Archive for the 1940s Superman Comic Books category
(Comic book artist cleveland) In the preface, the hyperbolic Tom DeSanto wildly trumpets “Red Son” as a devastating critique of American foreign policy, not the cookie cutter “feel good propaganda” that might have been expected. Instead, he hints darkly at surrendering freedom in
In the preface, the hyperbolic Tom DeSanto wildly trumpets “Red Son” as a devastating critique of American foreign policy, not the cookie cutter “feel good propaganda” that might have been expected. Instead, he hints darkly at surrendering freedom in
Comic Books portray our fears, our desires and ethos.
jessohackberry posted a photo:
joshkramer.wordpress.com/2010/05/01/scorched-earth/
Popularity: 15% [?]
Superman has a flat blue paint scheme rather than the series 1 metallic paint scheme. (comic book bondage cover of the day)
Superman has a flat blue paint scheme rather than the series 1 metallic paint scheme.
The Comic Book is one of America’s unsung contribution to culture.
Popularity: 16% [?]
What would you do if you suddenly discovered that you could fly? The answer for this Clark Kent is to spend every spare moment flying. But then he sees someone in danger and saves their life. The good deed does not go unnoticed and Clark has to decide (graded old comic books)
What would you do if you suddenly discovered that you could fly? The answer for this Clark Kent is to spend every spare moment flying. But then he sees someone in danger and saves their life. The good deed does not go unnoticed and Clark has to decide
Bottom line.as the years pass, I predict this will be a seriously sought after collector’s item. So buy it soon or now .before someone on “Amazon Marketplace”, “Ebay”, or some “other seller” in the next 20 years tries to sell you a used copy of i
Comic Books portray our fears, our desires and ethos.
Filo e colori di Ila posted a photo:
registrato e protetto su www.myfreecopyright.com
Popularity: 14% [?]
(Classic comic books online) Bottom line.as the years pass, I predict this will be a seriously sought after collector’s item. So buy it soon or now .before someone on “Amazon Marketplace”, “Ebay”, or some “other seller” in the next 20 years tries to sell you a used copy of i
Bottom line.as the years pass, I predict this will be a seriously sought after collector’s item. So buy it soon or now .before someone on “Amazon Marketplace”, “Ebay”, or some “other seller” in the next 20 years tries to sell you a used copy of i
On top of all this, the writing is melodramatic enough to make Jeph Loeb wince. It opens, for instance, on a six to eight page flashback of Ruin’s previous attacks played on tape , with a monologue from Lois explaining the rationale behind Ruin’s strat
Comic Books portray our fears, our desires and ethos.
The Comic Book is one of America’s unsung contribution to culture.
Popularity: 16% [?]
(Picture of comic book character) Jimmy Olsen. I don’t know if it’s just me but I’m tired of the “gosh oh golly, gee willikers, ain’t ever gonna grow up” wide eyed, juvenile Jimmy Olsen in the Superman books. I was hoping Byrne would give the kid some respect and have the common sen
Jimmy Olsen. I don’t know if it’s just me but I’m tired of the “gosh oh golly, gee willikers, ain’t ever gonna grow up” wide eyed, juvenile Jimmy Olsen in the Superman books. I was hoping Byrne would give the kid some respect and have the common sen
The Comic Book is one of America’s unsung contribution to culture.
Comic Books portray our fears, our desires and ethos.
Batman Beyond - Return of the Joker (The Original Uncut Version)
Some diehard Batfans have been slow to warm to the animated series Batman Beyond even though it was created by the same team responsible for the excellent Batman cartoon of the early ’90s. The Dark Knight should be a brooding avenger in a noir-nightmare Gotham City, the purists argue, not some smart-aleck teen four decades in the future, with jet packs, invisibility shields, and other sci-fi gizmos loaned him by an elderly Bruce Wayne (voiced, excellently as always, by Kevin Conroy, his stony bass given a raspy hint of old age), now confined to hobbling about on a cane and monitoring his protg’s activities from the Batcave. Between its respectful reexamination of the “tortured hero” mythos and its sleek, anime-inspired look, this feature-length movie should go a long way toward quieting their complaints. Of course, it doesn’t hurt that they’ve brought back the most legendary figure in the Rogues Gallery (voiced by Mark Hamill, deliciously deranged), but exactly how and why the Joker has managed to turn up 40 years after his last meeting with Batman still as youthful and diabolical as ever is explained not only logically but terrifyingly as well. The secret behind his arrival is perhaps the saddest, grimmest twist any purported “kids’ show” has dared to attempt. (Parents may well want to preview this tape before screening it for the very young.) Once again, Warner Brothers’ cartoon Batman has outshone all the live-action films, never allowing the thrilling action set pieces or flashes of wry humor to drown out the drama, even tragedy, of the all-too-human superheroes. –Bruce Reid
Director:
Curt Geda
DVD:
Animated,Color,DVD-Video,Full Screen,NTSC
Company:Warner Home Video
(2002-04-23)
ISBN:0790766833
List Price:$9.98
Amazon Price:$3.42
Used Price:$3.99
Stainless Steel Silver X Claw w/ Stand
Hey bub, I go where I wanna go, and Get outta my way, are all things you’ll be able to say just like Wolverine when your wielding a Silver X-Claw. We don’t recommend you take on a pack of Sentinels with the Silver X-Claws, but do recommend showing them off to your friends. Constructed from stainless steel and sharpened to a razor sharp edge, handle wrapped in black leather for comfort. No knuckle guard has been added for hand protection, so caution is always advised. Sold individually with one plaque each.
Misc.:
Measurements: Each Blade Measures 11 inches long,Constructed From Stainless Steel,Comfortable Leather Wrapped Handle,Includes Wooden Display Plaque,Great Cosplay Costume Addition
Company:China
List Price:$35.00
Amazon Price:$19.90
Punisher T-Shirt, Skull
100% preshrunk cotton with design printed on the front, 5.6 oz with shoulder-to-shoulder tape with a seamless collar, and double needle construction throughout.
Apparel:
Company:CHOICESHIRTS
List Price:
Amazon Price:
Teen Titans Deluxe Party Kit
Make your party a true adventure with the Teen Titans Deluxe Party Kit. The Teen Titans Deluxe Party Kit for 8 guests includes:
- (8) 9″ Dinner Plates
- (8) 7″ Dessert Plates
- (8) 9oz Paper Cups
- (16) Lunch Napkins
- (8) Invitations with envelopes
- (24) Piece Purple Cutlery Set* - (8) Forks (8) Spoons (8) Knives
- (24) Black Cake Candles*
- (1) 54″ x 102″ Teen Titans Plastic Tablecover
- (18) 12″ Latex Balloons - 6 each; Regal Purple, Deep Jade and Sun Yellow*
- (1) 19″ Green Metallic Star Balloon* with balloon cup* and stick*
- (3) 81′ Crepe Streamers - 1 each; Royal Purple, Holiday Green, Buttercup Yellow*
- (3) 75′ Curling Ribbons - 1 each; Purple, Emerald, Yellow*
These are officially licensed Teen Titans? DC Comics products. *Please Note: These items (*) are not offically licensed.
Don’t forget a Disposable Helium Tank* and other related items shown below.
:
Company:BuyCostumes
List Price:
Amazon Price:
Popularity: 15% [?]
This is a very deep story that cuts to the core of Superman (bugs bunny comic books) in a way that canonized stories cannot. Essentially Superman becomes a metaphor for an all intrusive government. Benjamin Franklin once said, “Those who would give up essential liberty to purcha
This is a very deep story that cuts to the core of Superman in a way that canonized stories cannot. Essentially Superman becomes a metaphor for an all intrusive government. Benjamin Franklin once said, “Those who would give up essential liberty to purcha
If you have ever daydreamed about what it would be like to become your favorite super hero, you’ll identify with Clark. You’ll also recognize all of the issues that a person with Superman’s powers would have to deal with: should he “go public”, does
Comic Books portray our fears, our desires and ethos.
Pagan555 posted a photo:
1978
Popularity: 17% [?]
Superman being a generally optimistic character, at times naive for his undying faith in people, is at a terrible point in his life here. Ruin is systematically attacking (digital coloring of comic books) Clark Kent’s friends and family, proving to Superman that whoever Ruin is, he’s so
Superman being a generally optimistic character, at times naive for his undying faith in people, is at a terrible point in his life here. Ruin is systematically attacking Clark Kent’s friends and family, proving to Superman that whoever Ruin is, he’s so
Comic Books portray our fears, our desires and ethos.
The Comic Book is one of America’s unsung contribution to culture.
Resolved Question: Cleaning up my credit report.?
I know somethings are suppose to go off your credit after 7 years. That is if they are paid or not right.? I know somethings stay on forever no matter what right.?
My thing is I have credit card on my report that I refuse to pay, Its a long story,
I have other things on there but most if not all are paid, late or charged off, but paid. and a fourclouser on an old house.
Right now I have a mortgage on my house but it is with a private lender that is not reporting it to my credit report.
I have a debit card and I pay things with cash or I tell myself I do not need them.
I have no problem just letting things sit there for the next 7 years and let everything go off my credit report and sort of starting from scratch. No credit, low credit is better the bad can’t fix credit to me.
At the moment I can not even get a gas card or a store credit card, so getting one of those to help ‘fix’ my credit is out of the question.
Am I right.? Should I let things sit.?
Mortgage Loan Leads - Plenty of Variety to Choose From
In the mortgage business, you need to always have a steady stream of new potential clients. Since the average person does not need a new mortgage all that often, repeat business is just not as freque…
Newsweek - Buying With Bad Credit
March 26, 2007 — Regina miller says she is tired of “throwing away $1,520 each month” to rent the two-bedroom apartment in Long Beach, Calif., that she shares with her …
Popularity: 12% [?]
This was a shame. I think supergirl is a cool character and (violent comic books) can be done well, but this just makes clear that DC has no idea what to do with her. There is no characterization, no back up characters and the story can only loosely be called a “story.” The
This was a shame. I think supergirl is a cool character and can be done well, but this just makes clear that DC has no idea what to do with her. There is no characterization, no back up characters and the story can only loosely be called a “story.” The
Comic Books portray our fears, our desires and ethos.
Hunting Advocacy Group Opposed to Publishing Effort Provides Publisher With Gift Of Free Publicity
You can read about it here if you must. I don’t really understand how these actions as (not really) reported are news. Advocating something usually means the objections of those against whom you advocate, and if e-mailed objections to content and invitations to stop publishing constitute harassment this site you’re reading is harassed once a week. The shocker is that anyone would give a about that stupid-looking comic.
Also, I don’t understand how if it’s news the PR and stories out there can’t at least call the “U.S. Sportsmen Association” by its actual name, the U.S. Sportsmen’s Alliance.
Go, Look: Hamlin
‘
s Time-Travel Oops
I had never heard of this
Popularity: 15% [?]
As Clark Kent is showing Kara the outside world Wonder Woman, Harbinger and Artemis ambush them. They insist of taking Kara to Themyscira home of the Amazons for training because Harbinger had a vague vision that bad things would happen due to (comic book creator software) Kara bein
As Clark Kent is showing Kara the outside world Wonder Woman, Harbinger and Artemis ambush them. They insist of taking Kara to Themyscira home of the Amazons for training because Harbinger had a vague vision that bad things would happen due to Kara bein
The Comic Book is one of America’s unsung contribution to culture.
Get The Best Price When Sell Your Comic Books
By Jeff Austin
When many of us buy comic books we frequently read them and place them on a pile of old comic books or our book shelves. This attitude changes when we are collecting these comic books. In these cases we take great steps to preserve our comic book collection. There are instances where we may decide to sell comic books that we have doubles of or ones that we feel are bringing the value of our collection down.
To ensure that you are able to sell comic books that you have no need of there are certain steps that must be seen to. As many people want to have good quality comic books whether it is just for reading pleasure or for serious collecting you will need to make sure that both the inside and the exterior of the comic book are in excellent condition.
To sell comic books you will need to preserve the appearance of your comic books. You can store them in clear plastic sleeves with a piece of acid free cardboard at the back of the comic book to give the comic book a strong support. With the help of the supporting cardboard you should store your comic book upright on your book shelves.
This way you can be sure that your comic book will not develop any creases in the cover from the pressure of the other comic books. Besides storing your comics in an acid free plastic cover sleeve if you want to sell comics books you should know what are the types of comic books that are very popular.
These comic books will help you to gain a profit from selling them but these popular comics should also be in excellent condition. The other types of comic books that sell well are the first series comic books. There are many people who love buying these types of rare comic books.
When you sell comic books like these and they are in mint condition you can be sure that you can get a very high price for these early edition comic books. The best places to sell comic books that you have no need of or ones that you are expecting to get a profit from is your comic book store.
The internet and auction houses are also good places where you can sell comic books. There are many comic book collectors who attend these places so they can see what sort of comics are for sale and hope to buy a rare or coveted comic book. When you are looking to sell comic books the main facts to remember is that the various comic books must be ones that are in demand and the condition of the comic books should be excellent.
For more important information on comic books visit onwebnet.com where you will find comic book information and tips on comic book values, comic book stores, and more.
Men Manga Genre Summary
By Alex Scott
Guys are the major audience of comics translated from Japanese and generally known as manga. Despite their omnivorousness, they are targeted by several genres like seinen, shonen, ecchi and hentai. Any of them can contain some comedy, drama, fantasy, mysticism and others.
Shonen manga usually features male protagonists in high-action humorous plots about friendship in teams. Sometimes attractive girls appear - check Dragon Ball Z. Shonen style is typically more reserved than shojo, though some artists are engaged in both. The best shounen are:
* Air Gear by Oh! Great
* Beck Manga by Harold Sakuishi
* Bleach by Tite Kubo
* Captain Tsubasa by Takahashi Yoichi
* Fairy Tail by Mashima Hiro
* Gintama by Hideaki Sorachi
* Hayate the Combat Butler by Kenjirou Hata
* Hunter X Hunter by Togashi Yoshihiro
* Mahou Sensei Negima! by Ken Akamatsu
* O-Parts Hunter by Seishi Kishimoto
* Rosario+Vampire by Ikeda Akihisa
* Rurouni Kenshin by Nobuhiro Watsuki
* School Rumble by Jin Kobayashi
Men (18-30 years old and even 40-year-old businessmen) are served by seinen manga with many art styles (from avant-garde to pornographic) and themes. Seinen means guys and is the male equivalent to josei manga. The best seinen are:
* 3×3 Eyes by Yuuzou Takada
* Addicted To Curry by Funatsu Kazuki
* Berserk by Kentaro Miura
* Black Lagoon by Hiroe Rei
* Chobits by CLAMP
* Genshiken by Kio Shimoku
* Hellsing by Kouta Hirano
* Maison Ikkoku by Rumiko Takahashi
* Oh My Goddess! by Kosuke Fujishima
* Psychic Academy by KATSU Aki
* Yokohama Kaidashi Kikou by Ashinano Hitoshi
Western fans know little of seinen manga for its scarce publishing outside Japan and hardly distinguish it from shonen. Old Japanese men often read convenient shonen magazines in commuter trains.
Ecchi manga is famous for eroticism. Unlike hentai with its explicit sex, ecchi shows erotic scenes with a hint at sexual relations varying in openness depending on the target audience age.
The main art device in ecchi is a fun service (a free bonus). It uses hints at eroticism like showing characters (primarily girls for the male target audience) in ambiguous poses, foreshortening for viewers to see the character’s underwear (pantsu shot), exaggerating breasts and buttocks, various awkward situations for a male character like accidentally appearing at a women bath or checkroom or falling on a girl, etc.
The most well-known ecchi manga are:
* AIKI by Isutoshi
* DNA2 by Masakazu Katsura
* Futaba-kun Change by Hiroshi Aro
* Girl Saurus by Kei Kusunoki
* Ichigo 100% by Mizuki Kawaa
* I’s by Katsura Masakazu
* Love Hina by Ken Akamatsu
* Mx0 by Yasuhiro Kano
* Pastel by Toshihiko Kobayashi
* To-LOVE-Ru Trouble by Saki Hasemi and Kentaro Yabuki
As a whole, apart from a fun service, ecchi aims to give the plotline certain scenes and angles that don’t create the plot but ask for some feedback from the target audience to increase its interest and/or attract potential viewers.
Ecchi and fun service elements are present virtually in all anime and manga targeting juvenile audience of 16-25. For example, a usual fun service for seinen anime are erotic hints (ecchi) or colorful battle scenes.
Hentai manga features erotic and porn scenes. The softest hentai version without explicit sex is ecchi above. Underlying ecchi, a fun service has nothing to do with hentai though.
Hentai (ugliness or pervert in Japanese) pornographic scenes can be of different content and type. The variations include yaoi, yuri, horrors and other. But classifying hentai only by erotic content would be wrong since like any other anime hentai can include comedy, mysticism, fiction, fantasy, romance, etc.
Japanese hentai makers have to censor their opuses like any other porn. However American anime releases have no inguinal region curtains thus enjoying great popularity in Europe.
The most famous hentai are:
* God of black tights by Hiroki Tsukiyoshi
* Dawn of the Silver Dragon by Masayoshi Mukai
* Love Selection by Gunma Kisaragi
* My Lovely Ghost Kana by Yutaka Tanaka
* My Slave by Distance
* Shoujo Material by Hanaharu Naruko
Japanese manga differs greatly from American comics in drawing style and plot. Supermen and zombies are rather rare in manga. It mostly has a complicated but appealing plot and a lot of a fun service doesn’t leave its audience indifferent.
Alex Scott is a big fan of manga. You can find seinen manga online on AnyManga.com - Read Manga Online.
Rome: Fuoriserie from 18th to 19th of April 2009
By Michele De Capitani
The fair includes many sections, and it hosts various interesting events, which are meant to celebrate not only Italian cars, but all those period cars that keep attracting car lovers of all ages, who every year stay in 2 star hotels in Rome. A section of the exhibition is dedicated to the most important car clubs in Italy and to the most precious and rare models, as well as to the racing stables that take part in various races. Many historical models will be celebrated in this section: Lancia Thema (this year is its 25th anniversary), has been the symbol car of the ruling class for years, and those who appreciate this car will have the possibility to admire a very rare model of Lancia Thema Limousine (only 24 of these cars were produced). Another historical mark, Maserati, will be at the fair with an exhibition of its most prestigious models, while the Roman racing stable La Tartaruga will display some of the best cars of its collection, like a Balilla of 1935, a Bianchina cabriolet of 1964, a Guzzi Falcone and a Lambretta 150. In an Italian motor show some spaces dedicated to two of the most loved car models in Italy, like Topolino and Fiat 500, cannot miss: Fuoriserie will host, indeed, the Topolino Autoclub Italia and the Fiat 500 Club, the latter celebrating its 25 years displaying some historical 500.
Another section of the fair is dedicated to the main Italian and international car traders (Ferrari and Porsche, just to name two famous marks) and to the sales between private individuals, which give people the possibility to display their own cars. This section has achieved a great success in the past editions, attracting many prospective buyers in the cheap lodgings of Italys capital city.
The fair is the place to go also if you are looking for spare parts for your own period car: over 4000 m in the exhibitory space will host original spare parts and accessorises for cars and motorcycles.
Besides these sections, which are entirely devoted to the world of cars, Fuoriserie features also many other cultural events, highlighting that the world of motors has often met other worlds, like that of comics: to celebrate the 100th anniversary of the English car manufacturer Morgan, Fuoriserie will host an exhibition on Julia Kendall, the main character of a famous comic strip created by Giancarlo Beraldi for Bonelli publishing, who was often portrayed in her Morgan of 1967.
Tickets: 13,00 euro, reduced 10,00 euro
Date: 18th 19th April 2009
Location: Rome, Italy
This article was written by Francesca Tessarolo with support from Youth Hostels in Rome for any information, please visit Travel in Rome or for travel information have a look to 2 stars hotels in Rome.
Alzheimer Disease Symptoms
By Eladio Rivera
Alzheimer disease progresses to brain diseases, which alzheimers could be inherited, since doctors found that RNA and DNA unpaired function link to the chaos. A head damage; or high blood pressure may perhaps put one in the high-risk grade.
Millions of inhabitants are diagnosed annually of Alzheimers disease. The disease frequently is diagnosed aged citizens, those of as those over 60 years of time. The disease progresses to brain diseases, which alzheimers could be inherited, since doctors found that RNA and DNA unpaired function link to the chaos. A head damage; or high blood pressure may perhaps put one in the high-risk grade.
By Eladio Rivera from http://www.diseasesreview.com
Popularity: 14% [?]
Lois Lane came off as a complete snob and competitively obessed, sort (new york city comic book store) of like Monica Geller from “Friends” except without the charm.
Lois Lane came off as a complete snob and competitively obessed, sort of like Monica Geller from “Friends” except without the charm.
Comic Books portray our fears, our desires and ethos.
Popularity: 14% [?]
I do fondly remember the great quality infested peak of DC Comics back in the seventies as a kid, which somehow did still continued around (how to make a comic book) in the eighties somewhat, giving their own brand of a distinct mark which perhaps are not found in the more commerci
I do fondly remember the great quality infested peak of DC Comics back in the seventies as a kid, which somehow did still continued around in the eighties somewhat, giving their own brand of a distinct mark which perhaps are not found in the more commerci
Comic Books portray our fears, our desires and ethos.
The Comic Book is one of America’s unsung contribution to culture.
Popularity: 16% [?]
If you were to ask many long time comic book fans what they know of Supergirl’s history you might be surprised to hear them ask which Supergirl you were talking about. Just thinking about all (world famous comic book store) the twists and turns this character has gone through is enough
If you were to ask many long time comic book fans what they know of Supergirl’s history you might be surprised to hear them ask which Supergirl you were talking about. Just thinking about all the twists and turns this character has gone through is enough
Comic Books portray our fears, our desires and ethos.
CR Review: Captain America: The Truth
Creators: Robert Morales, Kyle Baker
Publishing Information: Marvel, hardcover, 168 pages, February 2009 (series originally published 2003), $24.99
Ordering Numbers: 9780785136668 (ISBN13), 0785136665 (ISBN10)
Captain America: The Truth came out during a time I wasn’t directly involved in comics and certainly not in a way I could afford to buy seven issues of $3.50 comics. I was aware of the series’ basic premise, that it was a re-telling of Captain America’s origin that folded in a Tuskegee Syphilis Experiment-style chapter involving black men and the super-soldier formula. I had a brief discussion with writer Morales, evidence of whom before and after a run on the Captain America title I can find almost nothing on the Internet, and remember I thought him smart. I’m a great fan of artist Kyle Baker. One of the things that occurred during comics while I stepped aside from daily focus on industry matters was a relative creative playfulness, since mostly locked down, that I’ve enjoyed when I’ve read other comics from that period. It made an impression, despite my either not having read it or having read it in cursory fashion.
Reading it now reveals one very deeply odd comic book series. I mean “Whoa, Nellie” odd. The first thing I have to mention is that I was wrong about the series’ concept. Despite major press claiming otherwise before and even reviews after, the story wasn’t about the first Captain America but about a scramble to duplicate the super-soldier formula that created Captain America, using black soldiers in that effort. This gets explained in the appendix in that the book was take from outside Marvel continuity into Marvel continuity, which meant that its post-Pearl Harbor story put it after the appearance of Captain America back in that time. Although since the entire story seems directed that way, you couldn’t blame a rational reader for suspecting that a more direct protection of the character was worked into the series while it was ongoing.
