1.
Visual novel
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A visual novel is an interactive game, featuring mostly static graphics, most often using anime-style art or occasionally live-action stills. As the name might suggest, they resemble mixed-media novels, Sound novels and kinetic novels are types of visual novels, although visual novels have its own distinction between the others. This distinction is normally lost outside Japan, where both NVLs and ADVs are commonly referred to as visual novels by international fans, visual novels and ADVs are especially prevalent in Japan, where they made up nearly 70% of the PC game titles released in 2006. Visual novels are often produced for video game consoles, and the popular games have occasionally been ported to such systems. The more famous novels are also often adapted into the light novel. The market for visual novels outside of East Asia is small, visual novels are distinguished from other game types by their generally minimal gameplay. Typically the majority of interaction is limited to clicking to keep the text, graphics and sound moving. This style of gameplay is similar to interactive fiction, or the shorter. Many fans of visual novels hold them up as exceptions to the relatively weak storytelling in video games overall, some visual novels do not limit themselves into merely interactive fictions, but also incorporate other elements into them. An example of this is Symphonic Rain, where the player is required to play an instrument of some sort. Usually such an element is related as a device in the game. Some shorter works do not contain any decision points at all, most examples of this sort are fan-created. Fan-created novel games are popular, there are a number of free game engines and construction kits aimed at making them easy to construct, most notably NScripter, KiriKiri. Many visual novels use voice actors to provide voices for the characters in the game, often, the protagonist is left unvoiced, even when the rest of the characters are fully voiced. Decision points within a novel often present players with the option of altering the course of events during the game. An acclaimed example is Zero Escape, Virtues Last Reward, where every action and dialogue choice can lead to entirely new branching paths. The branching path stories found in visual novels represent an evolution of the Choose Your Own Adventure concept, the digital medium allows significant improvements, such as being able to fully explore multiple aspects and perspectives of a story. Another improvement is having hidden decision points that are determined based on the players past decisions
2.
Will Eisner
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William Erwin Will Eisner was an American cartoonist, writer, and entrepreneur. He was one of the earliest cartoonists to work in the American comic book industry, in 1978, he popularized the term graphic novel with the publication of his book A Contract with God. He was a contributor to formal comics studies with his book Comics. The Eisner Award was named in his honor, and is given to recognize achievements each year in the comics medium, Eisners father Shmuel Samuel Eisner was born March 6,1886, in Kolomyia, Austria-Hungary, and was one of eleven children. He aspired to be an artist, and as a teenager painted murals for rich patrons, to avoid conscription in the army, he moved to New York before the outbreak of World War I. There he found getting work difficult as his English skills were poor and he made what living he could painting backdrops for vaudeville and the Jewish theater. Eisners mother, Fannie Ingber, was born to Jewish parents from Romania April 25,1891 and her mother died on her tenth birthday, and was quickly followed by her father. Family introduced Shmuel and Fannie, who were distant relatives and they had three children, son Will Erwin, born on his fathers birthday in 1917, son Julian, born February 3,1921, and daughter Rhoda, born November 2,1929. Eisner was born in Brooklyn, New York City and he grew up poor, and the family moved frequently. Young Eisner often got into physical confrontations when subject to antisemitism from his schoolmates, young Eisner was tall and of sturdy build, but lacked athletic skills. He was a consumer of pulp magazines and film, including avant-garde films such as those by Man Ray. To his mothers disappointment, Eisner had his fathers interest in art, Eisners mother frequently berated his father for not providing the family a better income, as he went from one job to another. Without success he also tried his hand at such ventures as a furniture retailer, the family situation was especially dire following the Wall Street Crash of 1929 that marked the beginning of the Great Depression. In 1930, the situation was so desperate that Eisners mother demanded that he, at thirteen and he entered working life selling newspapers on street corners, a competitive job where the toughest boys fought for the best locations. Eisner attended DeWitt Clinton High School, with influences that included the early 20th-century commercial artist J. C. Leyendecker, he drew for the newspaper, the literary magazine and the yearbook. Upon graduation, he studied under Canadian artist George Brandt Bridgman for a year at the Art Students League of New York, contacts made there led to a position as an advertising writer-cartoonist for the New York American newspaper. Eisner also drew illustrations for pulp magazines, including Western Sheriffs
3.
A Contract with God
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A Contract with God and Other Tenement Stories is a graphic novel by American cartoonist Will Eisner published in 1978. The books short story cycle revolves around poor Jewish characters who live in a tenement in New York City, Eisner produced two sequels set in the same tenement, A Life Force in 1988, and Dropsie Avenue in 1995. Though the term graphic novel did not originate with Eisner, the book is credited with popularizing its use, the stories are thematically linked with motifs of frustration, disillusionment, violence, and issues of ethnic identity. Eisner uses large, monochromatic images in dramatic perspective, and emphasizes the characters facial expressions. Eisner began his comic career in 1936 and had long held artistic ambitions for what was perceived as a lowbrow medium. He found no support for his ideas, and left the world of comics after ending his signature work The Spirit in 1952. The growth of comics fandom convinced him to return in the 1970s and it sold slowly at first, but gained respect from Eisners peers, and since has been reprinted by larger publishers. A Contract with God cemented Eisners reputation as a statesman of comics. A Contract with God mixes melodrama with social realism, in the preface he stated his aim to keep the exaggeration in his cartooning within realistic limits. The story A Contract with God drew from Eisners feelings over the death at sixteen of his daughter Alice, in his introduction to the 2006 edition of the book, Eisner first wrote about it and the feelings he felt toward God that were reflected in the story. The Street Singer and The Super are fiction, but sprang from Eisners memories of people he had met in the tenements of his youth, Cookalein was the most autobiographical—the main character Willie even carries Eisners own boyhood nickname. Eisner remarked that it took a lot of determination, a kind of courage, Eisner used no profanity in the book, and according to critic Josh Lambert the sex in Contract is not so much erotic as disturbing, the characters frustrated or filled with guilt. In Russia, the young, deeply religious Hasidic Jew Frimme Hersh carves a contract with God on a tablet to live a life of good deeds. He moves to New York, into a tenement building at 55 Dropsie Avenue and he adopts an infant girl, Rachele, who is abandoned on his doorstep. When she dies of an illness, Hersh is infuriated. He abandons his faith, shaves his beard, and lives a life as a businessman in a penthouse with a gentile mistress. He illicitly uses a synagogues bonds that were entrusted to him to buy the tenement building in which he had lived when poor and he becomes dissatisfied with his new way of life, and decides that he needs a new contract with God to fill the emptiness he feels. He has a group of rabbis draw up a new contract, a boy, Shloime, finds Hershs old contract, and signs his own name to it
4.
Comics
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Comics is a medium used to express ideas by images, often combined with text or other visual information. Comics frequently takes the form of juxtaposed sequences of panels of images, often textual devices such as speech balloons, captions, and onomatopoeia indicate dialogue, narration, sound effects, or other information. Size and arrangement of panels contribute to narrative pacing, cartooning and similar forms of illustration are the most common image-making means in comics, fumetti is a form which uses photographic images. Common forms of comics include comic strips, editorial and gag cartoons, since the late 20th century, bound volumes such as graphic novels, comic albums, and tankōbon have become increasingly common, and online webcomics have proliferated in the 21st century. The history of comics has followed different paths in different cultures, scholars have posited a pre-history as far back as the Lascaux cave paintings. By the mid-20th century, comics flourished particularly in the United States, western Europe, histories of Japanese comics and cartooning propose origins as early as the 12th century. Comics has had a reputation for much of its history. The English term comics is used as a noun when it refers to the medium. Though the term derives from the work that predominated in early American newspaper comic strips. It is common in English to refer to the comics of different cultures by the used in their original languages, such as manga for Japanese comics. The increasing cross-pollination of concepts from different comics cultures and eras has further made definition difficult, examples of early comics The European, American, and Japanese comics traditions have followed different paths. Japan had a prehistory of satirical cartoons and comics leading up to the World War II era. The ukiyo-e artist Hokusai popularized the Japanese term for comics and cartooning, manga, in the post-war era modern Japanese comics began to flourish when Osamu Tezuka produced a prolific body of work. Illustrated humour periodicals were popular in 19th-century Britain, the earliest of which was the short-lived The Glasgow Looking Glass in 1825, the most popular was Punch, which popularized the term cartoon for its humorous caricatures. American comics developed out of magazines as Puck, Judge. The success of illustrated humour supplements in the New York World and later the New York American, particularly Outcaults The Yellow Kid, early Sunday strips were full-page and often in colour. Between 1896 and 1901 cartoonists experimented with sequentiality, movement, shorter, black-and-white daily strips began to appear early in the 20th century, and became established in newspapers after the success in 1907 of Bud Fishers Mutt and Jeff. In Britain, the Amalgamated Press established a style of a sequence of images with text beneath them, including Illustrated Chips
5.
Speech balloon
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In Western graphic art, labels that reveal what a pictured figure is saying have appeared since at least the 13th century. These were in common European use by the early 16th century, word balloons began appearing in 18th-century printed broadsides, and political cartoons from the American Revolution often used them. They later fell out of fashion, but by 1904 had regained their popularity, richard F. Outcaults Yellow Kid is generally credited as the first American comic strip character. His words initially appeared on his shirt, but word balloons very much like those in use today were added almost immediately. For many years, word balloons were less common in Europe than in the USA, the most common is the speech bubble. It comes in two forms for two circumstances, An in-panel character and an off-panel character, an in-panel character uses a bubble with a pointer, called a tail, directed towards the speaker. When one character has multiple balloons within a panel, often only the balloon nearest to the head has a tail. This style is used in Mad Magazine, due to its call-and-response dialogue-based humor. An off-panel character has several options, some of them rather unconventional, the first is a standard speech bubble with a tail pointing toward the speakers position. The second option, which originated in manga, has the tail pointing into the bubble, the third option replaces the tail with a sort of bottleneck that connects with the side of the panel. It can be seen in the works of Marjane Satrapi, in American comics, a bubble without a tail means that the speaker is not merely outside the readers field of view but invisible to the viewpoint character, often as an unspecified member of a crowd. Thought bubbles come in two forms, the chain thought bubble and the fuzzy bubble, the chain thought bubble is the almost universal symbol for thinking in cartoons. It consists of a large, cloud-like bubble containing the text of the thought, some artists use an elliptical bubble instead of a cloud-shaped one. Often animal characters like Snoopy and Garfield talk using thought bubbles, thought bubbles may also be used in circumstances when a character is gagged or otherwise unable to speak. Another, less conventional thought bubble has emerged, the fuzzy thought bubble. Used in manga, the bubble is roughly circular in shape. Fuzzy thought bubbles do not use tails, and are placed near the character who is thinking and this has the advantage of reflecting the TV equivalent effect, something said with an echo. However, they are restricted to the current viewpoint character, the shape of a speech balloon can be used to convey further information
6.
