The Fantastic Four may well be Marvel’s first family but the X-Men are very much my family. I was a fan of the animated series as a kid and like most people was drawn to Wolverine and the infrequent appearances of Cable. There was something about Rogue that a young me didn’t understand! Things really took off when the first X-Men movie hit, it was my gateway to the comics. I don’t know why I made the leap from the movie to the comics. At the time I didn’t really have any hobbies. I remember being heavy into Star Wars when the new trilogy was in the works, but it ultimately left a bitter taste. The Christmas after the movie came out I got Peter Sanderson’s excellent Ultimate X-Men book. It open my mind to a richer history of content greater than the animated series and the movie.
- 10/28/2020
- by Ian Wells
- Nerdly
Director Andrew Shankman has built a career out of making extremely mediocre movies, and one of the worst in that lot was the painfully unfunny Bringing Down the House that saw Steve Martin paired with Queen Latifah. Riddled with clichés and a story that makes no sense despite all the band-aids applied to string the story together, Bringing Down the House came about long after Steve Martin’s filmography landed on the skids, making it the perfect example of the kind of garbage he’s been signing on for since the mid-90s.
After divorcing his wife (Jean Smart) and spending many nights alone when not the custodian of his two kids (Kimberly J. Brown, Angus T. Jones), successful but aging attorney Peter Sanderson (Martin) finds solace in a legal chat room where he connects with Charlene, a woman he believes to be a young, attractive lawyer.
Read more...
After divorcing his wife (Jean Smart) and spending many nights alone when not the custodian of his two kids (Kimberly J. Brown, Angus T. Jones), successful but aging attorney Peter Sanderson (Martin) finds solace in a legal chat room where he connects with Charlene, a woman he believes to be a young, attractive lawyer.
Read more...
- 5/16/2012
- by Lex Walker
- JustPressPlay.net
With Christopher Nolan in town this week shooting The Dark Knight Rises, we’ve come across a possible version of the opening credits…
Click here to view the embedded video.
Hat tip to Steve Saffel and Peter Sanderson.
Related articles ‘The Dark Knight Rises’ in Newark, day 2 (nj.com) Bat bits: Christian Bale, Anne Hathaway on ‘Dark Knight’ set in Newark (nj.com)...
Click here to view the embedded video.
Hat tip to Steve Saffel and Peter Sanderson.
Related articles ‘The Dark Knight Rises’ in Newark, day 2 (nj.com) Bat bits: Christian Bale, Anne Hathaway on ‘Dark Knight’ set in Newark (nj.com)...
- 11/5/2011
- by Glenn Hauman
- Comicmix.com
In our continuing coverage of comics crossover with #OccupyWallStreet, we have this photo by Marcus Santos for the New York Daily News on how Zuccotti Park protestors spent their Halloween, as well as this appearance last night from Countdown With Keith Olbermann on Current TV:
Click here to view the embedded video.
Hat tip to Peter Sanderson and evil twin Torsten Adair.
Related articles Occupy Wall Street Goes Cosplay (bleedingcool.com) Occupy Wall Street News Update of the Day (thedailywh.at) Occupy Wall Street: New York Police sending drunks to Zuccotti Park? (dailykos.com)...
Click here to view the embedded video.
Hat tip to Peter Sanderson and evil twin Torsten Adair.
Related articles Occupy Wall Street Goes Cosplay (bleedingcool.com) Occupy Wall Street News Update of the Day (thedailywh.at) Occupy Wall Street: New York Police sending drunks to Zuccotti Park? (dailykos.com)...
- 11/1/2011
- by Glenn Hauman
- Comicmix.com
BFI:Seventeen-year-old Joanna is cool, stylish, and determined to start a new life as an art student in swinging London. Played with gusto by Genevieve Waite, Joanna indulges in the pleasures of casual sexual encounters, colourful daydreams, and an impromptu trip to Morocco with the wise and debonair Lord Peter Sanderson (wonderfully played by Donald Sutherland). But when Joanna falls in love with Gordon, from Sierra Leone, her life begins to get complicated.I loved Joanna! I'm a big fan of British youth films from the 1960's, and this is one that I had never seen nor heard of prior to its inclusion in the BFI's Flipside line-up. The film follows Joanna, a free-spirited, sexually liberated young girl making her way through London. She moves from man...
