Comics And Stuff

Considers how comics display our everyday stuff—junk drawers, bookshelves, attics—as a way into understanding how we represent ourselves now For most of their history, comics were widely understood as disposable—you read them and discarded them, and the pulp paper they were printed on decomposed over time. Today, comic books have been rebranded as graphic novels—clothbound high-gloss volumes that can be purchased in bookstores, checked out of libraries, and displayed proudly on bookshelves. They are reviewed by serious critics and studied in university classrooms. A medium once considered trash has been transformed into a respectable, if not elite, genre. While the American comics of the past were about hyperbolic battles between good and evil, most of today’s graphic novels focus on everyday personal experiences. Contemporary culture is awash with stuff. They give vivid expression to a culture preoccupied with the processes of circulation and appraisal, accumulation and possession. By design, comics encourage the reader to scan the landscape, to pay attention to the physical objects that fill our lives and constitute our familiar surroundings. Because comics take place in a completely fabricated world, everything is there intentionally. Comics are stuff; comics tell stories about stuff; and they display stuff. When we use the phrase “and stuff” in everyday speech, we often mean something vague, something like “etcetera.” In this book, stuff refers not only to physical objects, but also to the emotions, sentimental attachments, and nostalgic longings that we express—or hold at bay—through our relationships with stuff. In Comics and Stuff, his first solo authored book in over a decade, pioneering media scholar Henry Jenkins moves through anthropology, material culture, literary criticism, and art history to resituate comics in the cultural landscape. Through over one hundred full-color illustrations, using close readings of contemporary graphic novels, Jenkins explores how comics depict stuff and exposes the central role that stuff plays in how we curate our identities, sustain memory, and make meaning. Comics and Stuff presents an innovative new way of thinking about comics and graphic novels that will change how we think about our stuff and ourselves.

Considers how comics display our everyday stuff—junk drawers, bookshelves, attics—as a way into understanding how we represent ourselves now For most of their history, comics were widely understood as disposable—you read them and discarded them, and the pulp paper they were printed on decomposed over time. Today, comic books have been rebranded as graphic novels—clothbound high-gloss volumes that can be purchased in bookstores, checked out of libraries, and displayed proudly on bookshelves. They are reviewed by serious critics and studied in university classrooms. A medium once considered trash has been transformed into a respectable, if not elite, genre. While the American comics of the past were about hyperbolic battles between good and evil, most of today’s graphic novels focus on everyday personal experiences. Contemporary culture is awash with stuff. They give vivid expression to a culture preoccupied with the processes of circulation and appraisal, accumulation and possession. By design, comics encourage the reader to scan the landscape, to pay attention to the physical objects that fill our lives and constitute our familiar surroundings. Because comics take place in a completely fabricated world, everything is there intentionally. Comics are stuff; comics tell stories about stuff; and they display stuff. When we use the phrase “and stuff” in everyday speech, we often mean something vague, something like “etcetera.” In this book, stuff refers not only to physical objects, but also to the emotions, sentimental attachments, and nostalgic longings that we express—or hold at bay—through our relationships with stuff. In Comics and Stuff, his first solo authored book in over a decade, pioneering media scholar Henry Jenkins moves through anthropology, material culture, literary criticism, and art history to resituate comics in the cultural landscape. Through over one hundred full-color illustrations, using close readings of contemporary graphic novels, Jenkins explores how comics depict stuff and exposes the central role that stuff plays in how we curate our identities, sustain memory, and make meaning. Comics and Stuff presents an innovative new way of thinking about comics and graphic novels that will change how we think about our stuff and ourselves.

DC BLACK LABEL, the highly anticipated new imprint from DC Comics, starts here! The Joker is dead. There is no doubt about that. But whether Batman finally snapped his scrawny neck or some other sinister force in Gotham City did the deed is still a mystery. Problem is, Batman can’t remember…and the more he digs into this labyrinthian case, the more his mind starts to doubt everything he’s uncovering. So who better to set him straight than…John Constantine? Problem with that is as much as John loves a good mystery, he loves messing with people’s heads even more. So with John’s “help,” the pair will delve into the sordid underbelly of Gotham as they race toward the mind-blowing truth of who murdered The Joker. BATMAN: DAMNED is a bimonthly super-natural horror story told by two of comics’ greatest modern creators-a visceral thrill-ride that proudly puts the “black” in BLACK LABEL.

Rediscover your sense of wonder! Generations of comic book readers remember the tantalizing promises of vintage novelty advertisements that offered authentic laser-gun plans, x-ray specs, and even 7-foot-tall monsters (with glow-in-the-dark eyes!). But what would you really get if you entrusted your hard-earned $1.69 to the post office? Mail-Order Mysteries answers this question, revealing the amazing truths (and agonizing exaggerations) about the actual products marketed to kids in the ‘60s, ‘70s, and ‘80s. Pop-culture historian Kirk Demarais shares his astonishing collection, including: 100 Toy Soldiers in a Footlocker Count Dante’s World’s Deadliest Fighting Secrets GRIT Hercules Wrist Band Hypno-Coin Life-Size Monsters Mystic Smoke Sea Monkeys Soil From Dracula’s Castle U-Control Ghost Ventrilo Voice Thrower ...and many, many more! With more than 150 extraordinary, peculiar, and downright fraudulent collectibles, Mail-Order Mysteries is a must-have book comic book fans everywhere. Trust us.

