / www. comicbookresources. com/ news/ newsitem. cgi?id=10538 [32] Armitage, Hugh (June 20, 2010). "British Fantasy Award nominees announced" (http:/ / www. digitalspy. co. uk/ comics/ news/ a23040e=/ british-fantasy-award-nominees-announced. html). Digital Spy. . Retrieved June 27, 2010. [33] http:/ / www. comics. org/ search. lasso/ ?sort=chrono& query=Warren+ Ellis& type=writer [34] http:/ / comicbookdb. com/ creator. php?ID=1 [35] http:/ / www. iblist. com/ author1381. htm [36] http:/ / worldcat. org/ identities/ lccn-no97-8696 [37] http:/ / www. fourteenseconds. com/ warrenbib. html [38] http:/ / marvel. com/ catalog/ ?writer=Warren%20Ellis [39] http:/ / www. 2000ad. org/ ?zone=droid& page=profiles& choice=WARRENE

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External links
Warren Ellis official web site (http://www.warrenellis.com/) Warren Ellis Official LiveJournal (http://warren-ellis.livejournal.com) Posts from www.warrenellis.com are automatically crossposted to the Livejournal. The journal archives also contain some original fiction by Ellis. Scream Talking (http://mistersleepless.livejournal.com/) A collection of 50 pieces of microfiction. Warren's Sunday Column at SuicideGirls.com (http://suicidegirls.com/news/tags/sundayhangover/) Warren Ellis official Twitter (http://twitter.com/warrenellis/) MySpace (http://www.myspace.com/warrenellis) Bad Signal (http://www.flirble.org/mailman/listinfo/badsignal) <dead link>, Ellis' rant and "thinking out loud" mailing list Brainpowered (http://www.artbomb.net/brainpowered.jsp), Ellis column at ArtBomb Ellis' Flickr page (http://www.flickr.com/people/warrenellis/)

Forums
Whitechapel (http://www.freakangels.com/whitechapel/), the forum attached to his webcomic Freakangels. Used for other purposes as well, such as future-tracking and general chatting. 12-Hour Message Board (http://warrenellis.suddenlaunch3.com/), Hosted by Ellis on 18 March 2005

Interviews
Warren Ellis Profile Interview, reviews & exclusive POPPY Webcomic (http://www.popimage.com/profile/ ellisprofile.html) Warren Ellis Interview (http://silverbulletcomics.com/news/story.php?a=543) Slashdot interview with Warren Ellis (http://slashdot.org/article.pl?sid=03/05/09/1727245)

Transmetropolitan

490

Transmetropolitan
Transmetropolitan

Cover to Transmetropolitan Vol. 2 TPB. Art by Darick Robertson. Publication information Publisher Schedule Format Genre Publication date Number of issues Helix, Vertigo (imprints of DC Comics) Monthly Maxiseries Cyberpunk, science fiction 19972002 60

Main character(s) Spider Jerusalem Yelena Rossini Channon Yarrow Mitchell Royce Creative team Writer(s) Artist(s) Inker(s) Colorist(s) Creator(s) Warren Ellis Darick Robertson Rodney Ramos Nathan Eyring Warren Ellis Darick Robertson

Transmetropolitan is a cyberpunk comic book series written by Warren Ellis with art by Darick Robertson and published by DC Comics.[1] The series was originally part of the short-lived DC Comics imprint Helix, but upon the end of the book's first year the series was moved to the Vertigo imprint as DC Comics cancelled the Helix imprint. It chronicles the battles of Spider Jerusalem, infamous renegade gonzo journalist of the future,[2] an homage to gonzo journalism founder Hunter S. Thompson. Spider Jerusalem dedicates himself to fighting the corruption and abuse of power of two successive United States presidents; he and his "filthy assistants" strive to keep their world from turning more dystopian than it already is while dealing with the struggles of fame and power, brought about due to the popularity of Spider via his articles. The monthly series began in 1997 and came to its conclusion in 2002.[3] The series was later reprinted in an array of ten trade paperback volumes, and also featured two "specials" (I Hate It Here and Filth of the City) with text pieces written by the Spider Jerusalem character and illustrated by a wide range of comic artists.[4] These were later collected in trade paperbacks.

Transmetropolitan

491

Story synopsis
Some time in the future (how long precisely is never specified, but said to be in the 23rd century) Spider Jerusalem, retired writer and bearded hermit, lives an isolated existence in a fortified mountain hideaway, retired from City life for the last five years.[5] Following a call from his irate publisher demanding the last two books per his publishing deal, Jerusalem packs his belongings and descends the mountains before traveling back into The City, a twisted amalgam of pervasive consumerism, sex, violence, and drugs. However, this futuristic culture is highly liberal, self-centered, and focused almost exclusively on present-day matters. "Revivals" from cryogenic stasis are largely ignored and left to fend for themselves on the streets. Cultural "Reservations" are established for the sole purpose of preserving past civilizations. Some people convert to "foglets," clouds of nanomachines that make anything from particles in the air and can spread thin enough to be invisible. No one even knows the current calendar year (this fact revealed by Spider in Issue #42), so everyone always refers to events in time relative to the present day. Jerusalem returns to working for his old partner and editor Mitchell Royce, who now edits The Word, the City's largest newspaper. The first assignment he attaches himself to is an attempted separatist secession by followers of the Transient movement (a group of people who use genetic body modification based on alien DNA to become a completely different species, forced to live in the Angels 8 slum district) led by Fred Christ, a former rock group manager and impresario similar to Malcolm McLaren. Jerusalem manages to stop the (secretly staged) riots and police brutality that follows, only to be beaten brutally by police on the way home for his troubles. The first year of the series focuses upon a series of one-off stories exploring The City, Spider's background, and his often tense relationship with his assistants/sidekicks, Yelena Rossini and Channon Yarrow (known collectively as the 'filthy assistants'), who become his full-time partners in his journalistic battles as the series progresses. With the second year of the series, the series shifts towards a lengthy storyline for the remainder of the book's run, involving the election and the corrupt presidency of Gary Callahan, nicknamed "The Smiler" by Spider. Though Spider initially considers Callahan to be the lesser evil when compared to "The Beast", his investigation into Callahan's past and his ties with a right-wing hate group (who provided him with a genetically cloned Vice President) ultimately leads to the murder of Vita Severn, the Smiler's politically naive campaign manager, to whom Spider had taken a rare liking. In a one-on-one meeting, Spider quickly realizes that Callahan isn't merely corrupt but is a complete lunatic who wants to be President for no reason but to hurt people with his new power. To his horror, the people end up voting the Smiler into office by a wide margin. Once elected, Callahan begins to use his presidential power to torment Spider. Spider escapes from a massacre conducted by the city's corrupt police against protesters during a scandal where several police officers watch as a young man is murdered by racists over his genetic background. Callahan spikes the story via "D-Notices", a form of government mandated censorship over any or all stories that could "embarrass" the country and the Callahan administration. After being informed of the "D-Notice", Spider leaks the story onto the internet via a news feedsite known as "The Hole" and follows it up with a story exposing Callahan's corrupt circle of advisers, one of whom was revealed to be a pedophile. When Royce runs the story, Callahan extorts the paper's board of directors into firing Spider, who by that point has already formed an alliance to have his future stories published by "The Hole". However, after Callahan arranges for the City to be left defenseless from a hurricane-like "ruinstorm" that ravages the city and kills thousands, Spider collapses and is quickly diagnosed with an incurable degenerative neurological illness with similar symptoms to Alzheimer's and Parkinson's disease due to exposure to Information Pollen (which Spider had been exposed to multiple times earlier in the storylineand which carries dangerous side effects). Diagnosed with about a year until dementia renders him dysfunctional and with only a 2% chance of escaping this fate, Spider increases his vendetta against Callahan, ultimately exposing his evil deeds and bringing the President down. Spider returns to his mountain home in the final issue epilogue. Royce comes to visit. The assistants show him around the house while explaining that Spider's disease is progressing. He can barely do anything for himself. It is revealed Channon has a successful book deal, and Yelena is slowly becoming Spider's replacement. Out in the

Transmetropolitan garden, Spider tells Royce further details. He cannot light his own cigarette and is forgetting one day out of seven. However, when Spider is left alone in his chair, he pulls out a package of cigarettes, along with what appears to be a handgun. He appears to be placing the barrel under his chin, until it's revealed in the next frame that it's actually a lighter. He lights the cigarette and then spins the lighter on his finger, revealing to the readers that he was in fact one of the 2% of patients who recover from the disease, and is now merely faking his illness so that he may enjoy his retirement in peace. The series ends on an overhead shot of Spider laughing boisterously.

492

Publishing
The series was originally published under DC Comics's then-new science fiction Helix imprint. When the Helix line was discontinued, Transmetropolitan was the only ongoing series of the line which had not been canceled. It switched to the Vertigo imprint, starting with issue #13. The entire set of trade paperbacks are now published under the Vertigo label.

Collected editions
Volume Vol. 1: Back on the Street #13 Old Printing ISBN ISBN 1563894459 ISBN 978-1563894459 ISBN 1563894815 ISBN 978-1563894817 ISBN 1563895684 ISBN 978-1563895685 ISBN 1563896273 ISBN 978-1563896279 ISBN 1563897229 ISBN 978-1563897221 ISBN 1563897962 ISBN 978-1563897962 ISBN 1563898942 ISBN 978-1563898945 ISBN 1563899531 ISBN 978-1563899539 #16 New Printing ISBN ISBN 1401220843 ISBN 978-1401220846 ISBN 1401222617 ISBN 978-1401222611 ISBN 1401223125 ISBN 978-1401223120 ISBN 1401224903 ISBN 978-1401224905 ISBN 1401228194 ISBN 978-1401228194 ISBN 1401228186 ISBN 978-1401228187 ISBN 1401228151 ISBN 978-1401228156 ISBN 1401229360 ISBN 978-1401229368

Vol. 2: Lust for Life

#412

#712

Vol. 3: Year of the Bastard

#1318 and story from Vertigo: Winter's Edge II

#1318

Vol. 4: The New Scum

#1924 and story from Vertigo: Winter's Edge III

#1924 and stories from Vertigo: Winter's Edge II and III

Vol. 5: Lonely City

#2530

#2530

Vol. 6: Gouge Away

#3136

#3136

Vol. 7: Spider's Thrash

#3742

#3742

Vol. 8: Dirge #4348

#4348

Transmetropolitan

493
ISBN 1563899884 ISBN 978-1563899881 ISBN 1401202179 ISBN 978-1401202170 ISBN 1401202446 ISBN 978-1401202446 #4954 ISBN 1401230490 ISBN 978-1401230494

Vol. 9: The Cure

#4954

Vol. 10: One More Time

#5560

#5560 and the specials ISBN Transmetropolitan: I Hate It Here and 1401231241 Transmetropolitan: Filth of the City ISBN 978-1401231248 Not to be printed N/A

Vol. 0: Tales of Human Waste

Contains specials Transmetropolitan: I Hate It Here and Transmetropolitan: Filth of the City along with "Edgy Winter" from Vertigo: Winter's Edge II

In other media
Film adaptation
Co-creators Ellis and Robertson were approached about making a Transmetropolitan film adaptation, with Patrick Stewart's production company Flying Freehold Productions' offering to option the rights in February 2003. Later, the burgeoning Internet boom led to an offer to create an online animated film series, with Stewart providing the voice of Spider Jerusalem, but the project never fully developed. Ellis and Robertson have indicated that they would like to see Tim Roth play the character of Spider Jerusalem.[6] [7] Transmetropolitan remains unfilmed. Ellis noted in his Twitter account [8] that no production was underway.

Merchandise
Some items of Transmetropolitan merchandise have been made, Robertson himself having produced one T-shirt: a black shirt with a three-eyed smiley face on the front with the text "I Hate It Here" in yellow on the back. DC Direct has produced five products: a black T-shirt with an image of Spider Jerusalem lifted from the comic's interiors with the text "Spider Jerusalem. Cheap. But not as cheap as your girlfriend". They produced an action figure in the early stages which featured Jerusalem wearing nothing but his trademark boxer shorts so as to show off his tattoos, and a variant figure that is giving the finger and holding a bowel disruptor. The third is a statue of Jerusalem, in the same state of near-nudity, sitting on the toilet growling into his cell phone and arguing with his editor Mitchel Royce, who is visible on his small laptop computer on the base. The fourth is a wristwatch with the three-eyed Transient smiley as the watch's face; and the fifth is a replica of Spider's trademark glasses.

References
[1] Yayanos, Meredith (December 18, 2000). "Transmetropolitan's Warren Ellis" (http:/ / www. publishersweekly. com/ article/ CA56388. html). Publishers Weekly (Reed Elsevier). . Retrieved 2008-10-28. [2] "COMICS: Mot Just For Speciality Stores Anymore" (http:/ / www. publishersweekly. com/ article/ CA168716. html). Publishers Weekly. October 16, 2000. . Retrieved 2008-10-28. "Sometimes the cart is pulling the horse--DC/Vertigo's Transmetropolitan, a dark science-fiction satire about a gonzo journalist in a sprawling future city, is the textbook example of a well-regarded comic for older readers that pulled itself up from poor sales with the help of some heavily promoted collections." [3] Cascio, Jamais (May 22, 2004). "The Transmetropolitan Collection" (http:/ / www. worldchanging. com/ archives/ 000739. html). Worldchanging. . Retrieved 2008-10-28. [4] De Blieck Jr., Augie (May 18th, 2001). "Transmetropolitan: Filth of the City" (http:/ / www. comicbookresources. com/ ?page=article& id=13758). Comic Book Resources. . [5] Bukatman, Scott (2003). Matters of Gravity. Durham: Duke University Press. p.209. ISBN978-0-8223-3119-3. [6] Goodsmith, Edward (2008-01-29). "Warren Ellis on 'Transmetropolitan'" (http:/ / www. comics2film. com/ index. php?a=story& b=30937). Comics2Film. . Retrieved 2008-03-27. [7] "Transmetropolitan Update" (http:/ / web. archive. org/ web/ 20080719065541/ http:/ / www. thezreview. co. uk/ comingsoon/ t/ transmetropolitan. htm). The Z Review. The Z Review. 2003. Archived from the original (http:/ / www. thezreview. co. uk/ comingsoon/ t/

Transmetropolitan
transmetropolitan. htm) on 2008-07-19. . Retrieved 2008-03-27. [8] http:/ / twitter. com/ warrenellis/ status/ 16040528919

494

External links
"Exit Transmet" (http://www.wired.com/wired/archive/10.12/play.html?pg=4), Wired Magazine (December 2002) Darick Robertson Studios (http://www.darickrobertson.com) Home page "The Transmetropolitan Condition" (http://www.mindjack.com/interviews/ellis.html), interview with Warren Ellis, conducted by Melanie MacBride (28 October 2002) "Debut-Induced Flashback" (http://web.archive.org/web/20071223124659/http://www.wizarduniverse. com/magazine/wizard/002100359.cfm), retrospective interview with Darick Robertson about the series

Alan Moore
Alan Moore

Born

Alan Oswald Moore 18 November 1953 Northampton, Northamptonshire, England, UK Curt Vile Jill de Ray Translucia Baboon Comics writer, novelist, short story writer, screenwriter, musician, cartoonist, magician British Science fiction, fiction, non-fiction

Pen name

Occupation Nationality Genres

Notable work(s) Watchmen, V for Vendetta, From Hell, The League of Extraordinary Gentlemen, Batman: The Killing Joke, Voice of the Fire, Lost Girls Spouse(s) Phyllis Moore Melinda Gebbie Amber Moore Leah Moore

Children

Alan Moore Alan Oswald Moore (born 18 November 1953) is an English writer primarily known for his work in comic books, a medium where he has produced a number of critically acclaimed and popular series, including Watchmen, V for Vendetta, and From Hell.[5] Frequently described as the best comic writer in history,[6] (p10)[7] (p7) he has also been described as "one of the most important British writers of the last fifty years".[8] He has occasionally used such pseudonyms as Curt Vile, Jill de Ray, and Translucia Baboon. Moore started out writing for British underground and alternative fanzines in the late 1970s before achieving success publishing comic strips in such magazines as 2000AD and Warrior. He was subsequently picked up by the American DC Comics, and as "the first comics writer living in Britain to do prominent work in America",[7] (p7) he worked on big name characters such as Batman (Batman: The Killing Joke) and Superman (Whatever Happened to the Man of Tomorrow?), substantially developed the minor character Swamp Thing, and penned original titles such as Watchmen. During that decade, Moore helped to bring about greater social respectability for the medium in the United States and United Kingdom,[7] (p11) and has subsequently been attributed with the development of the term "graphic novel" over "comic book".[9] In the late 1980s and early 1990s he left the comic industry mainstream and went independent for a while, working on experimental work such as the epic From Hell, pornographic Lost Girls, and the prose novel Voice of the Fire. He subsequently returned to the mainstream later in the 1990s, working for Image comics, before developing America's Best Comics, an imprint through which he published works such as The League of Extraordinary Gentlemen and the occult-based Promethea. Moore is also known as a Neopagan, occultist, ceremonial magician, vegetarian and anarchist and has featured such themes in works including Promethea, From Hell and V for Vendetta, as well as performing avant-garde spoken word occult "workings" with The Moon and Serpent Grand Egyptian Theatre of Marvels, some of which have been released on CD. Despite his own personal objection to them, his books have provided the basis for a number of Hollywood films, including From Hell (2001), The League of Extraordinary Gentlemen (2003), V for Vendetta (2005) and Watchmen (2009). Moore has also been referenced in popular culture, and has been recognised as an influence on a variety of literary and television figures including Neil Gaiman,[10] (pp1618) Joss Whedon,[4] and Damon Lindelof.[4]

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Biography
Early life: 19531977
Moore was born on 18 November 1953, at St. Edmonds Hospital in Northampton, Northamptonshire, England, to a working class family whom he believed had lived in the town for several generations.[6] (p11) He subsequently grew up in a part of Northampton known as The Boroughs, a poverty-stricken area with a lack of facilities and high levels of illiteracy, but he nonetheless "loved it. I loved the people. I loved the community and I didnt know that there was anything else."[6] (pp1316) He lived in his house with his parents, brewery worker Ernest Moore, and printer Sylvia Doreen, along with his younger brother Mike and his maternal grandmother.[6] (p14) He "read omnivorously" from the age of five, getting books out of the local library, and subsequently attended Spring Lane Primary School.[6] (p17) At the same time, he began reading comic strips, initially British strips, such as Topper and The Beezer, but eventually also American imports such as Flash, Detective Comics, Fantastic Four, and Blackhawk.[6] (p31) He later passed his eleven plus exam, and was therefore eligible to go to Northampton Grammar School,[11] where he first came into contact with people who were middle class and better educated, and he was shocked at how he went from being one of the top pupils at his primary school to one of the lowest in the class at secondary. Subsequently disliking school and having "no interest in academic study", he believed that there was a "covert curriculum" being taught that was designed to indoctrinate children with "punctuality, obedience and the acceptance of monotony".[6]
(pp1718)

"LSD was an incredible experience. Not that Im recommending it for anybody else; but for me it kind of it hammered home to me that reality was not a fixed thing. That the reality that we saw about us every day was one reality, and a valid one but that there

Alan Moore
were others, different perspectives where different things have meaning that were just as valid. That had a profound effect on me." Alan Moore (2003)
[6] (pp1920)

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Meanwhile, in the late 1960s, he began publishing his own poetry and essays in fanzines, and eventually helped to set up his own fanzine titled Embryo, and through this got involved in a group known as the Arts Lab, which the magazine fused with.[6] (pp3334) He began dealing the hallucinogenic LSD at school, being expelled for doing so in 1970 he later described himself as "one of the world's most inept LSD dealers".[12] The headmaster of the school subsequently "got in touch with various other academic establishments that I'd applied to and told them not to accept me because I was a danger to the moral well-being of the rest of the students there, which was possibly true."[6] (p18) Whilst continuing to live in his parents' home for a few more years, he moved through various jobs, including cleaning toilets and working in a tannery. Around 1971, he met and began a relationship with a Northampton-born girl named Phyllis, with whom he moved into "a little one-room flat in the Barrack Road area in Northampton". Soon marrying, they moved into a new council estate in the town's eastern district whilst he worked in an office for a sub-contractor of the local gas board. However, he felt that he was not being fulfilled by this job, and so decided to try and earn a living doing something more artistic.[6] (pp3435)

Early career: 19781980


Abandoning his office job, he decided to instead take up both writing and illustrating his own comics. He had already produced a couple of strips for several alternative fanzines and magazines, such as Anon E. Mouse for the local paper Anon, and St. Pancras Panda, a parody of Paddington Bear, for the Oxford-based Back Street Bugle.[7] (pp1617) His first paid work was for a few drawings that were printed in NME music magazine, and not long after he succeeded in getting a series about a private detective known as Roscoe Moscow published using the pseudonym of Curt Vile (a pun on the name of composer Kurt Weill) in the weekly music magazine Sounds, earning 35 a week. Alongside this, he and Phyllis, along with their newly born daughter Leah, began claiming unemployment benefit to supplement this income.[6] (p36) Not long after this, in 1979 he also began publishing a new comic strip known as Maxwell the Magic Cat in the Northants Post, under the pseudonym of Jill de Ray (a pun on the Medieval child murderer Gilles de Rais, something he found to be a "sardonic joke"). Earning a further 10 a week from this, he decided to sign off of social security, and would continue writing Maxwell the Magic Cat until 1986.[6] (pp3637) Moore has stated that he would have been happy to continue Maxwell's adventures almost indefinitely, but ended the strip after the newspaper ran a negative editorial on the place of homosexuals in the community.[13] Meanwhile, Moore decided to focus more fully on writing comics rather than both writing and drawing them, stating that "After I'd been doing [it] for a couple of years, I realised that I would never be able to draw well enough and/or quickly enough to actually make any kind of decent living as an artist."[14] (p15) To learn more about how to write a successful comic book script, he asked advice from his friend, comic book writer Steve Moore, whom he had known since he was fourteen.[14] (p20) Interested in writing for 2000AD, one of Britain's most prominent comic magazines, Alan Moore then submitted a script for their long running and successful series Judge Dredd. Whilst having no need for another writer on Judge Dredd, which was already being written by John Wagner, 2000AD's editor Alan Grant saw promise in Moore's work later remarking that "this guy's a really fucking good writer"[15] and instead asked him to write some short stories for the publication's Future Shocks series instead. While the first few were rejected, Grant advised Moore on improvements, and eventually accepted the first of many. Meanwhile, Moore had also begun writing minor stories for Doctor Who Weekly, and later commented that "I really, really wanted a regular strip. I didnt want to do short stories But that wasn't what was being offered. I was being offered short four or five page stories where everything had to be done in those five pages. And, looking back, it was the best possible education that I could have had in how to construct a story."[14] (pp2122)

Alan Moore

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Marvel UK, 2000AD, and Warrior: 19801984


From 1980 through to 1984, Moore maintained his status as a freelance writer, and was offered a spate of work by a variety of comic book companies in Britain, namely Marvel UK, and the publishers of 2000AD and Warrior. He later remarked that "I remember that what was generally happening was that everybody wanted to give me work, for fear that I would just be given other work by their rivals. So everybody was offering me things."[6] (p57) It was an era when comic books were increasing in popularity in Britain, and according to Lance Parkin, "the British comics scene was cohering as never before, and it was clear that the audience was sticking with the title as they grew up. Comics were no longer just for very small boys: teenagers even A-level and university students were reading them now."[7] (p20) During this three year period, 2000AD would accept and publish over fifty of Moore's one-off stories for their Future Shocks and Time Twisters science fiction series.[15] The editors at the magazine were impressed by Moore's work and decided to offer him a more permanent strip, starting with a story that they wanted to be vaguely based upon the hit film E.T. the Extra-Terrestrial. The result, Skizz, which was illustrated by Jim Baikie, told the story of the titular alien who crashes to Earth and is cared for by a woman named Roxy, and Moore later noted that in his opinion, this work "owes far too much to Alan Bleasdale."[16] (p94) Another series he produced for 2000AD was D.R. and Quinch, which was illustrated by Alan Davis. The story, which Moore described as "continuing the tradition of Dennis the Menace, but giving him a thermonuclear capacity",[16] (p99) revolved around two delinquent aliens, and was a science-fiction take on National Lampoon's characters O.C. and Stiggs. However, the work widely considered to be the highlight of his 2000AD career,[16] (pp100110) and that he himself described as "the one that worked best for me"[6] (p58) was The Ballad of Halo Jones, the first series in the magazine to be based around a female character, which Moore did deliberately.[16] (pp99102) Co-created with artist Ian Gibson, the series was set in the 50th century. It finished before all the episodes were written. Another comic company to employ Moore was Marvel UK, who had formerly purchased a few of his one-off stories for Doctor Who Weekly and Star Wars Weekly. Aiming to get an older audience than 2000AD, their main rival, they employed Moore to write for the regular strip Captain Britain, "halfway through a storyline that he's neither inaugurated nor completely understood."[17] He replaced the former writer Dave Thorpe, but maintained the original artist, Alan Davis, who Moore described as "an artist whose love for the medium and whose sheer exultation upon finding himself gainfully employed within it shine from every line, every new costume design, each nuance of expression."[17] The third comic company that Moore worked for in this period was a new monthly magazine known as Warrior, founded by Dez Skinn, a former editor of both IPC (publishers of 2000 AD) and Marvel UK, that was designed to offer writers a greater degree of freedom over their artistic creations than was allowed by pre-existing companies, and it was at Warrior that Moore "would start to reach his potential".[7] (p21) Moore was initially given two ongoing strips in Warrior: Marvelman and V for Vendetta, both of which debuted in Warrior's first issue in March 1982. V for Vendetta was a dystopian thriller set in a future 1997 where a fascist government controlled Britain, opposed only by a lone anarchist dressed in a Guy Fawkes costume who turns to terrorism to topple the government. Illustrated by David Lloyd, Moore was influenced by his pessimistic feelings about the Thatcherite Conservative government, which he projected forward as a fascist state in which all ethnic and sexual minorities had been eliminated. It has been regarded as "among Moore's best work" and has maintained a cult following throughout subsequent decades.[7]
(p22)

Marvelman (later retitled Miracleman for legal reasons) was a series that originally had been published in Britain from 1954 through to 1964, based largely upon the American comic Captain Marvel. Upon resurrecting Marvelman, Moore "took a kitsch children's character and placed him within the real world of 1982".[7] (p23) The work was drawn primarily by Garry Leach and Alan Davis.[18] The third series that Moore produced for Warrior was The Bojeffries Saga, a comedy about a working-class English family of vampires and werewolves, drawn by Steve Parkhouse. Warrior closed before these stories were completed,[19] [20] [21] but under new publishers both Miracleman and V for

Alan Moore Vendetta were resumed by Moore, who finished both stories by 1989. Moore's biographer Lance Parkin remarked that "reading them through together throws up some interesting contrasts in one the hero fights a fascist dictatorship based in London, in the other an Aryan superman imposes one."[7] (p26) Although Moore's work numbered amongst the most popular strips to appear in 2000 AD, Moore himself became increasingly concerned at the lack of creator's rights in British comics.[16] (pp105106) In 1985, he talked to fanzine Arkensword, noting that he had stopped working for all British publishers bar IPC, "purely for the reason that IPC so far have avoided lying to me, cheating me or generally treating me like shit."[22] [23] He did, however, join other creators in decrying the wholesale relinquishing of all rights, and in 1986 stopped writing for 2000 AD, leaving mooted future volumes of the Halo Jones story unstarted.[16] (pp110111) Moore's outspoken opinions and principles, particularly on the subject of creator's rights and ownership, would see him burn bridges with a number of other publishers over the course of his career.[22] [23] Meanwhile, during this same period, he using the pseudonym of Translucia Baboon became involved in the music scene, founding his own band, The Sinister Ducks, with David J (of goth band Bauhaus) and Alex Green, and in 1983 released a single, March of the Sinister Ducks, with sleeve art by illustrator Kevin O'Neill. In 1984, Moore and David J also released a 12-inch single featuring a recording of "This Vicious Cabaret", a song featured in V for Vendetta, which was released on the Glass Records label.[7] (p95) Moore would also write the song "Leopardman At C&A" for David J, and it would be set to music by Mick Collins for the album We Have You Surrounded by Collins' group The Dirtbombs.[24]

498

The American mainstream and DC Comics: 19831988


Moore's British work brought him to the attention of DC Comics editor Len Wein, who hired him in 1983 to write Swamp Thing, then a formulaic and poor-selling monster comic. Moore, along with artists Stephen R. Bissette, Rick Veitch, and John Totleben, deconstructed and reimagined the character, writing a series of formally experimental stories that addressed environmental and social issues alongside the horror and fantasy, bolstered by research into the culture of Louisiana, where the series was set.[19] [20] For Swamp Thing he revived many of DC's neglected magical and supernatural characters, including the Spectre, the Demon, the Phantom Stranger, Deadman, and others, and introduced John Constantine, an English working-class magician based visually on the British musician Sting, which later became the protagonist of the series Hellblazer, the longest continuously published comic of DC's Vertigo imprint. Moore would continue writing Swamp Thing for about three years, from issue No.20 (January 1984) through to issue No.64 (September 1987) with the exception of issues No.59 and #62.[7] (p82) Moore's run on Swamp Thing was successful both critically and commercially, and inspired DC to recruit European and particularly British writers such as Grant Morrison, Jamie Delano, Peter Milligan, and Neil Gaiman to write comics in a similar vein, often involving radical revamps of obscure characters.[19] [20] These titles laid the foundation of what became the Vertigo line. Moore began producing further stories for DC Comics, including a two-part story for Vigilante, which dealt with domestic abuse. He was eventually given the chance to write a story for one of DC's best known superheroes, Superman, entitled For the Man Who Has Everything, which was illustrated by Dave Gibbons and released in 1985. In this story, Wonder Woman, Batman, and Robin visit Superman on his birthday, only to find that he has been overcome by an alien organism and is hallucinating about his heart's desire.[7] (p37) He followed this with another Superman story, Whatever Happened to the Man of Tomorrow?, which was published in 1986. Illustrated by Curt Swan, it was designed as the last Superman story in the pre-Crisis on Infinite Earths DC universe. 1988 saw the publication of a Batman story written by Moore and illustrated by Brian Bolland. Entitled The Killing Joke, it revolved around The Joker, who had escaped Arkham Asylum and gone on a killing spree, and Batman's effort to stop him. Despite being a key work in helping to redefine Batman as a character, along with Frank Miller's The Dark Knight Returns and Batman: Year One, Lance Parkin believed that "the theme isnt developed enough" and "it's a rare example of a Moore story where the art is better than the writing,"[7] (pp3839) something Moore himself

Alan Moore acknowledges.[6] (p121) The limited series Watchmen, begun in 1986 and collected as a trade paperback in 1987, cemented Moore's reputation. Imagining what the world would be like if costumed heroes had really existed since the 1940s, Moore and artist Dave Gibbons created a Cold War mystery in which the shadow of nuclear war threatens the world. The heroes who are caught up in this escalating crisis either work for the U.S. government or are outlawed, and are motivated to heroism by their various psychological hang-ups. Watchmen is non-linear and told from multiple points of view, and includes formal experiments such as the symmetrical design of issue 5, "Fearful Symmetry", where the last page is a near mirror-image of the first, the second-last of the second, and so on, and in this manner is an early example of Moore's interest in the human perception of time and its implications for free will. It is the only comic to win the Hugo Award, in a one-time category ("Best Other Form").[25] Indeed, it is widely seen as Moore's best work, and has been regularly described as the greatest comic book ever written.[7] (pp3940) Alongside roughly contemporary works such as Frank Miller's Batman: The Dark Knight Returns, Art Spiegelman's Maus, and Jaime and Gilbert Hernandez's Love and Rockets, Watchmen was part of a late 1980s trend in American comics towards more adult sensibilities. Moore briefly became a media celebrity, and the resulting attention led to him withdrawing from fandom and no longer attending comics conventions (at one UKCAC in London he is said to have been followed into the toilet by eager autograph hunters).[26] In 1987 Moore submitted a proposal for a miniseries called Twilight of the Superheroes, the title a twist on Richard Wagner's opera Gtterdmmerung (meaning "Twilight of the Gods"). The series was set in the future of the DC Universe, where the world is ruled by superheroic dynasties, including the House of Steel (presided over by Superman and Wonder Woman) and the House of Thunder (led by the Captain Marvel family). These two houses are about to unite through a dynastic marriage, their combined power potentially threatening freedom, and several characters, including John Constantine, attempt to stop it and free humanity from the power of superheroes. The series would also have restored the DC Universe's multiple earths, which had been eliminated in the continuity-revising 1985 miniseries Crisis on Infinite Earths. The series was never commissioned, but copies of Moore's detailed notes have appeared on the Internet and in print despite the efforts of DC, who consider the proposal their property.[7] (pp4344) Similar elements, such as the concept of hypertime, have since appeared in DC comics. The 1996 miniseries Kingdom Come by Mark Waid and Alex Ross, was also set amid a superheroic conflict in the future of the DC universe. Waid and Ross have stated that they had read the Twilight proposal before starting work on their series, but that any similarities are both minor and unintended.[21] Moore's relationship with DC Comics had gradually deteriorated over the issues of creator's rights and merchandising. Moore and Gibbons were not paid any royalties for a Watchmen spin-off badge set, as DC defined them as a "promotional item",[27] and according to certain reports, he and Gibbons gained only 2% of the profits earned by DC for Watchmen.[7] (p44) Meanwhile, a group of creators including Moore, Frank Miller, Marv Wolfman, and Howard Chaykin, fell out with DC over a proposed age-rating system similar to those used for films.[7] (pp4445) After completing V for Vendetta, which DC had already begun publishing, thus enabling him to finish the final few episodes, in 1989, Moore stopped working for DC.

499

Independent period and Mad Love: 19881993


Abandoning DC Comics and the mainstream, Moore, along with his wife Phyllis and their mutual lover Deborah Delano, set up their own comics publishing company, which they named Mad Love. The works that they published in Mad Love turned away from the science fiction and superhero genres that Moore was used to writing, instead focusing on realism, ordinary people, and political causes. Mad Love's first publication, AARGH (Artists Against Rampant Government Homophobia), was an anthology of work by a number of writers (including Moore) that challenged the Thatcher government's recently introduced Clause 28, a law designed to prevent councils and schools "promoting homosexuality". Sales from the book went towards the Organisation of Lesbian and Gay Action, and Moore was "very pleased with" it, stating that "we hadn't prevented this bill from becoming law, but we had joined

Alan Moore in the general uproar against it, which prevented it from ever becoming as viciously effective as its designers might have hoped."[6] (p149)[28] Moore followed this with a second political work, Shadowplay: The Secret Team, a comic illustrated by Bill Sienkiewicz for Eclipse Comics and commissioned by the Christic Institute, which was included as a part of the anthology Brought to Light, a description of the CIA's covert drug smuggling and arms dealing.[7] (p47) After prompting by cartoonist and self-publishing advocate Dave Sim,[11] Moore then used Mad Love to publish his next project, Big Numbers, a proposed 12-issue series set in "a hardly-disguised version of Moore's native Northampton" known as Hampton, and deals with the effects of big business on ordinary people and also with ideas of chaos theory.[7] (p48) Illustration of the comic was begun by Bill Sienkiewicz, who left the series after only two issues in 1990, and despite plans that his assistant, Al Columbia, would replace him, it never occurred and the series remained unfinished.[7] (pp4849)[29] Following this, in 1991 the company Victor Gollancz Ltd published Moore's A Small Killing, a full length story illustrated by Oscar Zarate, about a once idealistic advertising executive haunted by his boyhood self. According to Lance Parkin, A Small Killing is "quite possibly Moore's most underrated work."[7] (p49) Soon after this, Mad Love itself was disbanded as Phyllis and Deborah ended their relationship with Moore, taking with them much of the money that he had earned from his work in the 1980s.[7] (p25) Meanwhile, Moore also began producing work for Taboo, a small independent comic anthology edited by his former collaborator Stephen R. Bissette. The first of these was From Hell, a fictionalised account of the Jack the Ripper murders of the 1880s. Inspired by Douglas Adams' novel Dirk Gently's Holistic Detective Agency,[30] Moore reasoned that to solve a crime holistically, one would need to solve the entire society it occurred in, and depicts the murders as a consequence of the politics and economics of the time. Just about every notable figure of the period is connected with the events in some way, including "Elephant Man" Joseph Merrick, Oscar Wilde, Native American writer Black Elk, William Morris, artist Walter Sickert, and Aleister Crowley, who makes a brief appearance as a young boy. Illustrated in a sooty pen and ink style by Eddie Campbell, From Hell took nearly ten years to complete, outlasting Taboo and going through two more publishers before being collected as a trade paperback by Eddie Campbell Comics. It was widely praised, with comics author Warren Ellis calling it "my all-time favourite graphic novel".[31] The other series that Moore began for Taboo was Lost Girls, which he described as a work of intelligent "pornography".[32] Illustrated by Melinda Gebbie, whom Moore subsequently entered into a relationship with, it was set in 1913, where Alice from Alice in Wonderland, Dorothy from The Wizard of Oz and Wendy from Peter Pan who are each of a different age and class all meet in a European hotel and regale each other with tales of their sexual encounters.[7] (pp4950) With the work, Moore wanted to attempt something innovative in comics, and believed that creating comics pornography was a way of achieving this. He remarked that "I had a lot of different ideas as to how it might be possible to do an up-front sexual comic strip and to do it in a way that would remove a lot of what I saw were the problems with pornography in general. That it's mostly ugly, it's mostly boring, it's not inventive it has no standards."[6] (pp154155) Like From Hell, Lost Girls outlasted Taboo, and a few subsequent instalments were published erratically until the work was finished and a complete edition published in 2006. Meanwhile, Moore also set about writing a prose novel, eventually producing Voice of the Fire, which would be published in 1996. Unconventional in tone, the novel was a set of short stories about linked events in his hometown of Northampton through the centuries, from the Bronze Age to the present day, which combined to tell a larger story.[7] (p92)

500

Return to the mainstream and Image Comics: 19931998


In 1993 Moore declared himself to be a ceremonial magician. The same year marked a move by Moore back to the mainstream comics industry and back to writing superhero comics. He did so through the Image Comics, widely known at the time for its flashy artistic style, graphic violence, and scantily-clad large-breasted women, something that horrified many of his fans.[7] (p55) His first work published by Image, an issue of the series Spawn, was soon followed by the creation of his own mini-series, 1963, which was "a pastiche of Jack Kirby stories drawn for Marvel

Alan Moore in the sixties, with their rather overblown style, colourful characters and cosmic style."[7] (p56) According to Moore, "after I'd done the 1963 stuff I'd become aware of how much the comic audience had changed while I'd been away [since 1988]. That all of a sudden it seemed that the bulk of the audience really wanted things that had almost no story, just lots of big, full-page pin-up sort of pieces of artwork. And I was genuinely interested to see if I could write a decent story for that market."[6] (p173) He subsequently set about writing what he saw as "better than average stories for 13 to 15-years olds", including three mini-series based upon the Spawn series: Violator, Violator/Badrock, and Spawn: Blood Feud.[7] (p56) In 1995, he was also given control of a regular monthly comic, Jim Lee's WildC.A.T.S., starting from issue #21, which he would continue to write for fourteen issues. The series followed two groups of superheroes, one of whom are on a spaceship heading back to their home planet, and the others who are instead remaining on Earth. Moore's biographer Lance Parkin remarked critically of the series, feeling that it was one of Moore's worst, and that "you feel Moore should be better than this. It's not special."[7] (p56) Moore himself, who remarked that he took on the series his only regular monthly comic series since Swamp Thing largely because he liked Jim Lee, admitted that he was not entirely happy with the work, believing that he had catered too much to his conceptions of what the fans wanted rather than being innovative.[6] (p174) Next he took over Rob Liefeld's Supreme, about a character with many similarities with DC Comics Superman. Instead of emphasising increased realism as he had done with earlier superhero comics he had taken over, Moore did the opposite, and began basing the series on the Silver Age Superman comics of the 1960s, introducing a female superhero Suprema, a super-dog Radar, and a Kryptonite-like material known as Supremium, in doing so harking back to the original "mythic" figure of the American superhero. Under Moore, Supreme would prove to be a critical and commercial success, announcing that he was back in the mainstream after several years of self-imposed exile.[7]
(pp5960)

501

When Rob Liefeld, one of Image's co-founders, split from the publisher and formed his own company Awesome Entertainment, he hired Moore to create a new universe for the characters he had brought with him from Image. Moore's "solution was breathtaking and cocky he created a long and distinguished history for these new characters, retro-fitting a fake silver and gold age for them." Moore began writing comics for many of these characters, such as Glory and Youngblood, as well as a three-part mini-series known as Judgement Day to provide a basis for the Awesome Universe.[7] (pp6061) However Moore was not satisfied with Liefeld, saying "I just got fed up with the unreliability of information that I get from him, that I didn't trust him. I didn't think that he was respecting the work and I found it hard to respect him. And also by then I was probably feeling that with the exception of Jim Lee, Jim Valentino people like that that a couple of the Image partners were seeming, to my eyes, to be less than gentlemen. They were seeming to be not necessarily the people I wanted to deal with."[6] (p175)

America's Best Comics: 19992008


Image partner Jim Lee offered to provide Moore with his own imprint, which would be under Lee's company WildStorm Productions. Moore named this imprint America's Best Comics, lining up a series of artists and writers to assist him in this venture. However, Lee soon sold WildStorm including America's Best Comics to DC Comics, and "Moore found himself back with a company he'd vowed to never work with again". Lee and editor Scott Dunbier flew to England personally to reassure Moore that he would not be affected by the sale, and would not have to deal with DC directly.[33] Moore decided that there were too many people involved to back out from the project, and so ABC was launched in early 1999.[7] (p62) The first series that begun publication through ABC was The League of Extraordinary Gentlemen, which featured a variety of characters from Victorian adventure novels such as H. Rider Haggard's Allan Quatermain, H. G. Wells' Invisible Man, Jules Verne's Captain Nemo, Robert Louis Stevenson's Dr. Jekyll and Mr. Hyde, and Wilhelmina Murray from Bram Stoker's Dracula. Illustrated by Kevin O'Neill, the first volume of the series pitted the League against Professor Moriarty from the Sherlock Holmes books; the second, against the Martians from The War of the

Alan Moore Worlds. A third volume entitled The Black Dossier was set in the 1950s. The series was well received, and Moore was pleased that an American audience was enjoying something he considered "perversely English", and that it was inspiring some readers to get interested in Victorian literature.[6] (p183) Another of Moore's ABC works was Tom Strong, a post-modern superhero series that in equal parts parodies and pays tribute to the superhero genre, featured a hero inspired by characters pre-dating Superman, such as Doc Savage and Tarzan. The character's drug-induced longevity allowed Moore to include flashbacks to Strong's adventures throughout the 20th century, written and drawn in period styles, as a comment on the history of comics and pulp fiction. The primary artist was Chris Sprouse. Tom Strong bore many similarities to Moore's earlier work on Supreme, but according to Lance Parkin, was "more subtle", and was "ABC's most accessible comic."[7] (pp6465) Moore's Top 10, a deadpan police procedural comedy set in a city called Neopolis where everyone, including the police, criminals, and civilians has super-powers, costumes, and secret identities, was drawn by Gene Ha and Zander Cannon.[7] (pp6566,71) The series ended after twelve issues, but has spawned four spin-offs: a miniseries Smax, which was set in a fantasy realm and drawn by Cannon; Top 10: The Forty-Niners, a prequel to the main Top Ten series drawn by Ha;[7] (p68) and two sequel miniseries, Top 10: Beyond the Farthest Precinct, which was written by Paul Di Filippo and drawn by Jerry Ordway, and Top 10: Season Two, written by Cannon and drawn by Ha. Moore's series Promethea, which told the story of a teenage girl, Sophie Bangs, who is possessed by an ancient pagan goddess, the titular Promethea, explored many occult themes, particularly the Qabalah and the concept of magic, with Moore stating that "I wanted to be able to do an occult comic that didn't portray the occult as a dark, scary place, because that's not my experience of it [Promethea was] more psychedelic more sophisticated, more experimental, more ecstatic and exuberant."[6] (p188) Drawn by J.H. Williams III, it has been described as "a personal statement" from Moore, being one of his most personal works, and that it encompasses "a belief system, a personal cosmology".[7] (p68) ABC Comics was also used to publish an anthology series, Tomorrow Stories, which featured a regular cast of characters such as Cobweb, First American, Greyshirt, Jack B. Quick, and Splash Brannigan. Tomorrow Stories was notable for being an anthology series, a medium that had largely died out in American comics at the time.[7] (p66) However, despite the assurances that DC Comics would not interfere with Moore and his work, they subsequently did so, angering him. Specifically, in League of Extraordinary Gentlemen #5, an authentic vintage advertisement for a "Marvel"-brand douche caused DC executive Paul Levitz to order the entire print run destroyed and reprinted with the advertisement amended to "Amaze", to avoid friction with DC's competitor Marvel Comics.[34] A Cobweb story Moore wrote for Tomorrow Stories No.8 featuring references to L. Ron Hubbard, American occultist Jack Parsons, and the "Babalon Working", was blocked by DC Comics due to the subject matter.[35] Ironically, it was later revealed that they had already published a version of the same event in their Paradox Press volume The Big Book of Conspiracies. In 2003, a documentary about him was made by Shadowsnake Films, titled The Mindscape of Alan Moore, which was later released on DVD.[36]

502

Return to independence: 2009present


With many of the stories he had planned for America's Best Comics brought to an end, and with his increasing dissatisfaction with how DC Comics were interfering with his work, he decided to once more pull out of the comics mainstream. Speaking to Bill Baker in 2005, he remarked that "I love the comics medium. I pretty much detest the comics industry. Give it another 15 months, I'll probably be pulling out of mainstream, commercial comics."[14] (p65) The only ABC title continued by Moore was The League of Extraordinary Gentlemen; after cutting ties with DC he launched the new League saga, Volume III: Century, from a co-publishing partnership of Top Shelf Productions and Knockabout Comics, the first released in 2009, with the second planned for 2011 and the third for 2012. In 2006, the complete edition of Lost Girls was published, as a slipcased set of three hardcover volumes. The same year Moore published an eight-page article tracing out the history of pornography in which he argued that a society's

Alan Moore vibrancy and success are related to its permissiveness in sexual matters. Decrying that the consumption of contemporary ubiquitous pornography is still widely considered shameful, he called for a new and more artistic pornography that could be openly discussed and would have a beneficial impact on society.[37] He expanded on this for a 2009 book-length essay entitled 25,000 years of Erotic Freedom, which was described by a reviewer as "a tremendously witty history lecture a sort of Horrible Histories for grownups."[38] In 2007, Moore married Melinda Gebbie after a lengthy romance. The same year he also appeared in animated form in an episode of The Simpsons a show he is a fan of[39] entitled "Husbands and Knives", which aired on his fifty-fourth birthday. In 2010 Moore began what he described as "the 21st century's first underground magazine". Titled Dodgem Logic, the bi-monthly publication consists of work by a number of Northampton-based authors and artists, as well as original contributions from Moore.[40] [41] In January 2011, the fourth and final issue of Moore's Neonomicon was released by Avatar Press.[42] This horror mini-series is set in the H. P. Lovecraft universe, and like its prequel The Courtyard, is illustrated by Jacen Burrows. In summer 2011 the second instalment of The League of Extraordinary Gentlemen: Century will be released, set in 1969. A planned future project is an occult textbook known as The Moon and Serpent Bumper Book of Magic, written with Steve Moore. It will be published by Top Shelf in "the future".[43] He is also currently working on a second novel, Jerusalem, which will again be set in Northampton.[44] [45] Recently Moore has appeared live at music events collaborating with a number of different musicians, with a forthcoming appearance with Stephen O'Malley confirmed for the ATP 'I'll Be Your Mirror' music festival in London.

503

Work
Themes
In a number of his comics, where he was taking over from earlier writers, including Marvelman, Swamp Thing, and Supreme, he used the "familiar tactic of wiping out what had gone before, giving the hero amnesia and revealing that everything we'd learned to that point was a lie."[7] (p58) In this manner he was largely able to start afresh with the character and their series and was not constrained by earlier canon. As a comics writer, Moore applies literary sensibilities to the mainstream of the medium as well as including challenging subject matter and adult themes. He brings a wide range of influences to his work, such as William S. Burroughs,[1] Thomas Pynchon, Robert Anton Wilson and Iain Sinclair,[46] New Wave science fiction writers like Michael Moorcock and horror writers like Clive Barker.[47] Influences within comics include Will Eisner, Harvey Kurtzman,[48] Jack Kirby[3] and Bryan Talbot.[49] [50] [51]

Recognition and awards


Moore's work in the comic book medium has been widely recognised by his peers and by critics. George Khoury asserted that "to call this free spirit the best writer in the history of comic books is an understatement"[6] (p10) whilst interviewer Steve Rose referred to him as "the Orson Welles of comics" who is "the undisputed high priest of the medium, whose every word is seized upon like a message from the ether" by comic book fans.[52] Douglas Wolk observed: "Moore has undisputably made it into the Hall of Fame: he's one of the pillars of English language comics, alongside Jack Kirby and Will Eisner and Harvey Kurtzman and not many others. He's also the grand exception in that hall, since the other pillars are artists and more often than not, writer/artists. Moore is a writer almost exclusively, though his hyper detailed scripts always play to the strengths of the artists he works with. That makes him the chief monkey wrench in comics author theory. The main reason that almost nobody's willing to say that a

Alan Moore single cartoonist is categorically superior to a writer/artist team is that such a rule would run smack into Moore's bibliography. In fact, a handful of cartoonists who almost always write the stories they draw have made exceptions for Moore Jaime Hernandez, Mark Beyer and most memorably Eddie Campbell."[53] (p229) Moore has won numerous Jack Kirby Awards during his career, including for Best Single Issue for Swamp Thing Annual No.2 in 1985 with John Totleben and Steve Bissette, for Best Continuing Series for Swamp Thing in 1985, 1986 and 1987 with Totleben and Bissette, Best Writer for Swamp Thing in 1985 and 1986 and for Watchmen in 1987, and with Dave Gibbons for Best Finite Series and Best Writer/Artist (Single or Team) for Watchmen in 1987.[54] Moore has won multiple Eagle Awards, including virtually a "clean sweep" in 1986 for his work on Watchmen and Swamp Thing. Moore not only won "favourite writer in both the US and UK categories", but had his work win for favourite comic book, supporting character, and new title in the US; and character, continuing story and "character worthy of own title" in the UK (in which last category his works held all top three spots).[55]

504

Moore signing an autograph, 2006.

