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Collects The Odyssey #1-8. Odysseus...son of Laertes, husband of Penelope, father of Telemachus, warrior-king of Ithaca. For ten years he struggled against men, monsters, and gods - kept alive only by his sacred desire that one day he might see again the homefires of his island kingdom. The terrors he faced were the stuff of legend. The towering, man-eating Cyclops...the languid Lotus Eaters and their taste that brought oblivion...Scylla and Charybdis, the twin terrors between whom no seaman could safely pass...Circe, the witch-goddess who turned men into mindless swine...the living-dead souls of Hades, shambling forth from the underworld in search of blood to drink...and Odysseus himself? He, too, was a myth...but he was also a man. And the hero of one of the great epic poems of Western civilization, whose story has remained exciting and modern for nearly three thousand years.
It was an obsession that would destroy them all... On a cold December night, a young man called Ishmael rents a room at an inn in Massachusetts. He has come from Manhattan to the north-east of America to sign up for a whaling expedition. Later that same night, as Ishmael is sleeping, a heavily tattooed man wielding a blade enters his room. This chance meeting is just the start of what will become the greatest adventure of his life. The next day, Ishmael joins the crew of a ship known as the Pequod. He is approached by a man dressed in rags who warns him that, if he sails under the command of Captain Ahab, he may never come back. Undaunted, Ishmael returns early the next morning and leaves for the high seas. For the crew of the Pequod, their voyage is one of monetary gain. For Captain Ahab, however, it is a mission driven by hatred, revenge, and his growing obsession with the greatest creature of the sea.
Rice Boy is a surreal fantasy graphic novel set in a world called Overside. A lonely creature called Rice Boy and an ageless machine called The One Electronic venture through a strange world to fulfill a prophecy with implications few understand.
In the years between the end of World War II and the mid-1950s, the popular culture of today was invented in the pulpy, boldly illustrated pages of comic books. But no sooner had comics emerged than they were beaten down by mass bonfires, congressional hearings, and a McCarthyish panic over their unmonitored and uncensored content. Esteemed critic David Hajdu vividly evokes the rise, fall, and rise again of comics in this engrossing history. "Marvelous . . . a staggeringly well-reported account of the men and women who created the comic book, and the backlash of the 1950s that nearly destroyed it....Hajdu’s important book dramatizes an early, long-forgotten skirmish in the culture wars that, half a century later, continues to roil."--Jennifer Reese,Entertainment Weekly(Grade: A-) "Incisive and entertaining . . . This book tells an amazing story, with thrills and chills more extreme than the workings of a comic book’s imagination."--Janet Maslin,The New York Times "A well-written, detailed book . . . Hajdu’s research is impressive."--Bob Minzesheimer,USA Today "Crammed with interviews and original research, Hajdu’s book is a sprawling cultural history of comic books."--Matthew Price,Newsday "To those who think rock 'n' roll created the postwar generation gap, David Hajdu says: Think again. Every page ofThe Ten-Cent Plagueevinces [Hajdu’s] zest for the 'aesthetic lawlessness' of comic books and his sympathetic respect for the people who made them. Comic books have grown up, but Hajdu’s affectionate portrait of their rowdy adolescence will make readers hope they never lose their impudent edge."--Wendy Smith, Chicago Tribune "A vivid and engaging book."--Louis Menand,The New Yorker "David Hajdu, who perfectly detailed the Dylan-era Greenwhich Village scene in Positively 4th Street, does the same for the birth and near death (McCarthyism!) of comic books inThe Ten-Cent Plague." --GQ "Sharp . . . lively . . . entertaining and erudite . . . David Hajdu offers captivating insights into America’s early bluestocking-versus-blue-collar culture wars, and the later tensions between wary parents and the first generation of kids with buying power to mold mass entertainment."--R. C. Baker,The Village Voice "Hajdu doggedly documents a long national saga of comic creators testing the limits of content while facing down an ever-changing bonfire brigade. That brigade was made up, at varying times, of politicians, lawmen, preachers, medical minds, and academics. Sometimes, their regulatory bids recalled the Hays Code; at others, it was a bottled-up version of McCarthyism. Most of all, the hysteria over comics foreshadowed the looming rock 'n' roll era."--Geoff Boucher, Los Angeles Times "A compelling story of the pride, prejudice, and paranoia that marred the reception of mass entertainment in the first half of the century."--Michael Saler,The Times Literary Supplement(London) David Hajdu is the author ofLush Life: A Biography of Billy StrayhornandPositively 4th Street: The Lives and Times of Joan Baez, Bob Dylan, Mimi Baez Fariña and Richard Fariña.
