A light-hearted interactive guide to comics and cartoon-making that uses an activity book format and creatively stimulating prompts to teach the fundamentals of cartooning in a fun and easy-to-follow fashion. From a working cartoonist and comic book making instructor, this all-ages activity book uses humorous and informative one-page comics and exercise prompts to guide young readers (and readers who are young at heart) through easy-to-master lessons on the skills needed to make comics. The activities cover a range of essential comics-making tasks from creating expressions for characters to filling in blank panels to creating original characters and placing them in adventures of their own. Each exercise can stand on its own or work together with others in the book to stimulate creativity via the comics medium. In the end, readers who complete the activities inside the book itself will have created several comics of their own, and will have generated many ideas for more sequential art creations. Praise for Let's Make Comics! "At once playful and complex, this book is a perfect introduction to cartooning, as well as a lovely (and lovingly crafted) tribute to the comics form and a timely reminder that artmaking can be fun."-Roman Muradov, creator of Vanishing Act and On Doing Nothing "Let's Make Comics is a book I wish I had when I was 9, but 29 works too! It's so fun and brilliant and packed with oodles of awesome activities. Great book for learning to make comics or for a seasoned cartoonist to find some new inspiration."-Ben Clanton, creator of the Narwhal and Jelly books "It's fantastic! This book will make you a better writer and a better artist and show you how to think like a comic star."-Charise Harper, creator of the Fashion Kitty and Crafty Cat books "Warning! This book will make you make comics, and it will be fun!"-Greg Pizzoli, creator of The Watermelon Seed, Number One Sam, and The Book Hog "If only we'd had this book! Our comics would be much better."-Elizabeth Pich and Jonathan Kunz, creators of War and Peas

The name Macbeth has been cursed for hundreds of years, synonymous with tyranny and over-vaulting ambition. But what if the true Macbeth was something other than the villain Shakespeare portrayed? Macbeth:The Red King tells an entirely new story of the real-life Scottish monarch, revealing a benevolent ruler who seized on his legitimate claim to the throne. Drawing from historical sources, this engaging graphic novel by Shaun Manning and Anna Wieszczyk is a visually stunning companion to Shakespeare's legendary drama. See Macbeth struggle for his kingdom-and witness his last stand against the insurgent Prince Malcolm.

Operating out of a tiny office on Madison Avenue in the early 1960s, a struggling company called Marvel Comics presented a cast of brightly costumed characters distinguished by smart banter and compellingly human flaws. Spider-Man, the Fantastic Four, Captain America, the Incredible Hulk, the Avengers, Iron Man, Thor, the X-Men, Daredevil - these superheroes quickly won children's hearts and sparked the imaginations of pop artists, public intellectuals, and campus radicals. Over the course of a half century, Marvel's epic universe would become the most elaborate fictional narrative in history and serve as a modern American mythology for millions of readers. Throughout this decades-long journey to becoming a multibillion-dollar enterprise, Marvel's identity has continually shifted, careening between scrappy underdog and corporate behemoth. As the company has weathered Wall Street machinations, Hollywood failures, and the collapse of the comic book market, its characters have been passed along among generations of editors, artists, and writers-also known as the celebrated Marvel Bullpen. Entrusted to carry on tradition, Marvel's contributors-impoverished child prodigies, hallucinating peaceniks, and mercenary careerists among them-struggled with commercial mandates, a fickle audience, and, over matters of credit and control, one another. For the first time, Marvel Comics reveals the outsized personalities behind the scenes, including Martin Goodman, the self-made publisher who forayed into comics after a get-rich-quick tip in 1939; Stan Lee, the energetic editor who would shepherd the company through thick and thin for decades; and Jack Kirby, the World War II veteran who'd co-created Captain America in 1940 and, twenty years later, developed with Lee the bulk of the company's marquee characters in a three-year frenzy of creativity that would be the grounds for future legal battles and endless debates. Drawing on more than one hundred original interviews with Marvel insiders then and now, Marvel Comics is a story of fertile imaginations, lifelong friendships, action-packed fistfights, reformed criminals, unlikely alliances, and third-act betrayals - a narrative of one of the most extraordinary, beloved, and beleaguered pop cultural entities in America's history.