Moore has been nominated for the Comics Buyer's Guide Fan Awards several times, winning for Favorite Writer in 1985, 1986, 1987, 1999, and 2000. Also, he won the CBG Fan Award for Favorite Comic Book Story (Watchmen) in 1987 and Favorite Original Graphic Novel or Album (Batman: The Killing Joke with Brian Bolland) in 1988.[56] He received the Harvey Award for Best Writer for 1988 (for Watchmen),[57] for 1995 and 1996 (for From Hell),[58] [59] for 1999 (for his body of work, including From Hell and Supreme),[60] for 2000 (for The League of Extraordinary Gentlemen),[61] and for 2001 and 2003 (for Promethea).[62] [63] He has received the Eisner Award for Best Writer nine times since 1988, and among his numerous international prizes are the German Max & Moritz Prize for an exceptional oeuvre (2008) and the British National Comics Award for Best Comics Writer Ever (in 2001 and 2002). Hij also won French awards like the Angoulme International Comics Festival Prize for Best Album for Watchmen in 1989 and V for Vendetta in 1990, and the Prix de la critique for From Hell in 2001, the Swedish Urhunden Prize in 1992 for Watchmen and several Spanish Haxtur Awards, in 1988 for Watchmen and 1989 for Swamp Thing No.5 (both for Best Writer). Moore was also lauded outside the world of comics. In 1988, Moore and artist Dave Gibbons won a Hugo Award in the category Other Forms for Watchmen. The category was created for that year only, via a rarely-used provision that allows the Committee of the Worldcon to create any temporary Additional Category it feels appropriate (no subsequent committee has repeated this category).[64] In 1988 he received a World Fantasy Award for Best Novella for A Hypothetical Lizard, which Avatar Press published in 2004 as a comics adaption by Antony Johnston. Moore also won two International Horror Guild Awards in the category Graphic Story/Illustrated Narrative (in 1995 with Eddie Campbell for From Hell and in 2003 with Kevin O'Neill for The League of Extraordinary Gentlemen)[65] and in 2000 The League of Extraordinary Gentlemen landed a Bram Stoker Award in the category Best Illustrated Narrative. In 2005, Watchmen was the only comic book to make it onto Time Magazine's "All-Time 100 Novels" list.[66]

Alan Moore

505

Selected bibliography
Comics V for Vendetta (19821985) Watchmen (19861987) Batman: The Killing Joke (1988) Lost Girls (19911992, 2006) From Hell (19911996) The League of Extraordinary Gentlemen (1999present) Novels Voice of the Fire (1996) Jerusalem (forthcoming)

Non-fiction Alan Moore's Writing for Comics (2003)

Film adaptations
Due to the success of his comics, a number of filmmakers have expressed a desire to make film adaptations over the years. However, Moore himself has consistently opposed such ventures, stating that "I wanted to give comics a special place when I was writing things like Watchmen. I wanted to show off just what the possibilities of the comic book medium were, and films are completely different."[67] Expressing similar sentiments, he also remarked that "If we only see comics in relation to movies then the best that they will ever be is films that do not move. I found it, in the mid 80s, preferable to concentrate on those things that only comics could achieve. The way in which a tremendous amount of information could be included visually in every panel, the juxtapositions between what a character was saying, and what the image that the reader was looking at would be. So in a sense most of my work from the 80s onwards was designed to be un-filmable."[36] The first film to be based upon Moore's work was From Hell in 2001, which was directed by the Hughes Brothers. The film made a number of radical differences from the original comic, altering the main character from an older, conservative detective to a young character played by Johnny Depp. This was followed in 2003 with The League of Extraordinary Gentlemen, a film that departed radically from the books, changing the ending from a mob war over the skies of London to the infiltration of a secret base in Tibet. For these two works, Moore was content to allow the filmmakers to do whatever they wished and removed himself from the process entirely. "As long as I could distance myself by not seeing them," he said, he could profit from the films while leaving the original comics untouched, "assured no one would confuse the two. This was probably nave on my part."[68] His attitude changed after producer Martin Poll and screenwriter Larry Cohen filed a lawsuit against 20th Century Fox, alleging that the film The League of Extraordinary Gentlemen plagiarised an unproduced script they had written entitled Cast of Characters. Although the two scripts bear many similarities, most of them are elements that were added for the film and do not originate in Moore's comics. According to Moore, "They seemed to believe that the head of 20th Century Fox called me up and persuaded me to steal this screenplay, turning it into a comic book they could then adapt back into a movie, to camouflage petty larceny." Moore testified in a deposition, a process he found so unpleasant that he surmised he would have been better treated had he "molested and murdered a busload of retarded children after giving them heroin". Fox's settlement of the case insulted Moore, who interpreted it as an admission of guilt.[68] In 2005, a film adaptation of Moore's V for Vendetta was released, produced by the Wachowski Brothers and directed by James McTeigue. Producer Joel Silver said at a press conference for the Warner Bros.' V for Vendetta that fellow producer Larry Wachowski had talked with Moore, and that "[Moore] was very excited about what Larry had to say."[69] Moore disputed this, reporting that he told Wachowski "I didn't want anything to do with films... I wasn't interested in Hollywood," and demanded that DC Comics force Warner Bros to issue a public retraction and apology for Silver's "blatant lies". Although Silver called Moore directly to apologise, no public retraction appeared. Moore was quoted as saying that the comic book had been "specifically about things like fascism and anarchy. Those words, 'fascism' and 'anarchy,' occur nowhere in the film. It's been turned into a Bush-era parable by people too timid to set a political satire in their own country."[70] This conflict between Moore and DC Comics was the subject of an article in The New York Times[27] on 12 March 2006, five days before the USA release. In the New York Times article, Silver stated that about 20years prior to the film's release, he met with Moore and Dave Gibbons when Silver

Alan Moore acquired the film rights to V For Vendetta and Watchmen. Silver stated, "Alan was odd, but he was enthusiastic and encouraging us to do this. I had foolishly thought that he would continue feeling that way today, not realising that he wouldn't." Moore did not deny this meeting or Silver's characterisation of Moore at that meeting, nor did Moore state that he advised Silver of his change of opinion in those approximately 20years. The New York Times article also interviewed David Lloyd about Moore's reaction to the film's production, stating, "Mr. Lloyd, the illustrator of V for Vendetta, also found it difficult to sympathise with Mr. Moore's protests. When he and Mr. Moore sold their film rights to the comic book, Mr. Lloyd said: "We didn't do it innocently. Neither myself nor Alan thought we were signing it over to a board of trustees who would look after it like it was the Dead Sea Scrolls."[27] Moore has subsequently stated that he wishes his name to be removed from all comic work that he does not own, including Watchmen and V for Vendetta, much as unhappy film directors often choose to have their names removed and be credited as "Alan Smithee". He also announced that he would not allow his name to be used in any future film adaptations of works he does not own, nor would he accept any money from such adaptations.[71] This request was respected by the producers of the subsequent adaptations of his work Constantine (2005) (based on a character created by Moore) and Watchmen (2009), and his name was removed from the V for Vendetta credits.[72] [73]

506

Personal life
Since his teenage years Moore has had long hair, and since early adulthood has also worn a beard. He has taken to wearing a number of large rings on his hands, leading him to be described as a "cross between Hagrid and Danny from Withnail And I" who could be easily mistaken for "the village eccentric".[52] Born and raised in Northampton, he continues to live in the town, and used its history as a basis for his novel Voice of the Fire. His "unassuming terraced" Northampton home was described by an interviewer in 2001 as "something like an occult bookshop under permanent renovation, with records, videos, magical artefacts and comic-book figurines strewn among shelves of mystical tomes and piles of paper. The bathroom, with blue-and-gold dcor and a generous sunken tub, is palatial; the rest of the house has possibly never seen a vacuum cleaner. This is clearly a man who spends little time on the material plane."[52] He likes to live in his hometown, feeling that it affords him a level of obscurity that he enjoys, remarking that "I never signed up to be a celebrity."[36] With his first wife Phyllis, who he married in the early 1970s, he had two daughters, Leah and Amber. The couple also had a mutual lover, Deborah, although the relationship between the three ended in the early 1990s as Phyllis and Deborah left Moore, taking his daughters with them.[6] (pp158159)[74] On 12 May 2007, he married Melinda Gebbie, with whom he has worked on several comics, most notably Lost Girls.[75]

Religion and magic


On his fortieth birthday in 1993, Moore openly declared his dedication to being a ceremonial magician, something he saw as "a logical end step to my career as a writer".[36] According to a 2001 interview, his inspiration for doing this came when he was writing From Hell in the early 1990s, a book containing much Freemasonic and occult symbolism: "One word balloon in From Hell completely hijacked my life A character says something like, 'The one place gods inarguably exist is in the human mind'. After I wrote that, I realised I'd accidentally made a true statement, and now I'd have to rearrange my entire life around it. The only thing that seemed to really be appropriate was to become a magician."[52] Moore associates magic very much with writing; "I believe that magic is art, and that art, whether that be music, writing, sculpture, or any other form, is literally magic. Art is, like magic, the science of manipulating symbols, words or images, to achieve changes in consciousness Indeed to cast a spell is simply to spell, to manipulate words, to change people's consciousness, and this is why I believe that an artist or writer is the closest thing in the contemporary world to a shaman."[36]
"Monotheism is, to me, a great simplification. I mean the Qabalah has a great multiplicity of gods, but at the very top of the Qabalic Tree of Life, you have this one sphere that is absolute God, the monad, something which is indivisible. All of the other gods, and indeed everything else in the universe, is a kind of emanation of that God. Now, thats fine, but it's when you suggest that there is

Alan Moore
only that one God, at this kind of unreachable height above humanity, and there is nothing in between, youre limiting and simplifying the thing. I tend to think of paganism as a kind of alphabet, as a language, it's like all of the gods are letters in that language. They express nuances, shades of meaning or certain subtleties of ideas, whereas monotheism tends to just be one vowel and it's just something like 'oooooooo'. It's a monkey sound." Alan Moore
[36]

507

Connecting his esoteric beliefs with his career in writing, he conceptualised a hypothetical area known as the "Idea Space", describing it as "...a space in which mental events can be said to occur, an idea space which is perhaps universal. Our individual consciousnesses have access to this vast universal space, just as we have individual houses, but the street outside the front door belongs to everybody. It's almost as if ideas are pre-existing forms within this space The landmasses that might exist in this mind space would be composed entirely of ideas, of concepts, that instead of continents and islands you might have large belief systems, philosophies, Marxism might be one, Judeo-Christian religions might make up another." He subsequently believed that to navigate this space, magical systems like the tarot and the Qabalah would have to be used.[36] Taking up the study of the Qabalah and the writings of the notorious early 20th century occultist Aleister Crowley, Moore accepted Crowley's Thelemite ideas about True Will being connected to the will of the pantheistic universe.[36] In some of his earlier magical rituals, he utilised mind altering psychedelic drugs but later gave this up, believing that they were unnecessary, and stated, "It's frightening. You call out the names in this strange incomprehensible language, and you're looking into the glass and there appears to be this little man talking to you. It just works."[52] Moore took as his primary deity the ancient Roman snake god Glycon, who was the centre of a cult founded by a prophet known as Alexander of Abonoteichus, and according to Alexander's critic Lucian, the god itself was merely a puppet, something Moore accepts, considering him to be a "complete hoax",[76] [77] but dismisses as irrelevant. According to Ethan Doyle-White, "The very fact that Glycon was probably one big hoax was enough to convince Moore to devote himself to the scaly lord, for, as Moore maintains, the imagination is just as real as reality."[8]

Anarchism
Moore politically identifies as an anarchist,[22] and outlined his interpretation of anarchist philosophy, and its application to fiction writing in an interview with Margaret Killjoy, collected in the 2009 book, Mythmakers and Lawbreakers:

I believe that all other political states are in fact variations or outgrowths of a basic state of anarchy; after all, when you mention the idea of anarchy to most people they will tell you what a bad idea it is because the biggest gang would just take over. Which is pretty much how I see contemporary society. We live in a badly developed anarchist situation in which the biggest gang has taken over and have declared that it is not an anarchist situation that it is a capitalist or a communist situation. But I tend to think that anarchy is the most natural form of politics [78] for a human being to actually practice.

Doing research into conspiracy theories for his work on Brought to Light, he came to develop his own opinions on the subject of a global conspiracy, stating that "Yes, there is a conspiracy, indeed there are a great number of conspiracies, all tripping each other up the main thing that I learned about conspiracy theories is that conspiracy theorists actually believe in the conspiracy because that is more comforting. The truth of the world is that it is chaotic. The truth is, that it is not the Jewish banking conspiracy, or the grey aliens, or the twelve-foot reptiloids from another dimension that are in control, the truth is far more frightening; no-one is in control, the world is rudderless."[36]

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Notes
[1] Eno, Vincent; Csawza, El (May/June 1988). "Alan Moore interview, 1988" (http:/ / www. johncoulthart. com/ feuilleton/ ?p=53). Strange Things Are Happening. Archived (http:/ / www. webcitation. org/ 5mqgBdpge) from the original on 17 January 2010. . Retrieved 13 June 2006. [2] Bernard, Mark; Carter, James Bucky (Fall 2004). "Alan Moore and the Graphic Novel: Confronting the Fourth Dimension" (http:/ / www. english. ufl. edu/ imagetext/ archives/ volume1/ issue2/ bc/ ). ImageTexT 1 (2). Archived (http:/ / www. webcitation. org/ 5mqynBVzE) from the original on 17 January 2010. . Retrieved 13 June 2006. [3] "The Supreme Writer: Alan Moore, Interviewed by George Khoury" (http:/ / www. twomorrows. com/ kirby/ articles/ 30moore. html). The Jack Kirby Collector. TwoMorrows Publishing. November 2000. Archived (http:/ / www. webcitation. org/ 5mqynAdVt) from the original on 17 January 2010. . Retrieved 13 June 2006. [4] Jensen, Jeff (21 October 2005). "Watchmen: An Oral History" (http:/ / www. ew. com/ ew/ report/ 0,6115,1120854_1). Entertainment Weekly. . Retrieved 13 June 2006. [5] "Alan Moore Bibliography" (http:/ / www. enjolrasworld. com/ HTML Bibliographies/ Alan Moore Bibliography. htm). Enjolrasworld.com. Archived (http:/ / www. webcitation. org/ 5mqyn2B7h) from the original on 17 January 2010. . Retrieved 13 June 2006. [6] Khoury, George (25 August 2003). The Extraordinary Works of Alan Moore. North Carolina: TwoMorrows Publishing. ISBN978-1-893905-24-5. [7] Parkin, Lance (January 2002). Alan Moore: The Pocket Essential. Hertfordshire, England: Trafalgar Square Publishing. ISBN978-1-903047-70-5. [8] Doyle-White, Ethan (Summer 2009). "Occultic World of Alan Moore". Pentacle (29). [9] Time Out magazine [10] Olson, Stephen P. (2005). Neil Gaiman (http:/ / books. google. com/ books?id=Jc9MaZrG3j8C& pg=PA18& dq=gaiman - moore friendship& hl=en& ei=g-cuTfG1DsexhQeA7tHmCg& sa=X& oi=book_result& ct=result& resnum=3& ved=0CDUQ6AEwAg#v=onepage& q& f=false). New York: Rosen Publishing Group. ISBN978-1-4042-0285-6. . Retrieved 13 January 2011. [11] Groth, Gary (1990). "Big Words, Part 1". The Comics Journal (138): 5695. [12] Rigby, Nic (21 March 2008). "Comic legend keeps true to roots" (http:/ / news. bbc. co. uk/ 1/ hi/ entertainment/ 7307303. stm). BBC News. . Retrieved 22 March 2009. [13] Moore, Alan. Maxwell the Magic Cat (Northants Post, 19791986) TPB. Acme Press. 19861987. Vol. 1: ISBN 978-1-870084-00-0. Vol. 2: ISBN 978-1-870084-05-5. Vol. 3: ISBN 978-1-870084-10-9. Vol. 4: ISBN 978-1-870084-20-8 [14] Baker, Bill (28 December 2005). Alan Moore Spells It Out. Airwave Publishing. ISBN978-0-9724805-7-4. [15] Bishop, David (15 February 2009). Thrill-Power Overload. Rebellion Developments. pp.7576. ISBN978-1-905437-95-5. [16] Bishop, David (30 March 2007). Thrill-Power Overload: The Official History of 2000AD. Rebellion Developments. ISBN978-1-905437-22-1. [17] Moore, Alan; Davis, Alan (1 February 2002). Captain Britain. Marvel Comics. ISBN978-0-7851-0855-9. [18] Khoury, George (1 September 2001). Kimota!: The Miracleman Companion. TwoMorrows Publishing. ISBN978-1-893905-11-5. [19] Knowles, Christopher (1 November 2007). Our Gods Wear Spandex. Illustrated by Joseph Michael Linsner. Weiser. p.199. ISBN978-1-57863-406-4. [20] Bongco, Mila (17 May 2000). Reading Comics: Language, Culture, and the Concept of the Superhero in Comic Books. Taylor & Francis. pp.182183. ISBN978-0-8153-3344-9. [21] Khoury, George (July 2004). True Brit. TwoMorrows Publishing. pp.2325. ISBN978-1-893905-33-7. [22] MacDonald, Heidi (1 November 2005). "A for Alan, Pt. 1: The Alan Moore interview" (http:/ / web. archive. org/ web/ 20060505034142/ http:/ / www. comicon. com/ thebeat/ 2006/ 03/ a_for_alan_pt_1_the_alan_moore. html). The Beat. Mile High Comics/Comicon.com. Archived from the original (http:/ / www. comicon. com/ thebeat/ 2006/ 03/ a_for_alan_pt_1_the_alan_moore. html) on 5 May 2006. . Retrieved 26 September 2008. [23] MacDonald, Heidi (1 November 2005). "A for Alan, Pt. 2: The further adventures of Alan Moore" (http:/ / web. archive. org/ web/ 20060419040811/ http:/ / www. comicon. com/ thebeat/ 2006/ 03/ a_for_alan_pt_2_the_further_ad. html). The Beat. Mile High Comics/Comicon.com. Archived from the original (http:/ / www. comicon. com/ thebeat/ 2006/ 03/ a_for_alan_pt_2_the_further_ad. html) on 19 April 2006. . Retrieved 26 September 2008. [24] Graham, Ben. "Dirtbombs drop shell on America, explode rep as one-trick pony" (http:/ / www. thestoolpigeon. co. uk/ news/ dirtbombs-shell-america. html). The Stool Pigeon. . Retrieved 31 January 2011. [25] "The Hugo Awards: Ask a Question" (http:/ / www. thehugoawards. org/ ?page_id=11). 23 February 2008. . Retrieved 22 March 2009. [26] Campbell, Eddie(w,a).Alec: How to be an Artist: 108/9 (1 August 2001), Top Shelf Productions, ISBN 978-0-9577896-3-0 "The last straw may well go down as apocryphal." [27] Itzkoff, Dave (12 March 2006). "The Vendetta Behind 'V for Vendetta'" (http:/ / www. nytimes. com/ 2006/ 03/ 12/ movies/ 12itzk. html?_r=2& oref=slogin& pagewanted=all& oref=slogin). The New York Times. . [28] Gravett, Paul (1988). Gravett, Paul; Stanbury, Peter. eds. "Alan Moore: No More Sex" (http:/ / www. paulgravett. com/ index. php/ articles/ article/ alan_moore/ ). Escape (15). . [29] Gravett, Paul (Winter 2002). "Al Columbia: Columbia's Voyage of Discovery" (http:/ / web. archive. org/ web/ 20100826155216/ http:/ / www. paulgravett. com/ index. php/ articles/ article/ al_columbia/ ). The Comics Journal (Special Edition). Archived from the original (http:/ /

Alan Moore
www. paulgravett. com/ index. php/ articles/ article/ al_columbia/ ) on 26 August 2010. . Retrieved 22 March 2009. [30] Graydon, Danny. "Interview Alan Moore" (http:/ / www. bbc. co. uk/ films/ 2001/ 10/ 22/ alan_moore_2001_interview. shtml). BBC Films. . Retrieved 10 February 2007. [31] Ellis, Warren (5 September 2003). "Review of From Hell" (http:/ / www. ew. com/ ew/ article/ 0,,479890,00. html). Entertainment Weekly. . [32] Schindler, Dorman T. (7 August 2006). "Alan Moore leaves behind his Extraordinary Gentlemen to dally with Lost Girls" (http:/ / web. archive. org/ web/ 20060811174459/ http:/ / www. scifi. com/ sfw/ interviews/ sfw13282. html). Science Fiction Weekly. Archived from the original (http:/ / www. scifi. com/ sfw/ interviews/ sfw13282. html) on 11 August 2006. . Retrieved 8 August 2006. [33] Johnston, Rich (31 August 1998). "Lee Spotting" (http:/ / web. archive. org/ web/ 20071013083745/ http:/ / twistandshoutcomics. com/ features/ columns/ rrevs0898. html). Rich's Ramblings '98. Archived from the original (http:/ / twistandshoutcomics. com/ features/ columns/ rrevs0898. html) on 13 October 2007. . Retrieved 23 March 2008. [34] "League Of Extraordinary Gentlemen No.5 Recalled" (http:/ / www. recalledcomics. com/ LeagueOfExtraOrdinaryGentlemen5RecalledMarvelAd. php). Recalled Comics.com. . Retrieved 26 January 2011. [35] "Moore Leaves The Watchmen 15th Anniversary Plans" (http:/ / forum. newsarama. com/ showthread. php?s=b58af69d728d22eacdc21d453503d1cf& threadid=34286). Newsarama. August 2000. . Retrieved 26 January 2011. [36] DeZ Vylenz (Director). (30 September 2008). The Mindscape of Alan Moore (http:/ / www. imdb. com/ title/ tt0410321/ ). [Documentary]. Shadowsnake Films. . [37] "Bog Venus Versus Nazi Cock-Ring: Some Thoughts Concerning Pornography" (http:/ / www. arthurmag. com/ magpie/ ?p=1685). Arthur Magazine 1 (25). November 2006. . [38] Jones, Jonathan (4 January 2010). "From graphic novels to graphic sex: Alan Moore's history of erotic art" (http:/ / www. guardian. co. uk/ artanddesign/ jonathanjonesblog/ 2010/ jan/ 04/ alan-moore-graphic-sex-art). The Guardian. UK. . Retrieved 19 June 2010. [39] "Writer drawn into Simpsons' show" (http:/ / www. northantset. co. uk/ ViewArticle. aspx?SectionID=317& ArticleID=1865011). Northants Evening Telegraph. 8 November 2006. . Retrieved 7 February 2007. [40] Moore, Leah (2 October 2009). "Announcing: Alan Moores 'Dodgem Logic'" (http:/ / www. moorereppion. com/ announcing-alan-moores-dodgem-logic/ 02/ 10/ 2009/ ). Moore & Reppion. . [41] Musson, Alex. "Alan Moore talks Dodgem Logic" (http:/ / www. mustardweb. org/ dodgemlogic/ ). Mustard. . [42] "Neonomicon No.4 Alan Moore Comic Book Issue" (http:/ / heavyink. com/ comic/ 16075-Neonomicon-4). . Retrieved 24 January 2011. [43] Moore, Alan; Moore, Steve. "The Moon and Serpent Bumper Book of Magic" (http:/ / www. topshelfcomix. com/ catalog. php?type=2& title=578). Top Shelf Productions. . [44] Moore, Alan. Interview. The Culture Show. 9 March 2006. ( Interview (http:/ / www. youtube. com/ watch?v=opAcRSvxbB8) [TV series]). [45] Rigby, Nic (21 March 2008). "Comic legend keeps true to roots" (http:/ / news. bbc. co. uk/ 1/ hi/ entertainment/ 7307303. stm). BBC News. . [46] Moore, Alan. Interview with Windett, Dave; Scott, Jenni; Lawley, Guy. Writer From Hell: The Alan Moore Experience. Comics Forum 4. 1993. p. 46. [47] Gaiman, Neil. Interview with Whitaker, Steve. FA 109. January 1989. pp. 2429. [48] Kavanagh, Barry (17 October 2000). "The Alan Moore Interview: Marvelman, Swamp Thing and Watchmen" (http:/ / www. blather. net/ articles/ amoore/ watchmen1. html). Blather.net. Archived (http:/ / www. webcitation. org/ 5mqyn5YA3) from the original on 17 January 2010. . [49] Moore, Alan; Talbot, Bryan (1987) (Introduction). The Adventures of Luther Arkwright, Book 2: Transfiguration (Proutt ed.). Valkyrie Press. ISBN978-1-870923-00-2. [50] Staff writer (5 April 2005). "Book is an illustrating read" (http:/ / web. archive. org/ web/ 20070930190126/ http:/ / www. peterboroughtoday. co. uk/ viewarticle. aspx?sectionid=1107& ArticleID=990184). The Evening Telegraph (Johnston Press Digital Publishing). Archived from the original (http:/ / www. peterboroughtoday. co. uk/ viewarticle. aspx?sectionid=1107& ArticleID=990184) on 30 September 2007. . Retrieved 7 February 2007. [51] Sorensen, Lita (November 2004). Bryan Talbot. The Rosen Publishing Group. p.37. ISBN978-1-4042-0282-5. [52] Rose, Steve (2 February 2002). "Moore's murderer" (http:/ / books. guardian. co. uk/ departments/ sciencefiction/ story/ 0,6000,643500,00. html). The Guardian. UK. . Retrieved 12 March 2006. [53] Wolk, Douglas (2007). Reading Comics. Cambridge, Massachusetts: Da Capo Press. ISBN978-0-306-81616-1. [54] "Jack Kirby Awards" (http:/ / www. hahnlibrary. net/ comics/ awards/ kirby. php). Comic Book Awards Almanac. . Retrieved 1 februari 2011. [55] Ridout, Cefn (July 1986). Bambos; Hanson, Dick; Ashford, Richard. eds. "Eagle Ayes". Speakeasy (64): 3. [56] Comics Buyer's Guide 1996 Annual Krause Publications 1995 pp. 3031 [57] "Harvey Award winners for 1988" (http:/ / www. harveyawards. org/ awards_1988win. html). Harveyawards.org. . Retrieved 20 January 2011. [58] "Harvey Award winners for 1995" (http:/ / www. harveyawards. org/ awards_1995win. html). Harveyawards.org. . Retrieved 20 January 2011. [59] "Harvey Award winners for 1996" (http:/ / www. harveyawards. org/ awards_1996win. html). Harveyawards.org. . Retrieved 20 January 2011.

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[60] "Harvey Award winners for 1999" (http:/ / www. harveyawards. org/ awards_1999win. html). Harveyawards.org. . Retrieved 20 January 2011. [61] "Harvey Award winners for 2000" (http:/ / www. harveyawards. org/ awards_2000win. html). Harveyawards.org. . Retrieved 20 January 2011. [62] "Harvey Award winners for 2001" (http:/ / www. harveyawards. org/ awards_2001win. html). Harveyawards.org. . Retrieved 20 January 2011. [63] "Harvey Award winners for 2003" (http:/ / www. harveyawards. org/ awards_2003win. html). Harveyawards.org. . Retrieved 20 January 2011. [64] "Hugo Award winners for 1988" (http:/ / www. dpsinfo. com/ awardweb/ hugos/ 80s. html#1988). Dpsinfo.com. . Retrieved 20 January 2011. [65] "IHG Award Recipients" (http:/ / www. horroraward. org/ prevrec. html). International Horror Guild. Archived (http:/ / www. webcitation. org/ 5hhhbRuwD) from the original on 21 June 2009. . Retrieved 1 February 2011. [66] Grossman, Lev; Lacayo, Richard (16 October 2005). "All-Time 100 Novels" (http:/ / www. time. com/ time/ 2005/ 100books/ 0,24459,watchmen,00. html). Time Magazine. Archived (http:/ / www. webcitation. org/ 5mqgDc0r3) from the original on 17 January 2010. . Retrieved 23 April 2010. [67] Dent, Nick. "Alan Moore Writer of Watchmen" (http:/ / www. timeoutsydney. com. au/ film/ newsinterviews/ alan-moore. aspx). Time Out Sydney. . [68] Johnston, Rich (23 May 2005). "Lying in the Gutters" (http:/ / www. comicbookresources. com/ columns/ index. cgi?column=litg& article=2153). Comic Book Resources. . Retrieved 7 January 2006. [69] "V for Vendetta's Press Conference" (http:/ / web. archive. org/ web/ 20071012161343/ http:/ / newsarama. com/ movies/ VforPressConf. htm). Newsarama. 2005. Archived from the original (http:/ / newsarama. com/ movies/ VforPressConf. htm) on 12 October 2007. . Retrieved 7 January 2006. [70] Vineyard, Jennifer. "Alan Moore: The Last Angry Man" (http:/ / www. mtv. com/ shared/ movies/ interviews/ m/ moore_alan_060315/ ). Movies on MTV.com. MTV. . Retrieved 30 December 2008. [71] Spurgeon, Tom (9 November 2005). "Alan Moore Asks for an Alan Smithee" (http:/ / www. comicsreporter. com/ index. php/ alan_moore_asks_for_an_alan_smithee/ ). The Comics Reporter. . Retrieved 7 January 2006. [72] Rossiter, Drake (3 March 2009). "Watchmen Wins a Ringing Endorsement from Illustrator Dave Gibbons" (http:/ / www. 7x7. com/ blogs/ screen-shots/ watchmen-wins-ringing-endorsement-illustrator-dave-gibbons). 7x7 San Francisco. . Retrieved 21 March 2009. [73] Constantine writing credits (http:/ / www. imdb. com/ title/ tt0360486/ ) at the Internet Movie Database [74] "Moore and Villarrubia on The Mirror of Love" (http:/ / web. archive. org/ web/ 20071012161400/ http:/ / newsarama. com/ pages/ Other_Publishers/ Mirror_Love. htm). Newsarama. Archived from the original (http:/ / newsarama. com/ pages/ Other_Publishers/ Mirror_Love. htm) on 12 October 2007. . Retrieved 8 June 2007. [75] Gehr, Richard (15 August 2006). "Alan Moore's Girls Gone Wilde" (http:/ / www. villagevoice. com/ 2006-08-15/ books/ alan-moore-s-girls-gone-wilde/ ). The Village Voice. . Retrieved 26 August 2010. [76] Wolk, Douglas (17 December 2003). "Sidebar" (http:/ / www. webcitation. org/ 5ajJOBmav). How Alan Moore transformed American comics. Slate. Archived from the original (http:/ / www. slate. com/ id/ 2092739/ sidebar/ 2092745/ ) on 10 September 2008. . Retrieved 10 September 2008. [77] Babcock, Jay (May 2003). "Magic is Afoot: A Conversation with Alan Moore about the Arts and the Occult" (http:/ / www. arthurmag. com/ 2007/ 05/ 10/ 1815/ #more-1815). Arthur Magazine 1 (4). . Retrieved 25 January 2011. [78] Killjoy, Margaret (1 October 2009). Mythmakers and Lawbreakers. Robinson, Kim Stanley (Introduction). Stirling, Scotland: AK Press. p.42. ISBN978-1-84935-002-0. OCLC318877243.

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References
Bensam, Richard (2010). Minutes to Midnight: Twelve Essays on Watchmen (http://www.sequart.org/books/6/ minutes-to-midnight-twelve-essays-on-watchmen/). Sequart Research & Literacy Organization. Effron, Samuel (1996). "Invocation and Formal Presentation of the Superhero Comic in Moore and Gibbons' Watchmen" (http://watchmenanalysis.blogspot.com/). Taking Off the Mask Watchmen Deconstructed. Retrieved 29 June 2005. Groth, Gary (19901991). "Big Words". The Comics Journal (Fantagraphics Books): 138140. Molcher, Michael (2006). "Comic Auteurs: Alan MooreMan on the Outside". Judge Dredd Megazine (246). Moore, Alan (March 1995). From Hell: the Compleat Scripts Book One. Borderlands Press/SpiderBaby Graphics. ISBN978-1-880325-07-0. Moore, Alan (1999). "Appendix I: Annotations to the Chapters". From Hell. Eddie Campbell Comics. ISBN978-0-86166-156-5.

Alan Moore Moulthrop, Stuart; Kaplan, Nancy; et al. (19972000). "Watching the Detectives" (http://iat.ubalt.edu/ moulthrop/hypertexts/wm/). An Internet Companion for Readers of Watchmen. Retrieved 29 June 2005. Sabin, Roger (26 March 1993). Adult Comics: An Introduction. Routledge. ISBN978-0-415-04419-6. Millidge, Gary Spencer; Smoky Man, eds (29 December 2003). Alan Moore: Portrait of an Extraordinary Gentleman. Abiogenesis Press. ISBN978-0-946790-06-7. Whitson, Roger (Winter 2007). "Panelling Parallax: The Fearful Symmetry of William Blake and Alan Moore" (http://www.english.ufl.edu/imagetext/archives/v3_2/whitson/). ImageTexT 3 (2). Young, Robert (2004). "Zero Sum Masterpiece: The Division of Big Numbers". The Comics Interpreter 2 (3). (The definitive behind-the-scenes story of the demise of Moore's magnum opus.)

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External links
Dodgem Logic (http://www.dodgemlogic.com/) official website Alan Moore (http://www.imdb.com/name/nm0600872/) at the Internet Movie Database Alan Moore (http://www.dmoz.org/Arts/Comics/Creators/M/Moore,_Alan/) at the Open Directory Project Alan Moore (http://www.iblist.com/author375.htm) at the Internet Book List Alan Moore (http://www.isfdb.org/cgi-bin/ea.cgi?Alan_Moore) at the Internet Speculative Fiction Database

V for Vendetta

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V for Vendetta
V for Vendetta

V for Vendetta collected edition cover, art by David Lloyd Publication information Publisher UK Quality Comics USA Vertigo (DC Comics) France Delcourt Limited series Anarchist, mystery, post-apocalyptic, superhero March 1982-May 1989 10

Format Genre Publication date Number of issues

Main character(s) V Evey Hammond Eric Finch Creative team Writer(s) Artist(s) Penciller(s) Alan Moore David Lloyd David Lloyd Tony Weare David Lloyd Tony Weare Steve Craddock Steve Whitaker Siobhan Dodds David Lloyd Alan Moore David Lloyd Karen Berger Scott Nybakken Collected editions Softcover Hardcover ISBN 0-930289-52-8 ISBN 0-930289-52-8

Inker(s)

Letterer(s) Colorist(s)

Creator(s)

Editor(s)

V for Vendetta V for Vendetta is a ten-issue comic book series written by Alan Moore and illustrated mostly by David Lloyd, set in a dystopian future United Kingdom imagined from the 1980s to about the 1990s. A mysterious revolutionary who calls himself "V" works to destroy the totalitarian government, profoundly affecting the people he encounters. Warner Bros. released a film adaptation of V for Vendetta in 2006. The series depicts a near-future UK after a nuclear war, which has left much of the world destroyed, though most of the damage to the country is indirect, via floods and crop failures. In this future, a fascist party called "Norsefire" has exterminated its opponents in concentration camps and now rules the country as a police state. "V", an anarchist revolutionary dressed in a Guy Fawkes mask, begins an elaborate, violent, and intentionally theatrical campaign to murder his former captors, bring down the government, and convince the people to rule themselves.

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Publication history
The first episodes of V for Vendetta originally appeared in black-and-white between 1982 and 1985, in Warrior, a British anthology comic published by Quality Comics. The strip became one of the most popular in that title; during the 26 issues of Warrior several covers featured V for Vendetta. When the publishers cancelled Warrior in 1985 (with two completed episodes unpublished due to the cancellation), several companies attempted to convince Moore and Lloyd to let them publish and complete the story. In 1988 DC Comics published a ten-issue series that reprinted the Warrior stories in colour, then continued the series to completion. The first new material appeared in issue #7, which included the unpublished episodes that would have appeared in Warrior #27 and #28. Tony Weare drew one chapter ("Vincent") and contributed additional art to two others ("Valerie" and "The Vacation"); Steve Whitaker and Siobhan Dodds worked as colourists on the entire series. The series, including Moore's "Behind the Painted Smile" essay and two "interludes" outside the central continuity, then appeared in collected form as a trade paperback, published in the US by DC's Vertigo imprint (ISBN 0-930289-52-8) and in the UK by Titan Books (ISBN 1-85286-291-2).

Background
David Lloyd's artwork for V for Vendetta in Warrior originally appeared in black-and-white. The DC Comics version published the artwork "colourised" in pastels. Lloyd has stated that he had always intended the artwork to appear in colour, and that the initial publication in black and white occurred for financial reasons because colour would have cost too much (although Warrior publisher Dez Skinn expressed surprise at this information, as he had commissioned the strip in black and white and never intended Warrior to feature any interior colour, irrespective of expense).

V for Vendetta

514 In writing V for Vendetta, Moore drew upon an idea for a strip titled The Doll, which he had submitted in 1975 at the age of 22 to DC Thomson. In "Behind the Painted Smile",[1] Moore revealed that the idea was rejected as DC Thomson balked at the idea of a "transsexual terrorist". Years later, Warrior editor Dez Skinn allegedly invited Moore to create a dark mystery strip with artist David Lloyd.[2] He actually asked David Lloyd to recreate something similar to their popular Marvel UK Night-Raven strip, a story with an enigmatic masked vigilante set in the United States in the 1930s. Lloyd asked for writer Alan Moore to join him, and the setting developed through their discussions, moving from the 1930s United States to a near-future Britain. As the setting progressed, so did the character's development; once conceived as a "realistic" gangster-age version of Night-Raven, he became, first, a policeman rebelling against the totalitarian state he served, then a heroic anarchist.

Moore and Lloyd conceived the series as a dark adventure-strip influenced by British comic characters of the 1960s, as well as by Night Raven,[3] a Marvel UK strip which Lloyd had previously worked on with writer Steve Parkhouse. Editor Dez Skinn came up with the name "Vendetta" over lunch with his work colleague Graham Marsh but quickly rejected it as sounding too Italian. Then V for Vendetta emerged, putting the emphasis on "V" rather than "Vendetta". David Lloyd developed the idea of dressing V as Guy Fawkes after previous designs followed the conventional superhero look.
Cover of Warrior #19, highlighting the comic's conflict between anarchist and fascist philosophies.

During the preparation of the story Moore made a list of what he wanted to bring into the plot, which he reproduced in "Behind the Painted Smile": Orwell. Huxley. Thomas Disch. Judge Dredd. Harlan Ellison's "Repent, Harlequin!" Said the Ticktockman, Catman and The Prowler in the City at the Edge of the World by the same author. Vincent Price's Dr. Phibes and Theatre of Blood. David Bowie. The Shadow. Night Raven. Batman. Fahrenheit 451. The writings of the New Worlds school of science fiction. Max Ernst's painting "Europe After the Rain". Thomas Pynchon. The atmosphere of British Second World War films. The Prisoner. Robin Hood. Dick Turpin...[1] The political climate of Britain in the early 1980s also influenced the work,[4] with Moore positing that Margaret Thatcher's Conservative government would "obviously lose the 1983 elections", and that an incoming Michael Foot-led Labour government, committed to complete nuclear disarmament, would allow the United Kingdom to escape relatively unscathed after a limited nuclear war. However, Moore felt that fascists would quickly subvert a post-holocaust Britain.[1] Moore's scenario remains untested. Addressing historical developments when DC reissued the work, he noted: Navet can also be detected in my supposition that it would take something as melodramatic as a near-miss nuclear conflict to nudge Britain towards fascism... The simple fact that much of the historical background of the story proceeds from a predicted Conservative defeat in the 1982 General Election should tell you how reliable we were in our roles as Cassandras.[5] The February 1999 issue of The Comics Journal ran a poll on "The Top 100 (English-Language) Comics of the Century": V for Vendetta reached 83rd place.[6]

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Plot
On November 5, 1997 in London a mysterious cloaked figure wearing a Guy Fawkes mask, and calling himself "V", rescues a young girl, Evey Hammond, from a gang of police officers (known as "Fingermen") who intend to rape and kill her. After dispatching most of the Fingermen, V heads to a rooftop with Evey and detonates a bomb inside the Houses of Parliament. V takes Evey to his secret underground lair, which he calls "the Shadow Gallery". Evey tells V her life story, describing the nuclear war of the late 1980s that eventually led to the fascist coup d'tat in Great Britain, after which the authorities rounded up her father as a political prisoner and killed him. The task of investigating V's bombing falls to Eric Finch, the head of "the Nose" the regular police-force and an experienced investigator who serves the government out of dedication to his job rather than from political conviction. Through him, readers meet other figures in the Party, including the Leader, Adam Susan, a recluse who is obsessed with the government's computer system, "Fate"; Dominic Stone, Finch's partner; Derek Almond, head of "the Finger", the secret police; Conrad Heyer, head of "the Eye", the visual surveillance branch; Brian Etheridge, head of "the Ear", the audio surveillance branch; and Roger Dascombe, in charge of "the Mouth", the branch in charge of broadcasting propaganda. After destroying the Houses of Parliament, V confronts three other Party figures to accuse them of, and execute them for, past atrocities: Lewis Prothero, the propaganda broadcaster who serves as the "Voice of Fate"; Bishop Anthony Lilliman, a paedophile priest who represents the Party in the clergy; and Delia Surridge, an apolitical doctor who once had a relationship with Finch. V drives Prothero insane after incinerating his prized doll collection before his eyes; he kills Lilliman by forcing him to consume a cyanide-laced communion wafer; and Dr. Surridge dies from a lethal injection (however, because Surridge had expressed remorse for her previous actions, she experiences a painless death). By the time V kills Surridge, Finch has discovered that all of V's victims worked at a concentration camp near the village of Larkhill, and alerts Derek Almond to V's plans. Almond surprises V attempting to escape from Surridge's home. Unfortunately for Almond, he had forgotten to reload his gun after having cleaned it earlier that same night, and V kills him. Finch begins to read a diary kept by Dr. Surridge discovered at her home. It reveals all of the victims' previous histories with V during his time as an inmate at the Larkhill camp. V was an involuntary victim of a medical experiment run by Dr. Surridge in which he was given hormonal injections with a drug called "Batch 5." Eventually V, known to the camp's staff as the "Man from Room Five", began tending a garden with camp commander Prothero's approval, using related chemicals to later break out of the camp while attacking camp guards with homemade mustard gas and napalm. V, the only prisoner to have survived the death camp, chose to eliminate its surviving officers to prevent the government from discovering his true identity. Finch notes that while V made sure Surridge's diary was easy to find, he had also ripped out pages that may have contained information about his identity. Four months later, V breaks into Jordan Tower, the home of the Mouth, to broadcast a speech that calls on the people to take charge of their own lives. He escapes by forcing Roger Dascombe into one of his Fawkes costumes; the police then gun Dascombe down. Finch, in going over the crime scene, is introduced to Peter Creedy, a petty criminal replacing Almond as head of the Finger. Creedy blithlely dismisses V, whom Finch has come to respect, and makes a crude remark about Dr. Surridge, provoking Finch to strike him. Following the incident, the Leader sends Finch on a forced vacation. Evey has developed a strong attachment to V, but has begun to challenge his methods. After a confrontation in the Shadow Gallery, she finds herself abandoned on a street, unable to find V. She is taken in by Gordon, a petty criminal with whom she becomes romantically involved, and they cross paths unknowingly with Derek Almond's widow, Rose; after the deaths of her husband and Dascombe (with whom she had been forced into a relationship for financial reasons), Rose is forced to work as a burlesque dancer, and consequently grows to hate the Party. Creedy begins organizing a private militia, hoping to use V's destabilization of the Party to mount a coup against the Leader.

V for Vendetta When the Scottish gangster, Alistair Harper, murders Gordon, Evey attempts to kill him, but is abducted and accused of attempting to murder Creedy as he was meeting with Harper. In her cell, between multiple bouts of interrogation and torture, Evey finds a letter from an inmate named Valerie, an actress who was imprisoned for being a lesbian. Evey's interrogator finally gives her a choice of collaboration or death; inspired by Valerie's courage and quiet defiance, she refuses to give in, and is told that she is free. Evey learns that her imprisonment was a hoax constructed by V designed to put her through an ordeal similar to the one that shaped him. He reveals that Valerie was another Larkhill prisoner, who died in the cell next to his; the letter that Evey read is the same one that Valerie had passed on to V. Evey's anger finally gives way to acceptance of her identity. The following November, exactly one year after the Parliament bombing, V destroys the Post Office Tower and Jordan Tower, killing Etheridge and effectively shutting down the Eye, the Ear and the Mouth. The subsequent lack of government surveillance causes a wave of violence and hedonism that is violently suppressed by Creedy and Harper's street gangs. Meanwhile, V notes to Evey that he has not yet achieved the land of Do-as-You-Please, a functional anarchistic society, and considers the current situation an interim period of mere chaos in the Land of Take-What-You-Want. Finch's assistant, Dominic, realizes that V has had access to the Fate computer since the very beginning, explaining his foresight; this news accelerates Susan's descent into insanity. Finch travels to the abandoned site of Larkhill, where he takes LSD. His hallucinations show him his past life, where he was the lover of a black woman who was sent to the concentration camps for her race. His hallucinations also have him act as a prisoner of Larkhill who is soon freed, like V, giving him an intuitive understanding of him. Returning to London he deduces that V's lair is inside the abandoned Victoria Station. V confronts Finch as the latter enters the station, and lets Finch shoot him. The mortally wounded V returns to the Shadow Gallery and dies in Evey's arms. Evey considers unmasking V, but decides not to; instead, she assumes his identity, donning one of his spare costumes. Meanwhile, Creedy pressures the Leader to appear in public, in an attempt to usurp control of the government. As the Leader's car drives past during a parade, Rose Almond assassinates him. Creedy tries to take his place, but Harper, bribed by Conrad Heyer's wife Helen, kills him. V sends a surveillance tape to Heyer of Helen and Harper having sex. He responds by beating Harper to death with a wrench, but not before Harper wounds him with a razor. His wife finds him but refuses to get medical help, leaving him to bleed to death while placing a closed-circuit camcorder in front of Heyer; allowing him to witness his own exsanguination on a nearby television. This leaves the key Party officials all dead; only Finch survives, who soon leaves after he comes to terms with his own dissatisfaction with the Party. Evey appears to a crowd as V, announcing the destruction of Downing Street the following day and telling the crowd they must "...choose what comes next. Lives of your own, or a return to chains", whereupon a general insurrection begins. Dominic, struck on the head by a stone, loses consciousness as he runs for safety, seeing Evey disguised as V before he passes out. Evey destroys 10 Downing Street[7] by giving V a "Viking funeral" with an explosive-laden Underground train containing his body, sent to detonate beneath the desired location. Dominic awakens in the Shadow Gallery as Evey, dressed in her mentor's Guy Fawkes costume, introduces herself as V, apparently to train Dominic as her successor. As night falls, Finch observes the chaos raging in the city and encounters Helen Heyer, who has taken the company of local homeless people for survival after her car was turned over and her supplies stolen. When they recognise each other, Helen embraces Finch, saying they could raise a small army and restore order. Finch silently pushes Helen away and she angrily responds with a torrent of homophobic slurs. He leaves her and the tramps to climb down an embankment onto an abandoned motorway and sees a sign reading "Hatfield and the North". The final panel shows Finch walking down the deserted motorway, all the streetlamps dark.

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V for Vendetta

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Characters
Major characters
V A masked anarchist who seeks to systematically kill the leaders of Norsefire, a fascist dictatorship ruling a dystopian United Kingdom. He is well-versed in the arts of explosives, subterfuge, and computer hacking, and has a vast literary, cultural and philosophical intellect. V is the only survivor of an experiment in which four dozen prisoners were given injections of a compound called "Batch 5." The compound caused vast cellular anomalies that eventually killed all of the subjects except V, who developed advanced strength, reflexes, endurance and pain tolerance. Throughout the novel, V almost always wears his trademark Guy Fawkes mask, a shoulder-length wig of straight dark-brown hair and an outfit consisting of black gloves, tunic, trousers and boots. When not wearing the mask, his face is not shown. When outside the Shadow Gallery, he completes this ensemble with a circa-17th century conical hat and floor-length cloak. His weapons of choice include daggers, explosives and tear gas. The book suggests that V took his name from the Roman numeral "V", the number of the room he was held in during the experiment. At the end of the book, V lets Chief Inspector Eric Finch shoot him, and dies in Evey's arms. Evey then assumes V's identity and gives the original V a Viking funeral by placing him inside a bomb-laden train whose eventual destination is Downing Street. Evey Hammond V saves the young woman Evey Hammond, a main character of the story, from the "Fingermen". She comes under V's wing, learns of his past and of his current battle against the government, and eventually becomes his successor. Adam J. Susan Also known as "The Leader", Adam Susan heads the Norsefire Party and functions as the official Leader of the country, although his power is largely ceremonial. Susan is in love with the Fate computer system and prefers its companionship to that of his fellow human beings. Susan also expresses a solipsist belief that he and 'God' (referring to the Fate computer) are the only truly "real" beings in existence. He is an adherent of fascism and racist notions of "purity," and genuinely believes that civil liberties are dangerous and unnecessary. He appears to truly care for his people, however, and it is implied that his embrace of fascism was a response to his own loneliness. Before the War, he was a Chief Constable. In the end of the novel, he is assassinated by Rose Almond, the widow of one of his former lieutenants. Eric Finch Chief of New Scotland Yard and Minister of Investigations, which has become the "Nose", Finch is a pragmatist who sides with the government because he would rather serve in a world of order than one of chaos. He is nevertheless honorable and decent, and trusted by the Leader because he is reliable and without ambition. He eventually achieves his own anagnorisis and self-knowledge, expressing sorrow over his complicity with Norsefire's atrocities. He is at one point referred to as Edward Finch (an error on the part of Helen Heyer).

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Minor characters
Gordon: a petty criminal specializing in bootlegging, he harbours and later sleeps with Evey Hammond. He is murdered by Alistair Harper, a ruthless gangster who is trying to expand Scotland's organized crime syndicate into London. He has no given family name in the graphic novel. Lewis Prothero: The former Commander of "Larkhill", the concentration camp that once held V, he later becomes "The Voice of Fate", the government radio broadcaster who daily transmits "information" to the public. V stops a train carrying Prothero and kidnaps him. He is driven insane by a combination of an overdose of Batch 5 drugs and the shock of seeing his prized doll collection burned in a mock recreation of Camp Larkhill in V's headquarters. He remains incapacitated for the rest of the story. Bishop Anthony Lilliman: The voice of the Party in the Church, Lilliman is a corrupt priest who molests the young girls in his various parishes. Like Prothero, he worked at Larkhill before being given a higher employment by the state. Lilliman was a priest who was hired to give spiritual support to the prisoners being given Batch 5 drugs. He is killed after he almost rapes Evey Hammond (who is dressed up as a young girl), when V forces him to take communion with a cyanide-laced wafer. Delia Surridge: Larkhill camp doctor whom V kills by lethal injection of an unspecified drug. Surridge, the only one of V's former tormentors who feels remorse for her actions, apologizes to him in her final moments of life. Finch also mentions that he has feelings for her, and he feels maddened at her death and determined to end V's life. Derek Almond: High-ranking official of the Norsefire government. He ran the government's secret police, known as the Finger. He was warned by Finch that Surridge would be the last of V's targets and had run to her house to prevent him, but then was killed by V. Almond is replaced by Peter Creedy. While Almond does not figure heavily in the story, his death sets in motion one of the novel's major story arcs; that of his widow, Rose, who is left penniless and traumatized by the loss of her husband, who was cold and abusive toward her but whom she nevertheless loved. In her grief and desperation, she blames her plight on Norsefire's leader, Adam Susan, and assassinates him at the novel's climax. Rosemary Almond: The abused wife of Derek Almond. When Almond is murdered, Rose becomes depressed and must turn to Roger Dascombe (whom she strongly dislikes) for company and support. She is forced to become a showgirl as a means of supporting herself after Dascombe's death at the hands of V. After V shuts down the surveillance systems, she uses the opportunity to buy a gun and assassinate Adam Susan. Helen Heyer: The ruthless, scheming wife of Conrad Heyer. She uses sex and her superior intellect to keep her husband (for whom she feels nothing but contempt) in line, and to further her own goal of ultimately controlling the country after he becomes Leader. Parallelly, she sleeps with Harper and turns him against Creedy. Ultimately, her master plan collapses and she is last seen offering her body in exchange for protection and food to a semi-drunken gang after being rejected by Finch (who she hoped would join her in taking over what was left of the Party after her husband, Peter Creedy and Alistair Harper are all killed) and after anarchy has spilled into London. Peter Creedy: A coarse, petty man who replaces Derek Almond as Security Minister of "the Finger" after the latter's death. He aims to replace the weakening Susan as Leader, but as part of Mrs. Heyer's plot, Alistair Harper's thugs kill him (Creedy had hired the thugs to bolster the weakening Finger, but Helen Heyer offered them more). Conrad Heyer: In charge of the "Eye"the agency that controls the country's CCTV system. His wife Helen dominates him, and she intends for him to become leader, leaving her as the power behind the throne. In the end, V sends Conrad a videotape of Helen being unfaithful and he snaps, killing her lover Alistair Harper but sustaining a fatal wound from Harper's straight-edge razor in the process. When Helen learns what he has done, she is enraged at the destruction of her plans and leaves him to bleed to death, setting up a video camera

V for Vendetta connected to their TV so that he can watch himself die. Dominic Stone: Inspector Finch's assistant. Dominic is the one who figures out the connection between V and the former Larkhill camp staff and V's hacking into the "Fate" computer system. At the end, Evey rescues Dominic from a mob. Valerie Page: A critically acclaimed actress who was imprisoned at Larkhill when the government found out she was a lesbian. Her tragic fate at the hands of the regime inspired V to fight against Norsefire. Roger Dascombe: The technical supervisor for The Party's media division and the Propaganda Minister of "the Mouth". In the first scene with him, he is presented as being openly effeminate. After Derek Almond's death, Dascombe sets his sights on his widow, Rosemary, who eventually turns to him for support. During V's attack on Jordan Tower, he is set up as a dummy "V" and killed by the police while the real V makes his escape. Alistair Harper: Scottish organized crime boss who kills Evey's lover Gordon. Initially Creedy hires him and his men to temporarily bolster the police force after V destroys the government's surveillance equipment, but Helen Heyer recruits him to her side to ensure Creedy's downfall by offering to place him in charge of the Finger after Conrad comes to power. He temporarily becomes Helen's lover. After Creedy's takeover, Harper fulfills his end of the bargain with Helen and kills Creedy with a lethal slash from his straight razor. Conrad beats Harper to death with a wrench as he fatally slices his neck.

