From 1985 to 1995, Mark Gruenwald was the head writer for Captain America. During this decade, Gruenwald wrote some of the most essential stories in Captain America's history and guided the comic through an eventful period of both world history and comic book history. This book dissects the influence of the world at large on Gruenwald's stories and the subsequent influence of Gruenwald's work on the world of comics. The book's ten chapters discuss a wide range of topics including the generational tensions inherent in a comic about a G.I. Generation hero, written by a baby boomer, for an audience of Gen Xers; the enduring threat of the Red Skull and the never-ending aura of World War II; the rising popularity of vigilante characters during the '90s; and how Captain America fits into the war on drugs and its "just say no" mentality. Set against the declining American patriotism of the 1980s and 1990s, this book places special emphasis on the symbolism of the most American of superheroes.

Neil Gaiman (b. 1960) currently reigns in the literary world as one of the most critically decorated and popular authors of the last fifty years. Perhaps best known as the writer of the Harvey, Eisner, and World Fantasy Award-winning DC/Vertigo series, The Sandman, Gaiman quickly became equally renowned in literary circles for works such as Neverwhere, Coraline, and American Gods, as well as the Newbery and Carnegie Medal-winning The Graveyard Book. For adults, for children, for the comics reader to the viewer of the BBC's Doctor Who, Gaiman's writing has crossed the borders of virtually all media and every language, making him a celebrity on a worldwide scale. The interviews presented here span the length of his career, beginning with his first formal interview by the BBC at the age of seven and ending with a new, unpublished interview held in 2017. They cover topics as wide and varied as a young Gaiman's thoughts on Scientology and managing anger, learning the comics trade from Alan Moore, and being on the clock virtually 24/7. What emerges is a complicated picture of a man who seems fully assembled from the start of his career, but only came to feel comfortable in his own skin and voice far later in life. The man who brought Morpheus from the folds of his imagination into the world shares his dreams and aspirations from different points in his life, including informing readers where he plans to take them next.

This second edition of Writing for Animation, Comics, and Games expounds on the previous edition with more information on how to construct narratives for these three forms of visual storytelling media. Christy Marx's book offers an in-depth look into scriptwriting and how to break into each of the featured industries. The text goes into detail on visual storytelling: how to compose exterior storytelling (animation, games) and interior/exterior storytelling (comics and graphic novels); as well as considerations for non-linear videogames. The advice within these pages can be used to build a transmedia career across animation, comics, graphic novels, and videogames. Key Features An insider's perspective on career rules of the road on writing for comics, videogames, and animation Written for beginners and professionals alike A nuts-and-bolts guide to script formats, terminology, networking, and valuable advice on writing for each medium Author Bio Based in Northern California, Christy Marx is an award-winning writer, story editor, TV series developer, game designer, and narrative designer. Her many credits include Babylon 5; Captain Power and Soldiers of the Future; The Twilight Zone; G.I. Joe; Jem and the Holograms; Spider-Man; He-Man; X-Men Evolution; Teenage Mutant Ninja Turtles; Conan the Adventurer; Birds of Prey; Amethyst; The Sisterhood of Steel; Sierra On-Line adventure games; PC, MMO, and console games; Zynga mobile games; and more. For full credits, visit www.christymarx.com.

Evolve is one of the most anticipated games of 2015, promising a groundbreaking multiplayer and boss-battle experience. The Art of Evolve chronicles each step in the creation of this highly innovative game, from character design to motion capture. This gorgeous coffee-table edition is a comprehensive behind-the-scenes look at 2K's exhilarating new game, with extensive concept and development art and in-depth creator commentary.

This collection of 13 new essays employs ethnographic methods to investigate San Diego's Comic-Con international, the largest annual celebration of the popular arts in North America. Working from a common grounding in fan studies, these individual explorations examine a range of cultural practices at an event drawing crowds of nearly 150,000 each summer. Investigations range from the practices of fans costuming themselves to the talk of corporate marketers. The collection seeks to expand fan studies in general and to explore more deeply into Comic-Con International than any publication before it.