The Many Lives of the Batman (1991) was a pioneer within cultural and comic book scholarship. This fresh new sequel retains the best of the original chapters but also includes images, new chapters and new contributions from the Batman writers and editors. Spanning 75 years and multiple incarnations, this is the definitive history of Batman.

Aspiring cartoonists of all ages can begin drawing a repertoire of characters from the moment they follow the wide-ranging yet simplified lessons that fill these instructive pages, written and illustrated by an all-time best-selling artist/teacher.
This complete course, covering both comic strip and animation techniques, begins with lessons on basic cartoon body shapes and facial features. Included are helpful comparisons between the real versus the cartoon head, a smile chart, and various ways to draw the most popular and expressive cartoon eyes and mouths. Next come lots of typical body poses, how to draw action lines, slow/fast movement, cartoon hands, fun hair and clothing styles, backgrounds, and cute cartoon pets. Excellent directions also focus on helping beginners to find and develop their own cartoon style.

This is the sketchbook every aspiring comic artist will want! If you're dreaming of drawing comics, then you need a good place where you can get your artistic vision down on paper and plan your stories. And this companion to our Manga Storyboard Sketchbook is ideal for every aspiring or practicing comic creator. With a lie-flat binding and quality paper, it contains various styles of comic storyboard layout grids for working out page ideas and plot details--along with instructions on how to use the grids. Pages are perforated for easy tear-out.

The definitive source guide for the entire monster girl genre! Told from the perspective of a wandering scholarof monsters, this tantalising tome includes 100 gorgeous full-colour illustrations of seductively-dangerous monster girls. Replete with fascinating lore, elaborate bios, and intricate descriptions, this book has everything you ever wanted to know about monster girls, and more. From centaurs to succubi, from mermaids to slimes - if it's a monster girl you seek, you will find her within these pages!

Alan Moore's Watchmen is set in 1985 and chronicles the alternative history of the United States where the US edges dangerously closer to nuclear war with the Soviet Union. Within this world exists a group of crime busters, who don elaborate costumes to conceal their identity and fight crime, and an intricate plot to kill and discredit these "superheroes."
Alan Moore's Watchmen popularized the graphic novel format, has been named one of Time magazine's top 100 novels, and is now being made into a highly anticipated movie adaptation. This latest book in the popular Blackwell Philosophy and Pop Culture series peers into Moore's deeply philosophical work to parse and deconstruct the ethical issues raised by Watchmen's costumed adventurers, their actions, and their world. From nuclear destruction to utopia, from governmental authority to human morality and social responsibility, it answers questions fans have had for years about Watchmen's ethical quandaries, themes, and characters.

Two strangers, both reading the same novel, share a fleeting glance between passing subway cars. A bookstore owner locks eyes with a neighbor as she receives an Amazon package. Strangers are united by circumstance as they wait on the subway stairs for a summer storm to pass. Instantly recognizable, Adrian Tomine's illustrations and comics have been appearing for over a decade in the pages (and on the cover) of The New Yorker. New York Drawings is a loving homage to the city that Tomine, a West Coast transplant, has called home for the past seven years. This lavish, beautifully-designed volume collects every cover, comic and illustration that he has produced for The New Yorker to date, along with an assortment of other rare and uncollected illustrations and sketches. Complete with notes and annotations by the author, New York Drawings will also feature an all-new introductory comic (in the style of the final two pages of Optic Nerve #12).

This is a comprehensive A-Z sourcebook of everything you ever wanted to know about the Man of Steel, including entries on Lex Luthor, Lois Lane, Lana Lang, Supergirl, and Doomsday. Plus, complete details of Superman's origins, and biographies of every character in his universe. It is illustrated with hundreds of black and white comic book images throughout, and two 16-page colour inserts.

Funky reminds us of the real challenges of being human Funky Winkerbean, a newspaper staple since 1972, is one of the few comic strips that allows its characters to grow and age. As time passes and characters evolve, new and loyal readers alike are reminded that not only does Funky have a future, but the strip has a rich past. What remains a constant is Batiuk's signature narrative-driven humor. This tenth volume, spanning from 1999 through 2001, embraces the strip's past while casting an eye to a bright future.