- 5/25/2011
- Screen Anarchy
Normal 0 false false false En-us X-none X-none
By Matthew Field
BFI Flipside was launched in May 2009 with a mission to expose the hidden history of British cinema by releasing restored prints on DVD and Blu-ray of British films that have slipped through the cracks of time. Now on its 17th release the label has released everything from exploitation documentaries about the seedy sixties (London In The Raw) to B-movies featuring Oliver Reed (The Party's Over), Shirley Anne Field (Lunch Hour), Klaus Kinski (The Pleasure Girls) and Withnail & I director Bruce Robinson (Private Road). If it's weird, British and forgotten, then it's Flipside.
Developed from its popular monthly screening slot at BFI Southbank, the Flipside titles are newly mastered to High Definition from original film elements, and are presented with rare and fascinating special features - including previously unavailable short films, documentaries and archival interviews, many of which are preserved in the BFI National Archive.
By Matthew Field
BFI Flipside was launched in May 2009 with a mission to expose the hidden history of British cinema by releasing restored prints on DVD and Blu-ray of British films that have slipped through the cracks of time. Now on its 17th release the label has released everything from exploitation documentaries about the seedy sixties (London In The Raw) to B-movies featuring Oliver Reed (The Party's Over), Shirley Anne Field (Lunch Hour), Klaus Kinski (The Pleasure Girls) and Withnail & I director Bruce Robinson (Private Road). If it's weird, British and forgotten, then it's Flipside.
Developed from its popular monthly screening slot at BFI Southbank, the Flipside titles are newly mastered to High Definition from original film elements, and are presented with rare and fascinating special features - including previously unavailable short films, documentaries and archival interviews, many of which are preserved in the BFI National Archive.
- 5/10/2011
- by nospam@example.com (Cinema Retro)
- Cinemaretro.com
# 240 (Vol. 2 #12): Wimpy In Love
In his introduction to one of Fantagraphics Books’ earlier set of volumes reprinting E. C. Segar’s Popeye comic strips, comics historian Rick Marschall argues that Popeye’s supporting player J. Wellington Wimpy is a “scoundrel” with a “lack of conscience” who can and does “betray” everyone. But in reviewing the Sunday strips in Volume 3 of Fantagraphics’ current series of Segar Popeye reprints, I’ve discovered that Wimpy is more complex than that. He does indeed have a conscience, though it is repeatedly overwhelmed by his animalistic appetite for hamburgers.
There are a month of 1933 Sunday strips about Popeye’s boxing match with the enormous Bullo Oxheart, in which Wimpy acts as referee, though he keeps being distracted from the fight by his efforts to mooch a meal off a friend, Eddie, who is sitting in the audience off-panel. But Popeye is the central character of this sequence of Sundays,...
In his introduction to one of Fantagraphics Books’ earlier set of volumes reprinting E. C. Segar’s Popeye comic strips, comics historian Rick Marschall argues that Popeye’s supporting player J. Wellington Wimpy is a “scoundrel” with a “lack of conscience” who can and does “betray” everyone. But in reviewing the Sunday strips in Volume 3 of Fantagraphics’ current series of Segar Popeye reprints, I’ve discovered that Wimpy is more complex than that. He does indeed have a conscience, though it is repeatedly overwhelmed by his animalistic appetite for hamburgers.
There are a month of 1933 Sunday strips about Popeye’s boxing match with the enormous Bullo Oxheart, in which Wimpy acts as referee, though he keeps being distracted from the fight by his efforts to mooch a meal off a friend, Eddie, who is sitting in the audience off-panel. But Popeye is the central character of this sequence of Sundays,...