519

Themes and motifs


The series was Moore's first use of the densely detailed narrative and multiple plot lines that would feature heavily in Watchmen. Panel backgrounds are often crammed with clues and red herrings; literary allusions and wordplay are prominent in the chapter titles and in V's speech (which almost always takes the form of iambic pentameter, a poetic meter reliant on five pairs of syllables, the second syllable of each pair being more stressed than the first; its most famous usage has been in the many works of William Shakespeare). V reads Evey to sleep with The Magic Faraway Tree. This series provides the source of "The Land of Do-As-You-Please" and "The Land of Take-What-You-Want" alluded to throughout the series. Another cultural reference rings out mainly in the theatrical version: "Remember, remember, the Fifth of November: the gunpowder treason and plot. I know of no reason why the gunpowder treason should ever be forgot". These lines allude directly to the story of Guy Fawkes and his participation in the Gunpowder Plot of 1605.

Anarchism versus fascism


The two conflicting political viewpoints of anarchism and fascism permeate the story.[8] The Norsefire regime shares every facet of fascist ideology: it is highly xenophobic, rules the nation through both fear and force, and worships strong leadership (i.e. Fhrerprinzip). As in most fascist regimes, there are several different types of state organisations which engage in power struggles with each other yet obey the same leader. V, meanwhile, ultimately strives for a free society ordered by its own consent.

Identity
V himself remains something of an enigma whose history is only hinted at. The bulk of the story is told from the viewpoints of other characters: V's admirer and apprentice Evey, a 16-year-old factory worker; Eric Finch, a world-weary and pragmatic policeman who is hunting V; and several contenders for power within the fascist party. V's destructive acts are morally ambiguous, and a central theme of the series is the rationalisation of atrocities in the name of a higher goal, whether it is stability or freedom. The character is a mixture of an actual advocate of anarchism and the traditional stereotype of the anarchist as a terrorist. Moore stated in an interview:

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The central question is, is this guy right? Or is he mad? What do you, the reader, think about this? Which struck me as a properly anarchist solution. I didn't want to tell people what to think, I just wanted to tell people to think and consider some of these admittedly extreme little [9] elements, which nevertheless do recur fairly regularly throughout human history.

Moore has never clarified V's precise background, beyond stating "that V isn't Evey's father, Whistler's mother, or Charley's aunt"; he does point out that V's identity is never revealed in the book. The ambiguity of the V character is a running theme through the work, which leaves readers to determine for themselves whether V is sane or psychotic, hero or villain. Before donning the Guy Fawkes mask herself, Evey comes to the conclusion that V's identity is unimportant compared to the role he plays, making his identity itself the idea he embodies.

Adaptations
Film
The first filming of an adaptation of V for Vendetta for the screen involved one of the scenes in the documentary feature film The Mindscape of Alan Moore, shot in early 2002. The dramatization contains no dialogue by the main character, but uses the Voice of Fate as an introduction. On 17 March 2006 Warner Brothers released a feature-film adaptation of V for Vendetta, directed by James McTeigue (first assistant director on The Matrix films) from a screenplay by the Wachowski brothers. Natalie Portman stars as Evey Hammond and Hugo Weaving as V, together with Stephen Rea, John Hurt, Rupert Graves and Stephen Fry. Hurt, who played the renamed High Chancellor Adam Sutler in the film V for Vendetta, also played Winston Smith in the 1984 film adaptation of George Orwell's novel, Nineteen Eighty-Four. Originally slated for a 4 November 2005 release, a day before the Guy Fawkes Night and the 400th anniversary of the Gunpowder Plot, it was postponed until March 17, 2006, possibly due to the 7 July 2005 London bombings, although producers denied this was the reason.[10] Alan Moore distanced himself from the film, as he has with every screen adaptation of his works to date. He ended cooperation with his publisher, DC Comics, after its corporate parent, Warner Bros., failed to retract statements about Moore's supposed endorsement of the movie.[11] After reading the script, Moore remarked:

[The movie] has been "turned into a Bush-era parable by people too timid to set a political satire in their own country... It's a thwarted and frustrated and largely impotent American liberal fantasy of someone with American liberal values standing up against a state run by neoconservatives which is not what the comic V for Vendetta was about. It was about fascism, it was about anarchy, it was about [12] England.

He later adds that if the Wachowskis had wanted to protest about what was going on in the United States, then they should have used a political narrative that directly addressed the issues of the USA, similar to what Moore had done before with Britain. The film changes the original message by arguably having changed "V" into a freedom fighter instead of an anarchist. An interview with producer Joel Silver suggests that the change may not have been conscious; he identifies the V of the comics as a clear-cut "superhero... a masked avenger who pretty much saves the world," a simplification that goes against Moore's own statements about V's role in the story.[13] Co-author and illustrator David Lloyd, by contrast, embraced the adaptation.[14] In an interview with Newsarama he states:

It's a terrific film. The most extraordinary thing about it for me was seeing scenes that I'd worked on and crafted for maximum effect in the book translated to film with the same degree of care and effect. The "transformation" scene between Natalie Portman and Hugo Weaving is just great. If you happen to be one of those people who admires the original so much that changes to it will automatically turn you off, then you may dislike the filmbut if you enjoyed the original and can accept an adaptation that is different to its source material but equally as [15] powerful, then you'll be as impressed as I was with it.

Steve Moore (no relation to Alan Moore) wrote a novelization of the film's screenplay, published in 2006.

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Cultural impact
Anonymous, an Internet-based group, have adopted the Guy Fawkes mask as their symbol (in reference to an Internet meme) notably worn by members during Project Chanology's protests against the Church of Scientology. Alan Moore had this to say about the use of the Guy Fawkes motif adopted from his comic V for Vendetta, in an interview with Entertainment Weekly:

Protesters wearing Guy Fawkes masks at a protest against Scientology in London in 2008

I was also quite heartened the other day when watching the news to see that there were demonstrations outside the Scientology headquarters over here, and that they suddenly flashed to a clip showing all these demonstrators wearing V for Vendetta Guy Fawkes masks. That pleased [16] me. That gave me a warm little glow.

According to Time, the protesters' adoption of the mask has led to it becoming the top-selling mask on Amazon.com, selling hundreds of thousands a year.[17] On 23 May 2009, protesters dressed up as V and set off a fake barrel of gunpowder outside Parliament while protesting over the issue of British MPs' expenses.[18]

Collected editions
The entire V story has appeared collected in paperback (ISBN 0-930289-52-8) and hardback (ISBN 1-4012-0792-8) form. In August 2009 DC published a slipcovered Absolute Edition (ISBN 1-4012-2361-3); this includes newly-coloured "silent art" pages (full-page panels containing no dialogue) from the series' original run, which have not appeared in any previous collected edition.[19]

Notes and references


[1] Moore, Alan (1983). "Behind the Painted Smile". Warrior (17). [2] Brown, Adrian (2004). "Headspace: Inside The Mindscape Of Alan Moore" (http:/ / www. ninthart. com/ display. php?article=867) (http). Ninth Art. . Retrieved 2006-04-06. [3] "David Lloyd Comic Artist 09: Night Raven inspiration for V...," (http:/ / www. videosurf. com/ video/ david-lloyd-comic-artist-09-night-raven-inspiration-for-v-for-vendetta-81801010) VideoSurf. Accessed May 29, 2011. [4] Boudreaux, Madelyn (1994). "Introduction" (http:/ / madelyn. utahunderground. net/ vendetta/ vendetta1. html). An Annotation of Literary, Historic and Artistic References in Alan Moore's Graphic Novel, "V for Vendetta". . Retrieved 2006-04-06. [5] Moore, Alan, Introduction. V for Vendetta. New York: DC Comics, 1990. [6] The Comics Journal #210, February 1999, page 44 [7] Moore, Alan(w),Lloyd, David(p)."V for Vendetta" V for Vendetta v10,: 28/6 (May, 1989), DC Comics [8] "Authors on Anarchism an Interview with Alan Moore" (http:/ / news. infoshop. org/ article. php?story=2007alan-moore-interview). Strangers in a Tangled Wilderness. Infoshop.org. . Retrieved 2008-05-02. [9] MacDonald, Heidi (2006). "A for Alan, Pt. 1: The Alan Moore interview" (http:/ / web. archive. org/ web/ 20060404210249/ http:/ / www. comicon. com/ thebeat/ 2006/ 03/ a_for_alan_pt_1_the_alan_moore. html). The Beat. Archived from the original (http:/ / www. comicon. com/ thebeat/ 2006/ 03/ a_for_alan_pt_1_the_alan_moore. html) on 2006-04-04. . Retrieved 2006-04-06. [10] Griepp, Milton (2005). "'Vendetta' Delayed" (http:/ / www. icv2. com/ articles/ home/ 7389. html). ICv2.com. . Retrieved 2006-04-06.

V for Vendetta
[11] "Moore Slams V for Vendetta Movie, Pulls LoEG from DC Comics" (http:/ / comicbookresources. com/ ?page=article& id=14937). Comic Book Resources. 22 April 2006. . [12] MTV (2006). "Alan Moore: The last angry man" (http:/ / www. mtv. com/ shared/ movies/ interviews/ m/ moore_alan_060315/ ). MTV.com. . Retrieved 2006-08-30. [13] Douglas, Edward (2006). "V for Vendetta's Silver Lining" (http:/ / www. comingsoon. net/ news/ movienews. php?id=13588). Comingsoon.net. . Retrieved 2006-04-06. [14] "V At Comic Con" (http:/ / pdl. warnerbros. com/ wbmovies/ vforvendetta/ comiccon_text. html). . Retrieved 2006-04-06. [15] "David Lloyd: A Conversation" (http:/ / web. archive. org/ web/ 20060524234747/ http:/ / www. newsarama. com/ general/ DavidLloyd/ DavidLloyd. htm). Newsarama. Archived from the original (http:/ / www. newsarama. com/ general/ DavidLloyd/ DavidLloyd. htm) on 2006-05-24. . Retrieved 2006-07-14. [16] Gopalan, Nisha (2008-07-21). "Alan Moore Still Knows the Score!" (http:/ / www. ew. com/ ew/ article/ 0,,20213067_20213068_20213004_5,00. html). Entertainment Weekly. . Retrieved 2010-09-24. [17] Carbone, Nick (2011-08-29). "How Time Warner Profits from the 'Anonymous' Hackers" (http:/ / newsfeed. time. com/ 2011/ 08/ 29/ how-time-warner-profits-from-the-anonymous-hackers/ ). Time. . Retrieved 2011-08-30. [18] "BBC.com news report, Saturday, 23 May 2009 16:49 UK" (http:/ / news. bbc. co. uk/ 1/ hi/ uk_politics/ 8065335. stm). BBC News. 2009-05-23. . Retrieved 2010-09-24. [19] "Absolute V For Vendetta" to feature 100 additional pages at no extra cost (http:/ / www. comicbookresources. com/ ?page=article& id=19834) Comicbookresources.com. Retrieved September 5, 2010.

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External links
V for Vendetta official site (http://www.dccomics.com/sites/v_for_vendetta/) at DC Comics V for Vendetta: Comic vs. Film (http://comics.ign.com/articles/696/696867p1.html) at IGN An Annotation of Literary, Historic and Artistic References in Alan Moore's Graphic Novel, V For Vendetta (http://www.enjolrasworld.com/Annotations/Alan Moore/V for Vendetta/V for Vendetta Revised Complete.html) by Madelyn Boudreaux

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Watchmen
Watchmen

Cover art for the 1987 U.S. (left) and 1995 U.S./UK/Canada (right) collected editions of Watchmen, published by DC Comics and Titan Books. Publication information Publisher Schedule Format Genre Publication date Number of issues DC Comics Monthly Limited series Superhero September 1986 October 1987 12 Creative team Writer(s) Artist(s) Letterer(s) Colorist(s) Editor(s) Alan Moore Dave Gibbons Dave Gibbons John Higgins Len Wein Barbara Kesel

Watchmen is a twelve-issue comic book limited series created by writer Alan Moore, artist Dave Gibbons, and colourist John Higgins. The series was published by DC Comics during 1986 and 1987, and has been subsequently reprinted in collected form. Watchmen originated from a story proposal Moore submitted to DC featuring superhero characters that the company had acquired from Charlton Comics. As Moore's proposed story would have left many of the characters unusable for future stories, managing editor Dick Giordano convinced the writer to create original characters instead. Moore used the story as a means to reflect contemporary anxieties and to critique the superhero concept. Watchmen depicts an alternate history where superheroes emerged in the 1940s and 1960s, helping the United States to win the Vietnam War. The country is edging towards a nuclear war with the Soviet Union, freelance costumed vigilantes have been outlawed and most costumed superheroes are in retirement or working for the government. The story focuses on the personal development and struggles of the protagonists as an investigation into the murder of a government sponsored superhero pulls them out of retirement, and eventually leads them to confront a plot that would stave off nuclear war by killing millions of people. Creatively, the focus of Watchmen is on its structure. Gibbons used a nine-panel grid layout throughout the series and added recurring symbols such as a blood-stained smiley. All but the last issue feature supplemental fictional documents that add to the series' backstory, and the narrative is intertwined with that of another story, a fictional

Watchmen pirate comic titled Tales of the Black Freighter, which one of the characters reads. Structured as a nonlinear narrative, the story skips through space, time and plot. Watchmen has received critical acclaim both in the comics and mainstream press, and is regarded by critics as a seminal text of the comics medium. After a number of attempts to adapt the series into a feature film, director Zack Snyder's Watchmen was released in 2009.

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Background and creation


"I suppose I was just thinking, 'That'd be a good way to start a comic book: have a famous super-hero found dead.' As the mystery unraveled, we would be led deeper and deeper into the real heart of this super-hero's world, and show a reality that was very different to the general public image of the super-hero." Alan Moore on the basis for Watchmen
[1]

In 1985, DC Comics acquired a line of characters from Charlton Comics.[2] During that period, writer Alan Moore contemplated writing a story that featured an unused line of superheroes that he could revamp, as he had done in his Miracleman series in the early 1980s. Moore reasoned that MLJ Comics' Mighty Crusaders might be available for such a project, so he devised a murder mystery plot which would begin with the discovery of the body of The Shield in a harbour. The writer felt it did not matter which set of characters he ultimately used, as long as readers recognized them "so it would have the shock and surprise value when you saw what the reality of these characters was".[1] Moore used this premise and crafted a proposal featuring the Charlton characters titled Who Killed the Peacemaker,[3] and submitted the unsolicited proposal to DC managing editor Dick Giordano.[2] Giordano was receptive to the proposal, but the editor opposed the idea of using the Charlton characters for the story. Moore said, "DC realized their expensive characters would end up either dead or dysfunctional." Instead, Giordano persuaded Moore to continue with new characters.[4] Moore had initially believed that original characters would not provide emotional resonance for the readers, but later changed his mind. He said, "Eventually, I realized that if I wrote the substitute characters well enough, so that they seemed familiar in certain ways, certain aspects of them brought back a kind of generic super-hero resonance or familiarity to the reader, then it might work."[1] Artist Dave Gibbons, who had collaborated with Moore on previous projects, heard the writer was working on a limited series treatment. The artist said he wanted to be involved, so Moore sent him the story outline.[5] Gibbons told Giordano he wanted to draw the series Moore proposed and Moore approved.[6] Gibbons brought colorist John Higgins onto the project because he liked his "unusual" style; Higgins lived near the artist, which allowed the two to "discuss [the art] and have some kind of human contact rather than just sending it across the ocean".[3] Len Wein joined the project as its editor, while Giordano stayed on to oversee it. Both Wein and Giordano stood back and "got out of their way"; Giordano remarked later, "Who copyedits Alan Moore, for God's sake?"[2] After receiving the go-ahead to work on the project, Moore and Gibbons spent a day at the latter's house creating characters, crafting details for the story's milieu Dave Gibbons, artist on Watchmen. and discussing influences.[4] The pair was particularly influenced by a Mad Gibbons had a free hand in the parody of Superman named "Superduperman"; Moore said, "We wanted to take design of the comic. Superduperman 180 degreesdramatic, instead of comedic".[4] Moore and Gibbons conceived of a story that would take "familiar old-fashioned superheroes into a completely new realm";[7] the writer said his intention was to create "a superhero Moby Dick; something that had that sort of weight, that sort of density".[8] The writer came up with the character names and descriptions, but left the specifics of how they looked to Gibbons. Gibbons did not sit down and design the characters deliberately, but rather "did it at odd times ... spend[ing] maybe two or three weeks just doing sketches."[3] Gibbons designed his characters to make them easy to

Watchmen draw; Rorschach was his favorite to draw because "you just have to draw a hat. If you can draw a hat, then youve drawn Rorschach, you just draw kind of a shape for his face and put some black blobs on it and youre done."[9] Moore began writing the series very early on, hoping to avoid publication delays such as those faced by the DC limited series Camelot 3000.[10] When writing the script for the first issue, Moore said he realized "I only had enough plot for six issues. We were contracted for 12!" His solution was to alternate issues that dealt with the overall plot of the series with origin issues for the characters.[11] Moore wrote very detailed scripts for Gibbons to work from. Gibbons recalled that "[t]he script for the first issue of Watchmen was, I think, 101 pages of typescriptsingle-spacedwith no gaps between the individual panel descriptions or, indeed, even between the pages."[12] Upon receiving the scripts, the artist had to number each page "in case I drop them on the floor, because it would take me two days to put them back in the right order", and used a highlighter pen to single out lettering and shot descriptions; he remarked, "It takes quite a bit of organizing before you can actually put pen to paper."[12] Despite Moore's detailed scripts, his panel descriptions would often end with the note "If that doesnt work for you, do what works best"; Gibbons nevertheless worked to Moore's instructions.[13] Gibbons had a great deal of autonomy in developing the visual look of Watchmen, and frequently inserted background details that Moore admitted he did not notice until later.[8] Moore occasionally contacted fellow comics writer Neil Gaiman for answers to research questions and for quotes to include in issues.[11] Despite his intentions, Moore admitted in November 1986 that there were likely to be delays, stating that he was, with issue five on the stands, still writing issue nine.[12] Gibbons mentioned that a major factor in the delays was the "piecemeal way" in which he received Moore's scripts. Gibbons said the team's pace slowed around the fourth issue; from that point onwards the two undertook their work "just several pages at a time. I'll get three pages of script from Alan and draw it and then toward the end, call him up and say, 'Feed me!' And he'll send another two or three pages or maybe one page or sometimes six pages."[14] As the creators began to hit deadlines, Moore would hire a taxi driver to drive 50 miles and deliver scripts to Gibbons. On later issues the artist had his wife and son draw panel grids on pages to help save time.[11] Moore even shortened one of Ozymandias' narrations, because Gibbons was unable to compress the dialogue on to one page where Ozymandias prevents a sneak attack by Rorschach.[15] Near the end of the project, Moore realized that the story bore some similarity to "The Architects of Fear", an episode of The Outer Limits television series.[11] The writer and Wein argued over changing the ending; Moore won, but acknowledged the episode by referencing it in the series' last issue.[13]

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Story
Watchmen is set in an alternate reality which closely mirrors the contemporary world of the 1980s. The primary difference is the presence of superheroes. The point of divergence occurs in the year 1938. Their existence in this version of America is shown to have dramatically affected and altered the outcomes of real-world events such as the Vietnam War and the presidency of Richard Nixon.[16] In keeping with the realism of the series, although the costumed crimefighters of Watchmen are commonly called "superheroes", the only character who possesses obvious superhuman powers is Doctor Manhattan.[17] The existence of Doctor Manhattan has given the U.S. a strategic advantage over the Soviet Union, which has increased tensions between the two nations. Eventually, superheroes grow unpopular among the police and the public, which has led to the passage of legislation in 1977 to outlaw them. While many of the heroes retired, Doctor Manhattan and The Comedian operate as government-sanctioned agents, and Rorschach continues to operate outside the law.[18]

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Plot
In October 1985, New York City police are investigating the murder of Edward Blake. With the police having no leads, costumed vigilante Rorschach decides to probe further. Discovering Blake to be the face behind The Comedian, a costumed hero employed by the United States government, Rorschach believes he has discovered a plot to terminate costumed adventurers and sets about warning four of his retired comrades: Dan Dreiberg (formerly the second Nite Owl), the superpowered and emotionally detached Doctor Manhattan and his lover Laurie Juspeczyk (the second Silk Spectre), and Adrian Veidt (once the hero Ozymandias, and now a successful businessman). After Blake's funeral, Doctor Manhattan is accused on national television of being the cause of cancer in friends and former colleagues. When the U.S. government takes the accusations seriously, Manhattan exiles himself to Mars. In doing so, he throws humanity into political turmoil, with the Soviet Union invading Afghanistan to capitalize on the perceived American weakness. Rorschach's paranoid beliefs appear vindicated when Adrian Veidt narrowly survives an assassination attempt, and Rorschach himself is framed for murdering Moloch, a former supervillain. Neglected in her relationship with Manhattan, and no longer kept on retainer by the government, Juspeczyk stays with Dreiberg; they don their costumes and resume vigilante work as they grow closer together. With Dreiberg starting to believe some aspects of Rorschach's conspiracy theory, the pair take it upon themselves to break him out of prison. Doctor Manhattan, after looking back on his own personal history, places the fate of his involvement with human affairs in Juspeczyk's hands. He teleports her to Mars to make the case for emotional investment. During the course of the argument, Juspeczyk is forced to come to terms with the fact that Blake, who once attempted to rape her mother, was in fact her biological father following a second consensual relationship. This discovery, reflecting the complexity of human emotions and relationships, re-sparks Doctor Manhattan's interest in humanity. On Earth, Nite Owl and Rorschach continue to uncover the conspiracy surrounding the death of The Comedian and the accusations that drove Doctor Manhattan into exile. They discover evidence that Adrian Veidt may be behind the plan. Rorschach writes his suspicions about Veidt in his journal, and mails it to New Frontiersman, a small, right-wing newspaper in New York. The pair then confront Veidt at his Antarctic retreat. Veidt explains his underlying plan is to save humanity from impending Atomic war between the United States and Soviet Union by faking an alien invasion in New York City, which will annihilate half the city's population. He hopes this will unite the nations against a perceived common enemy. He also reveals that he had murdered The Comedian, arranged for Dr. Manhattan's past associates to contract cancer, staged the attempt on his own life in order to place himself above suspicion, and eventually staged Moloch's death to frame Rorschach. This was all done in an attempt to prevent his plan from being exposed. Finding his logic callous and abhorrent, Dreiberg and Rorschach attempt to stop him but discover that Veidt had already enacted his plan. When Doctor Manhattan and Juspeczyk arrive back on Earth, they are confronted by mass destruction and wide scale death in New York City. Doctor Manhattan notices his abilities are limited by tachyons emanating from the Antarctic, and the pair teleport there. They discover Veidt's involvement and confront him. Veidt shows everyone news broadcasts confirming the cessation of global hostilities and cooperation against a new threat; this leads almost all present to agree that concealing Veidt's truth from the public is in the best interests of the world to keep it united. Rorschach refuses to compromise and leaves, intent on revealing the truth. As he is making his way back, he is confronted by Manhattan. Rorschach tells him that Manhattan will have to kill him to stop him from exposing Veidt and his actions, and Manhattan responds by vaporizing him. Manhattan then wanders through the base and finds Veidt, who asks Manhattan if he did the right thing in the end. In response, Manhattan states that "Nothing ever ends" before leaving the Earth for a different galaxy. Dreiberg and Juspeczyk go into hiding under new identities and continue their romance. Back in New York, the editor at New Frontiersman complains about having to pull a two page column about Russia due to the new political climate. He asks his assistant to find some filler material from the crank file, a collection of rejected submissions to the paper, many of which had not even been reviewed. The series ends with the young man reaching towards the pile of discarded submissions, near the top of which is Rorschach's journal.

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Characters
With Watchmen, Alan Moore's intention was to create four or five "radically opposing ways" to perceive the world and to give readers of the story the privilege of determining which one was most morally comprehensible. Moore did not believe in the notion of "[cramming] regurgitated morals" down the readers' throats and instead sought to show heroes in an ambivalent light. Moore said, "What we wanted to do was show all of these people, warts and all. Show that even the worst of them had something going for them, and even the best of them had their flaws."[8] Edward Blake / The Comedian: One of two government-sanctioned heroes (along with Doctor Manhattan) who remains active after the Keene Act is passed in 1977 to ban superheroes. His murder, which occurs shortly before the first chapter begins, sets the plot of Watchmen in motion. The character appears throughout the story in flashbacks and aspects of his personality are revealed by other characters.[18] The Comedian was based on the Charlton Comics character Peacemaker, with elements of the Marvel Comics spy character Nick Fury added. Moore and Gibbons saw The Comedian as "a kind of Gordon Liddy character, only a much bigger, tougher guy".[1] Richard Reynolds described The Comedian as "ruthless, cynical, and nihilistic, and yet capable of deeper insights than the others into the role of the costumed hero."[18] Although he attempted to rape the first Silk Spectre in the 1940s, issue nine reveals that years later he fathered her daughter Laurie as part of a consensual sexual relationship.

The main characters of Watchmen (from left to right): Ozymandias, the second Silk Spectre, Doctor Manhattan, The Comedian (kneeling), the second Nite Owl, and Rorschach.

Dr. Jon Osterman / Doctor Manhattan: A superpowered being who is contracted by the United States government. Scientist Jon Osterman gained power over matter when he was caught in an "Intrinsic Field Subtractor" in 1959. Doctor Manhattan was based upon Charlton's Captain Atom, who in Moore's original proposal was surrounded by the shadow of nuclear threat. However, the writer found he could do more with Manhattan as a "kind of a quantum super-hero" than he could have with Captain Atom.[1] In contrast to other superheroes who lacked scientific exploration of their origins, Moore sought to delve into nuclear physics and quantum physics in constructing the character of Dr. Manhattan. The writer believed that a character living in a quantum universe would not perceive time with a linear perspective, which would influence the character's perception of human affairs. Moore also wanted to avoid creating an emotionless character like Spock from Star Trek, so he sought for Dr. Manhattan to retain "human habits" and to grow away from them and humanity in general.[8] Gibbons had created the blue character Rogue Trooper, and explained he reused the blue skin motif for Doctor Manhattan as it resembles skin tonally, but has a different hue. Moore incorporated the color into the story, and Gibbons noted the rest of the comic's color scheme made Manhattan unique.[19] Moore recalled that he was unsure if DC would allow the creators to depict the character as fully nude, which partially influenced how they portrayed the character.[3] Gibbons wanted to be tasteful in depicting Manhattan's nudity, selecting carefully when full frontal shots would occur and giving him "understated" genitalslike a classical sculptureso the reader would not initially notice it.[20] Daniel Dreiberg / Nite Owl: A retired superhero who utilizes owl-themed gadgets. Nite Owl was based on the Ted Kord version of the Blue Beetle. Paralleling the way that Ted Kord had a predecessor, Moore also incorporated an earlier adventurer who used the name "Nite Owl," the retired crime fighter Hollis Mason, into Watchmen.[1] While Moore devised character notes for Gibbons to work from, the artist provided a name and a costume design for Hollis Mason he had created when he was twelve.[20] Richard Reynolds noted in Super Heroes: A Modern Mythology that despite the character's Charlton roots, Nite Owl's modus operandi has more in common with the DC Comics character Batman.[21] According to Klock, his civilian form "visually suggests an impotent, middle-aged Clark

Watchmen Kent."[22] Adrian Veidt / Ozymandias: Drawing inspiration from Alexander the Great, Veidt was once the superhero Ozymandias, but has since retired to devote his attention to the running of his own enterprises. Veidt is believed to be the smartest man on the planet. Ozymandias was directly based on Peter Cannon, Thunderbolt; Moore liked the idea of a character who "us[ed] the full 100% of his brain" and "[had] complete physical and mental control".[1] Richard Reynolds noted that by taking initiative to "help the world", Veidt displays a trait normally attributed to villains in superhero stories, and in a sense he is the "villain" of the series.[23] Gibbons noted "One of the worst of his sins [is] kind of looking down on the rest of humanity, scorning the rest of humanity."[24] Walter Joseph Kovacs / Rorschach: A vigilante who wears a white mask that contains a symmetrical but constantly shifting ink blot pattern, he continues to fight crime in spite of his outlaw status. Moore said he was trying to "come up with this quintessential Steve Ditko charactersomeone who's got a funny name, whose surname begins with a 'K,' who's got an oddly designed mask". Moore based Rorschach on Ditko's creation Mr. A;[12] Ditko's Charlton character The Question also served as a template for creating Rorschach.[1] Comics historian Bradford W. Wright described the character's world view "a set of black-and-white values that take many shapes but never mix into shades of gray, similar to the ink blot tests of his namesake". Rorschach sees existence as random and, according to Wright, this viewpoint leaves the character "free to 'scrawl [his] own design' on a 'morally blank world'".[25] Moore said he did not foresee the death of Rorschach until the fourth issue when he realized that his refusal to compromise would result in him not surviving the story.[8] Laurie Juspeczyk / Silk Spectre: The daughter of Sally Jupiter (the first Silk Spectre, with whom she has a strained relationship), and The Comedian. She had been the lover of Doctor Manhattan for years. While Silk Spectre was based partially on the Charlton character Nightshade, Moore was not impressed by the character and drew more from heroines such as Black Canary and Phantom Lady.[1]

528

Art and composition


Moore and Gibbons designed Watchmen to showcase the unique qualities of the comics medium and to highlight its particular strengths. In a 1986 interview, Moore said, "What I'd like to explore is the areas that comics succeed in where no other media is capable of operating", and emphasized this by stressing the differences between comics and film. Moore said that Watchmen was designed to be read "four or five times," with some links and allusions only becoming apparent to the reader after several readings.[8] Dave Gibbons notes that, "[a]s it progressed, Watchmen became much more about the telling than the tale itself. The main thrust of the story essentially hinges on what is called a macguffin, a gimmick ... So really the plot itself is of no great consequence ... it just really isn't the most interesting thing about Watchmen. As we actually came to tell the tale, that's where the real creativity came in."[26] Gibbons said he deliberately constructed the visual look of Watchmen so that each page would be identifiable as part of that particular series and "not some other comic book".[27] He made a concerted effort to draw the characters in a manner different than that commonly seen in comics.[27] The artist tried to draw the series with "a particular weight of line, using a hard, stiff pen that didn't have much modulation in terms of thick and thin" which he hoped "would differentiate it from the usual lush, fluid kind of comic book line".[28] In a 2009 interview, Moore recalled that he took advantage of Gibbons' training as a former surveyor for "including incredible amounts of detail in every tiny panel, so we could choreograph every little thing".[29] Gibbons described the series as "a comic about comics".[14] Gibbons felt that "Alan is more concerned with the social implications of [the presence of super-heroes] and I've gotten involved in the technical implications." The story's alternate world setting allowed Gibbons to change details of the American landscape, such as adding electric cars, slightly different buildings, and spark hydrants instead of fire hydrants, which Moore said, "perhaps gives the American readership a chance in some ways to see their own culture as an outsider would". Gibbons noted that the setting was liberating for him because he did not have to rely primarily on reference books.[3]

Watchmen Colorist John Higgins used a template that was "moodier" and favored secondary colors.[11] Moore stated that he had also "always loved John's coloring, but always associated him with being an airbrush colorist", which Moore was not fond of; Higgins subsequently decided to color Watchmen in European-style flat color. Moore noted that the artist paid particular attention to lighting and subtle color changes; in issue six, Higgins began with "warm and cheerful" colors and throughout the issue gradually made it darker to give the story a dark and bleak feeling.[3]

529

Structure
Structurally, certain aspects of Watchmen deviated from the norm in comic books at the time, particularly the panel layout and the coloring. Instead of panels of various sizes, the creators divided each page into a nine-panel grid.[11] Gibbons favored the nine-panel grid system due to its "authority".[28] Moore accepted the use of the nine-panel grid format, which "gave him a level of control over the storytelling he hadn't had previously", according to Gibbons. "There was this element of the pacing and visual impact that he could now predict and use to dramatic effect."[26] Bhob Stewart of The Comics Journal mentioned to Gibbons in 1987, that the page layouts recalled those of EC Comics, in The middle two pages of Watchmen #5, titled "Fearful Symmetry". The whole of the issue's addition to the art itself, which Stewart felt particularly echoed that of layout was intended to be symmetrical, John Severin.[14] Gibbons agreed that the echoing of the EC-style culminating in this center spread, where the pages layouts "was a very deliberate thing", although his inspiration was reflect one another. Art by Dave Gibbons. rather Harvey Kurtzman,[15] but it was altered enough to give the series a unique look.[14] The artist also cited Steve Ditko's work on early issues of The Amazing Spider-Man as an influence,[30] as well as Doctor Strange, where "even at his most psychedelic [he] would still keep a pretty straight page layout".[9] The cover of each issue serves as the first panel to the story. Gibbons said, "The cover of the Watchmen is in the real world and looks quite real, but it's starting to turn into a comic book, a portal to another dimension."[3] The covers were designed as close-ups that focused on a single detail with no human elements present.[8] The creators on occasion experimented with the layout of the issue contents. Gibbons drew issue five, titled "Fearful Symmetry", so the first page mirrors the last (in terms of frame disposition), with the following pages mirroring each other before the center-spread is (broadly) symmetrical in layout.[3] The end of each issue, with the exception of issue twelve, contains supplemental prose pieces written by Moore. Among the contents are fictional book chapters, letters, reports, and articles written by various Watchmen characters. DC had trouble selling ad space in issues of Watchmen, which left an extra eight to nine pages per issue. DC planned to insert house ads and a longer letters column to fill the space, but editor Len Wein felt this would be unfair to anyone who wrote in during the last four issues of the series. He decided to use the extra pages to fill out the series' backstory.[13] Moore said, "By the time we got around to issue #3, #4, and so on, we thought that the book looked nice without a letters page. It looks less like a comic book, so we stuck with it."[3]

Tales of the Black Freighter


Watchmen features a story within a story in the form of Tales of the Black Freighter, a fictional comic book from which scenes appear in issues three, five, eight, ten and eleven. The fictional comic's story, "Marooned", is read by a youth in New York City.[23] Moore and Gibbons conceived a pirate comic because they reasoned that since the characters of Watchmen experience superheroes in real life, "they probably wouldn't be at all interested in superhero comics."[31] Gibbons suggested a pirate theme, and Moore agreed in part because he is "a big Bertolt Brecht fan": the Black Freighter alludes to the song "Seeruberjenny" ("Pirate Jenny") from Brecht's Threepenny Opera.[3] Moore theorized that since superheroes existed, and existed as "objects of fear, loathing, and scorn, the main superheroes

Watchmen quickly fell out of popularity in comic books, as we suggest. Mainly, genres like horror, science fiction, and piracy, particularly piracy, became prominent--with EC riding the crest of the wave."[12] Moore felt that "the imagery of the whole pirate genre is so rich and dark that it provided a perfect counterpoint to the contemporary world of Watchmen".[12] The writer expanded upon the premise so that its presentation in the story would add subtext and allegory.[32] The supplemental article detailing the fictional history of Tales of the Black Freighter at the end of issue five credits real-life artist Joe Orlando as a major contributor to the series. Moore chose Orlando because he felt that if pirate stories were popular in the Watchmen universe that DC editor Julius Schwartz might have tried to lure the artist over to the company to draw a pirate comic book. Orlando contributed a drawing designed as if it were a page from the fake title to the supplemental piece.[12] In "Marooned", a young mariner (called "The Sea Captain") journeys to warn his home town of the coming of the Black Freighter, after he survives the destruction of his own ship. He uses the bodies of his dead shipmates as a make-shift raft. When he finally returns home, believing it to be already under the occupation of the Black Freighter's crew, he kills an innocent couple and then attacks his own wife in their darkened home, mistaking her for a pirate. After realizing what he has done, he returns to the sea shore, where he finds that the Black Freighter has not come to claim the town; it has come to claim him. He swims out to sea and climbs aboard the ship. According to Richard Reynold, the mariner is "forced by the urgency of his mission to shed one inhibition after another." Just like Adrian Veidt, he "hopes to stave off disaster by using the dead bodies of his former comrades as a means of reaching his goal".[33] Moore stated that the story of The Black Freighter ends up specifically describing "the story of Adrian Veidt" and that it can also be used as a counterpoint to other parts of the story, such as Rorschach's capture and Dr. Manhattan's self-exile on Mars.[31]

530

Symbols and imagery


Moore named William S. Burroughs as one of his main influences during the conception of Watchmen. He admired Burroughs' use of "repeated symbols that would become laden with meaning" in Burroughs' only comic strip, "The Unspeakable Mr. Hart", which appeared in the British underground magazine Cyclops. Not every intertextual link in the series was planned by Moore, who remarked that "there's stuff in there Dave had put in that even I only noticed on the sixth or seventh read," while other "things... turned up in there by accident."[8] A blood-stained smiley face is a recurring image in the story, appearing in many forms. In The System of Comics, Thierry Groensteen described the symbol as a recurring motif that produces "rhyme and remarkable configurations" by appearing in key segments of Watchmen, notably the first and last pages of the series. Groensteen cites it as one form of the circle shape that appears throughout the story, as a "recurrent geometric motif" and due to its symbolic connotations.[34] Gibbons created a smiley face badge as an element of The Comedian's costume in order to "lighten" the overall design, later adding a splash of blood to the badge to imply his murder. Gibbons said the creators came to regard the blood-stained smiley face as "a The Galle crater from the planet Mars appears in symbol for the whole series",[28] noting its resemblance to the Watchmen as an example of the series' recurring smiley motif Doomsday Clock ticking up to midnight.[9] Moore drew inspiration from psychological tests of behaviorism, explaining that the tests had presented the face as "a symbol of complete innocence". With the addition of a blood splash over the eye, the face's meaning was altered to become simultaneously radical and simple enough for the first issue's cover to avoid human detail. Although most evocations of the central image were created on purpose, others were coincidental. Moore mentioned in particular that "the little plugs on the spark hydrants, if you turn them upside down, you discover a little smiley face".[8]

Watchmen Other symbols, images and allusion that appeared throughout the series often emerged unexpectedly. Moore mentioned that "[t]he whole thing with Watchmen has just been loads of these little bits of synchronicity popping up all over the place".[12] Gibbons noted an unintended theme was contrasting the mundane and the romantic,[15] citing the separate sex scenes between Nite Owl and Silk Spectre on his couch and then high in the sky on Nite Owl's airship.[14] In a book of the craters and boulders of Mars, Gibbons discovered a photograph of the Galle crater, which resembles a happy face, which they worked into an issue. Moore said, "We found a lot of these things started to generate themselves as if by magic", in particular citing an occasion where they decided to name a lock company the "Gordian Knot Lock Company".[12]

531

Themes
The initial premise for the series was to examine what superheroes would be like "in a credible, real world". As the story became more complex, Moore said Watchmen became about "power and about the idea of the superman manifest within society."[35] The title of the series refers to the question "Who watches the watchmen?", although Moore said in a 1986 interview with Amazing Heroes he did not know where that sentence originated.[36] After reading the interview, author Harlan Ellison informed Moore that the sentence is a translation of the question "Quis custodiet ipsos custodes?", posed by the Roman satirist Juvenal. Moore commented in 1987, "In the context of Watchmen, that fits. 'They're watching out for us, who's watching out for them?'"[3] The writer stated in the introduction to the Graphitti hardcover of Watchmen that while writing the series he was able to purge himself of his nostalgia for superheroes, and instead he found an interest in real human beings.[1] Bradford Wright described Watchmen as "Moore's obituary for the concept of heroes in general and superheroes in particular."[17] Putting the story in a contemporary sociological context, Wright wrote that the characters of Watchmen were Moore's "admonition to those who trusted in 'heroes' and leaders to guard the world's fate." He added that to place faith in such icons was to give up personal responsibility to Graffiti similar to that which appears in "the Reagans, Thatchers, and other 'Watchmen' of the world who Watchmen. Hemel Hempstead, May 2008. supposed to 'rescue' us and perhaps lay waste to the planet in the process".[37] Moore specifically stated in 1986 that he was writing Watchmen to be "not anti-Americanism, [but] anti-Reaganism," specifically believing that "at the moment a certain part of Reagan's America isn't scared. They think they're invulnerable."[3] While Moore wanted to write about "power politics" and the "worrying" times he lived in, he stated the reason that the story was set in an alternate reality was because he was worried that readers would "switch off" if he attacked a leader they admired.[4] Moore stated in 1986 that he "was consciously trying to do something that would make people feel uneasy."[3] Citing Watchmen as the point where the comic book medium "came of age", Iain Thomson wrote in his essay "Deconstructing the Hero" that the story accomplished this by "developing its heroes precisely in order to deconstruct the very idea of the hero and so encouraging us to reflect upon its significance from the many different angles of the shards left lying on the ground".[38] Thomson stated that the heroes in Watchmen almost all share a nihilistic outlook, and that Moore presents this outlook "as the simple, unvarnished truth" to "deconstruct the would-be hero's ultimate motivation, namely, to provide a secular salvation and so attain a mortal immortality".[39] He wrote that the story "develops its heroes precisely in order to ask us if we would not in fact be better off without heroes".[40] Thomson added that the story's deconstruction of the hero concept "suggests that perhaps the time for heroes has passed", which he feels distinguishes "this postmodern work" from the deconstructions of the hero in the existentialism movement.[41] Richard Reynolds states that without any supervillains in the story, the superheroes of Watchmen are forced to confront "more intangible social and moral concerns", adding that this removes the superhero concept from the normal narrative expectations of the genre.[42] Reynolds concludes that the series' ironic self awareness of the genre "all mark out Watchmen either as the last key superhero text, or the first in a new

Watchmen maturity of the genre".[43] Geoff Klock eschewed the term "deconstruction" in favor of describing Watchmen as a "revisionary superhero narrative." He considers Watchmen and Frank Miller's Batman: The Dark Knight Returns to be "the first instances ... of [a] new kind of comic book ... a first phase of development, the transition of the superhero from fantasy to literature."[44] He elaborates by noting that "Alan Moore's realism ... performs a kenosis towards comic book history ... [which] does not ennoble and empower his characters ... Rather, it sends a wave of disruption back through superhero history ... devalue[ing] one of the basic superhero conventions by placing his masked crime fighters in a realistic world..."[45] First and foremost, "Moore's exploration of the [often sexual] motives for costumed crimefighting sheds a disturbing light on past superhero stories, and forces the reader to reevaluateto revisionevery superhero in terms of Moore's kenosis - his emptying out of the tradition."[46] Klock relates the title to the quote by Juvenal to highlight the problem of controlling those who hold power and quoted repeatedly within the work itself.[47] The deconstructive nature of Watchmen is, Klock notes, played out on the page also as, "[l]ike Alan Moore's kenosis, [Veidt] must destroy, then reconstruct, in order to build 'a unity which would survive him.'"[48] Moore has expressed dismay that "[t]he gritty, deconstructivist postmodern superhero comic, as exemplified by Watchmen ... became a genre". He said in 2003 that "to some degree there has been, in the 15 years since Watchmen, an awful lot of the comics field devoted to these grim, pessimistic, nasty, violent stories which kind of use Watchmen to validate what are, in effect, often just some very nasty stories that don't have a lot to recommend them."[49] Gibbons said that while readers "were left with the idea that it was a grim and gritty kind of thing", he said in his view the series was "a wonderful celebration of superheroes as much as anything else."[50]

532

Publication and reception


When Moore and Gibbons turned in the first issue of Watchmen to DC, their peers were stunned. Gibbons recalled, "What really clinched it [...] was [writer/artist] Howard Chaykin, who doesn't give praise lightly, and who came up and said, 'Dave what you've done on Watchmen is fuckin' A.'"[51] Speaking in 1986, Moore stated that "DC backed us all the way ... and have been really supportive about even the most graphic excesses."[3] To promote the series, DC Comics released a limited-edition badge ("button") display card set, featuring characters and images from the series. Ten thousand sets of the four badges, including a replica of the blood-stained smiley face badge worn by the Comedian in the story, were released and sold.[14] Mayfair Games introduced a Watchmen module for its DC Heroes Role-playing Game series that was released before the series concluded. The module, which was endorsed by Moore, adds details to the series' backstory by portraying events that occurred in 1966.[52]

Alan Moore, co-creator of Watchmen, severed his ties with DC Comics over contractual issues related to the work.

Watchmen was published in single-issue form over the course of 1986 and 1987. The limited series was a commercial success, and its sales helped DC Comics briefly overtake its competitor Marvel Comics in the comic book direct market.[37] The series' publishing schedule ran into delays because it was scheduled with three issues completed instead of the six Len Wein believed were necessary. Further delays were caused when later issues each took more than a month to complete.[13] Bhob Stewart of The Comics Journal noted in Spring 1987 that issue 12, which DC solicited for April 1987, "looks like it won't debut until July or August".[12]

Watchmen After the series concluded, the individual issues were collected and sold in trade paperback form. Along with Frank Miller's 1986 Batman: The Dark Knight Returns mini-series, Watchmen was marketed as a "graphic novel", a term which allowed DC and other publishers to sell similar comic book collections in a way that associated them with novels, but dissociated them from comics.[53] As a result of the publicity given to the books like the Watchmen trade in 1987, bookstore and public libraries began to devote special shelves to them. Subsequently, new comics series were commissioned on the basis of reprinting them in a collected form for these markets.[54] In 1987, Graphitti Design produced a special limited edition, slipcased hardcover volume that contained 48 pages of bonus material, including the original proposal and concept art. In 2005, DC released Absolute Watchmen, an oversized slipcased hardcover edition of the series in DC's Absolute Edition format. Assembled under the supervision of Dave Gibbons, Absolute Watchmen included the Graphitti materials, as well as restored and recolored art by John Higgins.[55] In 2008, Warner Bros. Entertainment released Watchmen Motion Comics, a series of narrated animations of the original comic book. The first chapter was released for purchase in the summer of 2008 on digital video stores, such as iTunes Store.[56] That December, DC published a new printing of Watchmen issue #1 at the original 1986 cover price of $1.50.[57] A DVD compiling the full motion comic series was released in March 2009.[58] Watchmen received critical praise, both inside and outside of the comics industry. Time magazine, which noted that the series was "by common assent the best of breed" of the new wave of comics published at the time, praised Watchmen as "a superlative feat of imagination, combining sci-fi, political satire, knowing evocations of comics past and bold reworkings of current graphic formats into a dysutopian [sic] mystery story."[59] In 1988, Watchmen received a Hugo Award in the Other Forms category.[60] Moore stated in 1985 that if the limited series was well-received, he and Gibbons would possibly create a 12-issue prequel series called Minutemen featuring the 1940s superhero group from the story.[10] DC offered Moore and Gibbons chances to publish prequels to the series, such as Rorschach's Journal or The Comedian's Vietnam War Diary, as well as hinting at the possibility of other authors using the same universe. Tales of the Comedian's Vietnam War experiences were floated because The 'Nam was popular at the time, while another suggestion was, according to Gibbons, for a "Nite Owl/Rorschach team" (in the manner of Randall and Hopkirk (Deceased)). Neither man felt the stories would have gone anywhere, with Moore particularly adamant that DC not go forward with stories by other individuals.[61] Gibbons was more attracted to the idea of a Minutemen series, because it would have "[paid] homage to the simplicity and unsophisticated nature of Golden Age comic bookswith the added dramatic interest that it would be a story whose conclusion is already known. It would be, perhaps, interesting to see how we got to the conclusion."[15] Disagreements about the ownership of the story ultimately led Alan Moore to sever ties with DC Comics.[62] Not wanting to work under a work for hire arrangement, Moore and Gibbons had a reversion clause in their contract for Watchmen. Speaking at the 1985 San Diego Comic-Con, Moore said "The way it works, if I understand it, is that DC owns it for the time they're publishing it, and then it reverts to Dave and me, so we can make all the money from the Slurpee cups."[10] For Watchmen, Alan Moore and Dave Gibbons received eight percent of the series' earnings.[8] Moore explained in 1986 that his understanding was that when "DC have not used the characters for a year, they're ours."[3] Both Moore and Gibbons said DC paid them "a substantial amount of money" to retain the rights. Moore added, "So basically they're not ours, but if DC is working with the characters in our interests then they might as well be. On the other hand, if the characters have outlived their natural life span and DC doesn't want to do anything with them, then after a year we've got them and we can do what we want with them, which I'm perfectly happy with."[3] Moore said he left DC in 1989 due to the language in his contracts for Watchmen and his V for Vendetta series with artist David Lloyd. Moore felt the reversion clauses were ultimately meaningless, because DC did not intend to let the publications go out of print. He told The New York Times in 2006, "I said, 'Fair enough,' [...] 'You have managed to successfully swindle me, and so I will never work for you again.'"[62] In 2000, Moore publicly distanced himself from DC's plans for a fifteenth anniversary Watchmen hardcover release as well as a proposed line of action figures from DC Direct. While DC wanted to mend its relationship with the writer, Moore felt the company was not treating

533

Watchmen him fairly in regards to his America's Best Comics imprint (launched under the WildStorm comic imprint, which was bought by DC in 1998; Moore was promised no direct interference by DC as part of the arrangement). Moore added, "As far as I'm concerned, the 15th anniversary of Watchmen is purely a 15th Anniversary of when DC managed to take the Watchmen property from me and Dave [Gibbons]."[63] Soon afterwards, DC Direct cancelled the Watchmen action figure line, although the company had shown prototypes at the 2000 San Diego Comic-Con International.[64] In 2010, Moore told Wired that DC offered to him the rights to Watchmen back earlier that week, if he would agree to prequel and sequel projects. Moore said that "if they said that 10 years ago, when I asked them for that, then yeah it might have worked [. . .] But these days I don't want Watchmen back. Certainly, I don't want it back under those kinds of terms." DC Comics co-publishers Dan DiDio and Jim Lee responded, "DC Comics would only revisit these iconic characters if the creative vision of any proposed new stories matched the quality set by Alan Moore and Dave Gibbons nearly 25 years ago, and our first discussion on any of this would naturally be with the creators themselves."[65]

534

Film adaptation
There have been numerous attempts to make a film version of Watchmen since 1986, when producers Lawrence Gordon and Joel Silver acquired film rights to the series for 20th Century Fox.[66] Fox asked Alan Moore to write a screenplay based on his story,[67] but he declined, so the studio enlisted screenwriter Sam Hamm. Hamm took the liberty of re-writing Watchmen's complicated ending into a "more manageable" conclusion involving an assassination and a time paradox.[67] Fox put the project into turnaround in 1991,[68] and the project was moved to Warner Bros., where Terry Gilliam was attached to direct and Charles McKeown to rewrite it. They used the character Rorschach's diary as a voice-over and restored scenes from the comic book that Hamm had removed.[67] Gilliam and Silver were only able to raise $25 million for the film (a quarter of the necessary budget) because their previous films had gone overbudget.[67] Gilliam abandoned the project because he decided that Watchmen would have been unfilmable. "Reducing [the story] to a two or two-and-a-half hour film [...] seemed to me to take away the essence of what Watchmen is about," he said.[69] After Warner Bros. dropped the project, Gordon invited Gilliam back to helm the film independently. The director again declined, believing that the comic book would be better directed as a five-hour miniseries.[70] In October 2001, Gordon partnered with Lloyd Levin and Universal Studios, hiring David Hayter to write and direct.[71] Hayter and the producers left Universal due to creative differences,[72] and Gordon and Levin expressed interest in setting up Watchmen at Revolution Studios. The project did not hold together at Revolution Studios and subsequently fell apart.[73] In July 2004, it was announced Paramount Pictures would produce Watchmen, and they attached Darren Aronofsky to direct Hayter's script. Producers Gordon and Levin remained attached, collaborating with Aronofsky's producing partner, Eric Watson.[74] Paul Greengrass replaced Aronofsky when he left to focus on The Fountain.[75] Ultimately, Paramount placed Watchmen in turnaround.[76]

Interior set of Nite Owl's vehicle "Archie" from the film version of Watchmen, displayed at Comic-Con 2008.

