Podcasts about comics code

Welcome to episode 215 of the Campus Comics Cast as we open the Darkhold in search of vampires and other ghastly ghouls as we discuss the first six issues of Tomb of Dracula. Timestamps: 00:00:00 Opening Music 00:00:30 Intro 00:00:40 Superman 2025 Quick Take 00:04:45 Listener Feedback 00:07:20 Tomb of Dracula 01:09:25 Trivia 01:15:45 What We Have Been Reading 01:45:55 CLZ Shake 01:51:28 Next Episode 01:52:36 Outros 01:54:18 Stinger Have you ever wondered how Marvel's Tomb of Dracula redefined comics horror and set the stage for modern vampire legends? If you're fascinated by classic comic storytelling, horror's evolution in pop culture, or how timeless characters like Dracula continue to shape our imaginations, this episode is for you. Exploring the first six issues of Tomb of Dracula (1972), we reveal why this series still matters—whether you're a collector, a genre fan, or just looking to rediscover what makes a comic run truly legendary. Gain a behind-the-scenes look at how Tomb of Dracula broke the Comics Code barriers and introduced horror themes into mainstream comics, paving the way for later stories and characters. Discover fun character backstories, creative team highlights, surprising bits of comic lore, and thoughtful analysis from fans with extensive comics knowledge. Learn what made the earliest Dracula issues special—from narrative trends and genre tropes to art, pacing, and the subtle ways these comics reflected changing attitudes about horror and heroism Press play now to join the discussion and see why a 1972 comics run about the lord of vampires still has bite for today's readers!

OK FINE we're back to being late again. There's good reason for that this time. You try editing two hours of audio. We're joined with returning guest Matthew Allison to talk about his upcoming self-published comic, Sweet Sepulcher. This one is LONG and full of topics relating to the themes and topics Matt explores in his latest book, including (but not limited to) AI art, weighing the the positives and negatives of Frederic Wertham and the formation of the Comics Code following the Senate hearings regarding violence in comics, media's role in society and culture, and what it means to self-regulate consumption in a complicated world. Follow Matt on Instagram @cankorr Questions? Comments? Suggestions? Email us at gutterboyspodcast@gmail.com and we'll read it on the next episode, or give the Gutter Boys a follow on Instagram and Twitter (JB: @mortcrimpjr; Cam: @camdelrosario). And of course, please rate, review, like, share, and subscribe on your preferred podcast platform and help grow the Gutter Gang Nation! If you're feeling generous, subscribe to our Patreon at patreon.com/gutterboys (or gutterboys.top) and browse our different subscription tiers to receive exclusive merch, behind-the-scenes comic process updates, bonus episodes, plus much more! Support this podcast: https://gutterboyspodcast.podbean.com/

Chaîne de Néo: https://www.youtube.com/@LeNeophyteBDChaîne de Comics Code: https://www.youtube.com/@comicscode6512Fan film d'Adas https://youtu.be/QA2YY4tfJUo?si=Nn6xdQbtP9tlbO7PLa liste des articles d'HistoiresGeek: https://konatanekoyama.com/plume/histoiregeek/Instagram d'HistoiresGeek: https://www.instagram.com/histoiresgeek/============================================Time Code (à venir) et liens d'achats00:00 Générique + Intro32:46 Moonshine Bigfoot 1 (Marlow, Howard, Image Comics) par Mindphobia 49:53 I Was A Fashion School Serial Killer (Wagner, Hillyard, Image Comics) par ComicsCode1:11:21 DC Finest Superman - The First Super-Heroe (Siegel, Shuster) par HistoiresGeek 1:50:45 Vatican City (Millar, Narwhal, Dark Horse) par Neo2:12:40 Stop ou Encore (Red Sonja VS Army of Darkness 1, Doctor Strange of Asgard 2, Savage Dragon 276, Flash Gordon 7 et 8, Challengers of the Unknown 5)2:32:50 Petrol Head (Williams, Parr, Komics Initiative) par Mindphobia https://www.pulps.fr/item/petrol_head_t1__bienvenue_a_la_course_du_futur_5065922:44:04 Doc Savage Intégrale 1975-1976 (Moench, Buscema, Neofelis) par ComicsCode3:01:24 2112 (John Byrne, Delirium) par HistoiresGeek 3:17:15 Dark Knights of Steel: Allwinter (Kristoff, Tirso, Urban Comics) par Neohttps://www.pulps.fr/item/dc_elseworlds__dark_knights_of_steel__allwinter_5031193:31:59 A venir sur nos chaînes + Générique =======================================Réseaux de la chaîneDiscord: https://discord.gg/6jWpVxPrnrSpotify: https://open.spotify.com/show/6ZwxEAU13PoVLua0JdIYJh?si=23eb9d545b224601Deezer: https://deezer.page.link/QynphwNFRNGQSG9d9Amazon Music: https://music.amazon.fr/podcasts/0964898a-c810-48ff-97ab-f0a6e9e66fa5/d'encre-et-de-bullesApple Podcast: https://podcasts.apple.com/fr/podcast/dencre-et-de-bulles/id1733018809Instagram de Mindphobia: https://www.instagram.com/mindphobia.comics/============================================#Superman #ClarkKent #loislane #lexluthor #Krypton #DCFinest #DCComics #DC #IWasAFashionSchoolSerialKiller #ImageComics #DougWagner #DanielHilliard #MoonshineBigFoot #MikeMarlow #ZachHoward #VaticanCity #MarkMillar #Narwhal #DarkHorseComics #DarkHorse #IndieComics #BigTwo #2112 #JohnByrne #Delirium #DocSavage #DougMoench #JohnBuscema #Neofelis #PetrolHead #RobWilliams #PyeParr #KomicsInitiative #DarkKnightsOfSteelAllwinter #DCElseworld #UrbanComics #JayKristoff #TomTaylor #Tirso #RiccardoFederici #UrbanComics #Comics #BD #BandeDessinee #DencreEtDeBulles

In a solo episode, Steven descends into a “corpse world” in the furthest reaches of the galaxy to examine the infamous GREEN LANTERN CORP story, “Tygers” (GREEN LANTERN CORP Annual #2, DC Comics, 1986), otherwise known as “The Last Temptation of Abin Sur.” Brace yourself for a disturbing ride!COMICS ROT YOUR BRAIN! is a deep dive into ‘80s comics (plus a few notable exceptions). In this weekly podcast, screenwriters Steven Bagatourian (AMERICAN GUN) and Christopher Derrick (STAR TREK: PICARD) discuss their favorite books, runs, and creators from the Bronze Age.You can see art from this controversial comic here on YouTube.Support Our Patreon - https://www.patreon.com/c/ComicsRotYourBrainDrop us a line! Support the show+ Check out our YouTube channel to get a look at some of the fantastic art featured in our episodes. Visit ComicsRotYourBrain.com to sign up for our newsletter, Letter Column. You can also find us wherever you stream your favorite podcasts.+ We appreciate your support of the show via Patreon: ComicsRotYourBrain+ For even more cool shit, read Chris's Substack (cinema, comics, and culture) - THIN ICE©2024 Comics Rot Your Brain!#comicbooks #comics #graphicnovel

Chaîne d'Hisokaparker: https://www.youtube.com/@hisokaparker3090Chaîne de Shawizz: https://www.youtube.com/@Shawizz1Chaîne de Comics Code: https://www.youtube.com/@comicscode6512Fan film d'Adas https://youtu.be/QA2YY4tfJUo?si=Nn6xdQbtP9tlbO7P============================================Ce soir, émission spéciale qui réunit 3 génération de lecteurs et qui permet de parler de nos habitudes de lectures et de consommation sur le médium. Pour cette 3e émission nous recevons Comics Code et Shawizz pour revenir sur notre rapport au medium...============================================#comics #marvel #marvelcomics #dc #dccomics #indiecomics #bd #bandedessinee #dencreetdebulles Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

This time we're talking about the Comics Code Authority, Crime Comics, Fredric Wertham, and what it all meant for Batman.   Stickers!! https://py.pl/5lkIFsSutdO Our Website! https://batlessons.com Threads (https://www.threads.net/@batlessons) TikTok (https://www.tiktok.com/@batlessons)   Seducing The Innocent (Tiley) https://muse.jhu.edu/article/490073 The Ten-Cent Plague (Hajdu) https://us.macmillan.com/books/9780312428235/thetencentplague/ Seal Of Approval (Nyberg) https://www.upress.state.ms.us/Books/S/Seal-of-Approval Seduction Of The Innocent (Wertham) https://www.amazon.com/Seduction-Innocent-Frederic-Wertham/dp/159683000X Comics Code of 1954 https://cbldf.org/the-comics-code-of-1954/ CRIME Does Not Pay (Digital) https://digital.darkhorse.com/series/219/crime-does-not-pay    Bat Lessons (https://www.youtube.com/@batlessons) Bat Lessons Clips (https://www.youtube.com/@BatLessonsClips)  Podcast Artwork by Sergio R. M. Duarte (https://www.instagram.com/sergiormduarte/) Podcast Music by Renzo Calma (https://www.instagram.com/renzocalm) Motion Graphics by r2ktalha (https://www.fiverr.com/share/AEpWpY)   00:00:00 Start 00:07:39 Parents & Mothers 00:13:06 Juvenile Delenquincy 00:17:20 Fredric Wertham 00:28:35 All Comics Are Crime Comics 00:33:37 Children's Quotes 00:37:21 Batman 00:48:43 It's All Made Up 00:55:09 The Comics Code 00:57:37 General Standards 01:03:38 No Horror! 01:05:43 No !@#$ 01:08:26 Costume 01:10:00 Marriage 01:11:48 Advertising Matter 01:16:39 Code Thoughts 01:18:12 What We Lost 01:25:55 Crime Does Not Pay 01:33:10 Closing Thoughts  

In this conversation, the hosts discuss Alan Moore's Swamp Thing Volume 2 issues 28 to 34. They reflect on the nostalgia of reading monthly comics in the 80s and the impact of dropping the Comics Code. They explore the cohesive storytelling and themes of identity and soul throughout the volume. They appreciate the innovative artwork and panel layouts, particularly in the annual issue. They also discuss the jarring but intriguing fill-in issues and the connections to other DC characters and future storylines. The conversation ends with a humorous discussion about eating raw turnips. In this conversation, the hosts discuss various aspects of the Swamp Thing comic series by Alan Moore. They talk about the creative storytelling, the relationship between Swamp Thing and Abby, the use of horror elements, and the introduction of new characters like Arcane and the Spectre. They also speculate on the future direction of the series and the influence of Alan Moore's writing. Overall, they express their enjoyment of the volume and their excitement for the next one.Send us a textSupport the showFind me on VEROFilm Chewing PodcastLens Chewing on YouTubeSpeculative Speculations PodcastBuy me a coffeeLinktreeJoin Riverside.fm

And a reposting of part three of the "War Against Comics" series, this time focusing on the actual Comics Code itself.

For the grand finale of this year's Parallax Views Halloween-themed series, host J.G. Michael dives deep into the world of horror comics with none other than Stephen Bissette, legendary artist and penciler from Alan Moore's iconic Saga of the Swamp Thing. In this episode, Bissette reveals the eerie origins and turbulent history of horror comics, starting with the foundational impact of Famous Monsters of Filmland magazine and its most well-known cover artist, Basil Gogos, which captivated a generation of horror enthusiasts. From there, the conversation explores the 1950s moral panic that vilified horror comics, leading to the creation of the restrictive Comics Code that effectively snuffed out horror comics for decades. Bissette and Michael delve into the legendary horror tales published by Warren with Creepy and Eerie, as well as EC Comics' iconic titles like Tales from the Crypt and Vault of Horror. The conversation highlights artists who shaped the genre, including Wally Wood and Gene Colan, whose work on Tomb of Dracula remains a horror classic. We also delve into the connection between the 60s/70s counterculture, underground comix, and horror comics by discussing the way in which horror comics were available in places like headshops in the 70s and how artists like the great Richard Corben of Heavy Metal fame worked in both the underground comix and horror comics spaces. Moving into his own groundbreaking work, Bissette discusses his boundary-pushing horror anthology series Taboo, a space where comics could embrace uncensored horror storytelling. They also explore Bissette's acclaimed run on Swamp Thing, with a particular focus on the legendary issue "The Anatomy Lesson." Bissette recounts how the eerie villain Jason Woodrue, aka the Floronic Man, came to feature as the main antagonist in the first arc of his Swamp Thing and shares how he modeled the character's unsettling look on Peter Cushing's portrayal in Hammer's Frankenstein films. The conversation also covers the rebirth of gothic horror in the late 1950s, the cultural fascination with giant monster sci-fi films in the early 50s, and the impact of censorship in comics, drawing fascinating parallels to contemporary book bans by Christian nationalist groups. With an exploration of censorship's effects, the genre's evolution, and chilling themes still relevant today, this episode is packed with rich insights for horror lovers and comics fans alike.

