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Presents the work of America's most popular and influential comic artists, and includes critical essays accompanying each artist's drawings.
"Masters Of Spanish Comic Book Art is a celebration of the great artists who revolutionized American horror comics in the 1970s with their work on Warren's Vampirella, Creepy, and Eerie horror comics. This first-ever comprehensive history of Spanish comic books and Spanish comic artists reveals their extraordinary success -- not just in Spain and America, but around the world. Their global influence has been little known until this celebration of their contributions. Containing artwork from over 80 artists, this in-depth retrospective includes profiles of such legends as Esteban Maroto, Sanjulian, Jose Gonzalez, Jordi Bernet, Enrich, Victor De La Fuente, Jose Ortiz and Luis Garcia Mozos. With 500 illustrations, over half scanned directly from the original artwork, Masters Of Spanish Comic Book Art honors the "Golden Generation" whose artwork inspired the imagination of comic book lovers everywhere."--
"Alfredo Alcala is one of the most disciplined and perceptive artists inking in comics. The years of distinguished work have earned Alfredo a special place in comics history." — Gil Kane. In the late 1960s, an extremely talented group of Filipino illustrators took the American comic book industry by storm — and the late Alfredo Alcala led the way, working for both Marvel and DC on such popular characters as Conan the Barbarian and Batman. This unique work is loaded with amazing art and pointers on observational methods, composition, and other techniques. In addition to insightful interviews with Alcala, the book features pages from his groundbreaking masterwork, Voltar, which was hailed as a new concept in comic book form, an epic in narrative art, and a milestone in sequential art illustration. Students, professionals, teachers, and fans will treasure this inspiring volume and its insider's look at comic book artistry. "A wonderful look at the thought process of one of the best artist/inkers in comic book history and should be read, not just by comic book fans, but by anyone who appreciates great art." — Rushford Public Library
In 1983, the world was introduced to He-Man and the Masters of the Universe. What followed was a cultural sensation that changed the landscape of children's entertainment forever! Join Mattel and Dark Horse in this comprehensive retrospective chronicling He-Man's decades-long epic journey from toy, to television, to film, to a true pop culture phenomenon!
AMERICAN TV COMIC BOOKS (1940s-1980s) takes you from the small screen to the printed page, offering a fascinating and detailed year-by-year history of over 300 television shows and their 2000+ comic book adaptations across five decades. Author PETER BOSCH has spent years researching and documenting this amazing area of comics history, tracking down the well-known series (Star Trek, The Munsters) and the lesser-known shows (Captain Gallant, Pinky Lee) to present the finest look ever taken at this unique genre of comic books. Included are hundreds of full-color covers and images, plus profiles of the artists who drew TV comics: GENE COLAN, ALEX TOTH, DAN SPIEGLE, RUSS MANNING, JOHN BUSCEMA, RUSS HEATH, and many more giants of the comic book world. Whether you loved watching The Lone Ranger, Rawhide, and Zorro from the 1950s--The Andy Griffith Show, The Monkees, and The Mod Squad in the 1960s--Adam-12, Battlestar Galactica, and The Bionic Woman in the 1970s--or Alf, Fraggle Rock, and "V" in the 1980s--there's something here for fans of TV and comics alike.
Yellow press headliners : Jewish comics in the dailies -- Comic book heroes -- The underground era -- Recovering Jewishness.
Collects House of M: Masters of Evil #1-4. You've seen how the mutants and the heroes were changed in the world ruled by Magneto...but what about the villains? Their story stands revealed at last as The Hood assembles a gang of the deadliest Sapien super-criminals: Madame Masque, The Absorbing Man, Titania, The Wrecking Crew, Nitro, Constrictor, The Sandman, Crossbones, and more! At first, their goal is simple: get rich and get away with it. But their very first job may lead somewhere none of them expected...and incur the wrath of the House of M itself!
An immediate perennial, documenting the critical rise of the graphic novel. Conventional wisdom states that cartooning and graphic novels exist in a golden age of creativity, popularity, and critical acceptance. But why? Today, the signal is stronger than ever, but so is the noise. New York Times, Vanity Fair, and Bookforum critic Ben Schwartz assembles the greatest lineup of comics critics the world has yet seen to testify on behalf of this increasingly vital medium. The Best American Comics Writing is the first attempt to collate the best criticism to date of the graphic novel boom in a way that contextualizes and codifies one of the most important literary movements of the last 60 years. This collection begins in 2000, the game changing year that Pantheon released the graphic novels Jimmy Corrigan and David Boring. Originally serialized as “alternative” comics, they went on to confirm the critical and commercial viability of graphic literature. Via its various authors, this collection functions as a valuable readers’ guide for fans, academics, and librarians, tracing the current comics renaissance from its beginnings and creative growth to the cutting edge of today’s artists. This volume includes Daniel Clowes (Ghost World) in conversation with novelist Jonathan Lethem (Fortress of Solitude), Chris Ware, Jonathan Franzen (The Corrections), John Hodgman (The Daily Show, The Areas of My Expertise, The New York Times Book Review), David Hajdu (The 10-Cent Plague), Douglas Wolk (Publishers Weekly, author of the Eisner award-winning Reading Comics), Frank Miller (Sin City and The Spirit film director) in conversation with Will Eisner (The Spirit’s creator), Gerard Jones’ (Men of Tomorrow), Brian Doherty (author Radicals of Capitalism, This is Burning Man) and critics Ken Parille (Comic Art), Jeet Heer (The National Post), R.C. Harvey (biographer of Milton Caniff), and Donald Phelps (author of the landmark book of comics criticism,Reading the Funnies). Best American Comics Writing also features a cover by nationally known satirist Drew Friedman (The New York Observer, Old Jewish Comedians) in which Friedman asks, “tongue-in-cheek,” if cartoonists are the new literati, what must their critics look like?
When Art Spiegelman's Maus—a two-part graphic novel about the Holocaust—won a Pulitzer Prize in 1992, comics scholarship grew increasingly popular and notable. The rise of “serious” comics has generated growing levels of interest as scholars, journalists, and public intellectuals continue to explore the history, aesthetics, and semiotics of the comics medium. Yet those who write about the comics often assume analysis of the medium didn't begin until the cultural studies movement was underway. Arguing Comics: Literary Masters on a Popular Medium brings together nearly two dozen essays by major writers and intellectuals who analyzed, embraced, and even attacked comic strips and comic books in the period between the turn of the century and the 1960s. From e. e. cummings, who championed George Herriman's Krazy Kat, to Irving Howe, who fretted about Harold Gray's Little Orphan Annie, this volume shows that comics have provided a key battleground in the culture wars for over a century. With substantive essays by Umberto Eco, Marshall McLuhan, Leslie Fiedler, Gilbert Seldes, Dorothy Parker, Irving Howe, Delmore Schwartz, and others, this anthology shows how all of these writers took up comics-related topics as a point of entry into wider debates over modern art, cultural standards, daily life, and mass communication. Arguing Comics shows how prominent writers from the Jazz Age and the Depression era to the heyday of the New York Intellectuals in the 1950s thought about comics and, by extension, popular culture as a whole.