- 4/10/2010
- by Peter Sanderson
#239 (Vol. 2 #11): Scrooge’S Lost Horizon
In their Toon Treasury of Classic Children’s Comics, editors Art Spiegelman and Francoise Mouly of course included the pinnacle of the form, writer/artist Carl Barks’ Uncle Scrooge, but they chose a rather unusual example of the series. “Tralla La,” from Walt Disney’s Uncle Scrooge #6 (1954), is a typical Scrooge story in that Scrooge McDuck leads his nephew Donald and grandnephews Huey, Dewey and Louie on an adventure to a distant land. But it is highly atypical in that for once the miserly Scrooge, who famously loves his money so much that he swims around in his sea of cash, has become disillusioned with his vast wealth. For once, instead of taking his relatives on a treasure hunt, Scrooge takes them on a quest for a place where material treasures do not exist.
The story opens with Barks showing the demands that Scrooge...
In their Toon Treasury of Classic Children’s Comics, editors Art Spiegelman and Francoise Mouly of course included the pinnacle of the form, writer/artist Carl Barks’ Uncle Scrooge, but they chose a rather unusual example of the series. “Tralla La,” from Walt Disney’s Uncle Scrooge #6 (1954), is a typical Scrooge story in that Scrooge McDuck leads his nephew Donald and grandnephews Huey, Dewey and Louie on an adventure to a distant land. But it is highly atypical in that for once the miserly Scrooge, who famously loves his money so much that he swims around in his sea of cash, has become disillusioned with his vast wealth. For once, instead of taking his relatives on a treasure hunt, Scrooge takes them on a quest for a place where material treasures do not exist.
The story opens with Barks showing the demands that Scrooge...
- 4/2/2010
- by Peter Sanderson
# 238 (Vol. 2 #10): Popeye Vs. Wimpy
In his newspaper strip Thimble Theatre, which starred his creation Popeye, E.C. Segar realized that the comedy would work better if his own trickster, J. Wellington Wimpy, had formidable opponents to overcome. As I mentioned weeks ago, one of my problems with Hanna-Barbera’s Top Cat as a trickster is that his schemes often seem too transparent, and his targets too gullible, to be convincing.
Lately I have been exploring the Sunday strips in Fantagraphics Books’ Popeye Volume 3 collection, most of which center on Wimpy and his continuing efforts to mooch hamburgers from his friends and neighbors.
Typically Wimpy uses his trademark lines in mooching food, like “I will gladly pay you Tuesday for a hamburger today,” or inviting someone to a duck dinner, adding “you bring the ducks.” Moreover, Wimpy repeatedly goes after the same targets–Popeye, Rough-House, George W. Geezil–who are to...
In his newspaper strip Thimble Theatre, which starred his creation Popeye, E.C. Segar realized that the comedy would work better if his own trickster, J. Wellington Wimpy, had formidable opponents to overcome. As I mentioned weeks ago, one of my problems with Hanna-Barbera’s Top Cat as a trickster is that his schemes often seem too transparent, and his targets too gullible, to be convincing.
Lately I have been exploring the Sunday strips in Fantagraphics Books’ Popeye Volume 3 collection, most of which center on Wimpy and his continuing efforts to mooch hamburgers from his friends and neighbors.
Typically Wimpy uses his trademark lines in mooching food, like “I will gladly pay you Tuesday for a hamburger today,” or inviting someone to a duck dinner, adding “you bring the ducks.” Moreover, Wimpy repeatedly goes after the same targets–Popeye, Rough-House, George W. Geezil–who are to...
- 3/26/2010
- by Peter Sanderson
#237 (Vol. 2 #9): Donald The Dad
This week I return to the book with which I launched this revival of “Comics in Context,” The Toon Treasury of Classic Children’s Comics, edited by Art Spiegelman and Francoise Mouly. As you might expect, many of the stories inside, like John Stanley’s Little Lulu tales, have children as their central characters and reflect their perspectives. Sheldon Mayer’s Sugar and Spike stories in this anthology go so far as to postulate that infants have their own language that adults cannot comprehend.