In October 2005, Gordon and Levin met with Warner Bros. to develop the film there again.[77] Impressed with Zack Snyder's work on 300, Warner Bros. approached him to direct an adaptation of Watchmen.[78] Screenwriter Alex Tse drew from his favorite elements of Hayter's script,[79] but also returned it to the original Cold War setting of the Watchmen comic. Similar to his approach to 300, Snyder used the comic book as a storyboard.[80] He has extended the fight scenes,[81] and added a subplot about energy resources to make the film more topical.[82] Although he intended to stay faithful to the look of the characters in the comic, Snyder intended Nite Owl to look scarier,[80] and made Ozymandias' armor into a parody of the rubber muscle suits from the 1997 superhero film Batman & Robin.[15]

Watchmen After the trailer to the film premiered in July 2008, DC Comics president Paul Levitz said that the company had had to print more than 900,000 copies of Watchmen trade collection to meet the additional demand for the book that the advertising campaign had generated, with the total annual print run expected to be over one million copies.[83] While 20th Century Fox filed a lawsuit to block the film's release, the studios eventually settled, and Fox received an upfront payment and a percentage of the worldwide gross from the film and all sequels and spin-offs in return.[84] The film was released to theaters in March 2009. The Tales of the Black Freighter segments was adapted as a direct-to-video animated feature to be released that same month.[85] Gerard Butler, who starred in 300, voices the Captain in the film.[86] The film itself was released on DVD four months after Tales of the Black Freighter, and Warner Bros. is speculated to be considering releasing an extended version, with the animated film edited back into the main picture.[85] Len Wein, the comic's editor, wrote a video game prequel entitled Watchmen: The End Is Nigh.[87] Dave Gibbons became an adviser on Snyder's film, but Moore has refused to have his name attached to any film adaptations of his work.[88] Moore has stated he has no interest in seeing Snyder's adaptation; he told Entertainment Weekly in 2008, "There are things that we did with Watchmen that could only work in a comic, and were indeed designed to show off things that other media can't".[89] While Moore believes that David Hayter's screenplay was "as close as I could imagine anyone getting to Watchmen," he asserted he did not intend to see the film if it were made.[90]

535

Legacy
Since its release, Watchmen has garnered acclaim as a seminal work of the comic book medium. In Art of the Comic Book: An Aesthetic History, Robert Harvey wrote that with Watchmen, Moore and Gibbons "had demonstrated as never before the capacity of the [comic book] medium to tell a sophisticated story that could be engineered only in comics".[91] In his review of the Absolute Edition of the collection, Dave Itzkoff of The New York Times wrote that the dark legacy of Watchmen, "one that Moore almost certainly never intended, whose DNA is encoded in the increasingly black inks and bleak storylines that have become the essential elements of the contemporary superhero comic book," is "a domain he has largely ceded to writers and artists who share his fascination with brutality but not his interest in its consequences, his eagerness to tear down old boundaries but not his drive to find new ones."[92] In 1999, The Comics Journal ranked Watchmen at number 91 on its list of the Top 100 English-Language Comics of the 20th Century.[93] Watchmen was the only graphic novel to appear on Time's 2005 "All-TIME 100 Greatest Novels" list.[94] Time critic Lev Grossman described the story as "a heart-pounding, heartbreaking read and a watershed in the evolution of a young medium."[95] In 2008, Entertainment Weekly placed it at number 13 on its list of the best 50 novels printed in the last 25 years, describing it as "The greatest superhero story ever told and proof that comics are capable of smart, emotionally resonant narratives worthy of the label literature."[96] In 2009 Lydia Millet of The Wall Street Journal contested that Watchmen was worthy of such acclaim, and wrote that while the series' "vividly drawn panels, moody colors and lush imagery make its popularity well-deserved, if disproportionate", that "it's simply bizarre to assert that, as an illustrated literary narrative, it rivals in artistic merit, say, masterpieces like Chris Ware's 'Acme Novelty Library' or almost any part of the witty and brilliant work of Edward Gorey".[97] Watchmen was one of the two comic books that inspired designer Vincent Connare when he created the popular Comic Sans font.[98] In 2009, Brain Scan Studios released the parody Watchmensch, a comic in which writer Rich Johnston based the story around "the debate surrounding Watchmen, the original contracts, the current legal suits over the Fox contract".[99]

Watchmen

536

References
Eury, Michael; Giordano, Dick. Dick Giordano: Changing Comics, One Day at a Time. TwoMorrows Publishing, 2003. ISBN 1-893905-27-6 Groensteen, Thierry. The System of Comics. University Press of Mississippi, 2007. ISBN 1604732598 Harvey, Robert C. The Art of the Comic Book: An Aesthetic History. University Press of Mississippi, 1996. ISBN 0-87805-758-7 Klock, Geoff. How to Read Superhero Comics and Why. Continuum, 2002. ISBN 0-8264-1419-2 Reynolds, Richard. Super Heroes: A Modern Mythology. B. T. Batsford Ltd, 1992. ISBN 0-7134-6560-3 Sabin, Roger. Comics, Comix and Graphic Novels. Phaidon Press, 1996; 2001. ISBN 0-7148-3993-0 Salisbury, Mark (editor). Artists on Comics Art. Titan Books, 2000. ISBN 1-84023-186-6 Thomson, Iain. "Deconstructing the Hero". Comics As Philosophy. Jeff McLaughlin (editor). University Press of Mississippi, 2005. ISBN 1-57806-794-4 Wright, Bradford W. Comic Book Nation: The Transformation of Youth Culture in America. Johns Hopkins, 2001. ISBN 0-8018-7450-5

Notes
[1] Cooke, Jon B. " Alan Moore discusses the Charlton-Watchmen Connection (http:/ / www. twomorrows. com/ comicbookartist/ articles/ 09moore. html)". Comic Book Artist. August 2000. Retrieved on October 8, 2008. [2] Eury; Giordano, p. 124 [3] "A Portal to Another Dimension". The Comics Journal. July 1987. [4] Jensen, Jeff. " Watchmen: An Oral History (2 of 6) (http:/ / www. ew. com/ ew/ article/ 0,,1120854_2,00. html)". Entertainment Weekly. Oct 21, 2005. Retrieved on May 28, 2006. [5] " Watching the Watchmen (http:/ / comiccon. titanbooks. com/ watching-watchmen/ )." TitanBooks.com. 2008. Retrieved on October 15, 2008. Archived (http:/ / web. archive. org/ 20080802171345/ http:/ / comiccon. titanbooks. com/ watching-watchmen/ ) August 2, 2008 at the Wayback Machine. [6] Eury; Giordano, p. 110 [7] Kavanagh, Barry. " The Alan Moore Interview: Watchmen characters (http:/ / www. blather. net/ articles/ amoore/ watchmen2. html)". Blather.net. October 17, 2000. Retrieved on October 14, 2008. [8] Eno, Vincent; El Csawza. " Vincent Eno and El Csawza meet comics megastar Alan Moore (http:/ / www. johncoulthart. com/ feuilleton/ ?p=53)". Strange Things Are Happening. May/June 1988. [9] " Illustrating Watchmen (http:/ / www. watchmencomicmovie. com/ 102308-dave-gibbons-watchmen-comic-illustrator. php)". WatchmenComicMovie.com. October 23, 2008. Retrieved on October 28, 2008. [10] Heintjes, Tom. "Alan Moore On (Just About) Everything". The Comics Journal. March 1986. [11] Jensen, Jeff. " Watchmen: An Oral History (3 of 6) (http:/ / www. ew. com/ ew/ article/ 0,,1120854_3,00. html)". Entertainment Weekly. Oct 21, 2005. Retrieved on October 8, 2008. [12] Stewart, Bhob. "Synchronicity and Symmetry". The Comics Journal. July 1987. [13] Amaya, Erik. " Len Wein: Watching the Watchmen (http:/ / www. comicbookresources. com/ ?page=article& id=18266)". Comic Book Resources. September 30, 2008. Retrieved on October 3, 2008. [14] Stewart, Bhob. "Dave Gibbons: Pebbles in a Landscape". The Comics Journal. July 1987. [15] Young, Thom. " Watching the Watchmen with Dave Gibbons: An Interview (http:/ / www. comicsbulletin. com/ features/ 12289382257709. htm)". Comics Bulletin. 2008. Retrieved on December 12, 2008. [16] Wright, p. 271 [17] Wright, p. 272 [18] Reynolds, p. 106 [19] " Watchmen Secrets Revealed (http:/ / www. watchmencomicmovie. com/ 110308-watchmen-movie-dave-gibbons. php)". WatchmenComicMovie.com. November 3, 2008. Retrieved on November 5, 2008. [20] Kallies, Christy. " Under the Hood: Dave Gibbons (http:/ / www. sequentialtart. com/ archive/ july99/ gibbons. shtml)". SequentialTart.com. July 1999. Retrieved on October 12, 2008 [21] Reynolds, p. 32 [22] Klock, p. 66 [23] Reynolds, p. 110 [24] " Talking With Dave Gibbons (http:/ / www. watchmencomicmovie. com/ 101608-watchmen-comic-dave-gibbons-interview. php)". WatchmenComicMovie.com. October 16, 2008. Retrieved on October 28, 2008. [25] Wright, p. 27273

Watchmen
[26] Salisbury, p. 82 [27] Salisbury, p. 77 [28] Salisbury, p. 80 [29] Rogers, Adam. " Legendary Comics Writer Alan Moore on Superheroes, The League, and Making Magic (http:/ / www. wired. com/ entertainment/ hollywood/ magazine/ 17-03/ ff_moore_qa?currentPage=5)." Wired.com. February 23, 2009. Retrieved on February 24, 2009. [30] Salisbury, p. 7780 [31] Kavanagh, Barry. " The Alan Moore Interview: Watchmen, microcosms and details (http:/ / www. blather. net/ articles/ amoore/ watchmen3. html)". Blather.net. October 17, 2000. Retrieved on October 14, 2008. [32] Salisbury, p. 8082 [33] Reynolds, p. 111 [34] Groensteen, p. 152, 155 [35] Whiston, Daniel. " The Craft (http:/ / www. enginecomics. co. uk/ interviews/ jan05/ alanmoore. htm)". EngineComics.co.uk. January 2005. Retrieved on October 14, 2008. Archived (http:/ / web. archive. org/ 20080307154513/ http:/ / www. enginecomics. co. uk/ interviews/ jan05/ alanmoore. htm) March 7, 2008 at the Wayback Machine. [36] Plowright, Frank. "Preview: Watchmen". Amazing Heroes. June 15, 1986. [37] Wright, p. 273 [38] Thomson, p. 101 [39] Thomson, p. 108 [40] Thomson, p. 109 [41] Thomson, p. 111 [42] Reynolds, p. 115 [43] Reynolds, p. 117 [44] Klock, p. 2526 [45] Klock, p. 63 [46] Klock, p. 65 [47] Klock, p. 62 [48] Klock, p. 75 [49] Robinson, Tasha. " Interviews: Alan Moore (http:/ / www. avclub. com/ content/ node/ 22543)". AVClub.com. June 25, 2003. Retrieved on October 15, 2008. [50] Salisbury, p. 96 [51] Duin, Steve and Richardson, Mike. Comics: Between the Panels. Dark Horse Comics, 1998. ISBN 1-56971-344-8, p. 46061 [52] Gomez, Jeffrey. "Who Watches the Watchmen?". Gateways. June 1987. [53] Sabin, p. 165 [54] Sabin, p. 165167 [55] Wolk, Douglas. " 20 Years Watching the Watchmen (http:/ / www. publishersweekly. com/ article/ CA6275201. html)". PublishersWeekly.com. October 18, 2005. Retrieved on October 13, 2008. [56] Marshall, Rick. " New 'Watchmen' Motion Comic Hits iTunes Next Week (http:/ / splashpage. mtv. com/ 2008/ 10/ 01/ new-watchmen-motion-comic-hits-itunes-next-week/ )". MTV.com. October 1, 2008. Retrieved on October 13, 2008. [57] Watchmen issue #1 reprint (http:/ / dccomics. com/ dcu/ comics/ ?cm=10728). DC Comics.com. Retrieved on December 16, 2008. [58] White, Cindy. " Watchmen The Complete Motion Comic DVD Review (http:/ / dvd. ign. com/ articles/ 955/ 955910p1. html)". IGN.com. February 20, 2009. Retrieved on July 11, 2009. [59] Cocks, Jay. " The Passing of Pow! and Blam! (http:/ / www. time. com/ time/ magazine/ article/ 0,9171,966542-2,00. html)" (2 0f 2). Time. January 25, 1988. Retrieved on September 19, 2008. [60] 1988 Hugo Awards (http:/ / www. thehugoawards. org/ ?page_id=32). The HugoAwards.com. Retrieved on September 22, 2008. [61] "Watchmen Round Table: Moore & Gibbons". David Anthony Kraft's Comics Interview. Issue 65, 1988. [62] Itzkoff, Dave. " The Vendetta Behind 'V for Vendetta' (http:/ / www. nytimes. com/ 2006/ 03/ 12/ movies/ 12itzk. html?_r=4& oref=slogin& pagewanted=all& oref=slogin& oref=slogin& oref=slogin)". The New York Times. March 12, 2006. Retrieved on October 7, 2008. [63] " Moore Leaves the Watchmen 15th anniversary plans (http:/ / forum. newsarama. com/ showthread. php?threadid=34286)". Newsarama. August 2000. Retrieved on October 7, 2008. [64] St-Louis, Herv. " Watchmen Action Figures Controversies and Fulfilment (http:/ / www. comicbookbin. com/ Watchmen_Action_Figures001. html)". ComicBookBin.com. August 18, 2008. Retrieved on December 24, 2008. [65] Thill, Scott. " Alan Moore: 'I Don't Want Watchmen Back' (http:/ / www. wired. com/ underwire/ 2010/ 07/ alan-moore-watchmen)". Wired.com. July 21, 2010. Retrieved on July 21, 2010. [66] Thompson, Anne. "Filmmakers intent on producing new comic-book movies". Sun-Sentinel. August 26, 1986. [67] Hughes, David. "Who Watches the Watchmen? - How The Greatest Graphic Novel of Them All Confounded Hollywood". The Greatest Sci-Fi Movies Never Made. Chicago Review Press, 2002. ISBN 1-55652-449-8, p. 144 [68] Cieply, Michael. " Battle Over 'Watchmen' Surrounds a Producer (http:/ / www. nytimes. com/ 2008/ 09/ 20/ movies/ 20watc. html?pagewanted=all)". The New York Times. September 20, 2008. Retrieved on September 20, 2008.

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[69] " Python Wont Bite For Watchmen (http:/ / www. empireonline. com/ News/ story. asp?nid=13532)". EmpireOnline.com. November 13, 2000. Retrieved on October 18, 2008. [70] Plume, Kenneth " Interview with Terry Gilliam (Part 3 of 4) (http:/ / movies. ign. com/ articles/ 035/ 035925p1. html)". IGN.com. November 17, 2000. Retrieved on October 18, 2008. [71] Stax. " David Hayter Watches The Watchmen (http:/ / movies. ign. com/ articles/ 315/ 315547p1. html)". IGN.com. October 27, 2001. Retrieved on October 18, 2008. [72] Kit, Borys. " 'Watchmen' on Duty at Warner Bros. (http:/ / www. thebookstandard. com/ bookstandard/ news/ hollywood/ article_display. jsp?vnu_content_id=1001700508)" TheBookStandard.com. December 19, 2005. Retrieved on October 18, 2008. Archived (http:/ / web. archive. org/ 20080801081832/ http:/ / www. thebookstandard. com/ bookstandard/ news/ hollywood/ article_display. jsp?vnu_content_id=1001700508) August 1, 2008 at the Wayback Machine. [73] Linder, Brian. " Aronofksy Still Watching Watchmen (http:/ / movies. ign. com/ articles/ 532/ 532914p1. html)". IGN.com. July 23, 2004. Retrieved on October 18, 2008. [74] Kit, Borys. " Watchmen unmasked for Par, Aronofsky (http:/ / www. hollywoodreporter. com/ thr/ film/ brief_display. jsp?vnu_content_id=1000584187)". HollywoodReporter.com. July 23, 2004. Retrieved on October 18, 2008. [75] Kit, Borys; Foreman, Liza. " Greengrass, Par on Watchmen (http:/ / www. hollywoodreporter. com/ thr/ film/ brief_display. jsp?vnu_content_id=1000724534)". HollywoodReporter.com. November 22, 2004. Retrieved on October 18, 2008. [76] " Someone To Watch Over Watchmen (http:/ / www. empireonline. com/ news/ story. asp?nid=16857)". EmpireOnline.com. June 7, 2005. Retrieved on October 18, 2008. [77] Stax. " Watchmen Resurrected? (http:/ / comics. ign. com/ articles/ 661/ 661027p1. html)". IGN.com. October 25, 2005. Retrieved on October 18, 2008. [78] Sanchez, Robert. " Exclusive Interview: Zack Snyder Is Kickin' Ass With 300 and Watchmen! (http:/ / iesb. net/ index. php?option=com_content& task=view& id=1883& Itemid=99)". IESB.net. February 13, 2007. Retrieved on October 18, 2008. [79] Ellwood, Gregory. " World awaits Watchmen (http:/ / www. variety. com/ article/ VR1117947044)". Variety. July 18, 2006. Retrieved on October 18, 2008. [80] Weiland, Jonah. " 300 Post-Game: One-On-One With Zack Snyder (http:/ / www. comicbookresources. com/ news/ newsitem. cgi?id=9982)". ComicBookResources.com. March 14, 2007. March 16, 2007. [81] Davis, Erik. " Cinematical Watches The 'Watchmen' (http:/ / www. cinematical. com/ 2008/ 10/ 07/ cinematical-watches-the-watchmen/ )". Cinematical.com October 7, 2008. Retrieved on October 7, 2008 [82] Jensen, Jeff. " 'Watchmen': An Exclusive First Look (http:/ / www. ew. com/ ew/ article/ 0,,20213273,00. html)". Entertainment Weekly. July 17, 2008 Retrieved on July 17, 2008. [83] Gustines, George Gene. " Film Trailer Aids Sales of 'Watchmen' Novel (http:/ / www. nytimes. com/ 2008/ 08/ 14/ arts/ 14arts-FILMTRAILERA_BRF. html?_r=1& ref=arts& oref=slogin)". The New York Times. August 13, 2008. Retrieved on September 24, 2008. [84] " WB, Fox make deal for 'Watchmen' (http:/ / www. variety. com/ article/ VR1117998665. html?categoryid=1236& cs=1)". Variety.com. January 15, 2009. Retrieved on March 5, 2009. [85] Barnes, Brooks. " Warner Tries a New Tactic to Revive Its DVD Sales (http:/ / www. nytimes. com/ 2008/ 05/ 26/ business/ media/ 26retail. html?_r=1& ref=business& oref=slogin)". The New York Times. May 26, 2008. Retrieved on May 26, 2008. [86] Hewitt, Chris. " Gerard Butler Talks Black Freighter (http:/ / www. empireonline. com/ news/ story. asp?NID=22088)". EmpireOnline.com. February 28, 2008. Retrieved on February 28, 2008. [87] Totilo, Stephen. " 'Watchmen' Video Game Preview: Rorschach And Nite Owl Star In Subversive Prequel Set In 1970s (http:/ / www. mtv. com/ news/ articles/ 1591385/ 20080723/ id_0. jhtml). MTV.com. July 23, 2008. Retrieved on December 24, 2008. [88] MacDonald, Heidi. " Moore Leaves DC for Top Shelf (http:/ / www. publishersweekly. com/ article/ CA604654. html?pubdate=5/ 30/ 2005& display=archive)". PublishersWeekly.com. May 30, 2005. Retrieved on April 15, 2006. [89] Gopalan, Nisha. " Alan Moore Still Knows the Score! (http:/ / www. ew. com/ ew/ article/ 0,,20213004,00. html)" Entertainment Weekly. July 16, 2008. Retrieved on September 22, 2008. [90] Jensen, Jeff. " Watchmen: An Oral History (5 of 6) (http:/ / www. ew. com/ ew/ article/ 0,,1120854_5,00. html)". Entertainment Weekly. Oct 21, 2005. Retrieved on October 8, 2008. [91] Harvey, p. 150 [92] Itzkoff, Dave. " Behind the Mask (http:/ / www. nytimes. com/ 2005/ 11/ 20/ books/ review/ 20itzkoff. html?_r=1& oref=slogin)." The New York Times. November 20, 2005. Retrieved on September 19, 2008. [93] The Comics Journal staff and writers. " The Comic Journal's Top 100 English-Language Comics of the 20th Century (http:/ / www. tcj. com/ index. php?option=com_content& task=view& id=73& Itemid=48)". The Comics Journal. February 15, 1999. Retrieved on September 24, 2008. [94] Arnold, Andrew D. All-TIME Graphic Novels (http:/ / www. time. com/ time/ 2005/ 100books/ 0,24459,graphic_novels,00. html). Time.com. Retrieved on September 24, 2008. [95] Grossman, Lev. " Watchmen - ALL-TIME 100 Novels (http:/ / www. time. com/ time/ 2005/ 100books/ 0,24459,watchmen,00. html)". Time. Retrieved on October 7, 2008. [96] "The New Classics: Books". Entertainment Weekly. June 27/July 4, 2008.

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[97] Millet, Lydia. " From Comic Book to Literary Classic (http:/ / online. wsj. com/ article/ SB123569333628588197. html?mod=article-outset-box)". The Wall Street Journal. February 27, 2009. Retrieved on February 27, 2009. [98] Steel, Emily. " Typeface Inspired by Comic Books Has Become a Font of Ill Will (http:/ / online. wsj. com/ article/ SB123992364819927171. html)". The Wall Street Journal. April 17, 2009. Retrieved on February 8, 2010. [99] Contino, Jennifer M. " Who Watches Rich Johnston's Watchmensch (http:/ / www. comicon. com/ ubb/ ubbthreads. php?ubb=showflat& Number=531993)". Comicon.com. December 28, 2008. Retrieved on March 17, 2010.

539

Further reading
Bensam, Richard (October 2010). Minutes to Midnight: Twelve Essays on Watchmen. ISBN9780578060767. Hughes, Jamie A. (August 2006). "'Who Watches the Watchmen?': Ideology and 'Real World' Superheroes". Journal of Popular Culture 39 (4): 546557. doi:10.1111/j.1540-5931.2006.00278.x. Rosen, Elizabeth (Autumn 2006). "'What's That You Smell Of?' Twenty Years of Watchmen Nostalgia". Foundation: the International Review of Science Fiction 35 (98): 9598. Wolf-Meyer, Matthew (Winter 2003). "The World Ozymandias Made: Utopias in the Superhero Comic, Subculture, and the Conservation of Difference". Journal of Popular Culture 36 (3): 497506. doi:10.1111/1540-5931.00019.

External links
Watchmen (http://www.comics.org/series/3172) at the Grand Comics Database Watchmen (http://comicbookdb.com/title.php?ID=28) at the Comic Book DB Watchmen Wiki Watchmen Annotated, by Doug Atkinson (http://www.capnwacky.com/rj/watchmen/chapter1.html) Watching The Detectives: An Internet Companion for Readers of Watchmen (http://iat.ubalt.edu/moulthrop/ hypertexts/wm/watch.cfm) Taking Off the Mask: Invocation and Formal Presentation of the Superhero Comic in Moore and Gibbons Watchmen (http://watchmenanalysis.blogspot.com/2008/08/wesleyan-university-honors-college_1443.html), a 1996 undergraduate thesis by Samuel Asher Effron

Promethea

540

Promethea
Promethea

Promethea Volume 1 TPB, copyright DC Comics Publication information Publisher Format Publication date Number of issues Main character(s) America's Best Comics Ongoing series August1999 April2005 32 Sophie Bangs Promethea

Creative team Writer(s) Artist(s) Alan Moore J. H. Williams III Mick Gray Todd Klein Collected editions Volume 1 HC ISBN 1-56389-655-9

Letterer(s)

Promethea is a comic book series created by Alan Moore, J. H. Williams III and Mick Gray, published by America's Best Comics/WildStorm. It tells the story of Sophie Bangs, a college student from an alternate futuristic New York City in 1999, who embodies the powerful entity known as Promethea whose task it is to bring the Apocalypse. Originally published as 32 issues from 1999 to 2005, the series has now been re-published into five graphic novels and one hard-back issue. Moore weaves in elements of magic and mysticism along with superhero mythology and action, spirituality and the afterlife (in particular the Tree of Life) and science-fiction. Promethea is also notable for wide-ranging experimentation with visual styles and art.

Plot summary
In the 5th century AD, a Christian mob threatens the home of a magician in Hellenistic Egypt. He tells his daughter Promethea to flee into the desert, hoping the gods of the ancient world will preserve her. The story shifts to New York City in the late 20th century. Sophie Bangs is hoping to interview a woman named Barbara Shelley for a college paper on "Promethea", a character who seems to recur in literature and pop culture through the centuries. Shelley is hostile to her and warns, "You don't wanna go looking for folklore. And you especially don't want folklore to come looking for you." After departing, Sophie is tracked and attacked by a creature known as a Smee. Just as

Promethea things look bleakest for Sophie, she is rescued by Barbara, who has mystical powers and is now dressed as Promethea. She informs Sophie that the only reason she would be attacked is if someone suspects she will become the next vessel for Promethea (Barbara is the current). It turns out that Promethea is called to the world when someone uses their imagination to make her real). As they hide from the pursuing Smee, the weakened and fatally injured Barbara instructs Sophie to write a poem about Promethea hoping Sophie is indeed the successor and the creative expression is a way to get Sophie in the correct state of mind to allow herself to become Promethea. Barbara's idea works and from that night Sophie, having defeated the Smee, becomes the next Promethea. The story continues with Sophie/Promethea learning about Promethea and the previous individuals who have in the past been the vessels for Promethea. In the days that follow, the hospital where Barbara lies is attacked by demons, an act that leads to Barbara's death. This motivates Sophie to learn more about magic, mysticism and the Tree of Life and its spheres in order to find Barbara and help her seeks Steve Shelly, Barbara's dead husband. Throughout their climb up the spheres of Tree of Life Sophie/Promethea and Barbara encounter difficulties such as imprisonment by the demon Asmodeus, as well as meeting figures such as Sophie's father Juan (who died when she was little), Barbara's guardian angel Boo Boo and Promethea's father, who she has not seen since his murder in 411 A.D. Eventually Barbara and Steve find each other and are re-incarnated as twins (who Sophie ends up looking after at the end of the book). Having been gone a whole summer, Sophie is unaware the FBI have been tracking Promethea, and want to take her into custody for the events Promethea has caused throughout the years. Moments before the FBI arrive Sophie's mother instructs her to run away (just as Promethea's father had centuries earlier). Three years pass and Sophie, having abandoned her duties as Promethea, hides in Millennium City under the alias Joey Estrada with new boyfriend Carl. However, after being found by the FBI and Tom Strong, Sophie reluctantly becomes Promethea and in turn carries out one final task; bringing about the end of the world.

541

References
The series has been both criticized for acting as a mouthpiece for Moore's religious beliefs and praised for the beauty of its artwork and innovation regarding the medium itself. Regarding the first claim, the series is, by Moore's own admission, didactic: "there are 1000 comic books on the shelves that don't contain a philosophy lecture and one that does. Isn't there room for that one?"[1] While the Kabbalah story arc, and the positive explanations of Moore's philosophy, very explicitly explain, talking-head style, the symbolism behind the details of every plane of existence, Promethea also contains critiques of materialism which are much more subtle. The material world is, generally, portrayed as having become immersed in commercialism, materialism, fetishism of science, and trendy postmodernist-chic. Moore uses a recurring series of billboards, fictional celebrity references, and other advertisements and/or news similar to his seminal 1980s miniseries, Watchmen. As suggested by the title Promethea, which implies the feminine version or inversion of the mythological Prometheus, the title also participates in the sub-genre of feminism in superhero comics. In making his lead character an aspiring poet whose words conjure the malleable form of a literary goddessas well as the non-linear narratives and references to literary theory and alternative philosophiesMoore's thematics are closely aligned with the countercultural theory and politics of criture fminine. Subjects dealt with in this series include the occult, the tarot and Hermetic Qabalah. The comic is laden with mythological mystical symbolism, drawing in many religious and cultural references. Real people who appear in Promethea include Aleister Crowley, John Dee, Austin Osman Spare, and John Kendrick Bangs (who in the comic is distantly related to Sophie Bangs). Promethea's End of the World sequence displays the influence on Moore of Shea and Wilson's ILLUMINATUS! Trilogy by repeating the She'll Be Coming 'Round the Mountain lyrics used in Vol. III of the Trilogy, when the Illuminati were bringing the world to an end and 'Eris' was becoming Transcendentally Illuminated.

Promethea

542

Main characters
Promethea
Promethea was a young girl whose father was killed by a Christian mob in Alexandria in AD 411. After escaping the mob, alone in the desert she is taken in hand by the god Thoth-Hermes, who tells her that if she goes with him/them into the Immateria, a plane of existence home to the imagination, she will no longer be just a little girl but a story living eternally. "Promethea" thereafter manifests through a series of individuals or vessels who through the power of imagination have channeled her energy. Since the incident with the little girl in Alexandria, there have been eight known Promethea vessels. Six are characters in the story, the other two are told as two individuals, one Christian and one Muslim, who lived during the Crusades and fought each other. As there should only ever be one active Promethea at any one moment in history, the fight caused Promethea great pain, something that was repeated when Stacia/Grace fought Sophie/Promethea. It could be argued that there is a ninth Promethea vessel; Stacia Vanderveer. However, Stacia was only a vessel for Grace Brannagh, a dead woman who once herself was Promethea and not the original little girl.

Sophie Bangs/Joey Estrada


The protagonist of the series, Sophie becomes Promethea after tracing the character's history in literature for a college paper. Her personality as Sophie is initially somewhat timid, however, by the end of the book she becomes an adept magician and confident young woman. She is the most powerful Promethea to date, and the only one not to have been killed during her time as Promethea. She changes her name to Joey after running away to Millennium city to escape the FBI and her duties as Promethea.

Barbara Shelley/Boo-Boo Ramirez


The wife of comic book writer Steven Shelley, Barbara became Promethea when her husband began projecting Barbara's characteristics onto the Promethea character in his comics. During her passage in the afterlife, Barbara meets her guardian angel Boo-Boo (Barbara's old nickname) who is in fact the younger, beautiful and independent young woman she used to be. By the time she finds her husband, she and Boo-Boo become one person.

Stacia Vanderveer
Sophie's best friend, Stacia is an extremely cynical and sarcastic college student. During an attack at the hospital she was visiting Sophie in, Sophie uses Stacia as a vessel for Grace Brannagh to help the fight. While Sophie journeyed to find Barbara in the afterlife, Stacia/Grace were re-instated to temporarily serve as acting Promethea, leading Stacia and Grace to fall in love. After Sophie's return, Stacia and Grace refused to relinquish the Promethea title, but were forced to by a court hearing in the Immateria. After the Apocalypse, Stacia and former FBI Agent Ball become lovers, while Stacia still has sexual liaisons with Grace in the Immateria.

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Grace Brannagh
An illustrator who created a series of covers for pulp magazine fantasy stories about Promethea, which were written by several writers under the pseudonym "Marto Neptura". Brannagh was the most proficient fighter of all the Prometheas. She held the Promethea mantle from 19201939. In a text article in Promethea #1, Brannagh's style is compared to that of Weird Tales illustrator Margaret Brundage.

Jack Faust
Jack Faust is a magician who first approaches Sophie in order to confuse her during her first days as Promethea. Jack is first seen as a handsome young man, however, this was a glamour. He is actually older, balding and over weight. Jack promises to teach Sophie magic if she (in her Promethea form) agrees to have sex with him. At first Sophie declines, but later agrees knowing this knowledge will help her travel in the afterlife and help Barbara.

Recurring characters
William 'Bill' Woolcott
The only man to assume the role of Promethea, Bill Woolcott was a gay comic artist who became Promethea by drawing her. He was the longest-lasting Promethea, from 19391969, and acted as a "science-hero" in the ABC universe with Tom Strong during that period. Bill/Promethea most resembles a 1960s version of Wonder Woman. Bill was shot in the head by Promethea's lover, FBI Agent Dennis Drucker, who reacted violently when he discovered that his lover was (in a manner of speaking) transgendered. Drucker spent several decades in an insane asylum tortured by guilt for having killed Promethea, while Bill/Promethea spent similar time in the Immateria blaming herself for not having told him the truth. The two are reunited during the Apocalypse.

Anna
The poet Charlton Sennet, in the 1770s, projected Promethea's likeness onto his housemaid Anna, transforming her into his dream lover. This Promethea bore him a child, but the baby evaporated on birth, since in a sense it was only "half-real," an amalgamation of the physical nature of Charlton Sennet and the metaphysical nature of Promethea. Anna died in childbirth, leaving Charlton alone (his wife deserted him after finding him in bed with Anna/Promethea).

Margaret Taylor Case


The writer of a William Randolph Hearst-syndicated comic strip titled Little Margie in Misty Magic Land, Case wrote Promethea into her comic book as a helpful spirit to the titular young adventurer, and ended up personifying Promethea to help soldiers on the battlefield from 19001920, in a manner similar to the legendary Angels of Mons. Little Margie also dwells in the Immateria alongside Case and the other past Prometheas, where she is regarded as little more than a pest who interrupts "serious" conversation with her childlike observations, styled after the remarks of the character Nemo in the early 20th-century newspaper strip Little Nemo in Slumberland. Margaret committed suicide during her tenure as Promethea.

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Five Swell Guys


The Five Swell Guys are a team of "science-heroes," and the only such team in New York City. There is similarity between them and The Fantastic Four, with their floating platform and their specialised members. The team meet Sophie Bangs in the first issue, and then meet Promethea in the third issue, after one is badly hurt.

Weeping Gorilla Comix


Probably the most exemplary of Moore's concept of modern disillusionment is "Weeping Gorilla Comix", a neverending series of one-panel comics featuring a weeping gorilla, with a thought bubble pronouncing some thoughtful phrase, usually cynical and self-pitying in nature: "Why do good things happen to bad people?", "Who remaindered the book of Love?", "She gets the kids and the house. I get the car.", etc. It is also a reference to the anomalous tendency for comics to get increased sales from a picture of a gorilla, a weeping character, or the color purple on the cover.[2] Occasionally Moore shows snippets of the gorilla's foil, the Chucklin' Duck, who is happy-go-lucky and naively optimistic, with smug saying such as "Heh heh! I got out of internet trading just in time!". Both the Weeping Gorilla and Chucklin' Duck motifs were used in the Greyshirt: Indigo Sunset series by Rick Veitch, and a Weeping Gorilla Comix panel makes a cameo appearance in the story "King Solomon Pines" in Tom Strong's Terrific Tales #5 (scripted by Leah Moore and illustrated by Sergio Aragones). The Tesla Strong miniseries included, amongst various versions of Solomon, one who resembled the Weeping Gorilla.

The Weeping Gorilla from Promethea #1

Cover references
Promethea features countless visual references as well as textual ones. For the majority of the series, each issue's cover features an imitation of a particular artist or style. These imitations were often explicitly credited by Williams next to his signature. 1. "The Radiant Heavenly City" 2. "The Judgement of Solomon" 3. "Misty Magic Land" 4. "A Faerie Romance" - "after Morris" 5. "No Man's Land" - "after Leyendecker" 6. "A Warrior Princess" - "after Brundage" 7. "Rocks and Hard Places" - romance comics from the mid-20th century 8. "Guys and Dolls" - "thank you Terry Gilliam" 9. "Bringing Down the Temple" - stained glass window 10. "Sex, Stars and Serpents" - cover to The Beatles' album Sgt. Pepper's Lonely Hearts Club Band, by Peter Blake 11. "Pseunami" - according to designer Todd Klein, "wide-screen horror films of the 1950s-60s"[3] 12. "Metaphore" - "after MacLean" 13. "The Fields We Know" - "after Parrish" 14. "Moon River" - "attempting Virgil Finlay" 15. "Mercury Rising" - "thanks Escher" 16. "Love and the Law" - "thanks Peter Max" 17. "Gold" - "after Dali"

Promethea 18. "Life on Mars" - "after Frazetta" 19. "Fatherland" - "for love of Van Gogh" 20. "The Stars are But Thistles" - "after Richard Upton Pickman" (a fictional painter created by H. P. Lovecraft) 21. "The Wine of Her Fornications" 22. "Et in Arcadia Ego..." 23. "The Serpent and the Dove" - "inspired by Mucha" 24. "Cross, Moon, Star, Shapes in the Sand (Everything Goes Wrong)" 25. "A Higher Court" - "inspired by McCay" 26. "Later..." 27. "When It Blows Its Stacks" - "thanks to Ross Andru," specifically the 1976 comic Superman vs. the Amazing Spider-Man 28. "Don't They Know It's the End of the World? (It Ended When You Said Goodbye)" 29. "Valley of the Dolls" - "with admiration for Warhol" 30. "Everything Must Go!" / "Sun" 31. "The Radiant Heavenly City" - according to Williams, "an imitation of the tarot card 'The Judgement/The Aeon'" [4] 32. "Wrap Party" / "Universe" - credited to Williams and Klein "after the end"

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Collected editions
The trade paperbacks for Promethea were first released in hardcover, a then-rare occurrence for collections of regularly issued comic books. Promethea Book 1, issues 1-6 hardcover: ISBN 1-56389-655-9 paperback: ISBN 1-56389-667-2 Promethea Book 2, issues 7-12 hardcover: ISBN 1-56389-784-9 paperback: ISBN 1-56389-957-4 Promethea Book 3, issues 13-18 hardcover: ISBN 1-84023-550-0 paperback: ISBN 1-4012-0094-X Promethea Book 4, issues 19-25 hardcover: ISBN 1-4012-0032-X paperback: ISBN 1-4012-0031-1 Promethea Book 5, issues 26-32 hardcover: ISBN 1-4012-0619-0 paperback: ISBN 1-4012-0620-4 In October 2009, An Absolute Edition was released. Absolute Promethea Book 1, issues 1-12 hardcover: ISBN 978-1-4012-2372-4 One year later, Absolute Promethea Book Two was released. Absolute Promethea Book 2, issues 13-23 hardcover: ISBN 978-1-4012-2842-2

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Notes
[1] [2] [3] [4] Campbell, Eddie: "Alan Moore Interviewed by Eddie Campbell" Egomaina #2, December 2002: pp1-32. as described by Mark Waid in an editorial in Secret Origins Volume 2, number 40 Alan Moore et al. Absolute Promethea Book Two. DC Comics, 2010. http:/ / eroomnala. 0catch. com/ 31. html

References
Promethea (http://www.comics.org/series/7063) at the Grand Comics Database Promethea (http://comicbookdb.com/title.php?ID=216) at the Comic Book DB

External links
Promethea notes and annotations (http://www.angelfire.com/comics/eroomnala/Promethea.htm) by fan Eroom Nala " Magic Comic Ride (http://www.salon.com/books/review/2005/07/01/promethea/)", Douglas Wolk, Salon.com, July 1, 2005. Review of the entire series.

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Neil Gaiman
Neil Gaiman

Gaiman and his dog, Cabal Born 10 November 1960 Portchester, Hampshire, England Novelist, graphic novelist and screenwriter British 1980spresent Fantasy, Horror, Science fiction, Dark fantasy

Occupation Nationality Period Genres

Notable work(s) The Sandman, Neverwhere, American Gods, Stardust, Coraline, The Graveyard Book, Good Omens Spouse(s) Amanda Palmer (2011present) Mary McGrath (1985-2007)

neilgaiman.com

[2]

Neil Richard Gaiman ( /emn/;[3] born 10 November 1960[4] ) is an English author of short fiction, novels, comic books, graphic novels, audio theatre and films. His notable works include the comic book series The Sandman and novels Stardust, American Gods, Coraline, and The Graveyard Book. Gaiman's writing has won numerous awards, including Hugo, Nebula, and Bram Stoker, as well as the 2009 Newbery Medal and 2010 Carnegie Medal in Literature. He is the first author to win both the Newbery and the Carnegie medals for the same work.[5]

Early life
Gaiman's family is of Polish and other Eastern European Jewish origins;[6] his great-grandfather emigrated from Antwerp before 1914[7] and his grandfather eventually settled in the Hampshire city of Portsmouth and established a chain of grocery stores.[8] His father, David Bernard Gaiman,[9] worked in the same chain of stores;[8] his mother, Sheila Gaiman (ne Goldman), was a pharmacist. He has two younger sisters, Claire and Lizzy.[10] After living for a period in the nearby town of Portchester, Hampshire, where Neil was born in 1960, the Gaimans moved in 1965 to the West Sussex town of East Grinstead where his parents studied Dianetics at the Scientology centre in the town.[11] They remained closely involved with Judaism; Gaiman's sister later said, "It would get very confusing when people

Neil Gaiman would ask my religion as a kid. Id say, 'Im a Jewish Scientologist.'"[11] Gaiman says that he is not a Scientologist.[11] Gaiman was able to read at the age of four. He said, "I was a reader. I loved reading. Reading things gave me pleasure. I was very good at most subjects in school, not because I had any particular aptitude in them, but because normally on the first day of school they'd hand out schoolbooks, and I'd read them--which would mean that I'd know what was coming up, because I'd read it."[1] The first book he read was J. R. R. Tolkien's The Lord of the Rings from his school library, although it only had the first two books in the trilogy. He consistently took them out and read them. He would later win the school English prize and the school reading prize.[1] For his seventh birthday, Gaiman received C. S. Lewis's The Chronicles of Narnia series. He later recalled that "I admired his use of parenthetical statements to the reader, where he would just talk to you...I'd think, 'Oh, my gosh, that is so cool! I want to do that! When I become an author, I want to be able to do things in parentheses.' I liked the power of putting things in brackets."[1] Another childhood favorite was Lewis Carroll's Alice's Adventures in Wonderland, which he called "a favorite forever. Alice was default reading to the point where I knew it by heart."[1] He also enjoyed Batman comics as a child.[1] Gaiman was educated at several Church of England schools, including Fonthill School (East Grinstead),[12] Ardingly College (197074), and Whitgift School (Croydon) (197477).[13] His father's position as a public relations official of the Church of Scientology was the cause of the seven-year-old Gaiman being blocked from entering a boys' school, forcing him to remain at the school that he had previously been attending.[11] [14] He lived in East Grinstead for many years, from 19651980 and again from 19841987.[12] He met his first wife, Mary McGrath, while she was studying Scientology and living in a house in East Grinstead that was owned by his father. The couple were married in 1985 after having their first child, Michael.[11]

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Journalism, early writings, and literary influences


As a child and a teenager, Gaiman read the works of C. S. Lewis, J. R. R. Tolkien, Lewis Carroll, James Branch Cabell, Edgar Allan Poe, Michael Moorcock, Ursula K. Le Guin, Harlan Ellison, Lord Dunsany and G. K. Chesterton.[1] He later became a fan of science fiction, reading the works of authors as diverse as Alan Moore,[15] Samuel R. Delany, Roger Zelazny, Robert A. Heinlein, H. P. Lovecraft, Thorne Smith, and Gene Wolfe. In the early 1980s, Gaiman pursued journalism, conducting interviews and writing book reviews, as a means to learn about the world and to make connections that he hoped would later assist him in getting published.[1] He wrote and reviewed extensively for the British Fantasy Society.[16] His first professional short story publication was "Featherquest", a fantasy story, in Imagine Magazine in May 1984, when he was 24.[17] When waiting for a train at Victoria Station in 1984, Gaiman noticed a copy of Swamp Thing written by Alan Moore, and carefully read it. Moore's fresh and vigorous approach to comics had such an impact on Gaiman that he would later write; "that was the final straw, what was left of my resistance crumbled. I proceeded to make regular and frequent visits to London's Forbidden Planet shop to buy comics".[15] In 1984, he wrote his first book, a biography of the band Duran Duran, as well as Ghastly Beyond Belief, a book of quotations, with Kim Newman.[1] Even though Gaiman thought he did a terrible job, the book's first edition sold out very quickly. When he went to relinquish his rights to the book, he discovered the publisher had gone bankrupt.[1] [18] After this, he was offered a job by Penthouse. On one side, it was steady income to support his wife and two kids. On the other, it was an adult magazine. He refused the offer.[1] He also wrote interviews and articles for many British magazines, including Knave. As he was writing for different magazines, some of them competing, and "wrote too many articles", he sometimes went by a number of pseudonyms: Gerry Musgrave, Richard Grey, "along with a couple of house names".[19] Gaiman ended his journalism career in 1987 because British newspapers can "make up anything they want and publish it as fact."[20]
[21]

Neil Gaiman In the late 1980s, he wrote Don't Panic: The Official Hitchhiker's Guide to the Galaxy Companion in what he calls a "classic English humour" style. Following on from that he wrote the opening of what would become his collaboration with Terry Pratchett on the comic novel Good Omens, about the impending apocalypse.[22]

549

Comics and graphic novels


After forming a friendship with comic book writer Alan Moore,[15] Gaiman started writing comic books, picking up Marvelman after Moore finished his run on the series. Gaiman and artist Mark Buckingham collaborated on several issues of the series before its publisher, Eclipse Comics, collapsed, leaving the series unfinished. His first published comic strips were four short Future Shocks for 2000 AD in 19867. He wrote three graphic novels with his favorite collaborator and long-time friend Dave McKean: Violent Cases, Signal to Noise, and The Tragical Comedy or Comical Tragedy of Mr. Punch. Impressed with his work, DC Comics hired him, and he wrote the limited series Black Orchid.[23] Karen Berger, head of DC Comics's Vertigo, read Black Orchid and offered Gaiman a job: to re-write an old character, Sandman, but to put his own spin on him.[1] The Sandman tells the tale of the ageless, anthropomorphic personification of Dream that is known by many names, including Morpheus. The series began in December 1988 and concluded in March 1996: the 75 issues of the regular series, along with an illustrated prose text and a special containing seven short stories, have been collected into 12 volumes that remain in print (14 if the Death spinoff is taken into account). Artists include Sam Kieth, Mike Dringenberg, and Malcolm Jones III, lettering by Todd Klein, colors by Daniel Vozzo, and covers by Dave McKean.[1] In 1989, Gaiman published The Books of Magic (collected in 1991), a four-part mini-series that provided a tour of the mythological and magical parts of the DC Universe through a frame story about an English teenager who discovers that he is destined to be the world's greatest wizard. The miniseries was popular, and sired an ongoing series written by John Ney Rieber. In the mid-90s, he also created a number of new characters and a setting that was to be featured in a title published by Tekno Comix. The concepts were then altered and split between three titles set in the same continuity: Lady Justice, Mr. Hero the Newmatic Man, and Teknophage.[24] They were later featured in Phage: Shadow Death and Wheel of Worlds. Although Gaiman's name appeared prominently on all titles, he was not involved in writing of any of the above-mentioned books (though he helped plot the zero issue of Wheel of Worlds). Gaiman wrote a semi-autobiographical story about a boy's fascination with Michael Moorcock's anti-hero Elric of Melnibon for Ed Kramer's anthology Tales of the White Wolf. In 1996, Gaiman and Ed Kramer co-edited The Sandman: Book of Dreams. Nominated for the British Fantasy Award, the original fiction anthology featured stories and contributions by Tori Amos, Clive Barker, Gene Wolfe, Tad Williams, and others. Asked why he likes comics more than other forms of storytelling Gaiman said One of the joys of comics has always been the knowledge that it was, in many ways, untouched ground. It was virgin territory. When I was working on Sandman, I felt a lot of the time that I was actually picking up a machete and heading out into the jungle. I got to write in places and do things that nobody had ever done before. When Im writing novels Im painfully aware that Im working in a medium that people have been writing absolutely jaw-droppingly brilliant things for, you know, three-four thousand years now. You know, you can go back. We have things like The Golden Ass. And you go, well, I dont know that Im as good as that and thats two and a half thousand years old. But with comics I felt like I can do stuff nobody has ever done. I can do stuff nobody has ever thought of. And I could and it was enormously fun.[25] In 2009, Gaiman wrote a two-part Batman story for DC Comics to follow Batman R.I.P. It is titled "Whatever Happened to the Caped Crusader?" a play off of the classic Superman story "Whatever Happened to the Man of Tomorrow?" by Alan Moore.[26] [27] [28] He also contributed a twelve-page Metamorpho story drawn by Mike Allred for Wednesday Comics, a weekly newspaper-style series.[29]

