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Cord A. Scott Comics and Conflict


Illustration has been an integral part of human history. Particularly before the advent of media such as photography, film, television, and now the Internet, illustrations in all their variety had been the primary visual way to convey history. The comic book, which emerged in its modern form in the 1930s, was another form of visual entertainment that gave readers, especially children, a form of escape.As World War II began, however, comic books became a part of propaganda as well, providing information and education for both children and adults. This book looks at how specific comic books of the war genre have been used to display patriotism, adventure through war stories, and eventually to tell of the horrors of combat—from World War II through the current conflicts in Iraq and Afghanistan in the first decade of the twenty-first century.This book also examines how war- and patriotically-themed comics evolved from soldier-drawn reflections of society, eventually developing along with the broader comic book medium into a mirror of American society during times of conflict. These comic books generally reflected patriotic fervor, but sometimes they advanced a specific cause. As war comic books evolved along with American society, many also served as a form of protest against United States foreign and military policy. During the country’s most recent wars, however, patriotism has made a comeback, at the same time that the grim realities of combat are depicted more realistically than ever before.The focus of the book is not only on the development of the comic book medium, but also as a bell-weather of society at the same time. How did they approach the news of the war? Were people in favor or against the fighting? Did the writers of comics promote a perception of combat or did they try to convey the horrors of war? All of these questions were important to the research, and serve as a focal point for what has been researched only in limited form previously.The conclusions of the book show that comic books are more than mere forms of entertainment. Comic books were also a way of political protest against war, or what the writers felt were wider examples of governmental abuse. In the post 9/11 era, the comic books have returned to their propagandistic/patriotic roots.

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Painter of the Night Comic Book by Byeonduck Korean Love Anime Book Limited Edition

Jon Judy Tribute: Jack Kirby


For comic book fans the world over, Jack Kirby was the king. Born Jacob Kurtzberg in 1917, TidalWave Comics is now celebrating his life with their latest bio-comic «Tribute: Jack Kirby.» This new bio comic will highlight how an artist helped change the face of comic books. For almost three decades, characters were trapped within each panel, but Kirby's cinematic style broke the boundaries of the sequential boxes, as he would use the whole page as his canvas. This style of graphic story telling would turn a fledgling comic book company into one of the most powerful companies in the world. Featuring a cover by famed artist David Ryan. “Tribute: Jack Kirby” is being released in honor of the anniversary of his passing this month.

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Jon Judy Tribute: Jack Kirby


For comic book fans the world over, Jack Kirby was the king. Born Jacob Kurtzberg in 1917, TidalWave Comics is now celebrating his life with their latest bio-comic «Tribute: Jack Kirby.» This new bio comic will highlight how an artist helped change the face of comic books. For almost three decades, characters were trapped within each panel, but Kirby's cinematic style broke the boundaries of the sequential boxes, as he would use the whole page as his canvas. This style of graphic story telling would turn a fledgling comic book company into one of the most powerful companies in the world. Featuring a cover by famed artist David Ryan. “Tribute: Jack Kirby” is being released in honor of the anniversary of his passing this month.

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Shawna Kidman Comic Books Incorporated


Comic Books Incorporated tells the story of the US comic book business, reframing the history of the medium through an industrial and transmedial lens. Comic books wielded their influence from the margins and in-between spaces of the entertainment business for half a century before moving to the center of mainstream film and television production. This extraordinary history begins at the medium’s origin in the 1930s, when comics were a reviled, disorganized, and lowbrow mass medium, and surveys critical moments along the way—market crashes, corporate takeovers, upheavals in distribution, and financial transformations. Shawna Kidman concludes this revisionist history in the early 2000s, when Hollywood had fully incorporated comic book properties and strategies into its business models and transformed the medium into the heavily exploited, exceedingly corporate, and yet highly esteemed niche art form we know so well today.

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