While this move/development/whatever takes away the juice of creating Captain America himself from the Tuskegee Experiment-style set-up, it also places the spotlight even more directly on the treatment of African-American soldiers during that period, with the American upper-class embrace of eugenics as a minor undercurrent. History tells us the treatment of black soldiers was routinely abominable, and in The Truth those abuses become the relentless, dour drumbeat of the narrative. In other words, Marvel traded an imaginary story that might have made a black man the first Captain America for an in-continuity one that super-sizes some of the worst behavior of the US government in its long history. Captain America is safe, but the government for which he works has a truckload of explaining to do. The better and more observant histories tell us the real-world abuses were horrible, but I don’t think they were quite as over-the-top horrifying as the exploding bodies and entire units massacred for the control of minor state secrets we see here. That in no way diminishes the real-world aspects, I hope (I could be wrong), but as presented here it’s hard not to see Captain America’s moral obligations as something much greater and more self-critical than the character could bear. If I were this Captain America, I might need to dig up FDR and punch his skull.
There are some clumsy aspects to the story throughout, particularly the pacing within and between scenes. I liked Morales’ scripting and dialogue work, for the most part, but his cast member remain types in a way that it’s hard to afford them the greater sympathy we might with more idiosyncratically realized characters. I’d be surprised if someone out there didn’t find the “and this is all this had an effect on the white/real/more important Captain America” take a little bit of a downer after the vivid world that was created around the black characters. That was surprisingly okay with me, especially as it was counter-balanced by this notion that black cultural history is so ignored that everyone except people like Steve Rogers have known this story all along. Baker’s work is uneven. In general he nails the scene-setting and the character aspects, and there’s something a little bit wicked about a story that is supposed to be a forgotten, buried by history chapter being expressed through a forgotten, buried by history way of making superhero art. Some of the later comics sequences lost me, though, particularly the way that Captain America’s body language is expressed. Some of the more wild caricatures had a fizz that took me out of the story, too, and the combat scenes didn’t flow the way action has in other Baker works.
In the end, this is a hard story to parse because it’s really about the history involved — and the notion of retroactive continuity as it gets portrayed in the press — more than it is a tight, well-paced story of its own. It’s fun to read something this ruthlessly negative about American history coming out during the Bush years, and some of the ideas are enjoyable to mull over, but it’s not something I regret having missed the first time around. It’s admirably odd, that’s for sure.
Collective Memory: C2E2
Links to stories, eyewitness accounts and resources concerning C2E2, held April 16, April 17 and April 18, 2010 at McCormick Place in Chicago.
This entry will continue to be updated for as long as people
Go, Look: Perez And Day Splash Pages
Popularity: 16% [?]
Jurgens was nothing special on Superman, this story and his Thor run are (comic books superman) among the most boring of stories. Heck, Death of Superman was in a way the end of comics as we know it, with few issues being left undamaged by the no talent work.
Jurgens was nothing special on Superman, this story and his Thor run are among the most boring of stories. Heck, Death of Superman was in a way the end of comics as we know it, with few issues being left undamaged by the no talent work.
Save your money, unless you feel that $20 for a Superman flat paint scheme is okay.
The Comic Book is one of America’s unsung contribution to culture.
Comic Books portray our fears, our desires and ethos.
Iceland volcano forces cyclists to miss Dutch race
MAASTRICHT, Netherlands (AP) — Several top cyclists will miss Sunday’s Amstel Gold race in the Netherlands because of the volcanic ash cloud disrupting flights across Europe.
Two bombs injure 10 near India cricket stadium
NEW DELHI (AP) — Two small bombs exploded Saturday outside a cricket stadium in southern India shortly before a match was about to start, police said, injuring 10 people and setting off panic among fans.
Boston still running strong, prize money and all
BOSTON (AP) — After decades with the marathon world to itself, the Boston Athletic Association watched races in other cities begin offering prize money and appearance fees and flatter, easier courses that attracted the top talent.
Campbell-Brown sets Kansas Relays mark in 200
LAWRENCE, Kan. (AP) — Five-time Olympic medalist Veronica Campbell-Brown of Jamaica set a meet record in the 200 meters at the 83rd annual Kansas Relays, winning in 22.32 seconds Saturday.
Popularity: 15% [?]
If you would have two Superman books to buy, I would recommend “Whatever Happened to the man of tomorrow” (lowest comic books) and this one, hands down.
If you would have two Superman books to buy, I would recommend “Whatever Happened to the man of tomorrow” and this one, hands down.
The Comic Book is one of America’s unsung contribution to culture.
Comic Books portray our fears, our desires and ethos.
Popularity: 14% [?]
(Marvel vs dc comic book) But inexplicably, as Clark grows up he discovers that, just like Superman in the comics, he is developing super powers. He has to learn to master these new abilities, how to hide them from others, and just what he should do with them. In a world where s
But inexplicably, as Clark grows up he discovers that, just like Superman in the comics, he is developing super powers. He has to learn to master these new abilities, how to hide them from others, and just what he should do with them. In a world where s
If you want to read a good Superman story read anything Dan Jurgen wrote afterwards. Read the entire saga of the death and return of Superman. Sure it was over hyped and just a retarded way to boost sales and boy did it work but the writers still did th
Comic Books portray our fears, our desires and ethos.
Popularity: 15% [?]
(Censored comic books) In the preface, the hyperbolic Tom DeSanto wildly trumpets “Red Son” as a devastating critique of American foreign policy, not the cookie cutter “feel good propaganda” that might have been expected. Instead, he hints darkly at surrendering freedom in
In the preface, the hyperbolic Tom DeSanto wildly trumpets “Red Son” as a devastating critique of American foreign policy, not the cookie cutter “feel good propaganda” that might have been expected. Instead, he hints darkly at surrendering freedom in
I have to wonder if there’s any writer besides Alan Moore capable of writing a truly great Superman story.
The Comic Book is one of America’s unsung contribution to culture.
Lee Groves: Hagler, Hearns delivered a classic 25 years ago today
Hagler-Hearns.
Popovich won’t commit to a starting point guard for Game 1
SAN ANTONIO (AP) — Spurs coach Gregg Popovich isn’t saying whether Tony Parker or George Hill will start at point guard in the playoff opener Sunday night in Dallas.
Sky Andrecheck: Target Field won’t likely provide that good ol’ home-field advantage
The Minnesota Twins opened their 2010 home season this week in a brand new ballpark. Target Field replaced the Metrodome, which had been home to the Twins for 28 years. By beating the Red Sox 5-2 on Monday, and winning two of three in the series, the Twins opened their new home with a good start. Still, many are wondering whether Target Field can match the advantage that the Metrodome provided the Twins.
Popularity: 13% [?]
(Www old comic books) The scene with Krypto, short as it is, is worth the price of the book by itself! Wonderful!
The scene with Krypto, short as it is, is worth the price of the book by itself! Wonderful!
Lois Lane came off as a complete snob and competitively obessed, sort of like Monica Geller from “Friends” except without the charm.
Comic Books portray our fears, our desires and ethos.
Len Shaffer honored by NAPIM with the Printing Ink Pioneer Award.: An article from: Ink World
Of that total, 77 per cent were “genuine” cartridges, about 13 per cent were compatibles discount inkjet cartridges and the remainder were counterfeits or so-called “parallel imports”. About inkjet online inkjet online has no affiliation with discount inkjet cartridges any store or brand and are not a franchise. privacy statement designed by web to discount inkjet cartridges market corp. So if you want to make huge savings on your epson printer ink cartridges then click discount inkjet cartridges onto one of the links below.
Think of it just like leaving the lid off a paint tin, eventually the ink will thicken and cause blocking discount inkjet cartridges to your print-heads. However running the discount inkjet cartridges self test revealed that taping over this contact not only spoofed the cartridge type detection, but also disabled some of the ink nozzles: at first i thought perhaps the cartridge had blocked nozzles, as it was old and not too clean. The printer was then discount inkjet cartridges left overnight so ink could flow to the print head.
Certain ribbon printing devices also use discount inkjet cartridges thermal fax ribbon. Of course, we do also stock many different oem ink and discount inkjet cartridges toner cartridges for those who simply prefer using the manufacturers original product.Of course, we do also stock many different oem ink and discount inkjet Len Shaffer honored by NAPIM with the Printing Ink Pioneer Award.: An article from: Ink World cartridges toner cartridges for those who simply prefer using the manufacturers original product.
Popularity: 16% [?]
I tried to tolerate it personally as a comic book fan back then in spite of all the changes, and try to accept them as a very clever and valid means to revise the characters thus in particular to the SUPES conundrum, Lois Lane’s not as doty dumbness an (traditional comic books)
I tried to tolerate it personally as a comic book fan back then in spite of all the changes, and try to accept them as a very clever and valid means to revise the characters thus in particular to the SUPES conundrum, Lois Lane’s not as doty dumbness an
Comic Books portray our fears, our desires and ethos.
Len Shaffer honored by NAPIM with the Printing Ink Pioneer Award.: An article from: Ink World
Of that total, 77 per cent were “genuine” cartridges, about 13 per cent were compatibles discount inkjet cartridges and the remainder were counterfeits or so-called “parallel imports”. About inkjet online inkjet online has no affiliation with discount inkjet cartridges any store or brand and are not a franchise. privacy statement designed by web to discount inkjet cartridges market corp. So if you want to make huge savings on your epson printer ink cartridges then click discount inkjet cartridges onto one of the links below.
Think of it just like leaving the lid off a paint tin, eventually the ink will thicken and cause blocking discount inkjet cartridges to your print-heads. However running the discount inkjet cartridges self test revealed that taping over this contact not only spoofed the cartridge type detection, but also disabled some of the ink nozzles: at first i thought perhaps the cartridge had blocked nozzles, as it was old and not too clean. The printer was then discount inkjet cartridges left overnight so ink could flow to the print head.
Certain ribbon printing devices also use discount inkjet cartridges thermal fax ribbon. Of course, we do also stock many different oem ink and discount inkjet cartridges toner cartridges for those who simply prefer using the manufacturers original product.Of course, we do also stock many different oem ink and discount inkjet Len Shaffer honored by NAPIM with the Printing Ink Pioneer Award.: An article from: Ink World cartridges toner cartridges for those who simply prefer using the manufacturers original product.
Popularity: 15% [?]
(Over comic book store) As the final part of Greg Rucka’s Ruin trilogy which started with Unconventional Warfare and continued in That Healing Touch , Ruin Revealed brings the story full circle as Lois sets out to determine the identity of her shooter and Superman weeds throug
As the final part of Greg Rucka’s Ruin trilogy which started with Unconventional Warfare and continued in That Healing Touch , Ruin Revealed brings the story full circle as Lois sets out to determine the identity of her shooter and Superman weeds throug
I got the opportunity to read the guide, and it was a magnificent and mesmerizing quick read; with pages upon pages of beautiful photography from the film admittedly for those of you who’ve spent the last year following the film’s production via the in
The Comic Book is one of America’s unsung contribution to culture.
http://www.BBQ-Directory.com I live between Memphis and St. Louis
so I am doing bbq ribs my way. This is only one of many ways to
cook bbq ribs
By fgtyhnfd
Tags : barbecue, barbeque, bbq, ribs
Illinois Harley Spring Open House April 2
&
3 2010
Join Illinois Harley at our spring open house on Friday April 2 and
Saturday April 3. More information
"http://www.ilharley.com/2010/03/23/spring-open-house-april-2-3/">at
our website.
Tags : BBQ, Good Friday, Harley, Harley Davidson, Harley-Davidson, Illinois Harley, Open House, ilharley.com, motorcycle
Big Boss BBQ Sauce - Milwaukee Brewers Opening Day
http://www.BigBossBBQSauce.com Big Boss BBQ Sauce hits Miller
Park, Milwaukee, WI on MLB Opening Day, April 5, 2010. Take Charge
of your Taste! Look for Big Boss Sauce this Summer!
Tags : barbeque, bbq, big, boss, brewers, catering, city, emerald, milwaukee, sauce
http://www.stainlesssteelbbqs.co.uk
When purchasing your barbeque grill, think of it as an investment
rather then just another item for your outdoor entertainment. You
should expect this item to become a large part of your outdoor
activities.
By malc150
Tags : barbequesolar, bbq, bbqchimenea, bbqstainless, cast, chimenea, gas, iron, lighting, silver, stainless, steel
Popularity: 15% [?]
What (comic book conventions batman) would you do if you suddenly discovered that you could fly? The answer for this Clark Kent is to spend every spare moment flying. But then he sees someone in danger and saves their life. The good deed does not go unnoticed and Clark has to decide
What would you do if you suddenly discovered that you could fly? The answer for this Clark Kent is to spend every spare moment flying. But then he sees someone in danger and saves their life. The good deed does not go unnoticed and Clark has to decide
Like the previous volumes in the Ruin trilogy, this story has problems all over the place. For one thing, it’s inaccessible to people who aren’t long time Superman readers. I’ve been reading comics for years, but no effort is made to explain Ruin’s id
The Comic Book is one of America’s unsung contribution to culture.
Comic Books portray our fears, our desires and ethos.
Popularity: 16% [?]
This trade collects issues 8 13 of the Superman/Batman series. The story opens as Batman is diving in (comic book subscription) the waters off Gotham City collecting remnants of a recently destroyed Kryptonite asteroid. While arguing with Superman over a comm link he finds a recen
This trade collects issues 8 13 of the Superman/Batman series. The story opens as Batman is diving in the waters off Gotham City collecting remnants of a recently destroyed Kryptonite asteroid. While arguing with Superman over a comm link he finds a recen
Comic Books portray our fears, our desires and ethos.
The Comic Book is one of America’s unsung contribution to culture.
Police send Big Ben investigation to DA’s office
MILLEDGEVILLE, Ga. (AP) — Authorities in Georgia have finished their investigation into a 20-year-old college student’s claim that Pittsburgh Steelers quarterback Ben Roethlisberger sexually assaulted her at a nightclub, police said Wednesday.
Ex-Buckeye Clarett could be released in 6 months
COLUMBUS, Ohio (AP) — Former Ohio State football player Maurice Clarett is in county jail and awaiting a judge’s decision on Wednesday that would release him to a community-based correction facility after spending 3 years in prison.
WBC to discipline father of Japanese boxer Kameda
TOKYO (AP) — The World Boxing Council has summoned the father of Japanese flyweight Koki Kameda to appear before a disciplinary committee following an outburst after his son’s defeat to Pongsaklek Wonjongkam last month.
FBFW: Lineup position can make, break fantasy year
It has been said many times that you’re only as good as the company you keep. Within a baseball context, a player’s place in the lineup is largely indicative of that player’s overall talent; further, the lineup in which a player bats can dramatically impact that player’s performance.
Popularity: 18% [?]
All in all, a fun read for (free comic book appraisals) light or heavy comic book fans.
All in all, a fun read for light or heavy comic book fans.
If you would have two Superman books to buy, I would recommend “Whatever Happened to the man of tomorrow” and this one, hands down.
Comic Books portray our fears, our desires and ethos.
The Comic Book is one of America’s unsung contribution to culture.
CR Review: The Man With The Getaway Face
Creator: Darwyn Cooke
Publishing Information: IDW, oversized pamphlet, 24 pages, 2010, $2
Ordering Numbers:
From a production, value and conceptual standpoint, The Man With The Getaway Face works with the lean efficiency of its famous lead. A prologue that will be included in this summer’s new Darwyn Cooke Parker volume, it’s been drafted into service as a stand-alone story on fancy paper at a bigger-than-usual size (think “Rubber Blanket mini-comic”) for $2. I’m not privy to the corporate strategy, but I’m guessing it’s more of a promotional item than a comics-reading one. That’s not exactly genius-level work on my part, as for now it’s only available for sale at cons and this summer will be subsumed back into the larger work where it belongs. It’s hard to imagine any adult reader of comics at one of these conventions where money flows so freely not being willing to give up less than the price of a vendor soda to pick up one of these suckers.
The Man With The Getaway Face finds Parker coming off plastic surgery and looking for a new score to bolster his fading bankroll. The post-surgery design for Parker isn’t just more visually appealing, it looks like Cooke boiled the last vestiges of humanity off of his lead’s skull. The story itself proves fairly straightforward — one can see why the work is a lesser favorite for Cooke — but there are compelling details. Just to provide one example, it’s hard not to like the idea of older thieves serving as network of go-betweens connecting practicing ones looking to assemble crews. The matter-of-fact way Parker sorts out whom he can trust and whom he can’t is a lot of fun to watch as well. The mini-book reinforces that the Parkers are vehicles for entertainment in Cooke’s view. While the wider thematic frameworks one can place on the characters and make use of to examine his push through life might be of interest in gauging how the character has hit so hard with so many folks over the years, that’s not the cartoonist’s primary focus. Nor will it likely be yours.
Notes On WonderCon, 2010
By Tom Spurgeon
* This is a series of notes about or inspired by WonderCon 2010, which took place April 2-4 at the Moscone Center in San Francisco. WonderCon is a comics and related media show that’s been going about 20 years constructed mostly along the lines of mainstream North American comics, taking place in one fo the world’s hot spots for alternative culture. Notes on other comics-related events taking place outside of the convention center but scheduled for WonderCon weekend to take advantage of the extra folks in town are included here, at least as much as I was able to attend them.
* Just to be as clear as possible, I was flown out as a media guest for this show and given a hotel room. Although why the offer was tendered wasn’t discussed, I imagine the Comic-Con staff made this offer in order to help bring greater attention to this show. As I would not be able to afford to attend the show otherwise, and because the show interests me, I was happy to take them up on their offer. There was absolutely no suggestion on their end as to how I should cover the show or whether I should cover the show. I could have spent the entire weekend squirreled away at the hotel watching filthy pay-per-view until the credit card by which I was paying for incidentals reached its spending limit.
* Comic-Con is also an advertiser on this site, which I usually don’t mention because it’s, you know, right there. Anyway, I guess there’s a big chance for biased, compromised nonsense this time out. Read carefully.
Thursday
* first of all, to be absolutely clear: WonderCon paid to fly me out to their show and put me up for the weekend. They asked for nothing in return, although I assume they wanted me to cover the show and be able to speak about it in the future from the vantage point of having experienced it first-hand. I should also note that WonderCon’s parent company is a prominent advertiser at CR. Hopefully, what follows is worth reading despite these massive, potential conflicts of interest.
* no one really wants to hear another person’s travel horror stories, but I’ll give you mine: I showed up at the airport Friday morning to take the first of three flights. The first flight was canceled for mechanical reasons. I couldn’t make it by car to pick up the second flight but the folks at the first airport offered to re-book me through Tucson, 3.5 hours away, for a flight that would still get me to San Francisco that day. They even showed me paperwork and gave me a code. Turns out that while this flight existed, the nice folks at the first airport didn’t do any of the actual re-booking. To have them re-do the flight in Tucson would cost $500. I don’t know about you, but that’s my entire Thunderstrike back-issues buying budget. The guy at the next desk eventually felt sorry enough for me he booked me a new flight on his own authority. But thanks, original airport people, for several moments of dread.
* it wouldn’t be classy to name the offending airline, but I will say it rhymes with “Montier.”
* the cab driver I used from SFO hadn’t heard of WonderCon. I thought that was an interesting contrast from the bemused groans I usually get from San Diego’s taxi-driving legions, at least enough that I’d mention it here.
* one thing I saw on the highway was a big Iron Man billboard for Oracle. Don’t know exactly what for, but it was definitely ol’ Shellhead. I flashed on the kind of thought that writers with a greater sense of what mainstream comics mean tend to make routinely and with a lot more verve: as much as our first reaction would be to pooh-pooh it, it must be cool on some level to work near the creative fulcrum for such iconic characters, these temporary icons of cultural shorthand. I concentrate so much on the downside of that that it probably behooves me to address the positives every now and then.
* my WonderCon-ignorant cab driver did say he’d never seen that much activity at the Marriott Marquis on a weekday evening, as a number of cabs and cars were crowding their short driveway. In fact, I walked in just as a short line of DC power players barreled past me, on their way to dinner. Comics-town!
* that’s a fine hotel, by the way. I have no idea where it rests in the constellation of WonderCon hotels, but it’s nice. My room was very large and comfortable, with a huge desk on which to work. Most writers love most hotel rooms, and this definitely had most of the reasons why. The lobby is airport terminal spacious, with a bar that feels like the place you might get a last drink before taking off.
* I fully intended to walk to the Walgreen’s and come back and go to bed. But instead I enjoyed a three-hour lobby bar conversation with IDW’s Scott Dunbier, who was hoping to catch some people coming back from dinner to transfer some original art to one of them. That original art? An entire comic book by an old master, which was about as ridiculously gorgeous to look at as you’d imagine. Most people that stopped by took the time to take at least a peek, oohing and aahing all the way.
* coming in and out of our vicinity were a variety of comics folks and convention regulars: Mark Evanier, Sergio Aragones, James Robinson, Pam Noles, Jim Chadwick, Annamaria White, Heidi MacDonald and a number of folks whose names I’m way too terrified to wing. I saw Joe Kubert in the lobby proper, at one point talking to I believe Dan DiDio. I saw Team Isotope on the other side of the bar. The reason I mention all this is because a) it’s always a lot of fun to talk about comics face to face with other people when you spend nearly all of your time typing about them at home, b) this is a very mainstream comics-focused show, and I don’t know a lot of mainstream comics people. These would be my personal themes for the weekend.
* as many people as were roaming about, a few expressed nostalgia for WonderCon’s original, Oakland-area potency as a bar con, as in “best bar con ever.” There wasn’t a lot of what we in college called “shuttling” in term of old memories, but there was definitely some fondness expressed for the original hotel’s bar and the shenanigans that developed there. Smaller shows have more intimate backstage scenes generally, and while this show is a bit too big for there to be one single scene, it came close: in whatever circle you traveled, you tended to see those people over and over.
Saturday
* yet another thing that makes this con different from Comic-Con is that walking over to the show the street didn’t begin to coalesce into a WonderCon crowd until about 40 yards from the front door. At Comic-Con I always get a sense I’ve entered the convention center’s sphere of influence about three blocks away, like Peter Weller getting joined by the other Buckaroo Banazai cast members in the end credits.
* downtown San Francisco seems to have some sort of Walgreen’s problem. One of the neighborhoods where I lived in Seattle for several years offered two Starbucks within 40 yards of one another, and Market Street was kind of like that, only with the opportunity to buy two-liters of Sunkist and a rotary fan rather than espresso. I always like walking around San Francisco, though. Even more than New York it offers the sight of people absolutely put together right next to people absolutely falling apart. I come from a town where the mayor is just as likely as anyone else to be standing in line in his sweatpants at 12 PM on Sunday with an 18-pack of Bud Ice, so the sharp distinction the big cities bring fascinates.
* registration was great. Christopher whose last name I don’t remember and who takes care of that for Comic-Con said they get about 650 pre-registered press members and about 800 total (the walk-up addition may have only been Friday’s). The lines for individual registration looked long but survivable.
* I caught a glimpse of David Glanzer going the other way down up the world’s longest escalator. When I tried to go up and see him I couldn’t find him. I went down the escalator again and noticed he was in this open air little circular lounge behind the registration area and over the outside of the hall. It was like a little Star Wars social space. I really liked it. Best staff-only area maybe ever.
* the convention hall is pretty big, appropriate to the show: I’m thinking maybe 2.5 times the size of a HeroesCon? In the size-sense the show really is like San Diego from 15-18 years ago. I thought it looked fairly crowded on Friday, although maybe not so much at the far ends of Artist’s Alley, the lanes against the walls where folks like cartoonist Justin Thompson and the writer Matt Maxwell were located. They actually had some of the bigger AA names on the ends of rows rather than in the rows — I don’t know if that’s a typical thing or not — guys like Ethan Van Sciver and David Finch and Frank Cho.