Comics studies
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Comics studies is an academic field that focuses on comics and sequential art. Continental comics studies can trace its roots back to the work of such as Roland Barthes. This work has suggested similarities between the way that the brain processes language and the way it processes sequential images, cohns theories are not universally accepted with other scholars like Thierry Groensteen, Hannah Miodrag, and Barbara Postema offering alternative understandings. Theorists such as Töpffer, R. C, harvey, Will Eisner, David Carrier, Alain Rey, and Lawrence Grove emphasize the combination of text and images, though there are prominent examples of pantomime comics throughout its history. Other critics, such as Thierry Groensteen and Scott McCloud, have emphasized the primacy of sequences of images, composition studies theorists are looking at comics as sophisticated texts, and sites of complex literacy. Kristie S. Fleckenstein sees the relationship between image and text as mutually constitutive, mutually infused—a relationship she names imageword, Fleckenstein sees imageword as offering a double vision of writing-reading based on fusion of image and word, a double vision of literacy. Dale Jacobs sees the reading of comics as a form of literacy or multiliteracy. According to Jacobs, comics can help educators to move toward attending to multimodal literacies that shift our focus from print only to multiple modalities and he encourages educators to embrace a pedagogy that will give students skills to effectively negotiate these multiple modalities. Comics studies is becoming more common at academic institutions across the world. Some notable examples include, University of Florida, University of Toronto at Mississauga, west Liberty University is currently the only university offering a four-year undergraduate literature degree in comics studies. In Britain, growing interest in comics has led to the establishment of a center for comics studies, beside formal programs and degrees, it is common to see individual courses dedicated to comics and graphic novels in many educational institutions. The University of Lancaster started offering a PhD degree in studies in 2015. The same year French comics studies scholar Benoît Peeters was appointed as the UKs first ever comics professor at Lancaster University, since 2000 many new scholarly journals have appeared dedicated to comics studies. Three of the most important peer refereed journals in English are, Journal of Graphic Novels and Comics, Studies in Comics, although presentations dedicated to comics are commonplace at conferences in many fields, entire conferences dedicated to this subject are becoming more common. There have been conferences at SAIC, MMU, UTS, Georgetown, Ohio State, and Bowling Green, additionally, there is an annual Michigan State University Comics Forum, which brings together academics and professionals working in the industry. Notable regularly held movable conferences include the Comic Art and Comics Area of the Popular Culture Association of America, the Comics Arts Conference has met regularly since 1992 in conjunction with San Diego Comic-Con International and WonderCon. Another important conference is the annual International Graphic Novels and Comics Conference held since 2010 organized by British academics and this conference has been held in conjunction with the longer running International Bande Dessinée Society conference. Comics Forum, a UK-based community of international scholars, also holds an annual conference at Leeds Central Library
7.
History of comics
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The history of comics has followed different paths in different parts of the world. It can be traced back to early precursors such as Trajans Column, in Rome, Egyptian hieroglyphs, an example of an early precursor to print comics is Trajans Column. Versions of the Bible relying primarily on images rather than text were distributed in Europe in order to bring the teachings of Christianity to the illiterate. In medieval paintings, multiple scenes of the same story appear simultaneously in the same painting. However, these works did not travel to the reader, it took the invention of printing techniques to bring the form to a wide audience. The invention of the press, allowing movable type, established a separation between images and words, the two requiring different methods in order to be reproduced. It was also during this period that the bubble was developed as a means of attributing dialogue. One of the first creators of comics was William Hogarth, Hogarth created seven sets of sequential images on Modern Moral Subjects. One of his works, A Rakes Progress, was composed of a number of canvases, each reproduced as a print, as printing techniques developed, due to the technological advances of the industrial revolution, magazines and newspapers were established. These publications utilized illustrations as a means of commenting on political and social issues, soon, artists were experimenting with establishing a sequence of images to create a narrative. Artists such as George Cruikshank helped codify such phylacters as balloons rather than scrolls and they now represented narrative, but for identification purposes rather than dialogue within the work, and artists soon discarded them in favour of running dialogue underneath the panels. Speech balloons were not reintroduced to the form until Richard F. Outcault used them for dialogue, the Glasgow Looking Glass, published in 1826, was arguably the first comic strip. A satirical publication, later known as The Northern Looking Glass, it lampooned the fashions, rodolphe Töpffer, a Francophone Swiss artist, was a key figure in the early part of the 19th century. The lack of laws at the time meant that pirated editions proliferated. It does not mean you just devise caricatures with a pencil naturally frivolous, nor is it simply to dramatize a proverb or illustrate a pun. You must actually invent some kind of play, where the parts are arranged by plan and you do not merely pen a joke or put a refrain in couplets. You make a book, good or bad, sober or silly, in 1845, the satirical drawings, which regularly appeared in newspapers and magazines, gained a name, cartoons. This usage became common parlance, lasting to the present day, similar magazines containing cartoons in continental Europe included Fliegende Blätter and Le Charivari, while in the U. S. Judge and Puck were popular
8.
Glossary of comics terminology
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Several attempts have been made to formalise and define the terminology of comics by authors such as Will Eisner, Scott McCloud, R. C. Harvey and Dylan Horrocks. Much of the terminology in English is under dispute, so this page will list and describe the most common terms used in comics. Comics is used in the singular, in the way the politics or economics are, to refer to the medium. Comic as an adjective also has the meaning of funny, or as pertaining to comedians, comic as a singular noun is sometimes used to refer to individual comics periodicals, what are known in North America as comic books. Underground comix is a term first popularized by cartoonists in the underground movement of the 1960s and 1970s in an attempt to move the word away from its etymological origins. Alternative comics is a term covering a range of American comics that have appeared since the 1980s, a panel, frame or box is one drawing on a page, and contains a segment of action. A page may have one or many panels, and panels are frequently, the size, shape and style of a panel, as well as the placement of figures and speech balloons inside it, affect the timing or pacing of a story. Panels are used to break up and encapsulate sequences of events in a narrative, what occurs in a panel may be asynchronous, meaning that not everything that occurs in a single panel necessarily occurs at one time. The gutter is the space between panels, vertical gutters can be made thinner than horizontal gutters in order to encourage the reader to group each row of panels for easier reading. A tier is a row of panels. A splash or splash page is a large, often full-page illustration which opens and it is rarely less than half a page, and occasionally covers two pages. Often designed as a unit, its purpose is to capture the readers attention. A spread is an image that spans more than one page, the two-page spread is the most common, but there are spreads that span more pages, often by making use of a foldout. A speech/word/dialogue balloon or speech/word/dialogue bubble is an indicator, containing the characters dialogue. The indicator from the balloon that points at the speaker is called a pointer or tail, the speech balloon bridges the gap between word and image—the word made image, as expressed by Pierre Fresnault-Druelle. In early renderings, speech balloons were no more than ribbons emanating from their speakers mouths and its shape came to convey meaning as well. A thought balloon contains copy expressing a characters unvoiced thoughts, usually shaped like a cloud, emotions can be expressed by the shape of the balloon—spiked balloons can indicate shouting, and dripping balloons can indicate sarcasm. In a caption, words appear in a box separated from the rest of the panel or page, usually to give voice to a narrator, but sometimes used for the characters thoughts or dialogue
9.
Cartoonist
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A cartoonist is a visual artist who specializes in drawing cartoons. This work is created for entertainment, political commentary, or advertising. The English satirist and editorial cartoonist William Hogarth, who emerged In the 18th century, has credited with pioneering Western sequential art. His work ranged from realistic portraiture to comic series of pictures called modern moral subjects. Much of his work poked fun at politics and customs. Gillray explored the use of the medium for lampooning and caricature, calling the king, prime ministers and generals to account, while never a professional cartoonist, Benjamin Franklin is credited with having the first cartoon published in an American newspaper. In the 19th century, professional cartoonists such as Thomas Nast introduced other familiar American political symbols, during the 20th century, numerous magazines carried single-panel gag cartoons by such freelance cartoonists as Charles Addams, Irwin Caplan, Chon Day, Clyde Lamb, and John Norment. These were almost always published in black and white, although Colliers often carried cartoons in color, the debut of Playboy introduced full-page color cartoons by Jack Cole, Eldon Dedini, and others. Single-panel cartoonists syndicated to newspapers included Dave Breger, Hank Ketcham, George Lichty, Fred Neher, Irving Phillips, comic strips received widespread distribution to mainstream newspapers by syndicates such as the Universal Press Syndicate, United Media, or King Features. Sunday strips go to a company such as American Color before they are published. Some comic strip creators publish in the press or on the Internet. Comic strip artists may also work in book-length form, creating graphic novels. Both vintage and current strips receive reprints in book collections, the major comic book publishers utilize teams of cartoonists to produce the art. When a consistent artistic style is wanted among different cartoonists, character model sheets may be used as reference, animated cartooning is created for short films, advertising, feature films and television. It is also used in live-action films for dream sequences or opening titles. An animation artist is referred to as an animator rather than a cartoonist. They create motion pictures as well, Animation studios such as DreamWorks Animation, Pixar, Walt Disney Animation Studios, and Blue Sky Studios create CGI or computer-animated films that are more three-dimensional. There are many books of cartoons in both paperback and hardcover, such as the collections of cartoons from The New Yorker, prior to the 1960s, cartoons were mostly ignored by museums and art galleries
10.
Comic book
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A comic book or comicbook, also called comic magazine or simply comic, is a publication that consists of comic art in the form of sequential juxtaposed panels that represent individual scenes. Panels are often accompanied by brief descriptive prose and written narrative, although comics has some origins in 18th century Japan and 1830s Europe, comic books were first popularized in the United States during the 1930s. Comic books are reliant on their organization and appearance, authors largely focus on the frame of the page, size, orientation, and panel positions. These characteristic aspects of books are necessary in conveying the content. The key elements of comic books include panels, balloons, text, balloons are usually convex spatial containers of information that are related to a character using a tail element. The tail has an origin, path, tip, and pointed direction, there are many technological formulas used to create comic books, including directions, axes, data, and metrics. Following these key formatting procedures is the writing, drawing, Comics as a print medium have existed in America since the printing of The Adventures of Mr. Obadiah Oldbuck in 1842 in hardcover, making it the first known American prototype comic book. The introduction of Jerry Siegel and Joe Shusters Superman in 1938 turned comic books into a major industry, the Golden Age originated the archetype of the superhero. Historians generally divide the timeline of the American comic book into eras, the Golden Age of Comic Books began with the introduction of Superman in 1938, spurring a period of high sales. The Silver Age of comic books is considered to date from the first successful revival of the then-dormant superhero form. The demarcation between the Silver Age and the era, the Bronze Age of Comic Books, is less well-defined. The Modern Age of Comic Books runs from the mid-1980s to the present day, in response to attention from the government and from the media, the U. S. comic book industry set up the Comics Magazine Association of America. The CMAA instilled the Comics Code Authority in 1954 and drafted the self-censorship Comics Code that year and it was not until the 1970s that comic books could be published without passing through the inspection of the CMAA. In the early 1970s, a surge of creativity emerged in what known as underground comix. Published and distributed independently of the comics industry, most of such comics reflected the youth counterculture. Underground comics were almost never sold at newsstands, but rather in such youth-oriented outlets as head shops and record stores, frank Stacks The Adventures of Jesus, published under the name Foolbert Sturgeon, has been credited as the first underground comic. The rise of comic book specialty stores in the late 1970s created/paralleled a dedicated market for independent or alternative comics in the U. S, some independent comics continued in the tradition of underground comics. A few represented experimental attempts to bring closer to the status of fine art
11.