Schmutz, Schund, Mittel zur Verdummung – so wurden Comics in den 50er Jahren von vielen Menschen bezeichnet. In den USA gab es heftige TV-Debatten, Behörden prüften, ob das Lesen von Comics zu Gewalttaten führe, und Menschen verbrannten in der Öffentlichkeit Comic-Hefte. Only in America? Nein, auch in Deutschland. Aber eine Frau mit dicken Brillengläsern verteidigte das Medium Comic: Erika Fuchs. Sie war die erste Chefredakteurin des damals neu entstandenen Micky Maus -Magazins und übersetzte die englischen Texte ins Deutsche. Aus Halloween wurde Fasching/Karneval, aus Vroom Brumm. Viele Anspielungen aus ihrer Wahlheimat Schwarzenbach an der Saale haben es ins Magazin geschafft, aber auch Zitate aus Werken Goethes und Schillers sowie der Popmusik. 2015 hat ihr der Ort ein Museum gewidmet, das Erika-Fuchs-Haus. In dieser Folge machen wir einen #deepdive in die Welt der Comics, insbesondere Entenhausens. Wir lernen Museumsleiterin Joanna Straczowski kennen und Jakob Breu, der als Donaldist in seiner Freizeit wissenschaftliche Arbeiten über den Kosmos von Dagobert, Donald und Co. verfasst. #kannmanmalmachen Außerdem: ein Exkurs zur Frage, was eigentlich Comics auszeichnet. #podcastdeutsch #museenentdecken #wissenschaft #museum #franken #bayern #Geschichte #schwarzenbach #comic #mickymaus #disney #donald #donaldist ~~~~~~~ Hilfreiche Links: Ein Foto vom Liporello: https://www.escucha.de/wp-content/uploads/EFH_Simon_Schwartz_Fuchs_Biografie.jpg Ein Foto aus der Entenhausener Ausstellung: https://www.escucha.de/wp-content/uploads/EFH_Dauerausstellung_Donald-scaled.jpg Infos zu den Verbrennungsaktionen: https://giubanski.wordpress.com/2016/12/12/buecherverbrennung-der-kreuzzug-der-bibliotheken-gegen-comics/ https://kingkalli.de/comics-vor-60-jahren-im-schmoekergrab-verbrannt-heute-in-aachen-gefeiert/ Über den Comics Code in den USA: https://en.wikipedia.org/wiki/Comics_Code_Authority# Zum Erikativ: https://de.wikipedia.org/wiki/Inflektiv#:~:text=Der%20Inflektiv%20wird%20scherzhaft%20auch,wurde%20sie%20aber%20schon%20fr%C3%BCher Literatur Comics richtig lesen von Scott McCloud: https://www.carlsen.de/softcover/comics-richtig-lesen/978-3-551-74817-1?srsltid=AfmBOorF1dnzpKJELlyHMKyMjCysmrtNFBC-DTzswB0BTghAfmnep1gd Über die Geschichte des Comics: https://cle.ens-lyon.fr/allemand/arts/bande-dessinee/die-geschichte-des-comics-in-deutschland Offizielle Homepage der deutschsprachigen Donaldisten: https://www.donald.org/ Direktlink zu Jakob Breus Arbeit über die Geschichte Entenhausens: https://www.donald.org/uploads/downloads/Forschung/2024_Jakob%20Breu_Eine%20kurze%20Geschichte%20Entenhausens_s-w.pdf ~~~~~~~ Infos zum Museum Erika-Fuchs-Haus – Museum für Comic und Sprachkunst Bahnhostraße 12 95126 Schwarzenbach https://www.erika-fuchs.de/ ~~~~~~~ über BITTE NICHT ANFASSEN!: Woran denkst du beim Wort Museum? An weltberühmte Ausstellungsstücke wie Sarkophage ägyptischer Pharaonen, an Gemälde von Picasso oder an technische Erfindungen wie das Automobil? Denkst du an das Deutsche Museum in München, das Pergamon-Museum in Berlin oder an das Städel in Frankfurt? Wir – das sind Ralph Würschinger und Lukas Fleischmann – denken beim Wort Museum an etwas Anderes: an Milbenkäse, Mausefallen, an Flipper-Automaten, Nummernschilder oder auch an Gartenzwerge. Denn die schätzungsweise 7.000 Museen in Deutschland haben so viel mehr zu bieten als das Angebot der großen Häuser. Mit „BITTE NICHT ANFASSEN – Museum mal anders“ begeben wir uns an kleine Orte, in Seitengassen großer Städte, um die kleinen und alternativen Ausstellungen zu finden, von denen du vermutlich noch nie gehört hast. Pro Monat erscheint eine Folge, für die einer von uns beiden ein besonderes Museum besucht und sich mit dem jeweils anderen darüber austauscht. Dabei kommen Museumsbetreiberinnen und -betreiber zu Wort, aber auch die Exponate an sich werden hörbar gemacht.

The superhero with one of the craziest costumes in the Marvel Universe in his own miniseries! It's got everything: A bonkers storyline! Nick Fury! Psychic flashbacks! Comics Code-approved orgies!  Man, the 80s were wild. ----more---- For the transcript of this episode, head over to https://www.tencenttakes.com/transcripts.   Email: tencenttakes@gmail.com Twitter: @Tencenttakes Instagram: @Tencenttakes Facebook: /Tencenttakes Mastodon: retro.pizza/@tencenttakes Our banner art is original work by Sarah Frank  (https://www.lookmomdraws.com/) Hive: Tencenttakes

My guest this week is comedian Al Holiday! How was strength classified in the Marvel role playing game? How is Agatha Harkness different on TV versus in the comics? What was her background in the Marvel Universe? Does Deadpool tell too many jokes? Who wer e the original Guardians of the Galaxy? What's the deal with Starhawk? Was Deadpool and Wolverine too violent? What was the Comics Code? Is "superheroes don't kill" a hard rule? Whose responsibility is it to keep kids out of an R rated movie? What is the myth of Gilgamesh? Are superheroes modern day myths? Have superhero origin stories gotten too complicated? Who is The Maker? What's happening in the current Ultimate Spider-Man book? Who was Rachel Pollack? What is Warhammer 40k? What about the Neil Gaiman allegations?  Reading list: Recent issues of the Hulk Ultimate Spider-Man (new series) Rachel Pollack Doom Patrol and Brother Power The Geek (DC Pride: Rachel Pollack) Sandman The Puma Blues Aliens vs Avengers Watch list: Deadpool and Wolverine Guardians of the Galaxy Vol. 1 and 3 Crimes and Misdemeanors Hannah and her Sisters Podcast: Master: The Allegations Against Neil Gaiman Image credit: Kyle Cassidy

It's time to go back. Back before Mega Man crossovers, before echidnas turning green, before even cheap character deaths. No, we're going back to where it all began as we revisit Sonic Firsts, a graphic novel compiling some of the earliest Archie adventures! From the first comic ever printed to Bunnie's big break, from a Super Sonic spotlight to a red rival's reveal, this mega collection of early comics is not to be missed, no matter what the CCA might tell you! (0:00:00) Intro/Main topic: Sonic Firsts (0:12:54) A brief divergence about the Comics Code (0:21:48) "Don't Cry for Me, Mobius!" (Issue #0) (0:40:40) "Rabbot Deployment" (Issue #3) (0:56:02) "The Lizard of Odd" (Issue #4) (1:13:24) "This Island Hedgehog" (Issue #13) (1:33:30) Final thoughts (1:43:41) Outro Amie Waters on Linktree

This episode is a two-for-one, and that's because the podcast recently hit its 10-year anniversary and passed one billion downloads. To celebrate, I've curated some of the best of the best—some of my favorites—from more than 700 episodes over the last decade. I could not be more excited. The episode features segments from episode #691 "Nassim Nicholas Taleb & Scott Patterson — How Traders Make Billions in The New Age of Crisis, Defending Against Silent Risks, Personal Independence, Skepticism Where It (Really) Counts, The Bishop and The Economist, and Much More" and #639 "Todd McFarlane, Legendary Comic Book Artist — How to Make Iconic Art, Reinvent Spider-Man, Live Life on Your Own Terms, and Meet Every Deadline"Please enjoy!Sponsors:Momentous high-quality supplements: https://livemomentous.com/tim (code TIM for 20% off)Eight Sleep's Pod 4 Ultra sleeping solution for dynamic cooling and heating: https://eightsleep.com/tim (save $350 on the Pod 4 Ultra)LMNT electrolyte supplement: https://drinklmnt.com/Tim (free LMNT sample pack with any drink mix purchase)Timestamps:[04:51] Notes about this supercombo format.[05:54] Enter Nassim Nicholas Taleb and Scott Patterson.[06:32] The joy of writing a preemptive resignation letter.[07:13] Developing resilience against criticism.[10:04] Nassim: contrarian, or simply independent?[12:27] Jiving with skeptical turkeys.[17:21] Persisting through the polycrisis.[19:18] Introducing the precautionary principle.[21:37] Nassim's preferred legacy.[23:50] Precautionary principle 101.[25:14] Fat tails, thin tails, the COVID vaccine, and GMOs.[32:51] Enter Todd McFarlane.[33:21] Baseball.[38:46] Rejection letters.[42:38] Compelling storytelling and meeting deadlines.[45:46] Deadlines pre-Internet vs. deadlines today.[48:36] How industry status quo led to the founding of Image Comic Books.[1:00:30] The Comics Code and the last straw.[1:06:52] The Marvel Dream Team exodus.[1:25:13] How is Todd's camel bladder a competitive advantage?[1:31:02] Career bouncing and double-shifting as a penciler and inker.[1:49:08] The happy accident of Venom.[1:55:46] De-Rockwelling the company icon and inventing "spaghetti webbing."[2:03:31] Bucking the status quo to become the status quo.[2:07:13] Parting thoughts and a promise for round two.*For show notes and past guests on The Tim Ferriss Show, please visit tim.blog/podcast.For deals from sponsors of The Tim Ferriss Show, please visit tim.blog/podcast-sponsorsSign up for Tim's email newsletter (5-Bullet Friday) at tim.blog/friday.For transcripts of episodes, go to tim.blog/transcripts.Discover Tim's books: tim.blog/books.Follow Tim:Twitter: twitter.com/tferriss Instagram: instagram.com/timferrissYouTube: youtube.com/timferrissFacebook: facebook.com/timferriss LinkedIn: linkedin.com/in/timferrissPast guests on The Tim Ferriss Show include Jerry Seinfeld, Hugh Jackman, Dr. Jane Goodall, LeBron James, Kevin Hart, Doris Kearns Goodwin, Jamie Foxx, Matthew McConaughey, Esther Perel, Elizabeth Gilbert, Terry Crews, Sia, Yuval Noah Harari, Malcolm Gladwell, Madeleine Albright, Cheryl Strayed, Jim Collins, Mary Karr, Maria Popova, Sam Harris, Michael Phelps, Bob Iger, Edward Norton, Arnold Schwarzenegger, Neil Strauss, Ken Burns, Maria Sharapova, Marc Andreessen, Neil Gaiman, Neil de Grasse Tyson, Jocko Willink, Daniel Ek, Kelly Slater, Dr. Peter Attia, Seth Godin, Howard Marks, Dr. Brené Brown, Eric Schmidt, Michael Lewis, Joe Gebbia, Michael Pollan, Dr. Jordan Peterson, Vince Vaughn, Brian Koppelman, Ramit Sethi, Dax Shepard, Tony Robbins, Jim Dethmer, Dan Harris, Ray Dalio, Naval Ravikant, Vitalik Buterin, Elizabeth Lesser, Amanda Palmer, Katie Haun, Sir Richard Branson, Chuck Palahniuk, Arianna Huffington, Reid Hoffman, Bill Burr, Whitney Cummings, Rick Rubin, Dr. Vivek Murthy, Darren Aronofsky, Margaret Atwood, Mark Zuckerberg, Peter Thiel, Dr. Gabor Maté, Anne Lamott, Sarah Silverman, Dr. Andrew Huberman, and many more.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Time to finish up our coverage of The Empire Strikes Back (at least this adaptation of it). Prepare for some harsh Comics Code editing and some weird art choices as we enter a bold new era in which the Star Wars franchise now consists of two whole movies!