* I saw both of my convention buddies — by which I mean guys with whom I’m friendly that I only ever seem to see at conventions, year after year. Joel Meadows is readying another print issue of his handsome Tripwire for release in July. Justin Norman is in the midst of a hopefully long, ongoing run on DC The Spirit, first issue to come out soon. He admitted that the pedigree of creators to work on that character gave him some pause. Norman’s one of my favorite people in comics and it’s great to see him work his way into this new opportunity. It’s been a long time coming and I hope he kills it. He’s working with writer Mark Schultz on the initial issues and Editor Joey Cavalieri generally.
* I saw only two celebrities; and only one of them was a sure thing. I swear I saw Jeff Garlin there, although I haven’t double-checked yet and pretty much 17 percent of all dudes at a convention look like Jeff Garlin. I definitely saw Michael Chiklis at his signing, which was big enough to cause Bob Schreck to do that ambulatory scarecrow thing where you slowly walk into a crowd waving your arms gently to get people to scatter. There were a lot of young men at the Chiklis signing. You could do much worse than emulate the determination he’s displayed in shaping his career. For what it’s worth, I felt almost none of the Hollywood presence, even less than the 10 percent of it that I feel in San Diego.
* there were a lot of celebrities signing autographs and the like, although I didn’t spend much time in their section. I saw an actor who apparently played an African-American sheriff on Dukes of Hazzard that I couldnt remember at all (my dad, inexplicably, was a fan of the show; he also loved Hee-Haw). My favorite show business related thing on the floor was a booth in which sat a fan club for the small town community-affirming, post-domestic nuclear terrorism show Jericho. I loved watching Jericho when I could remember to go look for it because it was so terribly, terribly weird. The ladies at the booth were selling show-related clothing.
* most improved booth: IDW. Booth I didnt’ really understand: Aspen. Booth that wasn’t actually their real booth: DC Comics. Company I didn’t expect to be here that wasn’t: Marvel. Company I had sort of expected to be here for some reason but wasn’t: Top Shelf.
* people talk about the graying of the comics readership, but it felt to me like very few people in attendance happened to be my age or older, and most looked like they came from the same age group — 25-35 year olds — that to my memory dominated convention crowds 15 years ago. I felt old more than a few times. There seemed like a lot of women there, including a number attending on their own, which maybe wasn’t the case when I started going to these things. I also saw a lot of kids, including kids that seemed just as into this stuff as the parent, if not outright escorted by one. Also, the crowd seemed quite diverse.
* never in my life will I understand the costume impulse, even less so in terms of people my age and older wearing them (nearly all teenager activities are designed around sex; jumping in and out of costumes and acting out a bit while in them is not the worst idea to push young people in that direction), but I was surprised to see only a modest amount of them on the floor this first day. My favorite was a Dove costume, as 1) it’s weird, 2) that one doesn’t make a whole lot of sense once you see someone actually wearing it, 3) it cracks me up when someone does a costume where you’re paired with someone else and not do the other costume.
* saw two folks from the Pacific Northwest with cons of their own: Jim Demonakos of Emerald City and Shannon Stewart from Stumptown. Demonakos seemed pleased with the success of his 2010 show, and from all reports — including unsolicited raves from three pros I talked to — he should be. Emerald Con passed that threshold this year where it’s going to be hard not to have it now, if that makes any sense. Stewart said that Portland’s finest indy comics show just announced Paul Pope as its last special guest, and that the mayor has named April comics month in that great funnybook city for the fourth year in a row. I haven’t been to Emerald City yet, but Stumptown is a fine show of that type.
* watching Jeremy Atkins of Dark Horse and AnnaMaria White at IDW operate a little bit, it struck me how the publicity operations in comics might have changed in recent years, without our really noticing, to more significantly favor people that are personable and presentable along with those able to carry out media relations duties. This is the kind of thing that might only matter to me, I admit. And it’s not like there was ever a time when PR in comics was run by disagreeable, beastly folk. Still, the current generation seems slightly more telegenic, if that makes any sense.
* I watched some of the Dark Horse panel; it was fun to gauge the various contrasts between Atkins and Dark Horse/comics old guard member Randy Stradley. They had presentational tool malfunctions that would have sent me screaming from the building and into a new career. One thing they mentioned that I hadn’t noticed is that Joss Whedon’s brother whose name I can’t remember (Zack?) is doing more and more writing for the company. Also: Ron Glass anecdote, and you can’t have enough of those.
* a fit-looking, earnest and personable Geoff Johns ran his moderator-less panel like he was hosting an MTV special; appropriate to that comparison, three or four questions were about how good-looking he is (he deflected these questions). Johns had to negotiate not being able to discuss Blackest Night #8, as a significant number of people in the audience had yet to read it. His new corporate position brought with it a bunch of questions that helped compensate. Johns said he worked very closely with the writer on the Green Lantern film script, and rattled off a significant number of weird alien things that we’re likely to see in the movie, now filming. The crowd, maybe three times the size of the Dark Horse panel, seemed to enjoy the heck out of themselves.
* back on the floor, I saw the writer Joe Casey, who refused to let me take his photo because he said his new look afforded him a disguise for conventions. By the time you read this, they will have announced a new title for Casey at Image Comics called Officer Down.
* I ran into Charles Brownstein, who informed me that the wire services had picked up on the death of Burton Joseph, the lawyer and free speech activist who lent his energy and prestige to the Comic Book Legal Defense Fund in some of its most important cases. A full obituary will appear at CR soon. He was right around 80 years old.
* the general health of Generation Direct Market was a recurring topic throughout the weekend. I also talked to a number of people about the mounting costs of the Recession on businesses within comics and on individual careers. The basic idea with the talk about money was that just because the last 18 months were not as apocalyptically bad as folks a lot of people still took major hits.
* personal note: it would be nice to go through an entire convention season where I didn’t have to say to at least one person: “Wow, I totally screwed you on that. I’m sorry.”
* a lot of folks expressed enthusiasm for the $2 Darwyn Cooke Parker preview; it was also by far the single item that people mentioned when I asked what I should go look at. I ran into a couple of people that gushed over being able to catch up with Long Tail Kitty. After that, opinion fractured markedly.
* I stopped in for some of two company panels: the DC Nation panel — which is somehow different from the DC Universe panel in a way I don’t care enough to understand — and IDW’s. The DC Nation panel featured three of the new company executives in Dan DiDio, Jim Lee and Geoff Johns, and all were enthusiastic about their new roles although not in a way that extended past general platitudes. They also all wore baseball caps, which I trace back, likely in improper fashion, to being one of Image Comics enduring gifts to the funnybook world. The IDW guys struggled on as fog kept the rest of the IDW editorial team from getting on planes early that day. This left those in the room without their cheat sheets. There were 22 people in attendance, most of whom got to laugh at the enthusiastic, earnest musing of Max Brooks on his GI Joe work.
* my sampling consists of exactly two people, but if Brooks and Johns are representative of the slightly younger creators coming to the fore now, that kind of earnestness may be on the rise while the slightly snarky remove of the older creators may be on the decline. That’s a ridiculously broad statement, of course, but I wonder if there isn’t perhaps a trend of some sort there.
* one thing I like about comics conventions is you can pepper your conversation with li living sight gags. Two different people with whom I discussed my forthcoming plans were treated to me saying, “or maybe I’ll just stand here and watch Erik Larsen read a comic book.” And as they looked up through not 20 feet away was Erik Larsen reading a comic book. I could do stuff like that all day.
* I ran into retailer and Direct Market industry advocate Brian Hibbs on the convention’s main floor. He’s someone with whom I’ve been dealing since 1994 — almost always in friendly fashion; sometimes on different ends of an issue, never angrily — but hadn’t met face to face, so that was nice. He was still beaming from the recent ComicsPro meeting in Memphis, particularly in how responsive the companies in attendance were to hearing back from Direct Market retailers in terms of things they were doing. I remain a big Direct Market guy, although I’m cognizant of their failings. If comic shops didn’t exist we would dream about them. I really like when Brian writes about hanging out with his little kid, so I was glad to hear they made it to WonderCon together and went toy shopping. Hibbs doesn’t exhibit at shows, which never occurred to me before but of course he doesn’t. I wonder if there’s any significant about a generational shift in retailers — Hibbs being a transitional figure, starting his shop in 1989 — and if we might lose comics retailers at show by a decision on their end rather than the conventions’ doing. As a matter of fact, there’s a broad range of issues that comes up when you think of DM Generation One entering their golden years. Item one: who gets their stores?
* went to the Ed Hannigan benefit at the Cartoon Art Museum. I hadn’t been to CAM since I went to an Ed Gorey exhibit there in the mid- to late-1990s. It’s very different space: first floor (rather than a higher one), bigger shop, four largish rooms and a fifth, smaller one furthest away from the street with a small hallway (and bathrooms) sticking out from that. It’s a good space: not as big as the small museums I’ve been to over the years, but certainly half again the size of a strong gallery’s showing area.
* I quite liked the variety of art on display. There was some sort of Batman exhibit that had original pages from Paul Pope, Frank Miller and Jiro Kuwata. The Kuwatas were stunning, imagery presented with a confidence made their inexplicable oddities stand out that much more: I felt an urge to own every third page. The Millers brought on feelings of nostalgia more than any appreciation for the works as original art pages, although that was probably just my mood. For some reason, it was heartening to see the whiteout Miller employed. The Paul Pope pages were ridiculously huge.
* as far as I know, the Museum failed to raise enough money to make Andrew Farago shave a 1989-style Batman logo into the back of his head. I wondered if his wife, the writer and cartoonist Shaenon Garrity, was relieved, but I was told she was filming a public access TV show with Phil Foglio, which is the kind of thing you end up doing on a comics convention weekend.
* the Ed Hannigan stuff was fine. If you’re near my age, you probably bought a lot of comics with Ed Hannigan covers. With the 40 or so pieces on hand, they managed to snag what I think of as his best design — an issue of Batman looking down on an alley way where the Caped Crusader and the Boy Wonder have just beaten down a whole crowd of typical-era punks. When I think of Hannigan’s interior work I think of the first Cloak and Dagger story, which opens with this snazzy, one-panel street setting and contains some fine minimalist cartooning featuring the visually contrasting guest stars. They had that whole story there, so a good job in representing Hannigan’s better work, I think.
* a few pieces of art from the more general part of the exhibit offered several obvious highlights. I’d never seen a Jack Kent (it looked like an original Pogo, naturally) or a William Steig original before (that one baffled me; it looked like no human hands had touched it). I’d seen some Bill Mauldin but I liked the ones they had on display quite a bit. The usual cartoon art show suspects — Crane, Caniff, Kelly, King/Moores, Arriola were all well represented.
* the museum has about 6000 pieces of original art in a permanent collection, which are stored in a different, higher-security part of their property.
* I met Albert Moy later that evening, which I thought a bit humorous given the original art theme to the evening. He’s been working in that field since 1982, which is long for any career in comics let alone a ruthlessly commercial one like that.
* my one “this really isn’t like 15 years at San Diego at all” moment was watching Mark Evanier check his portable device to see if a business-related download he was doing in his hotel room was completed. Don’t remember that from 1995.
* I’ve been given figures ranging from 20-25 people to 125-150 people going on Friday’s Tiki Bar tour. No matter the bottom-line number, several went in full pirate garb.
Saturday
* Saturday: way different than Friday crowds-wise. There were more people stepping away from the convention-center Saturday early afternoon than had been heading there the same time Friday. Most of the tables in the center of the show were jammed with people seeking something. By mid-afternoon I began to collect a wide array of stories about who was making money that tended as a group to trend towards the “things are going very well.” The more elaborate costumes had come out, too.
* the crowds didn’t go everywhere, though. Like San Diego, like various iterations of the Chicago Con, like Heroes Con 2008 and therefore I imagine like most shows, there were dead spots: one such at WonderCon was the outside row of small press artists. I don’t know that there’s anything that can be done about that — people are going to go where they’re gong to go — but I always feel sorry for someone who for reasons of flow not aesthetics is seeing most people chug by without a second look.
* someone told me a few hours afer the face on that the Q&A-driven DCU Editorial panel was “the longest experience” of their life. Just saying.
* I haven’t looked at the reports yet to figure out the content of what was said and its potential newsworthiness, but a bunch of people enthused over Greg Rucka’s spotlight for its long, full and specific answers to questions asked.
* if I had enough money to cover conventions more thoroughly, I swear my first hire wouldn’t be another person to run around the con but someone to stay home and monitor the various news feeds coming out of it. Being so close up I have little idea as to what’s going on, and feel I’ll have some work to do on Tuesday of this week catching up with some announcement-based news for sure.
* my favorite new recurring panel is the CBLDF Live Art Jam, which I just think is a great idea: a group of artists make sketches to auction off on behalf of the CBLDF while answering questions about what they’re drawing or the industry generally. They switch places so that one of them is always working on the overhead. I really enjoyed this at San Diego and except for the fact that at CCI the table set-up made it an endearing lunchtime panel (it’s the future as I once envisioned it to see dozens of teens staring at Mike Mignola drawing while eating from Bento Boxes) I had a better time at this version. When Emily Proctor is done with CSI: Miami, they should hire her to play Colleen Doran drawing in public while sticking it to past dumb editors and the stupidities of work-for-hire production in a southern lilt. I’d watch that show every week. Darick Robertson even told a pretty great Peter Bagge anecdote.
* the two great things about the Boom! panel were 1) its bizarre mix of new comics readers and super-old and jazzed up Disney comics enthusiasts, 2) the fact that Darkwing Duck is out of any definition of my own childhood/adolescence that I have no attachment to it at all and the names of places and characters that thrilled some in attendance cascade off my forehead like water from a shower head. They had about 30 people there.
* the Gail Simone panel was more packed in the same place, bunches of people that seemed genuinely pleased to meet the comics writer. Simone told a funny story about nearly blowing off an early opportunity to work for Bongo; she was generally funny. I thought smart her statement on Wonder Woman that it wasn’t so much about figuring out the one or two things that character did really well but creating a vehicle through which multiple interpretation could be valid.
* Simone wasn’t one of them, but there seemed like a lot of mainstream people talking from vague terms to more concrete ones about forthcoming independent projects. That may just be a function of events like this one, but the sentiment that you’d want to do something of your own seemed genuinely expressed. Geoff Johns was one person who talked about doing his own characters (which might be his first — I don’t follow him closely enough to know — and might be worth noting just in terms of his being able to do so given his current corporate responsibilities); the Amanda Conner/Jimmy Palmiotti team was another.
* I attended a compelling Black Cartoonists as Social Commentators panels, despite the fact that so much time was lost to trying to get the video to work. The one time the video did work, it showed a funny video by Jerry Craft where he basically yells at the black superheroes from the ’70s for various offenses related to their sucking. The best line was after pointing that Black Goliath was routinely beaten up on the cover of his own comic books, the Craft stand-in suggests that BG has to be the only superhero whose utility belt contained nothing but first aid items. The funny thing is, that video had little to do with what was great about the panel, which was hearing Darrin Bell and Keith Knight talk not about their careers, or self-publishing, or a try-anything ethos, but about their work and how people had reacted to it positively and negatively over the years. I don’t know Bell’s work as well as I might, but I’ve already put aside time to go and re-examine a bunch of it. Both guys were smart and funny and had trenchant stories to tell. This is exactly the kind of panel I hope to see at a comics show.
* one cool thing about that panel is they had a professional moderator whose name I can’t remember, a guy that was seemingly used to doing interviews on TV. The great thing about it is that he was absolutely brutal in terms of shutting down questions from the audience.
* if I had greater capability to travel to do comics news stories, I’d love to go with Keith Knight when he hits Slippery Rock to speak about a cartoon that outraged the black students there. Knight spoke with great sympathy about how his cartoon, brutally misunderstood, nonetheless may have been a final straw for many of the students facing some real issues on that campus.
* I went to speak to Shaenon Garrity on the floor after the Knight/Bell panel; she was helping Phil Foglio at the show. I don’t know all that many people at the show, so I kind of relished visiting the few I did, which probably isn’t the best way to orient yourself, but there it is.
* the Darwyn Cooke presentation was mostly packed, even more so at the end when Star Trek people eager to see the next panel crowded into the few remaining seats. Cooke’s a very forthright speaker, and it was interesting how many more of the questions at this show focused on his Parker work as opposed to focusing on superheroes through his work on books like New Frontier. Cooke expressed some general frustration with the amount of time it takes works to be approved in the mainstream comics milieu, and admitted to outright fear shopping the Parker stuff around. He was also quite honest about the primary motivating factor for potentially doing occasional mainstream projects if any were to be offered: money. One thing that was interesting to me is that he spoke of letting his personal reaction to the Parker books set him on a new career path when that was necessary, but that he also still plans to do the original work he was shopping around at one point. One of them may happen sooner than later, the other — a fantasy — may wait until he feels more creatively confident taking it on.
* one thing that struck me was that Cooke was complimentary of Daniel Clowes more than once over the weekend, calling him the best letterer in comics at one point (Eisner being the best all-time and Saladino being his favorite of the mainstream hand-letterers), citing his work with single colors as a factor in his working on the same in the Parker books, and extolling the virtues of Like A Velvet Glove, Cast In Iron as a horror story.
* I’d like to thank the comics journalism panel for making Douglas Wolk and myself feel 10,000 years old. Graeme McMillan’s career was discussed like he was the basis for The Front Page and he started his Fanboy Rampage in 2002.
* all of the panelists came across as articulate and engaged and each presented themselves well, including late addition Laura Hudson. I thought David Brothers was a natural moderator; anyone out there who needs one should ask him. I’d never met Kate Dacey before, so that was nice. She was formidable.
* all that said, when I stopped feeling old I started feeling like I came from a different planet than most of the panelists. There was a lot of talk about generating hits and reacting to readers’ concerns that are flat-out foreign to me. I was glad there wasn’t a lot of time debating over what journalism is or isn’t. All of the panelists clearly practice some form of journalism, even if isn’t of the Woodward/Bernstein — or Groth/Heintjes — variety.
* I saw the sartorially resplendent Phil Foglio making his way back to the convention, dressed like the mayor in a particularly fancy Dahl story. I really thought about trying to do the masquerade since San Diego’s has been such a tough ticket for 10 years now, but I had a couple of verbal commitments. It’s nice to know I probably could have, though.
* walking from the convention center to Comix Experience is a great idea only if you remember that natives don’t consider four-and-half blocks of walking uphill walking uphill at all.
* Comix Experience is a lovely-looking shop, maybe the paragon of a neighborhood store. I got to talk about the general, flushed state of North American comics conventions with some industry heavy-hitters (including Ron Turner), shoot the about Chicago comics retail of days gone by with Larry Marder and what kind of comics hit with audiences and why with Justin Norman, Erik Larsen and Joe Keatinge. That was actually a very engaged discussion for people standing around holding beers and trying not to trip on some of the idiosyncratic parts of the floor, with a sense that there are these really talented people that logic says should have an audience out there and that want to make comics that are absolutely flummoxed by the low sales ceiling for certain kinds of funnybooks right now.
* people at CE were happy to be drinking the fancy beer, and the food truck outside may be the greatest idea for a comics event supplement in the history of comics events. Brian seemed to be enjoying himself, too, which is a great thing. It’s nice to be able to see his space, and 21 years in is an accomplishment in terms of comics retail, retail generally and single-proprietor retail all at once.
* I bummed a ride in Justin Norman’s cab to the Isotope Party. Thanks, Justin. He told a very funny artist talking to his writer after bumping into him in the convention center bathroom story.
* Isotope’s party spilled out onto its sidewalk; several folks that looks like neighborhood people walking dogs or getting off their bicycles stopped nearby or across the street to gape. It wasn’t the biggest party the store had had, James Sime said, but to my eyes it looked very, very respectable. I was frightened to go in.
* that’s a lovely space, by the way. It seems ideal for social events like this weekend’s, but I can imagine being a comics fan in my early 20s and wanting to come and hang out in a space like this one with facilitating my comics being the bonus.
* I have no idea why, but the Isotope party’s comics-name guests (Palmiotti, Connner, Cooke) and their friends were all dressed in western garb. The Canadians were even Mounties. I started having Paul Gross flashbacks. When Palmiotti was giving a couple of the folks in attendance general career advice I imagined him breaking in on a pal’s meeting with DC or Marvel, shooting his pistols until the contracts details were conformed.
* I really need to get to know more people on the mainstream side of things.
* I bummed a ride from Douglas Wolk’s cab back to the hotel. Thanks, Douglas. Douglas is writing for Techland every week now, and they are at the very least keeping him in cab money.
* the hotel bar was once again hopping. And the Butler Bulldogs won. By the way: comics convention? Worst place to find out a basketball score ever.
Sunday
* Easter Sunday. Several people at the show asked me if I thought there would be crowds on Easter or not. No one really knows.
* Turns out they didn’t have a ton to worry about. The crowds fell safely within general Sunday parameters: not as many as the very crazy Saturday but more it seemed than Friday. The floor seemed busy. You mostly noticed the reduction in audience in the non-busy areas pf the building. There weren’t people resting up against random walls on the mezzanine levels like on Saturday, not as many panels (it seems) in danger of being crowded right out to the hallway, not as long of a line (and by 3:30, none at all!) at the eating centers. It was San Diego of 25 years ago.
* I heard that several exhibitors thought they could get in much earlier than they ended up being let in. Don’t know if that’s a big deal or not.
* by the way, the Moscone food stands seem superior in every way to the San Diego Convention Center food stands. I didn’t eat at them, but I bought some water near the end of Sunday and they had actual food-looking food behind the counter. I loved the proximity to the panel room areas, too. Why wouldn’t you want to grab a bite to eat and then go watch cartoons or see Ian Sattler pontificate or whatever?
* when I walked in today a small circle of journalists had surrounded David Glanzer, including one gentleman incensed about the performance of Travel Planners during their initial hotel lottery a few weeks back. An announcement should be coming pretty soon, and I remain convinced that San Diego is the best spot for the show for now.
* it was good to hear that Heidi MacDonald felt as old as I did at that comics journalism panel.
* at least one well-known professional flew home Saturday late to spend Easter with their family and hey, good for them.
* talked to some of the Artist’s Alley folks. Lark Pien was there, holding forth with a table full of stuff that was way more APE and MoCCA than maybe the entire rest of the room combined. I also met Miriam Libicki, which
* I talked to a non-representative mix of about 20 retailers, exhibitors and industry organizations: all seemed pretty positive about the show except two that were in what I would call, looking around, squirrelly locations. People with a specific focus — the retailer that was there to sell newer comics under cost, the artist there to give out cards directing people to their to their web site seemed particularly
* I don’t think there’s a whole lot that can be done about that, incidentally, beyond the kind of baseline realizations that I’m sure shows like this make. For instance: it seems to me that most of the TV and film autograph people leave a couple of hours early — I’m not certain why — so you wouldn’t want to count on them driving traffic to a general location for an entire day. Convention flow is a mysterious beast. I might suggest for this particular show and this particular convention that the far wall — the part of the exhibitor groups that are up against an actual wall, be potentially discounted. You’re just not going to have people on the ends, and that last row in particular was like an express highway by which people went from one place to another.
* I saw one panel on Sunday. The Pogo panel wasn’t Evanier/Kelly driven, so I took a pass. I was going to go to the Jonathan Ross panel, but it disappeared when I went to the bathroom. Not sure what happened there.