Comic strip
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A comic strip is a sequence of drawings arranged in interrelated panels to display brief humor or form a narrative, often serialized, with text in balloons and captions. With the development of the internet, they began to online as web comics. There were more than 200 different comic strips and daily cartoon panels in American newspapers alone each day for most of the 20th century, Strips are written and drawn by a comics artist or cartoonist. As the name implies, comic strips can be humorous, starting in the late 1920s, comic strips expanded from their mirthful origins to feature adventure stories, as seen in Popeye, Captain Easy, Buck Rogers, Tarzan, and The Adventures of Tintin. Soap-opera continuity strips such as Judge Parker and Mary Worth gained popularity in the 1940s, all are called, generically, comic strips, though cartoonist Will Eisner has suggested that sequential art would be a better genre-neutral name. In the UK and the rest of Europe, comic strips are also serialized in comic book magazines, storytelling using a sequence of pictures has existed through history. One medieval European example in textile form is the Bayeux Tapestry, printed examples emerged in 19th-century Germany and in 18th-century England, where some of the first satirical or humorous sequential narrative drawings were produced. William Hogarths 18th century English cartoons include both narrative sequences, such as A Rakes Progress, and single panels, in China, with its traditions of block printing and of the incorporation of text with image, experiments with what became lianhuanhua date back to 1884. The first newspaper comic strips appeared in North America in the late 19th century, the Yellow Kid is usually credited as one of the first newspaper strips. However, the art form combining words and pictures developed gradually, swiss author and caricature artist Rodolphe Töpffer is considered the father of the modern comic strips. In 1865, German painter, author, and caricaturist Wilhelm Busch created the strip Max and Moritz, Max and Moritz provided an inspiration for German immigrant Rudolph Dirks, who created the Katzenjammer Kids in 1897. Familiar comic-strip iconography such as stars for pain, sawing logs for snoring, speech balloons, hugely popular, Katzenjammer Kids occasioned one of the first comic-strip copyright ownership suits in the history of the medium. When Dirks left William Randolph Hearst for the promise of a better salary under Joseph Pulitzer, it was an unusual move, in a highly unusual court decision, Hearst retained the rights to the name Katzenjammer Kids, while creator Dirks retained the rights to the characters. Hearst promptly hired Harold Knerr to draw his own version of the strip, Dirks renamed his version Hans and Fritz. Thus, two versions distributed by rival syndicates graced the pages for decades. Dirks version, eventually distributed by United Feature Syndicate, ran until 1979, in the United States, the great popularity of comics sprang from the newspaper war between Pulitzer and Hearst. On January 31,1912, Hearst introduced the nations first full daily comic page in his New York Evening Journal, the history of this newspaper rivalry and the rapid appearance of comic strips in most major American newspapers is discussed by Ian Gordon. The longest running American comic strips are,1, barney Google and Snuffy Smith 5
12.
Editorial cartoon
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An editorial cartoon, also known as a political cartoon, is a drawing containing a commentary expressing the artists opinion. An artist who writes and draws such images is known as an editorial cartoonist and they typically combine artistic skill, hyperbole and satire in order to question authority and draw attention to corruption, political violence and other social ills. The pictorial satire of William Hogarth has been credited as the precursor to the political cartoon and his pictures combined social criticism with sequential artistic scenes. A frequent target of his satire was the corruption of early-18th-century British politics and his art often had a strong moralizing element to it, such as in his masterpiece of 1719, A Rakes Progress. However, his work was only tangentially politicized and was regarded on its artistic merits. George Townshend, 1st Marquess Townshend produced some of the first overtly political cartoons, Gillray explored the use of the medium for lampooning and caricature, and has been referred to as the father of the political cartoon. The times in which Gillray lived were peculiarly favourable to the growth of a school of caricature. Party warfare was carried on with vigour and not a little bitterness. Gillrays incomparable wit and humour, knowledge of life, fertility of resource, keen sense of the ludicrous, george Cruikshank became the leading cartoonist in the period following Gillray. His early career was renowned for his caricatures of English life for popular publications. He gained notoriety with his prints that attacked the royal family. His work included a personification of England named John Bull who was developed from about 1790 in conjunction with other British satirical artists such as James Gillray, and Thomas Rowlandson. The art of the cartoon was further developed with the publication of the periodical Punch in 1841, founded by Henry Mayhew. It was bought by Bradbury and Evans in 1842, who capitalised on newly evolving mass printing technologies to turn the magazine into a preeminent national institution. Punch humorously appropriated the term to refer to its political cartoons, artists who published in Punch during the 1840s and 50s included John Leech, Richard Doyle, John Tenniel and Charles Keene. This group became known as The Punch Brotherhood, which also included Charles Dickens who joined Bradbury and Evans after leaving Chapman, Punch authors and artists also contributed to another Bradbury and Evans literary magazine called Once A Week, created in response to Dickens departure from Household Words. For over five decades he was a steadfast social witness to the sweeping changes that occurred during this period alongside his fellow cartoonist John Leech. By the mid 19th century, major newspapers in many countries featured cartoons designed to express the publishers opinion on the politics of the day
13.
Manga
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Manga are comics created in Japan or by creators in the Japanese language, conforming to a style developed in Japan in the late 19th century. They have a long and complex pre-history in earlier Japanese art, the term manga in Japan is a word used to refer to both comics and cartooning. Manga as a term used outside Japan refers to comics published in Japan. In Japan, people of all ages read manga, many manga are translated into other languages. Since the 1950s, manga has become a major part of the Japanese publishing industry, representing a ¥406 billion market in Japan in 2007. Manga have also gained a significant worldwide audience, in Europe and the Middle East the market was worth $250 million in 2012. In 2008, in the U. S. and Canada, the market was valued at $175 million, the markets in France. Manga stories are printed in black-and-white, although some full-color manga exist. In Japan, manga are usually serialized in manga magazines, often containing many stories. If the series is successful, collected chapters may be republished in tankōbon volumes, frequently but not exclusively, a manga artist typically works with a few assistants in a small studio and is associated with a creative editor from a commercial publishing company. If a manga series is popular enough, it may be animated after or even during its run, sometimes manga are drawn centering on previously existing live-action or animated films. Manga-influenced comics, among original works, exist in parts of the world, particularly in China, Hong Kong, Taiwan. The word manga comes from the Japanese word 漫画, composed of the two kanji 漫 meaning whimsical or impromptu and 画 meaning pictures, rakuten Kitazawa first used the word manga in the modern sense. In Japanese, manga refers to all kinds of cartooning, comics, among English speakers, manga has the stricter meaning of Japanese comics, in parallel to the usage of anime in and outside Japan. The term ani-manga is used to describe comics produced from animation cels, writers on manga history have described two broad and complementary processes shaping modern manga. One view emphasizes events occurring during and after the U. S, occupation of Japan, and stresses U. S. cultural influences, including U. S. comics and images and themes from U. S. television, film, and cartoons. Regardless of its source, an explosion of artistic creativity certainly occurred in the period, involving manga artists such as Osamu Tezuka. Astro Boy quickly became popular in Japan and elsewhere
14.
Webcomic
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Webcomics are comics published on a website. While many are published exclusively on the web, others are published in magazines. Webcomics can be compared to self-published print comics in that anyone with an Internet connection can publish their own webcomic, readership levels vary widely, many are read only by the creators immediate friends and family, while some of the largest claim audiences well over one million readers. Webcomics range from traditional comic strips and graphic novels to avant garde comics and they sometimes take on the role of a comic blog. There are several differences between webcomics and print comics, with webcomics the restrictions of the traditional newspapers or magazines can be lifted, allowing artists and writers to take advantage of the webs unique capabilities. The freedom webcomics provide allows artists to work in nontraditional styles, clip art or photo comics are two types of webcomics that do not use traditional artwork. A Softer World, for example, is made by overlaying photographs with strips of typewriter-style text, pixel art, such as that created by Richard Stevens of Diesel Sweeties, is similar to that of sprite comics but instead uses low-resolution images created by the artist himself. However, it is common for artists to use traditional styles and layouts. Some webcomics stretch the boundaries of taste, taking advantage of the fact that internet censorship is virtually nonexistent in countries like the United States, Webcomics come in a large variation of formats throughout the world. Comic strips, generally consisting of three or four panels, have traditionally been a format for webcomics. Other webcomics may mimic the pages of comic books and graphic novels. Such a format proved successful in South-Korean webcomics when JunKoo Kim implemented an infinite scrolling mechanism in Line Webtoon in 2004. Some webcartoonists, such as political cartoonist Mark Fiore or Charley Parker with Argon Zark, incorporate animations or interactive elements into their webcomics. The first comics to be shared through the Internet were created in the mid-1980s, services such as CompuServe and Usenet were used before the World Wide Web started to rise in popularity in 1993. Early webcomics were usually derivatives from strips in newspapers, but when the Web became widely popular in the mid-1990s. By the year 2000, various webcomic creators were financially successful, unique genres and styles became popular during this period. In the second half of the 2000s, webcomics became less financially sustainable due to the rise of social media, however, crowdsourcing through Kickstarter and Patreon also became popular in this period, allowing readers to donate money to webcomic creators directly. The 2010s also saw the rise of webtoons in South Korea, in March 1995, Bebe Williams launched the webcomics portal Art Comics Daily, an online gallery of several webcomics
15.
Webtoon
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Webtoon is a term used to describe South Korean webcomics or manhwa that are published online. The Korean web portal Daum created a service in 2003. These services regularly release webtoons that are available for free, as of July 2014, Naver had published 520 webtoons while Daum had published 434. Since the early 2010s, services such as Tapastic, Spottoon, examples of popular webtoons that have been translated into English are The Breaker, Girls of the Wilds, The Gamer, Noblesse, and Tower of God. In recent years, these webtoons have been gaining popularity in Western markets, as digital comics have emerged as a popular medium, print publication of manhwa has decreased. The amount of published in webtoon form has now reached an equal amount as that published offline. The earliest webtoons were scanned original comics uploaded onto the Internet, with the development of technology, authors were able to utilise flash animation effects. Enhanced preloading enabled later authors to adopt a vertical layout with scrolling, in contrast to comics with a dense panel composition, scrolling brings new panels into view. This makes webtoons suitable for gradual and continuous representation, allowing webtoon reading to more fluid. With the advent of the smartphone and tablet, webtoons have also migrated to new platforms such as apps, prior to 2014, most webtoons were only available in English through unofficial fan translations. In July 2014, Naver subsidiary Line began publication of translations of popular webtoons to English via the Line Webtoon service, the market for webtoons and their derivatives is currently valued at around KR₩420 billion. Although digital comics are increasingly popular, print publication remains the primary means of comic retail, some publishers offer online content and print content simultaneously. Huhs later work, Tazza, was serialized in the Sports Chosun and garnered over 100 million homepage views, another of Huhs works, Le Grand Chef, was published in the Dong-a Ilbo for five years and sold 540,000 copies in paperback version. Navers Line Webtoon service, launched in 2014, is now the biggest webtoon platform in Korea, according to Naver, it reaches over 6.2 million daily users. The free Line Webtoon translation service has allowed webtoons to form part of the global Korean Wave
16.