Episode 8 - Murdock and Marvel: 1971 We have a fun show this week, with Marvel being a critical part of a couple big changes that happen in 1971.  We also see a new character swinging into Daredevil this year, who is going be a big part of Matt Murdock's life for the next few years!  Preshow Note from Amanda The Year in Comics  1971 was a year of transition and upheaval for the comics industry, as fundamental changes to content and pricing occurred that would impact what stories comics could tell going forward, and who they would be telling them for.  The Big Stories Other Tidbits Shazam Winners The Year in Marvel New Titles (and lots of reprints) New Characters Big Moments Who's in the Bullpen ROOKIE OF THE YEAR: John Costanza The Year in Daredevil  Appearances: Daredevil #72-82, Iron Man #35-36 Gerry Conway wrote most of these issues with Gene Colan on art and Stan Lee editing. More logo changes starting with issue 72. More blocky (but now on one line) Daredevil.   The year starts with Daredevil teaming up with Tagak the Leopard Lord to capture a burglar from another dimension. Both came to earth through a mirror. Matt Murdock then butts heads with Tony Stark as the pair, along with Nick Fury, keep the Zodiac key away from Spymaster, Capricorn and others in a story that crossed over from Iron Man's comic (and then back).   Daredevil teams up with a group of Blind people to thwart the committee after they blind New York City.   While on a fact-finding mission in Delvadia, Daredevil has to save the new US ambassador Jerome Villiers and pursue El Condor who sent the men after Villiers.   Namor is drawn to a park as an alien spacecraft lands while Daredevil and Spider-Man attempt to figure out what has people's attention.    Daredevil saves the lives of a couple visiting New York and ends up dealing with a professor and his super strengthen Man-Bull. Meanwhile, Foggy is getting blackmailed by a mysterious Mr. Klein.   The Owl returns to after being hired by Mr. Klein to take down Daredevil. Daredevil fights Owl on his owl-copter and the ship crashes and explodes – causing Karen to believe Matt has died… again.   Black Widow saves a knocked-out Daredevil from drowning. The Owl and Mr. Klein (who is now code-named Assassin) cut ties and Karen get “comforted” by her agent Phil.    The year ends with Daredevil and Black Widow taking on the Scorpion who's been brought in by Mr. Klein. During a battle on top of the World Trade Center, Widow accidentally knocks Scorpion off the edge of the building and an eyewitness accuses her of murder.  New Powers, Toys or Places New Supporting Characters New Villains This Week's Spotlight: Daredevil #80 Sept 1971 "In the Eyes... of the Owl!" and Daredevil #81 Nov 1971 "And Death Is a Woman Called Widow"  Recap Why We Picked This Story The Takeaway Changes with the Comics Code means Changes at Marvel (and comics in general) Questions or comments We'd love to hear from you!  Email us at questions@comicsovertime.com or find us on Twitter @comicsoftime. ------------------ THANKS TO THE FOLLOWING CREATORS AND RESOURCES  Music: Our theme music is by the very talented Lesfm.  You can find more about them and their music at https://pixabay.com/users/lesfm-22579021/.  The Grand Comics Database: Dan uses custom queries against a downloadable copy of the GCD to construct his publisher, title and creator charts.  Comichron: Our source for comic book sales data.  Man Without Fear: Kuljit Mithra's Daredevil site contains a staggering collection of resources about our hero, including news, interviews and comic details.    The American Comic Book Chronicles: Published by TwoMorrows, these volumes provide an excellent analysis of American comics through the years.  Because these volumes break down comic history by year and decade they are a great place to get a basic orientation on what is happening across the comic industry at a particular point in time. 

FLASHBACK! There's no doubt that Superman is one of the most significant characters in the history of American comics. He ended up setting the template for what would be the dominant genre in American comics after the Comics Code came into effect. Of course, the types of stories told in those comics, and their tone, … Continue reading #479 Some of the greatest Superman stories (or not)

On today's episode of the "Helping Families Be Happy" podcast, host Christopher Robbins, co-founder of Familius Publishing, husband, father of nine, author, fisherman, backpacker, and aspirational musician based in the Central Valley of California, talks to Sarah Smith; a distinguished district librarian from California's Central Valley about books and the current book banning trend within the United States.    Having served as a high school librarian and English teacher, Sarah's passion now extends to professionally reviewing manga and graphic novels for esteemed publications like Booklist and School Library Journal. she has penned articles for California English and Diamond Bookshelf, enhancing our understanding of the written word. Her voice has enriched podcasts such as School Librarians United and The Literacy Advocate, and her expertise has been showcased at conferences hosted by the American Library Association and the School Library Journal Summit.   Episode Highlights: 01:58 Christopher opens the dialogue with a reflection on the current state of book banning and censorship in the United States, emphasizing its unprecedented scale and acknowledges the need to balance the protection of our right to read with parental concerns over potentially objectionable content. 02:34 Statistics reveal a significant rise in challenged titles in libraries, with a shift towards collective challenges on multiple books rather than individual titles. 04:22 Sarah describes the issue of book banning as a significant element in a wider cultural conflict, particularly as a means to challenge public education. She notes that the pandemic, by bringing school into the home, gave some parents a closer look at educational content, which has spurred a pushback against certain materials. 05:27 Sarah reveals a startling statistic from a recent study showing that a majority of the book challenges can be traced back to a relatively small number of individuals, suggesting the influence of a vocal minority rather than a widespread movement. 07:38 Christopher seeks Sarah's insight on how parents can address concerns about content their children are exposed to in school libraries. 09:06 Sarah touches on regional differences in content appropriateness, particularly within California's diverse political landscape. She discusses the challenges librarians face in ensuring age-appropriate content and the reliance on various tools and resources to assist in book selection. 10:49 The goal of reconsiderations process is to approach concerns objectively and fairly, without succumbing to emotional or biased judgments, says Sarah. 11:56 Christopher clarifies the objective criteria in place for parents to submit concerns about content and the inclusive review process involving various community members. 13:19 Christopher discusses the variability of policies across districts and states, and the importance for parents to be informed about their school's specific policies. 13:35 Sarah advises parents to check school board policies on their school's website, typically found under the instruction section, to understand the policy regarding book challenges. 14:26 Sarah emphasizes the importance of civility when parents address concerns with schools, suggesting that a polite approach is more effective. 16:34 Sarah introduces the idea of parents discussing content limitations directly with libraries, potentially preventing the need for book removals. She shares a personal anecdote about respecting a parent's request to restrict specific genres for their child and notes that this is a right parents have. 18:51 Christopher also discusses cultural literacy, encouraging exposure to a broad range of literature, music, and film to enrich children's understanding of the human experience. 20:10 On constitutional aspect, Christopher questions how current cultural conflicts and legislation align with the freedom of speech and the freedom to read as guaranteed by the First Amendment. 21:27 Sara mentions guidance issued by the California District Attorney in June, reminding schools of their obligation to follow due process when considering the removal of books, underlining potential consequences for failing to do so. 22:46 Christopher inquiries about historical precedents for comic censorship, leading to a discussion on the Comics Code Authority established in response to accusations that comics were contributing to juvenile delinquency. 23:40 Sara explains the self-regulatory measures of the comics industry to avoid Congressional censorship and how the 1980s saw a shift with publishers choosing to ignore the Comics Code to produce content for mature audiences. 25:54 Sarah stresses the diligence that goes into selecting books for libraries, pointing out that professional reviews are a resource for librarians and can be a tool for parents as well. She mentions that professional reviews are available for parents to check if a book is age-appropriate and suggests that these resources can also guide parental choices. 28:16 Christopher discusses the importance of trade publications in the library collection development process and their availability on platforms like Amazon.   Key Points:  Christopher and Sarah explore the concerning trend of book banning in the U.S., discussing the need to find a balance between protecting the freedom to read and addressing parental concerns over certain educational content. Sarah offers insights on the book selection process in libraries, emphasizing the role of professional reviews and trade publications to ensure age-appropriateness, and suggests that direct communication between parents and libraries can pre-emptively address content concerns. The conversation also addresses the constitutional implications of book banning, historical censorship in comics, and the importance of cultural literacy, underscoring the significance of due process and civility in the discourse around library content and book challenges.   Tweetable Quotes: "Unprecedented scale of book banning in the U.S. calls for a balance between our right to read and addressing parental content concerns." - Christopher Robbins "A vocal minority, not a widespread movement, often drives the rise in book challenges." - Sarah Smith "Civility and direct communication with libraries can address content concerns more effectively than book removals." - Sarah Smith "Cultural literacy is enriched by exposure to a broad range of literature, music, and film." - Christopher Robbins   Resources Mentioned Helping Families Be Happy Podcast Apple https://www.graphiclibrary.org/about-me.html Podcast Editing

Episode 02 Mysteries By Moonlight We take a look at the classic Moon Knight stories from Hulk! Magazine and Marvel Preview this week.  Duane tries to wrap his head around why Moon Knight stories are in a Hulk comic, Dan celebrates the arrival of Bill Sienkiewicz, and along the way we talk about the Comics Code, discuss the impact of inkers, and enjoy the creepy goodness that is the Hatchet Man storyline. The Stack for this week includes: Moon Knight backup stories in Hulk! #11-15, 17, 18 and 20 Marvel Preview #21 * These comics are sadly not available online through Marvel Unlimited.  They are collected in the Moon Knight Epic Collection: Bad Moon Rising. Questions or comments We'd love to hear from you!  Email questions@phasesofthemoonknight.com or find us on Twitter @phasesofmk

Most comic book fans have at least a passing knowledge of EC Comics and their role in the creation of the Comics Code of Authority. But many don't realize how ahead of their time the company was in so many areas, nor that the father and son who made EC run also play important roles in American comics history.Join me as we give a quick and dirty look at the horror comic legends: EC Comics!---------------------------------------------------Big thanks to Dmitry Taras for our Spooktober theme, "Dark Mysterious Halloween Night"Check out his YouTube channel and you can find free use music from him on Pixabay.com!---------------------------------------------------Check out Dreampass and all their killer tracks on Spotify!---------------------------------------------------Join the Patreon to help us keep the lights on, and internet connected! https://www.patreon.com/tctwl---------------------------------------------------Listen to my other podcast!TFD: NerdcastAnd I am also part of the team over at...I Read Comic Books!---------------------------------------------------Want to try out all the sweet gigs over on Fiverr.com? Click on the link below and sign up!https://go.fiverr.com/visit/?bta=323533&brand=fiverrcpa---------------------------------------------------Follow on Instagram!The Comics That We LoveFollow on Tiktok!The Comics that We LoveFollow on Twitter!@Z_Irish_Red

