Podcasts about Comics Code Authority

In the 1950s, horror comic books – featuring at times gory depictions of violence – were rising in popularity. But these comics triggered a moral panic, ultimately leading to the Comics Code Authority's decision to outlaw werewolves, vampires and even the word "horror." Now, journalist Michael Dean is out with an anthology of these long-forgotten Marvel comics: Lost Marvels No. 1: Tower of Shadows, first published in 1969. In today's episode, Dean talks with NPR's Ayesha Rascoe about the horror ban, the perceived relationship between comics and juvenile delinquency, and how Tower of Shadows compares to its superhero siblings.To listen to Book of the Day sponsor-free and support NPR's book coverage, sign up for Book of the Day+ at plus.npr.org/bookofthedayLearn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

El verano de 1938 nació en las páginas de Action Cómics el considerado como primer superhéroe del cómic: Superman. Su éxito, inmediato y arrollador, abrió las puertas de un Olimpo pop al que fueron accediendo otros mitos contemporáneos que han sobrevivido al paso del tiempo y se han adaptado a otros formatos como Batman, Wonder Woman, Spiderman o Hulk.Antes, otros héroes habían aparecido en seriales radiofónicos y en publicaciones pulp: Tarzán, El Hombre enmascarado, Dick Tracy, Flash Gordon… Sin embargo, ninguno de ellos reunía las tres características canónicas que, a partir de El Hombre de Acero, tendrían los superhéroes: poderes sobrehumanos, doble identidad y un entorno urbano y reconocible por sus lectores.Los superhéroes, no obstante, tuvieron que enfrentarse a la censura promovida por sectores conservadores. Ni siquiera el patriotismo que personajes como el Capitán América mostraron durante la II Guerra Mundial rehabilitó a estos mitos, que hubieron de someterse durante mucho tiempo al Comics Code Authority.En plena Guerra Fría los superhéroes iniciarán un viaje hacia el realismo. La irrupción de creadores como Frank Miller o Alan Moore en los años 80 y 90 lo cambió todo. El primero, tiñó de noir las aventuras de Batman o de Daredevil. El segundo, con la creación de Watchmen, sentó a los superhéroes en el diván: también ellos podían ser corruptos e, incluso, un peligro para el mundo.Con guión de Alfredo Laín y realización de Miguel Ángel Coleto y Mayca Aguilera, Grandes superhéroes del cómic. Mitología y supervivencia, cuenta con la participación de tres grandes aficionados al cómic y a los superhéroes: el divulgador Antonio Monfort, autor de Secret Origin. Historia y evolución de los superhéroes; la periodista e investigadora Elisa McCausland, autora de Wonder Woman. El feminismo como superpoder; y el poeta Luis Alberto de Cuenca, autor de El héroe y sus máscaras.Escuchar audio

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  

First in a new series of episodes we will be doing as to why we think DC Comics is the best publisher out there! We do go off on a bit of a tangent about the Comics Code Authority and action figure distributions, but would you expect anything else from us? MUST READ DC Books: […]

First in a new series of episodes we will be doing as to why we think DC Comics is the best publisher out there! We do go off on a bit of a tangent about the Comics Code Authority and action figure distributions, but would you expect anything else from us? MUST READ DC Books: […]

This week, Eric and Josh discuss: Friday The 13th, movie ratings, Stephen King, Communion, Visiting Hours, Fangoria, the Comics Code Authority, Fright Night, South Park, The Simpsons, The Fifth Element, and more! They also mention the movies screening the week of Friday September 20 - Thursday September 26: Will & Harper, The Room, Saturday & Sunday Morning All-You-Can-Eat Cereal Cartoon Party, Purple Rain, Whiplash, and Breakin' 2: Electric Boogaloo! Thet neglact to mention Coup!, which got booked after the recording of the episode. But, you can always find up to date listings at mayfairtheatre.ca

In this episode, a rare "Nick's Pick", Producer Nick dives into Winnipeg's comic book history! Did you know Canada's first superhero was invented by a Winnipeg cartoonist? Or that the Winnipeg Morality Police arrested people for selling Dick Tracy comics? Or that digital comic colouring as we know it today originated in Winnipeg? Oh, and also Spider-man went to the "Winnipeg Mall" one time... Come for the Captain Canuck critique, stay for Sabrina and Alex reading through the rules of the Comics Code Authority!