Comic book collecting
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Comic book collecting is a hobby that treats comic books and related items as collectibles or artwork to be sought after and preserved. Comics are collected for several reasons, including appreciation, nostalgia, financial profit. The comic book came to light in the pop culture arena in the 1930s due to the popularity of superhero characters Superman, Batman, other large non-manga publishers include Image Comics, IDW, and Dark Horse Comics. As of 2010, numerous conventions and festivals are held around the world, with Comic-Con International held annually in San Digo, being the largest, while some people collect comic books for personal interest in the medium or characters, others prefer to collect for profit. To assist both types of comic book collector, comic book price guides are available and provide estimates of comic book values as well as information on comic book creators and characters, the price guides assign values for comic books based on demand, availability, and the copys condition. The longest running price guide is the annual Overstreet Price Guide, another current monthly price guide is Comics Buyers Guide. The Grand Comics Database is an online resource for comic book creator. Popular online price guide and collection tracking services include comicbookrealm. com, comicspriceguide. com, GPA only tracks sales of slabbed books, and therefore is not an accurate indicator of overall comic sales. Before the late 1960s, virtually no specialized comic stores existed, a few collector-based retail establishments existed, most notably Pop Hollingers retail and mail order shop for new and used comics in Concordia, Kansas, which was in full swing by 1940. Claude Held had followed suit in Buffalo, New York, by 1946, the origins of comic book collecting as an organized hobby has its roots in early science fiction fandom and comic book letters pages. In the early 1960s, DC Comics began publishing the addresses of the people writing in. In the US a few specialist shops had opened their doors by the 1960s, in the UK, the only distribution channels available were ordinary news stands and mail order publications like Exchange and Mart or through zines run by the early panelologists themselves. When Marvel tested the new comics specialty market with the title Dazzler in 1981, the comic sold over 400,000 copies, hereafter, comics publishers started tailoring ever-increasing percentages of marketing and production solely for the sale in specialist stores. From roughly 1985 through 1993, comic book speculation reached its highest peaks and this boom period began with the publication of titles like Batman, The Dark Knight Returns and Watchmen and summer crossover epics like Crisis on Infinite Earths and Secret Wars. Once aware of this market, the mainstream press focused on its potential for making money. During this time, mainstream comic book began to pander specifically to the collectors market. Techniques used included variant covers, polybags, and gimmick covers, gimmicks included glow-in-the-dark, hologram-enhanced, die-cut, embossing, foil stamped or foil-embossed covers. Gimmicks were almost entirely cosmetic in nature, and almost never extended to improved content of the comics, however, many speculators would buy multiple copies of these issues, anticipating that demand would allow them to sell them for a substantial profit in the future
17.
Novel
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A novel is any relatively long piece of written narrative fiction, normally in prose, and typically published as a book. The genre has also described as possessing, a continuous. This view sees the novels origins in Classical Greece and Rome, medieval, early modern romance, the latter, an Italian word used to describe short stories, supplied the present generic English term in the 18th century. The romance is a closely related long prose narrative, Romance, as defined here, should not be confused with the genre fiction love romance or romance novel. Other European languages do not distinguish between romance and novel, a novel is le roman, der Roman, il romanzo, a novel is a long, fictional narrative which describes intimate human experiences. Most European languages use the word romance for extended narratives, fictionality is most commonly cited as distinguishing novels from historiography. However this can be a problematic criterion, historians would also invent and compose speeches for didactic purposes. Novels can, on the hand, depict the social, political and personal realities of a place and period with clarity. Even in the 19th century, fictional narratives in verse, such as Lord Byrons Don Juan, Alexander Pushkins Yevgeniy Onegin, vikram Seths The Golden Gate, composed of 590 Onegin stanzas, is a more recent example of the verse novel. Both in 12th-century Japan and 15th-century Europe, prose fiction created intimate reading situations, on the other hand, verse epics, including the Odyssey and Aeneid, had been recited to a select audiences, though this was a more intimate experience than the performance of plays in theaters. A new world of Individualistic fashion, personal views, intimate feelings, secret anxieties, conduct and gallantry spread with novels, the novel is today the longest genre of narrative prose fiction, followed by the novella, short story, and flash fiction. However, in the 17th century critics saw the romance as of epic length, the length of a novel can still be important because most literary awards use length as a criterion in the ranking system. Urbanization and the spread of printed books in Song Dynasty China led to the evolution of oral storytelling into consciously fictional novels by the Ming dynasty, parallel European developments did not occur for centuries, and awaited the time when the availability of paper allowed for similar opportunities. By contrast, Ibn Tufails Hayy ibn Yaqdhan and Ibn al-Nafis Theologus Autodidactus are works of didactic philosophy, in this sense, Hayy ibn Yaqdhan would be considered an early example of a philosophical novel, while Theologus Autodidactus would be considered an early theological novel. Epic poetry exhibits some similarities with the novel, and the Western tradition of the novel back into the field of verse epics. Then at the beginning of the 18th century, French prose translations brought Homers works to a wider public, longus is the author of the famous Greek novel, Daphnis and Chloe. Romance or chivalric romance is a type of narrative in prose or verse popular in the circles of High Medieval. In later romances, particularly those of French origin, there is a tendency to emphasize themes of courtly love
18.
Periodical literature
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Periodical literature is a published work that appears in a new edition on a regular schedule. The most familiar example is the magazine, typically published weekly, monthly, newspapers, often published daily or weekly, are, strictly speaking, serials, not periodicals. Other examples of periodicals are newsletters, literary magazines, academic journals, science magazines and these examples are typically published and referenced by volume and issue. Volume typically refers to the number of years the publication has been circulated, for example, the April 2011 publication of a monthly magazine first published in 2002 would be listed as, Volume 10, Issue 4. Roman numerals are used in reference to the Volume number. When citing a work in a periodical, there are standardized formats such as The Chicago Manual of Style. In the latest edition of this style, a work with volume number 17 and issue number 3 may be written as follows, James M. Heilman, wikipedia and Medicine, Quantifying Readership, Editors, and the Significance of Natural Language. Journal of Medical Internet Research 17, no.3, periodicals can be classified into two types, popular and scholarly. Scholarly journals are most commonly found in libraries and databases, examples are The Journal of Psychology and the Journal of Social Work. Trade/professional magazine are also examples of periodicals and they are written for an audience of professionals in the world. As of the early 1990s, there were over 6,000 business, technical, academic, scientific and trade publications in the United States alone. These examples are related to the idea of a continuing cycle of production and publication, magazines plan to continue publishing. A novel, in contrast, might be published in monthly parts and this approach is called part-publication, particularly when each part is from a whole work, or a serial, for example in comic books. It flourished during the century, for example with Abraham John Valpys Delphin Classics. The International Standard Serial Number is to serial publications what the International Standard Book Number is to books, postal services often carry periodicals at a preferential rate, for example, Second Class Mail in the United States only applies to publications issued at least quarterly
19.
Fanzine
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A fanzine is a nonprofessional and nonofficial publication produced by fans of a particular cultural phenomenon for the pleasure of others who share their interest. The term was coined in an October 1940 science fiction fanzine by Russ Chauvenet, typically, publishers, editors and contributors of articles or illustrations to fanzines receive no financial compensation. Fanzines are traditionally circulated free of charge, or for a nominal cost to defray postage or production expenses, copies are often offered in exchange for similar publications, or for contributions of art, articles, or letters of comment, which are then published. The term fanzine is sometimes confused with fan magazine, but the term most often refers to commercially produced publications for fans. P. These publications were produced first on small tabletop printing presses, often by students, as professional printing technology progressed, so did the technology of fanzines. Early fanzines were hand-drafted or typed on a typewriter and printed using primitive reproduction techniques. Only a very small number of copies could be made at a time, the use of mimeograph machines enabled greater press runs, and the photocopier increased the speed and ease of publishing once more. Today, thanks to the advent of publishing and self-publication. When Hugo Gernsback published the first scientifiction magazine, Amazing Stories in 1926, by 1927 readers, often young adults, would write to each other, bypassing the magazine. Science fiction fanzines had their beginnings in Serious & Constructive correspondence, fans finding themselves writing the same letter to several correspondents sought to save themselves a lot of typing by duplicating their letters. Early efforts included simple carbon copies but that proved insufficient, the first science fiction fanzine, The Comet, was published in 1930 by the Science Correspondence Club in Chicago and edited by Raymond A. Palmer and Walter Dennis. The term fanzine was coined by Russ Chauvenet in the October 1940 edition of his fanzine Detours, fanzines were distinguished from prozines, that is, all professional magazines. Prior to that, the fan publications were known as fanmags or letterzines, Science fiction fanzines used a variety of printing methods. Typewriters, school dittos, church mimeos and multi-color letterpress or other mid-to-high level printing, some fans wanted their news spread, others reveled in the artistry and beauty of fine printing. The hectograph, introduced around 1876, was so named because it could produce up to a hundred copies, hecto used an aniline dye, transferred to a tray of gelatin, and paper would be placed on the gel, one sheet at a time, for transfer. Messy and smelly, the process could create vibrant colors for the few copies produced, the next small but significant technological step after hecto is the spirit duplicator, essentially the hectography process using a drum instead of the gelatin. Introduced by Ditto Corporation in 1923, these machines were known for the six decades as Ditto Machines and used by fans because they were cheap to use. The mimeograph machine, which forced ink through a wax paper stencil cut by the keys of a typewriter, was the standard for many decades, a second-hand mimeo could print hundreds of copies and print in color
20.
Art Spiegelman
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Art Spiegelman is an American cartoonist, editor, and comics advocate best known for his graphic novel Maus. He is married to designer and editor Françoise Mouly and is the father of writer Nadja Spiegelman and he gained prominence in the underground comix scene in the 1970s with short, experimental, and often autobiographical work. A selection of these appeared in the collection Breakdowns in 1977, after which Spiegelman turned focus to the book-length Maus, about his relation with his father. The postmodern book depicts Nazis as cats, Jews as mice, and ethnic Poles as pigs and it won a special Pulitzer Prize in 1992 and has gained a reputation as a pivotal work, responsible for bringing scholarly attention to the comics medium. Spiegelman and Mouly edited eleven issues of Raw from 1980 to 1991. Beginning in the 1990s, the couple worked for The New Yorker, Spiegelman advocates for greater comics literacy. As an editor, a teacher at the School of Visual Arts in New York City, Art Spiegelmans parents were Polish Jews Władysław and Andzia Spiegelman. His father was born Zeev Spiegelman, with the Hebrew name Zeev ben Avraham, Władysław was his Polish name, and Władek was a diminutive of this name. He was also known as Wilhelm under the German occupation, and his mother was born Andzia Zylberberg, with the Hebrew name Hannah. She took the name Anna upon her immigration to the US, in Spiegelmans Maus, from which the couple are best known, Spiegelman used the spellings Vladek and Anja, which he believed would be easier for Americans to pronounce. The surname Spiegelman is German for mirror man, the Spiegelmans had one other son, Rysio, who died before Art was born at the age of five or six. During the Holocaust, Spiegelmans parents sent Rysio to stay with an aunt with whom they believed he would be safe. The aunt poisoned herself, along with Rysio and two other family members in her care, so that the Nazis would not take them to the extermination camps. After the war, the Spiegelmans, unable to accept that Rysio was dead, Spiegelman talked of having a sort of sibling rivalry with his ghost brother—he felt unable to compete with an ideal brother who never threw tantrums or got in any kind of trouble. Of 85 Spiegelman relatives alive at the beginning of World War II, Spiegelman was born Itzhak Avraham ben Zeev in Stockholm, Sweden, on February 15,1948. He immigrated with his parents to the US in 1951, upon immigration his name was registered as Arthur Isadore, but he later had his given name changed to Art. Initially the family settled in Norristown, Pennsylvania, and then relocated to Rego Park in Queens, New York City and he began cartooning in 1960 and imitated the style of his favorite comic books, such as Mad. At Russell Sage Junior High School, where he was an honors student and he was earning money from his drawing by the time he reached high school and sold artwork to the original Long Island Press and other outlets
21.