Contributions by Bart Beaty, T. Keith Edmunds, Eike Exner, Christopher J. Galdieri, Ivan Lima Gomes, Charles Hatfield, Franny Howes, John A. Lent, Amy Louise Maynard, Shari Sabeti, Rob Salkowitz, Kalervo A. Sinervo, Jeremy Stoll, Valerie Wieskamp, Adriana Estrada Wilson, and Benjamin Woo The Comics World: Comic Books, Graphic Novels, and Their Publics is the first collection to explicitly examine the production, circulation, and reception of comics from a social-scientific point of view. Designed to promote interdisciplinary dialogue about theory and methods in comics studies, this volume draws on approaches from fields as diverse as sociology, political science, history, folklore, communication studies, and business, among others, to study the social life of comics and graphic novels. Taking the concept of a ""comics world""-that is, the collection of people, roles, and institutions that ""produce"" comics as they are-as its organizing principle, the book asks readers to attend to the contexts that shape how comics move through societies and cultures. Each chapter explores a specific comics world or particular site where comics meet one of their publics, such as artists and creators; adaptors; critics and journalists; convention-goers; scanners; fans; and comics scholars themselves. Through their research, contributors demonstrate some of the ways that people participate in comics worlds and how the relationships created in these spaces can provide different perspectives on comics and comics studies. Moving beyond the page, The Comics World explores the complexity of the lived reality of the comics world: how comics and graphic novels matter to different people at different times, within a social space shared with others.

'Chris Beetles' book is a joy, an inspiration and as thorough a document into understanding the life and times of Louis Wain as one could hope to read' - Benedict Cumberbatch 'Louis Wain invented a cat style, a cat society, a whole cat world'. Broadcast in 1925 by H.G. Wells, these words characteristically foretold the future of the Wain cat which has, once more, become the century's most recognisable image in cat art. During their heyday, in the time before the First World War, Louis Wain's cats, dressed as humans, portrayed that stylish Edwardian world having fun: at restaurants and tea parties, going to the Race and the Seaside, celebrating at Christmas and Birthdays, and disporting themselves with exuberant games of tennis, bowls, cricket and football. This is a titillating world of cats at play, uninhibited and slightly dangerous, with most group activities likely to turn into mishap, mayhem and catastrophe. This is Wain's world, funny, edgy and animated: a whole cat world. The first comprehensive exhibition of Wain's work was held at the Victoria and Albert Museum in London in 1972 and, since then, Louis Wain has steadily become more fashionable, and collected worldwide. This biography contains 300 plates of richness and variety, all of which are reproduced faithfully from the original artwork.

Over the past forty years, American film has entered into a formal interaction with the comic book. Such comic book adaptations as Sin City, 300, and Scott Pilgrim vs. the World have adopted components of their source materials' visual style. The screen has been fractured into panels, the photographic has given way to the graphic, and the steady rhythm of cinematic time has evolved into a far more malleable element. In other words, films have begun to look like comics. Yet, this interplay also occurs in the other direction. In order to retain cultural relevancy, comic books have begun to look like films. Frank Miller's original Sin City comics are indebted to film noir while Stephen King's The Dark Tower series could be a Sergio Leone spaghetti western translated onto paper. Film and comic books continuously lean on one another to reimagine their formal attributes and stylistic possibilities. In Panel to the Screen, Drew Morton examines this dialogue in its intersecting and rapidly changing cultural, technological, and industrial contexts. Early on, many questioned the prospect of a ""low"" art form suited for children translating into ""high"" art material capable of drawing colossal box office takes. Now the naysayers are as quiet as the queued crowds at Comic-Cons are massive. Morton provides a nuanced account of this phenomenon by using formal analysis of the texts in a real-world context of studio budgets, grosses, and audience reception.

From the bestselling author of Quiet Girl in a Noisy World comes a gently humorous and poignant collection of comics about anxiety and depression-because sometimes even the simple things like getting out of bed every day feel like an uphill battle. Everything Is OK is the story of Debbie Tung's struggle with anxiety and her experience with depression. She shares what it's like navigating life, overthinking every possible worst-case scenario, and constantly feeling like all hope is lost. The book explores her journey to understanding the importance of mental health in her day-to-day life and how she learns to embrace the highs and lows when things feel out of control. Debbie opens up about deeply personal issues and the winding road to recovery, discovers the value of self-love, and rebuilds a more mindful relationship with her mental health. In this graphic memoir, Debbie aims to provide positive and comforting messages to anyone who is facing similar difficulties or is just trying to get through a tough time in life. She hopes to encourage readers to be kinder to themselves, to know that they are not alone, and that it's okay to be vulnerable because they are not defined by their mental health struggles. The dark clouds won't be there forever. Everything will turn out all right.

