Image Comics is an American comic book publisher. It was founded in 1992 by several high-profile illustrators as a venue for creator-owned properties, in which comics creators could publish material of their own creation without giving up the copyrights to those properties, as is the case in the work for hire-dominated American comics industry, in which the legal author is a publisher, such as Marvel Comics or DC Comics, the creator is an employee of that publisher. Image Comics was successful, remains one of the largest comic book publishers in North America, its output was dominated by superhero and fantasy series from the studios of the founding Image partners, but now includes comics in many genres by numerous independent creators. Its best-known series include The Walking Dead, Savage Dragon, The Darkness, Saga and Bone. In the early 1990s, comics creators Erik Larsen, Rob Liefeld, Jim Valentino had dinner with Malibu Comics editor-in-chief Dave Olbrich. Malibu was a small but established publishing company sympathetic to creator-ownership, Olbrich expressed interest in publishing comics created by them.
These and several other freelance illustrators doing popular work for Marvel Comics were growing frustrated with the company's work for hire policies and practices, which they felt did not sufficiently reward the talent that produced them, as the company merchandised their artwork, compensated them with modest royalties. According to Todd McFarlane, he, Jim Lee and Liefeld met with Marvel president Terry Stewart and editor Tom DeFalco in late December 1991. Larsen and Silvestri, who joined the group the night before, were not present, but the group that met with Stewart indicated that they were representing them as well. Contrary to what has been reported by other sources, McFarlane says that they made no demands of Stewart or Marvel, but informed him that they were leaving, gave their reasons why, cautioned Stewart to heed those reasons, lest the company suffer future exoduses; the creators had the same meeting with DC Comics the next day. After Whilce Portacio returned from his yearly trip to the Philippines, his Homage Studios colleague Lee asked him to join the group.
A group of eight creators announced the founding of Image Comics: illustrators Todd McFarlane, Jim Lee, Rob Liefeld, Marc Silvestri, Erik Larsen, Jim Valentino, Whilce Portacio. This development was nicknamed the "X-odus", because several of the creators involved were famous for their work on the X-Men franchise. Marvel's stock fell $3.25 / share. Image's organizing charter had two key provisions: Image would not own any creator's work. No Image partner would interfere – creatively or financially – with any other partner's work. Image itself would own no intellectual property except the company trademarks: its name and its logo, designed by writer Hank Kanalz; each Image partner founded his own studio, which published under the Image banner but was autonomous from any central editorial control. Claremont was not part of the partnership, Portacio withdrew during the formative stages to deal with his sister's illness, so Image consisted of six studios: Todd McFarlane Productions, owned by Todd McFarlane WildStorm Productions, owned by Jim Lee Highbrow Entertainment, owned by Erik Larsen Shadowline, owned by Jim Valentino Top Cow Productions, owned by Marc Silvestri Extreme Studios, owned by Rob Liefeld Their initial titles were produced under the Image imprint, but published through Malibu Comics, which provided administrative, production and marketing support for the launch of them.
The first Image comic books to arrive in stores were Liefeld's Youngblood, Larsen's The Savage Dragon, McFarlane's Spawn, Lee's WildC. A. T.s. Propelled by the artists' popularity and the eagerness of comic book collectors to get in on the "next big thing", these series sold in numbers that no publisher other than Marvel, DC, or Valiant Comics had achieved in the years since the market's decline in the 1970s. Within a few months, the Image titles' success led to Malibu having 10% of the North American comics market share exceeding that of industry giant DC Comics. By the beginning of 1993, Image's financial situation was secure enough to publish its titles independently, it left Malibu; some of the founders' studios came to resemble separate publishers, each with several ongoing series set in a shared universe. The use of freelancers to write or illustrate series that were owned by the Image partners led to criticism that some of them had reproduced the system they had rebelled against, but with them in charge instead of a corporation.