As major universities and professional organizations like the Poynter Institute have begun to examine graphic nonfiction from a critical perspective, new courses are emerging that give student writers and artists the tools to tell their own nonfiction stories in comics form. Nonfiction Comics is the first textbook to bring these tools and techniques together in a single volume. Most novices who first attempt the form arrive at it from a background of journalism or art, meaning they arrive with at least one deficit in the required skill set. Journalists, for example, typically have had little training in illustration. Artists and designers may not know how to conduct interviews or to avoid the potential legal pitfalls of telling the personal stories of real people. This book aims to fill in the gaps providing student journalists, artists, designers, creative writers, web producers and others the tools they need to tell stories visually and graphically.

Based on the authors' popular team-taught nonfiction comics course, Nonfiction Comics teaches readers how to create a graphic nonfiction story from start to finish, providing guidance on:

• how to find the story and how to find and utilize appropriate facts and visuals;
• nonfiction narrative techniques
• artist's tools and techniques
• print, digital, and multimedia production
• legal and ethical considerations

Interviews with well-known nonfiction comics creators--showcased in the book and on the book's companion website--will discuss best practice and offer readers inspiration to begin creating their own work.

Rebirth of the English Comic Strip: A Kaleidoscope, 1847-1870 enters deep into an era of comic history that has been entirely neglected. This buried cache of mid-Victorian graphic humor is marvelously rich in pictorial narratives of all kinds. Author David Kunzle calls this period a ""rebirth"" because of the preceding long hiatus in use of the new genre, since the Great Age of Caricature (c.1780-c.1820) when the comic strip was practiced as a sideline. Suddenly in 1847, a new, post-Toepffer comic strip sparks to life in Britain,, mostly in periodicals, and especially in Punch, where all the best artists of the period participated, if only sporadically: Richard Doyle, John Tenniel, John Leech, Charles Keene, and George Du Maurier. Until now, this aspect of the extensive oeuvre of the well-known masters of the new journal cartoon in Punch has been almost completely ignored. Exceptionally, George Cruikshank revived just once, in The Bottle, independently, the whole serious, contrasting Hogarthian picture story. Numerous comic strips and picture stories appeared in periodicals other than Punch by artists who were likewise largely ignored. Like the Punch luminaries, they adopt in semirealistic style sociopolitical subject matter easily accessible to their (lower-)middle-class readership. The topics covered in and out of Punch by these strips and graphic novels range from French enemies King Louis-Philippe and Emperor Napoleon III to farcical treatment of major historical events: the Bayeux tapestry (1848), the Great Exhibition of 1851, and the Franco-Prussian War 1870. Artists explore a great variety of social types, occupations, and situations such as the emigrant, the tourist, fox hunting and Indian big game hunting, dueling, the forlorn lover, the student, the artist, the toothache, the burglar, the paramilitary volunteer, Darwinian animal metamorphoses, and even nightmares. In Rebirth of the English Comic Strip, Kunzle analyzes these much neglected works down to the precocious modernist and absurdist scribbles of Marie Duval, Europe's first female professional cartoonist.

Almost immediately after his first appearance in comic books in June 1938, Superman began to be adapted to other media. The subsequent decades have brought even more adaptations of the Man of Steel, his friends, family, and enemies in film, television, comic strip, radio, novels, video games, and even a musical. The rapid adaptation of the Man of Steel occurred before the character and storyworld were fully developed on the comic book page, allowing the adaptations an unprecedented level of freedom and adaptability. The essays in this collection provide specific insight into the practice of adapting Superman from comic books to other media and cultural contexts through a variety of methods, including social, economic, and political contexts. Authors touch on subjects such as the different international receptions to the characters, the evolution of both Clark Kent's character and Superman's powers, the importance of the radio, how the adaptations interact with issues such as racism and Cold War paranoia, and the role of fan fiction in the franchise. By applying a wide range of critical approaches to adaption and Superman, this collection offers new insights into our popular entertainment and our cultural history.