A great deal of scholarship has focused on Joss Whedon's television and film work, which includes Buffy the Vampire Slayer, Firefly, Doctor Horrible's Sing-Along Blog, The Cabin in the Woods and The Avengers. But Whedon's work in the world of comics has largely been ignored. He created his own dystopian heroine, Fray, assembled the goofy fannish heroes of Sugarshock, and wrote arcs for Marvel's Astonishing X-Men and Runaways. Along with The Avengers, Whedon's contributions to the Marvel Cinematic Universe include script doctoring the first X-Men film, writing a ground-shaking Wonder Woman screenplay, and co-creating ABC's Agents of S.H.I.E.L.D. Today, Whedon continues the Buffy and Firefly stories with innovative comics that shatter the rules of storytelling and force his characters to grow through life-altering conflicts. This collection of new essays focuses on Whedon's comics work and its tie-ins with his film and television productions, emphasizing his auteurism in crossing over from panel to screen to panel. Essays focus on the comic inspirations and subversive tropes of the Whedonverse, as well as character changes and new interpretations.

Drawing is not a crime! (TM) The bold and brash ARTtitude is back with another look at some of the most iconic and unusual artists of the moment. Representing countries as far-reaching and distinct as Colombia, Germany, Canada, Italy, France, and the U.S. (to name a few), the 36 international artists featured in this collection reveal the richness and diversity of contemporary graphic arts. The artists again pay tribute to the muses of their creativity, with appreciative nods to their predecessors and track lists of the music that inspires their work. ARTtitude 2 highlights some of the unique and diverse artists working today: Amanda Mocci, Jim Phillips, Conrad Roset, Cricket Press, Robert Proch, Ron Guyatt, T-Bone & Ajax, The Arcade Company, and many more.

Kawaii is a Japanese word meaning 'super-cute', and it's a trend that's sweeping the globe. Anything can be drawn in the kawaii style, from animals, people, vegetables and flowers to food, vehicles and household items. Here, expert comic book and manga artist Yishan Li shows you how to draw amazingly adorable animals in just a few simple steps. Draw the cutest rabbit you've ever seen, a playful panda, koala, fox, sheep and more. There are 28 different drawings to choose from, all full of personality and bubbling over with charm. Each one is developed in 8 easy stages from a rough sketch of the basic shapes through to the finished, coloured drawing, making this book suitable for adults and children of all ages and abilities.

Billy Batson discovers a secret in a forgotten subway tunnel. There the young man meets a wizard who offers a precious gift: a magic word that will transform the newsboy into a hero. When Billy says, ""Shazam!,"" he becomes Captain Marvel, the World's Mightiest Mortal, one of the most popular comic book characters of the 1940s. This book tells the story of that hero and the writers and artists who created his magical adventures. The saga of Captain Marvel is also that of artist C. C. Beck and writer Otto Binder, one of the most innovative and prolific creative teams working during the Golden Age of comics in the United States. While Beck was the technician and meticulous craftsman, Binder contributed the still, human voice at the heart of Billy's adventures. Later in his career, Beck, like his friend and colleague Will Eisner, developed a theory of comic art expressed in numerous articles, essays, and interviews. A decade after Fawcett Publications settled a copyright infringement lawsuit with Superman's publisher, Beck and Binder became legendary, celebrated figures in comic book fandom of the 1960s. What Beck, Binder, and their readers share in common is a fascination with nostalgia, which has shaped the history of comics and comics scholarship in the United States. Billy Batson's America, with its cartoon villains and talking tigers, remains a living archive of childhood memories, so precious but elusive, as strange and mysterious as the boy's first visit to the subway tunnel. Taking cues from Beck's theories of art and from the growing field of memory studies, Captain Marvel and the Art of Nostalgia explains why we read comics and, more significantly, how we remember them and the America that dreamed them up in the first place.

Part of a series of exciting and luxurious Flame Tree Sketch Books Combining high-quality production with magnificent fine art, the covers are printed on foil in five colours, embossed, then foil stamped. The thick paper stock makes them perfect for sketching and drawing. These are perfect for personal use and make a dazzling gift. This example features Bodleian Library: Hobbies and Pastimes Bookshelves.