Image partners such as Larsen and Valentino, who did not take this approach, assumed a neutral position on it, in keeping with the requirement that none of them had any say in how the others' studios were run. Some of the Image partners used their studios to publish new works produced by independent creators, allowing them to retain ownership and editorial control over those series, an arrangement, t
A graphic novel is a book made up of comics content. Although the word "novel" refers to long fictional works, the term "graphic novel" is applied broadly and includes fiction, non-fiction, anthologized work, it is distinguished from the term "comic book", used for comics periodicals. Fan historian Richard Kyle coined the term "graphic novel" in an essay in the November 1964 issue of the comics fanzine Capa-Alpha; the term gained popularity in the comics community after the publication of Will Eisner's A Contract with God and the start of Marvel's Graphic Novel line and became familiar to the public in the late 1980s after the commercial successes of the first volume of Art Spiegelman's Maus in 1986 and the collected editions of Frank Miller's The Dark Knight Returns in 1986 and Alan Moore and Dave Gibbons' Watchmen in 1987. The Book Industry Study Group began using "graphic novel" as a category in book stores in 2001; the term is not defined, though Merriam-Webster's full dictionary definition is "a fictional story, presented in comic-strip format and published as a book", while its simplest definition is given as "cartoon drawings that tell a story and are published as a book".
In the publishing trade, the term extends to material that would not be considered a novel if produced in another medium. Collections of comic books that do not form a continuous story, anthologies or collections of loosely related pieces, non-fiction are stocked by libraries and bookstores as "graphic novels"; the term is sometimes used to distinguish between works created as standalone stories, in contrast to collections or compilations of a story arc from a comic book series published in book form. In continental Europe, both original book-length stories such as La rivolta dei racchi by Guido Buzzelli, collections of comics have been published in hardcover volumes called "albums", since the end of the 19th century; as the exact definition of the graphic novel is debated, the origins of the form are open to interpretation. The Adventures of Obadiah Oldbuck is the oldest recognized American example of comics used to this end, it originated as the 1828 publication Histoire de M. Vieux Bois by Swiss caricaturist Rodolphe Töpffer, was first published in English translation in 1841 by London's Tilt & Bogue, which used an 1833 Paris pirate edition.
The first American edition was published in 1842 by Wilson & Company in New York City using the original printing plates from the 1841 edition. Another early predecessor is Journey to the Gold Diggins by Jeremiah Saddlebags by brothers J. A. D. and D. F. Read, inspired by The Adventures of Obadiah Oldbuck. In 1894 Caran d'Ache broached the idea of a "drawn novel" in a letter to the newspaper Le Figaro and started work on a 360-page wordless book. In the United States there is a long tradition of reissuing published comic strips in book form. In 1897 the Hearst Syndicate published such a collection of The Yellow Kid by Richard Outcault and it became a best seller; the 1920s saw a revival of the medieval woodcut tradition, with Belgian Frans Masereel cited as "the undisputed king" of this revival. His works include Passionate Journey. American Lynd Ward worked in this tradition, publishing Gods' Man, in 1929 and going on to publish more during the 1930s. Other prototypical examples from this period include American Milt Gross's He Done Her Wrong, a wordless comic published as a hardcover book, Une semaine de bonté, a novel in sequential images composed of collage by the surrealist painter Max Ernst.
Charlotte Salomon's Life? or Theater? Combines images and captions; the 1940s saw the launching of Classics Illustrated, a comic-book series that adapted notable, public domain novels into standalone comic books for young readers. In 1947 Fawcett Comics published Comics Novel #1: "Anarcho, Dictator of Death", a 52-page comic dedicated to one story. In 1950, St. John Publications produced the digest-sized, adult-oriented "picture novel" It Rhymes with Lust, a film noir-influenced slice of steeltown life starring a scheming, manipulative redhead named Rust. Touted as "an original full-length novel" on its cover, the 128-page digest by pseudonymous writer "Drake Waller", penciler Matt Baker and inker Ray Osrin proved successful enough to lead to an unrelated second picture novel, The Case of the Winking Buddha by pulp novelist Manning Lee Stokes and illustrator Charles Raab. Presaging Will Eisner's multiple-story graphic novel A Contract with God, cartoonist Harvey Kurtzman wrote and drew the four-story mass-market paperback Harvey Kurtzman's Jungle Book, published in 1959.