On July 24th, Oni Press, in partnership with William M. Gaines Agent, Inc., resurrected EC Comics in spectacularly bloody fashion. Tales from the Abyss #1 contains 4 stories that captures the spirit of classic EC Comics. Then, on August 7th, Cruel Universe #1, a collection of science-fiction stories. I had the good fortune of chatting with Hunter Gorinson, President and Publisher at Oni Press, along with two of the creators of one of the tales from the abyss themselves, Chris Condon and Peter Krause.  My number one takeaway from this interview was both the excitement and reverence all 3 have for EC Comics. It also doesn't hurt that both of these issues are phenomenal and I was blown away by the stories and the storytelling talent on display here. We talk about how this deal developed between the family of William M. Gaines and Oni Press, the staggering influence of EC Comics to this day, and a whole lot more.   Here's what Oni Press had to say about Epitaphs from the Abyss:  From the publisher that drove Tales from the Crypt, Vault of Horror, Haunt of Fear, and many more into the depraved hearts of an unsuspecting world, the immortal EC COMICS returns . . . with its first ALL-NEW series in nearly 70 years! In our first extra-sized, 40-page dose of fear, witness shocking tales of torment and tension in the undying EC tradition-as wrenched from the grave by the vile intentions of acclaimed writers Brian Azzarello (Batman: Damned, 100 Bullets), Chris Condon (That Texas Blood, Night People), J. Holtham (FX's The Handmaid's Tale), and Stephanie Phillips (Harley Quinn, Grim) and realized into bloody reality by "all-slaughter" artists Jorge Fornes (Rorschach, Danger Street), Phil Hester (Family Tree), Peter Krause (Irredeemable), and more! What the Comics Code Authority couldn't kill has only made it stronger . . . EC COMICS LIVES AGAIN IN EPITAPHS FROM THE ABYSS!  Here's what Oni Press had to say about Cruel Universe: Compelled to OBLIVION, driven to ENTROPY, all life in our cosmos can only end in one place: COMPLETE ANNIHILATION! For the first time in 70 years, the limitless fury of EC Comics rages back to life to shred the very fabric of the universe itself-and wrench bizarre tales of time and space into our dimensional plane! Our guides across this double-sized, 40-page introduction to a cosmic maelstrom of strange extraterrestrial entities, malevolent scientists, and terrifying technological catastrophes? Learn to fear the void with the irradiated imaginations of Hugo Award nominee Corinna Bechko (Invisible Republic), rising star Chris Condon (That Texas Blood), Eisner Award nominee Matt Kindt (BRZRKR, Mind MGMT), and Edgar Award winner Ben H. Winters (The Last Policeman) as they collide with the wondrously destructive visions of artists Jonathan Case (Green River Killer), Kano (Immortal Iron Fist), Artyom Topilin (I Hate This Place), and Caitlin Yarsky (Black Hammer: Reborn)! The unpredictable return of EC Comics continues here with the quantum comics event of the millennium! Galaxies will collapse. Space-time will be distorted. And your very will to exist, too, shall be broken . . . Just remember: it's all in the name of SCIENCE! Our episode sponsors After the Realm Don't miss Eisner and Harvey award winning comics creator Michael Avon Oeming's newest crowdfunding project After The Realm. With over 300 pages of material and 22 new pages of story, this graphic novel collects issues 1-5 of this realm trotting dystopian fantasy adventure that follows young ranger Oona Lightfoot's travels and travails trying to find her best friend as the nine realms are torn asunder.  Learn more about your ad choices. Visit megaphone.fm/adchoices