Contributions by Bart Beaty, T. Keith Edmunds, Eike Exner, Christopher J. Galdieri, Ivan Lima Gomes, Charles Hatfield, Franny Howes, John A. Lent, Amy Louise Maynard, Shari Sabeti, Rob Salkowitz, Kalervo A. Sinervo, Jeremy Stoll, Valerie Wieskamp, Adriana Estrada Wilson, and Benjamin Woo The Comics World: Comic Books, Graphic Novels, and Their Publics is the first collection to explicitly examine the production, circulation, and reception of comics from a social-scientific point of view. Designed to promote interdisciplinary dialogue about theory and methods in comics studies, this volume draws on approaches from fields as diverse as sociology, political science, history, folklore, communication studies, and business, among others, to study the social life of comics and graphic novels. Taking the concept of a ""comics world""-that is, the collection of people, roles, and institutions that ""produce"" comics as they are-as its organizing principle, the book asks readers to attend to the contexts that shape how comics move through societies and cultures. Each chapter explores a specific comics world or particular site where comics meet one of their publics, such as artists and creators; adaptors; critics and journalists; convention-goers; scanners; fans; and comics scholars themselves. Through their research, contributors demonstrate some of the ways that people participate in comics worlds and how the relationships created in these spaces can provide different perspectives on comics and comics studies. Moving beyond the page, The Comics World explores the complexity of the lived reality of the comics world: how comics and graphic novels matter to different people at different times, within a social space shared with others.

The marvelous recovery of neglected black artists and their awesome body of comics creativity. Syndicated cartoonist and illustrator Tim Jackson offers an unprecedented look at the rich yet largely untold story of African American cartoon artists. This book provides a historical record of the men and women who created seventy-plus comic strips, many editorial cartoons, and illustrations for articles. The volume covers the mid-1880s, the early years of the self-proclaimed black press, to 1968, when African American cartoon artists were accepted in the so-called mainstream. When the cartoon world was preparing to celebrate the one hundredth anniversary of the American comic strip, Jackson anticipated that books and articles published upon the anniversary would either exclude African American artists or feature only the three whose work appeared in mainstream newspapers after Dr. Martin Luther King Jr.'s assassination in 1968. Jackson was determined to make it impossible for critics and scholars to plead an ignorance of black cartoonists or to claim that there is no information on them. He began in 1997 cataloging biographies of African American cartoonists, illustrators, and graphic designers, and showing samples of their work. His research involved searching historic newspapers and magazines as well as books and ""Who's Who"" directories. This project strives not only to record the contributions of African American artists, but also to place them in full historical context. Revealed chronologically, these cartoons offer an invaluable perspective on American history of the black community during pivotal moments, including the Great Migration, race riots, the Great Depression, and both World Wars. Many of the greatest creators have already died, so Jackson recognizes the stakes in remembering them before this hidden yet vivid history is irretrievably lost.

Contributions by Jose Alaniz, Ian Blechschmidt, Paul Fisher Davies, Zanne Domoney-Lyttle, David Huxley, Lynn Marie Kutch, Julian Lawrence, Liliana Milkova, Stiliana Milkova, Kim A. Munson, Jason S. Polley, Paul Sheehan, Clarence Burton Sheffield Jr., and Daniel Worden From his work on underground comix like Zap and Weirdo, to his cultural prominence, R. Crumb is one of the most renowned comics artists in the medium's history. His work, beginning in the 1960s, ranges provocatively and controversially over major moments, tensions, and ideas in the late twentieth and early twenty-first centuries, from the counterculture and the emergence of the modern environmentalist movement, to racial politics and sexual liberation. While Crumb's early work refined the parodic, over-the-top, and sexually explicit styles we associate with underground comix, he also pioneered the comics memoir, through his own autobiographical and confessional comics, as well as in his collaborations. More recently, Crumb has turned to long-form, book-length works, such as his acclaimed Book of Genesis and Kafka. Over the long arc of his career, Crumb has shaped the conventions of underground and alternative comics, autobiographical comics, and the ""graphic novel."" And, through his involvement in music, animation, and documentary film projects, Crumb is a widely recognized persona, an artist who has defined the vocation of the cartoonist in a widely influential way. The Comics of R. Crumb: Underground in the Art Museum is a groundbreaking collection on the work of a pioneer of underground comix and a fixture of comics culture. Ranging from art history and literary studies, to environmental studies and religious history, the essays included in this volume cast Crumb's work as formally sophisticated and complex in its representations of gender, sexuality, race, politics, and history, while also charting Crumb's role in underground comix and the ways in which his work has circulated in the art museum.