How fantasy meets reality as popular culture evolves and ignites postwar gender, sexual, and race revolutions. 2017 The Association for the Studies of the Present Book Prize Finalist Mention, 2017 Lora Romero First Book Award Presented by the American Studies Association Winner of the 2012 CLAGS Fellowship Award for Best First Book Project in LGBT Studies In 1964, noted literary critic Leslie Fiedler described American youth as “new mutants,” social rebels severing their attachments to American culture to remake themselves in their own image. 1960s comic book creators, anticipating Fiedler, began to morph American superheroes from icons of nationalism and white masculinity into actual mutant outcasts, defined by their genetic difference from ordinary humanity. These powerful misfits and “freaks” soon came to embody the social and political aspirations of America’s most marginalized groups, including women, racial and sexual minorities, and the working classes. In The New Mutants, Ramzi Fawaz draws upon queer theory to tell the story of these monstrous fantasy figures and how they grapple with radical politics from Civil Rights and The New Left to Women’s and Gay Liberation Movements. Through a series of comic book case studies – including The Justice League of America, The Fantastic Four, The X-Men, and The New Mutants –alongside late 20th century fan writing, cultural criticism, and political documents, Fawaz reveals how the American superhero modeled new forms of social belonging that counterculture youth would embrace in the 1960s and after. The New Mutants provides the first full-length study to consider the relationship between comic book fantasy and radical politics in the modern United States.

A New York Times Notable Book Filled with beautiful color art, dynamic storytelling, and insightful analysis, Hillary Chute reveals what makes one of the most critically acclaimed and popular art forms so unique and appealing, and how it got that way. “In her wonderful book, Hillary Chute suggests that we’re in a blooming, expanding era of the art… Chute’s often lovely, sensitive discussions of individual expression in independent comics seem so right and true.” — New York Times Book Review Over the past century, fans have elevated comics from the back pages of newspapers into one of our most celebrated forms of culture, from Fun Home, the Tony Award–winning musical based on Alison Bechdel’s groundbreaking graphic memoir, to the dozens of superhero films that are annual blockbusters worldwide. What is the essence of comics’ appeal? What does this art form do that others can’t? Whether you’ve read every comic you can get your hands on or you’re just starting your journey, Why Comics? has something for you. Author Hillary Chute chronicles comics culture, explaining underground comics (also known as “comix”) and graphic novels, analyzing their evolution, and offering fascinating portraits of the creative men and women behind them. Chute reveals why these works—a blend of concise words and striking visuals—are an extraordinarily powerful form of expression that stimulates us intellectually and emotionally. Focusing on ten major themes—disaster, superheroes, sex, the suburbs, cities, punk, illness and disability, girls, war, and queerness—Chute explains how comics get their messages across more effectively than any other form. “Why Disaster?” explores how comics are uniquely suited to convey the scale and disorientation of calamity, from Art Spiegelman’s representation of the Holocaust and 9/11 to Keiji Nakazawa’s focus on Hiroshima. “Why the Suburbs?” examines how the work of Chris Ware and Charles Burns illustrates the quiet joys and struggles of suburban existence; and “Why Punk?” delves into how comics inspire and reflect the punk movement’s DIY aesthetics—giving birth to a democratic medium increasingly embraced by some of today’s most significant artists. Featuring full-color reproductions of more than one hundred essential pages and panels, including some famous but never-before-reprinted images from comics legends, Why Comics? is an indispensable guide that offers a deep understanding of this influential art form and its masters.

As BatmanÕs descent into the madness of Gotham CityÕs decadent underbelly continues, he must try to exorcise some of his demonsÉand who better to help than the Demon, Etrigan himself. And where thereÕs demons, thereÕs also a Deadman, a Spectre, an Enchantress and a host of other supernatural friends and foesÑitÕs a veritable Grand Guignol!

The free online guide written by KaptainMyke has been released for the first time in print! Learn the hidden underground secrets of cleaning and pressing comic books. This book contains all of the vast information covered online at www.kaptainmyke.com and includes all new, never before seen material. Properly photograph and handle comic books to prevent damage. Obtain the highest grades possible when submitting to grading companies. Learn how to prescreen and inspect comic books with precision. Know the difference between pressable and unpressable defects. Learn about restoration detection and how you can avoid potential risks. Become informed on the dangers of bad pressing and what you can do to prevent damage to comic books. The cleaning and stain removal tips inside will provide extra value to your books. This book is filled with full color pages that include tips and real world examples for your review. Fix your mistakes and prevent future potential mistakes as you practice. Utilize and follow guidance from formula pages based off year and type of paperstock. Inspection forms, a flow chart and pressing matrix diagram are included as brand new content to guide you along every step of the learning process. All pages are color coded and easy to understand for anyone who has never attempted cleaning or pressing comic books. Suppose you could tell if a graded comic book has been cleaned and pressed - without ever having to open it? What if there were grading notes that could immediately give you clues for pressing potential? This book covers all of that and more! Everything included inside this book guarantees a clean blue universal graded label using no restoration techniques or tricks. You are guaranteed to improve the condition and grade of any comic book using the procedures outlined in this guide. If you collect comic books, this book is for you.