Depicts the artist's career over eight decades, from the dawn of comics' Golden Age in the late 1930s to the early 21st century when Pulitzers began being awarded to graphic novels, and features interviews with his family, friends and colleagues

This final work in John Lent's series of bibliographies on comic art gathers together an astounding array of citations on American comic books and comic strips. Included in this volume are citations regarding anthologies and reprints; criticism and reviews; exhibitions, festivals, and awards; scholarship and theory; and the business, artistic, cultural, legal, technical, and technological aspects of American comics. Author John Lent has used all manner of methods to gather the citations, searching library and online databases, contacting scholars and other professionals, attending conferences and festivals, and scanning hundreds of periodicals. He has gone to great length to categorize the citations in an easy-to-use, scholarly fashion, and in the process, has helped to establish the field of comic art as an important part of social science and humanities research. The ten volumes in this series, covering all regions of the world, constitute the largest printed bibliography of comic art in the world, and serve as the beacon guiding the burgeoning fields of animation, comics, and cartooning. They are the definitive works on comic art research, and are exhaustive in their inclusiveness, covering all types of publications (academic, trade, popular, fan, etc.) from all over the world. Also included in these books are citations to systematically-researched academic exercises, as well as more ephemeral sources such as fanzines, press articles, and fugitive materials (conference papers, unpublished documents, etc.), attesting to Lent's belief that all pieces of information are vital in a new field of study such as comic art.

A history of comics and comic art in Canada includes two thirty-page discussions of the lives and works of Johnny Canuck and Chester Brown.

The enduring cultural phenomenon of comic book heroes was invented in the late 1930s by a talented and hungry group of artists and writers barely out of their teens, flying by the seat of their pants to create something new, exciting, and above all profitable. The iconography and mythology they created flourishes to this day in comic books, video, movies, fine art, advertising, and practically all other media. Supermen! collects the best and the brightest of this first generation, including Jack Cole, Will Eisner, Bill Everett, Lou Fine, Fletcher Hanks, Jack Kirby, Jerry Siegel, Joe Shuster, and Basil Wolverton.

For the better part of three decades romance comics were an American institution. Nearly 6000 titles were published between 1947 and 1977, and for a time one in five comics sold in the U.S. was a romance comic. This first full-length study examines the several types of romance comics, their creators and publishing history. The author explores significant periods in the development of the genre, including the origins of Archie Comics and other teen publications, the romance comic "boom and bust" of the 1950s, and their sudden disappearance when fantasy and superhero comics began to dominate in the late 1970s.

Phantom Lady featured the character of Sandra Knight, aka, the Phantom Lady, a character formerly published by Quality Comics. This series continus the numbering sequence from Wotalife Comics and continues as My Love Secret following issue #23. Phantom Lady appeared in Police Comics #1 to 23, and Feature Comics #69-71, where she teamed up with Spider-Widow. Phantom Lady's more modest (!) Quality Comics lookPhantom Lady then jumped ship from Quality, when the (now simply) Iger Studio recostumed her for use by Fox Features Syndicate, who gave the character her own title, Phantom Lady, which lasted from #1 (August, 1947) to #26 (April 1949). She also guested in All-Top Comics #8 to #15. Shortly afterwards, Fox went bust. Star Comics bought the rights to the Fox characters, and had Phantom lady turn up in a couple of their comics, then Farrell Publications got hold of her, and produced four issues of their own Phantom Lady series (unlike many of the characters they revived from other companies, they kept both costume and true identity unchanged). Eventually Charlton bought up most of the Fox characters, presumably including Phantom Lady. This Volume covers Phantom Lady adventures from 1947 - 1949 Approx 365 pages

in the confusing decade following World War II, comic books were all the rage. They treated such issues as the atomic and hydrogen bombs, communism, and the Korean War, and they offered heroes and heroines to deal with these problems. Using five representative cartoon stories, historian William Savage looks at the immense popularity of comic books and their impact on the American public. Cartoons.

This book explores how the heroes and villains of popular comic books—and the creators of these icons of our culture—reflect the American experience out of which they sprang, and how they have achieved relevance by adapting to, and perhaps influencing, the evolving American character. Multiple generations have thrilled to the exploits of the heroes and villains of American comic books. These imaginary characters permeate our culture—even Americans who have never read a comic book grasp what the most well-known examples represent. But these comic book characters, and their creators, do more than simply thrill: they make us consider who we are and who we aspire to be. Icons of the American Comic Book: From Captain America to Wonder Woman contains 100 entries that provide historical background, explore the impact of the comic-book character on American culture, and summarize what is iconic about the subject of the entry. Each entry also lists essential works, suggests further readings, and contains at least one sidebar that provides entertaining and often quirky insight not covered in the main entry. This two-volume work examines fascinating subjects, such as how the superhero concept embodied the essence of American culture in the 1930s; and the ways in which comic book icons have evolved to reflect changing circumstances, values, and attitudes regarding cultural diversity. The book's coverage extends beyond just characters, as it also includes entries devoted to creators, publishers, titles, and even comic book related phenomena that have had enduring significance.

A massive collection of never-before-collected pre-Comics Code horror comics of the 1950s. Of the myriad genres comic books ventured into during its golden age, none was as controversial as or came at a greater cost than horror; the public outrage it incited almost destroyed the entire industry. Yet before the watchdog groups and Congress could intercede, horror books were flying off the newsstands. During its peak period (1951–54) over fifty titles appeared each month. Apparently there was something perversely irresistible about these graphic excursions into our dark side, and Four Color Fear collects the finest of these into a single robust volume.

JUNGLE COMICS #100The main character associated with the title is Kaanga. He appeared in every issue of Jungle Comics. When Kaanga was a child his parents died in the jungle and he was raised by apes. The reader never gets to know his real name or his ancestry, but the jungle is where Kaanga feels most at home. In the first issue Kaanga meets his mate Ann, who is a Jane clone, after he rescues her from a white slave trader named Bill Blackton. Ann then joins Kaanga in his jungle existence. After nearly ten years Kaanga was given his own title in Spring, 1949. This ran for 20 issues until the Summer of 1954. One of the reasons for the series demise was the formation of The Comics Code Authority, a self-regulatory body that was formed because of moral concerns about the contents of many of the comics of the time. As much of Fiction House's material involved images of scantily clad women they withdrew from the market. You can enjoy again - or for the first time - JUNGLE COMICS #100 with this public domain reprint from GOLDEN AGE REPRINTS. Check out the full line - new titles every week! The classic comic reprints from GOLDEN AGE REPRINTS and UP History and Hobby are reproduced from actual comics, and sometimes reflect the imperfection of books that are decades old. These books are constantly updated with the best version available - if you are EVER unhappy with the experience or quality of a book, return the book to us to exchange for another title or the upgrade as new files become available. For our complete classic comics library catalog contact [email protected] OR VISIT OUR WEB STORE AT www.goldenagereprints.com