* that leaves the one I did attend, the SLG editorial panel. It’s nice to see a familiar face and hear a friendly voice. Dan Vado was in comics long before I was (SLG’s 25th anniversary is next year). I couldn’t tell from most of the video presentations if the comics being promoted were of much interest, but it was good to hear that James Turner’s Warlord Of Io will have trade collection this summer.
* Dan also reported on the designer and cartoonist Scott Saavedra’s health, saying that he had his good periods and bad periods but that he was doing okay. That was good to hear.
* there’s no convention experience that can’t be improved by buying 10-12 comic books you want to read for $1 apiece.
* the talk of the show I’d say is Greg Rucka’s panel and the blunt nature of the statements he made there. I bet that’s googleable, but I’ll link to it with this sentence when I get back.
* here’s something I never experienced at a comics convention before: publishers giving copies of books to press to take home because they didn’t want to pack it and ship it back. That’s a very BEA thing, actually.
* I missed seeing Bob Beerbohm, but the young ladies at the booth said his surgery was successful and that he was roaming around the show somewhere. So that’s good news. Given all the time I talked about first generation retailers this weekend, seeing Bob’s booth was a particularly nice ending point.
* I left the convention at 4:05, with a promise to try and meet up with some folks for dinner — on Easter, I’m thinking this might be more difficult than the usual convention dinner, but we’ll see. As you’re reading this I should be either en route to New Mexico or already there, in time to watch the Butler/Duke game.
* so that was my WonderCon.
* overall, I think WonderCon’s a pretty good show, or at least my experience of it was pleasurable. It seems to have benefited a great deal from the general surge in the public’s appetite for conventions. I mean, seriously, 10 years ago we had like 1.5-2.5 conventions in terms of super-healthy geek-focused mainstream shows. Now we have at least 10 that do okay enough that it doesn’t seem ridiculous for a person to spend a weekend reporting on them. My guess is that in an entertainment world driven by geek phenomena, those who like them are encouraged to have their own experience with as many of them that hold interest. It’s a very different impulse than why my friends and I visited Chicago in the late ’80s — that was mostly to buy comics we couldn’t find anywhere else.
* a number of people asked me if I thought WonderCon was a big regional show or a smaller national. It feels to me like a smaller national show. 1) If I walked into the big room from some sort of magic portal and didn’t know what city I was in, I would not be able to guess. 2) Companies with national reach made announcements here. 3) There were enough guests of high enough quality that it seemed — barely, but still — that my gut feeling said national show. It just seemed smaller.
* many folks have asserted the virtues of WonderCon being a smaller show. Many of those good things are obvious, I think: greater ease of access to certain creators and experiences, more cohesions amongst the pros in attendance, a general reduction in hassle and cost, a greater opportunity to make a splash with a project that would be denied the stage at an established, larger show.
* in doing a final analysis, however, you also have to take into consideration the down side of a smaller show. There were two big ones for me. The first is that the show was focused primarily on the expression of mainstream comics and the pop culture that resembles mainstream comics. There was very little in the way of comics of the kind I tend to regularly buy on hand, and no natural programming I would follow. This wasn’t a hassle because I have broad tastes and it’s fun to do all sorts of thing on a comics weekend, but I really couldn’t recommend the show to my friend Bob Levin, say, or the vast majority of my Seattle comics reading friends, or even my family members. It might be nice if the con forged a relationship with one or two of the bigger art-comics publishers just to have a more pronounced presence like that at the show. The legendary Ron Turner was there, but he didn’t feel there-there. Given San Francisco’s big presence on the art comics scene and identity as the underground comix capital, this seems like a wasted opportunity.
* the other thing about a smaller show is that there are fewer surprises, I think. The show’s just not big enough for there to be this gigantic pool of undiscovered things and people and talents for you to stumble into by accident — at least not without a super- super-broad screening process. If you don’t see something in the announced guests and the announced programming, I’ll suggest you may not enjoy yourself. While I might make initial plans to attend on the strength of past shows, I can’t see making final plans until I double-checked to make sure I had enough to do. For instance, I went to a number of Darwyn Cooke panels this year, and if he weren’t a guest I’m not sure how I would have spent that time.
* I thought there were elements of the show that weren’t sharp. For instance, there was an awful lot of malfunctioning equipment. I saw maybe eight panels over the three days and five of them had significant A/V problems, and in two cases the visual presentation never worked. Considering how smoothly executed the show managed to be otherwise — the security people were pretty great, I thought — the constant stream of friendly guys swarming different podiums proved to be extremely disappointing. There were other things, too, some of which I already mentioned. I thought some of the panels had an awful lot of chatty people in the audience. It might be nice if major announcements and news were posted broadsheet form by the convention organizers; I know I missed a ton of stuff.
* one thing a number of people expressed to me is that the con needs to settle in on firm dates; if it’s a convention center problem they need to play hardball until those dates firm up.
* so I think it was a strong show. I think there’s a sturdy base from which to build an even stronger show. It has natural advantages: a: great city with a convention center right in a traversable neighborhood, strong retailer, a location people want to visit and proximity to the CCI Rolodex with a pre-summer slot to offer film people. It’s still way, way, mainstream comics, though, and I don’t see it like a mini-San Diego as much as a truncated one. To put the whole thing to you another way, C2E2 will have to be significantly formidable right out of the gate to be considered the Spring show, at least for now.
thanks to the good folks of WonderCon; I will polish this up on Tuesday
Happy 54th Birthday, Mark Askwith!
Popularity: 16% [?]
I got the opportunity to read the guide, and it was a magnificent and mesmerizing quick read; with pages upon pages of beautiful photography from the film admittedly for those of you who’ve spent (valuable old comic books) the last year following the film’s production via the in
I got the opportunity to read the guide, and it was a magnificent and mesmerizing quick read; with pages upon pages of beautiful photography from the film admittedly for those of you who’ve spent the last year following the film’s production via the in
Comic Books portray our fears, our desires and ethos.
The Comic Book is one of America’s unsung contribution to culture.
Popularity: 16% [?]
Jeph Loeb includes a huge cast of characters heroes and villains alike. One especially impressive battle takes place between Shazaam/Hawkman and Superman/Batman. The arc ends with Lex suiting (1988 batman dc comic books) up in his body armor to help in the battle against his arch e
Jeph Loeb includes a huge cast of characters heroes and villains alike. One especially impressive battle takes place between Shazaam/Hawkman and Superman/Batman. The arc ends with Lex suiting up in his body armor to help in the battle against his arch e
Comic Books portray our fears, our desires and ethos.
SMOKED TEXAS BBQ SLOW COOK 18/20H.
REAL SMOKED WITH GREEN OAK.
BEST WINNER BBQ.
BRISKET, PULLED PORK, HOTLINKS, CHICKEN, MOUTH WATERING PORK AND
BEEF RIBS, FRIED OKRA, ONION RINGS AND SWEET POTATO FRIES
Visit us online at:
http://kgtv.cityvoter.com/abbeys-real-bbq/biz/402280
Tags : BBQ, Pork, Pulled, dinner, family, lunch, sauce
Camille samples Kreuz Market’s BBQ with a local fan in this clip
from an all new Food Wars, premiering Tuesday, March 23 at 10pm on
Travel Channel. Visit:
http://www.travelchannel.com/TV_Shows/Food_Wars?refcd=fw-yt
Tags : bbq, camille, food, ford, kreuz, lockhart, market, texas, video, wars
Hawaiian Gardens All You Can Eat Korean BBQ, AYCE Korean BBQ
Hawaiian Gardens, CA Craving all you can eat Korean BBQ in Hawaiian
Gardens? Enjoy super affordable, delicious Korean BBQ all you can
eat (562) 924-9230 Hawaiian Gardens loves our Korean BBQ all you
can eat. AYCE KBBQ in Hawaiian Gardens all you can eat
http://kgardenbbq.com
By aycekbbq
Tags : all, ayce, barbecue, barbeque, bbq, beef, buffet, bulgogi, ca, can, chicken, eat, fish, food, galbee, galbi, gardens, hawaiian, kalbi, korean, meats, pork, restaurant, ribs, seafood, you
This was purchased at wal-mart for $3 or $5, it’s pretty cheap and
easy to refill.
Output is HOT. Just don’t burn yourself.
By rootbrian
Tags : $3, $5, I, bbq, blow, burn, burning, cheap, easy, fire, flame, flaming, green, heat, heated, hot, lighter, me, mine, orange, red, show, torch, wal-marl, walmart, yellow, yours
Popularity: 17% [?]
(Studying comic books) This statement by Superman pretty much sums up the relationship between Superman and Lex Luthor except that in a weird twist the God is the hero and the man the villain. Red Son’ turns the dynamic 180 degrees into its more natural state. Baby Kal L lands
This statement by Superman pretty much sums up the relationship between Superman and Lex Luthor except that in a weird twist the God is the hero and the man the villain. Red Son’ turns the dynamic 180 degrees into its more natural state. Baby Kal L lands
Comic Books portray our fears, our desires and ethos.
The Comic Book is one of America’s unsung contribution to culture.
listings-homes MLS sale-real estate for home
listings-homes MLS sale-real estate for home Real estate for sale and mls listings of new homes, condo, farms,farmland, river front, lake view and lake front condo, new condominiums for sale in the Peru are of Illinois Commission is a winner-takes-all, loser gets nothing situation. …
The Real Estate Lounge Chicago
Chicago Real Estate The Real Estate Lounge Chicago Chicago real estate pro Tom McCarey hosts open at 726 Addison despite cloudburst. Rain or shine, Sunday open house are part of the game in Chicago real estate. Paying too much for your first mortgage loan is …
SeattleHome.com - Enumclaw Real Estate. Washington Homes, Condos, Local Listings and more
SeattleHome.com - Enumclaw Real Estate. Washington Homes, Condos, Local Listings and more Search All Local Listings for homes and condominiums in Enumclaw with Washington State Make sure to look at its suburbs first and try to gather some information about the area and its surroundings. …
Popularity: 17% [?]
(Foreign comic books) After reading the affordable DEATH OF SUPERMAN trade, I can say that I’m not very impressed with it. The story, from Dan Jurgens, Louise Simonson, and others, is a simple affair: an unknown threat emerges from an unknown location with an unknown agenda
After reading the affordable DEATH OF SUPERMAN trade, I can say that I’m not very impressed with it. The story, from Dan Jurgens, Louise Simonson, and others, is a simple affair: an unknown threat emerges from an unknown location with an unknown agenda
The Comic Book is one of America’s unsung contribution to culture.
Happy 34th Birthday, Patrick Dean!
Not Comics: The Courtship Of Miles Standish Illustrations By N.C. Wyeth
Notes On WonderCon, 2010
By Tom Spurgeon
* This is a series of notes about or inspired by WonderCon 2010, which took place April 2-4 at the Moscone Center in San Francisco. WonderCon is a comics and related media show that’s been going about 20 years constructed mostly along the lines of mainstream North American comics, taking place in one fo the world’s hot spots for alternative culture. Notes on other comics-related events taking place outside of the convention center but scheduled for WonderCon weekend to take advantage of the extra folks in town are included here, at least as much as I was able to attend them.
* Just to be as clear as possible, I was flown out as a media guest for this show and given a hotel room. Although why the offer was tendered wasn’t discussed, I imagine the Comic-Con staff made this offer in order to help bring greater attention to this show. As I would not be able to afford to attend the show otherwise, and because the show interests me, I was happy to take them up on their offer. There was absolutely no suggestion on their end as to how I should cover the show or whether I should cover the show. I could have spent the entire weekend squirreled away at the hotel watching filthy pay-per-view until the credit card by which I was paying for incidentals reached its spending limit.
* Comic-Con is also an advertiser on this site, which I usually don’t mention because it’s, you know, right there. Anyway, I guess there’s a big chance for biased, compromised nonsense this time out. Read carefully.
Thursday
* first of all, to be absolutely clear: WonderCon paid to fly me out to their show and put me up for the weekend. They asked for nothing in return, although I assume they wanted me to cover the show and be able to speak about it in the future from the vantage point of having experienced it first-hand. I should also note that WonderCon’s parent company is a prominent advertiser at CR. Hopefully, what follows is worth reading despite these massive, potential conflicts of interest.
* no one really wants to hear another person’s travel horror stories, but I’ll give you mine: I showed up at the airport Friday morning to take the first of three flights. The first flight was canceled for mechanical reasons. I couldn’t make it by car to pick up the second flight but the folks at the first airport offered to re-book me through Tucson, 3.5 hours away, for a flight that would still get me to San Francisco that day. They even showed me paperwork and gave me a code. Turns out that while this flight existed, the nice folks at the first airport didn’t do any of the actual re-booking. To have them re-do the flight in Tucson would cost $500. I don’t know about you, but that’s my entire Thunderstrike back-issues buying budget. The guy at the next desk eventually felt sorry enough for me he booked me a new flight on his own authority. But thanks, original airport people, for several moments of dread.
* it wouldn’t be classy to name the offending airline, but I will say it rhymes with “Montier.”
* the cab driver I used from SFO hadn’t heard of WonderCon. I thought that was an interesting contrast from the bemused groans I usually get from San Diego’s taxi-driving legions, at least enough that I’d mention it here.
* one thing I saw on the highway was a big Iron Man billboard for Oracle. Don’t know exactly what for, but it was definitely ol’ Shellhead. I flashed on the kind of thought that writers with a greater sense of what mainstream comics mean tend to make routinely and with a lot more verve: as much as our first reaction would be to pooh-pooh it, it must be cool on some level to work near the creative fulcrum for such iconic characters, these temporary icons of cultural shorthand. I concentrate so much on the downside of that that it probably behooves me to address the positives every now and then.
* my WonderCon-ignorant cab driver did say he’d never seen that much activity at the Marriott Marquis on a weekday evening, as a number of cabs and cars were crowding their short driveway. In fact, I walked in just as a short line of DC power players barreled past me, on their way to dinner. Comics-town!
* that’s a fine hotel, by the way. I have no idea where it rests in the constellation of WonderCon hotels, but it’s nice. My room was very large and comfortable, with a huge desk on which to work. Most writers love most hotel rooms, and this definitely had most of the reasons why. The lobby is airport terminal spacious, with a bar that feels like the place you might get a last drink before taking off.
* I fully intended to walk to the Walgreen’s and come back and go to bed. But instead I enjoyed a three-hour lobby bar conversation with IDW’s Scott Dunbier, who was hoping to catch some people coming back from dinner to transfer some original art to one of them. That original art? An entire comic book by an old master, which was about as ridiculously gorgeous to look at as you’d imagine. Most people that stopped by took the time to take at least a peek, oohing and aahing all the way.
* coming in and out of our vicinity were a variety of comics folks and convention regulars: Mark Evanier, Sergio Aragones, James Robinson, Pam Noles, Jim Chadwick, Annamaria White, Heidi MacDonald and a number of folks whose names I’m way too terrified to wing. I saw Joe Kubert in the lobby proper, at one point talking to I believe Dan DiDio. I saw Team Isotope on the other side of the bar. The reason I mention all this is because a) it’s always a lot of fun to talk about comics face to face with other people when you spend nearly all of your time typing about them at home, b) this is a very mainstream comics-focused show, and I don’t know a lot of mainstream comics people. These would be my personal themes for the weekend.
* as many people as were roaming about, a few expressed nostalgia for WonderCon’s original, Oakland-area potency as a bar con, as in “best bar con ever.” There wasn’t a lot of what we in college called “shuttling” in term of old memories, but there was definitely some fondness expressed for the original hotel’s bar and the shenanigans that developed there. Smaller shows have more intimate backstage scenes generally, and while this show is a bit too big for there to be one single scene, it came close: in whatever circle you traveled, you tended to see those people over and over.
Saturday
* yet another thing that makes this con different from Comic-Con is that walking over to the show the street didn’t begin to coalesce into a WonderCon crowd until about 40 yards from the front door. At Comic-Con I always get a sense I’ve entered the convention center’s sphere of influence about three blocks away, like Peter Weller getting joined by the other Buckaroo Banazai cast members in the end credits.
* downtown San Francisco seems to have some sort of Walgreen’s problem. One of the neighborhoods where I lived in Seattle for several years offered two Starbucks within 40 yards of one another, and Market Street was kind of like that, only with the opportunity to buy two-liters of Sunkist and a rotary fan rather than espresso. I always like walking around San Francisco, though. Even more than New York it offers the sight of people absolutely put together right next to people absolutely falling apart. I come from a town where the mayor is just as likely as anyone else to be standing in line in his sweatpants at 12 PM on Sunday with an 18-pack of Bud Ice, so the sharp distinction the big cities bring fascinates.
* registration was great. Christopher whose last name I don’t remember and who takes care of that for Comic-Con said they get about 650 pre-registered press members and about 800 total (the walk-up addition may have only been Friday’s). The lines for individual registration looked long but survivable.
* I caught a glimpse of David Glanzer going the other way down up the world’s longest escalator. When I tried to go up and see him I couldn’t find him. I went down the escalator again and noticed he was in this open air little circular lounge behind the registration area and over the outside of the hall. It was like a little Star Wars social space. I really liked it. Best staff-only area maybe ever.
* the convention hall is pretty big, appropriate to the show: I’m thinking maybe 2.5 times the size of a HeroesCon? In the size-sense the show really is like San Diego from 15-18 years ago. I thought it looked fairly crowded on Friday, although maybe not so much at the far ends of Artist’s Alley, the lanes against the walls where folks like cartoonist Justin Thompson and the writer Matt Maxwell were located. They actually had some of the bigger AA names on the ends of rows rather than in the rows — I don’t know if that’s a typical thing or not — guys like Ethan Van Sciver and David Finch and Frank Cho.
* I saw both of my convention buddies — by which I mean guys with whom I’m friendly that I only ever seem to see at conventions, year after year. Joel Meadows is readying another print issue of his handsome Tripwire for release in July. Justin Norman is in the midst of a hopefully long, ongoing run on DC The Spirit, first issue to come out soon. He admitted that the pedigree of creators to work on that character gave him some pause. Norman’s one of my favorite people in comics and it’s great to see him work his way into this new opportunity. It’s been a long time coming and I hope he kills it. He’s working with writer Mark Schultz on the initial issues and Editor Joey Cavalieri generally.
* I saw only two celebrities; and only one of them was a sure thing. I swear I saw Jeff Garlin there, although I haven’t double-checked yet and pretty much 17 percent of all dudes at a convention look like Jeff Garlin. I definitely saw Michael Chiklis at his signing, which was big enough to cause Bob Schreck to do that ambulatory scarecrow thing where you slowly walk into a crowd waving your arms gently to get people to scatter. There were a lot of young men at the Chiklis signing. You could do much worse than emulate the determination he’s displayed in shaping his career. For what it’s worth, I felt almost none of the Hollywood presence, even less than the 10 percent of it that I feel in San Diego.
* there were a lot of celebrities signing autographs and the like, although I didn’t spend much time in their section. I saw an actor who apparently played an African-American sheriff on Dukes of Hazzard that I couldnt remember at all (my dad, inexplicably, was a fan of the show; he also loved Hee-Haw). My favorite show business related thing on the floor was a booth in which sat a fan club for the small town community-affirming, post-domestic nuclear terrorism show Jericho. I loved watching Jericho when I could remember to go look for it because it was so terribly, terribly weird. The ladies at the booth were selling show-related clothing.
* most improved booth: IDW. Booth I didnt’ really understand: Aspen. Booth that wasn’t actually their real booth: DC Comics. Company I didn’t expect to be here that wasn’t: Marvel. Company I had sort of expected to be here for some reason but wasn’t: Top Shelf.
* people talk about the graying of the comics readership, but it felt to me like very few people in attendance happened to be my age or older, and most looked like they came from the same age group — 25-35 year olds — that to my memory dominated convention crowds 15 years ago. I felt old more than a few times. There seemed like a lot of women there, including a number attending on their own, which maybe wasn’t the case when I started going to these things. I also saw a lot of kids, including kids that seemed just as into this stuff as the parent, if not outright escorted by one. Also, the crowd seemed quite diverse.
* never in my life will I understand the costume impulse, even less so in terms of people my age and older wearing them (nearly all teenager activities are designed around sex; jumping in and out of costumes and acting out a bit while in them is not the worst idea to push young people in that direction), but I was surprised to see only a modest amount of them on the floor this first day. My favorite was a Dove costume, as 1) it’s weird, 2) that one doesn’t make a whole lot of sense once you see someone actually wearing it, 3) it cracks me up when someone does a costume where you’re paired with someone else and not do the other costume.
* saw two folks from the Pacific Northwest with cons of their own: Jim Demonakos of Emerald City and Shannon Stewart from Stumptown. Demonakos seemed pleased with the success of his 2010 show, and from all reports — including unsolicited raves from three pros I talked to — he should be. Emerald Con passed that threshold this year where it’s going to be hard not to have it now, if that makes any sense. Stewart said that Portland’s finest indy comics show just announced Paul Pope as its last special guest, and that the mayor has named April comics month in that great funnybook city for the fourth year in a row. I haven’t been to Emerald City yet, but Stumptown is a fine show of that type.
* watching Jeremy Atkins of Dark Horse and AnnaMaria White at IDW operate a little bit, it struck me how the publicity operations in comics might have changed in recent years, without our really noticing, to more significantly favor people that are personable and presentable along with those able to carry out media relations duties. This is the kind of thing that might only matter to me, I admit. And it’s not like there was ever a time when PR in comics was run by disagreeable, beastly folk. Still, the current generation seems slightly more telegenic, if that makes any sense.
* I watched some of the Dark Horse panel; it was fun to gauge the various contrasts between Atkins and Dark Horse/comics old guard member Randy Stradley. They had presentational tool malfunctions that would have sent me screaming from the building and into a new career. One thing they mentioned that I hadn’t noticed is that Joss Whedon’s brother whose name I can’t remember (Zack?) is doing more and more writing for the company. Also: Ron Glass anecdote, and you can’t have enough of those.
* a fit-looking, earnest and personable Geoff Johns ran his moderator-less panel like he was hosting an MTV special; appropriate to that comparison, three or four questions were about how good-looking he is (he deflected these questions). Johns had to negotiate not being able to discuss Blackest Night #8, as a significant number of people in the audience had yet to read it. His new corporate position brought with it a bunch of questions that helped compensate. Johns said he worked very closely with the writer on the Green Lantern film script, and rattled off a significant number of weird alien things that we’re likely to see in the movie, now filming. The crowd, maybe three times the size of the Dark Horse panel, seemed to enjoy the heck out of themselves.
* back on the floor, I saw the writer Joe Casey, who refused to let me take his photo because he said his new look afforded him a disguise for conventions. By the time you read this, they will have announced a new title for Casey at Image Comics called Officer Down.
* I ran into Charles Brownstein, who informed me that the wire services had picked up on the death of Burton Joseph, the lawyer and free speech activist who lent his energy and prestige to the Comic Book Legal Defense Fund in some of its most important cases. A full obituary will appear at CR soon. He was right around 80 years old.
* the general health of Generation Direct Market was a recurring topic throughout the weekend. I also talked to a number of people about the mounting costs of the Recession on businesses within comics and on individual careers. The basic idea with the talk about money was that just because the last 18 months were not as apocalyptically bad as folks a lot of people still took major hits.
* personal note: it would be nice to go through an entire convention season where I didn’t have to say to at least one person: “Wow, I totally screwed you on that. I’m sorry.”
* a lot of folks expressed enthusiasm for the $2 Darwyn Cooke Parker preview; it was also by far the single item that people mentioned when I asked what I should go look at. I ran into a couple of people that gushed over being able to catch up with Long Tail Kitty. After that, opinion fractured markedly.