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Novels
In a collaboration with author Terry Pratchett (best known for his series of Discworld novels), Gaiman's first novel Good Omens was published in 1990. In recent years Pratchett has said that while the entire novel was a collaborative effort and most of the ideas could be credited to both of them, Pratchett did a larger portion of writing and editing if for no other reason than Gaiman's scheduled involvement with Sandman.[30] The 1996 novelization of Gaiman's teleplay for the BBC mini-series Neverwhere was his first solo novel. The novel was released in tandem with the television series though it presents some notable differences from the television series. In 1999 first printings of his fantasy novel Stardust were released. The novel has been released both as a standard novel and in an illustrated text edition. American Gods became one of Gaiman's best-selling and multi-award winning novels upon its release in 2001.[31] A special 10 Anniversary edition, with the "author's preferred text", which includes an additional Neil Gaiman at the 2007 Scream Awards 12,000 words. This is identical to the signed and numbered limited edition that was released by Hill House Publishers in 2003. That limited edition version was also 12,000 words longer than the mass market editions and, again, represents Neil Gaiman's preferred edition. This is the version that has been in print from Headline, Gaiman's publisher in the UK even before the 10th Anniversary edition. The 10th Anniversary edition marks the first time the author's preferred text has been available in wide release. He also did a very extensive sold-out book tour celebrating the 10th Anniversary and promoting this book in 2011. In 2005, his novel Anansi Boys was released worldwide. The book deals with Anansi ('Mr. Nancy'), a supporting character in American Gods. Specifically it traces the relationship of his two sons, one semi-divine and the other an unaware Englishman of American origin, as they explore their common heritage. It debuted at number one on The New York Times Best Seller list.[32] In late 2008, Gaiman released a new children's book, The Graveyard Book. It follows the adventures of a boy named Bod after his family is murdered and he is left to be brought up by a graveyard. It is heavily influenced by Rudyard Kipling's The Jungle Book. As of late January 2009, it had been on the New York Times Bestseller children's list for fifteen weeks.[33] As of 2008, Gaiman has several books planned. After a tour of China, he decided to write a non-fiction book about his travels and the general mythos of China. Following that, will be a new 'adult' novel (his first since 2005's Anansi Boys). After that, another 'all-ages' book (in the same vein as Coraline and The Graveyard Book). Following that, Gaiman says that he will release another non-fiction book called The Dream Catchers.[34]

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Film and screenwriting


Gaiman wrote the 1996 BBC dark fantasy television series Neverwhere. He cowrote the screenplay for the movie MirrorMask with his old friend Dave McKean for McKean to direct. In addition, he wrote the localized English language script to the anime movie Princess Mononoke, based on a translation of the Japanese script. He cowrote the script for Robert Zemeckis's Beowulf with Roger Avary, a collaboration that has proved productive for both writers.[35] Gaiman has expressed interest in collaborating on a film adaptation of the Epic of Gilgamesh.[36] He was the only person other than J. Michael Straczynski to write a Babylon 5 script in the last three seasons, contributing the season five episode "Day of the Dead". Gaiman has also written at least three drafts of a screenplay adaptation of Nicholson Baker's novel The Fermata for director Robert Zemeckis,[37] [38] although the project was stalled while Zemeckis made The Polar Express and the Gaiman-Roger Avary written Beowulf film. Neil Gaiman was featured in the History Channel documentary Comic Book Superheroes Unmasked. Several of Gaiman's original works have been optioned or greenlighted for film adaptation, most notably Stardust, which premiered in August 2007 and stars Robert De Niro, Michelle Pfeiffer and Claire Danes, directed by Matthew Vaughn. A stop-motion version of Coraline was released on 6 February 2009, with Henry Selick directing and Dakota Fanning and Teri Hatcher in the leading voice-actor roles.[39] In 2007 Gaiman announced that after ten years in development the feature film of Death: The High Cost of Living would finally begin production with a screenplay by Gaiman that he would direct for Warner Independent. Don Murphy and Susan Montford are the producers, and Guillermo del Toro is the film's executive producer.[40] [41] Seeing Ear Theatre performed two of Gaiman's audio theatre plays, "Snow, Glass, Apples", Gaiman's retelling of Snow White and "Murder Mysteries", a story of heaven before the Fall in which the first crime is committed. Both audio plays were published in the collection Smoke and Mirrors in 1998. Gaiman's 2009 Newbery Medal winning book The Graveyard Book will be made into a movie, with Neil Jordan being announced as the director during Gaiman's appearance on The Today Show, 27 January 2009. Gaiman wrote an episode of the long running science fiction series Doctor Who, broadcast in 2011 during Matt Smith's second series as the Doctor.[42] [43] Shooting began in August 2010 for this story, whose original title was "The House of Nothing"[44] but has been retitled as "The Doctor's Wife.[45] In 2011, it was announced that Gaiman would be writing the script to a new film version of Journey to the West.[46] [47]

Blog
In February 2001, when Gaiman had completed writing American Gods, his publishers set up a promotional web site featuring a weblog in which Gaiman described the day-to-day process of revising, publishing, and promoting the novel. After the novel was published, the web site evolved into a more general Official Neil Gaiman Website.[48] Gaiman generally posts to the blog several times a week, describing the day-to-day process of being Neil Gaiman and writing, revising, publishing, or promoting whatever the current project is. He also posts reader emails and answers questions, which gives him unusually direct and immediate interaction with fans. One of his answers on why he writes the blog is "because writing is, like death, a lonely business."[49] The original American Gods blog was extracted for publication in the NESFA Press collection of Gaiman miscellany, Adventures in the Dream Trade.[50] To celebrate the 7th anniversary of the blog, the novel American Gods was provided free of charge online for a month.[51] [52]

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Personal life
Home and family
Gaiman lives near Minneapolis, Minnesota, United States,[53] [54] [55] in an "Addams Family house",[56] and has lived there since 1992. Gaiman moved there to be close to the family of Mary McGrath, his wife at the time, with whom he has three children: Michael, Holly, and Madeleine.[1] [57] Gaiman is married to songwriter and performer Amanda Palmer. The couple publicly announced that they were dating in June 2009,[58] [59] announced their engagement on Twitter on 1 January 2010,[60] and confirmed their engagement on their respective websites two weeks later.[61] [62] On 16 November 2010, Amanda Palmer hosted a flash mob wedding (not legally binding) for Gaiman's birthday in New Orleans.[63] They were legally married on 2 January 2011.[64] The wedding took place in the parlour of writers Ayelet Waldman and Michael Chabon.[65]

Friendship with Tori Amos


One of Gaiman's most commented-upon friendships is with the musician Tori Amos, a Sandman fan who became friends with Gaiman after making a reference to "Neil and the Dream King" on her 1991 demo tape, and whom he included as a character (a talking tree) in Stardust.[66] Amos also mentions Gaiman in her songs, "Tear in Your Hand" ("If you need me, me and Neil'll be hangin' out with the dream king. Neil says hi by the way"),[67] "Space Dog" ("Where's Neil when you need him?"),[68] "Horses" ("But will you find me if Neil makes me a tree?"),[69] "Carbon" ("Get me Neil on the line, no I can't hold. Have him read, 'Snow, Glass, Apples' where nothing is what it seems"),[70] "Sweet Dreams" ("You're forgetting to fly, darling, when you sleep"),[70] and "Not Dying Today" ("Neil is thrilled he can claim he's mammalian, 'but the bad news,' he said, 'girl you're a dandelion'").[70] He also wrote stories for the tour book of Boys for Pele and Scarlet's Walk, a letter for the tour book of American Doll Posse, and the stories behind each girl in her album Strange Little Girls. Amos penned the introduction for his novel Death: the High Cost of Living, and posed for the cover. She also wrote a song called "Sister Named Desire" based on his Sandman character, which was included on his anthology, Where's Neil When You Need Him?. Gaiman is godfather to Tori Amos's daughter Tash,[71] and wrote a poem called "Blueberry Girl" for Tori and Tash.[72] The poem has been turned into a book by the illustrator Charles Vess.[73] Gaiman read the poem aloud to an audience in Palo Alto on 5 October 2008 during his book reading tour for The Graveyard Book.[74] It was published in March 2009 with the title, Blueberry Girl. S. Alexander Reed has written about the intertextual relationships between Gaiman's and Amos's respective work. Reed does close readings of several of Gaiman's allusions to Amos, arguing that the reference to Amos happens as the texts expand and broaden their focus, and that Amos serves to disrupt the linear flow of the narrative. He reads this disruption in terms of psychoanalyst Jacques Lacan's idea of the mirror stage, arguing that the mutual referentiality serves to create an ideal vision of the reader-as-fan that the actual reader encounters and misrecognizes as themselves, thus drawing the reader into the role of the devoted (and paying) fan. The essay also contains a fairly thorough list of known references in both Gaiman's and Amos's work.[75]

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Litigation
In 1993, Gaiman was contracted by Todd McFarlane to write a single issue of Spawn, a popular title at the newly created Image Comics company. McFarlane was promoting his new title by having guest authors Gaiman, Alan Moore, Frank Miller, and Dave Sim each write a single issue. In issue #9 of the series, Gaiman introduced the characters Angela, Cogliostro, and Medieval Spawn. Prior to this issue, Spawn was an assassin who worked for the government and came back as a reluctant agent of Hell but had no direction. In Angela, a cruel and malicious angel, Gaiman introduced a character who threatened Spawn's existence, as well as providing a moral opposite. Cogliostro was introduced as a mentor character for exposition and instruction, providing guidance. Medieval Spawn introduced a history and precedent that not all Spawns were self-serving or evil, giving additional character development to Malebolgia, the demon that creates Hellspawn. As intended,[76] all three characters were used repeatedly throughout the next decade by Todd McFarlane within the wider Spawn universe. In papers filed by Gaiman in early 2002, however, he claimed that the characters were jointly owned by their scripter (himself) and artist (McFarlane), not merely by McFarlane in his role as the creator of the series.[77] [78] Disagreement over who owned the rights to a character was the primary motivation for McFarlane and other artists to form Image Comics (although that argument related more towards disagreements between writers and artists as character creators).[79] As McFarlane used the characters without Gaiman's permission or royalty payments, Gaiman believed his copyrighted work was being infringed upon, which violated their original, oral, agreement. McFarlane initially agreed that Gaiman had not signed away any rights to the characters, and negotiated with Gaiman to effectively 'swap' McFarlane's interest in the character Marvelman[80] (McFarlane believes he purchased interest in the character when Eclipse Comics was liquidated; Gaiman is interested in being able to continue his aborted run on that title) but later claimed that Gaiman's work had been work-for-hire and that McFarlane owned all of Gaiman's creations entirely. The presiding Judge, however, ruled against their agreement being work for hire, based in large part on the legal requirement that "copyright assignments must be in writing."[81] The Seventh Circuit Court of Appeals upheld the district court ruling in February 2004[82] granting joint ownership of the characters to Gaiman and McFarlane. On the specific issue of Cogliostro, presiding Judge John Shabaz proclaimed "The expressive work that is the comic-book character Count Nicholas Cogliostro was the joint work of Gaiman and McFarlanetheir contributions strike us as quite equaland both are entitled to ownership of the copyright".[83] Similar analysis lead to similar results for the other two characters, Angela and Medieval Spawn. This legal battle was brought by Gaiman and the specifically formed Marvels and Miracles, LLC, which Gaiman created in order to help sort out the legal rights surrounding Marvelman (see the ownership of Marvelman sub-section of the Marvelman article). Gaiman wrote Marvel 1602 in 2003 to help fund this project.[84] All of Marvel Comics' profits for the original issues of the series went to Marvels and Miracles.[84] In 2009, Marvel Comics purchased Marvelman.[85] Gaiman returned to court over three more Spawn characters, Dark Ages Spawn, Domina and Tiffany, that are claimed to be "derivative of the three he co-created with McFarlane."[86] The original three characters, whose first appearance was never reprinted in Spawn trade paperback collections, are just now appearing printed for the first time. The judge ruled that Gaiman was right in his claims and gave McFarlane until the start of September 2010 to settle matters.[87] Gaiman is a major supporter and board member of the Comic Book Legal Defense Fund.[88]

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References in popular culture


In the science-fiction television series Babylon 5, one of the races (The Gaim) is named in homage to Gaiman, and they are similar in appearance to the protagonist (while in full attire, not the anthropomorphic appearance) of Gaiman's graphic novel series "The Sandman".[89] In the Star Trek novel How Much for Just the Planet?, the character "Ilen the Magian" is an allusion to Neil Gaiman. There are two laws named after Gaiman: Gaiman's First Law: Picking up your first copy of a book you wrote, if there's one typo, it will be on the page that your new book falls open to the first time you pick it up.[90] Gaiman's Second Law: All scientifically possible technology and social change predicted in science fiction will come to pass, but none of it will work properly.[91] Gaiman himself made a guest appearance in season 14 of Arthur in the episode "Falafelosophy". Gaiman is to make a guest appearance on long-running cartoon series The Simpsons in 2011.[43]

Literary allusions
Gaiman's work is known for a high degree of allusiveness.[92] Meredith Collins, for instance, has commented upon the degree to which his novel Stardust depends on allusions to Victorian fairy tales and culture.[93] Particularly in The Sandman, literary figures and characters appear often; the character of Fiddler's Green is modelled visually on G.K. Chesterton, both William Shakespeare and Geoffrey Chaucer appear as characters, as do several characters from within A Midsummer Night's Dream and The Tempest. The comic also draws from numerous mythologies and historical periods. Such allusions are not unique to Sandman. Clay Smith has argued that this sort of allusiveness serves to situate Gaiman as a strong authorial presence in his own works, often to the exclusion of his collaborators.[94] However, Smith's viewpoint is in the minority: to many, if there is a problem with Gaiman scholarship and intertextuality it is that "... his literary merit and vast popularity have propelled him into the nascent comics canon so quickly that there is not yet a basis of critical scholarship about his work."[95] David Rudd takes a more generous view in his study of the novel Coraline, where he argues that the work plays and riffs productively on Sigmund Freud's notion of the Uncanny, or the Unheimlich.[96] Though Gaiman's work is frequently seen as exemplifying the monomyth structure laid out in Joseph Campbell's The Hero with a Thousand Faces,[97] Gaiman says that he started reading The Hero with a Thousand Faces but refused to finish it: "I think I got about half way through The Hero with a Thousand Faces and found myself thinking if this is true I dont want to know. I really would rather not know this stuff. Id rather do it because its true and because I accidentally wind up creating something that falls into this pattern than be told what the pattern is."[98]

Selected awards and honours


1991 World Fantasy Award for short fiction for the Sandman issue, "A Midsummer Night's Dream" 1991-1993 Comics Buyer's Guide Award for Favorite Writer 19972000 Comics Buyer's Guide Award for Favorite Writer nominations 1991 Favourite Comic Book Story for The Sandman 1994 Favourite Comic Book Story for The Sandman 1997 Comic Book Legal Defense Fund Defender of Liberty award [99] 1991 Locus and World Fantasy Awards nomination for Good Omens [100]

1999 Locus Award for Best Fantasy Novel nomination for Stardust [101] 1999 Mythopoeic Fantasy Award for Adult Literature for the illustrated version of Stardust. [102] 2000 Hugo Award for Best Related Book nomination for The Sandman: The Dream Hunters [103]

Neil Gaiman 2000 Bram Stoker Award for Best Illustrated Narrative for The Sandman: The Dream Hunters[104] 2001 Bram Stoker Award for Best Novel for American Gods 2002 Hugo Award for Best Novel for American Gods [105] 2002 Nebula Award for Best Novel for American Gods [105] 2002 Locus Award for Best Fantasy Novel for American Gods[106] 2003 Hugo Award for Best Novella for Coraline 2003 Nebula Award for Best Novella for Coraline 2003 Locus Award for Best Young Adult Book for Coraline [107] 2003 Bram Stoker Award for Best Work for Young Readers for Coraline[108] 2004 Hugo Award for the story A Study in Emerald (in a ceremony the author presided over himself, having volunteered for the job before his story was nominated). 2004 Bram Stoker Award for Best Illustrated Narrative for The Sandman: Endless Nights 2004 Angoulme International Comics Festival Prize for Scenario for The Sandman: Season of Mists[109] 2005 The William Shatner Golden Groundhog Award for Best Underground Movie nomination for MirrorMask [110] The other nominated films were Green Street Hooligans, Nine Lives, Up for Grabs and Opie Gets Laid.[111] 2005 Quill Book Award for Graphic Novels for Marvel 1602 [112] 2006 Mythopoeic Fantasy Award for Adult Literature for Anansi Boys

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2006 The British Fantasy Awards for Best Novel for Anansi Boys.[113] 2006 Locus Fantasy Awards for Anansi Boys. The book was also nominated for a Hugo Award, but Gaiman asked for it to be withdrawn from the list of nominations, stating that he wanted to give other writers a chance, and it was really more fantasy than science fiction.[114] Gaiman has won 19 Eisner Awards for his comics work. 1990-1994 Squiddy Award for Best Writer and was named Best Writer of the 1990s in the Squiddy Awards for the decade. 2007 Bob Clampett Humanitarian Award [115] 2007 Comic-Con Icon award presented with the at the Scream Awards. 2009 Newbery Medal for The Graveyard Book[116] 2009 Audies: Children's 812 and Audiobook of the year for the audio version of The Graveyard Book.[117] 2009 British Fantasy Award for Best Novel shortlist for The Graveyard Book[118] 2009 Hugo Award for Best Novel for The Graveyard Book presented at the 2009 Worldcon in Montreal where he was also the Professional Guest of Honor.[119] [120] 2009 The Booktrust Teenage Prize for The Graveyard Book 2010 Gaiman was selected as the Honorary Chair of National Library Week by the American Library Association.[121] 2010 Carnegie Medal in Literature for The Graveyard Book.[122] [123] 2010 Locus Award for Best Short for An Invocation of Incuriosity, published in Songs of the Dying Earth[124]

Notes
[1] Biography Today. Detroit, Michigan: Omnigraphics. 2010. pp.9091. ISBN978-0-7808-1058-7. [2] http:/ / neilgaiman. com/ [3] "Author Name Pronunciation Guide Neil Gaiman" (http:/ / www. teachingbooks. net/ pronounce. cgi?aid=1433). Teachingbooks.net. . Retrieved 2011-07-26. [4] Comics Buyers Guide #1636 (December 2007), p. 135 [5] Flood, Alison (24 June 2010). "Neil Gaiman wins Carnegie Medal" (http:/ / www. guardian. co. uk/ books/ 2010/ jun/ 24/ neil-gaiman-carnegie-graveyard-book). London: The Guardian. . Retrieved 26 June 2010. [6] Wagner, Hank; Golden, Christopher; Bissette, Stephen R. (2008). "The Interview". Prince of Stories: The Many Worlds of Neil Gaiman. New York: St. Martin's Press. pp.447449. ISBN9780312387655. [7] Gaiman, Neil. "journeys end" (http:/ / journal. neilgaiman. com/ 2009/ 01/ journeys-end. html), Neil Gaiman's Journal, 16 January 2009 [8] Lancaster, James (11 October 2005). "Everyone has the potential to be great". The Argus (Brighton). pp.1011.

Neil Gaiman
[9] Lancaster, James (11 October 2005). "Everyone has the potential to be great". The Argus (Brighton). pp.1011. David Gaiman quote: "It's not me you should be interviewing. It's my son. Neil Gaiman. He's in the New York Times Bestsellers list. Fantasy. He's flavour of the month, very famous." [10] "Neil Gaiman Journal- december 20" (http:/ / journal. neilgaiman. com/ 2008_12_01_archive. html). Journal.neilgaiman.com. . Retrieved 2011-07-26. [11] Goodyear, Dana (25 January 2010). "Kid Goth" (http:/ / www. newyorker. com/ reporting/ 2010/ 01/ 25/ 100125fa_fact_goodyear?currentPage=all). The New Yorker. . [12] " East Grinstead Hall of Fame Neil Gaiman (http:/ / www. egnet. co. uk/ halloffame/ neilgaiman. htm)", East Grinstead Community Web Site. [13] " Neil Gaiman (http:/ / www. exclusivebooks. com/ features/ authors/ ngaiman. php)". Exclusive Books. [14] "Head Bars Son Of Cult Man" (http:/ / cosmedia. freewinds. be/ media/ articles/ tim130868. html). The Times: p.2. 13 August 1968. . "A headmaster has refused the son of a scientologist entry to a preparatory school until, he says, the cult "clears its name". The boy, Neil Gaiman, aged 7, (...) Mr. David Gaiman, the father, aged 35, former South Coast businessman, has become in recent weeks a prominent spokesman in Britain for scientology, which has its headquarters at East Grinstead." [15] Steven P. Olsen (2005) Neil Gaiman (http:/ / books. google. com/ books?id=Jc9MaZrG3j8C& pg=PA18& dq=gaiman - moore - friendship& hl=en& ei=g-cuTfG1DsexhQeA7tHmCg& sa=X& oi=book_result& ct=result& resnum=3& ved=0CDUQ6AEwAg#v=onepage& q& f=false) p.16-18. The Rosen Publishing Group. Retrieved 13 January 2011 [16] "Neil Gaiman About Neil" (http:/ / www. neilgaiman. com/ about/ biblio/ biblioreviews/ ). Neilgaiman.com. . Retrieved 2011-07-26. [17] "Neil Gaiman About Neil" (http:/ / www. neilgaiman. com/ about/ biblio/ biblioss/ ). Neilgaiman.com. . Retrieved 2011-07-26. [18] "Authors at Google - Neil Gaiman interview" (http:/ / www. youtube. com/ watch?v=7LmfCGy_ZLg). Youtube.com. 2006-10-03. . Retrieved 2011-07-26. [19] "Neil Gaiman Rumour control" (http:/ / journal. neilgaiman. com/ 2009/ 01/ rumour-control. html). Journal.neilgaiman.com. 2009-01-02. . Retrieved 2011-07-26. [20] Kanazawa, Satoshi. "Psychology Today British Newspapers Make Things Up" (http:/ / www. psychologytoday. com/ blog/ the-scientific-fundamentalist/ 201001/ british-newspapers-make-things). Psychologytoday.com. . Retrieved 2011-07-26. [21] "Neil Gaiman Journalism" (http:/ / twitter. com/ neilhimself/ statuses/ 8379971068). Twitter.com. 2010-01-29. . Retrieved 2011-07-26. [22] Science Fiction Weekly Interview (http:/ / www. scifi. com/ sfw/ issue345/ interview. html) [23] Irvine, Alex (2008). "Black Orchid". In Dougall, Alastair. The Vertigo Encyclopedia. New York: Dorling Kindersley. pp.3234. ISBN0-7566-4122-5. OCLC213309015. [24] "Teknophage" (http:/ / www. neilgaiman. info/ Teknophage). Neilgaiman.info. 2008-07-23. . Retrieved 2011-07-26. [25] Ogline, Tim E.; "Myth, Magic and the Mind of Neil Gaiman" (http:/ / www. wildriverreview. com/ 4/ worldvoices-neilgaiman. php), Wild River Review, 20 November 2007. [26] CCI: DC One Weekend Later Gaiman on "Batman" (http:/ / www. comicbookresources. com/ ?page=article& id=17463), Comic Book Resources, 27 July 2008 [27] SDCC '08 More on Gaiman-Batman with Dan DiDio (http:/ / www. newsarama. com/ comics/ 080727-didio-gaiman. html), Newsarama, 27 July 2008 [28] DC at Comic-Con 08 Mike Marts (http:/ / www. newsarama. com/ common/ media/ video_sdcc. php?videoRef=NA_080722_mike_marts), Newsarama Video, 27 July 2008 [29] Minnick, Remy (30 January 2009). "Gaiman & Allred on Metamorpho" (http:/ / www. comicbookresources. com/ ?page=article& id=19775). Comic Book Resources. . Retrieved 31 January 2009. [30] ""L Space Words from the Master"" (http:/ / www. lspace. org/ books/ apf/ words-from-the-master. html). Lspace.org. . Retrieved 2011-07-26. [31] "American Gods wins a Hugo!" (http:/ / www. neilgaiman. com/ p/ About_Neil/ Press_Releases/ American_Gods_wins_a_Hugo!). Neilgaiman.com. 2002-09-17. . Retrieved 2011-07-26. [32] "Best-Seller Lists: Hardcover Fiction" (http:/ / www. nytimes. com/ 2005/ 10/ 09/ books/ bestseller/ 1009besthardfiction. html). The New York Times (NYTimes.com). 9 October 2005. . Retrieved 6 March 2010. [33] "Beyond Tea" (http:/ / journal. neilgaiman. com/ 2008/ 11/ beyond-tea. html), Neil Gaiman's journal, 19 November 2008 [34] "From Las Vegas" (http:/ / journal. neilgaiman. com/ 2008/ 11/ from-las-vegas. html), Neil Gaiman's journal, 6 November 2008 [35] Neil Gaiman and Roger Avary: Shaping Beowulf's story (http:/ / www. stv. tv/ content/ out/ film/ videointerviews/ display. html?id=opencms:/ out/ films/ video_interviews/ neil_gaiman_roger_avary), video interview with stv.tv [36] Ambrose, Tom (December 2007). "He Is Legend". Empire. p.142. [37] "Neil Gaiman's Film Work" (http:/ / www. neilgaiman. com/ p/ Cool_Stuff/ Essays/ Essays_About_Neil/ Neil_Gaiman's_Film_Work). Neil Gaiman. 13 August 2007. . Retrieved 2 August 2010. [38] "Neil Gaiman Takes Hollywood" (http:/ / www. ugo. com/ ugo/ html/ article/ ?id=17624). UGO.com. . Retrieved 2 August 2010. [39] Coraline (2009). (http:/ / www. imdb. com/ title/ tt0327597/ ) IMDb. [40] Sanchez, Robert (2 August 2006). "Neil Gaiman on Stardust and Death: High Cost of Living!" (http:/ / www. iesb. net/ index. php?option=com_content& task=view& id=105& Itemid=42). IESB.net. . Retrieved 25 February 2007. [41] Gaiman, Neil (9 January 2007). "The best film of 2006 was..." (http:/ / www. neilgaiman. com/ journal/ labels/ Death movie. html). Neil Gaiman's Journal. Neil Gaiman. . Retrieved 25 February 2007.

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[42] "EXCLUSIVE Neil Gaiman Confirms Doctor Who Episode" (http:/ / www. sfx. co. uk/ 2010/ 02/ 06/ exclusive_neil_gaiman_confirms_doctor_who_episode/ ). SFX. . Retrieved 17 March 2010. [43] Author Neil Gaiman to guest star on The Simpsons (http:/ / www. bbc. co. uk/ news/ entertainment-arts-12180166) BBC News Retrieved 13 January 2011 [44] Masters, Tim (24 May 2010). "Neil Gaiman reveals power of writing Doctor Who" (http:/ / news. bbc. co. uk/ 2/ hi/ entertainment_and_arts/ 10146657. stm). BBC News. . Retrieved 24 May 2010. [45] "Doctor Who: Title Of the Neil Gaiman Episode Revealed" (http:/ / www. sfx. co. uk/ 2011/ 03/ 28/ doctor-who-title-of-the-neil-gaiman-episode-revealed/ ). SFX. 28 March 2011. . Retrieved 6 May 2011. [46] "Neil Gaiman's Journal: A quick in and out" (http:/ / journal. neilgaiman. com/ 2011/ 03/ quick-in-and-out. html). Journal.neilgaiman.com. 2011-03-12. . Retrieved 2011-07-26. [47] Coonan, Clifford (10 March 2011). "Neil Gaiman to script 'Journey'" (http:/ / www. variety. com/ article/ VR1118033705). Variety. . [48] "Official Neil Gaiman Website" (http:/ / neilgaiman. com/ ). Neilgaiman.com. . Retrieved 2011-07-26. [49] "Neil Gaiman's journal, 2/11/2008" (http:/ / journal. neilgaiman. com/ 2008/ 02/ m-is-for-mirrors-youll-stare-in-forever. html). Journal.neilgaiman.com. 2008-02-11. . Retrieved 2011-07-26. [50] "Adventures in the Dream Trade: Table of Contents" (http:/ / www. nesfa. org/ press/ Books/ Gaiman. html). www.nefsa.org. NEFSA Press. . Retrieved 23 August 2011. [51] Colman, Dan. "Neil Gaimans American Gods Free Digital Copy" (http:/ / www. openculture. com/ 2008/ 03/ neil_gaimans_american_gods_-_free_digital_copy. html). Open Culture. . Retrieved 22 August 2011. [52] Gaiman, Neil. "Death, and Free Revisited" (http:/ / journal. neilgaiman. com/ 2011/ 02/ death-and-free-revisited. html). Neil Gaiman Journal. . Retrieved 22 August 2011. [53] Rabinovitch, Dina (12 December 2005). "A writer's life: Neil Gaiman" (http:/ / www. telegraph. co. uk/ arts/ main. jhtml?xml=/ arts/ 2005/ 12/ 11/ bokgaiman. xml). London: The Telegraph. . Retrieved 20 May 2010. [54] McGinty, Stephen (25 February 2006). "Dream weaver" (http:/ / living. scotsman. com/ index. cfm?id=290282006). The Scotsman. . [55] "Neil Gaiman Biography" (http:/ / www. neilgaiman. com/ about/ biography/ ). Biography. . Retrieved 21 June 2006. [56] Richards, Linda (August 2001). "Interview Neil Gaiman" (http:/ / www. januarymagazine. com/ profiles/ gaiman. html). January Magazine. . "I thought," says Gaiman, "you know, if I'm going to leave England and go to America, I want one of those things that only America can provide and one of those things is Addams Family houses." [57] "Neil Gaiman's Journal: All Questions, All the Time" (http:/ / journal. neilgaiman. com/ 2009/ 04/ all-questions-all-time. html). Journal.neilgaiman.com. 11 April 2009. . Retrieved 2 August 2010. [58] Yu, Kathryn (4 June 2009). "Two Lovers" (http:/ / www. spin. com/ gallery/ amanda-palmer-neil-gaiman-perform-together-nyc?page=1#main). Amanda Palmer, Neil Gaiman Perform Together in NYC (SPIN). . Retrieved 5 June 2009. [59] Gaiman, Neil (1/15/10). "Telling the World: An Official Announcement" (http:/ / journal. neilgaiman. com/ 2010/ 01/ telling-world-official-announcement. html). http:/ / journal. neilgaiman. com. . Retrieved 15 January 2010. [60] "Twitter / Amanda Palmer: new years was all that and" (http:/ / twitter. com/ amandapalmer/ status/ 7272917210). Twitter.com. . Retrieved 2 August 2010. [61] "Neil Gaiman's Journal: Telling the World: An Official Announcement" (http:/ / journal. neilgaiman. com/ 2010/ 01/ telling-world-official-announcement. html). journal.neilgaiman.com. 15 January 2010. . Retrieved 2 August 2010. [62] "Telling the World" (http:/ / blog. amandapalmer. net/ post/ 336390559/ telling-the-world). blog.amandapalmer.net. 15 January 2010. . Retrieved 2 August 2010. [63] "Still Life with Wedding Party" (http:/ / blog. amandapalmer. net/ post/ 1597897908/ still-life-with-wedding-party). blog.amandapalmer.net. 17 November 2010. . Retrieved 17 November 2010. "Neil Gaiman's Journal: The Wedding Mystery Explained" (http:/ / journal. neilgaiman. com/ 2010/ 11/ wedding-mystery-explained. html). Journal.neilgaiman.com. 17 November 2010. . Retrieved 17 November 2010. [64] Zutter, Natalie. "Amanda Palmer and Neil Gaiman Marry" (http:/ / www. ology. com/ celebs-and-gossip/ amanda-palmer-and-neil-gaiman-marry). Ology Magazine. . Retrieved 4 January 2011. [65] bleedingcool.com (http:/ / www. bleedingcool. com/ 2011/ 01/ 03/ neil-gaiman-and-amanda-palmers-wedding-in-twitpics/ ), 3 January 2011. [66] Tori Amos, "Tear in Your Hand," Little Earthquakes [67] "Tear In Your Hand" (http:/ / everythingtori. com/ go/ galleries/ view/ 312/ 2/ 31/ albums). Everything Tori. . Retrieved 2 August 2010. [68] "Space Dog" (http:/ / everythingtori. com/ go/ galleries/ view/ 378/ 3/ 28/ albums). Everything Tori. . Retrieved 2 August 2010. [69] "Beauty Queen/ Horses" (http:/ / everythingtori. com/ go/ galleries/ view/ 234/ 1/ 26/ albums). Everything Tori. . Retrieved 2 August 2010. [70] "Carbon" (http:/ / everythingtori. com/ go/ galleries/ view/ 220/ 1/ 30/ albums). Everything Tori. . Retrieved 2 August 2010. [71] "Neil Gaiman's Journal: listening to unresolving" (http:/ / journal. neilgaiman. com/ 2004/ 11/ listening-to-unresolving. asp). Journal.neilgaiman.com. 30 November 2004. . Retrieved 2 August 2010. [72] "Neil Gaiman's Journal: Blueberry Girls" (http:/ / journal. neilgaiman. com/ 2007/ 07/ blueberry-girls. html). Journal.neilgaiman.com. 7 July 2007. . Retrieved 2 August 2010. [73] "News from Green Man Press " Blog Archive " Blueberry Wanderings" (http:/ / greenmanpress. com/ news/ archives/ 185). Green Man Press. 6 July 2007. . Retrieved 2 August 2010. [74] "Neil Gaiman's Journal: Chapter Six in San Francisco yesterday" (http:/ / journal. neilgaiman. com/ 2008/ 10/ chapter-six-in-san-francisco-yesterday. html). Journal.neilgaiman.com. 6 October 2008. . Retrieved 2 August 2010.

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[75] Reed, S. Alexander. "Through Every Mirror in the World: Lacan's Mirror Stage as Mutual Reference in the Works of Neil Gaiman and Tori Amos." (http:/ / www. english. ufl. edu/ imagetext/ archives/ v4_1/ reed/ ) ImageTexT 4.1. [76] See Judge Shabaz's ruling (http:/ / vlex. com/ vid/ 20111002) for the legal reasoning: "As a co-owner, McFarlane was not violating the Copyright Act by unilaterally publishing the jointly owned work, but, as in any other case of conversion or misappropriation, he would have to account to the other joint owner for the latter's share of the profits." [77] Listen to the "Oral Argument," List of Documents in case: 03-1331 : Gaiman, Neil v. McFarlane, Todd (http:/ / www. ca7. uscourts. gov/ fdocs/ docs. fwx?caseno=03-1331& submit=showdkt& yr=03& num=1331. PD). Retrieved 22 September 2008. [78] See also the official decision by Judge John Shabaz in The United States Court of Appeals For the Seventh Circuit Nos. 031331, 031461 (http:/ / vlex. com/ vid/ 20111002). Retrieved 22 September 2008. [79] See Khoury, George, Image Comics: The Road To Independence (TwoMorrows Publishing, 2007), ISBN 1-893905-71-3 [80] See Judge Shabaz's ruling (http:/ / vlex. com/ vid/ 20111002): "A tentative agreement was reached that... Gaiman would exchange his rights in Medieval Spawn and Cogliostro for McFarlane's rights in another comic book character, Miracleman." [81] Judge Shabaz, Official ruling (http:/ / vlex. com/ vid/ 20111002), as per "Schiller & Schmidt, Inc. v. Nordisco Corp., 969 F.2d 410, 413 (7th Cir. 1992)" [82] Yarbrough, Beau (3 October 2002). "Gaiman in Stunning Victory over McFarlane in Spawn Case: Jury Finds for Gaiman on All Counts" (http:/ / www. comicbookresources. com/ ?page=article& id=1513). Comic Book Resources. . Retrieved 22 September 2008. [83] See Judge Shabaz's ruling (http:/ / vlex. com/ vid/ 20111002) for similar statements on Angela and Medieval Spawn. [84] Weiland, Jonah (27 June 2003). "Marvel's "1602" Press Conference" (http:/ / www. comicbookresources. com/ ?page=article& id=2308). Comic Book Resources. . Retrieved 22 September 2008. [85] Phegley, Kiel (24 July 2009). "CCI: Marvel Acquires Marvelman" (http:/ / www. comicbookresources. com/ ?page=article& id=22206). Comic Book Resources. . Retrieved 24 July 2009. [86] Treleven, Ed (25 May 2010). "Gaiman takes on McFarlane in Wis. federal court comic book clash" (http:/ / host. madison. com/ wsj/ news/ local/ crime_and_courts/ article_03bae1b4-684e-11df-84dd-001cc4c03286. html). Wisconsin State Journal. . Retrieved 26 May 2010. [87] Melrose, Kevin (21 July 2010). "Judge rules Dark Ages Spawn, Domina and Tiffany are derivative characters" (http:/ / robot6. comicbookresources. com/ 2010/ 07/ judge-rules-dark-ages-spawn-domina-and-tiffany-are-derivative-characters/ ). Robot 6. Comic Book Resources. . Retrieved 31 July 2010. [88] "Neil Gaiman Talks Sandman, CBLDF on NPR" (http:/ / www. cbldf. org/ articles/ archives/ 000152. shtml). 19 September 2003. . Retrieved 22 September 2008. [89] "Guide Page: "Interludes and Examinations"" (http:/ / www. midwinter. com/ lurk/ guide/ 059. html#NO). The Lurker's Guide to Babylon 5. 13 July 2004. . Retrieved 28 December 2009. [90] "Typo Blood" (http:/ / www. newsfromme. com/ archives/ 2008_02_14. html#014825). Newsfromme.com. . Retrieved 2011-07-26. [91] Kaveney, Roz (19 November 2010). "Antimatter? Not such a big deal." (http:/ / www. guardian. co. uk/ commentisfree/ 2010/ nov/ 19/ antimatter-not-such-big-deal). London: The Guardian. . Retrieved 21 November 2010. [92] See particularly Rodney Sharkey, James Fleming, and Zuleyha Cetiner-Oktem's articles in ImageTexT's special issue on Gaiman's work: (http:/ / www. english. ufl. edu/ imagetext/ archives/ v4_1/ #Articles). [93] Collins, Meredith. "Fairy and Faerie: Uses of the Victorian in Neil Gaiman's and Charles Vess's Stardust." ImageTexT 4.1. (http:/ / www. english. ufl. edu/ imagetext/ archives/ v4_1/ collins/ ) [94] Smith, Clay. "Get Gaiman?: PolyMorpheus Perversity in Works by and about Neil Gaiman." ImageTexT 4.1. (http:/ / www. english. ufl. edu/ imagetext/ archives/ v4_1/ smith/ ) [95] "A Special Issue on the Works of Neil Gaiman, Introduction" (http:/ / www. english. ufl. edu/ imagetext/ archives/ v4_1/ introduction. shtml). English.ufl.edu. . Retrieved 2011-07-26. [96] Rudd, David "An Eye for an 'I': Neil Gaimans Coraline and the Question of Identity" Childrens Literature and Education 39(3), 2008, pp. 159168 (http:/ / digitalcommons. bolton. ac. uk/ emcs_journals/ 1/ ) [97] See Stephen Rauch, Neil Gaiman's The Sandman and Joseph Campbell: In Search of the Modern Myth, Wildside Press, 2003 [98] Ogline, Tim E.. "The Wild River Review, "Interview with the Dream King"" (http:/ / www. wildriverreview. com/ worldvoices-neilgaiman. php). Wildriverreview.com. . Retrieved 2011-07-26. [99] Gaiman's LDF award (http:/ / www. neilgaiman. com/ p/ Cool_Stuff/ Essays/ Essays_About_Neil/ Neil_Gaiman_and_Comics. ) [100] "1991 Award Winners & Nominees" (http:/ / www. worldswithoutend. com/ books_year_index. asp?year=1991). Worlds Without End. . Retrieved 27 June 2009. [101] "1999 Award Winners & Nominees" (http:/ / www. worldswithoutend. com/ books_year_index. asp?year=1999). Worlds Without End. . Retrieved 27 June 2009. [102] "Mythypoeic Awards Winners" (http:/ / www. mythsoc. org/ awards/ winners/ ). Mythopoeic Society. . Retrieved 12 November 2008. [103] "The Locus Index to SF Awards: 2000 Hugo Awards" (http:/ / www. locusmag. com/ SFAwards/ Db/ Hugo2000. html). Locusmag.com. 2 September 2000. . Retrieved 2 August 2010. [104] "The Locus Index to SF Awards:2000 Bram Stoker Awards" (http:/ / www. locusmag. com/ SFAwards/ Db/ Stoker2000. html). Locusmag.com. . Retrieved 2 August 2010. [105] "2002 Award Winners & Nominees" (http:/ / www. worldswithoutend. com/ books_year_index. asp?year=2002). Worlds Without End. . Retrieved 27 June 2009.

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Neil Gaiman
[106] Locus Magazine (2002). "Locus Award Winners by Category" (http:/ / www. locusmag. com/ SFAwards/ Db/ LocusWinsByCategory. html). Locus Magazine. . Retrieved 14 August 2008. [107] Locus Magazine (2003). "Locus Award Winners by Category" (http:/ / www. locusmag. com/ SFAwards/ Db/ LocusWinsByCategory. html). Locus Magazine. . Retrieved 14 August 2008. [108] "The Locus Index to SF Awards: 2003 Bram Stoker Awards" (http:/ / www. locusmag. com/ SFAwards/ Db/ Stoker2003. html). Locusmag.com. 7 June 2003. . Retrieved 2 August 2010. [109] Weiland, Jonah. "SANDMAN: SEASON OF MISTS' WINS AT ANGOULEME" (http:/ / www. comicbookresources. com/ ?page=article& id=3080). Comic Book Resources. . Retrieved 29 August 2011. [110] von Busack, Richard (8 March 2006). "Sunnyvale" (http:/ / www. metroactive. com/ metro/ 03. 08. 06/ sunnyvale-0610. html). Metroactive. . Retrieved 10 September 2009. [111] Tyler, Joshua (10 January 2006). "Shatner Gets His Own Award" (http:/ / www. cinemablend. com/ new/ Shatner-Gets-His-Own-Award-2037. html). Cinema Blend. . Retrieved 10 September 2009. [112] Quills Foundation (2005). "The Quill Awards: The 2005 Awards" (http:/ / web. archive. org/ web/ 20071228234826/ http:/ / www. thequills. org/ 2005. html). TheQuills.Org. Archived from the original (http:/ / www. thequills. org/ 2005. html) on 28 December 2007. . Retrieved 12 February 2008. [113] "2006 Award Winners & Nominees" (http:/ / www. worldswithoutend. com/ books_year_index. asp?year=2006). Worlds Without End. . Retrieved 27 June 2009. [114] "Hugo words" (http:/ / www. neilgaiman. com/ journal/ 2006/ 08/ hugo-words. html). Neil Gaiman's homepage. 27 August 2006. . Retrieved 17 April 2007. [115] "The Bob Clampett Humanitarian Award" (http:/ / www. comic-con. org/ cci/ cci_clampett. shtml). Comic-con.org. 2011-07-22. . Retrieved 2011-07-26. [116] "Gaiman's blog, 26 January 2009" (http:/ / journal. neilgaiman. com/ 2009/ 01/ insert-amazed-and-delighted-swearing. html). Journal.neilgaiman.com. 2009-01-26. . Retrieved 2011-07-26. [117] "Finally not a bridesmaid actually" (http:/ / journal. neilgaiman. com/ 2009/ 05/ finally-not-bridesmaid-actually. html). . [118] "British Fantasy Awards 2009: the Shortlist!" (http:/ / www. britishfantasysociety. org. uk/ index. php?option=com_content& view=articl e& id=194& Itemid=35). Britishfantasysociety.org.uk. 1 August 2009. . Retrieved 2 August 2010. [119] "The Hugo Awards: 2009 Hugo Award Winners" (http:/ / www. thehugoawards. org/ 2009/ 08/ 2009-hugo-award-winners/ ). 9/8/09. . Retrieved 10 August 2009. [120] "Neil Gaiman gewinnt den Hugo Award" (http:/ / derstandard. at/ fs/ 1250003492265/ Preise-Neil-Gaiman-gewinnt-den-Hugo-Award) (in German). Der Standard. 14 August 2009. . Retrieved 9 September 2009. [121] "Neil Gaiman named Honorary Chair of National Library Week" (http:/ / www. ala. org/ ala/ newspresscenter/ news/ pressreleases2009/ october2009/ nlwgaiman_pio. cfm). 12 October 2009. . Retrieved 15 April 2010. [122] "Neil Gaiman wins children's book prize" (http:/ / news. bbc. co. uk/ 1/ hi/ entertainment_and_arts/ 10404624. stm). BBC News. 25 June 2010. . Retrieved 25 June 2010. [123] "The CILIP Carnegie & Kate Greenaway Children's Book Awards" (http:/ / www. carnegiegreenaway. org. uk/ 2010awards/ ). 25 June 2010. . Retrieved 25 June 2010. [124] "2010 Locus Awards Winners" (http:/ / www. locusmag. com/ News/ 2010/ 06/ 2010-locus-awards-winners/ ). .

559

References
Bender, Hy (1999). The Sandman Companion. New York: Vertigo DC Comics. ISBN1563896443. Neil Gaiman Bibliography (http://www.neilgaimanbibliography.com) Neil Gaiman (http://www.comics.org/search.lasso/?sort=chrono&query=Neil+Gaiman&type=credit) at the Grand Comics Database Neil Gaiman (http://comicbookdb.com/creator.php?ID=676) at the Comic Book DB Neil Gaiman (http://www.iblist.com/author23.htm) at the Internet Book List Neil Gaiman (http://www.imdb.com/name/nm0301274/) at the Internet Movie Database Neil Gaiman (http://www.isfdb.org/cgi-bin/ea.cgi?Neil_Gaiman) at the Internet Speculative Fiction Database

Neil Gaiman

560

External links
Neil Gaiman's personal website (http://neilgaiman.com/) Neil Gaiman's weblog (http://journal.neilgaiman.com/) Neil Gaiman (http://www.imdb.com/name/nm0301274/) at IMDB.com Neil Gaiman (http://www.dmoz.org/Arts/Literature/Genres/Fantasy/Authors/G/Gaiman,_Neil/) at the Open Directory Project Works by Neil Gaiman on Open Library at the Internet Archive New Yorker profile of Gaiman (http://www.newyorker.com/reporting/2010/01/25/100125fa_fact_goodyear) by Dana Goodyear, 25 January 2010. An Evening with Neil Gaiman @ Your Library (http://atyourlibrary.org/evening-neil-gaiman/) In-depth interview (http://www.prospectmagazine.co.uk/2010/06/neil-gaiman-the-prospect-interview/): Neil Gaiman in conversation with Tom Chatfield

The Sandman (Vertigo)

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The Sandman (Vertigo)


Sandman

Cover of The Sandman #1 (January 1989). Art by Dave McKean. Publication information Publisher Schedule Genre Publication date Number of issues Main character(s) Vertigo Monthly Dark fantasy January 1989 March 1996 75 Dream of the Endless Creative team Writer(s) Artist(s) Neil Gaiman Dave McKean Sam Kieth Mike Dringenberg Malcolm Jones III Kelley Jones Jill Thompson Marc Hempel Michael Zulli Charles Vess et al. Todd Klein Danny Vozzo Neil Gaiman Mike Dringenberg Sam Kieth

Letterer(s) Colorist(s) Creator(s)

The Sandman is a comic book series written by Neil Gaiman and published by DC Comics. Beginning with issue #47, it was placed under the imprint Vertigo. It chronicles the adventures of Dream (of the Endless), who rules over the world of dreams. It ran for 75 issues from January 1989 until March 1996. Gaiman's contract stipulated that the series would end when he left it. The Sandman was one of Vertigo's flagship titles, and is available as a series of ten trade paperbacks. It has also been reprinted in a recolored four-volume Absolute hardcover edition with slipcase. Critically acclaimed, The Sandman is one of the few graphic novels ever to be on the New York Times Best Seller list, along with Watchmen and The Dark Knight Returns. It was one of five graphic novels to make Entertainment Weekly's "100 best reads from 1983 to

The Sandman (Vertigo) 2008", ranking at 46.[1] Norman Mailer described the series as "a comic book for intellectuals."[2]

562

Publication history
The Sandman grew out of a proposal by Neil Gaiman to revive DC's 19741976 series The Sandman, illustrated by Jack Kirby and Ernie Chua and written by Joe Simon and Michael Fleisher. Gaiman had considered including characters from the "Dream Stream" (including the Kirby Sandman, Brute, Glob, and the brothers Cain and Abel) in a scene for the first issue of his 1988 miniseries Black Orchid. While the scene did not make it into later drafts because Roy Thomas was using the characters in Infinity, Inc., Gaiman soon began constructing a treatment for a new series. Gaiman mentioned his treatment in passing to DC editor Karen Berger. While months later Berger offered Gaiman a comic title to work on, he was unsure his Sandman pitch would be accepted. However, weeks later Berger asked Gaiman if he was interested in doing a Sandman series. Gaiman recalled, "I said, 'Um... yes. Yes, definitely. What's the catch?' [Berger said,] 'There's only one. We'd like a new Sandman. Keep the name. But the rest is up to you.'"[3] Gaiman crafted the new character from an initial image of "a man, young, pale and naked, imprisoned in a tiny cell, waiting until his captors passed away [...] deathly The Sandman was advertised as "a horror-edged fantasy set in the thin, with long dark hair, and strange eyes." Gaiman DC Universe" in most of DC's comics dated "Holiday 1988," an patterned the character's black attire on a print of a extra issue tying in with the Invasion! crossover, which was the last Japanese kimono as well as his own wardrobe. Gaiman to involve pre-Vertigo characters such as Swamp Thing, Black Orchid, Animal Man, Doom Patrol, and Shade, the Changing Man, wrote an eight-issue outline and gave it to Dave save for Worlds' End's loose connection to Zero Hour: Crisis in McKean and Leigh Baulch, who drew character Time. sketches. Berger reviewed the sketches (along with some drawn by Gaiman) and suggested Sam Kieth as the series' artist.[4] Mike Dringenberg, Todd Klein, Robbie Busch, and Dave McKean were hired as inker, letterer, colorist, and cover artist, respectively. McKean's approach towards comics covers was unconventional, for he convinced Berger that the series' protagonist did not need to appear on every cover.[5] The debut issue of The Sandman was on sale in October 1988 and cover-dated January 1989. Gaiman described the early issues as "awkward", for he, as well as Kieth, Dringenberg, and Busch, had never worked on a regular series before. Kieth quit after the fifth issue; he was replaced by Dringenberg as penciler, who was in turn replaced by Malcolm Jones III as inker.[4] The character then appeared in two of DC's "Suggested for Mature Readers" titles. In Swamp Thing #84, written by Rick Veitch, Dream and Eve allow Matthew Cable to live in the Dreaming, because he died there, resurrecting him as a raven. He then meets John Constantine in Hellblazer #19, written by Jamie Delano, leading into the latter's guest appearance in issue #3. Issue #4 revisited Hell as depicted by Alan Moore in Swamp Thing, beginning with a guest appearance by Kirby's Etrigan the Demon guarding the gates of Hell. The issue introduces Hell's Hierarchy (as their entry is titled in Who's

The Sandman (Vertigo) Who in the DC Universe), headed by Lucifer (who would spin off into his own series in 1999), Beelzebub (later adversary to Kid Eternity), and Azazel, whom Dream defeated later in the run. In issue #5, Dream visited the Justice League International. Although DC superheroes appeared in the series as late as issue #72, this would not be the norm. By issue #11, Gaiman began incorporating elements of the Kirby Sandman series, including the changes implemented by Thomas. Simon and Fleisher had treated the character, who resembled a superhero, as the "true" Sandman. Between Thomas[6] and Gaiman, the character's existence was revealed to be a sham created by two nightmares who had escaped to a pocket of the Dreaming, who would later attempt this again on Sanderson Hawkins, sidekick to Wesley Dodds, the Golden Age Sandman (who himself made several appearances in the Gaiman series).[7] Gaiman gave Jed Walker a surname and made him related to several new characters, and treated his relationship with Uncle Barnaby and Aunt Clarice as abusive rather than Cinderella-esque. The Thomas Sandman was Hector Hall, who married the already-pregnant Fury in the Dreaming in Infinity, Inc. #51. It was explained that Dr. Garrett Sanford, the original Brute/Glob Sandman, had gone insane from the loneliness of the Dream Dimension and taken his own life. Brute and Glob put the spirit of Hector Hall, which had been cast out of his own body by the Silver Scarab, into Sanford's body, and it eventually began to resemble Hall's.[8] Fury, in her civilian guise as Lyta Hall after these issues, was the only major superhero recurring character in the series. Even at that, her powers had come to her via the Fury Tisiphone,[9] and the Furies, under the euphemism, "the Kindly Ones" (a translation of "Eumenides", a name they earned during the events of Aeschylus's Oresteia trilogy), are major characters in the series. The series follows a tragic course in which Dream, having learned a great deal from his imprisonment, tries to correct the things he has done wrong in the past. Ultimately, this causes him to mercy kill his own son, which leads to his own death at the hands of the Furies. Dream, having found himself a replacement early on in Daniel Hall, dies in issue #69. The remaining issues deal with Dream's funeral, Hob Gadling choosing to remain immortal in spite of Dream's passing, and two stories from the past. The series wraps with the story of William Shakespeare creating his other commission for Dream, The Tempest, his last work not in collaboration with other writers. The Sandman became a cult success for DC Comics and attracted an audience unlike that of mainstream comics: half the readership was female, many were in their twenties, and many read no other comics at all. By the time the series concluded in 1996, it was outselling the titles of DC's flagship character Superman. Gaiman had a finite run in mind for the series, and it concluded with issue #75. Gaiman said in 1996, "Could I do another five issues of Sandman? Well, damn right. And would I be able to look at myself in the mirror happily? No. Is it time to stop because I've reached the end, yes, and I think I'd rather leave while I'm in love."[10] By 1994, the book was not quite retaining a monthly schedule, having not released issues dated January, May, or October 1994; February, April, June, or October 1995; or February 1996. The final issue was dated March 1996. More recently, Dream appeared in a flashback in Green Arrow vol. 3, #9, which takes place at a point during the 70 years of the first issue, as does Sandman Midnight Theatre, a 1995 Gaiman-penned prestige format one-shot in which Dream and Wesley Dodds meet in person some time before Dodds's The Mist storyline.