By the late 1960s, American comic book creators were becoming more adventurous with the form. Gil Kane and Archie Goodwin self-published a 40-page, magazine-format comics novel, His Name Is... Savage in 1968—the same year Marvel Comics published two issues of The Spectacular Spider-Man in a similar format. Columnist and comic-book writer Steven Grant argues that Stan Lee and Steve Ditko's Doctor Strange story in Strange Tales #130–146, although published serially from 1965–1966, is "the first American graphic novel". Critic Jason Sacks referred to the 13-issue "Panther's Rage"—comics' first-known titled, self-contained, multi-issue story arc—that ran from 1973 to 1975 in the Black Panther series in Marvel's Jungle Action as "Marvel's first graphic novel". Meanwhile, in continental Europe, the tradition of collecting ser
A superhero is a type of heroic stock character possessing supernatural or superhuman powers, dedicated to fighting the evil of their universe, protecting the public, battling supervillains. A female superhero is sometimes called a superheroine, although the word superhero is commonly used for females. Superhero fiction is the genre of fiction, centered on such characters in American comic book and films since the 1930s. By most definitions, characters do not require actual superhuman powers or phenomena to be deemed superheroes. While the Dictionary.com definition of "superhero" is "a figure in a comic strip or cartoon, endowed with superhuman powers and portrayed as fighting evil or crime", the longstanding Merriam-Webster dictionary gives the definition as "a fictional hero having extraordinary or superhuman powers. Terms such as masked crime fighters, costumed adventurers or masked vigilantes are sometimes used to refer to characters such as the Spirit, who may not be explicitly referred to as superheroes but share similar traits.
Some superheroes use their powers to counter daily crime while combating threats against humanity from supervillains, who are their criminal counterparts. At least one of these supervillains will be the superhero's archenemy; some long-running superheroes and superheroines such as Superman, Spider-Man, Wonder Woman, the Hulk, Green Lantern, the Flash, Captain America, Wolverine, Iron Man and the X-Men have a rogues gallery of many villains. There are movies and TV shows featuring various super heroes; the word'superhero' dates to at least 1917. Antecedents of the archetype include such folkloric heroes as Robin Hood, who adventured in distinctive clothing; the 1903 play The Scarlet Pimpernel and its spinoffs popularized the idea of a masked avenger and the superhero trope of a secret identity. Shortly afterward and costumed pulp fiction characters such as Jimmie Dale/the Gray Seal, The Shadow and comic strip heroes, such as the Phantom began appearing, as did non-costumed characters with super strength, including Patoruzú, the comic-strip character Popeye and novelist Philip Wylie's character Hugo Danner.
In the 1930s, both trends came together in some of the earliest superpowered costumed heroes such as Japan's Ōgon Bat, Mandrake the Magician, Superman in 1938 and Captain Marvel at the beginning of the Golden Age of Comic Books. The precise era of the Golden Age of Comic Books is disputed, though most agree that it was started with the launch of Superman in 1938. Superman remains one of the most recognizable Superheroes to this day; the success of Superman spawned a whole new genre of characters with secret identities and superhuman powers – the Superhero genre. During the 1940s there were many superheroes: The Flash, Green Lantern and Blue Beetle debuted in this era; this era saw the debut of first known female superhero, writer-artist Fletcher Hanks's character Fantomah, an ageless ancient Egyptian woman in the modern day who could transform into a skull-faced creature with superpowers to fight evil. The Invisible Scarlet O'Neil, a non-costumed character who fought crime and wartime saboteurs using the superpower of invisibility created by Russell Stamm, would debut in the eponymous syndicated newspaper comic strip a few months on June 3, 1940.