En plena Era Dorada o Golden Age del comic estadounidense, surge un nuevo género de historietas: el true crime, o crimen verdadero. A la cabeza, con un alud de ventas sin igual, está Crime Does Not Pay, de Lev Gleason Publications, dirigida por los historietistas Charles Biro y Bob Wood. Tapas e ilustraciones internas sangrientas, historias de violencia inusitada, y desafortunados y retorcidos finales para los criminales que las protagonizan. Dinero, alcohol, apuestas, y asesinatos... tanto en las páginas del comic, como fuera. Porque Bob Wood, co-director de la revista, tendría un final muy, muy truculento. Esta es su sangrienta historia. Con música de Nick Cave and the Bad Seeds with Kylie Minogue, y David Rhymer & Kris Demeanor Otros programas sobre la historia del comic: Comics Code Authority: http://youtube.com/watch?v=qzCy-p7W_so DC Comics: http://youtube.com/watch?v=-98ZBPE4PVE Charlton Comics: http://youtube.com/watch?v=iZ05aaezKSg ¿Quien Fue El Primer Superhéroe? http://open.spotify.com/episode/3Q7QZTDkdYLBDDyGtVdnRR Próximo programa: Dead Boy Detectives (TV & Comics) / Ludoteca del Parque de la Amistad.

Absolute legend Bill Morrison is back to chat to Murph about  his career drawing the Simpsons, plus we discuss comic cons, the big character poster, the complete guides, the Comics Code Authority, Futurama, VHS's, and more!

Back with another episode in our Primarily Political series, Christian Ashley and Kevin Schaeffer discuss the history of the Comics Code Authority! We discuss whether there was ever a need to sensor our comicbooks, creative liberties, and the dangers of sheltering people from other thoughts..What was the purpose of the Comics Code Authority? What is banned by the Comics Code Authority? How long did the Comics Code Authority last? What is the Comics Code Authority Marvel? Why was the Comics Code Authority so controversial? How the code authority kept lgbt characters out of comics? Why did the Comics Code Authority want to censor comics? What are the laws of the comics code? We discuss all this and more in this one! Join in the conversation with us on Discord now!.Support our show on Captivate or Patreon, or by purchasing a comfy T-Shirt in our store!.Listen to every episode we have done in our Primarily Political series:https://player.captivate.fm/collection/79d3809a-0854-4796-8abb-256d85faaa2b.Check out our other episodes about comicbooks:https://player.captivate.fm/collection/dfb78fea-afd0-4127-81d3-33919adc1e8e.Don't miss any episodes with Christian:https://player.captivate.fm/collection/ebf4b064-0672-47dd-b5a3-0fff5f11b54c.Listen to other episodes with Kevin:https://player.captivate.fm/collection/84fd7d06-cf1f-48e5-b358-09a01c5a6bc9Mentioned in this episode:Check out the SG Store!We have everything from hats to shot glasses to coffee mugs, hoodies, and more!Systematic Geekology StoreSupport us on CaptivateYou can sponsor our show and get access to bonus content through CaptivateAnazao Ministries Podcasts NetworkCheck out all of the AMP network shows!Systematic GeekologyOur show focuses around our favorite fandoms that we discuss from a Christian perspective. We do not try to put Jesus into all our favorite stories, but rather we try to ask the questions the IPs are asking, then addressing those questions from our perspective. We are not all ordained, but we are the Priests to the Geeks, in the sense that we try to serve as mediators between the cultures around our favorite fandoms and our faith communities.Anazao Ministries Podcasts - AMP NetworkCheck out other shows like this on our podcast network! https://anazao-ministries.captivate.fm/

