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For decades, scholars have been making the connection between the design of the superhero story and the mythology of the ancient folktale. Moving beyond simple comparisons and common explanations, this volume details how the workings of the superhero comics industry and the conventions of the medium have developed a culture like that of traditional epic storytelling. It chronicles the continuation of the oral/traditional culture of the early 20th century superhero industry in the endless variations on Superman and shows how Frederic Wertham's anti-comic crusade in the mid-1950s helped make comics the most countercultural new medium of the 20th century. By revealing how contemporary superhero comics, like Geoff Johns' Green Lantern and Warren Ellis's The Authority, connect traditional aesthetics and postmodern theories, this work explains why the superhero comic book flourishes in the "new traditional" shape of our acutely self-conscious digital age.
Superhero comic books are traditionally thought to have two distinct periods, two major waves of creativity: the Golden Age and the Silver Age. In simple terms, the Golden Age was the birth of the superhero proper out of the pulp novel characters of the early 1930s, and was primarily associated with the DC Comics Group. Superman, Batman, Green Lantern, and Wonder Woman are the most famous creations of this period. In the early 1960s, Marvel Comics launched a completely new line of heroes, the primary figures of the Silver Age: the Fantastic Four, Spider-Man, the Incredible Hulk, the X-Men, the Avengers, Iron Man, and Daredevil. In this book, Geoff Klock presents a study of the Third Movement of superhero comic books. He avoids, at all costs, the temptation to refer to this movement as "Postmodern," "Deconstructionist," or something equally tedious. Analyzing the works of Frank Miller, Alan Moore, Warren Ellis, and Grant Morrison among others, and taking his cue from Harold Bloom, Klock unearths the birth of self-consciousness in the superhero narrative and guides us through an intricate world of traditions, influences, nostalgia and innovations - a world where comic books do indeed become literature.
In the less than eight decades since Superman's debut in 1938, comic book superheroes have become an indispensable part of American society and the nation's dominant mythology. They represent America's hopes, dreams, fears, and needs. As a form of popular literature, superhero narratives have closely mirrored trends and events in the nation. This study views American history from 1938 to 2010 through the lens of superhero comics, revealing the spandex-clad guardians to be not only fictional characters but barometers of the place and time in which they reside. Instructors considering this book for use in a course may request an examination copy here.
Now it can be told. The full story behind the origin of X-23 - who she is, where she came from and the exact nature of her relationship to Wolverine. You think you know, but you have no idea. Collects X-23 (2005) #1-6.
Faster than a speeding bullet, Superman burst onto the comic book scene in 1938, just as America was on the terrifying precipice of a world war. In a desperate time, legendary creators Jerry Siegel and Joe Shuster brought to life the world’s first modern superhero. The Man of Steel emerged as a champion of the oppressed, taking down any enemy with his super-strength and speed, both foreign and near to home. In his distinctive royal blue, red and yellow costume, complete with cape, the stalwart Kryptonian emanated strength and fearlessness. He swiftly became a symbol of hope for a downtrodden America.Collecting all of the Metropolis Wonder’s first-ever adventures from ACTION COMICS #1-19, SUPERMAN #1-3 and NEW YORK WORLD’S FAIR COMICS #1!
Examining the deep philosophical topics addressed in superhero comics, authors Gavaler and Goldberg read plot lines for the complex thought experiments they contain and analyze their implications as if the comic authors were philosophers. Reading superhero comic books through a philosophical lens reveals how they experiment with complex issues of morality, metaphysics, meaning, and medium. Given comics’ ubiquity and influence directly on (especially young) readers—and indirectly on consumers of superhero movies and video games—understanding these deeper meanings is in many ways essential to understanding contemporary popular culture. The result is an entertaining and enlightening look at superhero dilemmas.
Superhero comics reckon with issues of corporeal control. And while they commonly deal in characters of exceptional or superhuman ability, they have also shown an increasing attention and sensitivity to diverse forms of disability, both physical and cognitive. The essays in this collection reveal how the superhero genre, in fusing fantasy with realism, provides a visual forum for engaging with issues of disability and intersectional identity (race, ethnicity, class, gender, and sexuality) and helps to imagine different ways of being in the world. Working from the premise that the theoretical mode of the uncanny, with its interest in what is simultaneously known and unknown, ordinary and extraordinary, opens new ways to think about categories and markers of identity, Uncanny Bodies explores how continuums of ability in superhero comics can reflect, resist, or reevaluate broader cultural conceptions about disability. The chapters focus on lesser-known characters—such as Echo, Omega the Unknown, and the Silver Scorpion—as well as the famous Barbara Gordon and the protagonist of the acclaimed series Hawkeye, whose superheroic uncanniness provides a counterpoint to constructs of normalcy. Several essays explore how superhero comics can provide a vocabulary and discourse for conceptualizing disability more broadly. Thoughtful and challenging, this eye-opening examination of superhero comics breaks new ground in disability studies and scholarship in popular culture. In addition to the editors, the contributors are Sarah Bowden, Charlie Christie, Sarah Gibbons, Andrew Godfrey-Meers, Marit Hanson, Charles Hatfield, Naja Later, Lauren O’Connor, Daniel J. O'Rourke, Daniel Pinti, Lauranne Poharec, and Deleasa Randall-Griffiths.
Authorizing Superhero Comics examines the comic book superhero as a lasting phenomenon of US popular serial storytelling. Moving beyond linear- or creator-centered models of genre development, Daniel Stein identifies authorization conflicts that have driven the genre's evolution from the late 1930s to the present. These conflicts include paratextually mediated exchanges between officially authorized comic book producers and, alternatively, authorized fans that trouble the distinction between production and its reception; storyworld-building processes that subsume producers and fans into a collective rooted in a common style; parodies that ensure the genre's longevity by deflating criticism through self-reflexive humor; and collecting and archiving as forms of memory management that align the genre's past with the demands of the present. Taking seriously the serial agencies of the superhero comic book as a material artifact with a particular mediality, the study analyzes letter columns, editorial commentary, fanzines, encyclopedias, and other forms of comic book communication as critical frameworks for understanding the evolution of the genre--assessing rarely covered archival sources alongside some of the most treasured figures from the superhero's multi-decade history, from Batman and Spider-Man to Wonder Woman and Captain America.
"Contextualizes the history of race within comic books and the fundamental whiteness observed in American superhero narratives from the late 1930s to the present"--
Celebrate illustrator-writer Howard Chaykin's life and works through a career spanning zine that encompasses his life, controversies, and biographical interview that starts when he was born in 1950 through his childhood reading comic books and watching films during the 1960s, his training under Gil Kane, Wally Wood and Neal Adams in the late 1960s through the early 1970s, his early work at Marvel, DC, Atlas/Seaboard, Byron Preiss, Heavy Metal and on into American Flagg! for First Comics, as well as The Shadow, Time Square, Blackhawk, Black Kiss, Cyberella with Don Cameron, his television career including the 1990s Flash TV show, Legend with Russ Heath, Hawkgirl with Walt Simonson, his more recent Marvel career in 2012, Black Kiss 2, the controversy surrounding the Divided States of Hysteria, and finally his ode to comic history, Hey Kids! Comics!