* I stopped in for some of two company panels: the DC Nation panel — which is somehow different from the DC Universe panel in a way I don’t care enough to understand — and IDW’s. The DC Nation panel featured three of the new company executives in Dan DiDio, Jim Lee and Geoff Johns, and all were enthusiastic about their new roles although not in a way that extended past general platitudes. They also all wore baseball caps, which I trace back, likely in improper fashion, to being one of Image Comics enduring gifts to the funnybook world. The IDW guys struggled on as fog kept the rest of the IDW editorial team from getting on planes early that day. This left those in the room without their cheat sheets. There were 22 people in attendance, most of whom got to laugh at the enthusiastic, earnest musing of Max Brooks on his GI Joe work.
* my sampling consists of exactly two people, but if Brooks and Johns are representative of the slightly younger creators coming to the fore now, that kind of earnestness may be on the rise while the slightly snarky remove of the older creators may be on the decline. That’s a ridiculously broad statement, of course, but I wonder if there isn’t perhaps a trend of some sort there.
* one thing I like about comics conventions is you can pepper your conversation with li living sight gags. Two different people with whom I discussed my forthcoming plans were treated to me saying, “or maybe I’ll just stand here and watch Erik Larsen read a comic book.” And as they looked up through not 20 feet away was Erik Larsen reading a comic book. I could do stuff like that all day.
* I ran into retailer and Direct Market industry advocate Brian Hibbs on the convention’s main floor. He’s someone with whom I’ve been dealing since 1994 — almost always in friendly fashion; sometimes on different ends of an issue, never angrily — but hadn’t met face to face, so that was nice. He was still beaming from the recent ComicsPro meeting in Memphis, particularly in how responsive the companies in attendance were to hearing back from Direct Market retailers in terms of things they were doing. I remain a big Direct Market guy, although I’m cognizant of their failings. If comic shops didn’t exist we would dream about them. I really like when Brian writes about hanging out with his little kid, so I was glad to hear they made it to WonderCon together and went toy shopping. Hibbs doesn’t exhibit at shows, which never occurred to me before but of course he doesn’t. I wonder if there’s any significant about a generational shift in retailers — Hibbs being a transitional figure, starting his shop in 1989 — and if we might lose comics retailers at show by a decision on their end rather than the conventions’ doing. As a matter of fact, there’s a broad range of issues that comes up when you think of DM Generation One entering their golden years. Item one: who gets their stores?
* went to the Ed Hannigan benefit at the Cartoon Art Museum. I hadn’t been to CAM since I went to an Ed Gorey exhibit there in the mid- to late-1990s. It’s very different space: first floor (rather than a higher one), bigger shop, four largish rooms and a fifth, smaller one furthest away from the street with a small hallway (and bathrooms) sticking out from that. It’s a good space: not as big as the small museums I’ve been to over the years, but certainly half again the size of a strong gallery’s showing area.
* I quite liked the variety of art on display. There was some sort of Batman exhibit that had original pages from Paul Pope, Frank Miller and Jiro Kuwata. The Kuwatas were stunning, imagery presented with a confidence made their inexplicable oddities stand out that much more: I felt an urge to own every third page. The Millers brought on feelings of nostalgia more than any appreciation for the works as original art pages, although that was probably just my mood. For some reason, it was heartening to see the whiteout Miller employed. The Paul Pope pages were ridiculously huge.
* as far as I know, the Museum failed to raise enough money to make Andrew Farago shave a 1989-style Batman logo into the back of his head. I wondered if his wife, the writer and cartoonist Shaenon Garrity, was relieved, but I was told she was filming a public access TV show with Phil Foglio, which is the kind of thing you end up doing on a comics convention weekend.
* the Ed Hannigan stuff was fine. If you’re near my age, you probably bought a lot of comics with Ed Hannigan covers. With the 40 or so pieces on hand, they managed to snag what I think of as his best design — an issue of Batman looking down on an alley way where the Caped Crusader and the Boy Wonder have just beaten down a whole crowd of typical-era punks. When I think of Hannigan’s interior work I think of the first Cloak and Dagger story, which opens with this snazzy, one-panel street setting and contains some fine minimalist cartooning featuring the visually contrasting guest stars. They had that whole story there, so a good job in representing Hannigan’s better work, I think.
* a few pieces of art from the more general part of the exhibit offered several obvious highlights. I’d never seen a Jack Kent (it looked like an original Pogo, naturally) or a William Steig original before (that one baffled me; it looked like no human hands had touched it). I’d seen some Bill Mauldin but I liked the ones they had on display quite a bit. The usual cartoon art show suspects — Crane, Caniff, Kelly, King/Moores, Arriola were all well represented.
* the museum has about 6000 pieces of original art in a permanent collection, which are stored in a different, higher-security part of their property.
* I met Albert Moy later that evening, which I thought a bit humorous given the original art theme to the evening. He’s been working in that field since 1982, which is long for any career in comics let alone a ruthlessly commercial one like that.
* my one “this really isn’t like 15 years at San Diego at all” moment was watching Mark Evanier check his portable device to see if a business-related download he was doing in his hotel room was completed. Don’t remember that from 1995.
* I’ve been given figures ranging from 20-25 people to 125-150 people going on Friday’s Tiki Bar tour. No matter the bottom-line number, several went in full pirate garb.
Saturday
* Saturday: way different than Friday crowds-wise. There were more people stepping away from the convention-center Saturday early afternoon than had been heading there the same time Friday. Most of the tables in the center of the show were jammed with people seeking something. By mid-afternoon I began to collect a wide array of stories about who was making money that tended as a group to trend towards the “things are going very well.” The more elaborate costumes had come out, too.
* the crowds didn’t go everywhere, though. Like San Diego, like various iterations of the Chicago Con, like Heroes Con 2008 and therefore I imagine like most shows, there were dead spots: one such at WonderCon was the outside row of small press artists. I don’t know that there’s anything that can be done about that — people are going to go where they’re gong to go — but I always feel sorry for someone who for reasons of flow not aesthetics is seeing most people chug by without a second look.
* someone told me a few hours afer the face on that the Q&A-driven DCU Editorial panel was “the longest experience” of their life. Just saying.
* I haven’t looked at the reports yet to figure out the content of what was said and its potential newsworthiness, but a bunch of people enthused over Greg Rucka’s spotlight for its long, full and specific answers to questions asked.
* if I had enough money to cover conventions more thoroughly, I swear my first hire wouldn’t be another person to run around the con but someone to stay home and monitor the various news feeds coming out of it. Being so close up I have little idea as to what’s going on, and feel I’ll have some work to do on Tuesday of this week catching up with some announcement-based news for sure.
* my favorite new recurring panel is the CBLDF Live Art Jam, which I just think is a great idea: a group of artists make sketches to auction off on behalf of the CBLDF while answering questions about what they’re drawing or the industry generally. They switch places so that one of them is always working on the overhead. I really enjoyed this at San Diego and except for the fact that at CCI the table set-up made it an endearing lunchtime panel (it’s the future as I once envisioned it to see dozens of teens staring at Mike Mignola drawing while eating from Bento Boxes) I had a better time at this version. When Emily Proctor is done with CSI: Miami, they should hire her to play Colleen Doran drawing in public while sticking it to past dumb editors and the stupidities of work-for-hire production in a southern lilt. I’d watch that show every week. Darick Robertson even told a pretty great Peter Bagge anecdote.
* the two great things about the Boom! panel were 1) its bizarre mix of new comics readers and super-old and jazzed up Disney comics enthusiasts, 2) the fact that Darkwing Duck is out of any definition of my own childhood/adolescence that I have no attachment to it at all and the names of places and characters that thrilled some in attendance cascade off my forehead like water from a shower head. They had about 30 people there.
* the Gail Simone panel was more packed in the same place, bunches of people that seemed genuinely pleased to meet the comics writer. Simone told a funny story about nearly blowing off an early opportunity to work for Bongo; she was generally funny. I thought smart her statement on Wonder Woman that it wasn’t so much about figuring out the one or two things that character did really well but creating a vehicle through which multiple interpretation could be valid.
* Simone wasn’t one of them, but there seemed like a lot of mainstream people talking from vague terms to more concrete ones about forthcoming independent projects. That may just be a function of events like this one, but the sentiment that you’d want to do something of your own seemed genuinely expressed. Geoff Johns was one person who talked about doing his own characters (which might be his first — I don’t follow him closely enough to know — and might be worth noting just in terms of his being able to do so given his current corporate responsibilities); the Amanda Conner/Jimmy Palmiotti team was another.
* I attended a compelling Black Cartoonists as Social Commentators panels, despite the fact that so much time was lost to trying to get the video to work. The one time the video did work, it showed a funny video by Jerry Craft where he basically yells at the black superheroes from the ’70s for various offenses related to their sucking. The best line was after pointing that Black Goliath was routinely beaten up on the cover of his own comic books, the Craft stand-in suggests that BG has to be the only superhero whose utility belt contained nothing but first aid items. The funny thing is, that video had little to do with what was great about the panel, which was hearing Darrin Bell and Keith Knight talk not about their careers, or self-publishing, or a try-anything ethos, but about their work and how people had reacted to it positively and negatively over the years. I don’t know Bell’s work as well as I might, but I’ve already put aside time to go and re-examine a bunch of it. Both guys were smart and funny and had trenchant stories to tell. This is exactly the kind of panel I hope to see at a comics show.
* one cool thing about that panel is they had a professional moderator whose name I can’t remember, a guy that was seemingly used to doing interviews on TV. The great thing about it is that he was absolutely brutal in terms of shutting down questions from the audience.
* if I had greater capability to travel to do comics news stories, I’d love to go with Keith Knight when he hits Slippery Rock to speak about a cartoon that outraged the black students there. Knight spoke with great sympathy about how his cartoon, brutally misunderstood, nonetheless may have been a final straw for many of the students facing some real issues on that campus.
* I went to speak to Shaenon Garrity on the floor after the Knight/Bell panel; she was helping Phil Foglio at the show. I don’t know all that many people at the show, so I kind of relished visiting the few I did, which probably isn’t the best way to orient yourself, but there it is.
* the Darwyn Cooke presentation was mostly packed, even more so at the end when Star Trek people eager to see the next panel crowded into the few remaining seats. Cooke’s a very forthright speaker, and it was interesting how many more of the questions at this show focused on his Parker work as opposed to focusing on superheroes through his work on books like New Frontier. Cooke expressed some general frustration with the amount of time it takes works to be approved in the mainstream comics milieu, and admitted to outright fear shopping the Parker stuff around. He was also quite honest about the primary motivating factor for potentially doing occasional mainstream projects if any were to be offered: money. One thing that was interesting to me is that he spoke of letting his personal reaction to the Parker books set him on a new career path when that was necessary, but that he also still plans to do the original work he was shopping around at one point. One of them may happen sooner than later, the other — a fantasy — may wait until he feels more creatively confident taking it on.
* one thing that struck me was that Cooke was complimentary of Daniel Clowes more than once over the weekend, calling him the best letterer in comics at one point (Eisner being the best all-time and Saladino being his favorite of the mainstream hand-letterers), citing his work with single colors as a factor in his working on the same in the Parker books, and extolling the virtues of Like A Velvet Glove, Cast In Iron as a horror story.
* I’d like to thank the comics journalism panel for making Douglas Wolk and myself feel 10,000 years old. Graeme McMillan’s career was discussed like he was the basis for The Front Page and he started his Fanboy Rampage in 2002.
* all of the panelists came across as articulate and engaged and each presented themselves well, including late addition Laura Hudson. I thought David Brothers was a natural moderator; anyone out there who needs one should ask him. I’d never met Kate Dacey before, so that was nice. She was formidable.
* all that said, when I stopped feeling old I started feeling like I came from a different planet than most of the panelists. There was a lot of talk about generating hits and reacting to readers’ concerns that are flat-out foreign to me. I was glad there wasn’t a lot of time debating over what journalism is or isn’t. All of the panelists clearly practice some form of journalism, even if isn’t of the Woodward/Bernstein — or Groth/Heintjes — variety.
* I saw the sartorially resplendent Phil Foglio making his way back to the convention, dressed like the mayor in a particularly fancy Dahl story. I really thought about trying to do the masquerade since San Diego’s has been such a tough ticket for 10 years now, but I had a couple of verbal commitments. It’s nice to know I probably could have, though.
* walking from the convention center to Comix Experience is a great idea only if you remember that natives don’t consider four-and-half blocks of walking uphill walking uphill at all.
* Comix Experience is a lovely-looking shop, maybe the paragon of a neighborhood store. I got to talk about the general, flushed state of North American comics conventions with some industry heavy-hitters (including Ron Turner), shoot the about Chicago comics retail of days gone by with Larry Marder and what kind of comics hit with audiences and why with Justin Norman, Erik Larsen and Joe Keatinge. That was actually a very engaged discussion for people standing around holding beers and trying not to trip on some of the idiosyncratic parts of the floor, with a sense that there are these really talented people that logic says should have an audience out there and that want to make comics that are absolutely flummoxed by the low sales ceiling for certain kinds of funnybooks right now.
* people at CE were happy to be drinking the fancy beer, and the food truck outside may be the greatest idea for a comics event supplement in the history of comics events. Brian seemed to be enjoying himself, too, which is a great thing. It’s nice to be able to see his space, and 21 years in is an accomplishment in terms of comics retail, retail generally and single-proprietor retail all at once.
* I bummed a ride in Justin Norman’s cab to the Isotope Party. Thanks, Justin. He told a very funny artist talking to his writer after bumping into him in the convention center bathroom story.
* Isotope’s party spilled out onto its sidewalk; several folks that looks like neighborhood people walking dogs or getting off their bicycles stopped nearby or across the street to gape. It wasn’t the biggest party the store had had, James Sime said, but to my eyes it looked very, very respectable. I was frightened to go in.
* that’s a lovely space, by the way. It seems ideal for social events like this weekend’s, but I can imagine being a comics fan in my early 20s and wanting to come and hang out in a space like this one with facilitating my comics being the bonus.
* I have no idea why, but the Isotope party’s comics-name guests (Palmiotti, Connner, Cooke) and their friends were all dressed in western garb. The Canadians were even Mounties. I started having Paul Gross flashbacks. When Palmiotti was giving a couple of the folks in attendance general career advice I imagined him breaking in on a pal’s meeting with DC or Marvel, shooting his pistols until the contracts details were conformed.
* I really need to get to know more people on the mainstream side of things.
* I bummed a ride from Douglas Wolk’s cab back to the hotel. Thanks, Douglas. Douglas is writing for Techland every week now, and they are at the very least keeping him in cab money.
* the hotel bar was once again hopping. And the Butler Bulldogs won. By the way: comics convention? Worst place to find out a basketball score ever.
Sunday
* Easter Sunday. Several people at the show asked me if I thought there would be crowds on Easter or not. No one really knows.
* Turns out they didn’t have a ton to worry about. The crowds fell safely within general Sunday parameters: not as many as the very crazy Saturday but more it seemed than Friday. The floor seemed busy. You mostly noticed the reduction in audience in the non-busy areas pf the building. There weren’t people resting up against random walls on the mezzanine levels like on Saturday, not as many panels (it seems) in danger of being crowded right out to the hallway, not as long of a line (and by 3:30, none at all!) at the eating centers. It was San Diego of 25 years ago.
* I heard that several exhibitors thought they could get in much earlier than they ended up being let in. Don’t know if that’s a big deal or not.
* by the way, the Moscone food stands seem superior in every way to the San Diego Convention Center food stands. I didn’t eat at them, but I bought some water near the end of Sunday and they had actual food-looking food behind the counter. I loved the proximity to the panel room areas, too. Why wouldn’t you want to grab a bite to eat and then go watch cartoons or see Ian Sattler pontificate or whatever?
* when I walked in today a small circle of journalists had surrounded David Glanzer, including one gentleman incensed about the performance of Travel Planners during their initial hotel lottery a few weeks back. An announcement should be coming pretty soon, and I remain convinced that San Diego is the best spot for the show for now.
* it was good to hear that Heidi MacDonald felt as old as I did at that comics journalism panel.
* at least one well-known professional flew home Saturday late to spend Easter with their family and hey, good for them.
* talked to some of the Artist’s Alley folks. Lark Pien was there, holding forth with a table full of stuff that was way more APE and MoCCA than maybe the entire rest of the room combined. I also met Miriam Libicki, which
* I talked to a non-representative mix of about 20 retailers, exhibitors and industry organizations: all seemed pretty positive about the show except two that were in what I would call, looking around, squirrelly locations. People with a specific focus — the retailer that was there to sell newer comics under cost, the artist there to give out cards directing people to their to their web site seemed particularly
* I don’t think there’s a whole lot that can be done about that, incidentally, beyond the kind of baseline realizations that I’m sure shows like this make. For instance: it seems to me that most of the TV and film autograph people leave a couple of hours early — I’m not certain why — so you wouldn’t want to count on them driving traffic to a general location for an entire day. Convention flow is a mysterious beast. I might suggest for this particular show and this particular convention that the far wall — the part of the exhibitor groups that are up against an actual wall, be potentially discounted. You’re just not going to have people on the ends, and that last row in particular was like an express highway by which people went from one place to another.
* I saw one panel on Sunday. The Pogo panel wasn’t Evanier/Kelly driven, so I took a pass. I was going to go to the Jonathan Ross panel, but it disappeared when I went to the bathroom. Not sure what happened there.
* that leaves the one I did attend, the SLG editorial panel. It’s nice to see a familiar face and hear a friendly voice. Dan Vado was in comics long before I was (SLG’s 25th anniversary is next year). I couldn’t tell from most of the video presentations if the comics being promoted were of much interest, but it was good to hear that James Turner’s Warlord Of Io will have trade collection this summer.
* Dan also reported on the designer and cartoonist Scott Saavedra’s health, saying that he had his good periods and bad periods but that he was doing okay. That was good to hear.
* there’s no convention experience that can’t be improved by buying 10-12 comic books you want to read for $1 apiece.
* the talk of the show I’d say is Greg Rucka’s panel and the blunt nature of the statements he made there. I bet that’s googleable, but I’ll link to it with this sentence when I get back.
* here’s something I never experienced at a comics convention before: publishers giving copies of books to press to take home because they didn’t want to pack it and ship it back. That’s a very BEA thing, actually.
* I missed seeing Bob Beerbohm, but the young ladies at the booth said his surgery was successful and that he was roaming around the show somewhere. So that’s good news. Given all the time I talked about first generation retailers this weekend, seeing Bob’s booth was a particularly nice ending point.
* I left the convention at 4:05, with a promise to try and meet up with some folks for dinner — on Easter, I’m thinking this might be more difficult than the usual convention dinner, but we’ll see. As you’re reading this I should be either en route to New Mexico or already there, in time to watch the Butler/Duke game.
* so that was my WonderCon.
* overall, I think WonderCon’s a pretty good show, or at least my experience of it was pleasurable. It seems to have benefited a great deal from the general surge in the public’s appetite for conventions. I mean, seriously, 10 years ago we had like 1.5-2.5 conventions in terms of super-healthy geek-focused mainstream shows. Now we have at least 10 that do okay enough that it doesn’t seem ridiculous for a person to spend a weekend reporting on them. My guess is that in an entertainment world driven by geek phenomena, those who like them are encouraged to have their own experience with as many of them that hold interest. It’s a very different impulse than why my friends and I visited Chicago in the late ’80s — that was mostly to buy comics we couldn’t find anywhere else.
* a number of people asked me if I thought WonderCon was a big regional show or a smaller national. It feels to me like a smaller national show. 1) If I walked into the big room from some sort of magic portal and didn’t know what city I was in, I would not be able to guess. 2) Companies with national reach made announcements here. 3) There were enough guests of high enough quality that it seemed — barely, but still — that my gut feeling said national show. It just seemed smaller.
* many folks have asserted the virtues of WonderCon being a smaller show. Many of those good things are obvious, I think: greater ease of access to certain creators and experiences, more cohesions amongst the pros in attendance, a general reduction in hassle and cost, a greater opportunity to make a splash with a project that would be denied the stage at an established, larger show.
* in doing a final analysis, however, you also have to take into consideration the down side of a smaller show. There were two big ones for me. The first is that the show was focused primarily on the expression of mainstream comics and the pop culture that resembles mainstream comics. There was very little in the way of comics of the kind I tend to regularly buy on hand, and no natural programming I would follow. This wasn’t a hassle because I have broad tastes and it’s fun to do all sorts of thing on a comics weekend, but I really couldn’t recommend the show to my friend Bob Levin, say, or the vast majority of my Seattle comics reading friends, or even my family members. It might be nice if the con forged a relationship with one or two of the bigger art-comics publishers just to have a more pronounced presence like that at the show. The legendary Ron Turner was there, but he didn’t feel there-there. Given San Francisco’s big presence on the art comics scene and identity as the underground comix capital, this seems like a wasted opportunity.
* the other thing about a smaller show is that there are fewer surprises, I think. The show’s just not big enough for there to be this gigantic pool of undiscovered things and people and talents for you to stumble into by accident — at least not without a super- super-broad screening process. If you don’t see something in the announced guests and the announced programming, I’ll suggest you may not enjoy yourself. While I might make initial plans to attend on the strength of past shows, I can’t see making final plans until I double-checked to make sure I had enough to do. For instance, I went to a number of Darwyn Cooke panels this year, and if he weren’t a guest I’m not sure how I would have spent that time.
* I thought there were elements of the show that weren’t sharp. For instance, there was an awful lot of malfunctioning equipment. I saw maybe eight panels over the three days and five of them had significant A/V problems, and in two cases the visual presentation never worked. Considering how smoothly executed the show managed to be otherwise — the security people were pretty great, I thought — the constant stream of friendly guys swarming different podiums proved to be extremely disappointing. There were other things, too, some of which I already mentioned. I thought some of the panels had an awful lot of chatty people in the audience. It might be nice if major announcements and news were posted broadsheet form by the convention organizers; I know I missed a ton of stuff.
* one thing a number of people expressed to me is that the con needs to settle in on firm dates; if it’s a convention center problem they need to play hardball until those dates firm up.
* so I think it was a strong show. I think there’s a sturdy base from which to build an even stronger show. It has natural advantages: a: great city with a convention center right in a traversable neighborhood, strong retailer, a location people want to visit and proximity to the CCI Rolodex with a pre-summer slot to offer film people. It’s still way, way, mainstream comics, though, and I don’t see it like a mini-San Diego as much as a truncated one. To put the whole thing to you another way, C2E2 will have to be significantly formidable right out of the gate to be considered the Spring show, at least for now.
thanks to the good folks of WonderCon; I will polish this up on Tuesday
San Diego Commercial Real Estate
Popularity: 13% [?]
(456 comic book) The scene with Krypto, short as it is, is worth the price of the book by itself! Wonderful!
The scene with Krypto, short as it is, is worth the price of the book by itself! Wonderful!
Comic Books portray our fears, our desires and ethos.
admin login terms of use site map all rate, payment, and area information real estate classes are estimates and approximations only. Liberty mutual business insurance property and casualty insurance real estate classes coverage for your business. Incorporates the latest version of intellisync real estate classes technology to improve synchronization with the latest handheld devices and resolve conflicts with the adlforms application.
The building will feature concierge, stunning pool, professional gym and sauna as real estate classes well as private central courtyard. In the event that the debt remains unpaid or the breach remains unremedied after a 30 day period, the lender may proceed with sale of the real estate classes property through public auction or tender. Houston, ehhh we have real estate classes another dang problem.