One superpowered character was portrayed as an antiheroine, a rarity for its time: the Black Widow, a costumed emissary of Satan who killed evildoers in order to send them to Hell—debuted in Mystic Comics #4, from Timely Comics, the 1940s predecessor of Marvel Comics. Most of the other female costumed crime-fighters during this era lacked superpowers. Notable characters include The Woman in Red, introduced in Standard Comics' Thrilling Comics #2; the most iconic comic book superheroine, who debuted during the Golden Age, is Wonder Woman. Modeled from the myth of the Amazons of Greek mythology, she was created by psychologist William Moulton Marston, with help and inspiration from his wife Elizabeth and their mutual lover Olive Byrne. Wonder Woman's first appearance was in All Star Comics #8, published by All-American Publications, one of two companies that would merge to form DC Comics in 1944. Pérák was an urban legend originating from the city of Prague during the German occupation of Czechoslovakia in the midst of World War II.
In the decades following the war, Pérák has been portrayed as the only Czech superhero in film and comics. In 1952, Osamu Tezuka's manga Tetsuwan Atom, more popularly known in the West as Astro Boy, was published; the series focused upon a robot boy built by a scientist to replace his deceased son. Being built from an incomplete robot intended for military purposes Astro Boy possessed amazing powers such as flight through thrusters in his feet and the incredible mechanical strength o
A polymer is a large molecule, or macromolecule, composed of many repeated subunits. Due to their broad range of properties, both synthetic and natural polymers play essential and ubiquitous roles in everyday life. Polymers range from familiar synthetic plastics such as polystyrene to natural biopolymers such as DNA and proteins that are fundamental to biological structure and function. Polymers, both natural and synthetic, are created via polymerization of many small molecules, known as monomers, their large molecular mass relative to small molecule compounds produces unique physical properties, including toughness, a tendency to form glasses and semicrystalline structures rather than crystals. The terms polymer and resin are synonymous with plastic; the term "polymer" derives from the Greek word πολύς and μέρος, refers to a molecule whose structure is composed of multiple repeating units, from which originates a characteristic of high relative molecular mass and attendant properties. The units composing polymers derive or conceptually, from molecules of low relative molecular mass.
The term was coined in 1833 by Jöns Jacob Berzelius, though with a definition distinct from the modern IUPAC definition. The modern concept of polymers as covalently bonded macromolecular structures was proposed in 1920 by Hermann Staudinger, who spent the next decade finding experimental evidence for this hypothesis. Polymers are studied in the fields of biophysics and macromolecular science, polymer science. Products arising from the linkage of repeating units by covalent chemical bonds have been the primary focus of polymer science. Polyisoprene of latex rubber is an example of a natural/biological polymer, the polystyrene of styrofoam is an example of a synthetic polymer. In biological contexts all biological macromolecules—i.e. Proteins, nucleic acids, polysaccharides—are purely polymeric, or are composed in large part of polymeric components—e.g. Isoprenylated/lipid-modified glycoproteins, where small lipidic molecules and oligosaccharide modifications occur on the polyamide backbone of the protein.
The simplest theoretical models for polymers are ideal chains. Polymers are of two types: occurring and synthetic or man made. Natural polymeric materials such as hemp, amber, wool and natural rubber have been used for centuries. A variety of other natural polymers exist, such as cellulose, the main constituent of wood and paper; the list of synthetic polymers in order of worldwide demand, includes polyethylene, polystyrene, polyvinyl chloride, synthetic rubber, phenol formaldehyde resin, nylon, polyacrylonitrile, PVB, many more. More than 330 million tons of these polymers are made every year. Most the continuously linked backbone of a polymer used for the preparation of plastics consists of carbon atoms. A simple example is polyethylene. Many other structures do exist. Oxygen is commonly present in polymer backbones, such as those of polyethylene glycol, DNA. Polymerization is the process of combining many small molecules known as monomers into a covalently bonded chain or network. During the polymerization process, some chemical groups may be lost from each monomer.