But look at this book’s stories by the contributor who may be the greatest creator of “children’s comics”: Carl Barks, longtime writer and artist of Donald Duck comic book tales and creator of Donald’s Uncle Scrooge. In Barks’ three stories in this collection, children appear in the persons of Donald’s nephews Huey, Dewey and Louie, but they are supporting characters.
This week I return to the book with which I launched this revival of “Comics in Context,” The Toon Treasury of Classic Children’s Comics, edited by Art Spiegelman and Francoise Mouly. As you might expect, many of the stories inside, like John Stanley’s Little Lulu tales, have children as their central characters and reflect their perspectives. Sheldon Mayer’s Sugar and Spike stories in this anthology go so far as to postulate that infants have their own language that adults cannot comprehend.
But look at this book’s stories by the contributor who may be the greatest creator of “children’s comics”: Carl Barks, longtime writer and artist of Donald Duck comic book tales and creator of Donald’s Uncle Scrooge. In Barks’ three stories in this collection, children appear in the persons of Donald’s nephews Huey, Dewey and Louie, but they are supporting characters.
- 3/19/2010
- by Peter Sanderson
# 236 (Vol. 2 #8): Wimpy Redeemed
Next to Popeye himself, J. Wellington Wimpy is the greatest character that cartoonist E. C. Segar created for his Thimble Theatre comic strip. That may surprise those of you who know Popeye and Wimpy basically from animated cartoons. But Wimpy is a character who expresses himself not through action like Popeye–indeed, Wimpy usually remains still and seemingly expressionless–but through dialogue. Aficionados of the Max Fleischer Popeye cartoons of the 1930s and 1940s love the comments that Jack Mercer, the voice of Popeye, seemingly ad libbed in recording the dialogue. (By the way, 2010 is the centennial of Mercer’s birth.) Nevertheless, dialogue is not a strong point of Fleischer cartoons, so it shouldn’t be surprising that they reduced the very verbal Wimpy to a mere moocher of hamburgers. But to read Segar’s comic strips about the character is to continually discover new and...
Next to Popeye himself, J. Wellington Wimpy is the greatest character that cartoonist E. C. Segar created for his Thimble Theatre comic strip. That may surprise those of you who know Popeye and Wimpy basically from animated cartoons. But Wimpy is a character who expresses himself not through action like Popeye–indeed, Wimpy usually remains still and seemingly expressionless–but through dialogue. Aficionados of the Max Fleischer Popeye cartoons of the 1930s and 1940s love the comments that Jack Mercer, the voice of Popeye, seemingly ad libbed in recording the dialogue. (By the way, 2010 is the centennial of Mercer’s birth.) Nevertheless, dialogue is not a strong point of Fleischer cartoons, so it shouldn’t be surprising that they reduced the very verbal Wimpy to a mere moocher of hamburgers. But to read Segar’s comic strips about the character is to continually discover new and...
- 3/11/2010
- by Peter Sanderson
#235 (Vol. 2 #7): The Chief And The King
When I was a child I enjoyed all sorts of animated cartoon series I saw on television, perhaps more or less equally. But as an adult, watching these cartoons again, I discovered that some, notably Warner Bros.’ Looney Tunes grew in my estimation, while others, notably the Hanna-Barbera television cartoons of the late 50s through the 1960s, dropped considerably. I still find the early Hanna-Barbera characters–Yogi Bear, et al.–appealing, thanks to their visual design, primarily by the late animator Ed Benedict, and especially the great voice acting by Daws Butler and his colleagues. But while I can name numerous Warners cartoons whose direction and writing make them great and classic–What’s Opera, Doc?, One Froggy Evening, and on and on–are there individual Hanna-Barbera TV cartoons from the 50s and 60s that are anywhere near that league?
That’s why...
