Wampir antybohaterem? (Próżne) zmagania z rolą superbohatera na przykładzie Morbiusa, żywego wampira.

2017 ◽  
Vol 3 (49) ◽  
pp. 37-47
Author(s):  
Michał Wolski
Keyword(s):  
Comic Book ◽  
Marvel Comics

The aim of the paper is to analyze the American comic book character named Michael Morbius, the Living Vampire, who appears in Marvel comics and other audiovisual texts of culture (most notably the 1994 Spider-Man animated TV series). Morbius is not only an interesting exemplification of the vampire motif, but also can be described as the antihero – an outsider, a misfit and a morally ambiguous person. The paper also tries to answer the question of what makes characters recognized as contemporary antiheroes so popular – not only in comics, but, for instance, also in TV series – and in which ways can they appear in superhero comics. null

Genius in a Box

2020 ◽  
pp. 365-370
Author(s):  
Alexi Worth
Keyword(s):  
Rhode Island ◽  
Art History ◽  
American Art ◽  
Comic Book ◽  
Pop Art ◽  
California State University ◽  
State University ◽  
Marvel Comics ◽  
The Relationship

This chapter includes a 2017 article by artist and art critic Alexi Worth wherein he reviews two exhibitions centered on the work of the “King of Comics” Jack Kirby: Comic Book Apocalypse: The Graphic World of Jack Kirby at California State University Northridge and What Nerve! Alternative Figures in American Art, 1960 to the Present at Rhode Island School of Design Museum. This chapter focuses on the relationship between comics and Pop Art, discussing the use of Kirby’s cover for Young Romance #26 in Richard Hamilton’s groundbreaking Pop Art collage Just What Is It That Makes Today’s Homes So Different, So Appealing (1956) and Kirby’s place in art history. This chapter discusses Dream Machine,Kirby’s dynamic drawing style and influences, and the twists and turns of his career at Marvel Comics.

scholarly journals "Ms. Marvel," Tumblr, and the industrial logics of identity in digital spaces

2017 ◽  
Vol 27 ◽  
Author(s):  
Christopher M. Cox
Keyword(s):  
Comic Book ◽  
Gendered Identity ◽  
American Muslim ◽  
Pakistani American ◽  
Identity Markers ◽  
Marvel Comics ◽  
Identity Expression ◽  
Racial Ethnic ◽  
Digital Spaces

This essay examines fan interactions on "The All-New Ms. Marvel Backstage Pass," a Tumblr site initiated by Marvel Comics to promote the Ms. Marvel (2014–) comic book. I conceive of this site as a space in which racial, ethnic, and gendered identity dimensions can be uniquely articulated in accordance with identity markers of the Ms. Marvel character, a female teenage Pakistani American Muslim. These articulations are possible due to Tumblr's unique affordances as a mediator of fandom formation—affordances that are both technological and social. For Ms. Marvel fans, Tumblr affords opportunities for intertexual and paratextual productivity, orienting emerging fans into broader rites and practices of fandom participation and specific forms of identity expression undertaken in accordance with identity vectors of Ms. Marvel, its creators, and its fans. For Marvel Comics, fan activities on "The All-New Ms. Marvel Backstage Pass" are a source of promotional labor inflected with the veneer of authenticity, providing the company with a centralized means of instigating fannish promotion and emboldening an emergent audience that corresponds to institutional desires for audience diversification. This Tumblr therefore brokers the economic and institutional drives of Marvel Comics and the cultural drives of an emergent diversified fandom.

Kamala Khan, Miles Morales, and Marvel Now!

2020 ◽  
pp. 207-226
Author(s):  
Nicholaus Pumphrey
Keyword(s):  
White Male ◽  
Comic Book ◽  
American Muslim ◽  
Considerable Resistance ◽  
Pakistani American ◽  
Marvel Comics ◽  
Toxic Culture ◽  
Black And Latino

In 2012, Marvel Comics created a diversity campaign called Marvel Now! Several new characters were developed in order to add diverse superheroes to the Marvel Universe in an attempt to attract new fans through representation. This introduction of new heroes brought readers a Pakistani-American, Muslim Ms. Marvel in Kamala Khan, as well as Miles Morales, a Spider-Man of Black and Latino heritage. Given the stereotype that the majority of comic book fans are white, cisgender males, there was considerable resistance from traditional readers regarding these two new characters. This chapter examines the responses that arose from the assumed threat to white, cismale identity, the gatekeeping within comic book readership, and the toxic culture of the white, male fanboy.

scholarly journals Yes, We Khan—Diversity and De-Monsterization of Muslim Identities in Ms. Marvel (2014–)

Nordlit ◽  
2019 ◽  
Author(s):  
Anja Borg Andreassen
Keyword(s):  
New Jersey ◽  
Social Context ◽  
Social Norms ◽  
War On Terror ◽  
Comic Book ◽  
Self Perception ◽  
American Muslim ◽  
Pakistani American ◽  
Marvel Comics ◽  
Muslim Identities

In 2014, Marvel comics introduced a new character to take over the mantle of the superhero identity Ms. Marvel. The new heroine is Kamala Khan, a 16-year-old girl born and raised in New Jersey. Khan is Marvel’s first Pakistani-American, Muslim superhero to headline her own comic book; as such, she represents a move towards diversification in a historically conservative, white and masculine genre. In addition, Kamala Khan comes into existence in a political and social context where the 9/11 attacks, the ‘War on Terror’, and Islamophobia continue to reverberate. This article explores how the Ms. Marvel comic functions as a critique of the ways in which social norms, stereotypes and prejudices have monsterized multicultural, Muslim identities, especially in the years following 9/11. Conducting analyses of Khan’s conflicted relationship to her own identities and issues concerning visibility and concealment, I explore how these negative framings affect her self-perception, and in turn her self-representation. Lastly, I aim to illustrate the ways in which the comic challenges monolithic and monstrous representations of Islam through its depiction of diverse, multicultural, Muslim identities.