Tel est pris qui croyait prendre, voilà qui pourrait être la morale d'une histoire d'Edgar Allan Poe, ou de cet article. Aujourd'hui, on parle d'Edgar Allan Poe et de son influence sur la bande dessinée américaine ! Quand je me suis dit qu'il serait amusant de vous parler du Masque de la Mort Rouge et de ses adaptations en comic books, je n'imaginais pas dans quelle spirale infernale je venais de tomber… Car, si l'Américain Edgar Allan Poe, né à Boston en 1809, est incontestablement l'un des pères de la littérature fantastique et horrifique moderne, il est aussi l'inspirateur d'une quantité absolument titanesque de bandes dessinées plus ou moins fidèles à ses œuvres. Publiée pour la première fois en 1842 dans Graham's Magazine, puis traduite en français par Charles Baudelaire dans le recueil Nouvelles Histoires Extraordinaires en 1857, The Masque of the Red Death, de son titre original, est une nouvelle s'inscrivant dans la tradition du roman gothique.  Dans cette courte histoire, la Mort Rouge, une maladie proche de la peste, aux effets visibles désastreux et à la mortalité fulgurante, décime brutalement toute la population d'une contrée. Le Prince Prospero, un homme de pouvoir dans la région, invite un millier de nobles dans son palais au cœur d'une abbaye fortifiée, interdisant à quiconque d'entrer ou de sortir, afin d'éviter toute intrusion d'une personne malade. Bien que barricadés, les convives de Prospero ne manquent de rien, ni de nourriture, ni de divertissements en tout genre.  Après plusieurs mois d'enfermement, un bal masqué est organisé et Prospero fait décorer chaque salle de sa demeure d'une couleur différente. Les six premières sont respectivement bleue, pourpre, verte, orange, blanche, et violette, les vitres des fenêtres de chaque pièce laissant passer une lumière dont la couleur est identique à celle des murs. Mais la septième chambre fait exception. Entièrement noire, elle est éclairée d'une lumière rouge, et on y trouve une énorme horloge sonnant à chaque heure d'une façon plus pesante. Lors de la fête, aux douze coups de minuit, un étranger grand et décharné, au masque semblable au visage d'un cadavre, et entièrement vêtu de rouge, se mêle à la foule, errant au milieu des danseurs. Prospero, en colère face à ce costume qu'il prend pour une provocation, demande à ce que l'étranger soit arrêté, puis pendu ! Mais nul n'ose l'interpeller pendant qu'il traverse le palais. Prospero se jette alors sur lui, poignard à la main. Mais, comme foudroyé, il s'écroule sans vie, tandis que les convives constatent que la créature n'est autre la Mort Rouge incarnée, avant de mourir un à un. Si la morale de cette histoire n'est jamais explicitement donnée par Edgar Allan Poe, on y voit souvent une allégorie de l'inéluctabilité de la mort. La Mort Rouge ; peut-être inspirée de la tuberculose dont souffrait Virginia, l'épouse de Poe ; se propage de façon inarrêtable, y compris entre les murs du lieu où la noblesse se croyait à l'abri. Aucun stratagème ne permet d'y échapper et vouloir la contrôler est aussi vain qu'illusoire, tandis que son avancée inexorable nous est rappelée par chaque sonnerie du carillon, qui laisse derrière lui un silence de mort, avant que l'activité des invités ne reprenne peu à peu. L'autre interprétation que l'on peut en faire est plus sociale, car Le Masque de la Mort Rouge met en exergue le dédain des riches et des puissants qui festoient à l'abri, alors que les pauvres et les paysans sont exterminés par la maladie. Mais le répit des privilégiés est de courte durée, car leurs richesses et leur condition sociale ne les prémunissent pas de trépasser dans les mêmes circonstances que les indigents. La nouvelle d'Edgar Allan Poe va inspirer un sacré paquet d'œuvres au fil des années : du Fantôme de l'Opéra de Gaston Leroux à l'univers de Donjons & Dragons, en passant par un skin pour le personnage de Faucheur dans le jeu vidéo Overwatch, mais aussi des ballets, des chansons, de nombreux films, et même des comics. Car, en plus de leur influence plus que conséquente sur la Pop Culture telle que nous la connaissons aujourd'hui, les écrits de Poe ont souvent été repris, de façon plus ou moins assumée, par la bande dessinée américaine. En ce qui concerne The Masque of the Red Death en particulier, on dénombre plusieurs dizaines d'adaptations sur le papier, parfois littérales et parfois beaucoup plus libres. Si je ne vais pas toutes les citer, certaines méritent qu'on s'y attarde, notamment celles publiées par Marvel Comics, éditeur étonnamment attaché aux travaux du romancier. Dès 1952, dans les pages du quatrième numéro de Adventures Into Weird Worlds, Bill Everett, l'artiste derrière Namor the Sub-Mariner et co-créateur de Daredevil avec Stan Lee, s'inspire du Masque de la Mort Rouge dans la courte histoire "The Face of Death", qui modernise le cadre et les protagonistes dans un style typique des comic books horrifiques pré-Comics Code. Le lecteur y est interpellé comme si cette situation pouvait réellement lui arriver, et la thématique sociale opposant l'aristocratie au petit peuple est remplacée par une rivalité amoureuse. En 1961, dans Strange Tales #83, Steve Ditko, qui deviendra plus tard l'un des pères de Spider-Man et du Docteur Strange, dessine "Masquerade Party". Là aussi, la nouvelle originale de Poe est largement modernisée, encore une fois sous le prisme d'une romance qui tourne mal, mais avec une chute beaucoup moins morbide, la censure du Comics Code Authority étant passée par là entre-temps. L'histoire sera réimprimée bien plus tard, dans Chamber of Chills #16, en 1975. Huit ans plus tard, en 1969, le scénariste Roy Thomas et le dessinateur Don heck présentent une nouvelle adaptation, "The Day of the Red Death", dans laquelle un Stan Lee transformé en narrateur à la manière du Gardien des Comptes de la Crypte nous raconte cette fois-ci une version futuriste du Masque de la Mort Rouge, mais remarquablement fidèle à l'esprit de l'originale en comparaison des publications précédentes. Plus récemment, toujours chez Marvel, l'anthologie en trois numéros Haunt of Horror, parue en 2006 sous son label MAX et dessinée par Richard Corben, a confirmé le curieux lien existant entre le nouvelliste et la Maison des Idées. Puisque l'on parle de Richard Corben, cet artiste complet, véritable légende de la bande dessinée américaine, va, tout au long de sa carrière, lier son travail aux œuvres d'Edgar Allan Poe.Dès 1974, il adapte The Raven, dans le numéro soixante-sept de Creepy. Il réalisera en tout trois versions dessinées de ce poème narratif, la dernière en date, publiée en 2013 par Dark Horse Comics, figurant au sommaire d'un numéro contenant également son adaptation du Masque de la Mort Rouge. Qu'il illustre directement les textes de Poe ou qu'il s'en nourrisse pour ses propres créations, Corben partage avec lui son amour des ambiances angoissantes et des univers vaporeux. Son style graphique se prête parfaitement aux cadres pratiquement oniriques des nouvelles, mais aussi à leurs révélations finales choquantes et à leur suggestivité parfois perturbante. Il est incontestablement l'un des auteurs de bande dessinée qui a le mieux capturé l'essence des écrits d'Edgar Allan Poe et, si ses travaux vous intéressent, l'intégralité de ses histoires publiées par Dark Horse est disponible en français en un seul volume intitulé Esprit des Morts, chez Delirium. Mais, bien avant Corben, d'autres artistes ont cherché à adapter plus fidèlement The Mask of the Red Death. En 1964 sort ce qui est sûrement l'adaptation cinématographique la plus célèbre de la nouvelle, réalisée par Roger Corman, avec Vincent Price dans le rôle de Prospero. Afin de transformer ce court récit de quelques pages en un long-métrage d'une heure trente, de nombreux éléments sont ajoutés pour préciser le contexte et donner du corps à l'intrigue. Prospero y est montré comme un individu détestable et violent, terrorisant la population vivant autour de son palais et vouant même un culte à Satan. Le culte satanique de Prospero est d'ailleurs omniprésent dans le film, alors que Poe n'en fait jamais mention dans son histoire, et le tout est agrémenté d'une rivalité amoureuse entre Juliana, la compagne de Prospero, et Francesca, une jeune femme kidnappée dans un village ravagé par le prince qui espérait ainsi éviter la propagation de la Mort Rouge. L'ensemble correspond quand même assez bien au texte original dans l'idée, même si l'interprétation sociale y est plus forte et si la figure féminine de Francesca apporte également son lot d'hypothèses, totalement inexistantes chez Poe. Le Masque de la Mort Rouge est le septième film d'un cycle qui en compte huit en tout, tous réalisés par Roger Corman entre 1960 et 1965, d'après les histoires d'Edgar Allan Poe. Et outre le statut culte de ce portage sur grand écran, il a la particularité d'avoir été adapté en comic book par l'éditeur Dell Comics. Cette adaptation, dessinée par Frank Springer, un artiste très prolifique chez Dell et que l'on retrouvera plus tard sur les séries Dazzler ou G.I Joe chez Marvel, est un travail de commande à caractère promotionnel typique de l'époque, mais reste plutôt agréable à lire.  On notera qu'en 1989, Corman a produit un remake de son propre film, avec Adrian Paul, alias Duncan MacLeod dans la série télévisée Highlander, dans le rôle de Prospero, pour un résultat beaucoup moins mémorable. Il faut finalement attendre 1967, dans les pages du douzième numéro du magazine Eerie, pour voir la première adaptation en bande dessinée vraiment fidèle à la nouvelle d'Edgar Allan Poe, écrite par Archie Goodwin et dessinée par Tom Sutton. Le format magazine adopté par Warren Publishing permettait à l'éditeur de passer outre les restrictions du Comics Code Authority, et donc de montrer beaucoup plus de scènes gores et scabreuses. Le style de Tom Sutton marche vraiment très bien dans ce type de récit qui, bien qu'horrifique, conserve des outrances grand-guignolesques. Il a d'ailleurs consacré une bonne partie de ses travaux à des comics d'horreur, à quelques remarquables exceptions, comme son intervention sur pratiquement tous les numéros de la série Star Trek publiée par DC Comics entre 1984 et 1988. L'autre adaptation marquante en provenance de chez Warren se trouve dans Vampirella #110, paru en 1982. Rich Margopoulos et Rafael Aura León y présentent une version également très fidèle au texte original, dont certaines cases flirtent gentiment avec l'érotisme. Ces deux histoires ont été réimprimées de nombreuses fois par la suite, et comptent parmi la multitude d'exemples de la façon dont l'œuvre de Poe a inspiré toute une génération de scénaristes et d'illustrateurs qui participent au regain d'intérêt pour l'épouvante classique et l'horreur gothique à partir de la seconde moitié du vingtième siècle. Au-delà des adaptations de ses œuvres, Edgar Allan Poe est avant tout un personnage historique majeur pour la culture des États-Unis, si bien qu'on le retrouve parfois mis en scène comme un personnage de fiction, de façon plus ou moins sérieuse, dans à peu près tout et n'importe quoi : de South Park aux Beetleborgs, en passant par les Simpson et Sabrina, l'Apprentie Sorcière. Évidemment, les comic books n'échappent pas à cette étrange coutume et le poète apparaît ainsi dans un nombre conséquent de publications. Dans le deuxième numéro de l'anthologie horrifique Spellbound, paru en 1952, il est transformé en vilain qui torture un acteur dans une mise en scène macabre digne d'un film de la saga Saw. Chez DC Comics, il croise la route de super-héros comme Superboy et The Atom, tandis que le vingt-sixième numéro de la série Ghosts, publié en 1974, va jusqu'à réinventer les causes de sa mort, restées troubles jusqu'à aujourd'hui. Enfin, avec ses séries Snifter of Terror ou Snifter of Blood, AHOY Comics revisite les classiques de l'écrivain sous un jour plus moderne, et parfois parodique, derrière des couvertures hommages aussi inattendues qu'amusantes. Une utilisation pas toujours du meilleur goût, mais qui révèle à quel point il a influencé par bien des façons les auteurs et les artistes derrière nos bande dessinées préférées, ces derniers nourrissant un besoin quasi-viscéral de lui rendre hommage d'une manière ou d'une autre. Honnêtement, en me lançant dans l'écriture de cet article, je ne m'attendais pas à avoir autant de choses à vous raconter. Et tout ça en ne traitant que d'une seule histoire écrite par Edgar Allan Poe, et pratiquement uniquement par le prisme de ses adaptations en comics… C'est dire quel terrier de lapin sans fond peut devenir le moindre sujet lié à la Pop Culture, au sens très large du terme, pour peu que l'on prenne la peine de se questionner sur chaque élément laissé çà et là par les différents acteurs de son développement… Alors, au regard de la ribambelle de productions tirées du Masque de la Mort Rouge, ma conclusion est la suivante : à quoi que Prospero ait pu espérer échapper en s'enfermant dans son palais, ce n'était assurément pas la postérité. N'hésitez pas à partager cet article sur les réseaux sociaux s'il vous a plu ! Recevez mes articles, podcasts et vidéos directement dans votre boîte mail, sans intermédiaire ni publicité, en vous abonnant gratuitement ! Retrouvez le podcast POP CULTURE & COMICS sur toutes les plateformes d'écoute en cliquant ici ! Get full access to CHRIS - POP CULTURE & COMICS at chrisstup.substack.com/subscribe