When I was a child I enjoyed all sorts of animated cartoon series I saw on television, perhaps more or less equally. But as an adult, watching these cartoons again, I discovered that some, notably Warner Bros.’ Looney Tunes grew in my estimation, while others, notably the Hanna-Barbera television cartoons of the late 50s through the 1960s, dropped considerably. I still find the early Hanna-Barbera characters–Yogi Bear, et al.–appealing, thanks to their visual design, primarily by the late animator Ed Benedict, and especially the great voice acting by Daws Butler and his colleagues. But while I can name numerous Warners cartoons whose direction and writing make them great and classic–What’s Opera, Doc?, One Froggy Evening, and on and on–are there individual Hanna-Barbera TV cartoons from the 50s and 60s that are anywhere near that league?
That’s why...
- 3/4/2010
- by Peter Sanderson
#234 (Vol. 2 #6): Diary Of A Wimpy Con Man
Most of us probably first saw Popeye in one of his hundreds of animated cartoons., but he originated in Elzie (E. C.) Segar’s newspaper comic strip Thimble Theatre in 1928. Although Thimble Theatre had been running for ten years when he made his debut, seemingly as a minor player for a single story arc, Popeye quickly became the lead in Segar’s large and colorful cast of characters. But only a handful of those characters made it to the screen in the animated cartoons produced by the Max Fleischer Studio in the 1930s and early 1940s, and by Paramount’s Famous Studios (the Fleischer Studio minus the Fleischers) in the 1940s and 1950s. Most of these cartoons followed a formula in which Popeye competed for Thimble Theatre leading lady Olive Oyl against his rival Bluto, who appeared relatively briefly in only a...
Most of us probably first saw Popeye in one of his hundreds of animated cartoons., but he originated in Elzie (E. C.) Segar’s newspaper comic strip Thimble Theatre in 1928. Although Thimble Theatre had been running for ten years when he made his debut, seemingly as a minor player for a single story arc, Popeye quickly became the lead in Segar’s large and colorful cast of characters. But only a handful of those characters made it to the screen in the animated cartoons produced by the Max Fleischer Studio in the 1930s and early 1940s, and by Paramount’s Famous Studios (the Fleischer Studio minus the Fleischers) in the 1940s and 1950s. Most of these cartoons followed a formula in which Popeye competed for Thimble Theatre leading lady Olive Oyl against his rival Bluto, who appeared relatively briefly in only a...
- 2/26/2010
- by Peter Sanderson
#233 (Vol. 2 #5): Cunning Canines
One of the animated films nominated for an Academy Award this year is live action director Wes Anderson’s venture into stop-motion animation, Fantastic Mr. Fox. This is based on Roald Dahl’s children’s book, which draws upon the traditional characterization of the fox as a trickster, which goes back to Aesop’s fables and the European tales of Reynard the Fox. Other wild members of the dog family likewise have appeared as tricksters, notably the coyote in Native American mythology, and sometimes the wolf.
Thinking about Hanna-Barbera’s 1960s animated trickster Top Cat for a forthcoming installment of this column led me to consider another example of the canine trickster: Top Cat’s predecessor at Hanna-Barbera, Hokey Wolf. Baby Boomers may find this chilling, but 2010 marks Hokey Wolf’s 50th anniversary. Yogi Bear (another trickster) had originally appeared in cartoons in The Huckleberry Hound Show...
One of the animated films nominated for an Academy Award this year is live action director Wes Anderson’s venture into stop-motion animation, Fantastic Mr. Fox. This is based on Roald Dahl’s children’s book, which draws upon the traditional characterization of the fox as a trickster, which goes back to Aesop’s fables and the European tales of Reynard the Fox. Other wild members of the dog family likewise have appeared as tricksters, notably the coyote in Native American mythology, and sometimes the wolf.
Thinking about Hanna-Barbera’s 1960s animated trickster Top Cat for a forthcoming installment of this column led me to consider another example of the canine trickster: Top Cat’s predecessor at Hanna-Barbera, Hokey Wolf. Baby Boomers may find this chilling, but 2010 marks Hokey Wolf’s 50th anniversary. Yogi Bear (another trickster) had originally appeared in cartoons in The Huckleberry Hound Show...
