Mainstream comics

The arrogance of mainstream U.S. Comics

Just bought the 1989 BATMAN Special Edition DVD starring Michael Keaton and Jack Nicholson. As I put on the special features disc on the History of the Dark Knight, world famous sci-fi writer HARLAN ELLISON comes on screen declaring that in the past century, the United States gave birth to five original "artforms": the banjo, musical comedy, the mystery novel, jazz, and the comic book.

This is not the first time I've been getting this. A few months ago on the History Channel, there was a feature on American Superheroes and the same thing was said: Americans invented the comic book.

Now wait a minute. I could accept the fact that Americans with their overwhelming monopoly of worldwide media, POPULARIZED the "modern" 20th century format of the western-style comic book: a monthly pamphlet size format tome printed on pulp paper, in color, mass and assembly-line produced, targeted mainly at children and teen-agers, dealing mostly in humor, violence, melodrama, and other trivial pursuits.

But I could not, for the life of me, accept the fact that Americans INVENTED the comic book as an "art form". That's pure malarkey.

Since 1998 in Oakland, California, an 1842 American edition "comic" entitled: The Adventures of Obadiah Oldbuck by Rodolphe Topffer, was discovered triggering the Americans' curiosity of a possible "Victorian Age of Comics" or, basing it again on American standards, a possible "Platinum Age of Comics". The Europeans and the Japanese are possibly rolling their eyes by now at this late discovery made by the Americans.

Rodolphe Topffer (1799-1846) is considered by Europeans (especially the French) as the creator of the comic strip and the comic book graphic novel. He is also considered the father of bande dessine'e or French Comics. Topffer was a Swiss teacher and had made 7 comicbooks or "picture stories" that were widely circulated in Europe and later, the United States. Among his works were: Histoire de M. Jabot (1833), Monsieur Crepin (1837), Adventures of Obadiah Oldbuck (1837), Les Amours de M. Vieuxbois (1839), Monsieur Pencil (1840) and Le Docteur (1840). READ more

New Comic Book Releases List

ComicList was founded Jan. 12, 1995 with the mission of empowering comic book consumers by providing accurate and timely information. By delivering the weekly list of new releases, along with news concerning current and future products available in local and online comic book shops, we enable consumers to meet their goals more effectively.

Comic Book Action Movies

Here is criteria to grading comic book movies:

Good-Worth seeing again.

Tedious-Worth seeing, but not for repeated viewings

Bad-Not worth seeing at all.

Of course some people may tell me that "tedious" is close to being the same thing as "bad." The tedious movies had good acting and good special effects, but they either repeated scenes over and over or they strectched their movie out way too long.


X-Men (tedious)
X2 (tedious)
Hulk (tedious)
Elektra (bad)
Batman (bad)
Batman Returns (bad)
Batman Forever (good)
Batman & Robin (bad)
Spider-Man 2 (good)
Punisher (good)
Hellboy (good)
Sin City (good)
Blade II (good)
League of Extordinary Gentlemen (bad)
Spider-Man (tedious)
Superman II (good)
Superman III (bad)
Sin City (good)
Teenage Mutant Ninja Turtles I, II, and III (bad)

Comic Book Movies I have never seen and why:

Blade (DVD I rented was scratched and messed up. I'll rent it soon)
Blade Trinty (I'll get around to it)
Superman IV (Never finished it and I have no desire to)
Catwoman (I'm making it a point to never see this)
Punisher (1990 version) (Ditto)
Captain America (Double Ditto)
Spawn (Triple Ditto)
Supergirl (Quadruple Ditto)
Howard the Duck (Penta Ditto?) CRITERIA to grading comic book for Richard

Marvel Comics, 1980 and Beyond!

Marvel Comics continued it meteoric foothold in the comics industry. The 1980s saw some continued advancement and major changes (for the good or bad may depend on your point of view).

It was at this time period that Jim Shooter was Marvel's Editor-in-Chief. Shooter had, what many consider, a controversial personality, but he cured many of the procedural ills plaguing Marvel at the time (including repeatedly missed deadlines). He continued to oversee a creative renaissance at the company.

This renaissance included institutionalizing creator royalty and starting the Epic imprint for creator-owned material in 1982. But, in the long run, Shooter was still accused by many creators, especially near the end of his tenure, of exercising his job in a draconian manner and interfering with the writers' creative processes. More Marvel Comics!

Review: Superheroes and Philosophy. Tom Morris and Matt Morris

Superheroes and Philosophy
Edited by Tom Morris and Matt Morris
2005
Non-fiction Book
Open Court

Part of the "Popular Culture and Philosophy" series of books (other titles include Buffy, Seinfeld, Simpsons, Lord of the Rings, and so on), this book should be either informative on super hero / comic book culture or even academically charged to provide new intellectual insight into these characters and universes. Sadly the book does neither.

Instead this anthology of essays provides poorly written (for the most part), terribly thought out (on all counts), contrived and useless essays by supposedly well educated people. I reviewed and revised that sentence numerous times and truly could not come up with a less offensive way to say it. This book should have been sharp, interesting, fun, and educational. Enough about what it should have been, let's review what it is.