Our intrepid narrator, a former schoolteacher famously "called" Ishmael-is that actually his name?- signs up as sailor on a whaling voyage to cure a bout of depression/being a misanthropic dirtbag. On his way to find a ship in Nantucket, he meets Queequeg, a heavily tattooed South Sea Island harpooneer just returned from his latest whaling trip. Ishmael and Queequeg become best buds and roommates almost immediately. Together, they sign up for a voyage on the Pequod, which is just about to start on a three-year expedition to hunt sperm whales.On board the Pequod, Ishmael meets the mates-honest Starbuck, jolly Stubb, and fierce Flask-and the other harpooneers, Tashtego and Daggoo. The ship's commander, Captain Ahab, remains secluded in his cabin and never shows himself to the crew. Uh, that's ominous. Oh well. The mates organize the beginning of the voyage as though there were no captain.Just when Ishmael's curiosity about Ahab has reached a fever pitch, Ahab starts appearing on deck-and we find out that he's missing one leg. When Starbuck asks if it was Moby Dick, the famous White Whale, that took off his leg, Ahab admits that it was and forces the entire crew to swear that they will help him hunt Moby Dick to the ends of the earth and take revenge for his injury. They all swear.After this strange incident, things settle into a routine on board the good ship Pequod. While they're always on the lookout for Moby Dick, the crew has a job to do: hunting sperm whales, butchering them, and harvesting the sperm oil that they store in huge barrels in the hold.Ishmael takes advantage of this lull in plot advancement to give the reader lots (lots) of contemporary background information about whale biology, the whaling industry, and sea voyages. The Pequod encounters other ships, which tell them the latest news about the White Whale. Oh yeah, and everyone discovers that Ahab has secretly smuggled an extra boat crew on board (led by a mysterious, demonic harpooneer named Fedallah) to help Ahab do battle with Moby Dick once they do find him.Over the course of more than a year, the ship travels across the Atlantic, around the southern tip of Africa, through the Indian Ocean, among the islands of southeast Asia, into the Sea of Japan, and finally to the equator in the Pacific Ocean: Moby Dick's home turf.Despite first mate Starbuck's misgivings and a variety of bad omens (all the navigational instruments break, a typhoon tries to push the ship backwards, and the Pequod encounters other ships that have lost crewmembers to Moby Dick's wrath), Ahab insists on continuing to pursue his single-minded revenge quest. In a parody of the Christian ceremony of baptism, he goes so far as to dip his specially forged harpoon in human blood-just so that he'll have the perfect weapon with which to kill Moby Dick.Finally, just when we think the novel's going to end without ever seeing this famous White Whale, Ahab sights him and the chase is on. For three days, Ahab pursues Moby Dick, sending whaling boat after whaling boat after him-only to see each one wrecked by the indomitable whale. Finally, at the end of the third day, the White Whale attacks the ship itself, and the Pequod goes down with all hands.Even while his ship is sinking, Ahab, in his whaling boat, throws his harpoon at Moby Dick one last time. He misses, catching himself around the neck with the rope and causing his own drowning/strangling death.The only survivor of the destruction is Ishmael, who lives to tell the tale because he's clinging to the coffin built for his pal Queequeg when the harpooneer seemed likely to die of a fever.
In 1974, legendary Marvel Comics publisher Stan Lee approached underground pioneer Denis Kitchen and offered a way for them to collaborate. Their resulting series was called Comix Book and featured work by many of the top underground cartoonists including Joel Beck, Kim Deitch, Justin Green, Harvey Pekar, Trina Robbins, Art Spiegelman (first national appearance of Maus), Skip Williamson, and S. Clay Wilson. The Best of Comix Book showcases 150-pages of classic underground comix (printed on newsprint, as they originally appeared), many never before reprinted.
The writer who revolutioniezd modern comic book storytelling, Alan Moore (Hugo-Award winning author of WATCHMEN) provides his guide to crafting graphic stories. Perfect for Moore fans, creative writers of all media, and librarians! Alan Moore, Hugo-Award winning author of WATCHMEN and the acknowledged master of comic book writing, shares his thoughts on how to deliver a top-notch script! An essay originally written in 1985 to appear in an obscure British fanzine (right at the time that Moore was reshaping the landscape of modern comics), WRITING FOR COMICS was lost to time until its collection in these pages, expanded with a brand new essay by the author on how his thoughts on writing have changed in the two decades since. An insightful and eye-opening look into a brilliant creative mind, perfect for Moore devotees and fiction writers of all literary forms looking to hone their craft.
Originally published: La Jolla, CA: WildStorm, 2003.
"Parental advisory for strong language and content"--P. [4] of cover.
For over seven decades, Joe Kubert helped create some of the most memorable characters and stories in history. This anthology-style graphic novel includes original stories with far ranging characters, featuring heroes from Kubert's most famous works, Sgt. Rock and Hawkman, as well as the gritty war epics he was best known for.