Bank owened real estate classes property in nice neighborhood.
Rights of parties in possession not disclosed of real estate classes record; 3.
2-11-92 broker of sails realty real estate classes dba/realty options (prattville).
This mistake can be the result of an innocent mistake by the property owner who supplies real estate classes the legal description of the property to the mortgage lender.
Even after the price increase, belarus receives the cheapest gas in the real estate classes former soviet union.
Overall, real estate ownership appears to real estate classes be decreasing over time, which may be due to the gaining popularity of lease alternatives. Too often they real estate classes regret their folly.Too often they real estate nj real estate blog classes regret their folly
Popularity: 14% [?]
I got the opportunity to read the guide, and it was a magnificent and mesmerizing quick read; with pages upon pages of beautiful photography from the film admittedly for those of you who’ve spent the last year following the film’s production via the in (paul smith x men comic book artist bio)
I got the opportunity to read the guide, and it was a magnificent and mesmerizing quick read; with pages upon pages of beautiful photography from the film admittedly for those of you who’ve spent the last year following the film’s production via the in
This is still the Superman we know, more or less. A good man with amazing powers trying to make the world a better place, struggling to make sense of his role in the larger scheme. It’s very good. Very, very good.
Comic Books portray our fears, our desires and ethos.
Popularity: 16% [?]
(Comic book artist cho shanna) If you were to ask many long time comic book fans what they know of Supergirl’s history you might be surprised to hear them ask which Supergirl you were talking about. Just thinking about all the twists and turns this character has gone through is enough
If you were to ask many long time comic book fans what they know of Supergirl’s history you might be surprised to hear them ask which Supergirl you were talking about. Just thinking about all the twists and turns this character has gone through is enough
Comic Books portray our fears, our desires and ethos.
Gardening - DSCN0316.flv
Lanie gardening - MOV01072.flv
Gardening - Gardening.flv
Popularity: 17% [?]
(Dallas comic book store) I know it wasn’t all written by Greg Rucka and Geoff Johns, but they’re both capable of much, much better things than this.
I know it wasn’t all written by Greg Rucka and Geoff Johns, but they’re both capable of much, much better things than this.
The book is really 3 4 stories in one; it is back from a time when a comic took more than 5 minutes to read. It will take you sometime to get through this, and in this case that’s a good thing.
Comic Books portray our fears, our desires and ethos.
The Comic Book is one of America’s unsung contribution to culture.
Len Shaffer honored by NAPIM with the Printing Ink Pioneer Award.: An article from: Ink World
Of that total, 77 per cent were “genuine” cartridges, about 13 per cent were compatibles discount inkjet cartridges and the remainder were counterfeits or so-called “parallel imports”. About inkjet online inkjet online has no affiliation with discount inkjet cartridges any store or brand and are not a franchise. privacy statement designed by web to discount inkjet cartridges market corp. So if you want to make huge savings on your epson printer ink cartridges then click discount inkjet cartridges onto one of the links below.
Think of it just like leaving the lid off a paint tin, eventually the ink will thicken and cause blocking discount inkjet cartridges to your print-heads. However running the discount inkjet cartridges self test revealed that taping over this contact not only spoofed the cartridge type detection, but also disabled some of the ink nozzles: at first i thought perhaps the cartridge had blocked nozzles, as it was old and not too clean. The printer was then discount inkjet cartridges left overnight so ink could flow to the print head.
Certain ribbon printing devices also use discount inkjet cartridges thermal fax ribbon. Of course, we do also stock many different oem ink and discount inkjet cartridges toner cartridges for those who simply prefer using the manufacturers original product.Of course, we do also stock many different oem ink and discount inkjet Len Shaffer honored by NAPIM with the Printing Ink Pioneer Award.: An article from: Ink World cartridges toner cartridges for those who simply prefer using the manufacturers original product.
San Diego Ca Real Estate listings
Popularity: 12% [?]
Save your money, unless you feel that $20 for a Superman (horror comic books) flat paint scheme is okay.
Save your money, unless you feel that $20 for a Superman flat paint scheme is okay.
If you have ever daydreamed about what it would be like to become your favorite super hero, you’ll identify with Clark. You’ll also recognize all of the issues that a person with Superman’s powers would have to deal with: should he “go public”, does
Comic Books portray our fears, our desires and ethos.
How To BBQ Championship Ribs By The Champs
For more Stories, Food News, and Cooking Fresh videos, visit: cookingupastory.com July 4th is coming up, no better time for barbecuing your favorite foods. If you want to take your quing to the next level, check out this short clip from some guys that truly know barbecue. If it wets your appetite for more, check out our potter-productions.com site for the full 72 minute DVD containing all 3 world champion bbquers, the National BBQ News called "second to none…" And, you can get a copy of the recipe booklet FREE from ‘BBQ Secrets The Master Guide to Extraordinary Barbecue Cooking’ at the website too: www.potter-productions.com Happy 4th! Happy Summer!
Barbecue Ribs On The BBQ Grill Recipe
barbecueweb.com Looking for an easy to make, guaranteed delicious BBQ Ribs recipe? In this Barbecue Web vid, you’ll learn the "tips and tricks" on how to BBQ tender and juicy pork ribs on your charcoal grill in as little as 3-4 hours. All you need for this simple and easy recipe is a slab of pork ribs (spare ribs or baby back ribs), some dry rub, and your favorite BBQ sauce for basting or dipping. And of course, watch this short video and fire up the grill….. Need more than just spare ribs at your next BBQ? See more of our Google Video and youtube barbecue recipes at barbecueweb.com. Also, be sure to visit steaktv.com and seafoodtv.com for the latest recipe videos by our grilling experts.
Today’s Menu: BBQ’d Steak, Roasted Potato Wedges, Crimini Mushrooms. bbqtalk.ca shows you how easy it is to BBQ. Visit Canada’s Largest, Most Active BBQ Forum…bbqtalk.ca
Popularity: 16% [?]
I tried to tolerate it personally as a comic book fan back then in spite of all the changes, and try to accept them as a very clever and valid means to revise the characters thus in particular to the SUPES conundrum, Lois Lane’s not as doty dumbness an (comic book dealer)
I tried to tolerate it personally as a comic book fan back then in spite of all the changes, and try to accept them as a very clever and valid means to revise the characters thus in particular to the SUPES conundrum, Lois Lane’s not as doty dumbness an
Comic Books portray our fears, our desires and ethos.
If I Were In NYC, I
‘
d Go To This
If I Were In The UK, I
‘
d Go To This
The Comics Reporter Video Parade
Ojingogo de Matthew ForsytheUploaded by lezardnoir. - Independent web videos.
via
via
via
via
via
via, and for more
via
Richard Joseph Giordano, 1932-2010
By Tom Spurgeon
Dick Giordano, a longtime pencil artist and inker as well as a key comics industry figure at Charlton and DC Comics, passed away on Saturday, March 27. He had reportedly been battling leukemia, a fight which was recently noted as having made a potential turn for the worse. Giordano was 77 years old.
Giordano was born in Manhattan and like many of his eventual cartooning peers made use of New York’s focused high school system to receive the bulk of his early artistic training. He majored in illustration and advertising art at the High School Of Industrial Art. Once out of school, Giordano went immediately to work at the S.M. Iger Studio, where he was put to work inking backgrounds on titles such as Fiction House’s Sheena. This sobering introduction to the field of commercial comics would be his home for the next nine months.
By 1952, Giordano was working freelance and publishing a variety of work through Charlton. Thus began one of two great professional relationships of his long career. Giordano was one of several artists hired when Charlton brought their nascent comics production capabilities in-house in 1951, under Al Fago as editor. Giordano’s peer group with the company, which was already building a reputation as a publisher willing to follow youth buying trends into every corner of the comics market, included Sam Glanzman, Sal Trapani, Joe Gill, and Rocke Mastroserio. Giordano would later marry Trapani’s sister, Marie.
Giordano seized the Charlton opportunity with both hands, performing a number of jobs across various genres and of every kind, big and small, that were assembled into comics at the time. Among the titles he worked on in the early 1950s were Lawbreakers, Racket Squad In Action, The Thing, Space Adventures, Hot Rods and Racing Cars and True Life Secrets. One can see two elements of distinction in Giordano’s initial burst of work with Charlton. Unlike some of his peers who were either paired with an inker or pencil artist or even hired one of their own to increase productivity, many of Giordano’s early credits had the artist performing both tasks. Giordano also began to do a number of covers, perhaps far ahead of what most artists with his productivity level on inside features might have done. Giordano’s early covers frequently focused on a figure, either in action or repose, with backgrounds or scene-setting details falling away. Giordano would develop into one of mainstream comics’ more passionate proponents of comics art as a storytelling form rather than an illustrative opportunity, even in still moments like the ones covers generally provided.
Giordano’s career at Charlton tends to be marked by a slow rise through the ranks to become managing editor. While true, that progression, like that of American comics, was more fractured than first appears. Giordano began as a freelancer, but in 1955 went on staff at Charlton to keep his assignments. The comics industry of the late 1950s continued to be savaged by distribution trouble and general decline in a readership spending more time staring at television that reached into the relatively and insular Charlton. Although his work there continued unabated, as the ’50s turned over, Giordano also picked up romance work from Marvel, a few gigs for the Treasure Chest title, a variety of jobs from Dell and even a comic or two for British publisher Alan Class. Giordano seems to have negotiated this dark period better than most, purchasing his first home with Marie in 1959.
Charlton laid down the foundations for a brief run of superhero comics that proved popular with hardcore fans in the very early 1960s, with brief runs on a Captain Atom and Blue Beetle character — neither of which included Giordano, but as a creator making editorial in-roads he was certainly increasingly familiar with the company’s line-wide strategies. With Marvel’s success attracting press by the mid-1960s, and after the now-dissatisfied Marvel cornerstone and longtime Charlton artist Steve Ditko returning more fully to that company’s fold in 1966, Giordano was able to spearhead the Charlton Action Hero Line that included Captain Atom, a re-jiggered Blue Beetle, The Peacemaker, Peter Cannon… Thunderbolt, The Question and the character Judomaster.
Not only did that bunch of titles make an impression on fans — perhaps creatively so ahead of their bottom-line sales success — and not only would Giordano’s involvement presage a use of similar characters a couple of decades later with Watchmen, the move drove notice to Giordano from mainstream comics giant DC Comics. The hiring of Giordano into DC’s editorial was one of several moves by newly named Editorial Director Carmine Infantino in 1967. Giordano fit both of Infantino’s apparent qualifications for such a position: he was a working artist with an artist’s appreciation for comics storytelling and effective cover image-making, and he had direct experience editing, particularly working with new talent.
Giordano is credited with involvement in two of DC’s most highly regarded series of the period: Bat Lash, an easy-going western in the vein of Warner’s immensely popular Maverick television series and offering readers a vaguely insouciant counter-culture feel, and a run of “Deadman” stories in Strange Adventures, one of comics’ best attempts ever to use the superhero’s uncanny ability to hold multiple genres to its chest by attaching horror elements to an otherwise standard costume and origin template. Burgeoning comics superstar Neal Adams drew the Deadman comics; Adams would prove to be a crucial creative and business partner to Giordano over the next decade and beyond. Comics like Bat Lash and the Deadman run were crucial to DC in that they allowed the company to partially staunch the bleeding in terms of cultural cool that was the result of Marvel’s 1960s success, and pointed towards a creative direction for the company to pursue in order to stay relevant with a certain taste-making, hardcore readership in what seemed at the time like a potentially dying industry.
Giordano left DC in the very early ’70s to work with Neal Adams at Continuity, where they packaged a variety of comics for a number of purposes, including special projects with both of Giordano’s previous biggest clients: DC and Charlton. In 1977 he would start his own company, “Dik-Art,” to serve the same kind of clients only with greater autonomy and control. Although this kind of break with traditional publisher/creator relationships was rare enough in comics history that as a business move each stands out on Giordano’s long resume, there were two outcomes in terms of art during that period that may have had a greater effect on the cartoonist’s overall legacy.
The first was that Giordano became the best of Adams collaborators in terms of inking his work. Giordano’s fealty to figure drawing and ability to dissipate just that tiniest bit of over-the-top energy that Adams brought to some of this freelance work made that partnership work much better in terms of comics and storytelling of both the single-image and narrative flow kind than either Hall of Famer would enjoy teamed with other artists. He worked with Adams on memorable runs of Batman and Green Lantern/Green Arrow, and also worked with him on 1978’s iconic Superman Vs. Muhammad Ali, a comic with a deserved pop-culture pedigree that’s grown in stature for the relative high quality of the comics art and storytelling contained therein. Giordano also inked Ross Andru on Superman Vs. The Amazing Spider-Man, a popular 1976 novelty book that showed just how much the two companies house styles had grown close together.
The second was that almost as soon as Giordano walked in the front door of the New York City comics publisher he began working on covers for DC, starting with romance titles but soon branching out into their more popular titles, particularly those starring Batman. Giordano proved to be a pro’s pro in that arena, adapting to various trends and visual signatures with startling alacrity. Story was front and center. A typical Giordano cover might feature a staged scene reminiscent if not exactly loyal to a scene in the comic, but the general handsomeness of the cartoonist’s art at this stage in his career afforded whatever was drawn with a simple authority that was appropriate to DC’s longtime standing within the industry. He would stay one of the iconic cover artists of that late Silver Age period, doing his part to define DC’s overall look until the 1980s and fractured influences across multiple genres began to take hold.
In 1980, DC Publisher Jenette Kahn brought Giordano back into DC’s fold. He rapidly ascended from a position editing the various Batman books to managing editor (1981) to Vice President/Executive Editor (1983), the position he held until his departure. When Giordano was brought on, DC had yet to find its footing in a comics marketplace focused less on traditional strengths like brand strength and newsstand sales and more on devoted fans spread out across generations and a Direct Market that allowed publishers to reach those fans with much less risk than had been the case decades earlier. Giordano focused on the comics DC was publishing, initiating what he later called — casually — a five-year plan (noting that he may have been a year or two behind), bringing on new talent, matching them to projects best designed to flatter the various, important DC properties. Like many creators in the 1980s, Giordano’s pay was based on bottom-line sales. Unlike most creators, his bonuses included revenue from licensing. He settled into a precarious balancing act: revitalizing the DC icons while protecting each one’s traditional function within the publishing line.
Giordano worked within the strictures of a leadership team comprised of himself, Kahn and Paul Levitz (Joe Orlando was sometimes included by Giordano as a highly-important fourth cog.) Giordano described the 1980s DC triumvirate in a 1988 interview with Gary Groth:Actually, the three of us work pretty well together as a team. I’m kind of pleased with it. Paul’s title is executive vice-president and essentially he’s in charge of, if you want to get down to the simple facts, marketing, to some degree, and the money end of it. He’s the one who tells me when I’ve over-spent my budget, or when I’ve spent my money foolishly. But he has no input direct into the contents of the magazines. He’s the on that will let me know if we’ve done something that is legally wrong. Jenette, as publisher, is responsible essentially for making the decisions on what material we publish and for guiding me in what kind of material we want to publish for a given year. My basic responsibility is long-range planning in terms of what properties we’re going to put on. I decided most of the properties that are going to be published simply by reading a humongous amount of proposals, by looking at work from artist and so on and so forth.”Giordano’s description of the editorial team with whom he worked was about 20 people total, seven or eight that reported directly to him, and that in the end he felt responsible for everything between the covers of every DC comic of that period.
Among successes with which he’s at least partially if not primarily credited is the reorganization/re-launch of popular characters through event series and special publishing events, the company’s major, line-wide Crisis On Infinite Earths crossover that married the development of these properties to an actual storyline, and the grouping of a small bunch of successful horror-tinged titles into a full-blown imprint called Vertigo. Even some of his initiatives that didn’t quite come to successful fruition, like a proposed children’s line and a graphic novel series, involved measure the company would eventually pursue. Many of the younger artists that Giordano had shepherded through jobs at Charlton, DC (the first time around) and Continuity were among the industry’s leading talents. He edited DC’s groundbreaking The Dark Knight series with Denny O’Neil, but perhaps just as importantly had his hand in a variety of creative efforts that kept the sometimes-staid company creatively vital during that period, for instance green-lighting Bob Fleming and Trevor Von Eeden’s bizarre and still slightly ahead of its time series Thriller, or working with Neal Pozner on the first of many modern attempts to resuscitate Aquaman, or green-lighting two Nathaniel Dusk series featuring art from an absolutely in-his-prime Gene Colan. Giordano continued to be a mentor and touchstone to emerging artists, especially inkers who looked up to that aspect of his career. He continued to contribute artistically, for instance working on John Byrne’s revamp of Superman (The Man Of Steel) and the Crisis interiors.
Giordano was essential throughout the development of the DC’s hugely success and highly-regarded Watchmen book, being present during the initial recruitment of writer Alan Moore into the American company’s fold during an early talent-searching trip to the UK, through the acquisition by DC of the Charlton superhero characters as his former publisher began to crash and burn, to suggesting to Moore that he use original characters on the book to greater creative effect.
Giordano’s public profile with comics fans grew in the 1980s through a monthly column called “Meanwhile…” that promoted company news through its publications. Unlike such efforts in EC and most famously Marvel Comics, there was very little tomfoolery inherent in Giordano’s pieces, almost nothing or an arch nudge-nudge, wink-wink tone. They were written in a relatively sober, absolutely friendly voice, like a friend of your father’s you particularly liked and didn’t mind sitting down to listen to. As a pipeline into at least some aspects of working in what still felt like a closed industry miles and miles away from most fans, the “Meanwhile…” columns may have led many in the rising creative class to feel they had the same kind of tutorial relationship as some of the artists with whom Giordano more directly worked.
The 1980s were a hotbed of creators’ rights discussions and decisions made on both sides of the divide between creator and publisher. Part of Giordano’s legacy as an industry figures is his central role in DC’s labeling controversy during this period. He provided his own, eloquent disquisition into his decision-making on the matter and the beliefs fueling them in an interview with Gary Groth in The Comics Journal #119 (January 1988). Denying the persistent accusation that DC had looked into labeling their books due to outside pressure from sources critical of some content like prominent Direct Market retailer Buddy Saunders, Giordano unpacked a view where in-company labeling would act as a replacement tool for an increasingly creaky and arbitrarily applied Comics Code. He also, perhaps to greater controversy, suggested that while DC’s decisions might cost them relationships with creators such as Frank Miller and Alan Moore, and that he and others would miss them personally and as revenue-generators, the company would manage to move forward with or without them. “I’m not happy with the situation,” he told Groth, “but if you’re asking does it hurt from a standpoint of publishing comics in terms of sales, not as much as you might think.”
Giordano left his position at DC at the midpoint of 1993, closely linked to the passing of his wife Marie due to complications from cancer and partly due to an increasing hearing loss that would come to have a greater and greater effect with just how the comics veteran managed to negotiate his way through the industry. His position was retired with him, and his duties were spread out amongst a surging in numbers editorial staff. Giordano remained a consultant with the company, working on areas of general expertise such new talent development. He remained an active artist, for example providing art to DC’s 1994 Modesty Blaise prose adaptation, and standing in for short inking stints on various DC series up until a few short years ago, even as more and more of DC’s archival work was bringing back to the stands various projects from the middle and early days of Giordano’s long career. In 2002, Giordano was part of the abortive Future Comics effort, working with his friend Bob Layton. In more recent years, Giordano served on the board of the charity The Hero Initiative. A positively bubbly semi-autobiography written with Michael Eury called Changing Comics, One Day at a Time was released in 2003 from Twomorrows.
Giordano was one of several working professionals of his generation that made time to teach comics, working at a variety of institutions including Parsons, The Joe Kubert School, the Comic Art Workshop and Syracuse University.
Giordano received several awards for his work. They include the Alley Award for Best Editor in 1969 and the Shazam Award for Best Inker in 1970, 1971, 1973 and 1974. He received an Inkpot from Comic-Con International in 1981. He was named to the Eagle Awards’ Roll of Honour in 1986 and shared a Harvey Award in 1997 for his role in editing the original series of what was that year’s Best Domestic Reprint Project. He is on this year’s Eisner Award Hall Of Fame nominees list.
Popularity: 12% [?]
(Comic book shop locator) All in all, a fun read for light or heavy comic book fans.
All in all, a fun read for light or heavy comic book fans.
The Comic Book is one of America’s unsung contribution to culture.
Comic Books portray our fears, our desires and ethos.
Popularity: 15% [?]
The art (best comic books) may take some comic fans a while to get used to. Everyone looks huge and bulky. But the action is intense throughout.
The art may take some comic fans a while to get used to. Everyone looks huge and bulky. But the action is intense throughout.
The Comic Book is one of America’s unsung contribution to culture.
Comic Books portray our fears, our desires and ethos.
Totally Rad Show - TRS does BBQ
Alex, Dan, Jeff, and special guest Garnett Lee have some burly man fun. Free Totally Rad Show Weekly Video Podcast on itunes: bit.ly Revision3 Facebook Fan Page: bit.ly For more visit: revision3.com
Burger recipes for the BBQ grill - Gas grilled hamburgers
www.howdini.com Burger recipes for the BBQ grill - Charcoal grilled hamburgers Burgers fresh off the grill are heaven on a bun. Elias Iglesias, executive chef, Morton’s The Steakhouse shares his gourmet burger recipe and demonstrates grilling burgers on a gas grill. Keywords: burger recipes gas grilling burgers grilled hamburgers grilled burgers
The Great Aussie BBQ For the first time in youtube history, onepotchefshow and Nicko’s Kitchen bring you the first cooking collab video. Recipes: Beetroot Rissoles - 1kg Beef / Hamburger mince 4 baby beets (beetroot) diced salt pepper BBQ Skewers 2 thick Beef portions (eye fillet) 10 cherry tomatoes 1 large red onion 1 green bell pepper (capsicum) Summer Salad 1 Iceberg Lettuce 10 cherry tomatoes 1 mango (peeled & diced) 1 chicken breast (skin off & diced) 1 Avocado (peeled & sliced) Olive Oil for dressing Chocolate Mousse: 200g Dark Chocolate 30g Butter 1 tsp water 300ml thickened cream 2 tsp vanilla extract 1/4 tsp mixed spice Check out the onepotchefshow! www.youtube.com
Popularity: 17% [?]
And some (we buy comic book) readers are bothered by Loeb’s shifting between Batman’s and Superman’s perspectives throughout a given scene or page with the use of captions.
And some readers are bothered by Loeb’s shifting between Batman’s and Superman’s perspectives throughout a given scene or page with the use of captions.
This is a very deep story that cuts to the core of Superman in a way that canonized stories cannot. Essentially Superman becomes a metaphor for an all intrusive government. Benjamin Franklin once said, “Those who would give up essential liberty to purcha
Comic Books portray our fears, our desires and ethos.
The Comic Book is one of America’s unsung contribution to culture.
Happy 39th Birthday, Jay Stephens!
Quick hits
Craft
Cowboy Batman
Elijah Brubaker Sketches
Brian Fies’ Giant Melon Head
Exhibits/Events
Go See A Bunch Of Toronto Artists May 5
History
The John Stanley Notebook
Double Points For The Rozakis Joke
Interviews/Profiles
Periscope: Ben Bates
Robot 6: Dave Johnson
Mike Lynch Cartoons: Trade Loeffler
The Greenwich Citizen: Jerry Dumas
The Daily Cross Hatch: Ryan Alexander Tanner
Not Comics
This Is Cute
R. Crumb Wallets
Mickey At The Microphone
Publishing
Uncanny X-Men #523 Previewed
Reviews
Michael May: Booth
Chris Sims: Various
Marc Sobel: Various
Frank Santoro: Garage Band
Sarah Boslaugh: The Reformed
Kim Thompson: Detectives, Inc.