Tales from the Crypt was an American bi-monthly horror comic anthology series published by EC Comics from 1950 to 1955, producing 27 issues (the first issue with the title was #20, previously having been International Comics (#1–#5); International Crime Patrol (#6); Crime Patrol (#7–#16) and The Crypt of Terror (#17–#19) for a total of 46 issues in the series). Along with its sister titles, The Haunt of Fear and The Vault of Horror, Tales from the Crypt was popular, but in the late 1940s and early 1950s comic books came under attack from parents, clergymen, schoolteachers and others who believed the books contributed to illiteracy and juvenile delinquency. In April and June 1954, highly publicized congressional subcommittee hearings on the effects of comic books upon children left the industry shaken. With the subsequent imposition of a highly restrictive Comics Code, EC Comics publisher Bill Gaines cancelled Tales from the Crypt and its two companion horror titles, along with the company's remaining crime and science fiction series in September 1954. Since their demise, all EC Comics titles have been reprinted at various times. Stories from the horror series have been adapted into other media, including a 1972 film and a television series that aired on HBO from 1989 to 1996. The later spawned two films—Demon Knight (1995) and Bordello of Blood (1996)—as well as a children's animated series, a game show, and a radio series. Learn more about your ad choices. Visit megaphone.fm/adchoices

My guest this week is comedian Danny Gallagher! When did Danny get started with MAD Magazine? What is the MAD Fold-In? What did Danny NOT find at his grandparents' house? When was Nickelodeon more "us against them"? What strip did MAD Magazine recently reprint? What did MAD Magazine never do? When did the Comics Code start? What weird rules did the Comics Code Authority force comics creators to adhere to? What was William Gaines like? What did MAD Magazine make fun of? What is Spy Vs Spy? What was MAD's Star Wars parody called? What are The Mask comics? What happens to people when they put on the Mask? What are some differences between the movie and the comic? What happened when DC Comics took over MAD? Does MAD ever do new articles anymore?  Reading list: Superduperman Scholar Finds Flaws in Work by Archenemy of Comics 10 Crazy Rules The Comics Code Authority Made Creators Follow A Seduction of the Innocent website Good days and MAD by Dick Debartolo Tales From The Crypt (free on Comixology Unlimited) The Mask Dark Horse Presents Concrete (free on Comixology Unlimited) Recorded 9-15-23 via Zencastr

There's a new play all about The Dr Wertham Book Seduction Of The Innocent that discusses EC comics and the creation Of The Comics code. Horror Crime and adult comics were deemed unacceptable by the US Senate. This play depicts the real life drama and consequences. It's playing in Chicago Thru Oct 8th at the City Lit Theater.This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/3143082/advertisement

Connor and Harry provide a condensed history of American superhero comics, starting with the precursive Platinum Age, their creation in the Golden Age, and the censorious Comics Code's creation in the Silver Age.

Beat the Kayfabe Effect at our Patreon: https://patreon.com/cartoonistkayfabe Ed's Links (Order RED ROOM!, Patreon, etc): https://linktr.ee/edpiskor Jim's Links (Patreon, Store, social media): https://linktr.ee/jimrugg ------------------------- E-NEWSLETTER: Keep up with all things Cartoonist Kayfabe through our newsletter! News, appearances, special offers, and more - signup here for free: https://cartoonistkayfabe.substack.com/ --------------------- SNAIL MAIL! Cartoonist Kayfabe, PO Box 3071, Munhall, Pa 15120 --------------------- T-SHIRTS and MERCH: https://shop.spreadshirt.com/cartoonist-kayfabe --------------------- Connect with us: Instagram: https://www.instagram.com/cartoonist.kayfabe/ Twitter: https://twitter.com/CartoonKayfabe Facebook: https://www.facebook.com/Cartoonist.Kayfabe Ed's Contact info: https://Patreon.com/edpiskor https://www.instagram.com/ed_piskor https://www.twitter.com/edpiskor https://www.amazon.com/Ed-Piskor/e/B00LDURW7A/ref=dp_byline_cont_book_1 Jim's contact info: https://www.patreon.com/jimrugg https://www.jimrugg.com/shop https://www.instagram.com/jimruggart https://www.twitter.com/jimruggart https://www.amazon.com/Jim-Rugg/e/B0034Q8PH2/ref=sr_tc_2_0?qid=1543440388&sr=1-2-ent

Alan Moore's and Dave Gibbons's Watchmen fundamentally altered the perception of American comic books and remains one of the medium's greatest hits. Launched in 1986—“the year that changed comics” for most scholars in comics studies—Watchmen quickly assisted in cementing the legacy that comics were a serious form of literature no longer defined by the Comics Code era of funny animal and innocuous superhero books that appealed mainly to children. After Midnight: Watchmen After Watchmen (U Mississippi Press, 2022) looks specifically at the three adaptations of Moore's and Gibbons's Watchmen—Zack Snyder's Watchmen film (2009), Geoff Johns's comic book sequel Doomsday Clock (2017), and Damon Lindelof's Watchmen series on HBO (2019). Divided into three parts, the anthology considers how the sequels, especially the limited series, have prompted a reevaluation of the original text and successfully harnessed the politics of the contemporary moment into a potent relevancy. The first part considers the various texts through conceptions of adaptation, remediation, and transmedia storytelling. Part two considers the HBO series through its thematic focus on the relationship between American history and African American trauma by analyzing how the show critiques the alt-right, represents intergenerational trauma, illustrates alternative possibilities for Black representation, and complicates our understanding of how the mechanics of the show's production can complicate its politics. Finally, the book's last section considers the themes of nostalgia and trauma, both firmly rooted in the original Moore and Gibbons series, and how the sequel texts reflect and refract upon those often-intertwined phenomena. Joel Tscherne is an Adjunct History Professor at Southern New Hampshire University and an Associate Faculty member at University of Arizona Global Campus. His Twitter handle is @JoelTscherne. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Alan Moore's and Dave Gibbons's Watchmen fundamentally altered the perception of American comic books and remains one of the medium's greatest hits. Launched in 1986—“the year that changed comics” for most scholars in comics studies—Watchmen quickly assisted in cementing the legacy that comics were a serious form of literature no longer defined by the Comics Code era of funny animal and innocuous superhero books that appealed mainly to children. After Midnight: Watchmen After Watchmen (U Mississippi Press, 2022) looks specifically at the three adaptations of Moore's and Gibbons's Watchmen—Zack Snyder's Watchmen film (2009), Geoff Johns's comic book sequel Doomsday Clock (2017), and Damon Lindelof's Watchmen series on HBO (2019). Divided into three parts, the anthology considers how the sequels, especially the limited series, have prompted a reevaluation of the original text and successfully harnessed the politics of the contemporary moment into a potent relevancy. The first part considers the various texts through conceptions of adaptation, remediation, and transmedia storytelling. Part two considers the HBO series through its thematic focus on the relationship between American history and African American trauma by analyzing how the show critiques the alt-right, represents intergenerational trauma, illustrates alternative possibilities for Black representation, and complicates our understanding of how the mechanics of the show's production can complicate its politics. Finally, the book's last section considers the themes of nostalgia and trauma, both firmly rooted in the original Moore and Gibbons series, and how the sequel texts reflect and refract upon those often-intertwined phenomena. Joel Tscherne is an Adjunct History Professor at Southern New Hampshire University and an Associate Faculty member at University of Arizona Global Campus. His Twitter handle is @JoelTscherne. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Alan Moore's and Dave Gibbons's Watchmen fundamentally altered the perception of American comic books and remains one of the medium's greatest hits. Launched in 1986—“the year that changed comics” for most scholars in comics studies—Watchmen quickly assisted in cementing the legacy that comics were a serious form of literature no longer defined by the Comics Code era of funny animal and innocuous superhero books that appealed mainly to children. After Midnight: Watchmen After Watchmen (U Mississippi Press, 2022) looks specifically at the three adaptations of Moore's and Gibbons's Watchmen—Zack Snyder's Watchmen film (2009), Geoff Johns's comic book sequel Doomsday Clock (2017), and Damon Lindelof's Watchmen series on HBO (2019). Divided into three parts, the anthology considers how the sequels, especially the limited series, have prompted a reevaluation of the original text and successfully harnessed the politics of the contemporary moment into a potent relevancy. The first part considers the various texts through conceptions of adaptation, remediation, and transmedia storytelling. Part two considers the HBO series through its thematic focus on the relationship between American history and African American trauma by analyzing how the show critiques the alt-right, represents intergenerational trauma, illustrates alternative possibilities for Black representation, and complicates our understanding of how the mechanics of the show's production can complicate its politics. Finally, the book's last section considers the themes of nostalgia and trauma, both firmly rooted in the original Moore and Gibbons series, and how the sequel texts reflect and refract upon those often-intertwined phenomena. Joel Tscherne is an Adjunct History Professor at Southern New Hampshire University and an Associate Faculty member at University of Arizona Global Campus. His Twitter handle is @JoelTscherne. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

Alan Moore's and Dave Gibbons's Watchmen fundamentally altered the perception of American comic books and remains one of the medium's greatest hits. Launched in 1986—“the year that changed comics” for most scholars in comics studies—Watchmen quickly assisted in cementing the legacy that comics were a serious form of literature no longer defined by the Comics Code era of funny animal and innocuous superhero books that appealed mainly to children. After Midnight: Watchmen After Watchmen (U Mississippi Press, 2022) looks specifically at the three adaptations of Moore's and Gibbons's Watchmen—Zack Snyder's Watchmen film (2009), Geoff Johns's comic book sequel Doomsday Clock (2017), and Damon Lindelof's Watchmen series on HBO (2019). Divided into three parts, the anthology considers how the sequels, especially the limited series, have prompted a reevaluation of the original text and successfully harnessed the politics of the contemporary moment into a potent relevancy. The first part considers the various texts through conceptions of adaptation, remediation, and transmedia storytelling. Part two considers the HBO series through its thematic focus on the relationship between American history and African American trauma by analyzing how the show critiques the alt-right, represents intergenerational trauma, illustrates alternative possibilities for Black representation, and complicates our understanding of how the mechanics of the show's production can complicate its politics. Finally, the book's last section considers the themes of nostalgia and trauma, both firmly rooted in the original Moore and Gibbons series, and how the sequel texts reflect and refract upon those often-intertwined phenomena. Joel Tscherne is an Adjunct History Professor at Southern New Hampshire University and an Associate Faculty member at University of Arizona Global Campus. His Twitter handle is @JoelTscherne. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

Alan Moore's and Dave Gibbons's Watchmen fundamentally altered the perception of American comic books and remains one of the medium's greatest hits. Launched in 1986—“the year that changed comics” for most scholars in comics studies—Watchmen quickly assisted in cementing the legacy that comics were a serious form of literature no longer defined by the Comics Code era of funny animal and innocuous superhero books that appealed mainly to children. After Midnight: Watchmen After Watchmen (U Mississippi Press, 2022) looks specifically at the three adaptations of Moore's and Gibbons's Watchmen—Zack Snyder's Watchmen film (2009), Geoff Johns's comic book sequel Doomsday Clock (2017), and Damon Lindelof's Watchmen series on HBO (2019). Divided into three parts, the anthology considers how the sequels, especially the limited series, have prompted a reevaluation of the original text and successfully harnessed the politics of the contemporary moment into a potent relevancy. The first part considers the various texts through conceptions of adaptation, remediation, and transmedia storytelling. Part two considers the HBO series through its thematic focus on the relationship between American history and African American trauma by analyzing how the show critiques the alt-right, represents intergenerational trauma, illustrates alternative possibilities for Black representation, and complicates our understanding of how the mechanics of the show's production can complicate its politics. Finally, the book's last section considers the themes of nostalgia and trauma, both firmly rooted in the original Moore and Gibbons series, and how the sequel texts reflect and refract upon those often-intertwined phenomena. Joel Tscherne is an Adjunct History Professor at Southern New Hampshire University and an Associate Faculty member at University of Arizona Global Campus. His Twitter handle is @JoelTscherne. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