- 2/19/2010
- by Peter Sanderson
#232 (Vol. 2 #4): David Levine On Stage
The great caricaturist David Levine, who passed away at the close of 2009, was the subject of a sad profile article, “Levine in Winter“, written by David Margolick in Vanity Fair in November of the previous year. It was yet another variation on what has become an all too familiar theme: the troubles of the comics or cartoon art professional when, for whatever reason, his career goes into decline. Levine’s brilliant caricatures of politicians, authors, and other notables had regularly appeared in The New York Review of Books for over forty years. His work appeared in other publications as well, but the Review published half his work over the years. But, in his eighties, Levine suffered from macular degeneration, which greatly dimmed his vision, hence handicapping his ability to draw. This led to an awkward situation: though Levine believed he could adapt and continue working,...
The great caricaturist David Levine, who passed away at the close of 2009, was the subject of a sad profile article, “Levine in Winter“, written by David Margolick in Vanity Fair in November of the previous year. It was yet another variation on what has become an all too familiar theme: the troubles of the comics or cartoon art professional when, for whatever reason, his career goes into decline. Levine’s brilliant caricatures of politicians, authors, and other notables had regularly appeared in The New York Review of Books for over forty years. His work appeared in other publications as well, but the Review published half his work over the years. But, in his eighties, Levine suffered from macular degeneration, which greatly dimmed his vision, hence handicapping his ability to draw. This led to an awkward situation: though Levine believed he could adapt and continue working,...
- 2/11/2010
- by Peter Sanderson
#231 (Vol. 2 #3): Killing Katnip
During my lengthy leave of absence from writing “Comics in Context,” the Museum of Comic and Cartoon Art in New York City and the Cartoon Art Museum of San Francisco jointly held a traveling exhibition on the art of Harvey Comics, many of whose most celebrated characters, such as Casper the Friendly Ghost, originated in animated cartoons produced by Paramount’s Famous Studios. I’m not that interested in Casper or Richie Rich, but the exhibit did reawaken my interest in some of the less famous animated stars of the Famous cartoons.
Towards the end of 2009, character actor Arnold Stang passed away, and I decided to write columns about two of the most memorable characters he voiced in animated cartoons. The first, starting in 1944, was Famous Studios’ Herman the mouse, who was eventually teamed with perennial antagonist Katnip the cat, voiced by the late Sid Raymond,...
During my lengthy leave of absence from writing “Comics in Context,” the Museum of Comic and Cartoon Art in New York City and the Cartoon Art Museum of San Francisco jointly held a traveling exhibition on the art of Harvey Comics, many of whose most celebrated characters, such as Casper the Friendly Ghost, originated in animated cartoons produced by Paramount’s Famous Studios. I’m not that interested in Casper or Richie Rich, but the exhibit did reawaken my interest in some of the less famous animated stars of the Famous cartoons.
Towards the end of 2009, character actor Arnold Stang passed away, and I decided to write columns about two of the most memorable characters he voiced in animated cartoons. The first, starting in 1944, was Famous Studios’ Herman the mouse, who was eventually teamed with perennial antagonist Katnip the cat, voiced by the late Sid Raymond,...
- 2/5/2010
- by Peter Sanderson
#230 (Vol. 2 #2): The Dark Lulu Saga
In my childhood I ignored Little Lulu comics: since a little girl was the title character, I probably assumed they were for little girls, and not me. But as a middle-aged adult I became increasingly aware that Little Lulu comic book stories by the the late writer/artist John Stanley (1914-1993) were considered classics.
I am starting out my relaunch of “Comics in Context” by reviewing some of the stories in The Toon Treasury of Classic Children’s Comics, selected and edited by Art Spiegelman and Francoise Mouly, and published by Harry N. Abrams’ ComicArts imprint. In their introduction, Spiegelman and Mouly praise Stanley as “one of [Uncle Scrooge's creator Carl] Barks’ few equals as a comics storyteller.” Since I greatly admire Barks’ work (I’ll get to him in the near future), it’s long past time I paid attention to Stanley, so let’s start with his work in this collection.