The book is an attempt to relate super heroes and their worlds to philosophical theories in a very sociological manner. The book is broken into four parts: The Image of the Superhero, The Existential World of the Superhero, Superheroes and Moral Duty, and Identity and Superhero Metaphysics. Each section has between 3 and 6 essays on different characters across the major publishers (and only the major two, Marvel and DC) and how they relate to some larger philosophical issue. The authors are primarily PhD recipients or candidates in academia, though there are a handful of comic book writers and such included as well (and these tend to be the best).

The first section, the Image of the Superhero, reviews Superman and his very human social qualities, the idea of a superhero, memes and the Crimson Viper, and superhero revisionism. From the start, three of these four essays sounded like "woah" and they could really do a lot. Sadly the texts didn't cite much, if anything, fell flat on their faces in terms of readability, and really provided the comic book enthusiast with absolutely nothing to work with. Being a comic book enthusiast and having a sociology degree myself, I learned nothing and felt that no one would have, regardless of their background - these essays simply missed the point of the exercise.

The second part, The Existential World of the Superhero, explore religion and Daredevil, Power, Myths and X-Women, Oracle and morals, Batman and social networks, the Fantastic Four and family, and wisdom. This section proved yet again to have such potential, and no execution. With my own personal bias lying with Oracle / Barbara Gordon and the X-Women, I was very excited for these essays. Yet again I find that nothing is offered here - and even worse they are boring and not even worth getting through. The X-Women essay centers only on the characters from the first two films, a true injustice to such intriguing characters as Storm, Phoenix, and Mystique (though there are far better choices here as well). The Oracle article proves to be one of the better, as it actually explores some dialogue and storylines from the breadth available on the character - yet again contributes nothing to her world or the analysis of it.

The third section, Superheroes and Moral Duty, analyzes (or hopes to) the idea of goodness, the choice to do good, responsibility, morals, and theology. Here the essays take on a more abstract and theoretical series of subjects which proves to be an up-turn in the essay content, but again is freed from any serious insight or analysis.

The final section, Identity and Superhero Metaphysics, features the final three chapters on identity and the Hulk, time travel during DC Crisis, and masks and secret identities. Yet again, the most useful part of these essays is the short length, allowing for a quick (and sadly worthless) read.

Overall the book is an intriguing endeavor, one that warrants credit for simply coming to fruition. As a comic fan and social analyst, I find it shocking that such useless and poorly produced essays were chosen. It almost seems the project may have been rushed in the end and prevented the real meat from being included. The essays occasionally make you go "Hmmm" with intrigue, but sadly I find that Archie comics make me go "Hmmm" the same amount of times as these essays. This does provide some quick and "interesting for the sake of the topics" reading for a comic book fan. Sadly no one but a comic book fan could even read it, as it provides little citation and reference to actual storylines. Definitely a project worth revisiting, definitely not a book worth reading.
Rewiew for Guido Alexander

Free online manga comic book

Look up Japanese manga titles in ENGLISH. New free online comics. Comic book resourses.
Manga (漫画, Manga?) listen (help·info) (pl. manga) is the Japanese word for comics and print cartoons. The drawers of these comics are called mangaka. Outside of Japan, it refers specifically to comics originally published in Japan, or works derivative of the style. Native Japanese are often unaware of the use of manga to refer to Japanese comics specifically. As of 2007, manga represents a multi-billion dollar global market.[1] Manga developed from a mixture of ukiyo-e and foreign styles of drawing, and took its current form shortly after World War II. Recently, Manga are read by almost all Japanese social classes and age groups. Themes include sports, romance, historical drama, comedy, soap operas, fantasy, mystery, sexuality and horror. Manhua (Traditional Chinese: 漫畫; Simplified Chinese: 漫画; Pinyin: Mànhuà) are Chinese comics originally produced in China. Due to their greater degree of artistic freedom of expression and their higher standard of living, Hong Kong and Taiwan have been the places of publication of most manhua thus far, often including Chinese translations of Korean manhwa and Japanese manga.
Manhwa (Hangul: 만화, Hanja: 漫畫) is the general Korean term for comics and cartoons (including animated cartoons). Outside of Korea, the term usually refers specifically to South Korean comics.

Free comic books online

Gravitywell Productions offers free comic books online, as well as various short stories and pinup images for downloading.
Two of the greatest obstacles that comics have in reaching readers are exposure and cost. Fortunately, the internet has provided remedies for both. There are now a plethora of comic books that can be read in full online, completely legally (at least, 99% of them) and at absolutely no cost. Here I have endeavored to collect as many of these as possible, now totalling over 300 full issues and stories, in one place.


Comics.com
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Comic Book Fonts - Lettering typefaces
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ComicsPage.com
Comic strips and Cartoons from Tribune Media Services.

Comixpedia
Covering the digital frontier of comics online.

Creators.com
Comic strips from Creators Syndicate Inc.

Danscartoons.com
Cartoons by Dan Rosandich, Michigan, USA.

Golden Age Comic Books digitally scanned and restored for presentation on the web. Each comic book page is restored to bring out the color and artwork of the original image. See Golden Age heroes, villains, Jungle Action, pre-code horror tales, and just golden age campy fun.