Maus
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Maus is a graphic novel by American cartoonist Art Spiegelman, serialized from 1980 to 1991. It depicts Spiegelman interviewing his father about his experiences as a Polish Jew, the work employs postmodern techniques and represents Jews as mice and other Germans and Poles as cats and pigs. Critics have classified Maus as memoir, biography, history, fiction, autobiography, in 1992 it became the first graphic novel to win a Pulitzer Prize. In the narrative past, Spiegelman depicts these experiences, from the leading up to World War II to his parents liberation from the Nazi concentration camps. Much of the story revolves around Spiegelmans troubled relationship with his father, and her grief-stricken husband destroyed her written accounts of Auschwitz. The book uses a minimalist drawing style and displays innovation in its pacing, and structure, a three-page strip also called Maus that he made in 1972 gave Spiegelman an opportunity to interview his father about his life during World War II. The recorded interviews became the basis for the novel, which Spiegelman began in 1978. He serialized Maus from 1980 until 1991 as an insert in Raw, a comics and graphics magazine published by Spiegelman and his wife, Françoise Mouly. A collected volume of the first six chapters that appeared in 1986 brought the book mainstream attention, Maus was one of the first graphic novels to receive significant academic attention in the English-speaking world. Most of the book weaves in and out of two timelines, in the frame tale of the narrative present, Spiegelman interviews his father Vladek in the Rego Park neighborhood of New York City in 1978–79. The story that Vladek tells unfolds in the narrative past, which begins in the mid-1930s, in Rego Park in 1958, a young Art Spiegelman complains to his father that his friends have left him behind. His father responds in broken English, Friends, if you lock them together in a room with no food for a week, then you could see what it is, friends. As an adult, Art visits his father, from whom he has become estranged, Vladek has remarried to a woman called Mala since the suicide in 1968 of Arts mother Anja. Art asks Vladek to recount his Holocaust experiences, Vladek tells of his time in the Polish city Częstochowa and how he came to marry into Anjas wealthy family in 1937 and move to Sosnowiec to become a manufacturer. Vladek begs Art not to include this in the book, Anja suffers a breakdown due to postpartum depression after giving birth to their first son Richieu, and the couple go to a sanitarium in Nazi-occupied Czechoslovakia for her to recover. After they return, political and antisemitic tensions build until Vladek is drafted just before the Nazi invasion, Vladek is captured at the front and forced to work as a prisoner of war. After his release, he finds Germany has annexed Sosnowiec, and he sneaks across the border and reunites with his family. During one of Arts visits, he finds that a friend of Malas has sent the couple one of the underground comix magazines Art contributed to, Mala had tried to hide it, but Vladek finds and reads it
22.
Frank Miller (comics)
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He also directed the film version of The Spirit, shared directing duties with Robert Rodriguez on Sin City and Sin City, A Dame to Kill For, and produced the film 300. His film Sin City earned a Palme dOr nomination, and he has received every major comic book industry award, in 2015, Miller was inducted into the Will Eisner Award Hall of Fame. He created the book characters Elektra for Marvel Comics Daredevil series. Miller is noted for combining film noir and manga influences in his art creations. I realized when I started Sin City that I found American and English comics be too wordy, too constipated, so I was attempting to do a hybrid. Miller was born in Olney, Maryland, on January 27,1957, and raised in Montpelier, Vermont, the fifth of seven children of a nurse mother, Miller grew up a comics fan, a letter he wrote to Marvel Comics was published in The Cat #3. By the time of the latter, Miller had his first confirmed credit in writer Wyatt Gwyons six-page Deliver Me From D-Day, inked by Danny Bulanadi, in Weird War Tales #64. Former Marvel editor-in-chief Jim Shooter recalled Miller going to DC Comics after having broken in with. a small job from Western Publishing, I think. Thus emboldened, he went to DC, and after getting savaged by Joe Orlando, got in to see art director Vinnie Colletta, who recognized talent and arranged for him to get a one-page war-comic job. His first work for Marvel Comics was penciling the 17-page story The Master Assassin of Mars, Part 3 in John Carter, at Marvel, Miller would settle in as a regular fill-in and cover artist, working on a variety of titles. One of these jobs was drawing Peter Parker, The Spectacular Spider-Man #27–28, at the time, sales of the Daredevil title were poor but Miller saw potential in a blind protagonist in a purely visual medium, he recalled in 2000. Miller went to writer and staffer Jo Duffy and she passed on his interest to editor-in-chief Jim Shooter to get Miller work on Daredevils regular title, Shooter agreed and made Miller the new penciller on the title. As Miller recalled in 2008, When I first showed up in New York, I showed up with a bunch of comics, and said, Where are the guys in tights. And I had to learn how to do it, but as soon as a title came along, when Gene Colan left Daredevil, I realized it was my secret in to do crime comics with a superhero in them. And so I lobbied for the title and got it, Daredevil #158, Millers debut on that title, was the finale of an ongoing story written by Roger McKenzie and inked by Klaus Janson. After this issue, Miller became one of Marvels rising stars, however, sales on Daredevil did not improve, Marvels management continued to discuss cancellation, and Miller himself almost quit the series, as he disliked McKenzies scripts. Millers fortunes changed with the arrival of Denny ONeil as editor, realizing Millers unhappiness with the series, and impressed by a backup story he had written, ONeil fired McKenzie so that Miller could try writing the series himself. Miller and ONeil would maintain a working relationship throughout his run on the series
23.
The Dark Knight Returns
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The Dark Knight Returns is a 1986 four-issue comic book miniseries starring Batman, written by Frank Miller, illustrated by Miller and Klaus Janson, and published by DC Comics. When the series was collected into a single later that year. The story introduces Carrie Kelley as the new Robin and culminates with a confrontation against Superman, a three-issue sequel written and illustrated by Miller, The Dark Knight Strikes Again, was published in 2001. An nine-issue third installment, The Dark Knight III, The Master Race, co-written by Miller, Frank Miller has said he is working on a fourth series. Additionally, Spawn/Batman was released in 1994 as a companion to The Dark Knight Returns, and, according to Miller, the series All Star Batman & Robin, the Boy Wonder can be considered a prequel. In the pre-Flashpoint DC Multiverse, the events of The Dark Knight Returns, the Dark Knight Returns is set in a dystopian near-future version of Gotham City. Bruce Wayne, at 50, has given up the mantle of Batman after the death of Jason Todd 10 years prior, as a result, crime is running rampant through the city and a gang calling themselves The Mutants has risen to terrorize the people of Gotham. Upon seeing this, Wayne returns to his role as a vigilante, on his first night as Batman he puts a stop to multiple assaults- including one on two young girls, Carrie Kelley and her friend Michelle. While attempting to foil a robbery on the same night. Dent, previously known for his acts as Two-Face, underwent extensive therapy. Batman informs Commissioner James Gordon that Dent may be planning a larger scheme, soon after, Dent hijacks the television sets of the city and announces his intention to hold the city to ransom with a bomb. When Batman defeats Dent and his goons, he realizes that Dents mind has completely warped into his Two-Face persona, inspired by Batmans rescue, Kelley buys herself an imitation Robin costume and searches for him, seeking to help him. She learns that Batman will be at the city dump and follows the Mutants there, although Batman defeats the Mutants with his advanced weaponry in the ensuing battle, the Mutant Leader ends up goading him into a fight. Kelley creates a diversion, allowing Batman to immobilise the Mutant Leader, at the Batcave, Waynes butler Alfred Pennyworth tends to his wounds while Kelley admires the Robin costume that belonged to Todd. Wayne decides to keep Kelley as his new sidekick, Gordon allows Batman to defeat the Mutant Leader on his own terms. The two engage in a fight at a sewage run-off pipe surrounded by members of the Mutant gang, Batman, leveraging the mud from the sewage to slow him down, deals the Leader a brutal defeat. Seeing Batman defeat their leader, the Mutants disband and some rename themselves the Sons of Batman, at the White House, Superman and the president discuss the events in Gotham, with the latter suggesting that Superman may have to arrest Batman. Superman informs the president that he may only be able to talk to Wayne and he is then deployed by Washington to the Latin American country of Corto Maltese where he fights Soviet combat forces in a conflict that may ignite WWIII
24.
Alan Moore
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Alan Moore is an English writer primarily known for his work in comic books including Watchmen, V for Vendetta and From Hell. Frequently described as the best graphic novel writer in history, he has been recognised by his peers. Moore started writing for British underground and alternative fanzines in the late 1970s before achieving success publishing comic strips in such magazines as 2000 AD, during that decade, Moore helped to bring about greater social respectability for comics in the United States and United Kingdom. He prefers the term comic to graphic novel, despite his own personal objections, his books have provided the basis for a number of Hollywood films, including From Hell, The League of Extraordinary Gentlemen, V for Vendetta, and Watchmen. Moore has also referenced in popular culture, and has been recognised as an influence on a variety of literary and television figures including Neil Gaiman, Joss Whedon. Moore was born on 18 November 1953, at St Edmonds Hospital in Northampton to a family who he believed had lived in the town for several generations. He grew up in a part of Northampton known as The Boroughs, an area with a lack of facilities and high levels of illiteracy. I didnt know there was anything else. He lived in his house with his parents, brewery worker Ernest Moore and he read omnivorously from the age of five, getting books out of the local library, and subsequently attended Spring Lane Primary School. In the late 1960s Moore began publishing his own poetry and essays in fanzines, eventually setting up his own fanzine, through Embryo, Moore became involved in a group known as the Northampton Arts Lab. The Arts Lab subsequently made significant contributions to the magazine and he began dealing the hallucinogenic LSD at school, being expelled for doing so in 1970 – he later described himself as one of the worlds most inept LSD dealers. Whilst continuing to live in his parents home for a few years, he moved through various jobs, including cleaning toilets. In late 1973, he met and began a relationship with Northampton-born Phyllis Dixon, soon marrying, they moved into a new council estate in the towns eastern district while he worked in an office for a sub-contractor of the local gas board. Moore felt that he was not being fulfilled by this job, abandoning his office job, he decided to instead take up both writing and illustrating his own comics. He had already produced a couple of strips for several alternative fanzines and magazines, mouse for the local paper Anon, and St. Pancras Panda, a parody of Paddington Bear, for the Oxford-based Back Street Bugle. Alongside this, he and Phyllis, with their newborn daughter Leah, not long after this, in 1979 he also began publishing a new comic strip known as Maxwell the Magic Cat in the Northants Post, under the pseudonym of Jill de Ray. Earning a further £10 a week from this, he decided to sign off of social security, to learn more about how to write a successful comic-book script, he asked advice from his friend, comic-book writer Steve Moore, whom he had known since he was fourteen. Interested in writing for 2000AD, one of Britains most prominent comic magazines, Alan Moore then submitted a script for their long running, while the first few were rejected, Grant advised Moore on improvements, and eventually accepted the first of many
25.
