World Comics is Good Comics.
World Comics is Good Comics.
HELLBOY: THE MIDNIGHT CIRCUS PREVIEW
Story by Mike Mignola
Art by Duncan Fegredo
Colors by Dave Stewart
A preview that will make your icy-cold heart melt.
Coming this October 23!
Buy Comics / Read Comics!
Animal Man appreciation post
"Listen, Ellen, I’ve been doing some thinking over the last couple of months… about my Animal Man powers and stuff… and, well, I’ve come to a decision. I want to go full time into the super-hero business"
- Buddy Baker
Slaine:The Name Of The Sword-Greg Staples
Slaine has been called upon by the Earth Goddess,as her eternal champion for another mission back through the ages-and this time it’s personal!
Our Celtic hero must travel to Britain during the Norman occupation to find the Sword of the Blood God and become the new King of the Green,Robin Goodfellow.
Also present in this age is Slaine’s earthly wife Niamh,where her soul inhabits the body of a Catholic nun,Sister Marian.
Determined to save Niamh,who unbeknownst to her is being manipulated by the Blood God himself,Slaine intends to discover the secret name of the Blood God’s sword,thus negating it’s power and releasing Sister Marian from it’s malign influence.
First though,Slaine must deal with local Norman despot,Sheriff Gilbert De Mandeville,by recruiting a local coven of Pagan rebels,who tired of daily torments at the hands of their Norman oppressors crown Slaine,King of the Greenwood and advance on his imposing castle..
Can Slaine retrieve the Sword and learn it’s secret name and will Niamh-now Sister Marian-remember her past lives with her true love Slaine and return to her belief in the Goddess Danu?
- Slaine arrives in Norman-occupied Britain in search of the Sword of the Blood God.Art:Greg Staples.
- Sister Marian-actually Slaine’s earthly wife,Niamh in a previous incarnation has lost touch with the old ways-Greg Staples.
- Slaine appears to a horrified Sister Marian,in the guise of the Green Man,speaking of their eternal love-Greg Staples.
- Slaine encounters the unpleasant Abbot Drogo and his henchmen-Greg Staples
- Drogo’s men “Kiss Slaine’s Axe!”-Greg Staples
- Turgot and the Greenwood Coven-Greg Staples
- Slaine is crowned the new King of the Green,Robin Goodfellow-Greg Staples
- Sister Marian reads about Slaine and remembers her past lives-Greg Staples
- Slaine gathers the coven for an assault on the casle of Sheriff De Mandeville-Greg Staples
- “Chop ‘Til You Drop!",cover:Prog 956-Greg Staples
Magnus, Robot Fighter #4. “Menace from the Depths” Cover art by Russ Manning. Underwater food-processing facilities are sabotaged by a robot that wants to destroy all mankind.
Two great things about this cover. First, check out the head on that robot! It’s a “think-rob” so of course its head is huge. Second, Magnus proves to be the exception to the rule by being a male wearing a cellophane suit.
Gold Key comics ruuuuule. The old Turok: Son of Stone covers are amazing too.
Using this little link here you submit anything, from artwork to reviews and comic-related links over the ‘net!
Now please be mindful of a couple of things before sending me tons of stuff:
For Comic Art:
- Please send clean artwork, I don’t post watermarked art of any kind!
- Let me know
- who is the artist! (giving proper credit is a must!) or if you are an artist yourself, send me the proper links to your site (tumblr, devianart account, blogspot etc.)
- I only do Superheroes on this blog (and derivatives like the occasional Science Fiction, Videogame or Anime stuff), so please keep that in mind before sending me your awesome art about something totally unrelated.
- Keep it clean! I know I post a lot of comic ladies here, but I don’t post nudes or sex stuff. There’s plenty of that here on tumblr anyway.
For Comic Reviews:
For the love of god, stay away of reviews like this:
- Keep it simple: 3 paragraphs of about 7 to 10 lines explaining the most positive things you did see in the comic in question regarding writing, story, and art. Why no room for negative stuff you ask? because why the hell would I tell you to read a bad comic?
For Movies and TV Shows:
- Very much like above, you explain why whatever you watched is so great in 3 paragraphs of about 7 to 10 lines explaining the most positive things you did see in the movie (or series) in question regarding writing, story, visuals and casting. I’ve already reviewed a lot of Comic Movies, but there are some out there that I haven’t touched, feel free to take a crack at them so I’ll know if we see eye to eye!
For Music and Videos:
- I post music for your ears here from time to time, If you want to share a song (or a video, or a AMV…) that you believe is great, the only requisite I ask is that it must be related to comic lore or gaming related stuff, what does this mean specifically? well you can submit that great Soundgarden song if it belongs to a Comic Movie Soundtrack!