This is a short essay I've been working on for a minute, a brief history of The Comics Code Authority, censorship and how it nearly killed a genre. -------------------------------------------------- open.spotify.com/artist/0H7DvcwVPDp5oV7ih8krQp Follow me on Letterboxd @AeroSoulPro and look at the Electric Monster List for previous episode ratings Follow the show in Instagram @electricmonsterpod or myself @aerosoulpro Thanks for Listening! https://bookriot.com/a-very-brief-history-of-comic-books/ https://www.toonsmag.com/the-history-of-comic-strips/ --- Send in a voice message: https://podcasters.spotify.com/pod/show/electricmonster/message

Zach is joined by Chris Hacker and Aaron Knowles of The Oblivion Bar Podcast! Together they discuss one of the most important runs in comic book history for so many reasons, the American debut of Alan Moore: Saga of Swamp Thing #20-64 (plus Annual #2)!Join in as they talk about why Saga of Swamp Thing put Alan Moore on the map, and why it changed the entire landscape of what comic books could be forever!---------------------------------------------------Check out Chris and Aaron's amazing show The Oblivion Bar Podcast!Check them out on Instagram !---------------------------------------------------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

Episode 6 - Murdock and Marvel: 1968 Marvel had been a dominant force in the comics world through most of the early and mid 1960s, which is all the more amazing when you realize that they made all the noise they did while limited to publishing only 8 -14 comics a month.  The Marvel contract with their distributor (essentially DC Comics) was up for re-negotiation in 1968, and Martin Goodman used the opportunity to expand the line to a maximum of 24 books instead, giving Stan Lee a much larger canvas for the Marvel Universe.  What did he do with all that new space?  Let's take a look at the year 1968 and find out!  Preshow Reader Mail: Marvel Unlimited Tech Support Reader Mail: Comics in the UK and Deadman Comics The Year in Comics 1968 was a devastating year for America, as the Vietnam conflict deepened and the assassinations of Martin Luther King, Jr and Robert Kennedy seemed to drain hope in our domestic political future.  Comics continued to respond to popular trends, but seemed largely unable to respond effectively to such significant social and political events, especially as they were waited down by the Comics Code Authority and the perception that the medium was “just for kids.”  When mainstream comics tried to step outside the box, it often went poorly.  This was a year where storied companies met their end, a year when amazing new creators started to show what they could do, and a year defined in many ways by comic creators' accelerating search for new markets and avenues of expression. New Comics, New Creators Big Moments Quick Notes Best Selling Books... and Marvels The Year in Marvel New Titles New Characters Big Moments Who's in the Bullpen ROOKIE OF THE YEAR: Archie Goodwin The Year in Daredevil  Appearances: Daredevil Issues 36-47, Fantastic Four #73 Another full year of Stan Lee and Gene Colan stories.   “Here comes…” removed from the Daredevil cover logo starting on issue 43 (Aug)  Daredevil logo on cover changes starting on issue 44 (Sept)  Daredevil saves the Invisible Girl from a bomb planted by the Trapster.  Daredevil fights Victor Von Doom for the first time in his books  To take down the Exterminator, Daredevil makes it look like Daredevil (and by Extension his “brother” Mike Murdock) was killed by an explosion.   Daredevil fights Captain America in Madison Square Garden after encountering some radioactive chemicals. DD seemed not like himself.  Daredevil is framed for murder by the Jester and must clear his name with police while taking down his foe.  Murdock is mean to Karen so they won't get close, and she decided to leave the law office for a while.   Daredevil caps the year by visits Vietnam to rally the troops and befriends a blind soldier, Willie Lincoln. Matt Murdock then helps Lincoln stateside when he's framed for taking a bribe by a mob boss.  New Powers, Toys or Places New Supporting Characters New Villains This Week's Spotlight: Daredevil #37 Feb 1968 “Don't Look Now, But It's… Dr. Doom”, Daredevil #38 Mar 1968 “The Living Prison!” and Fantastic Four #73 April 1968 “The Flames of Battle…”  Recap Why We Picked This Story The Takeaway Comics Code and it's impact... Something had to change. 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.  Joshua and Jamie Do Daredevil: A fantastic podcast that does a deep-dive into Daredevil comics.  This ran from 2018-2020, and covered most of the first volume of Daredevil, and was a fun way to get an in-depth look at each issue of Daredevil from 1-377.  My Marvelous Year: This is a reading-club style podcast where Dave Buesing and friends chose important or interesting books from a particular year to read and discuss.  This helped me remember some fun and crazy stories, and would be a great companion piece to Murdock and Marvel for those who want more comic-story-specific coverage.  BOOKLIST  The following books have been frequently used as reference while preparing summaries of the comic history segments of our show.  Each and every one comes recommended by Dan for fans wanting to read more about it!  Licari, Fabio and Marco Rizzo.  Marvel: The First 80 Years: The True Story of a Pop-Culture Phenomenon.  London: Titan Books, 2020.  This book is sort of a mess, as the print quality is terrible, and Titan doesn't even credit the authors unless you check the fine print.  It's like this was published by Marvel in the early 60s! But the information is good, and it is presented in an entertaining fashion.  So its decent, but I would recommend you see if you can just borrow it from the library instead of purchasing.  Wells, John.  American Comic Book Chronicles: 1960-1964.  Raleigh: Two Morrows, 2015.  Not cheap, but a fantastic series that is informative and fun to read.  Wright, Bradford.  Comic Book Nation: The Transformation of Youth Culture in America.  Baltimore: Johns Hopkins University Press, 2001.  This is the revised edition.  Marvel Year By Year: A Visual History.  New York: DK Publishing, 2022.  The academic in my rails at using information from any work that doesn't have an author credit, but this is a decent (if very surface) look at each year in the history of Timely / Marvel from 1939 to 2021.    Cowsill, Alan et al.  DC Comics Year by Year: A Visual History.  New York: DK Publishing, 2010.  Because its nice to occasionally take a peek at what the Distinguished Competition is up to.  Dauber, Jeremy.  American Comics: A History.  New York, W.W. Norton & Company, 2022.  An excellent, relatively compact history of the domestic comic industry from its 19th century origins through to recent 21st century developments.  An excellent successor to Bradford Wright's Comic Book Nation. 