Dave Gibbons
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David Chester Dave Gibbons is an English comic book artist, writer and sometimes letterer. He is best known for his collaborations with writer Alan Moore, which include the miniseries Watchmen and he was an artist for the UK anthology 2000 AD, for which he contributed a large body of work from its first issue in 1977. Gibbons was born on 14 April 1949, at Forest Gate Hospital in London, England, to Chester, a planner, and Gladys. He began reading books at the age of seven. A self-taught artist, he illustrated his own comic strips, Gibbons became a building surveyor but eventually entered the UK comics industry as a letterer for IPC Media. He left his job to focus on his comics career. Gibbons entered the British comics industry by working on horror and action titles for both DC Thomson and IPC, working on early feature Ro-Busters, Gibbons became one of the most prolific of 2000 ADs earliest creators, contributing artwork to 108 of the first 131 Progs/issues. He illustrated a handful of Thargs Future Shocks shorts, primarily with author Alan Moore, Gibbons was known, by sight but not by name, to readers of the short-lived IPC title Tornado. Whereas 2000 AD was said to be edited by the alien Tharg, Tornado was edited by superhero Big E,69, missing only four issues during that time. The Doctor Who Storybook 2007 features a story called Untitled which includes the name Gibbons in a list of artists of Earth history. Gibbons first DC work was on the Green Lantern Corps story in Green Lantern No,161, with writer Todd Klein, as well as the concurrently released Creeper two-part backup story in The Flash #318–319. Gibbons drew the story in The Brave and the Bold No.200 which featured a team-up of the Batmen of Earth-One. 172, Gibbons joined writer Wein on the feature while continuing to illustrate the backup features. 182, Wein and Gibbons made architect John Stewart, who had been introduced previously in issue No, ceding the Tales of the Green Lantern Corps backup features to various other individuals from No. 181, Gibbons last issue with Wein was issue No.186, Gibbons returned to pencil the backup story Mogo Doesnt Socialize with Alan Moore in issue No.188. For the 1985 Superman Annual No,11, Gibbons drew the main story For the Man Who Has Everything, again written by Alan Moore. In December 1986, he contributed to Harrier Comics Brickman No.1 alongside Kevin ONeill, Lew Stringer, between May and August 1988, he contributed covers to The Phantom miniseries, inked Kevin Maguires pencilled contribution to Action Comics No. 600, and produced the cover to Action Comics Weekly No.601, Gibbons believes that his own involvement likely came about after the idea was already in its early initial stages
26.
Watchmen
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Watchmen is an American comic-book limited series published by DC Comics in 1986 and 1987, and collected in 1987. The series was created by a British collaboration consisting of writer Alan Moore, artist Dave Gibbons, Watchmen originated from a story proposal Moore submitted to DC featuring superhero characters that the company had acquired from Charlton Comics. As Moores proposed story would have many of the characters unusable for future stories. Moore used the story as a means to reflect contemporary anxieties and to deconstruct, the story focuses on the personal development and moral struggles of the protagonists as an investigation into the murder of a government-sponsored superhero pulls them out of retirement. Creatively, the focus of Watchmen is on its structure, Gibbons used a nine-panel grid layout throughout the series and added recurring symbols such as a blood-stained smiley face. Structured, at times, as a narrative, the story skips through space, time. In the same manner, entire scenes and dialogue have parallels with others through synchronicity, coincidence, the BBC described it as The moment comic books grew up. After a number of attempts to adapt the series into a feature film, a video game series, Watchmen, The End Is Nigh, was released in the same year to coincide with the films release. In 2012, DC Comics published Before Watchmen, a comic-book series acting as a prequel to the original Watchmen series, without Moore and Gibbons involvement. Watchmen, created by writer Alan Moore and artist Dave Gibbons, was first published as a 12-issue maxiseries from DC Comics, cover-dated September 1986 to October 1987. In February 1988, DC published a limited-edition, slipcased hardcover volume, produced by Graphitti Design, in 2005, DC released Absolute Watchmen, an oversized slipcased hardcover edition of the series in DCs Absolute Edition format. Assembled under the supervision of Dave Gibbons, Absolute Watchmen included the Graphitti materials and that December DC published a new printing of Watchmen issue #1 at the original 1986 cover price of $1.50 as part of its Millennium Edition line. In 2012, DC launched a line, with various creative teams producing the characters early adventures before the events of the graphic novel. In 1985, DC Comics acquired a line of characters from Charlton Comics, during that period, writer Alan Moore contemplated writing a story that featured an unused line of superheroes that he could revamp, as he had done in his Miracleman series in the early 1980s. Moore reasoned that MLJ Comics Mighty Crusaders might be available for such a project, Moore used this premise and crafted a proposal featuring the Charlton characters titled Who Killed the Peacemaker, and submitted the unsolicited proposal to DC managing editor Dick Giordano. Giordano was receptive to the proposal, but opposed the idea of using the Charlton characters for the story, Moore said, DC realized their expensive characters would end up either dead or dysfunctional. Instead, Giordano persuaded Moore to continue with new characters, Moore had initially believed that original characters would not provide emotional resonance for the readers, but later changed his mind. Artist Dave Gibbons, who had collaborated with Moore on previous projects, I rang Alan up, saying I’d like to be involved with what he was doing
27.
Merriam-Webster
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Merriam-Webster, Incorporated, is an American company that publishes reference books, especially known for its dictionaries. In 1831, George and Charles Merriam founded the company as G & C Merriam Co. in Springfield, in 1843, after Noah Webster died, the company bought the rights to An American Dictionary of the English Language from Websters estate. All Merriam-Webster dictionaries trace their lineage to this source, in 1964, Encyclopædia Britannica, Inc. acquired Merriam-Webster, Inc. as a subsidiary. The company adopted its current name in 1982, in 1806, Webster published his first dictionary, A Compendious Dictionary of the English Language. In 1807 Webster started two decades of work to expand his publication into a fully comprehensive dictionary, An American Dictionary of the English Language. To help him trace the etymology of words, Webster learned 26 languages, Webster hoped to standardize American speech, since Americans in different parts of the country used somewhat different vocabularies and spelled, pronounced, and used words differently. Webster completed his dictionary during his year abroad in 1825 in Paris and his 1820s book contained 70,000 words, of which about 12,000 had never appeared in a dictionary before. He also added American words, including skunk and squash, that did not appear in British dictionaries, at the age of 70 in 1828, Webster published his dictionary, it sold poorly, with only 2,500 copies putting him in debt. However, in 1840, he published the edition in two volumes with much greater success. He shows ways that American poetry inherited Websters ideas and draws on his lexicography to develop the language, in 1843, after Websters death, George Merriam and Charles Merriam secured publishing and revision rights to the 1840 edition of the dictionary. They published a revision in 1847, which did not change any of the text but merely added new sections. This began a series of revisions that were described as being unabridged in content, in 1884 it contained 118,000 words,3000 more than any other English dictionary. With the edition of 1890, the dictionary was retitled Websters International, the Collegiate Dictionary was introduced in 1898 and the series is now in its eleventh edition. Following the publication of Websters International in 1890, two Collegiate editions were issued as abridgments of each of their Unabridged editions, with the ninth edition, the Collegiate adopted changes which distinguish it as a separate entity rather than merely an abridgment of the Third New International. Some proper names were returned to the word list, including names of Knights of the Round Table, the most notable change was the inclusion of the date of the first known citation of each word, to document its entry into the English language. The eleventh edition includes more than 225,000 definitions, a CD-ROM of the text is sometimes included. This dictionary is preferred as a source for general matters of spelling by the influential The Chicago Manual of Style, the Chicago Manual states that it normally opts for the first spelling listed. Merriam overhauled the dictionary again with the 1961 Websters Third New International under the direction of Philip B, gove, making changes that sparked public controversy
28.
Publishing
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Publishing is the dissemination of literature, music, or information—the activity of making information available to the general public. In some cases, authors may be their own publishers, meaning originators and developers of content also provide media to deliver, also, the word publisher can refer to the individual who leads a publishing company or an imprint or to a person who owns/heads a magazine. Traditionally, the term refers to the distribution of printed works such as books, Publishing includes the following stages of development, acquisition, copy editing, production, printing, and marketing and distribution. There are two categories of book publisher, Non-paid publishers, A non-paid publisher is a house that does not charge authors at all to publish their books. Paid publishers, The author has to meet with the expense to get the book published. This is also known as vanity publishing, at a small press, it is possible to survive by relying entirely on commissioned material. But as activity increases, the need for works may outstrip the publishers established circle of writers, for works written independently of the publisher, writers often first submit a query letter or proposal directly to a literary agent or to a publisher. Submissions sent directly to a publisher are referred to as unsolicited submissions, the acquisitions editors send their choices to the editorial staff. Unsolicited submissions have a low rate of acceptance, with some sources estimating that publishers ultimately choose about three out of every ten thousand unsolicited manuscripts they receive. Many book publishers around the world maintain a strict no unsolicited submissions policy and this policy shifts the burden of assessing and developing writers out of the publisher and onto the literary agents. At these publishers, unsolicited manuscripts are thrown out, or sometimes returned, established authors may be represented by a literary agent to market their work to publishers and negotiate contracts. Literary agents take a percentage of earnings to pay for their services. Some writers follow a route to publication. Such books often employ the services of a ghostwriter, for a submission to reach publication, it must be championed by an editor or publisher who must work to convince other staff of the need to publish a particular title. An editor who discovers or champions a book that becomes a best-seller may find their reputation enhanced as a result of their success. Once a work is accepted, commissioning editors negotiate the purchase of property rights. The authors of traditional printed materials typically sell exclusive territorial intellectual property rights that match the list of countries in which distribution is proposed. In the case of books, the publisher and writer must also agree on the formats of publication —mass-market paperback
29.