Alan Moore's and Dave Gibbons's Watchmen fundamentally altered the perception of American comic books and remains one of the medium's greatest hits. Launched in 1986—“the year that changed comics” for most scholars in comics studies—Watchmen quickly assisted in cementing the legacy that comics were a serious form of literature no longer defined by the Comics Code era of funny animal and innocuous superhero books that appealed mainly to children. After Midnight: Watchmen After Watchmen (U Mississippi Press, 2022) looks specifically at the three adaptations of Moore's and Gibbons's Watchmen—Zack Snyder's Watchmen film (2009), Geoff Johns's comic book sequel Doomsday Clock (2017), and Damon Lindelof's Watchmen series on HBO (2019). Divided into three parts, the anthology considers how the sequels, especially the limited series, have prompted a reevaluation of the original text and successfully harnessed the politics of the contemporary moment into a potent relevancy. The first part considers the various texts through conceptions of adaptation, remediation, and transmedia storytelling. Part two considers the HBO series through its thematic focus on the relationship between American history and African American trauma by analyzing how the show critiques the alt-right, represents intergenerational trauma, illustrates alternative possibilities for Black representation, and complicates our understanding of how the mechanics of the show's production can complicate its politics. Finally, the book's last section considers the themes of nostalgia and trauma, both firmly rooted in the original Moore and Gibbons series, and how the sequel texts reflect and refract upon those often-intertwined phenomena. Joel Tscherne is an Adjunct History Professor at Southern New Hampshire University and an Associate Faculty member at University of Arizona Global Campus. His Twitter handle is @JoelTscherne. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture

In this episode, Phillip and Eric switch things up with the first part of an ongoing series on comics history, the first up being on the Golden Age of comics and the formation of the Comics Code! Listen to them do the Peabody and Sherman thing for comics! Reach us by email at theomnibuscomicspodcast@gmail.com. Music by rodneyretro. https://traktrain.com/rodneyretro

Welcome to the Halloween 2022 Yancy Street Special! Who is Marvel's Satana? How has she evolved over the years? Why is Chris Claremont to blame for her bastardization? These answers and so much more, coming your way! Text to go along with the podcast: http://sensationalshegeek.weebly.com/full-archive/satana-hellstrom-the-devils-daughter-satanic-panic-seduction-of-the-innocent-the-comics-code-full-character-history  Image Post: http://sensationalshegeek.weebly.com/full-archive/satana-the-devils-daughter-the-image-post  This podcast proudly contains far more information on Satana than any single one of her wiki or fan pages, so I'm pleased and excited to share it with the world.  On that note: some CW for sexual assault, violence against women, topics of heaven and hell, extreme personal loss, murder, attempted fratricide, sacrifice, satanic panic, classic horror tropes, general violence and lewdness, etc. The special starts with a little necessary Background, including Horrosploitation, Dr. Fredric Wertham's 1954 Seduction of the Innocent, and the implementation of the Comics Code Authority. We then continue the timeline into the eventual relaxation of the code in 1971, and the ensuing horror trends of the 1960's-80's.  With that context in mind, we can begin talking Satana, starting with her (admittedly few) Key Comics: 0:16:44 Her various Aliases and names she's been called through the years, plus when it happened: 0:19:45 The Hellstrom Extended Family, which spread across multiple species and still holds a fair amount of mystery: 0:20:47 Satana's complete Teams and Teammates: 0:27:17 Her Allies, specifically those who are not teammates: 0:31:12 Love Interests, of course, which is surprisingly minor: 32:27 And then her Enemies, I'm sure fewer than you might expect: 0:33:21 Satana's Outfits/Physical Appearance, which has vastly changed through the years, and my breakdown of those changes: 0:37:34 Her half-demon Succubus Powers: 0:40:50 Alternate Reality/Format Versions of Satana: 0:42:38 And finally, her whole life and comic History: 0:45:22, including but not limited to the following categories: Early life; Turn for the Better, Turn for the Worst; the Basilisk; Death for Doctor Strange; Resurrection; Occultist for Hire, Thunderbolts/Dark Avengers; Between Time; All-New, All-Different Hell (and more Vegas, Baby!); and finally, her most recent appearances in Captain Marvel.  I wrap up this special with a finale I worked to put all of what I've learned and discovered into account, which I'm calling, simply, Satana's Duality: 1:08:20. It is my desire that listeners who get this far might be inspired to also care about the character of Satana, and we can see more of her in the comics, properly, again.  The Yancy Street Discord! https://discord.gg/kNq4VvA7  -Yancy Street Specials: https://sensationalshegeek.weebly.com/full-archive/category/yancy-st-specials -Beginner's Guide to Comics: https://sensationalshegeek.weebly.com/beginners-guide-to-comic-books.html   !!Apple Podcasts https://podcasts.apple.com/us/podcast/sensational-she-geek-live-from-yancy-street/id1550410718   !!Spotify https://open.spotify.com/show/45qGcYnP147aZBVIHC09lI?si=cb8b8c1a4f8c4ac7   !!Pandora https://www.pandora.com/podcast/sensational-she-geek-live-from-yancy-street/PC:74557   Find me on Instagram: @annawiththecomics https://www.instagram.com/annawiththecomics/   Podcast Updates on Twitter: @savageshegeek https://twitter.com/savageshegeek   YouTube: https://www.youtube.com/channel/UC-KoazT-HEFbqCALjxRLjFQ   Website/Blog: https://sensationalshegeek.weebly.com/   Donation and All Other Links https://linktr.ee/sensationalshegeek  

EC Comics, a name that brings to mind Fredric Wertham and the coming of the Comics Code, also brings to mind some very well-done comics by the likes of Wally Wood, Harvey Kurtzman, Al Williamson, and more. IDW has just released an Artist's Edition of original EC art by Wood, Kurtzman, Williamson, Jack Davis, and … Continue reading #755 “Best of EC Stories, Artisan Edition”

The weather is cooling down, but I'm just getting sweatier each week on the podcast! Podnotes to follow along with this episode: http://sensationalshegeek.weebly.com/full-archive/ep83-the-future-of-doctor-who-reed-richards-speculation-the-great-jahy-judgment-day-dc-film-news-and-more  In news this week, we're talking Rihanna's return with Lift Me Up (0:12:29), the new co-heads of DC Films (0:16:46),  a small update for The Batman's Arkham Asylum spinoff (0:23:41), the major changes for the HBO Green Lantern Series (0:25:00), news about the Witcher season 4 (0:29:12), the Future of Doctor Who (0:31:28), a new WandaVision Spinoff (0:38:41), Secret Invasion series news (0:41:54), and news about the upcoming Venom 3 (0:44:35). I also go over some highlights from the January Big-Two comics solicitations (0:49:30), as well as what kick-offs, first issues, #1's and one-shots are coming in the month of November! The Spotlight Manga for the week (0:52:48) is The Great Jahy Will Not Be Defeated, by Wakame Konbu, which is also my Halloween costume! There's only 3 volumes out in English so far, with the fourth coming later this month, so now is a great time to jump in! This week's comic picks (0:56:42) includes the finale of Marvel's Judgement Day, and the coming week's Pulls (1:06:51) are fill with indie starters! This fall is an amazing time to get into indie comics, specifically. There's something coming  for everyone! Finally, I go through the events of the Power of the Doctor (1:14:20) Doctor Who episode, Jodie Whittaker's final as the 13th doctor. With a lot of changes supposedly coming to the show starting next fall, there's a lot of be discussed and fondly remembered.  I'll be back with episode 84 next week (and to talk that Wonder Man news!), but keep an eye out this Friday the 4th for my Halloween Yancy Street Special, covering the character Satana, plus 1970's horror exploitation trends, the Comics Code, Satanic Panic, Seduction of the Innocent, and more factors that went into and still do go into horror comics and characters today! January Big Two Solicits: http://sensationalshegeek.weebly.com/full-archive/january-big-two-comic-book-solicitations NPR Article on Lift Me Up https://www.npr.org/sections/now-playing/2022/10/28/1132028396/rihanna-lift-me-up  Den of Geek Doctor Who Easter Eggs article https://www.denofgeek.com/tv/doctor-who-the-power-of-the-doctor-easter-egg-guide/ The Yancy Street Discord! https://discord.gg/mMzFVDb6  -Yancy Street Specials: https://sensationalshegeek.weebly.com/full-archive/category/yancy-st-specials -Beginner's Guide to Comics: https://sensationalshegeek.weebly.com/beginners-guide-to-comic-books.html   !!Apple Podcasts https://podcasts.apple.com/us/podcast/sensational-she-geek-live-from-yancy-street/id1550410718   !!Spotify https://open.spotify.com/show/45qGcYnP147aZBVIHC09lI?si=cb8b8c1a4f8c4ac7   !!Pandora https://www.pandora.com/podcast/sensational-she-geek-live-from-yancy-street/PC:74557   Find me on Instagram: @annawiththecomics https://www.instagram.com/annawiththecomics/   Podcast Updates on Twitter: @savageshegeek https://twitter.com/savageshegeek   YouTube: https://www.youtube.com/channel/UC-KoazT-HEFbqCALjxRLjFQ   Website/Blog: https://sensationalshegeek.weebly.com/   Donation and All Other Links https://linktr.ee/sensationalshegeek

Tales from the Crypt was an American bi-monthly horror comic anthology series published by EC Comics from 1950 to 1955, producing 27 issues (the first issue with the title was #20, previously having been International Comics (#1–#5); International Crime Patrol (#6); Crime Patrol (#7–#16) and The Crypt of Terror (#17–#19) for a total of 46 issues in the series). Along with its sister titles, The Haunt of Fear and The Vault of Horror, Tales from the Crypt was popular, but in the late 1940s and early 1950s comic books came under attack from parents, clergymen, schoolteachers and others who believed the books contributed to illiteracy and juvenile delinquency. In April and June 1954, highly publicized congressional subcommittee hearings on the effects of comic books upon children left the industry shaken. With the subsequent imposition of a highly restrictive Comics Code, EC Comics publisher Bill Gaines cancelled Tales from the Crypt and its two companion horror titles, along with the company's remaining crime and science fiction series in September 1954. Since their demise, all EC Comics titles have been reprinted at various times. Stories from the horror series have been adapted into other media, including a 1972 film and a television series that aired on HBO from 1989 to 1996. The later spawned two films—Demon Knight (1995) and Bordello of Blood (1996)—as well as a children's animated series, a game show, and a radio series. Learn more about your ad choices. Visit megaphone.fm/adchoices

Full episode at patreon.com/thicklinespod. Tales From The Crypt scholar Sam Szabo stretches out on the couch with Sally to talk EC's post-Comics Code title, "Psychoanalysis," a truly troubling 4-issue run. Topics discussed include: MAD Magazine, Sex and The City, real-life Jughead hats, and more. Catch Szabo skulking around Short Run Seattle Comix & Arts Festival on November 5th! Read Sam's comics at brainboogerindustries.bigcartel.com and preview her upcoming book at patreon.com/brainbooger. Support Thick Lines at patreon.com/thicklinespod and follow us on Instagram @thicklinespod.

Come to Chicago for lunch with Carol Tilley as we discuss how we each first learned about the Comics Code, the mostly forgotten rich kid origins of Blondie's Dagwood Bumstead, the unsettling inconsistencies she discovered while going through 200 boxes of Fredrick Wertham's papers, what those documents reveal about how he came to believe what he came to believe, what it means to research with the brain of an historian, the proper pronunciations of Potrzebie and Mxyzptlk, her efforts to track down those who wrote letters to the Senate protesting comic book censorship during the '50s (including one of the founders of the Firesign Theater), the enduring power of EC's "Judgment Day," why she believed comic book censorship would have occurred even without Wertham's input, what she thinks he'd make of today's comics, how Wertham felt about the way comic book fans felt about him, and much more.