563

Summary
The Sandman's main character is Dream, the Lord of Dreams (also known, to various characters throughout the series, as Morpheus, Oneiros, the Shaper, the Shaper of Form, Lord of the Dreaming, the Dream King, Dream-Sneak, Dream Cat, Murphy, Kai'ckul, and Lord L'Zoril), who is essentially the anthropomorphic personification of dreams. At the start of the series, Morpheus is captured by an occult ritual and held prisoner for 70 years. Morpheus escapes in the modern day and, after avenging himself upon his captors, sets about rebuilding his kingdom, which has fallen into disrepair in his absence. Gaiman himself has summarized the plot of the series (in the foreword to Endless Nights) as "The Lord of Dreams learns that one must change or die, and makes his decision."

The Sandman (Vertigo) The character's initial haughty and often cruel manner begins to soften after his years of imprisonment at the start of the series, but the challenge of undoing past sins and changing old ways is an enormous one for a being who has been set in his ways for billions of years. In its beginnings, the series is a very dark horror comic. Later, the series evolves into an elaborate fantasy series, incorporating elements of classical and contemporary mythology, ultimately placing its protagonist in the role of a tragic hero. The storylines primarily take place in the Dreaming, Morpheus's realm, and the waking world, with occasional visits to other domains, such as Hell, Faerie, Asgard, and the domains of the other Endless. Many use the contemporary United States of America and the United Kingdom as a backdrop. The DC Universe was the official setting of the series, but well-known DC characters and places were rarely featured after 1990. A notable exception is Lyta Hall, formerly Fury of the 1980s super-team Infinity, Inc., who figures prominently in the "Kindly Ones" story arc, and her superhuman abilities are not ignored. Most of the storylines take place in modern times, but many short stories are set in the past, taking advantage of the immortal nature of many of the characters, and deal with historical individuals and events such as in the short story "Men of Good Fortune."

564

Collected editions
The Sandman was initially published as a monthly serial, in 32-page comic books (with some exceptions to this pattern). As the series quickly increased in popularity, DC Comics began to reprint them in hardcover and trade paperback editions, each representing either a complete novel or a collection of related short stories. DC first published "The Doll's House" storyline in a collection called simply The Sandman. Shortly thereafter, the first three volumes were published and named independently and also collected in an eponymous boxed set. (Death's debut story, "The Sound of Her Wings" from issue #8, appeared both at the beginning of early editions of The Doll's House and at the end of Preludes and Nocturnes, creating overlap between the first two volumes. This overlap is not present in newer editions.) Further collections would then be released shortly after their completion in serial form.

The Sandman library


A total of ten collections contain the full run of the series and have all been kept in print. They are as follows: Preludes and Nocturnes (collecting The Sandman #1-8, 19881989, ISBN 1-56389-011-9): Dream is imprisoned for decades by an occultist seeking immortality. Upon escaping, he must reclaim his objects of power while still in a weakened state, confronting an addict to his dream powder, the legions of Hell, and an all-powerful madman (Doctor Destiny) in the process. Guest starring several DC Comics characters including John Constantine, Scott Free, J'onn J'onzz, Scarecrow, Etrigan the Demon, and the original Sandman. It also features the introduction of Lucifer, with cameos by Batman and Martian Manhunter). The Doll's House (collecting The Sandman #9-16, 19891990, ISBN 0-930289-59-5): Morpheus tracks down rogue dreams that escaped the Dreaming during his absence. In the process, he must shatter the illusions of a family living in dreams, disband a convention of serial killers, and deal with a "dream vortex" that threatens the existence of the entire Dreaming. Features Hector Hall as the Bronze Age Sandman. Dream Country (collecting The Sandman #17-20, 1990, ISBN 1-56389-016-X): This volume contains four independent stories. The imprisoned muse Calliope is forced to provide story ideas, a cat seeks to change the world with dreams, Shakespeare puts on a play for an unearthly audience, and a shape-shifting immortal (obscure DC Comics character Element Girl) longs for death. Season of Mists (collecting The Sandman #21-28, 19901991, ISBN 1-56389-041-0): Dream travels to Hell to free a former lover, Nada, whom he condemned to torment thousands of years ago. There, Dream learns that Lucifer has abandoned his domain. When Lucifer gives Hell's key (and therefore, the ownership of Hell) to the Sandman, Morpheus himself becomes trapped in a tangled network of threats, promises, and lies, as gods and demons from various pantheons seek ownership of Hell. Wesley Dodds and Hawkman (Carter Hall) appear in one

The Sandman (Vertigo) panel. A Game of You (collecting The Sandman #32-37, 19911992, ISBN 1-56389-089-5): Barbie, a New York divorce (introduced in The Doll's House), travels to the magical realm that she once inhabited in her dreams, only to find that it is being threatened by the forces of the Cuckoo. This series introduces the character of Thessaly, who will play a key role in Morpheus' eventual fate. Fables and Reflections (collecting The Sandman #29-31, 38-40, 50; Sandman Special #1; and Vertigo Preview #1, 19911993, ISBN 1-56389-105-0): A collection of short stories set throughout Morpheus' history, most of them originally published directly before or directly after the "Game of You" story arc. Four issues dealing with kings and rulers, were originally published under the label Distant Mirrors, while three others, detailing the meetings of various characters, were published as the "Convergences" arc. Fables and Reflections also includes the Sandman Special, originally published as a stand-alone issue, which assimilates the myth of Orpheus into the Sandman mythos, as well as a very short Sandman story from the Vertigo Preview promotional comic. Brief Lives (collecting The Sandman #41-49, 19921993, ISBN 1-85286-577-6): Dream's erratic younger sister Delirium convinces him to help her search for their missing brother, the former Endless Destruction, who left his place among the "family" three hundred years before. However, their quest is marred by the death of all around them, and eventually Morpheus must turn to his son Orpheus to find the truth, and undo an ancient sin. Worlds' End (collecting The Sandman #51-56, 1993, ISBN 1-41768-617-0): A "reality storm" (see Zero Hour: Crisis in Time) strands travelers from across the cosmos at the "Worlds' End Inn". To pass the time, they exchange stories. Guest-starring Prez and Wildcat. The Kindly Ones (collecting The Sandman #57-69 and Vertigo Jam #1, 19931995, ISBN 1-56389-204-9): In the longest Sandman story, Morpheus becomes the prey of the Furies, avenging spirits who torment those who spill family blood. The Wake (collecting The Sandman #70-75, 19951996, ISBN 1-56389-287-1): The conclusion of the series, wrapping up the remaining loose ends in a three-issue "wake" sequence, followed by three self-contained stories. Features a guest appearance by Wesley Dodds, and cameos by Batman, J'onn J'onnz, Clark Kent, Darkseid, Phantom Stranger, Doctor Occult, John Constantine, and Black Spider.

565

Absolute Editions
Neil Gaiman, on his blog, announced plans for an Absolute Sandman [11] that would compile all 10 volumes. The DC Comics Absolute Edition series are large 8" by 12" prints of a considerably higher quality than the library edition, and include a leather-like cover and a slipcase. Many of the early stories have been extensively retouched and/or recoloured with Gaiman's approval. The Absolute Sandman, Vol. 1 (collecting The Sandman #1-20), November 2006, ISBN 1-4012-1082-1 The Absolute Sandman, Vol. 2 (collecting The Sandman #21-39), October 2007, ISBN 1-4012-1083-X The Absolute Sandman, Vol. 3 (collecting The Sandman #40-56, along with "Fear of Falling" from the Vertigo Preview, and "The Song of Orpheus" from the Sandman Special), June 2008, ISBN 1-4012-1084-8 The Absolute Sandman, Vol. 4 (collecting The Sandman #57-75), November 2008, ISBN 1-4012-1085-6

The Absolute Sandman, Vol. 1 slip cover.

The Sandman (Vertigo) In November 2006, the first volume of The Absolute Sandman was published. It collected the first 20 issues (that is, Preludes and Nocturnes, The Doll's House, and Dream Country). The volume also features a copy of the original series outline and other bonus features, such as a new introduction by the president of DC Comics, a new afterword, and a reproduction of the original comic draft and notes for "A Midsummer Night's Dream".[12] In celebration of this reissuing, DC also issued a refurbished edition of the first issue of the series. Volume 2 of The Absolute Sandman was officially released October 31, 2007.[13] The third volume was released on June 11, 2008;[14] and the fourth (and final) volume was released November 5, 2008.[15] With the success of the Absolute Sandman editions, DC has scheduled The Absolute Sandman, Vol. 5, collecting Endless Nights, both the prose and cartoon versions of The Dream Hunters, and the Gaiman/Matt Wagner/Teddy Kristiansen collaboration Sandman Midnight Theatre.[16]

566

Additions and coda


In 1998, the cover images from The Sandman were released as one compiled volume titled Dustcovers: The Collected Sandman Covers. Dave McKean's covers use techniques such as painting, sculpture, photography, drawing, and computer manipulation. In 1999, some years after Gaiman completed The Sandman, he wrote a lavishly illustrated Sandman novel, Sandman: The Dream Hunters with art by Yoshitaka Amano. Like many of the single-issue stories throughout The Sandman, Morpheus appears in Dream Hunters, but is a supporting character at best. In Gaiman's afterword to the book, it is claimed that the story was a retelling of an existing Japanese legend. However, there is no trace of it in the primary source he cites,[17] and when asked, Gaiman has stated that he made up the "legend" out of whole cloth. The novel was later adapted into a 4-issue miniseries by P. Craig Russell. As the 10th anniversary arrived, Gaiman wrote several new stories about Morpheus and his siblings, one story for each, which were published in 2003 as the Endless Nights anthology.

Spinoffs
Due to critical acclaim and commercial success (at the time of its conclusion, it was DCs best-selling series), The Sandman spawned a number of spin-off volumes. Subsidiary works include: Death: The High Cost of Living (1993): A three-issue, Gaiman-penned limited series starring Morpheus older sister Death. Takes place roughly nine months after A Game of You.[18] Sandman Mystery Theatre (19931999): A 70-issue series written by Matt Wagner and Steven T. Seagle featuring the Golden Age Sandman Wesley Dodds in a film-noir like setting. The character, who appeared three times in Gaiman's series, was revived due to the popularity of Gaiman's series. The two Sandmen met in Sandman Midnight Theatre (1995), and Dream made a few cameos in Mystery Theatre. The Children's Crusade (19931994): A seven-part Vertigo crossover starring Charles Rowland and Edwin Paine, the Dead Boy Detectives, which ran through the annuals of the then-Vertigo titles Black Orchid, Animal Man, Swamp Thing, Doom Patrol, and Arcana: The Books of Magic. Sandman Midnight Theatre (1995): Wesley Dodds, the Golden Age Sandman, meets Lord Morpheus of the Endless, the Modern Age Sandman. It was published between issues #71 and #72 (but took place during the span of issue #1), the latter of which showed Dodds out of costume. Death: The Time of Your Life (1996): Another three-issue, Gaiman-penned Death limited series, also featuring supporting characters from A Game of You. This one takes place after the end of the series. The Sandman: Book of Dreams (1996): An original anthology of prose short stories co-edited with Ed Kramer, featuring the world of The Sandman in some way. It contains work from some notable contributors, among them Caitlin R. Kiernan, Tad Williams, Gene Wolfe, Tori Amos, and Colin Greenland. Publisher DC Comics imposed restrictive copyright terms on contributing authors, causing a few to withdraw their stories.

The Sandman (Vertigo) Mythos: The Final Tour (1996): A three-issue mini-series featuring Pain, written by John Ney Rieber and illustrated by Gary Amaro and Peter Gross, Peter Snejbjerg, and Teddy Kristiansen. The Dreaming (19962001): A monthly series set in Morpheuss realm, but revolving around the supporting characters with little interaction from the Endless and focused largely on Cain and Abel, who have been DC stalwarts since the late 1960s. It was written and illustrated by a variety of writers and artists; Caitlin R. Kiernan wrote the largest number of scripts for the series. Vertigo: Winter's Edge (19971999): An annual one-shot issue featuring short stories from multiple Vertigo series, including short stories featuring Desire (twice) and Death by Gaiman with Bolton, Jones, and Zulli respectively. The Sandman Presents (19992004): A collection of limited series by various authors and illustrators featuring secondary characters from The Sandman. Lucifer (1999, 3 issues) Love Street (1999, 3 issues, featuring John Constantine) Petrefax (2000, 4 issues) Merv Pumpkinhead, Agent of Dream (2000, 1 issue) Everything You Always Wanted to Know About Dreams...But Were Afraid to Ask (2001, 1 issue) Dead Boy Detectives (2001, 4 issues)

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The Corinthian (20012002, 3 issues) The Thessaliad (2002, 4 issues) The Furies (2002, 2 issues) Bast (2003, 3 issues) Thessaly: Witch for Hire (2004, 4 issues) Marquee Moon (written in 1997, published online[19] in 2007) Taller Tales (2003): A reprint trade paperback collecting most of Bill Willingham's Sandman work including Merv Pumpkinhead, The Thessaliad, and his contribution to Everything You Always Wanted to Know About Dreams.... Destiny: A Chronicle of Deaths Foretold (1997) by Alisa Kwitney and Kent Williams. The Sandman: The Dream Hunters (1999): A prose novella that incorporates a so-called Japanese folk tale into the Sandman mythos, written by Gaiman and featuring illustrations by Yoshitaka Amano. It is not actually based on any existing Japanese folklore, but rather incorporates elements of Chinese and Japanese folklore and mythology into a new "myth". It was nominated for the Hugo Award for Best Related Book in 2000. Neil Gaiman announced at Comic-Con 2007 that P. Craig Russell will adapt the story into comics form.[20] The Sandman Companion by Hy Bender (2000): A non-fiction work providing extra information about the series. Its first section discusses the ten Sandman collections sequentially, analyzing their meaning, explaining some of Gaiman's myriad references and sometimes providing information on the writing of the comics. It also features a lengthy interview about the series with Gaiman himself. The Little Endless Storybook (2001): A one-shot comic/story book which depicts the Endless as toddlers and follows Delirium's dog Barnabas as he attempts to find the missing Delirium, written and illustrated by Jill Thompson. Lucifer (20012006): A monthly series written by Mike Carey continuing the story of Lucifer following the events of the series. Evolved into a highly successful series paralleling the 75-issue structure of The Sandman. The Sandman: Endless Nights (2003): A graphic novel with one story for each of the Endless. They are set throughout history, but two take place after the final events of the monthly series. It was written by Gaiman and featured a different illustrator for each story. This collection is notable as it is the first hardcover graphic novel ever to appear on the New York Times Hardcover Best Seller list.

Death: At Deaths Door (2003): A manga-style graphic novel, written and illustrated by Jill Thompson, showcasing Deaths activities during Season of Mists.

The Sandman (Vertigo) The Dead Boy Detectives (2005): A sequel to Death: At Death's Door, also by Jill Thompson, featuring the two young ghosts from Season of Mists. (The title was previously used for a The Sandman Presents limited series about the same characters by Ed Brubaker.) The Brave and the Bold: The Lords of Luck and The Brave and the Bold: The Book of Destiny (20072008): Written by Mark Waid, various DC superheroes try to recapture Destiny's book. Destiny himself makes only minor appearances in the stories (specifically, in issues #4 and #12); although, obviously, he is (behind the scenes) the driving force of the stories. The Lords of Luck collects the first six issues of the series, and The Book of Destiny collects issues #7-12. The Sandman: The Dream Hunters (20082009): A series of 4 comics based on the novel of the same name. Adapted by P. Craig Russell. House of Mystery (2008present)

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Critical reception
The Sandman #19, "A Midsummer Night's Dream", won the World Fantasy Award in 1991 for Best Short Fiction.[21] Also, The Sandman and its spin-offs have won 26 Eisner Awards,[22] including three for Best Continuing Series, one for Best Short Story, four for Best Writer (Neil Gaiman), seven for Best Lettering (Todd Klein), and two for Best Penciller/Inker (one each for Charles Vess and P. Craig Russell). The Sandman: The Dream Hunters was nominated for the Hugo Award for Best Related Book in 2000.[23] Both Endless Nights and The Dream Hunters won the Bram Stoker Award for Best Illustrated Narrative in 2004 and 2000, respectively.[24] Also in 2004, Season of Mists won the Angoulme International Comics Festival Prize for Scenario.[25] IGN declared The Sandman as the best ever Vertigo comic.[26]

Adaptations into other media


Film
Throughout the late 1990s, a movie adaptation of the comic was periodically planned by Warner Bros., parent company of DC Comics. Roger Avary was originally attached to direct after the success of Pulp Fiction, collaborating with Pirates of the Caribbean screenwriters Ted Elliott and Terry Rossio in 1996 on a revision of their first script draft, which merged the "Preludes and Nocturnes" storyline with that of "The Doll's House". Avary intended the film to be in part visually inspired by animator Jan vankmajer's work. Avary was fired after disagreements over the creative direction with executive producer Jon Peters, best known for Batman and Superman Lives. It was due to their meeting on the Sandman movie project that Avary and Gaiman collaborated one year later on the script for Beowulf. The project carried on through several more writers and scripts. A later draft by William Farmer, reviewed on the internet at Ain't It Cool News,[27] was met with scorn from fans. Gaiman called the last screenplay that Warner Bros. would send him "not only the worst Sandman script I've ever seen, but quite easily the worst script I've ever read."[28] Gaiman has also said that his dissatisfaction with how his characters were being treated had dissuaded him from writing any more stories involving the Endless, although he has since written Endless Nights. By 2001, the project had become stranded in development hell. In a Q&A panel at Comic-Con 2007, Gaiman remarked, "I'd rather see no Sandman movie made than a bad Sandman movie. But I feel like the time for a Sandman movie is coming soon. We need someone who has the same obsession with the source material as Peter Jackson had with Lord of the Rings or Sam Raimi had with Spider-Man."[29]

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Television
Due to the prolonged development period of the film, in 2010 DC Entertainment shifted focus onto developing a television series adaptation. Film director James Mangold pitched a series concept to cable channel HBO, whilst consulting with Gaiman himself on an unofficial basis, but this proved to be unsuccessful. It was reported in September 2010 that Warner Bros. Television were licencing the rights to produce a TV series, and that Supernatural creator Eric Kripke was their preferred candidate to adapt the saga.[30]

References
[1] "The New Classics: Books" (http:/ / www. ew. com/ ew/ article/ 0,,20207349,00. html). Entertainment Weekly. June 18, 2007. . Retrieved 2011-04-20. [2] Anderson, Porter (July 30, 2001). "Neil Gaiman: 'I enjoy not being famous'" (http:/ / archives. cnn. com/ 2001/ CAREER/ jobenvy/ 07/ 29/ neil. gaiman. focus/ ). CNN.com. . Retrieved 2007-10-09. [3] Gaiman, Neil(w)."The Origin of the Comic You Are Now Holding (What It Is and How It Came to Be" The Sandman4 (April 1989), DC Comics [4] Gaiman, Neil (1995). "Afterword". The Sandman: Preludes and Nocturnes. DC Comics. ISBN1-56389-011-9. [5] Berger, Karen (1995). "Introduction". The Sandman: Preludes and Nocturnes. DC Comics. ISBN1-56389-011-9. [6] Wonder Woman #300 (February 1983); Infinity, Inc. #49-51 (AprilJune 1988) [7] JSA #63-64 (SeptemberOctober 2004) by Geoff Johns [8] Infinity, Inc. #50 (May 1988) [9] Secret Origins vol. 3, #12 (March 1987) Note that in Wonder Woman #300, prior to the Crisis on Infinite Earths, Fury was depicted as the daughter of the Wonder Woman and Steve Trevor of Earth-Two. [10] Hasted, Nick (September 5, 1996). "Bring Me a Dream". The Independent. [11] "Neil Gaiman's Journal: Absolute Sandman Request" (http:/ / www. neilgaiman. com/ journal/ 2006/ 02/ absolute-sandman-request. html). February 15, 2006. . Retrieved 2008-12-23. [12] "Neil's Work: The Absolute Sandman, Vol. 1" (http:/ / www. neilgaiman. com/ works/ Comics/ The+ Absolute+ Sandman,+ Vol. + 1/ ). . Retrieved 2008-12-23. [13] "The Absolute Sandman, Vol. 2" (http:/ / www. dccomics. com/ graphic_novels/ ?gn=7881). DC Comics.com. . [14] "The Absolute Sandman, Vol. 3" (http:/ / www. dccomics. com/ graphic_novels/ ?gn=9050). DC Comics.com. . [15] "The Absolute Sandman, Vol. 4" (http:/ / www. dccomics. com/ graphic_novels/ ?gn=10248). DC Comics.com. . [16] "The Absolute Sandman, Vol. 5" (http:/ / dccomics. com/ vertigo/ comics/ ?cm=18385). DC Comics.com. . [17] Ozaki, Yei Theodora. Japanese Fairy Tales (http:/ / books. google. com/ books?id=Spf8731Qb2cC). Plain Label Books. ISBN1603035087. . [18] Irvine, Alex (2008). "Death". In Dougall, Alastair. The Vertigo Encyclopedia. New York: Dorling Kindersley. pp.5456. ISBN0-7566-4122-5. OCLC213309015. [19] Handley, Rich. "The Sandman Presents: Marquee Moon" (http:/ / www. swampthingroots. com/ marquee. html). Roots of the Swamp Thing. . [20] Parkin, JK (July 28, 2007). "SDCC '07: The Neil Gaiman Panel" (http:/ / forum. newsarama. com/ showthread. php?t=123005). Newsarama. . Retrieved 2007-08-01. [21] "1991 World Fantasy Award Winners and Nominees" (http:/ / www. worldfantasy. org/ awards/ 1991. html). WorldFantasy.org. . Retrieved 2006-01-26. [22] "The Eisner Awards: Complete List of Past Winners" (http:/ / www. comic-con. org/ cci/ cci_eisners_pastwinners. php). Comic-Con. . Retrieved 2011-04-17. [23] "The Hugo Awards: 2000 Hugo Awards" (http:/ / www. thehugoawards. org/ hugo-history/ 2000-hugo-awards/ ). The Hugo Awards. . Retrieved 2011-04-17. [24] "Horror Writers Association: Past Stoker Award Nominees and Winners" (http:/ / www. horror. org/ stokerwinnom. htm). Horror Writers Association. . Retrieved 2011-04-17. [25] Gaiman, Neil. "Fred the Unlucky Black Cat" (http:/ / journal. neilgaiman. com/ 2004/ 01/ fred-unlucky-black-cat. asp). Neil Gaiman's Journal. . Retrieved 29 August 2011. [26] "The 25 Best Vertigo Books" (http:/ / comics. ign. com/ articles/ 677/ 677353p5. html). IGN. . Retrieved 2011-04-17. [27] "Moriarty takes a look at what Jon Peters has done with Neil Gaiman's 'Sandman' property" (http:/ / www. aintitcool. com/ node/ 2571). Ain't It Cool News. November 29, 1998. . [28] Wood, Gerard (September 9, 2010). "Neil Gaiman's The Sandman escapes development Hell?" (http:/ / sciencefictionworld. com/ tv/ fantasy-tv/ 575-neil-gaimans-the-sandman-escapes-development-hell. html). Science Fiction World. . Retrieved 2011-04-20. [29] Ellison, Laura (August 7, 2007). "Gaiman on 'Stardust', 'Beowulf' and 'Sandman'" (http:/ / www. comics2film. com/ index. php?a=story& b=28447). Mania.com. . Retrieved 2008-12-23.

The Sandman (Vertigo)


[30] Hibberd, James (November 30, 2010). "Comic icon 'The Sandman' TV series in works" (http:/ / www. hollywoodreporter. com/ blogs/ live-feed/ comic-icon-sandman-tv-series-54387). The Hollywood Reporter. . Retrieved 2011-04-20.

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Further reading
Parker, Sabadino (2007). Dream's Odyssey: A Jungian Analysis of Neil Gaiman's 'Sandman'. Hartford, Connecticut: Trinity College. Bender, Hy (2000). The Sandman Companion: A Dreamer's Guide to the Award-Winning Comic Series. DC Comics. ISBN1-56-389644-3. Rauch, Stephen (2003). Neil Gaiman's The Sandman and Joseph Campbell: In Search of the Modern Myth. Holicong, PA: Wildside Press. ISBN1-58715-789-6 (HC). ISBN 1-59224-212-X (TPB). Gaiman, Neil (2006). "Preface". In Sanders, Joe. The Sandman Papers: An Exploration of the Sandman Mythology. Seattle, WA: Fantagraphics. ISBN1-56097-748-5.

External links
The Sandman (http://comicbookdb.com/title.php?ID=376) at the Comic Book DB "The Sandman Summary" (http://www.neilgaiman.com/p/Cool Stuff/Essays/Essays About Neil/The Sandman Summary) Hosted on NeilGaiman.com The Annotated Sandman (http://www.arschkrebs.de/sandman/) Gaiman's thoughts on a Sandman movie (http://www.cinematical.com/2007/10/08/ neil-gaiman-wants-terry-gilliam-to-direct-sandman/) Re-reading The Sandman (http://www.tor.com/index.php?option=com_content&view=blog&id= 55348) Issue-by-issue commentary by Teresa Nielsen Hayden

Audio/Video
Video interview with Neil Gaiman on the origins of Sandman (http://www.spacecast.com/videoplayer_2892. aspx) at Spacecast.com Neil Gaiman and Chip Kidd: 20th Anniversary of Sandman (http://www.youtube.com/ watch?v=0ei9OQkQ2BU), 92nd Street Y, June 25, 2009

Jack Kirby

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Jack Kirby
Jack Kirby

Jack Kirby in 1982. Born Jacob Kurtzberg August 28, 1917 New York City, New York, United States February 6, 1994 (aged76) Thousand Oaks, California, United States American Writer, Penciller, Inker, Editor

Died

Nationality Area(s)

Pseudonym(s) Jack Curtiss Curt Davis [1] Lance Kirby Ted Grey Charles Nicholas Fred Sande Teddy Notable works Captain America The Fantastic Four The Incredible Hulk The Uncanny X-Men The Mighty Thor The Avengers Jimmy Olsen Mr. Miracle New Gods Kamandi Awards Alley Award Best Pencil Artist (1967), plus many awards for individual stories

Shazam Award Special Achievement by an Individual (1971)

Jack Kirby (August 28, 1917 February 6, 1994),[2] born Jacob Kurtzberg, was an American comic book artist, writer and editor. Growing up poor in New York City, Kurtzberg entered the nascent comics industry in the 1930s. He drew various comic strips under different pen names, ultimately settling on Jack Kirby. In 1941, Kirby and writer Joe Simon created the highly successful superhero character Captain America for Timely Comics, predecessor of Marvel Comics. During the 1940s, Kirby would create a number of comics for various publishers, often teaming with Simon.

Jack Kirby After serving in World War II, Kirby returned to comics and worked in a variety of genres. He contributed to a number of publishers, including Archie Comics and DC Comics, but ultimately found himself at Timely's 1950s iteration, Atlas Comics, later to be known as Marvel Comics. In the 1960s, Kirby co-created many of Marvel Comics' major characters, including the Fantastic Four, the X-Men, and the Hulk, along with writer-editor Stan Lee. Despite the high sales and critical acclaim of the Lee-Kirby titles, Kirby felt treated unfairly, and left the company in 1970 for rival DC Comics. While working for DC, Kirby created his Fourth World saga, which spanned several comics titles. While these and other titles proved commercially unsuccessful and were canceled, several of their characters and the Fourth World mythos have continued as a significant part of the DC Comics universe. Kirby returned to Marvel briefly in the mid-to-late 1970s, then ventured into television animation and independent comics. In his later years, Kirby, who has been likened to "the William Blake of comics",[3] received great recognition for his career accomplishments, and is regarded by historians and fans as one of the major innovators and most influential creators in the comic book medium. In 1987, Kirby, along with Carl Barks and Will Eisner, was one of the three inaugural inductees of the Will Eisner Comic Book Hall of Fame.

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Life and career


Early life (19171935)
Jack Kirby was born Jacob Kurtzberg on August 28, 1917, in New York City. His parents, Rose and Benjamin Kurtzberg, were Austrian Jewish immigrants, and his father earned a living as a garment factory worker.[4] Growing up on Suffolk Street, Kirby was often involved in street fights with other kids, later saying that "fighting became second nature. I began to like it." Through his youth, Kirby desired to escape his neighborhood. He liked to draw and sought out places he could learn more about art.[5] Essentially self-taught,[6] Kirby cited among his influences the comic strip artists Milton Caniff, Hal Foster, and Alex Raymond, as well as such editorial cartoonists as C. H. Sykes, "Ding" Darling, and Rollin Kirby.[6] He was rejected by the Educational Alliance because he drew "too fast with charcoal", according to Kirby. He later found an outlet for his skills by drawing cartoons for the newspaper of the Boys Brotherhood Republic, a "miniature city" on East 3rd Street where street kids ran their own government.[7] Kirby enrolled at the Pratt Institute in Brooklyn, at what he said was age 14, leaving after a week. "I wasn't the kind of student that Pratt was looking for. They wanted people who would work on something forever. I didn't want to work on any project forever. I intended to get things done".[8]

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Entry into comics (19361940)


Per his sometimes-unreliable memory, Kirby joined the Lincoln Newspaper Syndicate in 1936, working there on newspaper comic strips and on single-panel advice cartoons such as Your Health Comes First!!! (under the pseudonym "Jack Curtiss"). He remained until late 1939, then worked for the movie animation company Fleischer Studios as an inbetweener (an artist who fills in the action between major-movement frames) on Popeye cartoons. "I went from Lincoln to Fleischer," he recalled. "From Fleischer I had to get out in a hurry because I couldn't take that kind of thing," describing it as "a factory in a sense, like my father's factory. They were manufacturing pictures."[9] Around that time, the American comic book industry was booming. Kirby began writing and drawing for the comic-book packager Eisner & Iger, one of a handful of firms creating comics on demand for publishers. Through that company, Kirby did what he remembers as his first comic book work, for Wild Boy Magazine.[10] This included Captain America Comics #1 (March 1941). such strips as the science fiction adventure The Diary of Dr. Hayward Cover art by Kirby & Joe Simon. (under the pseudonym "Curt Davis"), the Western crimefighter strip Wilton of the West (as "Fred Sande"), the swashbuckler strip The Count of Monte Cristo (again as "Jack Curtiss"), and the humor strips Abdul Jones (as "Ted Grey)" and Socko the Seadog (as "Teddy"), all variously for Jumbo Comics and other Eisner-Iger clients.[11] He ultimately settled on the pen name Jack Kirby because it reminded him of actor James Cagney. However, he took offense to those who suggested he changed his name in order to hide his Jewish heritage.[12] In the summer of 1940, Kirby and his family moved to Brooklyn. There, Kirby met Rosalind "Roz" Goldstein, who lived in his family's apartment building. The pair began dating soon afterward.[13] Kirby proposed to Goldstein on her eighteenth birthday, and the two became engaged.[14]

Partnership with Joe Simon (19411942)


Kirby moved on to comic-book publisher and newspaper syndicator Fox Feature Syndicate, earning a then-reasonable $15 a week salary. He began exploring superhero narrative with the comic strip The Blue Beetle (JanuaryMarch 1940), starring a character created by the pseudonymous Charles Nicholas, a house name that Kirby retained for the three-month-long strip. During this time, Kirby met and began collaborating with cartoonist and Fox editor Joe Simon, who in addition to his staff work continued to freelance. Simon recalled in 1988, "I loved Jack's work and the first time I saw it I couldn't believe what I was seeing. He asked if we could do some freelance work together. I was delighted and I took him over to my little office. We worked from the second issue of Blue Bolt..."[15] After leaving Fox and landing at pulp magazine publisher Martin Goodman's Timely Comics (the future Marvel Comics), Simon and Kirby created the patriotic superhero Captain America in late 1940. Simon cut a deal with Goodman that gave him and Kirby 15 percent of the profits from the feature as well as salaried positions as the company's editor and art director, respectively. The first issue of Captain America Comics, released in early 1941, sold out in days, and the second issue's print run was set at over a million copies. The title's success established the team as a notable creative force in the industry.[16] After the first issue was published, Simon asked Kirby to join the Timely staff as the company's art director.[17] Despite the success of the Captain America character, Simon felt that Goodman was not paying the pair the promised percentage of profits, and so sought work for the two of them at National Comics (later named DC Comics).[18] Kirby and Simon negotiated a deal that would pay them a combined $500 a week, as opposed to the $75 and $85

Jack Kirby they respectively earned at Timely.[19] Fearing that Goodman would not pay them if he found out they were moving to National, the pair kept the deal a secret while they continued producing work for the company. Eventually the staff at Timely (most of whom were relatives of Goodman) found out, so Kirby and Simon left after they completed their work on Captain America Comics.[20] Kirby and Simon spent their first weeks at National trying to come up with characters while the company sought how best to utilize the pair.[21] After a few failed editor-assigned ghosting assignments, National's Jack Liebowitz told them to "just do what you want". The pair then revamped the Sandman feature in Adventure Comics and created the superhero Manhunter.[22] In July 1942 they began the Boy Commandos feature. The ongoing Boy Commandos series, launched later that same year, sold over a million copies a month, becoming National's third best-selling title.[23]

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Marriage and World War II (19431945)


Kirby married Roz Goldstein on May 23, 1942.[24] The same year that he married, he changed his name legally from Jacob Kurtzberg to Jack Kirby. With World War II underway, Liebowitz expected that Simon and Kirby would be drafted, so he asked the artists to create an inventory of material to be published in their absence. The pair hired writers, inkers, letterers, and colorists in order to create a year's worth of material.[23] Kirby was drafted into the U.S. Army on June 7, 1943.[25] After basic training at Camp Stewart, near Atlanta, Georgia, he was assigned to Company F of the 11th Infantry.[26] He landed on Omaha Beach in Normandy on August 23, 1944, two-and-a-half months after D-Day,[26] though Kirby's reminiscences would place his arrival just 10 days after.[25] Kirby recalled that a lieutenant, learning that comics artist Kirby was in his command, made him a scout who would advance into towns and draw reconnaissance maps and pictures, an extremely dangerous duty.[27] Kirby and his wife corresponded regularly by v-mail, with Roz sending "him a letter a day" while she worked in a lingerie shop and lived with her mother.[28] During the winter of 1944, Kirby suffered severe frostbite on his lower extremities and was taken to a hospital in London, England, for recovery. Doctors considered amputating Kirby's legs, but he eventually recovered from the frostbite.[29] He returned to the United States in January 1945, assigned to Camp Butner in North Carolina, where he spent the last six months of his service as part of the motor pool. Kirby was honorably discharged as a Private First Class on July 20, 1945, having received a Combat Infantryman Badge and a European/African/Middle Eastern Theater ribbon with a bronze battle star.[30] [31]

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Postwar career (19461955)


After returning from the army, Kirby's first daughter, Susan, was born on December 6, 1945. Simon arranged for work for Kirby and himself at Harvey Comics.[32] There through the early 1950s, Simon and Kirby created such titles as the kid-gang adventure Boy Explorers Comics, the kid-gang western Boys' Ranch, and the superhero comics Stuntman, and, in vogue with the fad for 3-D movies, Captain 3-D. The duo additionally freelanced for Hillman Periodicals (the crime fiction comic Real Clue Crime) and for Crestwood Publications (Justice Traps the Guilty).[11] Kirby and Simon found success in the postwar period by creating romance comics. Simon, inspired by Macfadden Publications' romantic-confession magazine True Story, transplanted the idea to comic books and with Kirby created a first-issue mock-up of Young Romance.[33] Showing it to Crestwood general manager Maurice Rosenfeld, Simon asked for 50% of the comic's profits. Crestwood Young Romance #1 (Oct. 1947). Cover art by publishers Teddy Epstein and Mike Bleier agreed,[33] stipulating that Kirby & Simon. [34] the creators would take no money up front. Young Romance #1 (Oct. 1947) "became Jack and Joe's biggest hit in years".[35] Indeed, the pioneering title sold a staggering 92% of its print run, inspiring Crestwood to increase the print run by the third issue to triple the initial number of copies.[36] Initially published bimonthly, Young Romance quickly became a monthly title and produced the spin-off Young Lovetogether the two titles sold two million copies per month, according to Simon[37] later joined by Young Brides and In Love, the latter "featuring full-length romance stories".[36] Young Romance spawned dozens of imitators from publishers such as Timely, Fawcett, Quality, and Fox Feature Syndicate.[35] Despite the glut, the Simon & Kirby romance titles continued to sell millions of copies a month, which allowed Kirby to buy a house for his family in Mineola, Long Island, New York.[35] Kirby's second child, Neal, was born in May 1948.[35] His third child, Barbara, was born in November 1952. In order to support his family, Kirby worked harder, assisted by the deal Simon arranged for the pair that gave them 50 percent of the profits for their work.[38] Bitter that Atlas Comics (formerly Timely) had relaunched Captain America in a new series, in 1954, Kirby and Simon created Fighting American; Simon recalled, "We thought we'd show them how to do Captain America".[39] While the comic book initially portrayed the protagonist as anti-Communist, in the aftermath of the Army-McCarthy hearings Simon and Kirby turned it into a satire.[40]

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After Simon (19561957)


At the urging of a Crestwood/Prize salesman, Kirby and Simon launched their own comics company, Mainline Publications.[40] [41] Mainline, which existed from 1954 to 1955, published four titles: Bullseye: Western Scout, Foxhole, In Love, and Police Trap.[42] After the duo rearranged and republished artwork from an old Crestwood story in In Love, Crestwood refused to pay Simon and Kirby.[43] After reviewing Crestwood's finances, the pair's attorney's stated that the company owed them $130,000 over the past seven years. Crestwood paid them $10,000 in addition to their recent delayed payments. However, the partnership between Kirby and Simon had become strained.[44] Simon left the industry for a career in advertising, while Kirby Sky Masters by Kirby & Wally Wood. continued to freelance. He was instrumental in the creation of Archie Comics' The Fly and The Double Life of Private Strong, reuniting briefly with Joe Simon. He also drew some issues of Classics Illustrated.[11] For DC Comics, then known as National Comics, Kirby co-created with writers Dick and Dave Wood the non-superpowered adventuring quartet, the Challengers of the Unknown, in Showcase #6 (Feb. 1957), while also contributing to such anthologies as House of Mystery.[11] During 30 months at DC, Kirby drew slightly more than 600 pages, which included 11 six-page Green Arrow stories in World's Finest Comics and Adventure Comics that, in a rarity, Kirby inked himself.[45] Kirby recast the archer as a science-fiction hero, moving him away from his Batman-formula roots, but in the process alienating Green Arrow co-creator Mort Weisinger.[46] He also began drawing a newspaper comic strip, Sky Masters of the Space Force, written by the Wood brothers and initially inked by the unrelated Wally Wood.[47] Kirby left National Comics due largely to a contractual dispute in which editor Jack Schiff, who had been involved in getting Kirby and the Wood brothers the Sky Masters contract, claimed he was due royalties from Kirby's share of the strip's profits. Schiff successfully sued Kirby.[48] Some DC editors also had criticized him over art details, such as not drawing "the shoelaces on a cavalryman's boots" and showing a Native American "mounting his horse from the wrong side."[49] Kirby returned to work with Stan Lee at Atlas Comics, the 1950s incarnation of Timely Comics and the direct predecessor of Marvel Comics. Inker Frank Giacoia had approached Lee for work, but when informed that Atlas artists inked their own pencils, suggested he could "get Kirby back here to pencil some stuff."[50] Kirby was still working on DC's Challengers of the Unknown, but also searching for work from other publishers, with little success. Continuing with DC on such titles as House of Mystery and House of Secrets, Kirby drew 20 stories for Atlas from 1956 to 1957 Beginning with the five-page "Mine Field" in Battleground #14 (Nov. 1956), Kirby penciled and in some cases also inked (with his wife, Roz) and-or wrote stories of the Western hero Black Rider, the Fu Manchu-like Yellow Claw, and more.[11] [51] But in 1957, distribution troubles caused the "Atlas implosion" that resulted in several series being dropped and no new material being assigned for many months. It would be the following year before Kirby returned to the nascent Marvel.

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Marvel Comics in the Silver Age (1958 1970)


Several months later, after his split with DC, Kirby began freelancing regularly for Atlas. Because of the poor page rates, Kirby would spend 12 to 14 hours daily at his drawing table at home, producing eight to ten pages of artwork a day.[52] His first published work at Atlas was the cover of and the seven-page story "I Discovered the Secret of the Flying Saucers" in Strange Worlds #1 (Dec. 1958). Initially with Christopher Rule as his regular inker, and later Dick Ayers, Kirby drew across all genres, from romance comics to war comics, crime stories to Westerns, but made his mark primarily with a series of supernatural-fantasy and science fiction stories featuring giant, drive-in movie-style monsters with names like Groot, the Thing from Planet X; Grottu, King of the Insects; and Fin Fang Foom for the company's many anthology series, such as Amazing Adventures, Strange Tales, Tales to Astonish, Tales of Suspense, and World of Fantasy.[11] His bizarre designs of powerful, unearthly creatures proved a hit with readers. With Marvel editor-in-chief Lee, Kirby began working on superhero One of comics' most iconic covers: The Avengers #4 (March 1964). Art by Kirby & George comics again, beginning with The Fantastic Four #1 (Nov. 1961).[11] Roussos. The landmark series became a hit that revolutionized the industry with its comparative naturalism and, eventually, a cosmic purview informed by Kirby's seemingly boundless imagination one well-matched with the consciousness-expanding youth culture of the 1960s. For almost a decade, Kirby provided Marvel's house style, co-creating with Stan Lee many of the Marvel characters and designing their visual motifs. At Lee's request, he often provided new-to-Marvel artists "breakdown" layouts, over which they would pencil in order to become acquainted with the Marvel look. As artist Gil Kane described: Jack was the single most influential figure in the turnaround in Marvel's fortunes from the time he rejoined the company ... It wasn't merely that Jack conceived most of the characters that are being done, but ... Jack's point of view and philosophy of drawing became the governing philosophy of the entire publishing company and, beyond the publishing company, of the entire field ... [Marvel took] Jack and use[d] him as a primer. They would get artists ... and they taught them the ABCs, which amounted to learning Jack Kirby. ... Jack was like the Holy Scripture and they simply had to follow him without deviation. That's what was told to me ... It was how they taught everyone to reconcile all those opposing attitudes to one single master point of view.[53] }} Highlights other than the Fantastic Four include: Thor, the Hulk, Iron Man, the original X-Men, the Silver Surfer, Doctor Doom, Galactus, Uatu the Watcher, Magneto, Ego the Living Planet, the Inhumans and their hidden city of Attilan, and the Black Panther comics' first known black superhero and his African nation of Wakanda. Simon and Kirby's Captain America was also incorporated into Marvel's continuity with Kirby approving Lee's idea of partially remaking the character as a man out of his time and regretting the death of his sidekick. In 1968 and 1969, Joe Simon was involved in litigation with Marvel Comics over the ownership of Captain America, initiated by Marvel after Simon registered the copyright renewal for Captain America in his own name. According to Simon, Kirby agreed to support the company in the litigation and, as part of a deal Kirby made with publisher Martin Goodman, signed over to Marvel any rights he might have had to the character.[54] Kirby continued to expand the medium's boundaries, devising photo-collage covers and interiors, developing new drawing techniques such as the method for depicting energy fields now known as "Kirby Dots", and other experiments.[55] Yet he grew increasingly dissatisfied with working at Marvel. There have been a number of reasons

Jack Kirby given for this dissatisfaction, including resentment over Stan Lee's increasing media prominence, a lack of full creative control, anger over breaches of perceived promises by publisher Martin Goodman, and frustration over Marvel's failure to credit him specifically for his story plotting and for his character creations and co-creations.[56] [57] He began to both script and draw some secondary features for Marvel, such as "The Inhumans" in Amazing Adventures and horror stories for the anthology title Chamber of Darkness, and received full credit for doing so; but he eventually left the company in 1970 for rival DC Comics, under editorial director Carmine Infantino.

578

DC Comics and the Fourth World saga (19711975)


Kirby spent nearly two years negotiating a deal to move to DC Comics,[58] where in late 1970 he signed a three-year contract with an option for two additional years.[59] He produced a series of interlinked titles under the blanket sobriquet "The Fourth World" including a trilogy of new titles, New Gods, Mister Miracle, and The Forever People, as well as the Superman title, Superman's Pal Jimmy Olsen.[11] Kirby picked the latter book because the series was without a stable creative team and he did not want to cost anyone a job.[60] The central villain of the Fourth World series, Darkseid, and some of the Fourth World concepts, appeared in Jimmy Olsen before the launch of the other Fourth World books, giving the new titles greater exposure to potential buyers. Kirby later produced other DC features such as OMAC, Kamandi, The Demon, "Dingbats of Danger Street", Kobra and, together with former partner Joe Simon for one last time, a new incarnation of the Sandman.[11]
The New Gods #1 (March 1971) Cover art by Kirby & Don Heck.

Return to Marvel (19761978)

At the comic book convention Marvelcon '75, in spring 1975, Stan Lee used a Fantastic Four panel discussion to announce that Kirby was returning to Marvel after having left in 1970 to work for DC Comics. Lee wrote in his monthly column, "Stan Lee's Soapbox", that, "I mentioned that I had a special announcement to make. As I started telling about Jack's return, to a totally incredulous audience, everyone's head started to snap around as Kirby himself came waltzin' down the aisle to join us on the rostrum! You can imagine how it felt clownin' around with the co-creator of most of Marvel's greatest strips once more."[61] Back at Marvel, Kirby both wrote and drew Captain America and created the series The Eternals, which featured a race of inscrutable alien giants, the Celestials, whose behind-the-scenes intervention in primordial humanity would eventually become a core element of Marvel Universe continuity. Kirby's other Marvel creations in this period include Devil Dinosaur, Machine Man, and an adaptation and expansion of the movie 2001: A Space Odyssey, as well as an abortive attempt to do the same for the classic television series, The Prisoner.[62] He also wrote and drew Black Panther and did numerous covers across the line.[11]

Film and animation (19791980)


Still dissatisfied with Marvel's treatment of him,[63] and with the company's refusal to provide health and other employment benefits, Kirby left Marvel to work in animation. In that field, he did designs for Turbo Teen, Thundarr the Barbarian and other animated television series. He also worked on The Fantastic Four cartoon show, reuniting him with scriptwriter Stan Lee. He illustrated an adaptation of the Walt Disney movie The Black Hole for Walt Disneys Treasury of Classic Tales syndicated comic strip in 1979-80.