Library
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A library is a collection of sources of information and similar resources, made accessible to a defined community for reference or borrowing. It provides physical or digital access to material, and may be a building or room, or a virtual space. Libraries range in size from a few shelves of books to several million items, in Latin and Greek, the idea of a bookcase is represented by Bibliotheca and Bibliothēkē, derivatives of these mean library in many modern languages, e. g. French bibliothèque. The first libraries consisted of archives of the earliest form of clay tablets in cuneiform script discovered in Sumer. Private or personal libraries made up of books appeared in classical Greece in the 5th century BC. In the 6th century, at the close of the Classical period. A library is organized for use and maintained by a body, an institution. In addition to providing materials, libraries also provide the services of librarians who are experts at finding and organizing information, Libraries often provide quiet areas for studying, and they also often offer common areas to facilitate group study and collaboration. Libraries often provide facilities for access to their electronic resources. Modern libraries are increasingly being redefined as places to get unrestricted access to information in many formats, the first libraries consisted of archives of the earliest form of writing—the clay tablets in cuneiform script discovered in temple rooms in Sumer, some dating back to 2600 BC. These archives, which consisted of the records of commercial transactions or inventories, mark the end of prehistory. Things were much the same in the government and temple records on papyrus of Ancient Egypt, the earliest discovered private archives were kept at Ugarit, besides correspondence and inventories, texts of myths may have been standardized practice-texts for teaching new scribes. There is also evidence of libraries at Nippur about 1900 BC, philosopher Laozi was keeper of books in the earliest library in China, which belonged to the Imperial Zhou dynasty. Also, evidence of catalogues found in some destroyed ancient libraries illustrates the presence of librarians, the Library of Alexandria, in Egypt, was the largest and most significant great library of the ancient world. It flourished under the patronage of the Ptolemaic dynasty and functioned as a center of scholarship from its construction in the 3rd century BC until the Roman conquest of Egypt in 30 BC. The library was conceived and opened either during the reign of Ptolemy I Soter or during the reign of his son Ptolemy II, an early organization system was in effect at Alexandria. The Library of Celsus in Ephesus, Anatolia, now part of Selçuk, Turkey was built in honor of the Roman Senator Tiberius Julius Celsus Polemaeanus by Celsus’ son, the library was built to store 12,000 scrolls and to serve as a monumental tomb for Celsus. Private or personal libraries made up of books appeared in classical Greece in the 5th century BC
30.
Bookselling
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Bookselling is the commercial trading of books, the retail and distribution end of the publishing process. People who engage in bookselling are called booksellers, bookwomen, or bookmen, the founding of libraries in 300 BC stimulated the energies of the Athenian booksellers. In Rome, toward the end of the republic, it became the fashion to have a library, and Roman booksellers carried on a flourishing trade. The spread of Christianity naturally created a demand for copies of the Gospels, other sacred books. The modern system of bookselling dates from soon after the introduction of printing, in the course of the 16th and 17th centuries the Low Countries for a time became the chief centre of the bookselling world. Modern book selling has changed dramatically with the advent of the Internet, with major websites such as Amazon, eBay, and other big book distributors offering affiliate programs, book sales have now, more than ever, been put in the hands of the small business owner. Bookstores may be part of a chain, or local independent bookstores. Stores can range in size offering from several hundred to several hundred thousands of titles and they may be brick-and-mortar stores or internet only stores or a combination of both. Sizes for the larger bookstores exceed half a million titles, bookstores often sell other printed matter besides books, such as newspapers, magazines and maps, additional product lines may vary enormously, particularly among independent bookstores. Another common type of bookstore is the used bookstore or second-hand bookshop which buys and sells used, a range of titles are available in used bookstores, including in print and out of print books. Book collectors tend to frequent used book stores, large online bookstores offer used books for sale, too. In the book of Jeremiah the prophet is represented as dictating to Baruch the scribe and these scribes were the earliest booksellers, and supplied copies as they were demanded. Aristotle possessed an extensive library, and Plato is recorded to have paid the large sum of one hundred minae for three small treatises of Philolaus the Pythagorean. When the Alexandrian library was founded about 300 BC, various expedients were used for the purpose of procuring books, in Rome, toward the end of the republic, it became the fashion to have a library as part of the household furniture. Roman booksellers carried on a flourishing trade and their shops were chiefly in the Argiletum, and in the Vicus Sandalarius. On the door, or on the posts, was a list of the books on sale, and Martial. In the time of Augustus the great booksellers were the Sosii, according to Justinian, a law was passed granting to the scribes the ownership of the material written, this may be the beginnings of the modern law of copyright. All references had to be certified by the local mayor, if the application was accepted, the bookseller would have to swear an oath of loyalty to the régime
31.
Franco-Belgian comics
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Franco-Belgian comics are comics that are created for a Belgian and French audience. These countries have a tradition in comics and comic books, where they are known as BDs. In Europe, the French language is spoken not only in France but also by about 40% of the population of Belgium. The shared language creates an artistic and commercial market where national identity is often blurred, Flemish Belgian comic books are influenced by Francophone comics, yet have a distinctly different style, both in art as well as in spirit. Among the most popular Franco-Belgian comics that have achieved international fame are The Adventures of Tintin, Gaston Lagaffe, Asterix, Lucky Luke, the term bandes dessinées is derived from the original description of the art form as drawn strips. It was first introduced in the 1930s, but only became popular in the 1960s, the term bandes dessinées contains no indication of subject matter, unlike the American terms comics and funnies, which imply a humorous art form. Indeed, the distinction of comics as the art is prevalent in Francophone scholarship on the form, as is the concept of comics criticism. The publication of Francis Lacassins book Pour un neuvième art, la bande dessinée in 1971 further established the term and these were humorous short works rarely longer than a single page. In the Francophonie, artists such as Gustave Doré, Nadar, Christophe, in the early decades of the 20th century, comics were not stand-alone publications, but were published in newspapers and weekly or monthly magazines as episodes or gags. Aside from these magazines, the Catholic Church was creating and distributing healthy, in the early 1900s, the first popular French comics appeared, including Bécassine and Les Pieds Nickelés. In the 1920s, after the end of the first world war, Saint-Ogan was one of the first French-speaking artists to fully utilize techniques popularized and formulaized in the USA, such as word balloons. In 1920, the Abbot of Averbode in Belgium started publishing Zonneland, a magazine consisting largely of text with few illustrations, which started printing comics more often in the following years. One of the earliest proper Belgian comics was Hergés The Adventures of Tintin, with the story Tintin in the Land of the Soviets and it was quite different from future versions of Tintin, the style being very naïve and simple, even childish, compared to the later stories. The early stories often featured racist and political stereotypes that Hergé later regretted, the success was immediate, and soon other publishers started publishing periodicals with American series. This continued during the remainder of the decade, with hundreds of magazines publishing mostly imported material, the most important ones in France were Robinson, Hurrah, and Coeurs Vaillants, while Belgian examples include Wrill and Bravo. In 1938, Spirou magazine was launched, Spirou also appeared translated in a Dutch version under the name Robbedoes for the Flemish market. Export to the Netherlands followed a few years later, when Germany invaded France and Belgium, it became close to impossible to import American comics. The occupying Nazis banned American animated movies and comics they deemed to be of a questionable character, both were, however, already very popular before the war and the hardships of the war period only seemed to increase the demand
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The Adventures of Tintin
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The Adventures of Tintin is a series of 24 comic albums created by Belgian cartoonist Georges Remi, who wrote under the pen name Hergé. The series was one of the most popular European comics of the 20th century, by 2007, a century after Hergés birth in 1907, Tintin had been published in more than 70 languages with sales of more than 200 million copies. The series first appeared in French on 10 January 1929 in Le Petit Vingtième, the success of the series saw the serialised strips published in Belgiums leading newspaper Le Soir and spun into a successful Tintin magazine. In 1950, Hergé created Studios Hergé, which produced the canonical versions of ten Tintin albums, the Adventures of Tintin have been adapted for radio, television, theatre, and film. The series is set during a largely realistic 20th century and its hero is Tintin, a young Belgian reporter and adventurer. He is aided by his faithful dog Snowy, the series has been admired for its clean, expressive drawings in Hergés signature ligne claire style. Its well-researched plots straddle a variety of genres, swashbuckling adventures with elements of fantasy, mysteries, political thrillers, the stories feature slapstick humour, offset by dashes of sophisticated satire and political or cultural commentary. Georges Remi, best known under the pen name Hergé, was employed as an illustrator at Le Vingtième Siècle, run by the Abbé Norbert Wallez, the paper described itself as a Catholic Newspaper for Doctrine and Information and disseminated a far-right, fascist viewpoint. Wallez appointed Hergé editor of a new Thursday youth supplement, titled Le Petit Vingtième, propagating Wallezs socio-political views to its young readership, it contained explicitly pro-fascist and anti-Semitic sentiment. In addition to editing the supplement, Hergé illustrated Lextraordinaire aventure de Flup, Nénesse, Poussette et Cochonnet, dissatisfied with this, Hergé wanted to write and draw his own cartoon strip. He already had experience creating comic strips, from July 1926 he had written a strip about a Boy Scout patrol leader titled Les Aventures de Totor C. P. des Hannetons for the Scouting newspaper Le Boy Scout Belge. Totor was an influence on Tintin, with Hergé describing the latter as being like Totors younger brother. Although Hergé wanted to send Tintin to the United States, Wallez ordered him to set his adventure in the Soviet Union, the result, Tintin in the Land of the Soviets, was serialised in Le Petit Vingtième from January 1929 to May 1930. Popular in Francophone Belgium, Wallez organised a publicity stunt at the Gare du Nord station, the storys popularity led to an increase in sales, so Wallez granted Hergé two assistants. At Wallezs direction, in June he began serialisation of the story, Tintin in the Congo. The Adventures of Tintin had been syndicated to French Catholic magazine Cœurs Vaillants since 1930, and Hergé was soon receiving syndication requests from Swiss and Portuguese newspapers too. Hergé went on to pen a string of Adventures of Tintin, sending his character to real locations such as the Belgian Congo, the United States, Egypt, India, China, in May 1940, Nazi Germany invaded Belgium as World War II broke out across Europe. Although Hergé briefly fled to France and considered a self-imposed exile, for political reasons, the Nazi authorities closed down Le Vingtième Siècle, leaving Hergé unemployed
33.
Histoire de M. Vieux Bois
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The format consists of sequential pictures with captions, aka text comics, rather than utilizing the staple of word-balloons, a convention that would later be developed in newspaper comic strips. In Understanding Comics, comics theorist Scott McCloud says Töpffers work is in ways the father of the modern comic. McCloud emphasizes Töpffers use of cartooning and panel borders along with the first interdependent combination of words, töpffer described comics as a medium appealing particularly to children and the lower classes, and this is evident in the style of the work. Töpffer used a method called autography, in which the pen draws on specially prepared paper. Autography lithographs also did not require the drawings to be flipped horizontally, Mr. Vieux Bois encounters a seemingly overweight young woman and instantly falls in love. His initial attempts at courting are ignored, followed by periods of his desperation. He attempts suicide by falling on his own sword and then by hanging himself and he discovers a rival suitor and challenges him to a duel. He is better with his sword and his rival has to flee. Vieux Bois contacts the parents of his girlfriend, seeking her hand in marriage and he returns home and starts to celebrate loudly. His celebration ends with his arrest for disturbing the neighbours, the marriage is called off and he feels suicidal. He asks for hemlock but is given herb soup instead and he then goes traveling but falls prey to highwaymen. Seeking refuge in a lair, he meets a hermit who persuades him to join the local cloister, after two weeks he escapes the cloister dressed in drag. He loses his eye on his way home and starts wearing an eyepatch. At home he finds a letter from his love interest, finally returning his affection, nightly he serenades her with a large but unspecified string instrument. They flee on his horse which struggles to support her weight, but Vieux Bois is apprehended by monks and returned to prison. He throws himself out of a window in his unsuccessful suicide attempt. Released he flees again with his fiancee, returning to his home by way of the local river they are discovered by a little hermit. Vieux Bois keeps the head under the water until he dies from drowning
34.