We've hit the Bronze Age of comics! Join us as we discuss the changes happening in comics throughout the 1970s. The comic book landscape starts to get a little darker as storylines inspired by social relevance start to take hold, allowing for a revision on the Comics Code, the return of horror inspired comic book characters, Marvel Comics continues on Boss Level status by revitalizing the X-Men to superstar status and pumping out new characters, DC almost self destructs, and so much more! You won't want to miss this one true believers! #bronzeagecomics #comicbooks #podcast https://linktr.ee/MagicCityPodcast Appease the Algorithm Gods! Hit us with a LIKE! Comment and Subscribe! Follow us on Instagram: Paul https://www.instagram.com/magiccitycomics/?hl=en Jimmy https://www.instagram.com/jmartcollectibles/?hl=en Jorge https://www.instagram.com/marvelpapi/?hl=en Check us out on TikTok. https://www.tiktok.com/@magiccitycomics --- Support this podcast: https://anchor.fm/magic-city-podcast/support

On a tendance à l'oublier, mais avant de voir ses licences adaptées à tour de bras au cinéma, Marvel Comics a longtemps appliqué l'exacte recette inverse en adaptant sur le papier les films du moment et autres classiques de la science-fiction ou du fantastique. Et parmi les nombreuses séries, parfois éphémères, qui verront le jour grâce à cette pratique, il en est une que les mordus de comic books n'ont pas oublié ! BEWARE ! BEWARE !Le vampire est sans conteste l'une des figures les plus populaires de la fiction moderne. Des jeux de rôles se déroulant dans le Monde des Ténèbres, en passant par Castlevania, les romans d'Anne Rice, Buffy contre les Vampires, ou même Twilight, on pourrait littéralement passer la journée à énumérer les œuvres de la Pop Culture qui tournent autour du mythe de cette créature revenue d'entre les morts pour sucer le sang des vivants ! Le bestiaire folklorique et fantastique a toujours été une source d'inspiration pour les auteurs et, bien évidemment, le vampire n'y fait pas exception. Créature crépusculaire intimement liée aux croyances religieuses, le vampire moderne est une sorte de pot-pourri d'influences qui inspire crainte et fascination, pouvant se révéler tout aussi sournois que bestial, tout aussi séduisant qu'effrayant. Si des entités assimilables à des vampires existent dans pratiquement tous les folklores de la planète, c'est surtout à partir du dix-huitième siècle que l'image du vampire telle que nous la connaissons se propage dans la culture populaire. Se nourrissant principalement des légendes d'Europe Centrale, puis de récits fantastiques comme Le Vampire de John William Polidori, et bien entendu Dracula de Bram Stocker, le cliché du gentleman encapé sortant de son cercueil à la nuit tombée pour s'abreuver du sang de jeunes vierges sans défense n'a depuis lors plus jamais quitté l'imaginaire collectif. Pour beaucoup d'entre nous, c'est justement Dracula, paru en 1897, qui reste la référence en matière d'histoire de vampire, même s'il est très probable que vous connaissiez mieux cette œuvre de Bram Stocker à travers son nombre incalculable d'adaptations que dans sa forme originale de roman. Et si Dracula a effectivement été adapté maintes fois au cinéma, il a bien plus souvent été plagié, transformé et détourné, que ce soit par des cinéastes peu scrupuleux voulant contourner les droits d'auteurs, ou par divers cartoons parodiant les gimmicks du Prince des Ténèbres. Mais alors, comment le personnage de Dracula a fini par atterrir dans les pages d'une publication Marvel Comics ? Et bien disons qu'il s'agit de l'addition d'un heureux concours de circonstances et d'une bonne dose d'opportunisme. J'ai déjà eu l'occasion d'en parler : à partir du milieu des années 1950, la censure s'abat sur la bande dessinée américaine par le biais du Comics Code Authority. Outre bon nombre de règles concernant le sexe, la nudité et la violence, le code interdit également les vampires, les loups-garous et autres morts-vivants qui pourraient donner des cauchemars aux enfants. Seulement, au début des années 1970, l'ambiance est plus détendue, les États-Unis changent, et le Code va connaître quelques assouplissements, notamment en ce qui concerne l'horreur. Les loups-garous et les vampires obtiennent de nouveau le droit d'apparaître dans les  histoires, à condition d'être traitées de façon classique, tels qu'ils peuvent être représentés dans les romans de la littérature fantastique, qui sont alors considérés comme une forme de caution. Une règle assez absurde que les éditeurs vont s'empresser de tourner à leur avantage, à défaut de pouvoir ouvertement la contourner. Ainsi, à peine quelques mois après cette mise à jour du Code, Morbius apparaît dans les pages du cent-unième numéro de The Amazing Spider-Man. Surnommé “le Vampire-Vivant”, le personnage est déjà une forme de pied-de-nez au Comics Code, et son statut assez flou de super-vilain costumé victime de ses propres expériences lui permettra de passer assez facilement entre les mailles du filet de la censure. Pour continuer à alimenter cette nouvelle vague horrifique permise par le relâchement des censeurs, Marvel ne va pas aller chercher bien loin. Puisque le Code réclame un traitement “classique” des monstres de fiction, pourquoi ne pas tout simplement aller chercher Dracula, le monstre de Frankenstein et le Loup-Garou, que tout le monde connaît grâce au cinéma, et qui ont l'avantage d'être tombés dans le domaine public quelques années plus tôt ? Un choix doublement économique, puisqu'en plus d'éviter un fastidieux processus de création pour donner vie à de nouveaux personnages, il évite également à Marvel d'avoir trop d'efforts à faire pour les promouvoir. À l'époque, les films de la Hammer avec pour vedette Dracula ou la créature de Frankenstein sont encore largement plébiscités par le public et ont même l'avantage d'adopter le fameux style d'horreur gothique attendu par le Comics Code Authority, pratiquement une aubaine pour la Maison des Idées qui va profiter de tout ça sans que ça ne lui coûte un centime en droits d'adaptation. Si aujourd'hui, je me concentre sur la série Tomb of Dracula, il faut quand même souligner que l'éditeur va rapidement essorer le filon, puisqu'en seulement quelques mois, on va voir débarquer dans son catalogue le loup-garou Jack Russel, d'abord dans Marvel Spotlight, puis dans sa propre série Werewolf by Night, le monstre de Frankenstein, puis The Living Mummy dans les pages de Supernatural Thrillers, et enfin la Légion des Monstres, une équipe composée de plusieurs de ces créatures. Finalement, ce regain d'intérêt pour l'horreur dans les comic books aura permis à Marvel d'ajouter à moindre frais à son bestiaire une galerie de personnages exploitables à l'infini et dont les univers étendus respectifs auront un véritable impact sur le développement de son macrocosme : sans Werewolf by Night, pas de Moon Knight, par exemple.  RAINING BLOOD Le premier numéro de Tomb of Dracula paraît à la fin de l'année 1971. Il est écrit par Gerry Conway et dessiné par Gene Colan qui œuvrera sur l'intégralité des 70 numéros, ce qui est assez rare pour être signalé. La composition de l'équipe créative variera légèrement durant les premiers mois de parution, voyant Archie Goodwin, puis Gardner Fox s'occuper de l'écriture, avant de se stabiliser au septième épisode avec l'arrivée du scénariste Marv Wolfman Parmi les autres acteurs majeurs de Tomb of Dracula, on pourra citer l'éditeur Roy Thomas et l'encreur Tom Palmer, dont les noms restent fortement liés au succès de la série. Dans le premier épisode, on découvre Frank Drake, qui hérite d'une maison de famille assez particulière située en Transylvanie : le château du Comte Dracula en personne ! En effet, Frank est un descendant de Dracula et il va avoir la joie et l'honneur de rencontrer son aïeul, ramené à la vie accidentellement après un long sommeil. Le vampire s'empresse de boire le sang de Jeanie, la petite amie de Frank, et dès le numéro suivant, ce dernier n'aura pas d'autre choix que de tuer lui-même sa bien aimée transformée en créature de la nuit par la morsure du Comte. Des évènements dramatiques qui conduisent Frank à se lancer à la poursuite de son ancêtre suceur de sang. Une quête dans laquelle il sera bientôt rejoint par Rachel Van Helsing, elle-même descendante du célèbre chasseur de vampires, et par Blade, qui fait sa première apparition dans le dixième épisode de Tomb of Dracula. L'univers du Dracula de Marvel s'étoffe rapidement, puisque le Comte trouvera des ennemis récurrents et même quelques alliés au fil de ses aventures, avant de devenir la vedette d'autres publications : d'abord avec le magazine en noir et blanc Dracula Lives ! en 1973, dont le format échappant au Comics Code Authority permettait aux auteurs d'aller plus loin dans l'horreur et la suggestivité, puis dans Giant-Size Chillers, rapidement renommé Giant-Size Dracula, dans lesquels Roy Thomas, Gene Colan et une longue liste d'auteurs enrichissent le background du vampire en prenant plus ou moins de liberté vis-à-vis du mythe original. En France, Tomb of Dracula a été publié chez Aredit, au même titre que Werewolf by Night ou Frankenstein, aux côtés d'autres personnages comme Swamp Thing et The Demon de Jack Kirby, dans la collection Comics Pocket. Des périodiques estampillés “Bandes dessinées pour adultes” qui, entre censure et redécoupage pour faire s'harmoniser les planches originales au petit format des revues, ne faisaient pas toujours honneur au matériau d'origine, il faut l'avouer.  L'une des particularités de la version de Dracula à laquelle nous nous intéressons aujourd'hui est d'avoir été complètement intégrée à l'univers Marvel, obtenant une place à part entière au sein de la Maison des Idées. Sans surprise, le Prince des Ténèbres va donc croiser et affronter Jack Russell, alias Werewolf by Night, mais aussi toute la galerie des héros Marvel dont l'exotisme tranche un peu plus avec sa Transylvanie natale, de l'Homme Araignée dans le premier numéro de Giant-Size Spider-Man en 1974 au Silver Surfer dans le cinquantième numéro de Tomb of Dracula… L'arrêt de la série en 1979, après soixante-dix numéros, est de courte durée. Seulement quelques semaines plus tard, Tomb of Dracula revient dans un format magazine sous le label Curtis de Marvel, échappant encore une fois à la censure. Le personnage est ensuite régulièrement utilisé par Marvel, comme dans les pages de Thor et Docteur Strange, puis en 1991 sous le label Epic, et jusqu'à récemment dans les pages de Deadpool ou de certaines séries mutantes de la Maison des Idées, dans une version correspondant mieux à l'air du temps. Évidemment, je ne survole ici que les utilisations de Dracula par Marvel, le Prince des Ténèbres ayant été largement exploité par divers éditeurs au fil des années dans des productions plus ou moins romanesques, comme le lunaire Dracula versus Zorro chez Topps en 1993, ou Superman vs Dracula en 2002 chez DC Comics… Plus curieux encore, en 1980, Tomb of Dracula sera adapté en film d'animation pour la télévision par la société japonaise Toei. Un long-métrage de quatre-vingt dix minutes qui s'inspire des grandes lignes de la série de comic books et qui ne présente pas d'autre intérêt que d'être un honnête OVNI parmi les nombreuses adaptations tirées des publications Marvel Comics. Si l'intrigue de Tomb of Dracula a tendance à se répéter et que certains retournements de situation, tels que les multiples résurrections de Dracula, sont un peu tirés par la cape, l'un des principaux attraits de la série reste incontestablement l'évolution du personnage titre, à la fois antagoniste et élément central des histoires racontées. Après un premier arc très classique, fidèle aux clichés des histoires de vampires telles que l'on peut les voir au cinéma, on sent que Wolfman et Colan se réorientent peu à peu vers une recette plus proche des productions habituelles de Marvel. Dracula devient, tant bien que mal, le héros de sa propre histoire et doit faire face à des menaces qui remettent en cause son statut de prédateur ultime, tout en continuant à échapper aux chasseurs de vampires qui en ont après lui depuis des siècles. Si on ne s'attache pas vraiment à Dracula, qui reste prêt à tout, y compris à tuer, pour arriver à ses fins, on vibre tout de même au rythme de ses aventures. Un programme riche en évènements improbables qui n'accuse pourtant que très peu le poids des années, sûrement parce que l'ambiance originale de la série, nourrie des classiques horrifiques du dix-neuvième siècle, entretient la crédibilité d'un univers fantastique hors du temps pouvant se permettre de prendre quelques libertés en matière de cohérence sans jamais tomber dans le ridicule. Finalement, cette adaptation à la sauce Marvel rejoint sans difficulté la très longue liste des œuvres exploitant l'inépuisable filon Dracula tous supports confondus, en y ajoutant un aspect sériel et un point de vue quasi super-héroïque typique de la bande dessinée américaine. Tomb of Dracula n'est clairement pas le premier comic book auquel on pense, et encore moins la première série Marvel qui vient à l'esprit, mais elle conserve un véritable intérêt patrimonial tant dans sa conception que dans son contenu. C'est pour cela que je ne peux que vous recommander la lecture des omnibus parus chez Panini Comics, volumes imposants et de grande qualité, dont l'existence est à saluer tant ils jouent un rôle dans la représentation de la diversité de la bande dessinée américaine sur le marché français. Et si vous cherchez un point d'accès à moindre coût, le volume de la collection Marvel Décennies consacré aux années 1970 et à la Légion des Monstres vous permettra d'appréhender plus globalement le traitement de l'horreur chez Marvel à l'époque. N'hésitez pas à partager cet épisode sur les réseaux sociaux s'il vous a plu ! Recevez mes articles, podcasts et vidéos directement dans votre boîte mail sans intermédiaire ni publicité en vous abonnant gratuitement ! Get full access to CHRIS - POP CULTURE & COMICS at chrisstup.substack.com/subscribe

The first comic books were just collections of the cartoons from the Sunday funny pages. The 1930s saw the origins of superheroes and then crime, horror and romance that contained explicit sex and violence until the Comics Code forced a move to mostly kiddie comics in the 1950s.