Jesse Gernigin: The Crazies #1-4
Johanna Draper Carlson: Various
Johanna Draper Carlson: The Spirit Archives Vol. 26
Johanna Draper Carlson: Zombie Tales: Good Eatin’
Grant Goggans: Judge Dredd: The Complete Case Files Vol. 14
Popularity: 14% [?]
(Comic book store) In “Superman: Secret Identity,” writer Kurt Busiek and artist Stuart Immonen provide yet another variation on the theme. Busiek took his inspiration from “DC Comics Presents” #87, written by Elliot S. Maggin and pencilled by Curt Swan, which was rele
In “Superman: Secret Identity,” writer Kurt Busiek and artist Stuart Immonen provide yet another variation on the theme. Busiek took his inspiration from “DC Comics Presents” #87, written by Elliot S. Maggin and pencilled by Curt Swan, which was rele
This is a very deep story that cuts to the core of Superman in a way that canonized stories cannot. Essentially Superman becomes a metaphor for an all intrusive government. Benjamin Franklin once said, “Those who would give up essential liberty to purcha
Comic Books portray our fears, our desires and ethos.
The Comic Book is one of America’s unsung contribution to culture.
Totally Rad Show - TRS does BBQ
Alex, Dan, Jeff, and special guest Garnett Lee have some burly man fun. Free Totally Rad Show Weekly Video Podcast on itunes: bit.ly Revision3 Facebook Fan Page: bit.ly For more visit: revision3.com
The Great Aussie BBQ For the first time in youtube history, onepotchefshow and Nicko’s Kitchen bring you the first cooking collab video. Recipes: Beetroot Rissoles - 1kg Beef / Hamburger mince 4 baby beets (beetroot) diced salt pepper BBQ Skewers 2 thick Beef portions (eye fillet) 10 cherry tomatoes 1 large red onion 1 green bell pepper (capsicum) Summer Salad 1 Iceberg Lettuce 10 cherry tomatoes 1 mango (peeled & diced) 1 chicken breast (skin off & diced) 1 Avocado (peeled & sliced) Olive Oil for dressing Chocolate Mousse: 200g Dark Chocolate 30g Butter 1 tsp water 300ml thickened cream 2 tsp vanilla extract 1/4 tsp mixed spice Check out the onepotchefshow! www.youtube.com
Thank you for watching Korean Cuisine with Anna Kim! Today we are making Korean BBQ Kalbi. This is one of Korea’s most famous grilled dished. I have listed the ingredients below. Please watch my other video on how to make Korean Bean Sprout side dish! Ingredients: - 4 Pieces of Beef Short Rib (You can get this at your Grocery store or Sams Club) -1/4 Cup of Soy Sauce -1/4 Cup of Brown Sugar -2 Cloves of Garlic -2 tbsp of Yoshida Marinade -1/4 cup or 2 stems of Green Onions -1 tsp of Sesame Oil -1/4 cup of Wine -4 Slices of Ginger About 1/4 Inch Thick -Clean the meat. -Blend all ingredients for marinade together. -Pour over meat and marinade for 30 minutes or overnight. -Grill for 2-3 minutes on each side. -Serve with rice and side dishes. Thank you for watching Korean Cuisine! Subscribe and check back for more videos!
Popularity: 15% [?]
I would like to make a note about the previous review which said that there should be more characters (online pricelist comic books) in this collection, other than Jimmy Olsen. There WILL be a lot more Lois Lane in the next one because what DC is doing in the Superman Family Showcase
I would like to make a note about the previous review which said that there should be more characters in this collection, other than Jimmy Olsen. There WILL be a lot more Lois Lane in the next one because what DC is doing in the Superman Family Showcase
If you were to ask many long time comic book fans what they know of Supergirl’s history you might be surprised to hear them ask which Supergirl you were talking about. Just thinking about all the twists and turns this character has gone through is enough
Comic Books portray our fears, our desires and ethos.
Popularity: 14% [?]
This was a shame. I think supergirl is a cool character and can be done well, but this just makes clear that DC has no idea what to do with her. There is no characterization, no back up characters and the story can only loosely be called a “story.” The (most comic book store)
This was a shame. I think supergirl is a cool character and can be done well, but this just makes clear that DC has no idea what to do with her. There is no characterization, no back up characters and the story can only loosely be called a “story.” The
I think the worst injustice Byrne commited to this revamping of Superman was the poor characterisation. Awfully done. It’s a shame too, with a rich, strong supporting cast like Superman’s it shouldn’t have been that hard to pull off. But instead the ch
The Comic Book is one of America’s unsung contribution to culture.
Comic Books portray our fears, our desires and ethos.
Popularity: 14% [?]
This story proves that Superman has a great deal of humanity, more than most other superheroes out there. It’s always a good thing to see heroes fail, because it’s their reaction that defines who they really are. (adult comic book anime)
This story proves that Superman has a great deal of humanity, more than most other superheroes out there. It’s always a good thing to see heroes fail, because it’s their reaction that defines who they really are.
It is said that people generally prefer familliarity over change, but this is not the very case for this revision of a classic hero created way back in the 1930’s which pioneered the comic book superhero genre, but rather this only show that there is ind
The Comic Book is one of America’s unsung contribution to culture.
Andrea Pazienza, traces Naples and beyond
By Michele De Capitani
Andrea Pazienza, who was born in San Benedetto del Tronto in 1956, was an early-talented guy, and while he was still attending the High School he realised his first comic-strip and paintings. At the beginning of the 70s his works begins to be displayed in personal and group exhibitions, and Pazienza begins to show to have a very versatile talent: he publishes his first comic-strip, in 1974 (Pentotals extraordinary adventures), but he also founds the reviews Cannibale and Frigidaire, and he works also for other reviews. He also works as a teacher, and it is from this experience that he takes inspiration for his graphic novel Pompeo.
Pazienza is also the cofounder of the Comics and Graphic Arts School Zio Feininger, but his work goes beyond comics. Pazienza, indeed, is also well-known for having realised cinema playbills (for example, the playbill for Fellinis City of Women), music videos, covers of records, advertising campaigns, theatre sceneries and playbills, succeeding in expressing his creativity and his ideas in many different fields.
The exhibition, which will take place from the 14th November to the 13th January, will celebrate the artists eclectic talent offering an overview of his works, and in particular it will be focused on the special relationship that there was between him and Naples, a city where in fact he never lived but which was particularly important for him. The exhibition is intended to gather the traces of this special relationship between the artist and the city, working them out from his drawings and tales. The section Traces of Naples will highlight this aspect of the artists career, and will also include a collection of images representing Tot, the great Italian actor that Pazienza liked to draw in some of his comic streeps.
However, the exhibition is meant to give an exhaustive overview of the artists work, and although it is particularly focused on the comic-strips and quotes which tell us something about his relationship with Naples, it does not leave out other works of this particularly prolific author, displaying more than 200 original plates, as well as sketches and illustrations, which will help visitors to discover all the stages of Pazienzas career, from the first works of the 70s to the more mature works of the 80s. Visitors will have the possibility to admire the satiric comic-strips that he realised for international reviews (in the section Antology), or to stop to watch the drawings of animals and fairy tales realised by him for one of his friends children. Also the works that he realised with his wife Marina Comandino will be displayed, as well as the plates of his most famous graphic novels.
The work, but also the personality of the author, will be even more investigated displaying personal objects, audiovisual aids and pictures, and also thanks to a great number of events like screenings, meetings with artists and books presentations.
Pazienzas works exhibition in Naples makes the city even more attractive for all those who love all forms of art expression. Book a cheap hotel in Naples and immerse yourselves in art.
Tickets: 6 euro
Date: 16th November 2008 13th January 2009
Location: Castel SantElmo, Naples, Italy
This article was written by Michele De Capitani with support from budget hotel Naples for any information, please visit romantic hotels in Naples or for travel insurance visit cheap accommodation Naples.
What Are Ways To Read Comic Books?
By MIKE SELVON
Once upon a time, youngsters hopped into bed, pulled out their flashlights and settled in to read comic books, soaking up their favorite superhero’s adventures. Today, iPhones, laptops and DVDs have become the new mediums for graphic novels.
Comic books DC and Marvel have created are being converted into digital formats slowly but surely. While the paper sale of graphic novels in the North American market is still a healthy $705 million (quintupling since 2001), there is still the desire to modernize and change with the times, just as the characters in the comic books have. Some call it “evolution,” while others just call it “business.” Either way, given the enduring success of the hero narrative, comic book series aren’t likely to go anywhere anytime soon.
Many fans just want to read comics for free. After all, that’s what the internet and peer-to-peer is all about, right? There are a few databases offering graphic novels for free. Manga comics, like Naruto, Bleach, Love Junkies, Pokemon and Vampire Knight can be found at Mangafox and Mangavolume, for instance. More than three hundred conventional classics from DC, Marvel, Dark Horse, Vertigo, Wild Storm and Oni can be found at Lorencollins.
Fans looking for “Golden Age” comics can find comic book series like “Tales of Horror,” “Out of the Shadows,” “Jumbo Comics,” “Exciting Comics” and “The Perfect Crime” (with characters like Ibis the Invincible and Blue Beetle) at Comicweb. Other comics from that time period, like “Baffling Mysteries,” “Strange Fantasy,” “Underworld,” “Famous Funnies,” “Forbidden Worlds” or “Whiz Comics” can be viewed at Goldenagecomics. Additionally, for fans of DC comic book characters, the first five issues of each major series are being offered as free PDF downloads at Ugo.
Of course, not everyone feels like sitting inside to read comic books in their rooms all day long. Now fans can take their favorite comics graphic novels outside, on the bus, into the lunchroom or on break at work with Nintendo DS portable players, iPods and iPhones. “Comic Book DS” is a neat application that can be downloaded at 4colorrebellion, so that comics can be read on Nintendo DS systems.
For the iPhone or iPod Touch, fans will need the “ComicZeal” program, which can be purchased for $1.99 at Igoapps. To read comics on a laptop, a program like Adobe Acrobat Reader will likely be required.
So where does this take the future of comics? Marvel Comics Publisher Dan Buckley says they want people to read comic books using new formats, but they’re still undertaking research to see where their time and efforts are best spent. “We’re still quibbling about what the primary form of revenue will be,” Buckley said, relaying that some comics can be found online for free.
“We don’t want to do anything to hurt anybody in the short term,” he added, meaning the independent comic book store. In general, the comic book industry agrees that the internet can be a great way for comics to gain a larger audience.
A free gift awaits you at our portal site, where you can enrich your knowledge further about ways to read comic books. Your comment is much appreciated at our how to draw comics blog.
How To Maximize The Value Of Your Comics - Comic Book Values-00-1085
By shojul
Investments mean putting down your money now for greater returns in the future. With this logic in mind, comic book collections then become a long-term investment. Just ask the old-timers who are selling their collections for three or four digits a set.
Converting them to todays standards, the average comic book values for a collection would cost a few hundred dollars. The pay-off after a few decades could reach ten or even a hundred times their original value. This is definitely worth considering, especially if youre an avid comic book fan.
However, how can you get the most for your buck? How can you earn the most that you can from your collection? How do you maximize the value of your comics? Here are a few ways for you to do just that:
Put a balance between niche and mainstream. Selection of titles to preserve for years to come plays a pretty big role in maximizing the value of your comics. Comics that are too popular will have a large following that will be stockpiling their comics, causing comic book values to stay low since many people have copies readily available. On the other hand, comics that are too niche or small-scale wont have many buyers, and youll be hard-pressed to find someone who wants to buy something that no one really wants.
So if you want to get the most return for your money, choose to store comics that are in between the two extremes: popular enough to warrant an audience, but niche enough that not many would hoard these comics.
Preserve the comics. A zip-lock bag may seem like its good enough to store your comics in the long run, but it sure as hell isnt. Comic book values depend greatly on the condition of the comic: a slight discoloration or crease on the paper will result in its value being cut by more than half of its original value.
As much as possible, try to find copies that are in air-tight containers and dont open them, even when the end of the world comes knocking on your door. Keep these sealed copies out of direct sunlight and in well-ventilated and controlled environments. Specially designed containers designed to preserve important documents are the best option in order to keep your copies in mint-perfect condition.
Monitor the prices. In a way, comic book values function a lot like the stock market: they go up and down with the passage of time. To get the best deal for your collections, you will need to sell your comics at the peak of their demand, before people start to forget about the existence your collection altogether and lose interest in it.
Buying comic book price guides and checking up on the prices on the Internet will allow you to track the prices of your comics. Try to read the trends and if youve got a background in stock analysis, sell when the value is at its best. If youre not an expert in stocks, set realistic comic book values for your collection and wait until the market price hits the mark. Dont make these values too high, though, or you may find yourself waiting for nothing.
J. Shoemaker has built several successful websites with one created just for the gamer in you!
Fun and Games When Your Bored! or visit http://www.boredrightnow.com Come play games, read trivia, chat with others. Read fresh and new facts, quotes, useless & useful information. New material added daily.
I recommend visiting this site for info regarding store comics
Popularity: 16% [?]
The art may take some comic fans a while to get used to. Everyone looks huge and bulky. But the action is intense throughout. (comic book artist representatives)
The art may take some comic fans a while to get used to. Everyone looks huge and bulky. But the action is intense throughout.
The Comic Book is one of America’s unsung contribution to culture.
Comic Books portray our fears, our desires and ethos.
Giant Microbes, Pimple
Need the flu? How about the Black Death? Mononucleosis? Now you can collect a dozen of the most adorable viruses, bacteria, mites, worms and calamities nature ever unleashed. Disturbingly cuddly, Giant microbes are great teaching aids or just friendly plush companions for those trying to get past their Bacillophobia. Each comes with an image of its not-so-cute real-life counterpart and quick facts about the microbe. Measures between 5″ to 7″. Antibiotics not required, thank goodness.
:
Company:Giant Microbes
List Price:
Amazon Price:$5.95
Superman DC Comics Silver Flake - 4 Pc Floor Mats Set
Plasticolor “molded-in” SILVER FLAKE SUPERMAN design floor mats. Heavy-duty Plastisol construction with recessed grid pattern. Universal size fits almost all vehicles. Size is approx. 26″ x 16.5″ for fronts and 14″ x 17″ for rears.
:
Company:Plasticolor
List Price:
Amazon Price:$34.95
Stainless Steel Silver X Claw w/ Stand
Hey bub, I go where I wanna go, and Get outta my way, are all things you’ll be able to say just like Wolverine when your wielding a Silver X-Claw. We don’t recommend you take on a pack of Sentinels with the Silver X-Claws, but do recommend showing them off to your friends. Constructed from stainless steel and sharpened to a razor sharp edge, handle wrapped in black leather for comfort. No knuckle guard has been added for hand protection, so caution is always advised. Sold individually with one plaque each.
Misc.:
Measurements: Each Blade Measures 11 inches long,Constructed From Stainless Steel,Comfortable Leather Wrapped Handle,Includes Wooden Display Plaque,Great Cosplay Costume Addition
Company:China
List Price:$35.00
Amazon Price:$19.90
Batman Beyond - Return of the Joker (The Original Uncut Version)
Some diehard Batfans have been slow to warm to the animated series Batman Beyond even though it was created by the same team responsible for the excellent Batman cartoon of the early ’90s. The Dark Knight should be a brooding avenger in a noir-nightmare Gotham City, the purists argue, not some smart-aleck teen four decades in the future, with jet packs, invisibility shields, and other sci-fi gizmos loaned him by an elderly Bruce Wayne (voiced, excellently as always, by Kevin Conroy, his stony bass given a raspy hint of old age), now confined to hobbling about on a cane and monitoring his protg’s activities from the Batcave. Between its respectful reexamination of the “tortured hero” mythos and its sleek, anime-inspired look, this feature-length movie should go a long way toward quieting their complaints. Of course, it doesn’t hurt that they’ve brought back the most legendary figure in the Rogues Gallery (voiced by Mark Hamill, deliciously deranged), but exactly how and why the Joker has managed to turn up 40 years after his last meeting with Batman still as youthful and diabolical as ever is explained not only logically but terrifyingly as well. The secret behind his arrival is perhaps the saddest, grimmest twist any purported “kids’ show” has dared to attempt. (Parents may well want to preview this tape before screening it for the very young.) Once again, Warner Brothers’ cartoon Batman has outshone all the live-action films, never allowing the thrilling action set pieces or flashes of wry humor to drown out the drama, even tragedy, of the all-too-human superheroes. –Bruce Reid
Director:
Curt Geda
DVD:
Animated,Color,DVD-Video,Full Screen,NTSC
Company:Warner Home Video
(2002-04-23)
ISBN:0790766833
List Price:$9.98
Amazon Price:$3.42
Used Price:$3.99
Popularity: 12% [?]
SUPERMAN: EXILE is a worthwhile read for any kind of Superman fan. Both pre and post Crisis aficionados will find something to like in this story. And hey, it occurs prior to Superman’s exaggerated death, (find comic books) so that’s a plus either way you look at it.
SUPERMAN: EXILE is a worthwhile read for any kind of Superman fan. Both pre and post Crisis aficionados will find something to like in this story. And hey, it occurs prior to Superman’s exaggerated death, so that’s a plus either way you look at it.
The Comic Book is one of America’s unsung contribution to culture.
Comic Books portray our fears, our desires and ethos.
Popularity: 13% [?]
The series starts with news that a meteor is headed to earth, and President Lex Luthor is convinced Superman is responsible read the (book comic marvel movie) books for details , and puts out an enormous bounty for whoever brings in the caped crusader. Batman helps his alien frie
The series starts with news that a meteor is headed to earth, and President Lex Luthor is convinced Superman is responsible read the books for details , and puts out an enormous bounty for whoever brings in the caped crusader. Batman helps his alien frie
He would count as a repaint, but the Batman? NO WAY.
The Comic Book is one of America’s unsung contribution to culture.
Comic Books portray our fears, our desires and ethos.
admin login terms of use site map all rate, payment, and area information real estate classes are estimates and approximations only. Liberty mutual business insurance property and casualty insurance real estate classes coverage for your business. Incorporates the latest version of intellisync real estate classes technology to improve synchronization with the latest handheld devices and resolve conflicts with the adlforms application.
The building will feature concierge, stunning pool, professional gym and sauna as real estate classes well as private central courtyard. In the event that the debt remains unpaid or the breach remains unremedied after a 30 day period, the lender may proceed with sale of the real estate classes property through public auction or tender. Houston, ehhh we have real estate classes another dang problem.
Bank owened real estate classes property in nice neighborhood.
Rights of parties in possession not disclosed of real estate classes record; 3.
2-11-92 broker of sails realty real estate classes dba/realty options (prattville).
This mistake can be the result of an innocent mistake by the property owner who supplies real estate classes the legal description of the property to the mortgage lender.
Even after the price increase, belarus receives the cheapest gas in the real estate classes former soviet union.
Overall, real estate ownership appears to real estate classes be decreasing over time, which may be due to the gaining popularity of lease alternatives. Too often they real estate classes regret their folly.Too often they real estate nj real estate blog classes regret their folly
Popularity: 16% [?]
He’s Clark Kent. That’s what his parents named him. Growing up, the other kids made fun of him. He’s heard every possible joke that can be imagined about having the same name as the comic book character Superman; but he’s never considered them funn (list of the tick comic books)
He’s Clark Kent. That’s what his parents named him. Growing up, the other kids made fun of him. He’s heard every possible joke that can be imagined about having the same name as the comic book character Superman; but he’s never considered them funn
SUPERMAN: EXILE is a worthwhile read for any kind of Superman fan. Both pre and post Crisis aficionados will find something to like in this story. And hey, it occurs prior to Superman’s exaggerated death, so that’s a plus either way you look at it.
Comic Books portray our fears, our desires and ethos.
listings-homes MLS sale-real estate for home
listings-homes MLS sale-real estate for home Real estate for sale and mls listings of new homes, condo, farms,farmland, river front, lake view and lake front condo, new condominiums for sale in the Peru are of Illinois Commission is a winner-takes-all, loser gets nothing situation. …
The Real Estate Lounge Chicago
Chicago Real Estate The Real Estate Lounge Chicago Chicago real estate pro Tom McCarey hosts open at 726 Addison despite cloudburst. Rain or shine, Sunday open house are part of the game in Chicago real estate. Paying too much for your first mortgage loan is …
SeattleHome.com - Enumclaw Real Estate. Washington Homes, Condos, Local Listings and more
SeattleHome.com - Enumclaw Real Estate. Washington Homes, Condos, Local Listings and more Search All Local Listings for homes and condominiums in Enumclaw with Washington State Make sure to look at its suburbs first and try to gather some information about the area and its surroundings. …
Popularity: 17% [?]
The series starts with news that a meteor is headed to earth, and President Lex Luthor is convinced Superman is responsible read the books for details , and puts out an enormous bounty for whoever brings in the caped crusader. Batman helps his alien frie (comic book art gallery)
The series starts with news that a meteor is headed to earth, and President Lex Luthor is convinced Superman is responsible read the books for details , and puts out an enormous bounty for whoever brings in the caped crusader. Batman helps his alien frie
The Comic Book is one of America’s unsung contribution to culture.
Brandell@TexasHomes2PercentRebate.com
Popularity: 16% [?]
(Comic book quotes) Bottom line.as the years pass, I predict this will be a seriously sought after collector’s item. So buy it soon or now .before someone on “Amazon Marketplace”, “Ebay”, or some “other seller” in the next 20 years tries to sell you a used copy of i
Bottom line.as the years pass, I predict this will be a seriously sought after collector’s item. So buy it soon or now .before someone on “Amazon Marketplace”, “Ebay”, or some “other seller” in the next 20 years tries to sell you a used copy of i
Writers have relied on three techniques to limit Superman. First is to have Superman conveniently forget his own powers in particular his near light speed movement. The second limitation is Superman’s own Boy Scout morality and third is the annoyingly ex
The Comic Book is one of America’s unsung contribution to culture.
Popularity: 18% [?]
(How to color comic books) What would you do if you suddenly discovered that you could fly? The answer for this Clark Kent is to spend every spare moment flying. But then he sees someone in danger and saves their life. The good deed does not go unnoticed and Clark has to decide
What would you do if you suddenly discovered that you could fly? The answer for this Clark Kent is to spend every spare moment flying. But then he sees someone in danger and saves their life. The good deed does not go unnoticed and Clark has to decide
I do fondly remember the great quality infested peak of DC Comics back in the seventies as a kid, which somehow did still continued around in the eighties somewhat, giving their own brand of a distinct mark which perhaps are not found in the more commerci
The Comic Book is one of America’s unsung contribution to culture.
Warlord DC - Remco 1982 cardback
cobra.creations posted a photo:
Popularity: 17% [?]
There are many twists and turns that are (examples of comic books) easier to follow when the story is collected in a TPB.
There are many twists and turns that are easier to follow when the story is collected in a TPB.
Comic Books portray our fears, our desires and ethos.
The Comic Book is one of America’s unsung contribution to culture.
el bradipo posted a photo:
Popularity: 18% [?]
I do have one minor complaints though. It is very strongly bound to Superman continuity even if an alternatre version and a lot of non fans might have trouble following the story because many characters basically have cameos. This is due to (several comic book art) the fact t
I do have one minor complaints though. It is very strongly bound to Superman continuity even if an alternatre version and a lot of non fans might have trouble following the story because many characters basically have cameos. This is due to the fact t
The Comic Book is one of America’s unsung contribution to culture.