Jack Kirby In 1979, Kirby drew concept art for film producer Barry Geller's script treatment adapting Roger Zelazny's science fiction novel, Lord of Light, for which Geller had purchased the rights. In collaboration, Geller commissioned Kirby to draw set designs that would also be used as architectural renderings for a Colorado theme park to be called Science Fiction Land; Geller announced his plans at a November press conference attended by Kirby, former NFL American football star Rosey Grier, writer Ray Bradbury, and others. While the film did not come to fruition, Kirby's drawings were used for the C.I.A.'s "Canadian caper", in which some members of the U.S. embassy in Tehran, Iran, who had avoided capture in the Iran hostage crisis, were able to escape the country posing as members of a movie location-scouting crew.[64]

579

Final years and death (19811994)


In the early 1980s, Pacific Comics, a new, non-newsstand comic book publisher, made a then-groundbreaking deal with Kirby to publish a creator-owned series Captain Victory and the Galactic Rangers,[65] and a six-issue mini-series called Silver Star which was collected in hardcover format in 2007.[66] [67] [68] This, together with similar actions by other independent comics publishers as Eclipse Comics where he co-created Destroyer Duck to help Steve Gerber fight in his case versus Marvel,[69] helped establish a precedent to end the monopoly of the work for hire system, wherein comics creators, even freelancers, had owned no rights to characters they created. Though estranged from Marvel, Kirby continued to do periodic work for DC Comics during the 1980s, including a brief revival of his "Fourth World" saga in the 1984 and 1985 Super Powers mini-series and the 1985 graphic novel The Hunger Dogs. And in 1987, under much industry pressure, Marvel finally returned much of Kirby's original art to him.[70]
Topps Comics' Bombast #1 (April 1993). Cover Kirby also retained ownership of characters used by Topps Comics art by Kirby beginning in 1993, for a set of series in what the company dubbed "The Kirbyverse".[71] These titles were derived mainly from designs and concepts that Kirby had kept in his files, some intended initially for the by-then-defunct Pacific Comics, and then licensed to Topps for what would become the "Jack Kirby's Secret City Saga" mythos.[72]

On February 6, 1994, Kirby died at age 76 of heart failure in his Thousand Oaks, California home.[73] He was buried at the Pierce Brothers Valley Oaks Memorial Park, Westlake Village, California.[74]

Kirby's estate
Kirby's daughter, Lisa Kirby, announced in early 2006 that she and co-writer Steve Robertson, with artist Mike Thibodeaux, planned to publish via the Marvel Comics Icon imprint, a six-issue limited series, Jack Kirbys Galactic Bounty Hunters, featuring characters and concepts created by her father for Captain Victory.[75] The series, scripted by Lisa Kirby, Robertson, Thibodeaux, and Richard French, with pencil art by Jack Kirby and Thibodeaux, and inking by Scott Hanna and Karl Kesel primarily, ran cover-dated September 2006 to January 2007 through issue 5, and September 2007 for the final issue.[76] The series was collected in hardcover (ISBN 0-7851-2628-7) in 2007, and in trade paperback (ISBN 0-7851-2629-5) the following year. Marvel also posthumously published a "lost" Kirby/Lee Fantastic Four story, Fantastic Four: The Lost Adventure (April 2008), with unused pages Kirby had originally drawn for Fantastic Four 108 (March 1971).[77] [78]

Jack Kirby On September 16, 2009,[79] the Kirby estate also served notices of termination to Walt Disney Pictures, 20th Century Fox, Universal Pictures, Paramount Pictures, and Sony Pictures to attempt to regain control of various Silver Age Marvel characters.[80] [81] Marvel is seeking to invalidate these claims.[82] [83] However, in mid-March 2010 Kirby's estate "sued Marvel to terminate copyrights and gain profits from [Kirby's] comic creations."[84] On July 28, 2011, the U.S. District Court, Southern District of New York, ruled a summary judgment in favor of Marvel in the case "Marvel Worldwide, Inc., Marvel Characters, Inc. and MVL Rights, LLC, against Lisa R. Kirby, Barbara J. Kirby, Neal L. Kirby and Susan M. Kirby".[79] [85] Dynamite Entertainment said in July 2010 that it would publish in 2011 Kirby: Genesis, an eight-issue miniseries by writer Kurt Busiek and artist Alex Ross, using Kirby-owned characters previously published by Pacific Comics and Topps Comics.[86] [87]

580

Legacy
The New York Times, in a Sunday op-ed piece written more than a decade after his death, said of Kirby: He created a new grammar of storytelling and a cinematic style of motion. Once-wooden characters cascaded from one frame to anotheror even from page to pagethreatening to fall right out of the book into the reader's lap. The force of punches thrown was visibly and explosively evident. Even at rest, a Kirby character pulsed with tension and energy in a way that makes movie versions of the same characters seem static by comparison.[88] Michael Chabon, in his afterword to his Pulitzer Prize-winning novel The Amazing Adventures of Kavalier & Clay, a fictional account of two early comics pioneers, wrote, "I want to acknowledge the deep debt I owe in this and everything else I've ever written to the work of the late Jack Kirby, the King of Comics."[89] Several Kirby images are among those on the "Marvel Super Heroes" set of commemorative stamps issued by the U.S. Postal Service on July 27, 2007.[90] Ten of the stamps are portraits of individual Marvel characters and the other 10 stamps depict individual Marvel Comic book covers. According to the credits printed on the back of the pane, Kirby's artwork is featured on: Captain America, The Thing, Silver Surfer, The Amazing Spider-Man #1, The Incredible Hulk #1, Captain America #100, The X-Men #1, and The Fantastic Four #3.[88] [90] Various comic and cartoon creators also did their special tribute to Kirby's memory. Examples of this can be found in the Teenage Mutant Ninja Turtles Mirage Comic series ("Kirby and the Warp Crystal" in Donatello #1, and its animated counterpart, "The King", from the 2003 cartoon series) and the Superman animated series' character Dan Turpin.

Awards and honors


Jack Kirby received a great deal of recognition over the course of his career, including the 1967 Alley Award for Best Pencil Artist.[91] The following year he was runner-up behind Jim Steranko. His other Alley Awards were: 1963: Favorite Short Story - "The Human Torch Meets Captain America", by Stan Lee & Jack Kirby, Strange Tales #114[92] 1964:[93] Best Novel - "Captain America Joins the Avengers", by Stan Lee & Jack Kirby, from The Avengers #4 Best New Strip or Book - "Captain America", by Stan Lee & Jack Kirby, in Tales of Suspense 1965: Best Short Story - "The Origin of the Red Skull", by Stan Lee & Jack Kirby, Tales of Suspense #66[94] 1966: Best Professional Work, Regular Short Feature - "Tales of Asgard" by Stan Lee & Jack Kirby, in The Mighty Thor[95] 1967: Best Professional Work, Regular Short Feature - (tie) "Tales of Asgard" and "Tales of the Inhumans", both by Stan Lee & Jack Kirby, in The Mighty Thor[91] 1968:[96]

Jack Kirby Best Professional Work, Best Regular Short Feature - "Tales of the Inhumans", by Stan Lee & Jack Kirby, in The Mighty Thor Best Professional Work, Hall of Fame - Fantastic Four, by Stan Lee & Jack Kirby; Nick Fury, Agent of S.H.I.E.L.D., by Jim Steranko[97] Kirby won a Shazam Award for Special Achievement by an Individual in 1971 for his "Fourth World" series in Forever People, New Gods, Mister Miracle, and Superman's Pal Jimmy Olsen.[98] He was inducted into the Shazam Awards Hall of Fame in 1975.[99] In 1987 he was an inaugural inductee into the Will Eisner Comic Book Hall of Fame.[100] He received the 1993 Bob Clampett Humanitarian Award at that year's Eisner Awards.[101] His work was honored posthumously in 1998: The collection of his New Gods material, Jack Kirby's New Gods, edited by Bob Kahan, won both the Harvey Award for Best Domestic Reprint Project,[102] and the Eisner Award for Best Archival Collection/Project.[103] The Jack Kirby Awards and Jack Kirby Hall of Fame were named in his honor. With Will Eisner, Robert Crumb, Harvey Kurtzman, Gary Panter and Chris Ware, Kirby was among the artists honored in the exhibition "Masters of American Comics" at the Jewish Museum in New York City, New York, from September 16, 2006 to January 28, 2007.[104] [105]

581

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[1] Famous Funnies #62 (Eastern Color Printing, September 1939). [2] Jack Kirby (http:/ / www. familysearch. org/ Eng/ Search/ ssdi/ individual_record. asp?recid=083057551), Social Security Death Index details, FamilySearch [3] Morrison, Grant. "Grant Morrison: my Supergods from the age of the superhero" (http:/ / www. guardian. co. uk/ books/ 2011/ jul/ 23/ grant-morrison-supergods-superheroes). The Guardian 23 July 2011 (retrieved 23-07-2011) [4] Hamilton, Sue L. Jack Kirby. ABDO Group, 2006. ISBN 1599282984, p. 4 [5] Jones, Gerard. Men of Tomorrow: Geeks, Gangsters, and the Birth of the Comic Book (Basic Books, 2004; trade paperback ISBN 0-465-03657-0), p. 195-96 [6] Evanier, Mark. Kirby: King of Comics. Abrams, 2008. ISBN 0-8109-9447-X, p. 34 [7] Jones, p. 196 [8] Interview, The Comics Journal #134 (February 1990), reprinted in George, Milo, ed., The Comics Journal Library, Volume One: Jack Kirby (Fantagraphics Books, 2002) ISBN 1-56097-466-4, p. 22 [9] Interview, The Comics Journal #134, reprinted in George, p. 24 [10] Interview, The Nostalgia Journal #30, November 1976, reprinted in George, p. 3 [11] Jack Kirby (http:/ / www. comics. org/ search. lasso/ ?sort=chrono& query=Jack+ Kirby& type=credit) at the Grand Comics Database [12] Jones, p. 197 [13] Ro, Ronin. Tales to Astonish: Jack Kirby, Stan Lee and the American Comic Book Revolution. Bloomsbury, 2004. p. 14. ISBN 1-58234-345-4 [14] Ro, p. 16 [15] "More Than Your Average Joe" (http:/ / www. twomorrows. com/ kirby/ articles/ 25simon. html), excerpts from Joe Simon's panels at 1998 San Diego Comic-Con International, Jack Kirby Collector #25, August 1999. WebCitation archive (http:/ / www. webcitation. org/ 5uDqMcZsn). [16] Jones, p. 200 [17] Ro, p. 21 [18] Ro, p. 25 [19] Ro, p. 25-26 [20] Ro, p. 29 [21] Ro, p. 28 [22] Ro, p. 30 [23] Ro, p. 32 [24] Evanier, King of Comics, p. 57 [25] Ro, p. 33 [26] Evanier, p. 67 [27] Ro, p. 35 [28] Ro, p. 40 [29] Ro, p. 40-41

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[30] Evanier, p. 69 [31] Ro, p. 42 [32] Ro, p. 45 [33] Simon, Joe, with Jim Simon. The Comic Book Makers (Crestwood/II, 1990) ISBN 1-887591-35-4; reissued (Vanguard Productions, 2003) ISBN 1-887591-35-4, pp. 123-125 [34] Evanier, King of Comics. p. 72 [35] Ro, p. 46 [36] Howell, Richard, "Introduction" to Real Love - The Best of the Simon and Kirby Romance Comics 1940s-1950s (Eclipse Books, 1988) [37] Simon, p. 125 [38] Ro, p. 51-52 [39] Ro, p. 52 [40] Ro, p. 54 [41] Beerbohm, Robert Lee. "The Mainline Story" (http:/ / www. twomorrows. com/ kirby/ articles/ 25mainline. html), Jack Kirby Collector #25, August 1999. Accessed March 26, 2008. WebCitation archive (http:/ / www. webcitation. org/ 5xqyxKYg4). [42] Mainline (http:/ / www. comics. org/ publisher/ 2515/ ) at the Grand Comics Database [43] Ro, p. 55 [44] Ro, p. 56 [45] Evanier, Mark, Introduction, The Green Arrow by Jack Kirby (DC Comics, New York, 2001, ISBN 6194123064): "All were inked by Jack with the aid of his dear spouse, Rosalind. She would trace his pencil work with a static pen line; he would then take a brush, put in all the shadows and bold areas and, where necessary, heavy-up the lines she'd laid down. (Jack hated inking and only did it because he needed the money. After departing DC this time, he almost never inked his own work again.)" [46] Ro, p. 61 [47] [48] [49] [50] Evanier, King of Comics, pp. 103-106 Evanier, King of Comics, p. 109 Ro, p. 91 Ro, p. 60

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"Lisa Kirby, Mike Thibodeaux, & Tom Brevoort on Galactic Bounty Hunters" (http:/ / forum. newsarama. com/ showthread. php?threadid=63600). Newsarama. . [76] Jack Kirby's Galactic Bounty Hunters (http:/ / www. maelmill-insi. de/ UHBMCC/ show. htm?SerNr=6219) at the Unofficial Handbook of Marvel Comics Creators [77] Brady, Matt (July 22, 2006). "SDCC '06: Marvel to Publish "Lost" Lee/Kirby FF Issue" (http:/ / classic. newsarama. com/ SDCC06/ Marvel/ FF/ LostFF. html). Newsarama. . [78] Fantastic Four: The Lost Adventure (http:/ / www. maelmill-insi. de/ UHBMCC/ show. htm?SerNr=6219) at the Unofficial Handbook of Marvel Comics Creators [79] Marvel Worldwide, Inc., Marvel Characters, Inc. and MVL Rights, LLC, against Lisa R. Kirby, Barbara J. Kirby, Neal L. Kirby and Susan M. 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"Marvel Wins Summary Judgments In Jack Kirby Estate Rights Lawsuits" (http:/ / www. deadline. com/ 2011/ 07/ breaking-marvel-wins-summary-judgments-in-jack-kirby-estate-rights-lawsuits/ #comment-962862), Deadline.com, July 28, 2011. WebCitation archive (http:/ / www. webcitation. org/ 60cQxv835). [86] Biggers, Cliff. "Kirby Genesis: A Testament to the King's Talent", Comic Shop News #1206, July 2010 [87] "Alex Ross & Kurt Busiek Team For Dynamite's Kirby: Genesis" (http:/ / www. newsarama. com/ comics/ Kirby-Genesis-Dynamite-Ross-Busiek-100712. html), Dynamite Entertainment press release published in Newarama, July 12, 2010 [88] Staples, Brent "Editorial Observer: Jack Kirby, a Comic Book Genius, Is Finally Remembered" (http:/ / www. nytimes. com/ 2007/ 08/ 26/ opinion/ 26sun3. html?_r=1& th), The New York Times, August 26, 2007 [89] Lalumire, Claude. "Where There Is Icing" (http:/ / januarymagazine. com/ fiction/ chabon. html) (book review), January Magazine, January 2001. 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[95] "1966 Alley Awards" (http:/ / www. hahnlibrary. net/ comics/ awards/ alley66. php). Hahnlibrary.net. . Retrieved 2010-08-10. [96] "1968 Alley Awards" (http:/ / www. hahnlibrary. net/ comics/ awards/ alley68. php). Hahnlibrary.net. . Retrieved 2010-08-10. [97] Mark Hanerfeld, who counted the votes, first listed Nick Fury, Agent of S.H.I.E.L.D. as the winner. Later, he noticed that he had counted votes for a) "Fantastic Four by Jack Kirby", b) "Fantastic Four by Stan Lee", and c) "Fantastic Four by Stan Lee and Jack Kirby", separately. Had they been counted as one feature, these votes combined would have given the Fantastic Four the victory. [98] "1971 Academy of Comic Book Arts Awards" (http:/ / web. archive. org/ web/ 20080627191906/ http:/ / www. hahnlibrary. net/ comics/ awards/ shazam71. php). Hahnlibrary.net. Archived from the original (http:/ / www. hahnlibrary. net/ comics/ awards/ shazam71. php) on August 1, 2011. . Retrieved 2010-08-10.

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[99] "1974 Academy of Comic Book Arts Awards" (http:/ / web. archive. org/ web/ 20080627191916/ http:/ / www. hahnlibrary. net/ comics/ awards/ shazam74. php). Hahnlibrary.net. Archived from the original (http:/ / www. hahnlibrary. net/ comics/ awards/ shazam74. php) on August 1, 2011. . Retrieved 2010-08-10. [100] "Will Eisner Comic Industry Award: Summary of Winners" (http:/ / www. hahnlibrary. net/ comics/ awards/ eisnersum. php). Hahnlibrary.net. . Retrieved 2010-08-10. [101] "The Bob Clampett Humanitarian Award" (http:/ / www. comic-con. org/ cci/ cci_clampett. shtml). Comic-con.org. 2010-07-23. . Retrieved 2010-08-10. [102] "1998 Harvey Award Nominees and Winners" (http:/ / www. hahnlibrary. net/ comics/ awards/ harvey98. php). Hahnlibrary.net. . Retrieved 2010-08-10. [103] "1998 Will Eisner Comic Industry Award Nominees" (http:/ / www. hahnlibrary. net/ comics/ awards/ eisner98. php). Hahnlibrary.net. . Retrieved 2010-08-10. [104] "Exhibitions: Masters of American Comics" (http:/ / www. thejewishmuseum. org/ exhibitions/ Comics). The Jewish Museum. . Retrieved 2010-08-10.. WebCitation archive (http:/ / www. webcitation. org/ 5tDGL3Ci7). [105] Kimmelman, Michael. "See You in the Funny Papers" (http:/ / www. nytimes. com/ 2006/ 10/ 13/ arts/ design/ 13comi. html) (art review), The New York Times, October 13, 2006. WebCitation archive (http:/ / www. webcitation. org/ 5xqzhkd0X).

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External links
The Jack Kirby Museum & Research Center (http://kirbymuseum.org) Jack Kirby (http://comicbookdb.com/creator.php?ID=100) at the Comic Book DB Jack Kirby (http://www.imdb.com/name/nm0456158/) at the Internet Movie Database POV Online: "Jack Kirby", by Mark Evanier (http://www.povonline.com/Jack Kirby.htm) (includes Jack Kirby FAQ) "Jack Kirby Heroes Thrive in Comic Books and Film" (http://home.att.net/~mrmorse/nytimes20030827kirb. html), by Elvis Mitchell, The New York Times, August 27, 2003 "Roz Kirby Interview Excerpts" (http://twomorrows.com/kirby/articles/10roz.html), The Jack Kirby Collector #10, April 1966 Creations of Jack Kirby (http://www.marvunapp.com/list/appkirby.htm) at the Appendix to the Handbook of the Marvel Universe The Monsters of Jack Kirby (http://www.angelfire.com/comics/kirbymonsters/)

Bob Kane

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Bob Kane
Bob Kane

Bob Kane (right) with Michael Keaton as Batman on the set of Tim Burton's Batman (1989) Born Robert Kahn October 24, 1915 New York City, New York November 3, 1998 (aged83) Los Angeles, California American Writer, Penciller Batman Detective Comics

Died

Nationality Area(s) Notable works

Bob Kane (born Robert Kahn; October 24, 1915 November 3, 1998) was an American comic book artist and writer, credited as the creator of the DC Comics superhero Batman. He was inducted into both the comic book industry's Jack Kirby Hall of Fame in 1994 and the Will Eisner Comic Book Hall of Fame in 1996.

Early life and work


Robert Kahn was born in New York City, New York. His parents were of Eastern European Jewish descent.[1] A high school friend of fellow cartoonist and future Spirit creator Will Eisner,[2] Robert Kahn graduated from DeWitt Clinton High School and legally changed his name to Bob Kane at age 18.[3] He studied art at Cooper Union before "joining the Max Fleischer Studio as a trainee animator in 1934".[4]

Comics
He entered the comics field two years later, in 1936, freelancing original material to editor Jerry Iger's comic book Wow, What A Magazine!, including his first pencil and ink work on the serial Hiram Hick.[5] The following year, Kane began to work at Iger's subsequent studio, Eisner & Iger, which was one of the first comic book "packagers" that produced comics on demand for publishers entering the new medium during its late-1930s and 1940s Golden Age. Among his work there was the funny animal feature "Peter Pupp" (which belied its look with overtones of "mystery and menace"[6] ), published in the U.K. comic magazine Wags and later reprinted in Fiction House's Jumbo comics. Kane also produced work through Eisner & Iger for two of the companies that would later merge to form DC Comics, including the humor features "Ginger Snap" in More Fun Comics, "Oscar the Gumshoe" for Detective Comics, and "Professor Doolittle" for Adventure Comics. For that last title he went on to do his first adventure strip, "Rusty and his Pals".

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Batman
In early 1939, DC's success with the seminal superhero Superman in Action Comics prompted editors to scramble for more such heroes. In response, Bob Kane conceived "the Bat-Man".[7] Kane said his influences for the character included actor Douglas Fairbanks' movie portrayal of the swashbuckler Zorro, Leonardo Da Vinci's diagram of the ornithopter, a flying machine with huge bat-like wings; and the 1930 film The Bat Whispers, based on Mary Rinehart's mystery novel The Circular Staircase.[8] Bill Finger joined Bob Kane's nascent studio in 1938. An aspiring writer and part-time shoe salesperson, he had met Kane at a party, and Kane later offered him a job ghost writing the strips Rusty and Clip Carson.[9] [10] He recalled that Kane ...had an idea for a character called 'Batman', and he'd like me to see the drawings. I went over to Kane's, and he had drawn a character who looked very much like Superman with kind of ... reddish tights, I believe, with boots ... no gloves, no gauntlets ... with a small domino mask, swinging on a rope. He had two stiff wings that were sticking out, looking like bat wings. And under it was a big sign ... BATMAN.[10]

Detective Comics #27 (May 1939). The first appearance of Batman. Art by Bob Kane.

Finger said he offered such suggestions as giving the character a cowl and scalloped cape instead of wings; adding gloves; leaving the mask's eyeholes blank to connote mystery; and removing the bright red sections of the original costume, suggesting instead a gray-and-black color scheme. Finger additionally said[3] his suggestions were influenced by Lee Falk's The Phantom, a syndicated newspaper comic strip character with which Kane was familiar as well. Finger, who said he also devised the character's civilian name, Bruce Wayne, wrote the first Batman story, while Kane provided art. Kane, who had already submitted the proposal for Batman at DC and held a contract, is the only person given official company credit for Batman's creation. Comics historian Ron Goulart, in Comic Book Encyclopedia, refers to Batman as the "creation of artist Bob Kane and writer Bill Finger".[11] According to Kane, "Bill Finger was a contributing force on Batman right from the beginning. He wrote most of the great stories and was influential in setting the style and genre other writers would emulate ... I made Batman a superhero-vigilante when I first created him. Bill turned him into a scientific detective.[12] The character debuted in Detective Comics #27 (May 1939) and proved a breakout hit. Within a year, Kane hired art assistants Jerry Robinson (initially as an inker) and George Roussos. Shortly afterward, when DC wanted more Batman stories than Kane's studio could deliver, the company assigned Dick Sprang and other in-house pencilers as "ghost artists", drawing uncredited under Kane's supervision. Future Justice League writer Gardner Fox wrote some early scripts, including the two-part story "The Monk" that introduced some of The Batman's first "Bat-" equipment.[13] In 1943, Kane left the Batman comic books to focus on penciling the daily Batman newspaper comic strip.[14] DC Comics artists ghosting the comic-book stories now included Jack Burnley and Win Mortimer, with Robinson moving up as penciler and Fred Ray contributing some covers. After the strip finished in 1946, Kane returned to the comic books but, unknown to DC, had hired his own personal ghosts, including Lew Schwartz:[15] Lew Schwartz interview, Alter Ego #51 (Aug. 2005)</ref> and Sheldon Moldoff from 1953-1967.[16]

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Robin
Bill Finger recalled that, Robin was an outgrowth of a conversation I had with Bob. As I said, Batman was a combination of [Douglas] Fairbanks and Sherlock Holmes. Holmes had his Watson. The thing that bothered me was that Batman didn't have anyone to talk to, and it got a little tiresome always having him thinking. I found that as I went along Batman needed a Watson to talk to. That's how Robin came to be. Bob called me over and said he was going to put a boy in the strip to identify with Batman. I thought it was a great idea.[10] Kane, who had previously created a sidekick for Peter Pupp, proposed adding a boy named Mercury who would have worn a "super-costume".[17] Robinson suggested a normal human, along with the name "Robin", after Robin Hood books he had read during boyhood, and noting in a 2005 interview he had been inspired by one book's N. C. Wyeth illustrations.[18] The impetus came from Bill's wanting to extend the parameters of the story potential and of the drama. He saw that adding a sidekick would enhance the drama. Also, it enlarged the readership identification. The younger kids could then identify with Robin, which they couldn't with Batman, and the older ones with Batman. It extended the appeal on a lot of levels.[18] The new character, orphaned circus performer named Dick Grayson, came to live with Bruce Wayne as his young ward in Detective Comics #38 (April 1940) and would inspire many similar sidekicks throughout the Golden Age of comic books.

The Joker
Batman's archnemesis the Joker was introduced near that same time, in Batman #1 (Spring 1940). Credit for that character's creation is disputed. Robinson has said he created the character.[19] Kane's position is that Bill Finger and I created the Joker. Bill was the writer. Jerry Robinson came to me with a playing card of the Joker. That's the way I sum it up. [The Joker] looks like Conrad Veidt you know, the actor in The Man Who Laughs, [the 1928 movie based on the novel] by Victor Hugo. ... Bill Finger had a book with a photograph of Conrad Veidt and showed it to me and said, 'Here's the Joker'. Jerry Robinson had absolutely nothing to do with it. But he'll always say he created it till he dies. He brought in a playing card, which we used for a couple of issues for him [the Joker] to use as his playing card".[20] Robinson, whose original Joker playing card was on public display in the exhibition "Masters of American Comics" at the Jewish Museum in New York City, New York, from Sept. 16, 2006 to Jan. 28, 2007, and the William Breman Jewish Heritage Museum in Atlanta, Georgia from Oct. 24, 2004 to Aug. 28, 2005, has countered that: Bill Finger knew of Conrad Veidt because Bill had been to a lot of the foreign films. Veidt ... had this clown makeup with the frozen smile on his face (classic). When Bill saw the first drawing of the Joker, he said, 'That reminds me of Conrad Veidt in The Man Who Laughs.' He said he would bring in some shots of that movie to show me. That's how that came about. I think in Bill's mind, he fleshed out the concept of the character.[21]

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Later life and career


As Kane's comic-book work tapered off in the 1960s, he parlayed his Batman status into minor celebrity. He enjoyed a post-comics career in TV animation, creating the characters Courageous Cat and Cool McCool, and as a painter showed his work in art galleries, although even some of these paintings were produced by ghost artists.[22] In 1989, Kane published the autobiography Batman and Me, with a second volume Batman and Me, The Saga Continues, in 1996. He was set to make a cameo appearance in the 1989 movie Batman as the newspaper artist who prepares the drawing of the "Bat-Man" for Alexander Knox (portrayed by Robert Wuhl), but scheduling conflicts prevented this and he was replaced by Denis Lill in this role.[23] Kane's trademark square signature can still be seen clearly on the drawing the news cartoonist gave to Knox. In the novelization of the movie, the character is identified as "Bob the cartoonist". Although Kane worked as a consultant on the film and its two subsequent sequels with directors Tim Burton and Joel Schumacher. Kane died on November 3, 1998, from natural causes, leaving behind his wife, Elizabeth Sanders (Kane), an actress who appeared in three Batman films, a daughter, Deborah Majeski, and a grandson.[24] Kane is buried at Forest Lawn - Hollywood Hills Cemetery in Los Angeles, California.[25]

Footnotes
[1] "Holy sunflowers! How Batman drove Van Gogh out of town" (http:/ / www. independent. ie/ entertainment/ books/ holy-sunflowers-how-batman-drove-van-gogh-out-of-town-2105626. html), Independent.ie, 20 March 2010. [2] Weinstein, Simcha (2006). Up, Up, and Oy Vey! (1st ed.). Leviathan Press. ISBN978-1-881927-32-7. [3] Kane, Bob; Tom Andrae (1989). Batman & Me. Forestville, California: Eclipse Books. p.44. ISBN1-56060-017-9. [4] Chris Ryall, Scott Tipton, Comic Books 101: The History, Methods and Madness (Impact Books, 2009). ISBN 978-1-60061-187-2 [5] Biography by Joe Desris, in Batman Archives, Volume 3 (DC Comics, 1994), p. 223 ISBN 1-56389-099-2 [6] Biography by Joe Desris, in Batman Archives, Volume 3 (DC Comics, 1994), p. 223 ISBN 1-56389-099-2 [7] Daniels, Les. Batman: The Complete History. Chronicle Books, 1999. ISBN 0-8118-4232-0, pg. 18. [8] Daniels, page 20 [9] Walker, Brian. The Comics Since 1945 (Harry N. Abrams), pp. 10-12 [10] Steranko, Jim. The Steranko History of Comics (Supergraphics, Reading, Pa., 1970; ISBN 0-517-50188-0), p. 44 [11] Goulart, Ron, Comic Book Encyclopedia (Harper Entertainment, New York, 2004) ISBN 0-06-053816-3. [12] Kane, Andrae, p. 43 [13] Kane, Andrae, p. 103; Daniels, page 29 [14] Biography by Joe Desris, in Batman Archives, Volume 3 (DC Comics, 1994), p. 223 ISBN 1-56389-099-2 [15] Biography by Joe Desris, in Batman Archives, Volume 3 (DC Comics, 1994), p. 223 ISBN 1-56389-099-2 [16] Moldoff, in a 1994 interview given while Kane was alive, described his clandestine arrangement in Alter Ego #59 (June 2006, p. 15) [17] Comic Book Interview Super Special: Batman, Fictioneer Press, 1989 [18] Interview, (October 2005). "Jerry Robinson" (http:/ / www. tcj. com/ index. php?option=com_content& task=view& id=350& Itemid=48). The Comics Journal (271). ISSN0194-7869. . Retrieved 2007-11-18. [19] Per many sources, including Robinson interview, The Comics Journal #271 [20] "''Entertainment Weekly'' writer Frank Lovece official site: Web Exclusives Bob Kane interview" (http:/ / franklovece. com/ webexclusives. html). Franklovece.com. . Retrieved 2010-12-29. [21] "''Newsarama'' (Oct. 18. 2006): "The Joker, the Jewish Museum and Jerry: Talking to Jerry Robinson" (interview)" (http:/ / forum. newsarama. com/ showthread. php?t=88092). Forum.newsarama.com. . Retrieved 2010-12-29. [22] "POV Online (column of March 15, 2007): "News from Me: Arnold", by Mark Evanier" (http:/ / www. newsfromme. com/ archives/ 2007_03_15. html#013103). Newsfromme.com. . Retrieved 2010-12-29. [23] http:/ / www. imdb. com/ title/ tt0096895/ fullcredits#cast [24] Boxer, Sarah. "Bob Kane, 83, the Cartoonist Who Created 'Batman,' Is Dead" (http:/ / www. nytimes. com/ learning/ general/ onthisday/ bday/ 1024. html), The New York Times November 7, 1998 [25] "The Grave of Bob Kane" (http:/ / www. seeing-stars. com/ ImagePages/ BobKaneGravePhoto. shtml). Seeing-Stars.com. . Retrieved 2010-12-29.

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References
Goulart, Ron, Over 50 Years of American Comic Books (BDD Promotional Books Company, 1991) ISBN 0792454502; ISBN 978-0792454502

External links
Bob Kane (http://www.imdb.com/name/nm4170/) at the Internet Movie Database Comic Book Artist #3 (Winter 1999): "The Bob Kane Letter" (http://www.twomorrows.com/comicbookartist/ articles/03kane.html) (September 14, 1965 open letter by Bob Kane)

Jerry Siegel

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Jerry Siegel
Jerry Siegel

Jerry Siegel in 1976 Born Jerome Siegel October 17, 1914 Cleveland, Ohio, U.S. January 28, 1996 (aged81) Los Angeles, California, U.S. American Writer

Died

Nationality Area(s)

Pseudonym(s) Joe Carter, Jerry Ess, Herbert S. Fine Notable works Superman, Action Comics #1 Awards Inkpot Award, 1975 Will Eisner Comic Book Hall of Fame, 1992 Jack Kirby Hall of Fame, 1993 The Bill Finger Award For Excellence In Comic Book Writing, 2005 Joanne Siegel

Spouse

Jerome "Jerry" Siegel (October 17, 1914 January 28, 1996[1] ), who also used pseudonyms including Joe Carter,[2] [3] Jerry Ess,[2] and Herbert S. Fine, was the American co-creator of Superman (along with Joe Shuster), the first of the great comic book superheroes and one of the most recognizable of the 20th century. He was inducted (with Shuster posthumously) into the comic book industry's Will Eisner Comic Book Hall of Fame in 1992 and the Jack Kirby Hall of Fame in 1993.

Early life
The son of Jewish immigrants from Lithuania, Siegel was the youngest of six children. His father Mitchell Siegel (ne Mikhel Segalovich) was a sign painter who opened a haberdashery and encouraged his son's artistic inclinations. Mitchell died of a heart attack brought on by the robbery of his store, when Jerry was in junior high school.[4] [5] Siegel was a fan of movies, comic strips, and especially science fiction pulp magazines. He became active in what would become known as fandom, corresponding with other science fiction fans, including the young future author Jack Williamson. In 1929, Siegel published what might have been the first SF fanzine, Cosmic Stories, which he produced with a manual typewriter and advertised in the classified section of Science Wonder Stories. He published several other booklets over the next few years.

Jerry Siegel Siegel attended Glenville High School in Cleveland, Ohio and worked for its weekly student newspaper, The Torch. He was a shy, not particularly popular student, but he achieved a bit of fame among his peers for his popular Tarzan parody, "Goober the Mighty." At about age 16, while at Glenville, he befriended his later collaborator, Joe Shuster. Siegel described his friendship with the similarly shy and bespectacled Shuster:

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When Joe and I first met, it was like the right chemicals coming together.

[1]

The writer-artist team broke into comics with Major Malcolm Wheeler-Nicholson's landmark New Fun, debuting with the musketeer swashbuckler "Henri Duval" and the supernatural-crimefighter strip Doctor Occult in issue #6 (Oct. 1935).

Superman
Siegel and Shuster created a bald telepathic villain named "The Superman," bent on dominating the entire world. He appeared in the short story "The Reign of the Super-Man" from Science Fiction #3, a science fiction fanzine that Siegel published in 1933.[6] The character was not successful. Tossing and turning in bed one night in 1934, he came upon the more familiar version of the character.[1] [7] Siegel and Shuster then began a six-year quest to find a publisher. Titling it The Superman, Siegel and Shuster offered it to Consolidated Book Publishing, who had published a 48-page black-and-white comic book entitled Detective Dan: Secret Operative No. 48. Although the duo received an encouraging letter, Consolidated never again published comic books. Shuster took this to heart and burned all pages of the story, the cover surviving only because Siegel rescued it from the fire. Siegel and Shuster each compared this character to Slam Bradley, an adventurer the pair had created for Detective Comics #1 (March 1937).[8] In 1938, after that proposal had languished among others at More Fun Comics published by National Allied Publications, the primary precursor of DC Comics editor Vin Sullivan chose it as the cover feature for National's Action Comics #1 (June 1938). The following year, Siegel & Shuster initiated the syndicated Superman comic strip. Siegel also created the ghostly avenger The Spectre during this same period. In 1946, Siegel and Shuster, nearing the end of their 10-year contract to produce Superman stories, sued National over rights to the characters. In 1947, the team had rejoined editor Sullivan, by now the founder and publisher of the comic-book company Magazine Enterprises; there they created the short-lived comical crime-fighter Funnyman. Siegel went on to become comics art director for publisher Ziff-Davis in the early 1950s, and later returned to DC to write uncredited Superman stories in 1959 under the control of Silver Age Superman editor Mort Weisinger. When he sued DC over the Superman rights again in 1967, his relationship with the hero he had co-created was again severed. Siegel's later work would appear in Marvel Comics, where under the pseudonym "Joe Carter" he scripted the "Human Torch" feature in Strange Tales #112-113 (Sept.-Oct. 1963), introducing the teenaged Torch's high school girlfriend, Doris Evans; and, under his own name, a backup feature starring the X-Men member Angel, which ran in Marvel Tales and Ka-Zar.[9] Siegel wrote as well during this time for Archie Comics, where he created campy versions of existing superheroes in Archie's Mighty Comics line; Charlton Comics, where he created a few superheroes; and even England's Lion, where he scripted The Spider. In 1968, he worked for Western Publishing, for which he wrote (along with Carl Barks) stories in the Junior Woodchucks comic book. In 1970s, he worked for Mondadori Editore (at that time the Italian Disney comic book licensee) on its title Topolino, listed in the mastheads of the period as a scriptwriter ("soggettista e sceneggiatore"). In 1986, Siegel was invited by DC Comics' editor Julius Schwartz to write an "imaginary" final story for Superman, following Marv Wolfman's Crisis on Infinite Earths limited series and John Byrne's The Man of Steel miniseries, which reintroduced Superman. Siegel declined, and the story was instead given to writer Alan Moore, and published in September 1986 in two parts entitled "Whatever Happened to the Man of Tomorrow?" (the story was published in Superman #423 and Action Comics #583).

Jerry Siegel In 2005, he was posthumously awarded the Bill Finger Award For Excellence in Comic Book Writing. He was inducted into the Jack Kirby Hall of Fame in 1993.

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Legal issues
Siegel & Shuster v. Time Warner
Siegel in 1975 launched a public-relations campaign to protest DC Comics' treatment of Shuster and him.[10] ultimately, Warner Communications, DC's parent company, awarded Siegel and Shuster $20,000 a year[11] each for the rest of their lives and guaranteed that all comics, TV episodes, films, and, later, video games starring Superman would be required to carry the credit that Superman was "created by Jerry Siegel and Joe Shuster."

Siegel estate v. Time Warner


On April 16, 1999, Siegel's widow Joanne Siegel, and their daughter, Laura Siegel Larson, filed a copyright termination notice.[11] Warner Bros. contested this copyright termination, making the status of Siegel's share of the copyright the subject of a legal battle. Warner Bros. and the Siegels entered into discussions on how to resolve the issues raised by the termination notice, but these discussions were set aside by the Siegels and in October 2004 they filed suit alleging copyright infringement on the part of Warner Bros. Warner Bros. countersued, alleging, among other arguments, that the termination notice contains defects.[12] [13] On the 26th March, 2008, Judge Stephen G. Larson of the Federal District Court for the Central District of California ruled that Siegel's estate was entitled to claim a share in the United States copyright.[14] The ruling does not affect the international rights which Time Warner holds in the character through its subsidiary DC Comics. Issues regarding the amount of monies owed Siegel's estate and whether the claim the estate has extends to derivative works such as movie versions will be settled at trial, although any compensation would only be owed from works published since 1999.[15] The case was scheduled to be heard in a California federal court in May 2008.[16]

Superboy lawsuit
Superboy was the subject of a legal battle between Time Warner, the owner of DC Comics and the estate of Jerry Siegel. The Siegels argued that Jerry Siegel was an independent contractor at the time he proposed the original character, which DC declined at the time. After returning from World War II, Siegel found that DC had published a Superboy story which bore similarities to his proposal.[17] On March 23, 2006, federal judge Ronald S. W. Lew issued a summary judgment ruling that the Siegel heirs had the right to revoke their copyright assignment to Superboy and had successfully reclaimed the rights as of November 17, 2004. Warner Bros. and DC Comics replied that they "respectfully disagree" with the ruling and will seek review. Warner Bros. and DC Comics filed a motion for reconsideration of Judge Lew's ruling in January 2007. On July 27, 2007, federal judge Larson (who had replaced Lew upon his taking "senior status") issued a ruling reversing Judge Lew's ruling that the Siegel heirs had reclaimed the rights to Superboy.[18]

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Notes
[1] Roger Stern. Superman: Sunday Classics: 1939 - 1943 DC Comics/Kitchen Sink Press, Inc./Sterling Publishing; 2006 [2] Rozakis, Bob (April 9, 2001). "Secret Identities" (http:/ / www. webcitation. org/ 5uEy6XqN5). "It's BobRo the Answer Man" (column), Comics Bulletin. Archived from the original (http:/ / www. comicsbulletin. com/ bobro/ viewnews. cgi?newsid986799600,28756) on November 14, 2010. . Retrieved November 14, 2010. [3] Evanier, Mark (April 14, 2008). "Why did some artists working for Marvel in the sixties use phony names?"" (http:/ / www. webcitation. org/ 5lXJY5e28). P.O.V. Online (column). Archived from the original (http:/ / povonline. com/ iaq/ IAQ05. htm) on November 24, 2009. . Retrieved July 28, 2008. [4] Last Son, a documentary film about the creation of Superman, shows Mitchell Siegel's death certificate. [5] Colton, David (August 27, 2008). "Superman's story: Did a fatal robbery forge the Man of Steel?" (http:/ / www. webcitation. org/ 61KXnWoCs). USA Today. Archived from the original (http:/ / www. usatoday. com/ life/ books/ news/ 2008-08-25-superman-creators_N. htm) on August 30, 2011. . Retrieved February 17, 2009. [6] Daniels, Les (1998). Superman: The Complete History (1st ed.). Titan Books. ISBN1-85286-988-7. [7] Gross, John (December 15, 1987). "Superman at Fifty! The Persistence of a Legend! Edited by Dennis Dooley and Gary Engle" (http:/ / www. webcitation. org/ 61KY8GGDe). (review), The New York Times. Archived from the original (http:/ / query. nytimes. com/ gst/ fullpage. html?res=9B0DE3DC1F38F936A25751C1A961948260) on August 30, 2011. . Retrieved 2007-01-29. [8] Daniels (1998), p. 17. [9] Joe Carter (http:/ / comics. org/ search. lasso?query=joe+ carter& type=writer& sort=alpha& Submit=Search) at the Grand Comics Database [10] Graham, Victoria (November 25, 1975). "Originators of Superman Destitute: Sold Rights in 1938 for $130". State Journal (Lansing, Michigan): p.D-3. [11] Dean, Michael (November 2004). An Extraordinarily Marketable Man: The Ongoing Struggle for Ownership of Superman and Superboy (http:/ / web. archive. org/ web/ 20061201110153/ http:/ / www. tcj. com/ 263/ n_marketable. html). Excerpted from The Comics Journal #263. p. 16. Archived from the original (http:/ / www. tcj. com/ 263/ n_marketable. html) on December 1, 2006. . Retrieved 2006-12-22. [12] Vosper, Robert (February 2005). "The Woman Of Steel" (http:/ / web. archive. org/ web/ 20070506063326/ http:/ / www. insidecounsel. com/ issues/ insidecounsel/ 15_159/ profiles/ 191-1. html). Inside Counsel. Archived from the original (http:/ / www. insidecounsel. com/ issues/ insidecounsel/ 15_159/ profiles/ 191-1. html) on 2007-05-06. . Retrieved 2007-01-26. "DC isn't going to hand over its most valued asset without putting up one hell of a legal battle" [13] Brady, Matt (March 3, 2005). "Inside The Siegel/DC Battle For Superman" (http:/ / classic. newsarama. com/ / DC/ Superman/ Intro. htm). Newsarama. . Retrieved 2007-01-26. "While the complaint, response and counterclaim has been filed, no one even remotely expects a slam-dunk win for either side. Issues such as those named in the complaint will, if it goes to trial, possibly allow for an unprecedented referendum on issues of copyright." Archived 13 Aug 2008 (http:/ / www. webcitation. org/ 5a1sM2oqW). [14] "This Month in History," Smithsonian (June 2008). [15] Ciepley, Michael. " Ruling Gives Heirs a Share of Superman Copyright (http:/ / www. nytimes. com/ 2008/ 03/ 29/ business/ media/ 29comics. html?_r=2& oref=slogin& oref=slogin)" The New York Times, March 29, 2008. Accessed on 2008-29-03. Archived (http:/ / www. webcitation. org/ 5WgYPJEtl) on 2008-29-03. [16] Coyle, Marcia (February 4, 2008). [ "Pow! Zap! Comic Book Suits Abound" (http:/ / www. webcitation. org/ 5VgjfqQsC). The National Law Journal. Archived from the original (http:/ / www. law. com/ jsp/ article. jsp?id=1202136225176) on February 17, 2008 2008-02-17. [http://www.webcitation.org/5VgjfqQsC. Retrieved February 17, 2008. [17] McNary, Dave (April 5, 2006). "Super Snit in 'Smallville'" (http:/ / web. archive. org/ web/ 20080512042419/ http:/ / www. variety. com/ article/ VR1117941008. html?categoryid=14& cs=1). Daily Variety. Archived from the original (http:/ / www. variety. com/ article/ VR1117941008. html) on May 12, 2008. . Retrieved 2008-08-12.}} [18] "Joanne Siegel and Laura Siegerl Larson v, Time Warner Inc., Warner Communications Inc., Warner Bros Entertainment Inc., Warner Bros. Television Production Inc., and DC Comics: Case No. CV-04-8776-SGL (RZx)" (http:/ / web. archive. org/ web/ 20101130031906/ http:/ / www. trexfiles. com/ superboy_0727. pdf). United States District Court, Central District of California. Archived from the original (http:/ / www. trexfiles. com/ superboy_0727. pdf) on November 30, 2010. .

References
Jones, Gerard (2004). Men of Tomorrow: Geeks, Gangsters and the Birth of the Comic Book. New York: Basic Books. ISBN9780465036561. OCLC55019518. Comic Book Awards Almanac (http://users.rcn.com/aardy/comics/awards/) Jerry Siegel Attacks! Translation of Nazi SS article attacking Siegel and Superman (http://www.calvin.edu/ academic/cas/gpa/superman.htm) NY Times Obituary (http://www.nytimes.com/1996/01/31/us/jerry-siegel-superman-s-creator-dies-at-81. html)

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External links
Jerry Siegel (http://coa.inducks.org/creator.php?c=JSi) at the INDUCKS Mike's Amazing World of DC Comics: The DC Database - Jerry Siegel (http://www.dcindexes.com/database/ creator-details.php?creatorid=18) Flixens.com: "The Real Heroes of Superman," Parts 1-2 (http://www.flixens.com/ the_real_heroes_of_superman_part_1)

Joe Shuster

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Joe Shuster
Joe Shuster

Joe Shuster in 1975. Born Joseph Shuster July 10, 1914 Toronto, Ontario, Canada July 30, 1992 (aged78) Los Angeles, California, United States Canadian-American Penciller

Died

Nationality Area(s)

Notable works Action Comics Superman Awards Will Eisner Award Hall of Fame, 1992 Jack Kirby Hall of Fame , 1993 Joe Shuster Canadian Comic Book Creator Hall of Fame, 2005

Joseph "Joe" Shuster (July 10, 1914 - July 30, 1992)[1] [2] was a Canadian-born American comic book artist. He was best known for co-creating the DC Comics character Superman, with writer Jerry Siegel, first published in Action Comics #1 (June 1938). He grew up in Cleveland, Ohio. Shuster was involved in a number of legal battles concerning the ownership of the Superman character, eventually gaining recognition for his part in its creation. His comic book career after Superman was relatively unsuccessful, and by the mid-1970s Shuster had left the field completely due to partial blindness. He and Siegel were inducted into both the comic book industry's Will Eisner Comic Book Hall of Fame in 1992 and the Jack Kirby Hall of Fame in 1993. In 2005, the Canadian Comic Book Creator Awards Association instituted the Joe Shuster Awards, named to honor the Canadian-born artist.

Early life and career


Joseph Shuster was born in Toronto, Ontario to a Jewish family.[3] His father, Julius, an immigrant from Rotterdam, South Holland, the Netherlands, and his mother Ida, who had come from Kiev in Ukraine, were barely able to make ends meet. As a youngster, Shuster worked as a newspaper boy for the Toronto Daily Star and, as a hobby, he liked to sketch. He had one sister, Jean Peavy.[4] One cousin is comedian Frank Shuster of the Canadian comedy team Wayne and Shuster.[5] [6] When Joe Shuster was 10, his family moved to Cleveland, Ohio. In Cleveland, Shuster attended Glenville High School and befriended his later collaborator, writer Jerry Siegel, with whom he began publishing a science fiction fanzine called Science Fiction. Siegel described his friendship with the similarly shy and bespectacled Shuster: "When Joe and I first met, it was like the right chemicals coming

Joe Shuster together."[2] The duo broke into comics at Major Malcolm Wheeler-Nicholson's National Allied Publications, the future DC Comics, working on the landmark New Fun the first comic-book series to consist solely of original material rather than using any reprinted newspaper comic strips debuting with the musketeer swashbuckler "Henri Duval" and the supernatural crime-fighter strip Doctor Occult, both in New Fun #6 (Oct. 1935).

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Creation of Superman
Siegel and Shuster created a bald telepathic villain named "The Superman", bent on dominating the entire world. He appeared in the short story "The Reign of the Super-Man" from Science Fiction #3, a science fiction fanzine that Siegel published in 1933.[7] The character was not successful. Siegel eventually devised the more familiar version of the character, after reading his script, Shuster modeled the hero on Douglas Fairbanks Sr., and his bespectacled alter ego, Clark Kent, on Harold Lloyd.[2] [8] Siegel and Shuster then began a six-year quest to find a publisher. Titling it The Superman, Siegel and Shuster offered it to Consolidated Book Publishing, who had published a 48-page black-and-white comic book entitled Detective Dan: Secret Operative No. 48. Although the duo received an encouraging letter, Consolidated never again published comic books. Shuster took this to heart and burned all pages of the story, the cover surviving only because Siegel rescued it from the fire. Siegel and Shuster each compared this character to Slam Action Comics #1 (June 1938), the debut of Bradley, an adventurer the pair had created for Detective Comics #1 Superman. Cover art by Shuster. (May 1939).[9] In 1938, after that proposal had languished among others at More Fun Comics published by National Allied Publications, the primary precursor of DC Comics editor Vin Sullivan chose it as the cover feature for National's Action Comics #1 (June 1938). The following year, Siegel & Shuster initiated the syndicated Superman comic strip.[2] When Superman first appeared, Superman's alter ego Clark Kent worked for the Daily Star newspaper, named by Shuster after the Toronto Daily Star, his old employer in Toronto. According to an interview he gave a few months before his death, he modeled the cityscape of Superman's home city, Metropolis, on that of his old hometown.[6] When the comic strip received international distribution, the company permanently changed the name to The Daily Planet. In the same interview, Shuster stated that he modeled the look of Clark Kent after both himself and movie star Harold Lloyd, and that of Superman after Douglas Fairbanks Sr. He modeled Lois Lane after Joanne Carter, the woman who would later marry Jerry Siegel.

Legal issues
Shuster became famous as the co-creator of one of the most well-known and commercially successful fictional characters of the 20th century. National Allied Publications claimed copyright to his and Siegel's work, and when the company refused to compensate them to the degree they believed appropriate, Siegel and Shuster, in 1946, near the end of their 10-year contract to produce Superman stories, sued National over rights to the characters. They ultimately settled the claim for $94,000 after the court ruled against them but that the rights to Superman had been validly purchased by the publisher when they bought the first Superman story. After the bitter legal wrangling, Shuster and Siegel's byline was dropped by DC comics.[10] In 1947, the team rejoined editor Sullivan, by now the founder and publisher of the comic-book company Magazine Enterprises where they created the short-lived comical

Joe Shuster crime-fighter Funnyman. While Siegel continued to write comics for a variety of publishers, Shuster largely dropped out of sight.

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Later career
Shuster continued to draw comics after the failure of Funnyman, although exactly what he drew is uncertain. Comic historian Ted White wrote that Shuster continued to draw horror stories into the 1950s.[11] In 2009, comics historian Craig Yoe said Shuster was one of the anonymous illustrators for Nights of Horror, an underground sadomasochistic fetish comic-book series. This was based on character similarities, and comparison of the artistic style between the illustrations and those of the cast of the Superman comics.[12] [13] In 1964, when Shuster was living on Long Island with his elderly mother, he was reported to be earning his living as a freelance cartoonist; he was also "trying to paint pop art serious comic strips and hope[d] eventually to promote a one-man show in some chic Manhattan gallery".[14] At one point, his worsening eyesight prevented him from drawing, and he worked as a deliveryman in order to earn a living.[15] [16] By 1976, Shuster was almost blind and living in a California nursing home.[17] In 1967, when the Superman copyright came up for renewal, Siegel launched a second lawsuit, which also proved unsuccessful. In 1975, Siegel launched a publicity campaign, in which Shuster participated, protesting DC Comics' treatment of him and Shuster. In the face of a great deal of negative publicity over their handling of the affair (and due to the upcoming Superman movie), DC's parent company Warner Communications reinstated the byline dropped more than thirty years earlier and granted the pair a lifetime pension of $20,000 a year plus health benefits.[18] [19] [20] Shuster died in Los Angeles, California in 1992.