Caran d'Ache
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Caran dAche was the pseudonym of the 19th century French satirist and political cartoonist Emmanuel Poiré. Caran dAche comes from the Russian word karandash, meaning pencil, the Swiss art products company Caran dAche is named after him. Born in Moscow,6 November 1858, he was the grandson of an Officer-Grenadier in Napoleons Grande Armée who, after his grandfathers death he was adopted by a Polish family whose daughter he later married. He died in Paris on 26 February 1909 at the age of 50,1880, His first drawings of military caricatures were published in La Chronique Parisienne. 1892, Caran dAche published Carnet de Chèques on the Panama Canal Affair,1895, He started publishing editorial cartoons in the daily Le Figaro, and soon thereafter for the popular weekly Le Rire. 1898, Émile Zola published JAccuse, which brought the Dreyfus Affair into the spotlight, with fellow cartoonist Forain, he founded Psst. Caran dAche biography on Lambiek Comiclopedia
35.
Le Figaro
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Le Figaro is a French daily morning newspaper founded in 1826 and published in Paris. The oldest national daily in France, Le Figaro is one of the two French newspapers of record, along with Le Monde, and is one of the most widely respected newspapers in the world. In 2012, the paper had a circulation of 330,952 copies per issue. The paper is published in the format, switching from a broadsheet in 2009. The newspaper is owned by Le Figaro Group, whose publications include TV Magazine and Evene, the companys chairman is Serge Dassault, whose Dassault Group has controlled the paper since 2004. Le Figaro was founded as a weekly in 1826, taking its name and motto from Le Mariage de Figaro. Its motto, from Figaros monologue in the final act, is Sans la liberté de blâmer. In 1833, editor Nestor Roqueplan fought a duel with a Colonel Gallois, who was offended by an article in Le Figaro, albert Wolff, Émile Zola, Alphonse Karr and Jules Claretie were among the papers early contributors. It was published irregularly until 1854, when it was taken over by Hippolyte de Villemessant. In 1866 Le Figaro became a daily newspaper and its first daily edition, that of 16 November 1866, sold 56,000 copies, having highest circulation of any newspaper in France. In 1922, Le Figaro was purchased by perfume millionaire François Coty, abel Faivre did cartoons for the paper. By the start of World War II, Le Figaro had become Frances leading newspaper, after the war it became the voice of the upper middle class, and continues to maintain a conservative position. In 1975, Le Figaro was bought by Robert Hersants Socpresse, in 1999, the Carlyle Group obtained a 40% stake in the paper, which it later sold in March 2002. Dassault owns 80% of the paper, in 2006, Le Figaro was banned in Egypt and Tunisia for publishing articles allegedly insulting Islam. Le Figaro switched to Berliner format in 2009, the paper has published The New York Times International Weekly on Friday since 2009, an 8-page supplement featuring a selection of articles from The New York Times translated into French. In 2010, Lefigaro. fr created a section called Le Figaro in English, Le Figaro has traditionally held a conservative editorial stance, becoming the voice of the French upper and middle classes. His son Olivier Dassault is a member of the French National Assembly, Dassault has remarked in an interview in 2004 on the public radio station France Inter that newspapers must promulgate healthy ideas and that left-wing ideas are not healthy ideas. They requested more pluralism and honesty and accused the paper of one-sided political reporting, mougeotte had previously said that Le Figaro would do nothing to embarrass the government and the right
36.
The Yellow Kid
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The Yellow Kid was the name of a lead American comic strip character that ran from 1895 to 1898 in Joseph Pulitzers New York World, and later William Randolph Hearsts New York Journal. Created and drawn by Richard F. Outcaults use of balloons in the Yellow Kid influenced the basic appearance and use of balloons in subsequent newspaper comic strips. Although a cartoon, Outcaults work aimed its humor and social commentary at Pulitzers adult readership, the strip has been described as. The Yellow Kid is also famous for its connection to the coining of the yellow journalism. Hogans Alley was filled with odd characters, mostly other children. With a goofy grin, the Kid habitually spoke in a ragged, peculiar slang, which was printed on his shirt, a device meant to lampoon advertising billboards. The Yellow Kids head was drawn wholly shaved as if having been recently ridden of lice and his nightshirt, a hand-me-down from an older sister, was white or pale blue in the first color strips. The character who would become the Yellow Kid first appeared on the scene in a minor supporting role in cartoon panel published in Truth magazine in 1894 and 1895. The World published another, newer Hogans Alley cartoon less than a later. Hogans Alley gradually became a full-page Sunday color cartoon with the Yellow Kid as its lead character, lukss version of the Yellow Kid introduced a pair of twins, Alex and George, also dressed in yellow nightshirts. Publication of both versions stopped abruptly after three years in early 1898, as circulation wars between the rival papers dwindled. Moreover, Outcault may have lost interest in the character when he realized he couldnt retain exclusive control over it. The Yellow Kids last appearance is most often noted as 23 January 1898 in a strip about hair tonic, the Yellow Kid appeared now and then in Outcaults later cartoon strips, most notably Buster Brown. The two newspapers which ran the Yellow Kid, Pulitzers World and Hearsts Journal American, quickly known as the yellow kid papers. With the Yellow Kids merchandising success as an icon, the strip came to represent the crass commercial world it had originally lampooned. Entertainment entrepreneur Gus Hill staged vaudeville plays based on the Yellow Strip and his version of McFaddens Flats was made into silent films in 1927 and 1935. The Yellow Kid made an appearance in the Marvel Universe in the Joss Whedon-written Runaways story, in this take on the character, he exhibits superhuman powers. The Yellow Kid Awards, an Italian comics award that is presented by the Italian International Comics, histoire de M. Vieux Bois Max and Moritz The Katzenjammer Kids Alfred E. F. Outcault Societys Yellow Kid site Yellow Kid Pinbacks
37.
Middle Ages
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In the history of Europe, the Middle Ages or Medieval Period lasted from the 5th to the 15th century. It began with the fall of the Western Roman Empire and merged into the Renaissance, the Middle Ages is the middle period of the three traditional divisions of Western history, classical antiquity, the medieval period, and the modern period. The medieval period is subdivided into the Early, High. Population decline, counterurbanisation, invasion, and movement of peoples, the large-scale movements of the Migration Period, including various Germanic peoples, formed new kingdoms in what remained of the Western Roman Empire. In the seventh century, North Africa and the Middle East—once part of the Byzantine Empire—came under the rule of the Umayyad Caliphate, although there were substantial changes in society and political structures, the break with classical antiquity was not complete. The still-sizeable Byzantine Empire survived in the east and remained a major power, the empires law code, the Corpus Juris Civilis or Code of Justinian, was rediscovered in Northern Italy in 1070 and became widely admired later in the Middle Ages. In the West, most kingdoms incorporated the few extant Roman institutions, monasteries were founded as campaigns to Christianise pagan Europe continued. The Franks, under the Carolingian dynasty, briefly established the Carolingian Empire during the later 8th, the Crusades, first preached in 1095, were military attempts by Western European Christians to regain control of the Holy Land from Muslims. Kings became the heads of centralised nation states, reducing crime and violence, intellectual life was marked by scholasticism, a philosophy that emphasised joining faith to reason, and by the founding of universities. Controversy, heresy, and the Western Schism within the Catholic Church paralleled the conflict, civil strife. Cultural and technological developments transformed European society, concluding the Late Middle Ages, the Middle Ages is one of the three major periods in the most enduring scheme for analysing European history, classical civilisation, or Antiquity, the Middle Ages, and the Modern Period. Medieval writers divided history into periods such as the Six Ages or the Four Empires, when referring to their own times, they spoke of them as being modern. In the 1330s, the humanist and poet Petrarch referred to pre-Christian times as antiqua, leonardo Bruni was the first historian to use tripartite periodisation in his History of the Florentine People. Bruni and later argued that Italy had recovered since Petrarchs time. The Middle Ages first appears in Latin in 1469 as media tempestas or middle season, in early usage, there were many variants, including medium aevum, or middle age, first recorded in 1604, and media saecula, or middle ages, first recorded in 1625. The alternative term medieval derives from medium aevum, tripartite periodisation became standard after the German 17th-century historian Christoph Cellarius divided history into three periods, Ancient, Medieval, and Modern. The most commonly given starting point for the Middle Ages is 476, for Europe as a whole,1500 is often considered to be the end of the Middle Ages, but there is no universally agreed upon end date. English historians often use the Battle of Bosworth Field in 1485 to mark the end of the period
38.
Woodcut
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Woodcut is a relief printing technique in printmaking. An artist carves an image into the surface of a block of wood—typically with gouges—leaving the printing parts level with the surface while removing the non-printing parts. Areas that the artist cuts away carry no ink, while characters or images at surface level carry the ink to produce the print, the block is cut along the wood grain. The surface is covered with ink by rolling over the surface with a roller, leaving ink upon the flat surface. Multiple colors can be printed by keying the paper to a frame around the woodblocks, single-leaf woodcut is a term for a woodcut presented as a single image or print, as opposed to a book illustration. Among these the best known are the 16th century Hieronymus Andreae, Hans Lützelburger and Jost de Negker, all of whom ran workshops, the formschneider in turn handed the block on to specialist printers. There were further specialists who made the blank blocks and this is why woodcuts are sometimes described by museums or books as designed by rather than by an artist, but most authorities do not use this distinction. The division of labour had the advantage that a trained artist could adapt to the medium relatively easily, there were various methods of transferring the artists drawn design onto the block for the cutter to follow. Either the drawing would be made directly onto the block, or a drawing on paper was glued to the block, either way, the artists drawing was destroyed during the cutting process. Other methods were used, including tracing, in both Europe and the Far East in the early 20th century, some artists began to do the whole process themselves. In Japan, this movement was called sōsaku-hanga, as opposed to shin-hanga, in the West, many artists used the easier technique of linocut instead. Compared to intaglio techniques like etching and engraving, only low pressure is required to print, as a relief method, it is only necessary to ink the block and bring it into firm and even contact with the paper or cloth to achieve an acceptable print. In Europe a variety of woods including boxwood and several nut and fruit woods like pear or cherry were commonly used, in Japan, there are three methods of printing to consider, Stamping, Used for many fabrics and most early European woodcuts. Used for European woodcuts and block-books later in the fifteenth century, also used for many Western woodcuts from about 1910 to the present. The block goes face up on a table, with the paper or fabric on top, the back is rubbed with a hard pad, a flat piece of wood, a burnisher, or a leather frotton. A traditional Japanese tool used for this is called a baren, later in Japan, complex wooden mechanisms were used to help hold the woodblock perfectly still and to apply proper pressure in the printing process. This was especially helpful once multiple colors were introduced and had to be applied with precision atop previous ink layers, printing in a press, presses only seem to have been used in Asia in relatively recent times. Printing-presses were used from about 1480 for European prints and block-books, simple weighted presses may have been used in Europe before the print-press, but firm evidence is lacking
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