Comic Books portray our fears, our desires and ethos.
Go, Look: Anapest: The Autobio Comic
CR Week In Review
The top comics-related news stories from February 7 to March 5, 2010:
1. DC switches lawyers in Siegels case.
2. The Politiken apology debate continues.
3. The Denver Post drops 20-22 comic strips from its paper, depending on how you count it.
Winner Of The Week
Ronald Searle!
Loser Of The Week
Nick Simmons!
Quote Of The Week
“On SVA we were taught how to market ourselves, where to place ourselves in the ‘art industry’ and how to network to get recognition. It’s a very pragmatic, US kind of angle on art, totally different from what I’ve been taught before. It’s all about how to succeed and in that message there is a strong underlying tone of potential catastrophe if you fail. That school offered me some great things, especially in the form of professors like Gary Panter, David Sandlin and many others. But art education must not be so expensive. Art is not some extremely useful craft to know and that’s why they must be all about marketing, I guess. If you become successful, then the school is good. But success is not a measurement of quality.” — Dunja Jankovic
*****
today’s cover is from the 1940s-1950s mainstream comics publisher Avon
*****
*****
If I Were In Chicago, I
‘
d Go To This
Popularity: 18% [?]
(Agency comic book artists) Superman can be so much more than the boy scout as this story demonstrates.
Superman can be so much more than the boy scout as this story demonstrates.
“What was the point of Lex Luthor. A human being who dared to challenge a God.”
Comic Books portray our fears, our desires and ethos.
Hawaiian Gardens All You Can Eat Korean BBQ, AYCE Korean BBQ
Hawaiian Gardens, CA Craving all you can eat Korean BBQ in Hawaiian
Gardens? Enjoy super affordable, delicious Korean BBQ all you can
eat (562) 924-9230 Hawaiian Gardens loves our Korean BBQ all you
can eat. AYCE KBBQ in Hawaiian Gardens all you can eat
http://kgardenbbq.com
By aycekbbq
Tags : all, ayce, barbecue, barbeque, bbq, beef, buffet, bulgogi, ca, can, chicken, eat, fish, food, galbee, galbi, gardens, hawaiian, kalbi, korean, meats, pork, restaurant, ribs, seafood, you
BBQGSTV! Episode 4 - Fatboy burgers
Jody and Skiny are back at Moab Offroad doing the Jeep thang and
grilling up soe fatboy burgers.
Tags : BBQ, Burgers, Grill, Jeeps
All You Can Eat Korean BBQ Cerritos - Cerritos Korean BBQ AYCE
Cerritos, CA Korean BBQ restaurant all you can eat Korean barbecue
at best price (562) 924-9230 Cerritos Korean BBQ for all you can
eat Korean BBQ enjoyment. Cerritos diners love Cerritos Korean BBQ
and all you can eat menu Korean bbq http://kgardenbbq.com
By aycekbbq
Tags : all, ayce, barbecue, barbeque, bbq, beef, buffet, bulgogi, ca, can, cerritos, chicken, eat, fish, food, galbi, grill, kalbi, korean, marinated, meat, pork, restaurant, ribs, seafood, you
ACTIVITIES at VANCOUVER PARTY HALL RENTAL VANCOUVER kids birthday PARTY HALL RENTAL bc
Vancouver Private Rental VenueLooking for the top Private Rental
Venue in Vancouver? … Langley Banquet Hall …Burrard St,
Vancouver, BC Vancouver Limousine & Party Bus …
Event Planning in Vancouver, British Columbia (BC) - Event
Venues and …Find event venues in Vancouver, British Columbia (BC)
for your wedding, meeting, or party at Eventective.com. … you
find a Vancouver place with an appropriate party hall …
Facility Rentals Renfrew Community Centre, Recreation,
Vancouver BCFor Children’s Birthday Party and Family Party rentals
… Falaise Community Hall Rental Information . 3434 Falaise
Avenue, Vancouver. Falaise Community Hall is available week nights
for …
Things to Do in Vancouver - special events in vancouver, british
…100th Birthday for Fire Hall No. 6. 100th Birthday Party for …
Beach Party Skate. Regular admission and rental rates apply. … at
BC Place Stadium, downtown Vancouver , BC …
tanyab’s Reviews - Family from The Drive,Vancouver… your
chance to take your city kids … you can bring your gas bbq and
birthday cake and have a party … Heritage Hall. Rated this place:
3102 Main St, Vancouver, BC,ClownsClown Around Party Rental Clown
Art Clown … Vancouver area, BC.
West End Community Centre and Barclay Manor Extraordinary room
…Dreaming of a hassle-free birthday party? … Contact the Rental
Coordinator West End
Tags : &, &, (with, -, …, …BC, 100th, 138, 18thBirthday, 6th, A, ACTIVITIES, Alpen, Anniversary, Aquarium, Arcade;, Ave., BBQ, BC, Baby, Baptismal, Beatty, Birthday, By, Centre, Children’s, Class, Classic, Club, Community, Country, Directory, Event, FAME., Family, Fun, GREATER, Game, GermanDescription, Goes, Graduation, HALL, Hall, Here., Kids, LeisureChildren’s, Links, List, Locker, Ltd, Millennium, OF, Olympics, PARTY, Parks, Parties, Party, Place, Planning:, Playland, Quinsenera, RENTAL, Rentals, Rentals., Richmond, Robson, SPORTS, Science, Services, Showers, Site, Special, St, Stadium, Sunset, Team, Tent, The, Trains, Urban, VANCOUVER, Vancouver, Vancouver., Video, Wedding, Wedding…, Weddings, Weinstube, Welcome, West, World, Your, ZOO, Zoo, a, also, and, are, at, bc, birthday, bookings, calendar, classifieds, cosy, craigslist, decoration, decorationYou, etc.;, event, events, every, for, for:, from, hall, in, intimate, is, kid, kids, kids!, little, may, multipurpose, of, or, our, parties, party, place, rental, rentals, right, room, small, the, to, vancouver, venue, want, you,
Popularity: 13% [?]
Most of the time I dont care for Superman books. With the exception of when he died and returned and Kingdom Come i dont really enjoy Superman. I think he is terrific in the SUPERMAN/BATMAN arcs but superman is almost too perfect. I really enjoyed this (comic book artist gallery)
Most of the time I dont care for Superman books. With the exception of when he died and returned and Kingdom Come i dont really enjoy Superman. I think he is terrific in the SUPERMAN/BATMAN arcs but superman is almost too perfect. I really enjoyed this
Comic Books portray our fears, our desires and ethos.
The Comic Book is one of America’s unsung contribution to culture.
Jakks Pacific Toymax Batman Tv Game
From the dark alleys and grim side streets of Gotham City comes The Batman TV Games. Play as the Dark Knight using all of your gadgets, vehicles and night-crawling abilities in 25 harrowing episodes to save Gotham City. Requires 4 “AA” batteries (not included).
Features:
- Defend Gotham City in 25 different locations spread across 5 episodes
- Defeat The Joker, The Penguin, Bane, Mr. Freeze or Firefly to advance
- Engage in hand-to-hand combat, platform adventure, driving, vehicular combat and detective work
- Come back to unfinished games with a memory save option
- Practice hand-to-hand combat moves including jabs, hooks, kicks, punches and more
- Control many of Batman’s experimental gadgets like flame throwers and bat-gloves
- Acquire special power moves after filling your ‘Hero’ meter
- Enjoy different levels: Crime fighter (Easy), Caped Crusader (Medium) and Dark Knight (Hard)
Toy:
25 episodes: Defend Gotham City in 25 different locations spread across 5 episodes,5 super villains: At the end of each episode, you must defeat The Joker, The Penguin, Bane, Mr. Freeze or Firefly to advance to the next,5 gameplay styles: Hand-to-hand Combat, platform adventure, driving, vehicular combat and Detective work
Company:Jakks
(2006-06-01)
List Price:$19.99
Amazon Price:$17.50
Giant Microbes, Pimple
Need the flu? How about the Black Death? Mononucleosis? Now you can collect a dozen of the most adorable viruses, bacteria, mites, worms and calamities nature ever unleashed. Disturbingly cuddly, Giant microbes are great teaching aids or just friendly plush companions for those trying to get past their Bacillophobia. Each comes with an image of its not-so-cute real-life counterpart and quick facts about the microbe. Measures between 5″ to 7″. Antibiotics not required, thank goodness.
:
Company:Giant Microbes
List Price:
Amazon Price:$5.95
MARVEL HEROS POWER POP
MARVEL HEROS POWER POP
POP, SHOOT & SCORE
PRESS BUTTON POP UP ACTION
SPIDERMAN
STORM
XMEN
WOLVERINE
Misc.:
MARVEL HEROS POWER POP 12/.92oz POPS,5-STAR RATING EARNED FOR:
FAST SHIPPING
PRICING
CUSTOMER SERVICE
PRODUCT FRESHNESS,AVERAGE ORDER TRANSIT DAYS:
PACIFIC 4-5
MOUNTAIN 3-4
CENTRAL 2-3
EASTERN 1-2,SEE SHIPPING POLICY FOR SUMMER ORDERS
IF ORDER DOES NOT SHIP IN 24 HOURS YOU WILL BE CONTACTED,WE SHIP UPS FOR THEIR RELIABILITY, RAPID DELIVERY, AND TRACKING OVER USPS
Company:MARVEL
List Price:$24.00
Amazon Price:$4.00
Popularity: 16% [?]
This was a shame. I think supergirl is (comic book pricing online free) a cool character and can be done well, but this just makes clear that DC has no idea what to do with her. There is no characterization, no back up characters and the story can only loosely be called a “story.” The
This was a shame. I think supergirl is a cool character and can be done well, but this just makes clear that DC has no idea what to do with her. There is no characterization, no back up characters and the story can only loosely be called a “story.” The
Comic Books portray our fears, our desires and ethos.
The Comic Book is one of America’s unsung contribution to culture.
Popularity: 18% [?]
I admit I enjoy this, but it can get tiresome every now and then. (comic book priceguides)
I admit I enjoy this, but it can get tiresome every now and then.
It is an amazing story for a lot of good reasons, outlied by previous reviwers so well, it?s is firmly placed in a real and credible world, the character is very well developed, he is smart, the government have a very interesting role and the art is gorge
Comic Books portray our fears, our desires and ethos.
Barack Obama and Spiderman Comic Books
By neo2012
There is a brand new President and along with that will come a slew of new products meant to celebrate or scorn the new government. Only in America! You can bet that Obama Comic Books will be a hit. Whether they hail the Commander in Chief or question his actions, they are sure to be fun.
Obama comic books are sure to be bi-partisan entertainment that is light-hearted and brings some much needed humor to the worries of the day. There is much hope riding on our new President, and times are tough. Why not enjoy a little humor to go along with it? President Obama and his family are going to be the focus of attention for a long time. This is just beginning. Follow the presidency with some humor with an Obama comic book.
Americans love humor and they love poking a little fun at the Government administration. This is one of the few Countries that it is legal to do so without fear of repercussion. So, enjoy the humor that goes along with it. Follow President Obama and his family via an Obama comic book. The series of comic books is sure to be popular as we step forward into a new era of leadership.
Comic books have been popular since the first one was ever printed and this is no exception. Identify with the President or identify with the nay-Sayers and follow along with an Obama comic book. Comic books allow us to add a little levity to serious situations and events. They bring out possibilities and circumstances that may or may not be and entertain us at the same time.obama-comic-books-2
The world is looking for change starting with President Obamas Inauguration. See how that develops in the comic book world along with the real world. No matter which party you belong to, you will enjoy the Obama comic books. See what situations the President and perhaps his family encounter and how they are handled in comic book land. Obama comic books are meant to entertain and perhaps even enlighten. Having different views of a situation can not only be fun but educational. If you are a comic book fan, you know the idea expressed there. There is the fantasy and the realities of the situation and its in comic book form.
Obama comic books are available so even if you have never particularly gotten into comic books, you may want to pick one up and see whats cooking with the Obamas. This may just lead to a whole new set of comic book enthusiasts! It is sure to be entertaining and you will not want to miss any of the fun and excitement. Start out seeing the Administration in a whole new way- comic book style! Obama comic books are on sale now and waiting for you to join in the fun.
Find Obama and Spiderman Comic Books at http://niche-auctions.com
Obama comic books
Spider Man Comics
&
Evil Villains
By Jeff Austin
It does not matter if we are adults or children we all love seeing action comic stories that pit good guys against bad guys with the winner being clearly addressed. One such comic that has world wide appeal is that of the amazing Spider Man comics. These comics feature Peter Parker and his wise cracking, web slinging alter ego self Spider Man.
Spider Man debuted in Marvel Comics during 1962. As he was only a guest appearance in that particular comic it was not considered that Spider Man would become a huge success in his own rights. This successful occurrence caused Marvel Comics to create a separate comic book series for Spider Man.
The various adventures of Spider Man comics began with Stan Lee and Steve Dikto. These are the people who contributed greatly towards Spider Mans popularity with the many fans. Spider Man has for the most part been shown wearing a blue and red suit. The suit has black web lines crossing over the red sections of his suit.
While this is the main costume of the Spider Man comic hero, there was a time when the storyline changed Spider Mans entire outfit to a black one. This black suited Spider Man Comic series lasted for about four years from 1984 onwards. At the end of that time the various fans of the Spider Man comics would learn of a new character to the world of Spider Man. This character was an alien Symbiote.
The Black Symbiote, Mary Jane Watson, the Green Goblin and the various other villains and heroes who have made their appearance in the Spider Man comics have all help to keep the fans interest by changing the various battles and situations that Spidey as he is also called continuously faces.
In the many different adventures of the Spider Man comics both Spider and Peter Parker are shown as down to earth individuals. This trait allows the various readers to identify to some extent with Spider Man. This is also probably why Spider Man comics are so very popular.
Other than battling evil villains the Spider Man comics also deal with various social issues that are ongoing in our society. The influence these comics have, cant be underestimated as many of the Spider Man comic fans are children.
In all of these Spider Man comics we are shown how theses social issues affect the various people who are in the storyline. As comics like Spider Man continue to grow in popularity you will get to see the various other ideas that Marvel Comics has in store for our web slinging hero the Amazing Spider Man.
For more important information on comic books visit onwebnet.com where you will find comic book information and tips on comic book values, comic book stores, and more
Men Manga Genre Summary
By Alex Scott
Guys are the major audience of comics translated from Japanese and generally known as manga. Despite their omnivorousness, they are targeted by several genres like seinen, shonen, ecchi and hentai. Any of them can contain some comedy, drama, fantasy, mysticism and others.
Shonen manga usually features male protagonists in high-action humorous plots about friendship in teams. Sometimes attractive girls appear - check Dragon Ball Z. Shonen style is typically more reserved than shojo, though some artists are engaged in both. The best shounen are:
* Air Gear by Oh! Great
* Beck Manga by Harold Sakuishi
* Bleach by Tite Kubo
* Captain Tsubasa by Takahashi Yoichi
* Fairy Tail by Mashima Hiro
* Gintama by Hideaki Sorachi
* Hayate the Combat Butler by Kenjirou Hata
* Hunter X Hunter by Togashi Yoshihiro
* Mahou Sensei Negima! by Ken Akamatsu
* O-Parts Hunter by Seishi Kishimoto
* Rosario+Vampire by Ikeda Akihisa
* Rurouni Kenshin by Nobuhiro Watsuki
* School Rumble by Jin Kobayashi
Men (18-30 years old and even 40-year-old businessmen) are served by seinen manga with many art styles (from avant-garde to pornographic) and themes. Seinen means guys and is the male equivalent to josei manga. The best seinen are:
* 3×3 Eyes by Yuuzou Takada
* Addicted To Curry by Funatsu Kazuki
* Berserk by Kentaro Miura
* Black Lagoon by Hiroe Rei
* Chobits by CLAMP
* Genshiken by Kio Shimoku
* Hellsing by Kouta Hirano
* Maison Ikkoku by Rumiko Takahashi
* Oh My Goddess! by Kosuke Fujishima
* Psychic Academy by KATSU Aki
* Yokohama Kaidashi Kikou by Ashinano Hitoshi
Western fans know little of seinen manga for its scarce publishing outside Japan and hardly distinguish it from shonen. Old Japanese men often read convenient shonen magazines in commuter trains.
Ecchi manga is famous for eroticism. Unlike hentai with its explicit sex, ecchi shows erotic scenes with a hint at sexual relations varying in openness depending on the target audience age.
The main art device in ecchi is a fun service (a free bonus). It uses hints at eroticism like showing characters (primarily girls for the male target audience) in ambiguous poses, foreshortening for viewers to see the character’s underwear (pantsu shot), exaggerating breasts and buttocks, various awkward situations for a male character like accidentally appearing at a women bath or checkroom or falling on a girl, etc.
The most well-known ecchi manga are:
* AIKI by Isutoshi
* DNA2 by Masakazu Katsura
* Futaba-kun Change by Hiroshi Aro
* Girl Saurus by Kei Kusunoki
* Ichigo 100% by Mizuki Kawaa
* I’s by Katsura Masakazu
* Love Hina by Ken Akamatsu
* Mx0 by Yasuhiro Kano
* Pastel by Toshihiko Kobayashi
* To-LOVE-Ru Trouble by Saki Hasemi and Kentaro Yabuki
As a whole, apart from a fun service, ecchi aims to give the plotline certain scenes and angles that don’t create the plot but ask for some feedback from the target audience to increase its interest and/or attract potential viewers.
Ecchi and fun service elements are present virtually in all anime and manga targeting juvenile audience of 16-25. For example, a usual fun service for seinen anime are erotic hints (ecchi) or colorful battle scenes.
Hentai manga features erotic and porn scenes. The softest hentai version without explicit sex is ecchi above. Underlying ecchi, a fun service has nothing to do with hentai though.
Hentai (ugliness or pervert in Japanese) pornographic scenes can be of different content and type. The variations include yaoi, yuri, horrors and other. But classifying hentai only by erotic content would be wrong since like any other anime hentai can include comedy, mysticism, fiction, fantasy, romance, etc.
Japanese hentai makers have to censor their opuses like any other porn. However American anime releases have no inguinal region curtains thus enjoying great popularity in Europe.
The most famous hentai are:
* God of black tights by Hiroki Tsukiyoshi
* Dawn of the Silver Dragon by Masayoshi Mukai
* Love Selection by Gunma Kisaragi
* My Lovely Ghost Kana by Yutaka Tanaka
* My Slave by Distance
* Shoujo Material by Hanaharu Naruko
Japanese manga differs greatly from American comics in drawing style and plot. Supermen and zombies are rather rare in manga. It mostly has a complicated but appealing plot and a lot of a fun service doesn’t leave its audience indifferent.
Alex Scott is a big fan of manga. You can find seinen manga online on AnyManga.com - Read Manga Online.
Andrea Pazienza, traces Naples and beyond
By Michele De Capitani
Andrea Pazienza, who was born in San Benedetto del Tronto in 1956, was an early-talented guy, and while he was still attending the High School he realised his first comic-strip and paintings. At the beginning of the 70s his works begins to be displayed in personal and group exhibitions, and Pazienza begins to show to have a very versatile talent: he publishes his first comic-strip, in 1974 (Pentotals extraordinary adventures), but he also founds the reviews Cannibale and Frigidaire, and he works also for other reviews. He also works as a teacher, and it is from this experience that he takes inspiration for his graphic novel Pompeo.
Pazienza is also the cofounder of the Comics and Graphic Arts School Zio Feininger, but his work goes beyond comics. Pazienza, indeed, is also well-known for having realised cinema playbills (for example, the playbill for Fellinis City of Women), music videos, covers of records, advertising campaigns, theatre sceneries and playbills, succeeding in expressing his creativity and his ideas in many different fields.
The exhibition, which will take place from the 14th November to the 13th January, will celebrate the artists eclectic talent offering an overview of his works, and in particular it will be focused on the special relationship that there was between him and Naples, a city where in fact he never lived but which was particularly important for him. The exhibition is intended to gather the traces of this special relationship between the artist and the city, working them out from his drawings and tales. The section Traces of Naples will highlight this aspect of the artists career, and will also include a collection of images representing Tot, the great Italian actor that Pazienza liked to draw in some of his comic streeps.
However, the exhibition is meant to give an exhaustive overview of the artists work, and although it is particularly focused on the comic-strips and quotes which tell us something about his relationship with Naples, it does not leave out other works of this particularly prolific author, displaying more than 200 original plates, as well as sketches and illustrations, which will help visitors to discover all the stages of Pazienzas career, from the first works of the 70s to the more mature works of the 80s. Visitors will have the possibility to admire the satiric comic-strips that he realised for international reviews (in the section Antology), or to stop to watch the drawings of animals and fairy tales realised by him for one of his friends children. Also the works that he realised with his wife Marina Comandino will be displayed, as well as the plates of his most famous graphic novels.
The work, but also the personality of the author, will be even more investigated displaying personal objects, audiovisual aids and pictures, and also thanks to a great number of events like screenings, meetings with artists and books presentations.
Pazienzas works exhibition in Naples makes the city even more attractive for all those who love all forms of art expression. Book a cheap hotel in Naples and immerse yourselves in art.
Tickets: 6 euro
Date: 16th November 2008 13th January 2009
Location: Castel SantElmo, Naples, Italy
This article was written by Michele De Capitani with support from budget hotel Naples for any information, please visit romantic hotels in Naples or for travel insurance visit cheap accommodation Naples.
Popularity: 15% [?]
Jimmy Olsen. I don’t know if it’s just me but I’m tired of the “gosh oh golly, gee willikers, ain’t ever gonna grow up” wide eyed, juvenile Jimmy Olsen in the Superman books. I was hoping Byrne would give the kid some respect and have the common sen (comic book art tutorials)
Jimmy Olsen. I don’t know if it’s just me but I’m tired of the “gosh oh golly, gee willikers, ain’t ever gonna grow up” wide eyed, juvenile Jimmy Olsen in the Superman books. I was hoping Byrne would give the kid some respect and have the common sen
One main concern I have is that readers really need to have a strong background in DC history to fully “get” what is going on with the story.
Comic Books portray our fears, our desires and ethos.
Popularity: 14% [?]
This is still the Superman we know, more or less. A good man with amazing powers trying to make the world a better place, struggling to make sense of his role in the (comic book art wallpapers) larger scheme. It’s very good. Very, very good.
This is still the Superman we know, more or less. A good man with amazing powers trying to make the world a better place, struggling to make sense of his role in the larger scheme. It’s very good. Very, very good.
In “Superman: Secret Identity,” writer Kurt Busiek and artist Stuart Immonen provide yet another variation on the theme. Busiek took his inspiration from “DC Comics Presents” #87, written by Elliot S. Maggin and pencilled by Curt Swan, which was rele
The Comic Book is one of America’s unsung contribution to culture.
Freddy gardening - MOV00196.flv
more gardening - MOV03571.flv
Best Gardening Videos - BestGardeningVideos.flv
Jacob Gardening - 0615082011.flv
Popularity: 14% [?]
(History of comic book) Jurgens was nothing special on Superman, this story and his Thor run are among the most boring of stories. Heck, Death of Superman was in a way the end of comics as we know it, with few issues being left undamaged by the no talent work.
Jurgens was nothing special on Superman, this story and his Thor run are among the most boring of stories. Heck, Death of Superman was in a way the end of comics as we know it, with few issues being left undamaged by the no talent work.
Comic Books portray our fears, our desires and ethos.
The Comic Book is one of America’s unsung contribution to culture.
Popularity: 14% [?]