X-MEN GOD LOVES, MAN KILLS GRAPHIC PG 49 ORIGINAL COLOR PROOF ACETATE GUIDE

X-MEN GOD LOVES, MAN KILLS GRAPHIC PG 49 ORIGINAL COLOR PROOF ACETATE GUIDE
Publisher: Marvel
Genre: Superhero
Main Character(s): X-Men
Year: MODERN AGE (1992-NOW)

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Scott Jeffery

ABSTRACT In this paper I present some preliminary work from my thesis on the posthuman body in superhero comics. It begins with a brief overview of the discourse of posthumanism, how it is used in three different but overlapping realms- philosophy/critical theory, techno-scientific practice, and speculative fiction. For instance the 1938 debut of Superman can be read as part of a wider discourse of the posthuman that takes in popularised Nietzschean ideas and the eugenics movement as a figuration of posthuman corporeality that my thesis ironically dubs, “the Perfect Body”. This paper however deals with Silver Age comics and the “psychedelic” or “Cosmic Body”. It first addresses how the nascent counterculture of the early sixties adopted Marvel comics. The increased use of psychedelic drugs by certain sections of this movement helped foster a vision of a psychedelically evolved post-humanity marked by a form of ‘cosmic consciousness’. Such groups ‘poached‘ the imagery of superheroes as evolutionary blueprints for this transformation as well as adopting terms like freak and mutant to designate their new posthuman identity. A mutual influence, psychedelic imagery found its way into the comics. Intuitively, in the cases of Ditko and Kirby, but apparently quite deliberately by the time of Engelhart‘s Dr. Strange and Starlin‘s Warlock and Captain Marvel in the early seventies. The paper then goes on to consider the superhero as shamanic figure, with particular reference to its influence on the Human Potential Movement that grew out of the counterculture. The paper concludes by discussing how this confluence of mysticism and science, or the modern and pre-modern, can still be found in the superhero comic book, and how the psychedelic posthuman body invites fresh consideration of the lines that separate the body from the mind, reason from irrationality, drugs from technology and superhero fictions from reality.

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Amadeo Gandolfo

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International Journal of Comic Art

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King Kirby: Jack Kirby y el mundo del cómic

King Kirby: Jack Kirby y el mundo del cómic

2013 •

Jose Joaquin Rodriguez Moreno

ESPAÑOL: Jack Kirby sigue siendo aún hoy The King, el rey de los cómics. Durante medio siglo desarrolló con gran éxito comic books, tiras de prensa e incluso animación televisiva, cocreando personajes como el Capitán América, los Cuatro Fantásticos, los Vengadores o los X-Men, y desarrollando en solitario universos de ficción como el Cuarto Mundo. A pesar de su éxito, Kirby siempre ha sido una figura misteriosa y polémica. Sus defensores lo presentan como una víctima de empresarios malvados y editores ególatras. Sus detractores describen como un dibujante dotado cuyas ansias de grandeza le impidieron compartir la gloria. ¿Pero quién fue realmente Jack Kirby? ENGLISH: Jack Kirby is known as The King of Comics by comic book fandom. In his half century as comic artist, plotter and writer Kirby developed comic strips, comic books and animation. He cocreated characters as Captain America, Fantastic Four, Avengers and X-Men, and he alone spawned the entire Fourth World line. However his success Kirby ever was a mysterious and polemic artist. His defenders claim that he was a victim who was exploited by unscrupulous publishers and egomaniac editors. His detractors call him a gifted artist thirsty for glory. But who was really Jack Kirby?

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Journal of Adaptation in Film and Performance 7.2

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Aaron Taylor

Through a case study of The Avengers (2012) and other recently adapted Marvel Entertainment properties, it will be demonstrated that the reimagined, rebooted and serialized intermedial text is fundamentally fan oriented: a deliberately structured and marketed invitation to certain niche audiences to engage in comparative activities. That is, its preferred spectators are often those opinionated and outspoken fan cultures whose familiarity with the texts is addressed and whose influence within a more dispersed film-going community is acknowledged, courted and potentially colonized. These superhero franchises – neither remakes nor adaptations in the familiar sense – are also paradigmatic byproducts of an adaptive management system that is possible through the appropriation of the economics of continuity and the co-option of online cultic networking. In short, blockbuster intermediality is not only indicative of the economics of post-literary adaptation, but it also exemplifies a corporate strategy that aims for the strategic co-option of potentially unruly niche audiences.

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Full schedule for the Transitions 5 conference taking place on October 25 at Birkbeck, University of London.

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