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Broken Frontier (August 23, 25): http://www.brokenfrontier.com/lowdown/details.php?id=477; http://www.brokenfrontier.com/lowdown/details.php?id=482 Figureid, Jocelyn. 2000. Milwaukie, OR: Dark Horse Comics Koike, Kazuo & Goseki Kojima. 2001. After leaving The Yellow Book, Beardsley joined the recently founded Savoy Magazine, which published some of his best designs. Swimming With The Crazyfishes: Scott Morse [interview].
Publisher: TwoMorrows Publishing; First Edition edition (June 8, 2009)
When such topical issues as civil rights have been broached, as in Allan Moore’s rendition of Swamp Thing or Chris Claremont’s rendition of X-Men, the issues are explored entirely within the conﬁnes of the ﬁctive world of superheroes , e.g. http://www.parcsetcompagnie.com/?books/historicising-transmedia-storytelling-early-twentieth-century-transmedia-story-worlds-routledge. Since he had selfconsciously eliminated all words from his own comics for a number of years (“to try and communicate everything through gesture and rhythm,” he explains), Ware was now ready to bring words back into them. “I wanted to get to the point where my lettering was as or more important than the pictures were, as second nature as drawing—that a font or a type style would come to me as naturally as a word would come to a writer; that I would ‘feel’ the type the same way I did the pictures and the words; i.e., that the cartooning would be of a whole, like a writer’s ‘voice.’” Ware allows that it was a tall order. “But I started to realize that comics were really more of a visual language rather than simply rows of pictures with words tacked on top of them,” he says. “And I had an inkling that perhaps by taking more of a typographic approach to the entire medium rather than a purely artistic—or even worse, illustrative—one, I might arrive at something formally that made a more direct emotional hit than I had up to then.” Ware lacked formal lettering training, so for many years he’d teach himself by copying examples from old Speedball manuals, the bibles of commercial show card writing from the 1920s through the 1950s http://www.parcsetcompagnie.com/?books/crossing-boundaries-in-graphic-narrative-essays-on-forms-series-and-genres. In a panoramic fashion, a series of thematically related images of hearts being tortured surround the central picture of a man kneeling before a naked woman, lamenting, ‘‘Oh maiden pretty and tender, free me from the suffering and close me in your arms.’’3 Panoramic narratives were a fairly common narrative strategy for religious icons that allowed for large thematically uniﬁed compositions, but without an unfolding series of actions http://asiagemtv.com/books/the-origins-of-comics-from-william-hogarth-to-winsor-mc-cay.
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I'm still trying to find one of these texts......back to Amazon for me. Read About Comics’s goal is to help keep you informed and updated on comics of all shapes, styles, sizes, and genres. Hopefully there will be a little something for everyone here, no matter what sort of comics you enjoy reading. Read About Comics is written and produced by Greg McElhatton , cited: http://spbortnik.pl/books/the-comics-journal-290-no-290
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A (rare) interview with Steve Ditko [reprinted from Rapport II (1996)]. Alter Ego 2 (4; Spring): 16-7 Greenhold, Joyce. 2004. Anime and manga news - Winter release roundup: Companies announce new projects for holiday sales season. Comics and Games Retailer (152; November): 38-39 Greenholdt, Joyce. 2007. HeroClix changes; new rarity structure, character cards. Comics and Games Retailer (182; May): 46-47 Greenland, Colin. 1994 , source: http://asiagemtv.com/books/the-algerian-war-in-french-language-comics-postcolonial-memory-history-and-subjectivity-after
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