This happens in the polymerization of PET polyester. The monomers are terephthalic acid and ethylene glycol but the repeating unit is —OC—C6H4—COO—CH2—CH2—O—, which corresponds to the combination of the two monomers with the loss of two water molecules; the distinct piece of each monomer, incorporated into the polymer is known as a repeat unit or monomer residue. Laboratory synthetic methods are divided into two categories, step-growth polymerization and chain-growth polymerization; the essential difference between the two is that in chain growth polymerization, monomers are added to the chain one at a time only, such as in polyethylene, whereas in step-growth polymerization chains of monomers may combine with one another directly, such as in polyester. Newer methods, such as plasma polymerization do not fit neatly into either category. Synthetic polymerization reactions may be carried out without a catalyst. Laboratory synthesis of biopolymers of proteins, is an area of intensive research. There are three main classes of biopolymers: polysaccharides and polynucleotides.
In living cells, they may be synthesized by enzyme-mediated processes, such as the formation of DNA catalyzed by DNA polymerase. The synthesis of proteins involves multiple enzyme-mediated processes to transcribe genetic information from the DNA to RNA and subsequently translate that information to synthesize the specified protein from amino acids; the protein may be modified further following translation in order to provide appropriate structure and functioning. There are other biopolymers such as rubber, suberin and lignin. Occurring polymers such as cotton and rubber were familiar materials for years before synthetic polymers such as polyethene and perspex appeared on the market. Many commercially important polymers are synthesized by chemical modification of occurring polymers. Prominent examples inclu
A comic book or comicbook called comic magazine or comic, is a publication that consists of comic art in the form of sequential juxtaposed panels that represent individual scenes. Panels are accompanied by brief descriptive prose and written narrative dialog contained in word balloons emblematic of the comics art form. Although comics has some origins in 18th century Japan, comic books were first popularized in the United States and the United Kingdom during the 1930s; the first modern comic book, Famous Funnies, was released in the U. S. in 1933 and was a reprinting of earlier newspaper humor comic strips, which had established many of the story-telling devices used in comics. The term comic book derives from American comic books once being a compilation of comic strips of a humorous tone; the largest comic book market is Japan. By 1995, the manga market in Japan was valued at ¥586.4 billion, with annual sales of 1.9 billion manga books/magazines in Japan. The comic book market in the United States and Canada was valued at $1.09 billion in 2016.
As of 2017, the largest comic book publisher in the United States is manga distributor Viz Media, followed by DC Comics and Marvel Comics. Another major comic book market is France, where Franco-Belgian comics and Japanese manga each represent 40% of the market, followed by American comics at 10% market share. Comic books are reliant on their appearance. Authors focus on the frame of the page, size and panel positions; these characteristic aspects of comic books are necessary in conveying the content and messages of the author. The key elements of comic books include panels, balloons and characters. Balloons are convex spatial containers of information that are related to a character using a tail element; the tail has an origin, path and pointed direction. Key tasks in the creation of comic books are writing and coloring. 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.
Proto-comics periodicals began appearing early in the 20th century, with historians citing Dell Publishing's 36-page Famous Funnies: A Carnival of Comics as the first true American comic book. The introduction of Jerry Siegel and Joe Shuster's Superman in 1938 turned comic books into a major industry and ushered the Golden Age of Comics; the Golden Age originated the archetype of the superhero. According to historian Michael A. Amundson, appealing comic-book characters helped ease young readers' fear of nuclear war and neutralize anxiety about the questions posed by atomic power. Historians divide the timeline of the American comic book into eras; the Golden Age of Comic Books began in the 1930s. The Silver Age of comic books is considered to date from the first successful revival of the then-dormant superhero form, with the debut of the Flash in Showcase #4; the Silver Age lasted through the late 1960s or early 1970s, during which time Marvel Comics revolutionized the medium with such naturalistic superheroes as Stan Lee and Jack Kirby's Fantastic Four and Lee and Steve Ditko's Spider-Man.