Derived from Comic Strip Graphics: Remediation beyond Comic Book Adaptations in The Matrix (1999), The Good, the Bad, and the Ugly (1966), and The Dark Tower: The Gunslinger Born (2007)

2016 ◽  
Author(s):  
Drew Morton
Keyword(s):  
Case Studies ◽  
Comic Book ◽  
Comic Strip ◽  
Industrial Practice ◽  
The Matrix ◽  
Marvel Comics ◽  
Spatial Discontinuity ◽  
Time Sequences

This chapter examines stylistic remediation beyond comic book films and the industrial practice beyond case studies in adaptation by focusing on three films: The Matrix (1999), The Good, the Bad, and the Ugly (1966), and The Dark Tower: The Gunslinger Born (2007). It first considers “bullet time” in The Matrix, showing that its formal migration is an example of transmedia style: narratives delivered across multiple platforms that are united by stylistic remediation. It then compares comic book space and caricature in Sergio Leone's The Good, the Bad, and the Ugly and the Marvel Comics adaptation of Stephen King's The Dark Tower novels. It also explains how The Matrix stylistically remediates the motion lines of comics within its bullet time sequences while Leone's construction of space eschews the conventions of the continuity system in favor of the spatial discontinuity present across comic book panels.

KOMIK DI LINGKARAN INDUSTRI MUSIK

DeKaVe ◽  
2013 ◽  
Vol 1 (2) ◽  
Author(s):  
Terra Bajraghosa
Keyword(s):  
Comic Books ◽  
Music Industry ◽  
Comic Book ◽  
Narrative Approach ◽  
Visual Narrative ◽  
Common Practices ◽  
Visual Style ◽  
Song Lyrics ◽  
The Common

Comic ges. Based on comprehention as a narrative media, comics in Indonesia are oftenly compared to bas-reliefs on Borobudur temple and Wayang Beber.. From many kind of stories Indonesian comic books recently offered, with the developed visual wrapping, some comics steal attentions by its unique themes. These comic books are created because of the inspiration and relation to music industry. These comic books couldn't be seen from the visual style alone, as they were created in many visual genres, but they could be seen from their relations to music industry, whether the mainstream or indie ones. These comic books are published together with the music CDs, telling fictional stories from factual bands or musicians, telling a band's factual stories, or created by one of the band members. To understand modes of creation of these music industry-related-comic books, visual narrative approach will be applied. Through visual narrative approach, the band members' or musician's necessity for telling stories via comics, beside the common practices via music and song lyrics, will be observed.Keywords : Comic book, music industry, visual narrative

Gender Differences in Clothing Worn in Current Popular Comic Books

2015 ◽  
Vol 2 (1) ◽  
Author(s):  
Kyle Landon Jossy
Keyword(s):  
Gender Differences ◽  
Content Analysis ◽  
Comic Books ◽  
Book Industry ◽  
Comic Book ◽  
Lower Body ◽  
Female Characters ◽  
Male And Female ◽  
Males And Females

This study looked at how males and females were portrayed, based on the amount of skin shown in the clothing worn.  A Content analysis was performed on a sample of 20 randomly selected popular comics from the last 3 years.  Both male and female characters were rated on how much skin they showed in three clothing categories; neck line, sleeve length, and lower body.  Results showed that in all 3 categories, women consistently wore more revealing clothing.  The findings demonstraetd that the comic book industry is comparable to other forms of media, in the sexualization of female characters, by having them wear more revealing clothing.

O suicídio no cotidiano e imaginário do personagem Justiceiro

Temática ◽  
2017 ◽  
Vol 13 (7) ◽  
Author(s):  
Alberto Ricardo Pessoa
Keyword(s):  
Marvel Comics

O artigo investiga as marcas de discurso do Justiceiro e o diálogo que o mesmo estabelece com o Imaginário acerca do suicídio. Justiceiro é um personagem que flerta com o suicídio, seja como testemunha ou como protagonista em suas histórias. A hipótese é que o estereótipo do herói é encarar o suicídio como um sacrifício e assim torna-se um mártir, enquanto Justiceiro, entende que ele é parte do problema que terá de enfrentar a si quando o mesmo acabar com todos os inimigos. O Justiceiro é um dos personagens mais populares da Marvel Comics e um dos poucos que toca numa temática importante porém evitada por grande parte de empresas de licenciamento de personagens. Com base em Rosenfeld, Xavier e Costa, a questão do artigo é criar um painel semântico entre o que recebemos de informação midiática e consolidarmos como discurso normativo entre heróis, o suicídio e o contraponto que Justiceiro apresenta.Palavras-chave: Imaginário. Suicídio. Herói

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