In my childhood I ignored Little Lulu comics: since a little girl was the title character, I probably assumed they were for little girls, and not me. But as a middle-aged adult I became increasingly aware that Little Lulu comic book stories by the the late writer/artist John Stanley (1914-1993) were considered classics.
I am starting out my relaunch of “Comics in Context” by reviewing some of the stories in The Toon Treasury of Classic Children’s Comics, selected and edited by Art Spiegelman and Francoise Mouly, and published by Harry N. Abrams’ ComicArts imprint. In their introduction, Spiegelman and Mouly praise Stanley as “one of [Uncle Scrooge's creator Carl] Barks’ few equals as a comics storyteller.” Since I greatly admire Barks’ work (I’ll get to him in the near future), it’s long past time I paid attention to Stanley, so let’s start with his work in this collection.
- 1/28/2010
- by Peter Sanderson
As far back in my life as I can remember, I was reading comics. Of course my tastes have evolved over the course of my life, but sometimes I wonder, what would I think today of the comics I loved when I was in early grade school or even kindergarten?
The new collection, The Toon Treasury of Classic Children’s Comics, selected and edited by Art Spiegelman and Francoise Mouly, and published by Harry N. Abrams’ ComicArts imprint, provides me with an opportunity to find out. It is a superb anthology of stories aimed at small children from comic books published in the period from the 1940s into the mid-1960s, including comics that Baby Boomers like myself grew up with. I intend to devote a number of “Comics in Context” columns to the work of various comics creators that appear in this book.
The first stories I turned to...
The new collection, The Toon Treasury of Classic Children’s Comics, selected and edited by Art Spiegelman and Francoise Mouly, and published by Harry N. Abrams’ ComicArts imprint, provides me with an opportunity to find out. It is a superb anthology of stories aimed at small children from comic books published in the period from the 1940s into the mid-1960s, including comics that Baby Boomers like myself grew up with. I intend to devote a number of “Comics in Context” columns to the work of various comics creators that appear in this book.
The first stories I turned to...
- 1/19/2010
- by Peter Sanderson
The Marvel Encyclopedia, Updated and Expanded
400 pages, Dk Books, $40
These days, you can’t follow Marvel’s or DC’s continuities without a scorecard and thankfully more than a few reference sources have arrived to help out. The latest is Dk’s 70th Anniversary contribution, a revised version of 2006’s The Marvel Encyclopedia. What a difference three years can make to continuity.
The key difference in the editions is the addition of pages, bringing the total to a hefty 400 pages. Dk did everyone a favor and kept the cover price consistent at $40. Frank Cho’s cover is replaced with a Brandon Peterson piece that attempts to reflect the full history of the Marvel heroes. Matt Forbeck deftly took the original text, written by a quintet of experts such as Tom DeFalco and Peter Sanderson, and brought dozens of entries up to date in addition to adding entirely new ones where warranted.
400 pages, Dk Books, $40
These days, you can’t follow Marvel’s or DC’s continuities without a scorecard and thankfully more than a few reference sources have arrived to help out. The latest is Dk’s 70th Anniversary contribution, a revised version of 2006’s The Marvel Encyclopedia. What a difference three years can make to continuity.
The key difference in the editions is the addition of pages, bringing the total to a hefty 400 pages. Dk did everyone a favor and kept the cover price consistent at $40. Frank Cho’s cover is replaced with a Brandon Peterson piece that attempts to reflect the full history of the Marvel heroes. Matt Forbeck deftly took the original text, written by a quintet of experts such as Tom DeFalco and Peter Sanderson, and brought dozens of entries up to date in addition to adding entirely new ones where warranted.
- 10/22/2009
- by Robert Greenberger
- Comicmix.com
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