That’s about it for now folks, if you have any question please go to my askbox! I’ll always reply privately!
P.s: Please check these guys out, they are my greatest supporters and Comics Forever wouldn’t exist without the great push these guys have given me!
Fear Agent #28 // Tony Moore
2,000 DC Heroes to be included in Scribblenauts Unmasked. I don’t know if you’ve ever played Scribblenauts, but the long and short of it is these games have a huge database of objects that you can summon to solve puzzles by simply writing the word. And now you’ll have 2,000 DC Heroes at your fingertips. My first summon is going to be Big Barda and a Boom Tube, no question.
Teenage Mutant Ninja Turtles #24
You know you did great when they don’t need you anymore…
WHO SAID IT WAS OK TO MAKE ME SAD!?!?!?!!?
i hope you shit legos sir
I’m just gonna go sit in a corner and cry now. I will never leave my babies alone now…
Okay, I’m seriously crying my eyes out right now…..
#That’s okay, I don’t need my heart.
No but I’m actually crying right now
This isn’t funny, guys.
I’m crying now. that hurt.
I am thrilled to be well remembered, and respected in the comic book community, and to have fans willing to pay me to draw commissions, but I got into comics in order to tell stories, not to draw custom art. I still feel vital, and still want to be at that table. Do I think DC comics owes me anything? Yes and no. I understand that no company owes anything that isn’t contractually stipulated, but in my heart, I think I deserve better than being marginalized over the last 10 years. I’m not retired, I’m not financially independent. I’m a working guy with a family, working for a flat page rate that hasn’t changed substantially since 1995. I may have opportunities at smaller companies, companies that pay less per page than I made in 1988, with no royalties or ownership of any kind. I’m not at all looking down at that, but it is hard to reconcile, as I can’t work faster, and refuse to hack my work out to match the rate. I have pride in what I do, and always have. As to my part in the history of dc for the past 33 years, I was a highly visible and successful part of it, not a minor footnote.
Getting back to the beginning of this essay, and to the artists I loved as a kid, all I ask is for some of the same consideration my generation of creators and editors gave to the older guard in the 1980’s. My work is still sharp, my mind is still full of stories to tell, and I’m still willing to work all hours of my day to meet my deadlines. Why am I out of work from the publishers? Why are my friends, people who turned in great work, worthy of hardcover and trade paperback reprints, not able to get work?
As a comic reader and customer, the publishers use our older work in collected editions, for what they call first copy royalties, no reprint fees. They publish the All Star Squadron trade, for example and you buy it for whatever the cost. My royalty is maybe a couple hundred dollars, if I’m lucky, for 11 issues worth of work. On a recent Absolute Infinite Crisis hardcover, I had 30-odd pages reprinted in there, a book that retailed for over a hundred dollars— a book that DC never even gave me a copy of, and the royalty amounted to a few dollars, I couldn’t buy a pizza on that windfall. I want to work, I don’t want to be a nostalgia act, remembered only for what I did 20, 30 years ago.
Monday 23rd September – Wednesday 25th September 2013 Mansfield College, Oxford, United Kingdom
“Behind this mask there is more than just flesh. Beneath this mask there is an idea… and ideas are bulletproof.” (Alan Moore, V for Vendetta)
This inter- and multi-disciplinary conference aims to examine, explore and critically engage with issues in and around the production, creation and reading of all forms of comics and graphic novels.
Taken as a form of pictographic narrative it has been with us since the first cave paintings and even in the 21st century remains a hugely popular, vibrant and culturally relevant means of communication whether expressed as sequential art, graphic literature, bandes dessinees, tebeos, fumetti, manga, manhwa, komiks, strips, historietas, quadrinhos, beeldverhalen, or just plain old comics. (as noted by Paul Gravett)
Whilst the form itself became established in the 19th Century it is perhaps not until the 20th century that comic book heroes like Superman (who has been around since 1938) became, not just beloved characters, but national icons. With the globalisation of publishing brands such as Marvel and DC it is no accident that there has been an increase in graphic novel adaptations and their associated merchandising. Movies such as X-men, Iron man, Watchmen and the recent Thor have grossed millions of dollars across the world and many television series have been continued off-screen in the graphic form, Buffy, Firefly and Farscape to name a few.