Awards and honors


In 1992, Shuster was inducted into the Will Eisner Award Hall of Fame. In 2005, Shuster was inducted into the Joe Shuster Canadian Comic Book Creator Hall of Fame for his contributions to comic books.[21] The Joe Shuster Awards, started in 2005, were named in honor of the Canadian-born Shuster, and honor achievements in the field of comic book publishing by Canadian creators, publishers and retailers. In Shuster's home town of Toronto, the street Joe Shuster Way is named in his honor.[22]

Bibliography
Comics work (interior pencil art) includes:

Charlton
Crime and Justice #20-21 (1954) Hot Rods and Racing Cars #20 (1955) Space Adventures #11-13 (1954) Strange Suspense Stories #19, 21-22 (1954) This Magazine is Haunted #18-20 (1954)

Joe Shuster

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DC
Action Comics #1-24 (193840) Adventure Comics #32-41, 103-109 (193846) Detective Comics #1-32 (193739) More Fun Comics (diverse stories): #10-48; (Superboy): #101-105, 107 (193646) New Comics (then, New Adventure Comics) #2-31 (193638) New York's World Fair #1-2 (1939) Superman #1-4 (193940)

References
[1] "NewsWatch: Joseph Shuster Dies at 78," The Comics Journal #152 (August 1992), p. 9. [2] Roger Stern. Superman: Sunday Classics: 1939 - 1943 DC Comics/Kitchen Sink Press, Inc./Sterling Publishing; 2006 [3] Norwood, Stephen Harlan; Eunice G. Pollack (2008). Encyclopedia of American Jewish history, Volume 1. ABC-CLIO. pp.471. ISBN1851096388. [4] "About Us" (http:/ / web. archive. org/ web/ 20080508221727/ http:/ / joeshusterawards. com/ content. asp?URL=4). The Joe Shuster Awards. Archived from the original (http:/ / joeshusterawards. com/ content. asp?URL=4) on 2008-05-08. . Retrieved 2008-08-12. Archived 13 Aug 2008 (http:/ / www. webcitation. org/ 5a1qtkgFu). [5] Mietkiewicz, Henry. "Superman at The Star", The Toronto Star, April 26, 1992 [6] Hustak, Alan. "''The Canadian Encyclopedia'': Shuster, Joe" (http:/ / thecanadianencyclopedia. com/ index. cfm?PgNm=TCE& Params=A1ARTA0007380). The Historica Dominion Institute. . Retrieved 2010-06-17.. WebCitation archive (http:/ / www. webcitation. org/ 5xFnvxqEd). [7] Daniels, Les (1998). Superman: The Complete History (1st edition ed.). Titan Books. ISBN1-85286-988-7. [8] Gross, John (December 15, 1987). "Books of the Times" (http:/ / query. nytimes. com/ gst/ fullpage. html?res=9B0DE3DC1F38F936A25751C1A961948260). New York Times. . Retrieved 2007-01-29. [9] Daniels (1998), p. 17. [10] Ciepley, Michael (March 29, 2008). "Ruling Gives Heirs a Share of Superman Copyright" (http:/ / www. webcitation. org/ 61KZUtpSz). The New York Times. Archived from the original (http:/ / www. nytimes. com/ 2008/ 03/ 29/ business/ media/ 29comics. html) on August 30, 2011. . [11] White, Ted. "The Spawn of M.C. Gaines" in Lupoff, Dick & Don Thompson, eds., All in Color For a Dime (Ace Books, 1970) [12] "Book Unveils Superman Co-creator's Dark Side" (http:/ / www. metronews. ca/ halifax/ scene/ article/ 203662). Metro Halifax. 26 March 2009. .. WebCitation archive (http:/ / www. webcitation. org/ 5wNCdhd3d). [13] Yoe, Craig. Secret Identity: The Fetish Art of Superman's Co-Creator Joe Shuster (Harry N. Abrams, 2009) ISBN 978-0-8109-9634-2 [14] Richler, Mordecai. "The Great Comic Book Heroes", Encounter, 1965; reprinted in Richler collections Hunting Tigers Under Glass: Essays & Notes (McClelland & Stewart, 1968), Notes on an Endangered Species (Alfred A. Knopf, 1974), and The Great Comic Book Heroes and Other Essays (McClelland and Stewart, 1978) ISBN 978-0-7710-9268-8 [15] Heer, Jeet. "The Injustice of Superman" (http:/ / www. guardian. co. uk/ commentisfree/ 2008/ apr/ 05/ theinjusticeofsuperman) The Guardian, April 5, 2008. WebCitation archive (http:/ / www. webcitation. org/ 5xFnRSG5I). [16] Graham, Victoria (November 25, 1975). "Originators of Superman Destitute: Sold Rights in 1938 for $130". State Journal (Lansing, Michigan): p.D-3. [17] Horn, Maurice. The World Encyclopedia of Comics: Shuster, Joe. (Scribner, 1976) ISBN 978-0-87754-030-4 [18] Lambert, Bruce (August 3, 1992). "Joseph Shuster, Cartoonist, Dies; Co-Creator of 'Superman' Was 78" (http:/ / query. nytimes. com/ gst/ fullpage. html?res=9E0CE6D71330F930A3575BC0A964958260). New York Times. . Retrieved 2008-08-12. Archived 12 Aug 2008 (http:/ / www. webcitation. org/ 5a1pxTNKz). [19] "Man and Superman" (http:/ / www. time. com/ time/ magazine/ article/ 0,9171,947632,00. html). Time. January 5, 1976. . Retrieved 2008-08-12. Archived 12 Aug 2008 (http:/ / www. webcitation. org/ 5a1qR5MVc). [20] Associated Press (June 28, 2006). "Superman co-creator has humble Canadian roots" (http:/ / www. ctv. ca/ servlet/ ArticleNews/ story/ CTVNews/ 20060628/ superman_returns_cdn_060628/ 20060628?hub=Entertainment). CTV. . Retrieved 2008-08-12. [21] "Canadian comic-book awards: one down, one to go" (http:/ / www. cbc. ca/ arts/ story/ 2005/ 05/ 02/ comicawards050502. html). CBC. May 2, 2005. . Retrieved 2008-08-12. Archived 2008-08-12 (http:/ / www. webcitation. org/ 5a1pCmGx1). [22] "Transportation Services Toronto and East York District: Staff Report, March 13, 2006" (http:/ / www. toronto. ca/ legdocs/ 2006/ agendas/ committees/ te/ te060404/ it068. pdf) (PDF). . Retrieved 2010-06-17.

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External links
Comic Art & Graffix Gallery - Artist Biography (http://www.comic-art.com/biographies/shuster1.htm)

Article Sources and Contributors

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Bentley, Sugar Bear, TMC1982, TMorg13, Tank2000, Tenebrae, ThatGuamGuy, The Who, Themindset, Theresa knott, Three cheers for sweet revenge, Tide rolls, Time for action, Timrollpickering, Tinton5, Tobias1, TomTheHand, Tomtheeditor, Tony Fox, Travelbird, Tristanb, Tromatic, Tutmosis, Tverbeek, Twyford, TylerA97, Ulric1313, VanMerde, Vanished 6551232, Versus22, VicVega123, VoX, Vocaro, WBurk, WOSlinker, Wakuran, Warpozio, Wayne Slam, When Muffins Attack, WhisperToMe, Wickethewok, Wiendietry, Wikianon, Wimt, Woohookitty, Writersblock81, Wxyzone, YUL89YYZ, Yamanbaiia, Yooden, Yossarian, YourEyesOnly, Yoursvivek, Zero no Kamen, 690 anonymous edits David Mazzucchelli Source: http://en.wikipedia.org/w/index.php?oldid=444277459 Contributors: Amoeda, Attilios, Bearcat, Billybigball, Chowbok, Cubzrule, Curly Turkey, Dannykauf, DocWatson42, DolphinL, Emperor, Esperanza 1982, Fito, Fma12, Fortdj33, Garion96, GodzillaWax, Grumblepuss, Hiding, Irregulargalaxies, J Greb, Jmdeleon, Kbdank71, Maestro25, Magioladitis, Multiverse, Murgh, Nightscream, Open2universe, Pearle, Phthoggos, Robocoder, Seanviola, SimonP, Snovember, SoM, StaticShock, SterlingNorth, Stoshmaster, Stuart mcmillen, Superchilum, Tenebrae, ThomYoung, WOSlinker, Wizardman, Zapp645, 96 anonymous edits Batman: Year One Source: http://en.wikipedia.org/w/index.php?oldid=446402277 Contributors: ***Ria777, -5-, 130.243.97.xxx, A Man In Black, A gx7, Acjelen, AdamDeanHall, Alex earlier account, Alientraveller, Antrophica, Attilios, Batman Fan 31593, Benc, Brown Shoes22, Bryan Derksen, Buddy-L, CS42, Caleson, Captain Disdain, Cgray4, Chcknwnm, CheshireKatz, Chris j wood, Cladeal832, Clerks, Contributor777, Conversion script, CuriousEric, Curly Turkey, CyberSkull, D1Puck1T, DESiegel, DPFUNEditor, David Gerard, Deadflagblues, Deadpool992, Doczilla, DrBat, Duggy 1138, Dunhere, DuoDeathscyther 02, DynamoDegsy, Dyslexic agnostic, Eclecticology, Emperor, Erik, EveryDayJoe45, Fito, Flatscan, Gagundathar Inexplicable, Gaius Cornelius, Galliaz, Gongshow, Gorjus, Granpuff, Grapple X, Groovenstein, Grunge6910, Gtrmp, Haris Aggelopoulos, Hbdragon88, Hiding, Hoho, I r lolz, Irishguy, J Greb, JDspeeder1, Jeferman, Jeff Silvers, Jeff schiller, Jester1983, JethroElfman, JobSmee, Jogers, Kal-El, Kbdank71, Kchishol1970, Killy mcgee, Konczewski, KramarDanIkabu, Kuralyov, Kusma, LGagnon, Lenin and McCarthy, LilHelpa, Liontamer, Lollerkeet, Lonenut2000, Lowellian, LtNOWIS, M.adam.iub, MCBastos, MWShort, Maestro25, MagicBez, ManofRenown87, Marcus Brute, Marktreut, Max Terry, Midnightblueowl, MikeyTMNT, Modemac, MovieGroovie, Mrquatch, Mrzaius, Mtminchi08, NeoBatfreak, Nicoleon, Noclevername, Normanmargolus, Paxsimius, Pb30, Plasticup, RabbiHunter, Redhead911, Robocoder, Rodeosmurf, RonBatfreak, SSantoro, SaliereTheFish, ShadyGrady, Shervinafshar, Smiteri, SoM, SoSaysChappy, Sonam8311, Sonic Shadow, Spookyadler, SwitChar, TMC1982, Talking goat, TarsTarkas71, ThatGuamGuy, Tim!, Tobias382, Trivelt, Tua34183, Tulip19, Ultraviolet scissor flame, UrukHaiLoR, Vegan4Life, Vegas Bleeds

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Neon, W Anderson, Warpozio, Warreed, Waza, WesleyDodds, Western John, Wildroot, Zero no Kamen, 243 anonymous edits Richard F. Outcault Source: http://en.wikipedia.org/w/index.php?oldid=439115829 Contributors: 8th Ohio Volunteers, Albrecht Conz, Bigturtle, Bryan Derksen, Charlie fong, D6, Dave Farquhar, Dpbsmith, E23, Englandsmoke, Gwen Gale, Hiding, Jean-no, Kbdank71, LibraryLion, Lilreno, Marcus Brute, Mike Dillon, Mrdude, MsHyde, Murgh, Nightscream, Onesbrief, Pepso2, Persian Poet Gal, Petrusbarbygere, Philip Trueman, Phyllis1753, Remurmur, SchuminWeb, Stefanomione, Tagishsimon, Ted Wilkes, Tenebrae, Viniciusmc, Whooligan, 12 anonymous edits The Yellow Kid Source: http://en.wikipedia.org/w/index.php?oldid=445860817 Contributors: B&W Anime Fan, BayBoy, Bobanny, Bobo192, CS42, Chabuk, Charlie fong, Checkerpaw, Colonies Chris, Conversion script, Curb Chain, Cvmoore2005, Cwolfsheep, Delirium, Destynova, Discospinster, DocWatson42, Dougie monty, Download, Epbr123, Filceolaire, Finlux, Fookadookadoo, Frazzydee, Gamaliel, Ghosts&empties, Gwen Gale, Hephaestos, Hiding, Infrogmation, Jmlptzlp, Kasuga, Kitase, Liftarn, LinoPop, LittleDan, Lord Xavius, Lotje, MakeRocketGoNow, Maple Leaf, Marcus Brute, Master-of-comicstrips, Michael Edlund, Murgh, NGMan62, NawlinWiki, Neelix, Ortolan88, Pepso2, Peregrine981, Ponder, Postdlf, Raybrn, RekishiEJ, Richard Arthur Norton (1958- ), RjLesch, Salamurai, Shaka, Smalljim, Thomt8, Viniciusmc, WIGIWIGI, Wakuran, Wasell, WereSpielChequers, Whooligan, Wikipeterproject, Xed, Yeng-Wang-Yeh, 83 anonymous edits Frank King (cartoonist) Source: http://en.wikipedia.org/w/index.php?oldid=434922029 Contributors: Badbilltucker, Canadian Paul, CommonsDelinker, Csernica, Gamaliel, Garion96, Hiding, HollyAm, J Greb, Jm307, Kbdank71, Kumioko, Lightmouse, Marcus Brute, Monegasque, Murgh, Pepso2, RFD, Rl, Sean.hoyland, SoM, Sparkit, Tenebrae, Thiseye, Tintin1107, WOSlinker, 1 anonymous edits Gasoline Alley Source: http://en.wikipedia.org/w/index.php?oldid=442407802 Contributors: (jarbarf), Artofmine, Ary29, Asparagus, Badbilltucker, Bobblewik, C2equalA2plusB2, COMPFUNK2, Chowbok, Curly Turkey, Cwolfsheep, DL77, Djinn112, Doczilla, Dr Zak, Dtobias, Dvermeirre, Emb021, Emperor, Ewulp, Favonian, Foofbun, Fram, Furrykef, GVnayR, Gamaliel, Gene Nygaard, Great Stone Face, Gurch, Hmains, Horatioaitch, Hu12, JAF1970, Jimtrue, Jm307, John Paul Parks, Jpgordon, Kchishol1970, Konczewski, Lilreader, Lockley, Maple Leaf, Marktreut, Maximus Rex, Mdumas43073, Neelix, Ortolan88, Pepso, Pepso2, Prestonmcconkie, RL0919, RepublicanJacobite, Rich Farmbrough, Rick Norwood, Rockhopper10r, Ronhjones, Sct72, Shortride, Smarkflea, Stefanomione, Unscented, V Brian Zurita, Varlaam, Vchimpanzee, Your Radio Enemy, Zanimum, , 70 anonymous edits Winsor McCay Source: http://en.wikipedia.org/w/index.php?oldid=446001353 Contributors: Adam keller, Benadikt, Bkd, Blaxthos, Blueroselighthouse, BobJones77, Bobblewik, Boris iv, CDA, Cglassey, Chowbok, Codetiger, D6, Dancter, DannyBoy7783, Davepape, David A. Victor, Dudeman5685, Emb021, FunkMonk, Garion96, Geniac, Good Green, Hammersoft, Hiding, Hmains, JaGa, Japanese Searobin, Jimcripps, Joel Schlosberg, John Pannozzi, Johnpacklambert, KJBracey, Kbdank71, Kelsievans, Laubrau, Lockley, Lotje, MK2, Mandarax, Maple Leaf, Marcus Brute, Metabaron5, Mind meal, Modemac, MykReeve, NameIsRon, Nightscream, Oldspongebob101, Opelio, Ortolan88, Pepso2, Philip Auguste, Postdlf, Puckly, Rich Farmbrough, Rjwilmsi, SCEhardt, Signinstranger, SkaryMonk, The Incident, Trunks6, Uucp, Veronica Mars fanatic, VolatileChemical, White Shadows, Zanimum, Zotdragon, 74 anonymous edits Little Nemo Source: http://en.wikipedia.org/w/index.php?oldid=443990288 Contributors: Ahkond, Al Lemos, Alamandrax, Alvis, Ashley Pomeroy, Awadewit, AwesomeCoffee, Beacon of Hope, BigCow, CB001, Caleson, Carlwev, CatherineMunro, Cernen, Cglassey, Colonies Chris, CommanderCool1654, Conversion script, Damian Yerrick, Daniel Lawrence, Dano112358, Darklilac, Das Baz, Davehi1, Davepape, Discospinster, Donihue, Dori, Ellmist, Emperor, Esrever, Ffaker, Fortdj33, Fritz Saalfeld, Gamaliel, Garydave, Gmarsden, Goustien, Gwern, Henryrothschild, Hotdoglives, JIP, JasonAQuest, Joel Schlosberg, JustinNichol, Kaijan, Kaldari, Keyser Sze, Klow, KnightRider, Kraftlos, LC, Laubrau, Lilreader, MECU, Macho, MakeRocketGoNow, Malcolm Farmer, Maple Leaf, Mark Burstein, Marktreut, Meeve, MegX, Modemac, Multiverse, Murgh, Mwvandersteen, NWeber, Natedubya, Neelix, Neil Erickson, New Age Retro Hippie, Nihiliststar, Ntnon, Oobopshark, OrangeDog, Ortolan88, Pepso2, Pharaoh of the Wizards, Phthoggos, Pjalne, PlanetaryPrinces, Quiddity, Red Darwin, Reedy, Rich Farmbrough, Sand Squid, Sannse, Schneelocke, Shadi Potter, ShelfSkewed, Snakeyes (usurped), Sophie Sings, Stshores24, TJ Spyke, Test3, That Guy, From That Show!, TheBlazikenMaster, ThuranX, Tjmayerinsf, TravelingDude, Tree Biting Conspiracy, TrippingTroubadour, Turtleheart, Tyciol, UberMan5000, UltraBibendum, Uucp, WaldoJ, Wasted Time R, Winston365, Xastic, Zpc, 175 anonymous edits Gertie the Dinosaur Source: http://en.wikipedia.org/w/index.php?oldid=446278966 Contributors: 31stCenturyMatt, Aleal, Andrzejbanas, Angelo Michael, AnmaFinotera, Behnam Lot, Bensin, Brickwalljon, Casliber, Circeus, Davepape, Davin, E-shark, Erik, Estrose, Favonian, Fram, FunkMonk, Gamaliel, Garion96, GeeJo, Glane23, HarDNox, HarlandQPitt, Hektor, JEN9841, Jr9999, Kaitoace, KentoIkeda, Koyaanis Qatsi, Lugnuts, MER-C, Masaruemoto, Melchoir, Mgiganteus1, Michfan2123, MiguelTremblay, MioUzaki, MisfitToys, Modemac, Mwvandersteen, Pearle, Pjoef, Refrainin' Diamonds, Rich Farmbrough, S0ulreaper, Sailorsaurus, San Sanitsch, Skier Dude, SpaceFlight89, SpectrumDT, Sverigekillen, TheNewMinistry, Timc, UberMan5000, Zanimum, Zoe, 62 , anonymous edits George Herriman Source: http://en.wikipedia.org/w/index.php?oldid=434922140 Contributors: Albrecht Conz, Art LaPella, Bertrandium, Bjones, Bons, Chris k, Classicfilms, Colorfulharp233, CommonsDelinker, D6, Dcarbonell, Download, DragonflySixtyseven, Erudecorp, Formeruser-82, Fratrep, Fred.e, FreeMorpheme, FuriousFreddy, Galatee, Hailey C. Shannon, Hiding, Hydrargyrum, Infrogmation, Jorge Stolfi, Kbdank71, LeonardoRob0t, Magioladitis, Marcus Brute, Miles530, Modemac, Mrblondnyc, Murgh, NaidNdeso, Nightscream, Ortolan88, Otets, Paul A, Pcb21, Pepso2, Ramapith, Richard Arthur Norton (1958- ), Robart1, Sean.hoyland, Stco23, Stefanomione, Sugar Bear, Tagishsimon, Tenebrae, Tide rolls, Unidyne, Vegas Bleeds Neon, Velocicaptor, WOSlinker, Wik, 41 anonymous edits Krazy Kat Source: http://en.wikipedia.org/w/index.php?oldid=445859050 Contributors: 790, 84user, Abeisser, AdultSwim, Agbwiki, Ahkond, Amcaja, Andrew Levine, Andypandy.UK, Anville, Apartmento, ArchieHall, BMF81, Bart133, Benjiboi, Betaeleven, Bob-dole13, Bobblewik, Bons, BorgQueen, Brighterorange, Bryan Derksen, Cartoon-Fan, CartoonBuff, Catbar, Cfortunato, Chowbok, ChrisCork, Cinemagic, Clay2, Cmdrjameson, Cobra libre, Crazy Cat Pro., Crazynas, Curly Turkey, Curmudgn, Curps, Daniel Case, Darksasami, Davemackey, David Warner, Dazzlecat, Discospinster, DocWatson42, Donihue, Droll, Dumarest, Duncancumming, Earthnut, Edgar181, Ekotkie, Emb021, Emperor, Ergative rlt, Everyking, Feirefis, Ferdinand Pienaar, Fram, Frankypants, FreeMorpheme, Frekja, Fumblebruschi, FuriousFreddy, Gamaliel, Godai, Gothamgazette, Goustien, Greatigers, Green Cardamom, Gwern, Gwernol, Hailey C. 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Gustafson, JohnnyLurg, Kasuga, Kbdank71, Koavf, Legotech, MJBurrage, MakeRocketGoNow, Marcus Brute, Matthew Auger, Mbj360, Mercurywoodrose, MrDanKelly, Multiverse, Mw66, Neschek, Niteowlneils, Peteashton, PhilHibbs, Phthoggos, RobJ1981, Sean.hoyland, Ser Amantio di Nicolao, Shinpah1, SidP, Simeon H, Speciate, Synchronism, The Thing That Should Not Be, Tocca, UltimatePyro, Walkinglime, Zachbe, 77 anonymous edits Here (comic) Source: http://en.wikipedia.org/w/index.php?oldid=273187576 Contributors: Chowbok, Doczilla, InnocuousPseudonym Kramers Ergot Source: http://en.wikipedia.org/w/index.php?oldid=407338214 Contributors: Anaxial, Buenaventurapress, Emperor, Ioeth, Jwillbur, KConWiki, PaulHammond2, Sevenstones, Sjb0926, Stoshmaster, Terrillja, 4 anonymous edits Paper Rad Source: http://en.wikipedia.org/w/index.php?oldid=444353717 Contributors: Abracadabraitnowexists, Abracadabranowitexists, Alphatibet, Annettemonnier, Bejnar, Cashew King, Closedmouth, DanielHowse, Doctorninja, Donwithnoname, Drat, Drewcifer3000, Driscoll, Erianna, Ericwmast, Firsfron, Futurebird, F, Henrygb, Hmains, Hotdogs, Jciocci2000, JenineProvidence, Josh4321, Mistersmartypants, Morganfitzp, Mr. Quibble, Mysteriousfumanchu, Nancy, Omoder, Paperrad, Paul Slocum, RadioKirk, Rat.rattigan, Sgw1009, SinatraFonzarelli, Sjb0926, Smohnot, Stev0, Tainter, Tomdobb, 42 anonymous edits

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Seth (cartoonist) Source: http://en.wikipedia.org/w/index.php?oldid=439358009 Contributors: Active Banana, Andrew c, Bearcat, Bkm, Bookcats, Canadian comics, Cdman882, Chinju, Curly Turkey, D2vge, D6, EFieg, Emperor, Everyking, Gamaliel, Ghstpg, GrantNeufeld, Hiding, Hob, J Greb, John M Baker, K72ndst, Karlos the Jackal, Kbdank71, Kchishol1970, Kernitou, Lachatdelarue, Miss Tabitha, Misterwindupbird, Moxy, Murgh, MuzikJunky, Nbarth, Nightscream, Ny156uk, Pepso2, Peter S., Phthoggos, Publicitydq, Rich Farmbrough, Roregan, SaxofoneDL, Shawn in Montreal, Stoshmaster, Tenebrae, Thmazing, Tregoweth, Trevor MacInnis, Varlaam, WOSlinker, WikHead, 47 anonymous edits Josh Neufeld Source: http://en.wikipedia.org/w/index.php?oldid=447653598 Contributors: 42and5, Cbustapeck, ESkog, EanIlliam, Fram, Garion96, GeoffreyMason, GoingBatty, HOT L Baltimore, JohnnyLurg, Martarius, Miladydewinter, Murgh, Nixeagle, Rettetast, Rjwilmsi, Stoshmaster, WOSlinker, Wjcohen, Yanksox, , 4 anonymous edits A.D.: New Orleans After the Deluge Source: http://en.wikipedia.org/w/index.php?oldid=432985757 Contributors: Curly Turkey, Emperor, Good Olfactory, Infrogmation, Ohconfucius, Stoshmaster, Vancouver Outlaw, 2 anonymous edits Jessica Abel Source: http://en.wikipedia.org/w/index.php?oldid=434930375 Contributors: Acalamari, Amydmoore, Badbilltucker, Belovedfreak, Bookcats, Chanlyn, CityClubHag, Coll7, Emperor, FUCKKKKKKKK, Ford2prefect, Fordmadoxfraud, Fratrep, Freakofnurture, GHe, Gaius Cornelius, Galliaz, Gantry, Geeksquad, GregorB, Hersfold, Hiding, Himayat-Anjuman-i, Jcca, Jeandr du Toit, Jfpierce, Jre, Kbdank71, Lancini87, Marcus Brute, Maxim, Mboverload, Michaelkvance, Monobi, Nightscream, Okki, P4k, Pegasus1138, Pepso2, Phthoggos, Rfl, Rjanag, Rjwilmsi, Speciate, Stoshmaster, Tenebrae, The wub, TheCat, TheParanoidOne, Thefifthdoctor, Tirethminet, Vizjim, WOSlinker, Wheloc, Zoeydahling, 20 anonymous edits La Perdida Source: http://en.wikipedia.org/w/index.php?oldid=432987115 Contributors: Archieve, Colonies Chris, Cucumbergirl, Curly Turkey, Emperor, Howard Drake, Jcca, Marcus Brute, Mod mmg, PamD, Robocoder, Sir Isaac, Stoshmaster, Zachcm, 3 anonymous edits Daniel Clowes Source: http://en.wikipedia.org/w/index.php?oldid=445601201 Contributors: All Hallow's Wraith, Andran, Badbilltucker, Beardo, Bjones, Bobo192, Bodnotbod, Bwiki, Chowbok, Chris Stangl, ChuckyDarko, Clerks, Curly Turkey, D6, Danchall, David Gerard, Doctorhawkes, DropDeadGorgias, Dubkiller, E-Kartoffel, Ericzala, Fallout boy, Ferdinand Pienaar, For An Angel, Gamaliel, Garion96, Geraldine123, Gillwill, GoingBatty, GraemeL, Gregmce, Guillom, Half price, Harner427, Hiding, Hob, Hobbesy3, Holden69, Hu12, Husond, Ike9898, InnocuousPseudonym, Irishguy, Jack O'Lantern, Jenniscott, Jessek, Jfpierce, Joel7687, JohnRussell, Jonathan F, Katieh5584, Kbdank71, Keithh, Lima Neto, Lugnuts, MK2, Manu bcn, Mar bells87, Marcus Brute, Martarius, Maximus Rex, Mberliet, Mce, Mortene, MrSnow, Mukkakukaku, Multiverse, MuzikJunky, N-k, Nehrams2020, Orayzio, P4k, Pepso2, Philwiki, Pigsonthewing, Polylerus, Popageorgio, Quadell, RetiredUser124642196, Rydia, S, Scorp27, Sean.hoyland, Signalhead, Skysmith, SlamDiego, Sparsefarce, Speedreeder, Spitfire, Stoshmaster, Sunwin1960, Tassedethe, Tehw1k1, The Gnome, TheManicD, Tim1357, Tortoiseshells, Tothebarricades.tk, Triptych, Tuspm, Twalls, Varlaam, Vary, Vizjim, Wikipediatrix, Wildhartlivie, Woohookitty, Woww, Xb2u7Zjzc32, Yllosubmarine, Zyxw, , 193 anonymous edits Ghost World Source: http://en.wikipedia.org/w/index.php?oldid=437843601 Contributors: ***Ria777, AI master god Helios, Akhran, Anastacy, Andrewhime, Angel2001, Astonzia, Atlan, Bender235, Bookcats, Boothy443, Can't sleep, clown will eat me, Chris Stangl, Closedmouth, Clueless1995, Colonies Chris, Curly Turkey, CyberSkull, D Monack, DanKassem, Darklilac, David Gerard, Deerhunt, Demainneviendra, Drivenapart, DropDeadGorgias, Edwardx, Elryacko, Emperor, EnidColeslaw, Esperant, ExcaliDragon, 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Ben Katchor Source: http://en.wikipedia.org/w/index.php?oldid=433157024 Contributors: Cbustapeck, Cjs2111, Closedmouth, Crystallina, Curly Turkey, Feureau, Hyperdoctor Phrogghrus, InnocuousPseudonym, John of Reading, Kestenbaum, Kikhl, Kiscica, Kleinzach, Lconnor, Pepso2, Stoshmaster, Wahwahnyc, 5 anonymous edits Chester Brown Source: http://en.wikipedia.org/w/index.php?oldid=445506756 Contributors: Accordion Noir, Ash Loomis, Asthma bronchiale, Azumanga1, BD2412, Badbilltucker, Bearcat, Bkm, Bonnema, Bookcats, Carolynparrishfan, Cast, Chowbok, Chris Capoccia, Curly Turkey, Dan Austin, Debresser, DocWatson42, Dubkiller, Embryomystic, Ewilen, FlyHigh, Gamaliel, Graham87, Ground Zero, Hack-Man, Happykafka, Hiding, Hob, Ike9898, InnocuousPseudonym, Ivangeotsky, Jessek, Jfpierce, Kbdank71, Kchishol1970, Kernitou, Kkassam, Marcus Brute, Meelar, Mephistophelian, Metropolitan90, Minimac, Miscellanium, Monicasdude, MrMo, Multiverse, My Lips Are Sealed, Nbarth, Netoholic, Nick Number, Ria777, Samaritan, Skomorokh, Steam5, Stoshmaster, TJ Black, User2004, Varlaam, Victoriagirl, Will Beback, Wo0dstock79, , 59 anonymous edits Joe Matt Source: http://en.wikipedia.org/w/index.php?oldid=429876783 Contributors: Altenmann, Antaeus Feldspar, Austicke, Badbilltucker, Brain, Brandont, Chicheley, Curly Turkey, D6, Davidweman, DeansFA, Finn Bjrklid, Fomeboy, Hiding, Ifpthendirt, Jcbutler, Kernitou, Not on display, Nymf, P4k, Pearle, Selfinformation, Silverwood, Stoshmaster, Xezbeth, Zerath13, 41 anonymous edits Pascal Blanchet Source: http://en.wikipedia.org/w/index.php?oldid=408413606 Contributors: Alvin Seville, Bearcat, DarthSquidward, Fabrictramp, Falcon8765, Joe Decker, Katharineamy, S Marshall, ThaddeusB, Wisdom89, 4 anonymous edits Adrian Tomine Source: http://en.wikipedia.org/w/index.php?oldid=434921551 Contributors: Anirvan, Arrancaruno, BD2412, Bryan Derksen, Bullsunderwater, Ceedub12, Cheeser1, Chilismaug, Chillum, Chyel, Cindery, Clown in black and yellow, ColourBurst, Commandr Cody, Crazyfrog321, Cross321, Curly Turkey, D6, Dq jamieq, Dqjamie, Drobbins, Ecoleetage, Emperor, Epbr123, FrF, Fritz Saalfeld, George100, Gummybear321, Hbent, Hiding, Ifpthendirt, J Greb, Jfpierce, Jodaviess, Jordi Roqu, Kbdank71, KermitHall, Koalabites, Koavf, Kreegah, Longfolderol, Marcus Brute, Mulder416, Multiverse, Murgh, Myasuda, Nbarth, PM800, PMDrive1061, Phthoggos, Polylerus, Rjwilmsi, Samplereality, Schi, Sethoeph, Silberspy, SimonP, SoM, Sparsefarce, Stationwagontodd, Stoshmaster, Tomdobb, WOSlinker, Work permit, Worrydream, Zoicon5, Zvar, 50 anonymous edits Steve Mumford Source: http://en.wikipedia.org/w/index.php?oldid=439379969 Contributors: Alexanderingle, Alsafiart, Appartitionapparatus, BD2412, Bearcat, Cuchullain, Dino246, Frank, Lockley, Sandyenglish, Sbmumford, Stemonitis, Warrenking, 6 anonymous edits Joe Sacco Source: http://en.wikipedia.org/w/index.php?oldid=446837152 Contributors: 3s, Anarchy Music, Aspects, Avriette, BalooUrsidae, Bgaesop, Bill Thayer, BovineBeast, CR85747, Chowbok, ChrisB, Chrisportelli, Colin Keigher, Comix2000, D6, Dave Cohoe, Emperor, ExRat, Fjmustak, Gabi S., Hiding, Hob, Homer saves presidents, J04n, JK the unwise, Jeeter07, Jeffkantoku, Joelemaltais, Johnpacklambert, Kbdank71, Khatru2, Koavf, Kyle Barbour, LeonardoGregianin, Ligulem, Lilac Soul, Magioladitis, Maktaaq, Mets501, Michael Furey, Owen, PamD, PhilHibbs, Phthoggos, Pietru, Rettetast, Rich Farmbrough, Richard Cane, Ruthfulbarbarity, SJ Morg, SailorAlphaCentauri, Sean.hoyland, Silvanagius, Skudrafan1, Stephen, Stoshmaster, Typicalpickle, Uriber, Varlaam, Vegas Bleeds Neon, WOSlinker, Wizardman, Woww, Xeno, Zachbe, 46 anonymous edits Harvey Pekar Source: http://en.wikipedia.org/w/index.php?oldid=444091643 Contributors: AgnosticPreachersKid, Ajh1492, Akira625, Alandaviddoane, All Hallow's Wraith, Alwonder, Amcl, Andycjp, Artichoke-Boy, Ash Loomis, Beyond My Ken, Blottodan, Bsmith, Burtjauk, CanisRufus, Cattus, CityWanderer, CliffC, Cosprings, CrackerJack7891, Cultwriter, D'n, D6, DanKassem, Dave Cohoe, Davidkphoto, Deflective, Dilettant, Doctor yellow, DragonGuyver, Duncancumming, Ebyitems, EdwinHJ, Emott, Emuzesto, Endos, Erck, Evergladephish11, Everyking, FaerieInGrey, Farpointer, FlavrSavr, Fordmadoxfraud, Fratrep, Freakofnurture, Friedeggfriend, FrikCakey, Gaff, Gamaliel, Giachen, Gobonobo, Goraps, GraemeL, Grayfell, Griot, Gumruch, Gyrofrog, HVS, Hi, Jeff. 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Image:ScottMcCloud.jpg Source: http://en.wikipedia.org/w/index.php?title=File:ScottMcCloud.jpg License: Creative Commons Attribution 3.0 Contributors: Joe Schneid, Louisville, Kentucky Image:UnderstandingComics.jpg Source: http://en.wikipedia.org/w/index.php?title=File:UnderstandingComics.jpg License: Fair Use Contributors: User:InnocuousPseudonym File:Will Eisner2.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Will_Eisner2.jpg License: Creative Commons Attribution 2.0 Contributors: Alan Light Image:Wow3.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Wow3.jpg License: Fair Use Contributors: TAnthony, Tenebrae Image:Spirit - Oct. 6, 1946.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Spirit_-_Oct._6,_1946.jpg License: Fair Use Contributors: Murgh, Pepso2, Sct72, TAnthony, Tenebrae, 3 anonymous edits Image:PSJune1951.jpg Source: http://en.wikipedia.org/w/index.php?title=File:PSJune1951.jpg License: Public Domain Contributors: by Will Eisner. 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Flickr_-_csztova_-_Andrew_Garfield_-_TIFF_09'_(1).jpg: derivative work: Paulae (talk) Image:FF509.jpg Source: http://en.wikipedia.org/w/index.php?title=File:FF509.jpg License: Fair Use Contributors: DrBat, Fortdj33, J Greb, Melesse, Nehrams2020, SoM, Sunburst Image:ff1kirby.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Ff1kirby.jpg License: Fair Use Contributors: Burgerman277, Closedmouth, DrBat, Fortdj33, J Greb, Jj98, Kchishol1970, Postdlf, Sfan00 IMG, Sreejithk2000, TAnthony, Tenebrae Image:Fantastic Four 48.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Fantastic_Four_48.jpg License: Fair Use Contributors: J Greb, TAnthony, Tenebrae Image:FF232.jpg Source: http://en.wikipedia.org/w/index.php?title=File:FF232.jpg License: Fair Use Contributors: Fortdj33, Stoshmaster, TAnthony, Tassedethe, Tenebrae Image:Fantastic four poster.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Fantastic_four_poster.jpg License: Fair Use Contributors: 17Drew, Cryptic, Fortdj33, J Greb, JYolkowski, Nehrams2020, Oden, RedSpruce, Rje, Spidey104, Tennisbm224 File:FrankMillerSanDiego crop.jpg Source: http://en.wikipedia.org/w/index.php?title=File:FrankMillerSanDiego_crop.jpg License: Creative Commons Attribution 2.0 Contributors: FrankMillerSanDiego.jpg: pinguino k from North Hollywood, USA derivative work: Beao Image:Frank Miller.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Frank_Miller.jpg License: Creative Commons Attribution 2.0 Contributors: Alan Light Image:daredevil168.png Source: http://en.wikipedia.org/w/index.php?title=File:Daredevil168.png License: Fair Use Contributors: Calmer Waters, DrBat, J Greb, JethroElfman, Johnmc, Kchishol1970, Pabouk, PhS, Robocoder, Sfan00 IMG, TAnthony, Tom Morris Image:Dark knight returns.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Dark_knight_returns.jpg License: Fair Use Contributors: Alientraveller, DarkFalls, Grendelkhan, J Greb, Kchishol1970, Paul A, TAnthony, 1 anonymous edits 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Image Sources, Licenses and Contributors


Image:Krazykat.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Krazykat.jpg License: Public Domain Contributors: George Herriman File:Krazy Kat Bugolist 1916 silent.ogv Source: http://en.wikipedia.org/w/index.php?title=File:Krazy_Kat_Bugolist_1916_silent.ogv License: Public Domain Contributors: George Herriman as creator of comic strip; converted to MPG and uploaded to archive.org by uploaded by Eva Vikstrom on 2008-09-07, sound removed by 84user on 2009-12-08 Image:mintz-krazy.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Mintz-krazy.jpg License: Fair Use Contributors: Hiding, Pietro Shakarian, Sfan00 IMG File:Chris Ware in 2009.JPG Source: http://en.wikipedia.org/w/index.php?title=File:Chris_Ware_in_2009.JPG License: Creative Commons Attribution-Sharealike 2.5 Contributors: Original uploader was Lunavorax at en.wikipedia Image:Acme Novelty Library 1 - Chris Ware.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Acme_Novelty_Library_1_-_Chris_Ware.jpg License: Fair Use Contributors: Jnthn0898 File:Jimmy Corrigan Hardback cover.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Jimmy_Corrigan_Hardback_cover.jpg License: unknown Contributors: Chris Ware Image:HereComic.jpg Source: http://en.wikipedia.org/w/index.php?title=File:HereComic.jpg License: Fair Use Contributors: User:InnocuousPseudonym Image:Paper_rad_facemaker_still.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Paper_rad_facemaker_still.jpg License: Fair use Contributors: Driscoll File:Sethphoto--bennett.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Sethphoto--bennett.jpg License: Copyrighted free use Contributors: Drawn & Quarterly Image:Seth Dominion Models.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Seth_Dominion_Models.jpg License: Creative Commons Attribution-Sharealike 3.0 Contributors: Charles Paul Hoffman File:neufeld_drawing_table.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Neufeld_drawing_table.jpg License: Public Domain Contributors: Doczilla, J Greb, Stoshmaster Image:Ad cover7c.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Ad_cover7c.jpg License: Fair Use Contributors: Skier Dude, Stoshmaster File:CalhounGrocery.jpg Source: http://en.wikipedia.org/w/index.php?title=File:CalhounGrocery.jpg License: Creative Commons Attribution 2.0 Contributors: Infrogmation of New Orleans File:9.13.09JessicaAbelByLuigiNovi1.jpg Source: http://en.wikipedia.org/w/index.php?title=File:9.13.09JessicaAbelByLuigiNovi1.jpg License: Creative Commons Attribution 3.0 Contributors: Nightscream File:Jessica Abel 20060916 Festival Delcourt 01.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Jessica_Abel_20060916_Festival_Delcourt_01.jpg License: Creative Commons Attribution-Sharealike 3.0,2.5,2.0,1.0 Contributors: Georges Seguin (Okki) File:Daniel Clowes at APExpo 2010 7709.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Daniel_Clowes_at_APExpo_2010_7709.jpg License: Creative Commons Attribution-Sharealike 3.0 Contributors: Guillaume Paumier File:Wilsonclowes.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Wilsonclowes.jpg License: Fair Use Contributors: Pepso2 File:DanielClowes06.jpg Source: http://en.wikipedia.org/w/index.php?title=File:DanielClowes06.jpg License: Creative Commons Attribution 3.0 Contributors: Sean Dejecacion at http://flickr.com/photos/festivalcity/ Image:Ghost world.JPG Source: http://en.wikipedia.org/w/index.php?title=File:Ghost_world.JPG License: Fair Use Contributors: Daniel Clowes Image:Ghost-world-poster.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Ghost-world-poster.jpg License: Fair Use Contributors: Lovepollution, Sfan00 IMG, Skier Dude Image:AstroCity01.jpg Source: http://en.wikipedia.org/w/index.php?title=File:AstroCity01.jpg License: Fair Use Contributors: Drilnoth, J Milburn, Malo, Stoshmaster File:Art_spiegelman.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Art_spiegelman.jpg License: Creative Commons Attribution 3.0 Contributors: Nadja Spiegelman Image:Maus.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Maus.jpg License: Fair Use Contributors: User:Marcus Brute Image:Funhomecover.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Funhomecover.jpg License: Fair Use Contributors: Merope Image:Fun-home-barrette.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Fun-home-barrette.jpg License: Fair Use Contributors: User:Josiah Rowe Image:Fun Home photoreference.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Fun_Home_photoreference.jpg License: Fair Use Contributors: User:Josiah Rowe Image:Fun Home French cover.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Fun_Home_French_cover.jpg License: Fair Use Contributors: Josiah Rowe Image:Alison Bechdel in London.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Alison_Bechdel_in_London.jpg License: Creative Commons Attribution-Sharealike 2.0 Contributors: derivative work: Josiah Rowe (talk) Fun_Home_Signing_in_ICA_Shop.jpg: Loz Pycock File:10.8.10DashShawByLuigiNovi.jpg Source: http://en.wikipedia.org/w/index.php?title=File:10.8.10DashShawByLuigiNovi.jpg License: Creative Commons Attribution 3.0 Contributors: Nightscream File:Chester Brown.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Chester_Brown.jpg License: Creative Commons Attribution 2.0 Contributors: Joel Friesen from Victoria BC, Canada File:Nuvola apps kview.svg Source: http://en.wikipedia.org/w/index.php?title=File:Nuvola_apps_kview.svg License: unknown Contributors: Ch1902, Saibo Image:Searchtool.svg Source: http://en.wikipedia.org/w/index.php?title=File:Searchtool.svg License: GNU Lesser General Public License Contributors: David Vignoni, Ysangkok File:Pekar_small.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Pekar_small.jpg License: GNU Free Documentation License Contributors: Davidkphoto File:Loudspeaker.svg Source: http://en.wikipedia.org/w/index.php?title=File:Loudspeaker.svg License: Public Domain Contributors: Bayo, Gmaxwell, Husky, Iamunknown, Myself488, Nethac DIU, Omegatron, Rocket000, The Evil IP address, Wouterhagens, 10 anonymous edits Image:HPekar.jpg Source: http://en.wikipedia.org/w/index.php?title=File:HPekar.jpg License: Creative Commons Attribution 3.0 Contributors: Beyond My Ken, DanKassem, Feydey, Salavat File:Punch volume 1 cover (1841).png Source: http://en.wikipedia.org/w/index.php?title=File:Punch_volume_1_cover_(1841).png License: Public Domain Contributors: unspecified. File:True humility.png Source: http://en.wikipedia.org/w/index.php?title=File:True_humility.png License: Public Domain Contributors: User:Malcolm Farmer File:Punch volume 1 cover illustration (1841).png Source: http://en.wikipedia.org/w/index.php?title=File:Punch_volume_1_cover_illustration_(1841).png License: Public Domain Contributors: unspecified. File:Punch magazine cover 1843 july 1 fifth volume no 103.png Source: http://en.wikipedia.org/w/index.php?title=File:Punch_magazine_cover_1843_july_1_fifth_volume_no_103.png License: Public Domain Contributors: unspecified. File:Punch.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Punch.jpg License: Public Domain Contributors: Fastfission, Fennec, Infrogmation, Plugwash, Rcbutcher, Sertion, Wolfmann, 1 anonymous edits File:Punch magazine cover 1916 april 26 volume 150 no 3903.png Source: http://en.wikipedia.org/w/index.php?title=File:Punch_magazine_cover_1916_april_26_volume_150_no_3903.png License: Public Domain Contributors: Richard Doyle (illustration), unspecified (colouring) Image:PunchMagazineMeeting.jpg Source: http://en.wikipedia.org/w/index.php?title=File:PunchMagazineMeeting.jpg License: Public Domain Contributors: unknown File:Our New First Lord at Sea.png Source: http://en.wikipedia.org/w/index.php?title=File:Our_New_First_Lord_at_Sea.png License: Public Domain Contributors: John Tenniel (1820-1914) File:Grant morrison2.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Grant_morrison2.jpg License: Creative Commons Attribution 2.0 Contributors: FlickreviewR, Nightscream, Rosenzweig File:GrantMorrison08.jpg Source: http://en.wikipedia.org/w/index.php?title=File:GrantMorrison08.jpg License: Creative Commons Attribution 2.0 Contributors: Jason Mouratides from San Diego, USA. File:7.19.11GrantMorrisonByLuigiNovi10.jpg Source: http://en.wikipedia.org/w/index.php?title=File:7.19.11GrantMorrisonByLuigiNovi10.jpg License: Creative Commons Attribution 3.0 Contributors: Nightscream Image:V2 1.PNG Source: http://en.wikipedia.org/w/index.php?title=File:V2_1.PNG License: Fair use Contributors: User:Bradtcordeiro Image:Transmetropolitan 2.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Transmetropolitan_2.jpg License: Fair Use Contributors: Fortdj33, Slymole File:Alan Moore (2).jpg Source: http://en.wikipedia.org/w/index.php?title=File:Alan_Moore_(2).jpg License: Creative Commons Attribution 2.0 Contributors: Fimb File:Alan Moore.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Alan_Moore.jpg License: Creative Commons Attribution-Sharealike 2.5 Contributors: Original uploader was Mirka at en.wikipedia Image:V_for_vendettax.jpg Source: http://en.wikipedia.org/w/index.php?title=File:V_for_vendettax.jpg License: unknown Contributors: User:DCAnderson File:Warrior19.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Warrior19.jpg License: Fair Use Contributors: Ahoerstemeier, Ameliorate!, Libertycookies, Midnightblueowl, Ntnon, P-Chan, TAnthony, 1 anonymous edits File:London QVS April 12 2008 0010 Anons.jpg Source: http://en.wikipedia.org/w/index.php?title=File:London_QVS_April_12_2008_0010_Anons.jpg License: Public Domain Contributors: JamesHarrison Image:Watchmencovers.png Source: http://en.wikipedia.org/w/index.php?title=File:Watchmencovers.png License: Fair Use Contributors: User:Siroxo

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Image Sources, Licenses and Contributors


File:DaveGibbons.jpg Source: http://en.wikipedia.org/w/index.php?title=File:DaveGibbons.jpg License: Creative Commons Attribution 2.0 Contributors: Julian Tysoe from London, UK File:Watchmencharacters.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Watchmencharacters.jpg License: Fair Use Contributors: DCAnderson, DrBat, J Greb, Melesse, Rorschach567, Zzyzx11 File:WatchmenFearfulSymmetry.jpg Source: http://en.wikipedia.org/w/index.php?title=File:WatchmenFearfulSymmetry.jpg License: Fair Use Contributors: Alientraveller, Indopug, J.delanoy, Lar, Wyatt915, 2 anonymous edits File:Galle crater.gif Source: http://en.wikipedia.org/w/index.php?title=File:Galle_crater.gif License: Public Domain Contributors: Foroa, Lotse, Ruslik0, Waldir, WinstonSmith File:Who Watches the Watchmen.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Who_Watches_the_Watchmen.jpg License: Creative Commons Attribution 2.0 Contributors: David Masters File:Archie (Nite Owl ship) 2.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Archie_(Nite_Owl_ship)_2.jpg License: Creative Commons Attribution 2.0 Contributors: Lord Jim Image:Promethea.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Promethea.jpg License: Fair Use Contributors: Grumpyhan, J Greb Image:Promethea Weeping Gorilla.JPG Source: http://en.wikipedia.org/w/index.php?title=File:Promethea_Weeping_Gorilla.JPG License: Fair Use Contributors: User:DropDeadGorgias File:Gaiman-headshot.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Gaiman-headshot.jpg License: Creative Commons Attribution-ShareAlike 3.0 Unported Contributors: Kyle Cassidy ( identity confirmed) Image:Gaiman, Neil (2007).jpg Source: http://en.wikipedia.org/w/index.php?title=File:Gaiman,_Neil_(2007).jpg License: Creative Commons Attribution 2.0 Contributors: pinguino k from North Hollywood, USA Image:Sandman no.1 (Modern Age).comiccover.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Sandman_no.1_(Modern_Age).comiccover.jpg License: Fair Use Contributors: Avicennasis, Grendelkhan, J Greb, Skier Dude Image:Sandmanadsmall.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Sandmanadsmall.jpg License: Fair Use Contributors: Scottandrewhutchins Image:Absolute-sandman-cover.png Source: http://en.wikipedia.org/w/index.php?title=File:Absolute-sandman-cover.png License: Fair Use Contributors: Avicennasis, Gwern, J Greb, Remurmur File:Jack Kirby (1982) (cropped).jpg Source: http://en.wikipedia.org/w/index.php?title=File:Jack_Kirby_(1982)_(cropped).jpg License: Creative Commons Attribution 2.0 Contributors: Alan Light File:Captainamerica1.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Captainamerica1.jpg License: Fair Use Contributors: Fortdj33, J Greb, Khaosworks, Lawrence King, Postdlf, Rocketgoat, TAnthony, 1 anonymous edits File:Young Romance Issue 1.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Young_Romance_Issue_1.jpg License: Fair Use Contributors: J Greb, Marcus Brute, Ntnon File:SkyMastersPanel.png Source: http://en.wikipedia.org/w/index.php?title=File:SkyMastersPanel.png License: Fair Use Contributors: User:Cydebot, User:Tenebrae File:Avengers4.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Avengers4.jpg License: Fair Use Contributors: User:ChrisGriswold File:New Gods 1971 1.jpg Source: http://en.wikipedia.org/w/index.php?title=File:New_Gods_1971_1.jpg License: Fair Use Contributors: D6, Fortdj33, J Greb File:Bombast1.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Bombast1.jpg License: Fair Use Contributors: J Greb, Nightscream, TAnthony, Tenebrae File:Batman Kane.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Batman_Kane.jpg License: Fair use Contributors: -5-, CmdrClow, Doczilla, Drilnoth, J Greb, Liftarn, MER-C, Rettetast, Ricky81682, Sk'py Skwrrrl, Skier Dude, Svick, Wildroot File:Jerry Siegel (1976) retouched.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Jerry_Siegel_(1976)_retouched.jpg License: Creative Commons Attribution 2.0 Contributors: Alan Light File:Shuster1975.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Shuster1975.jpg License: Fair Use Contributors: Fma12

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License

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Creative Commons Attribution-Share Alike 3.0 Unported http:/ / creativecommons. org/ licenses/ by-sa/ 3. 0/

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