A FLAME TREE NOTEBOOK. Beautiful and luxurious the journals combine high-quality production with magnificent art. Perfect as a gift, and an essential personal choice for writers, notetakers, travellers, students, poets and diarists. Features a wide range of well-known and modern artists, with new artworks published throughout the year. BEAUTIFULLY DESIGNED. The highly crafted covers are printed on foil paper, embossed then foil stamped, complemented by the luxury binding and rose red end-papers. The covers are created by our artists and designers who spend many hours transforming original artwork into gorgeous 3d masterpieces that feel good in the hand and look wonderful on a desk or table. PRACTICAL, EASY TO USE. Flame Tree Notebooks come with practical features too: a pocket at the back for scraps and receipts; two ribbon markers to help keep track of more than just a to-do list; robust ivory text paper, printed with lines; and when you need to collect other notes or scraps of paper the magnetic side flap keeps everything neat and tidy. THE ARTIST. The Bodleian Library is one of the oldest libraries in Europe and is the main research library of the University of Oxford. It holds over 13 million printed items and these book spines are just a few examples of the beautiful objects in the Library's collection. THE FINAL WORD. As William Morris said, "Have nothing in your houses that you do not know to be useful, or believe to be beautiful."

A wide-ranging introductory guide for readers making their first steps into the world of manga, this book helps readers move beyond manga available in translation to more fully explore the incredible diversity of Japanese comics styles, forms and traditions from its earliest texts to the internationally popular comics of the 21st century. In an accessible and easy-to-navigate format, the book covers: * A history of Japanese comics, from their emergence within modern print culture, through their astounding growth as an industry and diversification in form in the second half of the 20th century, and on to the present * Case studies of texts reflecting the range of themes, genres, forms and creators, including Osamu Tezuka, Machiko Hasegawa and Katsuhiro Otomo * Key themes and contexts - from gender and sexuality, to history and censorship * Critical approaches to manga, including definitions, biography and reception and global publishing contexts The book includes a bibliography of essential critical writing on manga, discussion questions for classroom use and a glossary of key critical terms.

Type Tricks: User Design is a dissemination of the author's research into typeface legibility. What to consider when choosing fonts in difficult reading situations including signage, small point sizes, glance-like reading or scanning? But also what to look out for when designing for struggling readers, for example people with low-vision, elderly, children and people with dyslexia. This kind of research is normally communicated in scientific papers, which takes a long time to read and understand. In this book, all findings are presented in an illustrative and easily accessible way. The book has a small amount of text and lots of illustrations presenting more than 140 tips from evidence-based research.

Robert Seymour and Nineteenth-Century Print Culture is the first book-length study of the original illustrator of Dickens's Pickwick Papers. Discussion of the range and importance of Seymour's work as a jobbing illustrator in the 1820s and 1830s is at the centre of the book. A bibliographical study of his prolific output of illustrations in many different print genres is combined with a wide-ranging account of his major publications. Seymour's extended work for The Comic Magazine, New Readings of Old Authors and Humorous Sketches, all described in detail, are of particular importance in locating the dialogue between image and text at the moment when the Victorian illustrated novel was coming into being.

The year 2023 sees the 150th anniversary of the death of William Harry Rogers. Rogers was one of the fi nest artist-designers of the Victorian period in Britain, someone to be considered in the same company as Pugin, William Burges, Owen Jones and Christopher Dresser. His designs won several prize medals at the Great Exhibition of 1851, the event which provides a ubiquitous reference point for cultural histories of the nineteenth century. He subsequently specialised in designing the appearances of books and his work in this field in the 1850s and 1860s was unrivalled, with many of his designs appearing also in the USA. The present book is the first to be devoted to Rogers and aims to be definitive, containing comprehensive accounts of his work and his life in Soho and the then village of Wimbledon. It includes many new discoveries, and hundreds of colour illustrations.

Character Design Quarterly (CDQ) is a lively, creative magazine bringing inspiration, expert insights, and leading techniques from professional illustrators, artists, and character art enthusiasts worldwide. Each issue provides detailed tutorials on creating diverse characters, enabling you to explore the processes and decision making that go into creating amazing characters. Learn new ways to develop your own ideas, and discover from the artists what it is like to work for prolific animation studios such as Disney, Warner Bros., and DreamWorks.