Of course America and Europe is not the only base of this art form and the Far East and Japan have their own traditions as well as a huge influence on graphic representations across the globe. In particular Japanese manga has influenced comics in Taiwan, South Korea, Hong Kong, China, France and the United States, and have created an amazing array of reflexive appropriations and re-appropriations, in not just in comics but in anime as well. Of equal importance in this growth and relevance of the graphic novel are the smaller and independent publishers that have produced influential works such as Maus by Art Spiegleman, Persepolis by Marjane Satrapi, Palestine by Joe Sacco, Epileptic by David B and even Jimmy Corrigan by Chris Ware that explore, often on a personal level, contemporary concerns such as gender, diaspora, post-colonialism, sexuality, globalisation and approaches to health, terror and identity.
Further to this the techniques and styles of the graphic novel have taken further form online creating entirely web-comics and hypertexts, as in John Cei Douglas’ Lost and Found and Shelley Jackson’s Patchwork Girl, as well as forming part of larger trans-media narratives and submersive worlds, as in the True Blood franchise that invites fans to enter and participate in constructing a narrative in many varied formats and locations. This projects invites papers that consider the place of the comic or graphic novel in both history and location and the ways that it appropriates and is appropriated by other media in the enactment of individual, social and cultural identity.
Papers, reports, work-in-progress, workshops and pre-formed panels are invited on issues related to (but not limited to) the following themes:
- Just what makes a Graphic Novel so Graphic and so Novel?:
- Sources, early representations and historical contexts of the form.
- Landmarks in development, format and narratology.
- Cartoons, comics, graphic novels and artists books.
- Words, images, texture and colour and what makes a GN
- Format, layout, speech bubbles and “where the *@#% do we go from here?” The Inner and Outer Worlds of the Graphic Novel:
- Outer and Inner spaces; Thoughts, cities, and galaxies and other representations of graphic place and space.
- Differing temporalities, Chronotopes and “time flies”: Intertextuality, editing and the nature of Graphic and/or Deleuzian time.
- Graphic Superstars and Words versus Pictures: Alan Moore v Dave Gibbons (Watchmen) Neil Gaiman v Jack Kirby (Sandman).
- Performance and performativity of, in and around graphic representations.
- Transcriptions and translations: literature into pictures, films into novels and high/low graphic arts. Identity, Meanings and Otherness:
- GN as autobiography, witnessing, diary and narrative ~Representations of disability, illness, coping and normality
- Cultural appropriations, east to west and globalisation
- National identity, cultural icons and stereo-typical villains
- Immigration, postcolonial and stories of exile
- Representing gender, sexualities and non-normative identities.
- Politics, prejudices and polemics: banned, censored and comix that are “just plain wrong”
- Other cultures, other voices, other words To Infinity and Beyond: The Graphic Novel in the 21st Century:
- Fanzines and Slash-mags: individual identity through appropriation.
- Creator and Created: Interactions and interpolations between authors and audience.
- Hypertext, Multiple formats and inter-active narratives.
- Cross media appropriation, GN into film, gaming and merchandisng and vice versa
- Graphic Myths and visions of the future: Sandman, Hellboy, Ghost in the Shell.
- Restarting the Canon: what are the implication of the restart in universes such as Marcel and DC and do they represent the opportunity to reopen ongoing conversations?
Presentations will be accepted which deal with related areas and themes.
What to Send: 300 word abstracts should be submitted by Friday 22nd March 2013.
If an abstract is accepted for the conference, a full draft paper should be submitted by Friday 21st June 2013.
300 word abstracts should be submitted to the Organising Chairs; abstracts may be in Word, WordPerfect, or RTF formats, following this order:
c) email address,
d) title of abstract,
e) body of abstract,
f) up to 10 keywords
E-mails should be entitled: GN2 Abstract Submission
Please use plain text (Times Roman 12) and abstain from using any special formatting, characters or emphasis (such as bold, italics or underline).
We acknowledge receipt and answer to all paper proposals submitted. If you do not receive a reply from us in a week you should assume we did not receive your proposal; it might be lost in cyberspace! We suggest, then, to look for an alternative electronic route or resend.
Organising Chairs Nadine Farghaly: ten.xmg@ylahgraF.enidaN Rob Fisher: ten.yranilpicsid-retni@2ng
The conference is part of the Education Hub series of research projects, which in turn belong to the At the Interface programmes of Inter-Disciplinary.Net. It aims to bring together people from different areas and interests to share ideas and explore discussions which are innovative and challenging.
All papers accepted for and presented at this conference are eligible for publication in an ISBN eBook.
Selected papers may be invited to go forward for development into a themed ISBN hard copy volume or volumes.
Please note: Inter-Disciplinary.Net is a not-for-profit network and we are not in a position to be able to assist with conference travel or subsistence.