Full episode at patreon.com/thicklinespod. By listener request, Katie and Sally discuss various “Herbie” comics (1964-67), written by Shane O'Shea (aka Richard E. Hughes) and drawn by Ogden Whitney. Topics discussed include The Death Ray, comics ads, Elizabeth Taylor, Michael Kupperman, Goofy Grape, Toru Fukuda, the Comics Code, The Fuccons, David McCallum, and more. Catch Sally at the Small Press Expo in Bethesda, MD on September 17 and 18: smallpressexpo.com. Follow Thick Lines on Instagram @thicklinespod.

I grew up on the old EC comic books before the Comics Code in North American and with all sort of good-natured fun. I never had nightmares I think because all of the old horror stuff that I was exposed to was well meaning in a certain sense. George A. Romero   George said it and George knew what he was talking about. Danger and Monster take on the crypt.

Yeah, yeah we can do memes too. This week we are tackling one of the characters of comic books and cinema. A character that exists, one of the characters of all time: Morbius the living vampire. We didn't watch the movie though. Our standards are low, not non-existent. Will, once again, makes a Star Wars reference. Chris wants to play a game. Adrian rants against corporations. And the boys tell you how you can protect yourself of one of the stranger attempts to get around the Comics Code.  Sources:       "Gallows Hill" by Josh Woodward. (https://www.joshwoodward.com/song/GallowsHill) License:CC BY 

Ed's Links (Order RED ROOM!, Patreon, etc): https://linktr.ee/edpiskor Jim's Links (Patreon, Store, social media): https://linktr.ee/jimrugg ------------------------- E-NEWSLETTER: Keep up with all things Cartoonist Kayfabe through our newsletter! News, appearances, special offers, and more - signup here for free: https://cartoonistkayfabe.substack.com/ --------------------- SNAIL MAIL! Cartoonist Kayfabe, PO Box 3071, Munhall, Pa 15120 --------------------- T-SHIRTS and MERCH: https://shop.spreadshirt.com/cartoonist-kayfabe --------------------- Connect with us: Instagram: https://www.instagram.com/cartoonist.kayfabe/ Twitter: https://twitter.com/CartoonKayfabe Facebook: https://www.facebook.com/Cartoonist.Kayfabe Ed's Contact info: https://Patreon.com/edpiskor https://www.instagram.com/ed_piskor https://www.twitter.com/edpiskor https://www.amazon.com/Ed-Piskor/e/B00LDURW7A/ref=dp_byline_cont_book_1 Jim's contact info: https://www.patreon.com/jimrugg https://www.jimrugg.com/shop https://www.instagram.com/jimruggart https://www.twitter.com/jimruggart https://www.amazon.com/Jim-Rugg/e/B0034Q8PH2/ref=sr_tc_2_0?qid=1543440388&sr=1-2-ent

Cora Buhlert is a Hugo-nominated author and genre scholar who Oliver was lucky enough to meet through his research for the novel, and he'd love for you to meet her too! Oliver and Cora discuss her falling in love with the very American body of work known as pulp fiction while she grew up travelling the world, the survival of dime novels in modern Germany, the irresistible pull of forbidden fiction, Thundarr and He-Man, "the best thing that happened in Germany in 1989", European sword and sorcery comics, a book store that "must have been designed by time-lords", mediocre movie tie-in fiction, the potential future of sword & sorcery, how S&S heroes are usually outsides who aren't chosen ones - they choose themselves, marginalized characters and identity, the "token Irishman in space", how people often miss that Grey Mouser isn't white..., the whitening of S&S heroes of color in the cover art, "he's not black, it's solar rays!", a trans sword and sorcery protagonist and other characters we'd like to see, the historical precedent for trans S&S protagonists, how The Witcher has many stories which qualify as sword & sorcery, She-Ra as sword and sorcery, the Lancer Conans and the last time sword & sorcery had a big revival, Grimdark, Brian Sanderson, short & sweet sword & sorcery as an alternative to bloated epic fantasy tales, mosaic and fix-up novels, Lin Carter should get his due as an editor, Cora's intriguing character Richard Blakemore aka The Silencer, The Shadow with Alex Baldwin, writing two novels a month (!), the Lester Dent pulp writing formula, Batman: The Animates Series and The Grey Ghost, how the pulps brought us Batman (and superheroes in general), how Batman (1989) stole its plot from a Spider novel published in 1934, writing a story written by a character you created, keeping your history straight while also having fun when writing a period protagonist, writing a pulp character who falls in love with his own genre, putting more modern storytelling elements in tales framed as having been written long ago, sexual violence and censorship in the old pulps, C.L. Moore writing about sex and drugs as an UNMARRIED woman (!) in the 1930s, weighing creative impulses against what a genre suggests should happen, Galactic Journey, winking at the present when your writing from the perspective of the past, linguistics and writing, THE HORRIBLE TRUTH ABOUT CANADIANS AND THEIR BILINGUALISM, advice on self-publishing, looking outside the Amazon ecosystem, selling literature like ham at a deli, and what makes "a Cora Buhlert story". Cora's Author Page Her self-publishing imprint, Pegasus Pulp Books Cora on Twitter as @corabuhlert The Sword & Sorcery round table discussion Oliver mentions Flame and Crimson: A History of Sword-and-Sorcery by Brian Murphy Galactic Journey Interested in those European sword & sorcery comics Cora mentioned? After the interview she provided me with the following list: - Aria by Michel Weyland from Belgium: Aria is a warrior woman with a very 1970s haircut who fights evil and also winds up adopting a little girl. Started in 1979 and is still going on. https://en.wikipedia.org/wiki/Aria_(Belgian_comic) Not to be confused with the Image comic of the same name. - Storm, art by Don Lawrence, writted by Dick Matena, Martn Lodwijk and others including Roy Thomas, from the Netherlands: This is actually sword and planet, but it might as well be sword and sorcery. The titular hero is an astronaut who gets lost in time and winds up in a post-apocalyotic Barbarian future and hooks up with a local warrior woman whom I know as Roodhaar (Redhair), but who's apparently called Ember in English language editions: https://en.wikipedia.org/wiki/Storm_(Don_Lawrence) Started in 1977 and is also still ongoing. - Thorgal by Jean Van Hamme and Grzegorz Rosinski, also from Belgium. This is basically the Viking Superman, a humanoid alien raised and found by Vikings. Thorgal is also a family man and has a wife and several children. https://en.wikipedia.org/wiki/Thorgal Started in 1979 and is still ongoing as well. - Alix by Jacques Martin, also from Belgium: This is more historical than S&S, but the aesthetics are similar. Alix is a young Gaul sold into slavery, who winds up being adopted by a Roman Patrician and is perpetually torn between Rome and Gaul. This is basically a serious version of Asterix. Started way back in 1948 and still has new adventures coming out, though Jacques Martin has passed away by now:  https://en.wikipedia.org/wiki/The_Adventures_of_Alix - Ghita of Alizarr by Frank Thorne. This one is actually American, though I first encountered it in Dutch translation. This was Frank Thorne going further than the Comics Code allowed him to do with Red Sonja. Early Franco-Belgian-Dutch comics can be very prudish, but by the late 1970s no one cared about bare breasts and vague sex scene, so it wound up on the same shelf as the others. Started in 1978. https://comicvine.gamespot.com/ghita-of-alizarr/4005-1348/ - Eric de Noorman (Eric the Norseman) by Hans G. Kresse from the Netherlands: Eric is a Viking who has fantastic adventures. He's also a family man and has a wife and a son. I encountered it via reprint collections. https://en.wikipedia.org/wiki/Eric_de_Noorman - De Rode Ridder (The Red Knight) by Willy Vandersteen and others, also from Belgium. Johan is a wandering knight who has adventures, many of which are supernatural. Started in 1946 and is still ongoing as well, though Vandersteen passed away around the time I discovered the series. https://en.wikipedia.org/wiki/De_Rode_Ridder www.soimwritinganovel.com PATREON: www.patreon.com/soimwritinganovel BUY OLIVER'S BOOKS: https://www.oliverbrackenbury.com/store SO I'M WRITING A NOVEL... TWITTER: https://twitter.com/so_writing OLIVER'S TWITTER: https://twitter.com/obrackenbury Oliver's Link Tree (For everything else): https://linktr.ee/obrackenbury

TERRIFICON Mitch and artist JERRY ORDWAY are back at Colony Pizza talking about the great comic book scare of the 50s, the Comics Code and even talk about the flaws in The Batman movie... all that and more in today's episode of the Power Cosmic..See the guys at TERRIFICON every summer at Mohegan Sun in Connecticut.. #terrificon #comicon #CtComicon 

Episode 02 Mysteries By Moonlight We take a look at the classic Moon Knight stories from Hulk! Magazine and Marvel Preview this week.  Duane tries to wrap his head around why Moon Knight stories are in a Hulk comic, Dan celebrates the arrival of Bill Sienkiewicz, and along the way we talk about the Comics Code, discuss the impact of inkers, and enjoy the creepy goodness that is the Hatchet Man storyline. The Stack for this week includes: Moon Knight backup stories in Hulk! #11-15, 17, 18 and 20 Marvel Preview #21 * These comics are sadly not available online through Marvel Unlimited.  They are collected in the Moon Knight Epic Collection: Bad Moon Rising. Questions or comments We'd love to hear from you!  Email questions@phasesofthemoonknight.com or find us on Twitter @phasesofmk

Bam! Pow! This week we start off our regular format and explore the censorship effort that changed American comics for decades! The Comics Code Authority had a major effect on the tone and content of comic books, causing writers and illustrators to get a bit creative with their content. Show Notes & Links: Versions of the Comics Code - Comics Code of 1954: http://cbldf.org/the-comics-code-of-1954/ - 1971 CCA Guidelines: https://geocities.restorativland.org/Athens/8580/cca2.html - Comics Code of 1989: https://geocities.restorativland.org/Athens/8580/cca3.html Info on Wertham and the Anti-Comics Movement - Comics Code History: The Seal of Approval: http://cbldf.org/comics-code-history-the-seal-of-approval/ - Timeline of the Anti-Comics Crusade of the 1940's and 1950's: http://www.lostsoti.org/TheAntiComicsCrusade.htm - More info on Wertham: http://www.wymann.info/comics/025-Wertham1940s.html Ending the Code - Comic Book Legends Revealed #226: https://www.cbr.com/comic-book-legends-revealed-226/ - R.I.P.: The Comics Code Authority: https://techland.time.com/2011/01/24/r-i-p-the-comics-code-authority/ A Helpful Documentary - Diagram for Delinquents: http://sequart.org/movies/3/diagram-for-delinquents/