The demarcation between the Silver Age and the following era, the Bronze Age of Comic Books, is less well-defined, with the Bronze Age running from the early 1970s through the mid-1980s. The Modern Age of Comic Books runs from the mid-1980s to the present day. A notable event in the history of the American comic book came with psychiatrist Fredric Wertham's criticisms of the medium in his book Seduction of the Innocent, which prompted the American Senate Subcommittee on Juvenile Delinquency to investigate comic books. 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, which required all comic books to go through a process of approval, it was not until the 1970s that comic books could be published without passing through the inspection of the CMAA. The Code was made formally defunct in November 2011.
In the late 1960s and early 1970s, a surge of creativity emerged in what became known as underground comix. Published and distributed independently of the established comics industry, most of such comics reflected the youth counterculture and drug culture of the time. Many had an uninhibited irreverent style. Underground comics were never sold at newsstands, but rather in such youth-oriented outlets as head shops and record stores, as well as by mail order. Frank Stack's 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; the first such comics included the anthology series Star Reach, published by comic book writer Mike Friedrich from 1974 to 1979, Harvey Pekar's American Splendor, which continued sporadic publication into the 21st century and which Shari Springer Berman an
Newspaper vending machine
A newspaper vending machine or newspaper rack is a vending machine designed to distribute newspapers. Newspaper vending machines are used worldwide, they are one of the main distribution methods for newspaper publishers. According to the Newspaper Association of America, in recent times in the United States, circulation via newspaper vending machines has dropped significantly: in 1996, around 46% of single-sale newspapers were sold in newspaper boxes, in 2014, only 20% of newspapers were sold in the boxes; the coin operated newspaper vending machine was invented in 1947 by inventor George Thiemeyer Hemmeter. Hemmeter's company, the Serven Vendor Company, was based in Berkeley and had been making rural mail tubes and honor racks; the new invention could be adjusted to accept coins of different denominations. The newspaper rack was able to be used with one hand, took around 30 seconds to dispense a paper. Two models, one with a capacity for 1250 pages of newsprint, the other 2500 pages, were brought into production initially.
By 1987, over one million machines had been distributed. One of the most popular newsrack manufacturers is Kaspar, a Shiner, Texas-based wire works company famous for their Sho-Racks. In the United States, publishers have said that the distribution of newspapers by means of street racks is "an essential method of conveying information to the public" and that regulations regarding their placement are an infringement of the First Amendment to the United States Constitution. In 1983, the city of Lakewood, Ohio adopted an ordinance that gave the mayor of the city complete control of where newspaper racks could be placed, which newspapers could be placed in them. On June 17, 1988, this ordinance was overturned by the United States Supreme Court in a 4-3 ruling, citing that the ordinance could be used to penalize newspapers that criticize the local government; the newspaper vending machines began to lose popularity as many newspapers switched to online distribution, as newspaper prices rose. This is true for Sunday newspapers, which see machines go unfilled by some papers due to the bulk of those editions reducing the number of copies that can be sold.
By 2009, various artists and inventors had begun working on re-purposing the boxes. Newspaper vending machines have been criticized for failing to distribute a newspaper after it has been paid for. Additionally, the design makes it possible for money or newspapers to be stolen from the machine. Newspaper machines are cited by economists when discussing "utility value". Due to their design, one could insert the requisite amount and remove more than one copy of the newspaper. However, a second copy of a newspaper represents little value to the thief, as the information contained within the copies is identical. However, the potential for theft of additional copies is problematic when a copy of the newspaper in question has potential future value, such as on the day after an election, sports event, or major world occurrence. Vending machine Printing press