The Eisner Awards have cut their journalism category for this year's awards. The next Ghost Rider will be a villain, teases Marvel. Harold Schechter and Eric Powell are reteaming for a graphic novel about Dr. Wertham and the Comics Code Authority. All on Comic Book Club News for January 11, 2024.SUBSCRIBE ON RSS, APPLE, ANDROID, SPOTIFY, OR THE APP OF YOUR CHOICE. FOLLOW US ON TWITTER, INSTAGRAM, TIKTOK, AND FACEBOOK. SUPPORT OUR SHOWS ON PATREON.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

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

Si je vous demande de penser à un super-héros de chez DC Comics, il y a fort à parier que Batman, Superman ou Wonder Woman vous viendront à l'esprit avant Green Arrow. Aujourd'hui, on parle justement des aventures de Green Arrow par Jack Kirby, qui n'ont pas du tout plu à DC Comics ! La période séparant l'Âge d'Or de la bande dessinée américaine de l'Âge d'Argent est aussi riche que troublée. Après la Seconde Guerre mondiale, les ventes des titres mettant en scène super-héros et super-héroïnes déclinent aux États-Unis. Les justiciers costumés n'ont plus la côte, et le genre super-héroïque, jusqu'alors prédominant, est peu à peu remplacé par d'autres. La romance, l'horreur, le western et la science-fiction évincent les ersatz de Superman et de Batman des kiosques à journaux, tandis que leurs modèles peinent à garder la tête hors de l'eau, et que les artistes doivent s'adapter pour continuer à gagner leur croûte. Dès 1947, Joe Simon et Jack Kirby, déjà derrière la création de Captain America, avaient pressenti la transmutation du marché avec leur titre Young Romance, présentant des aventures sentimentales prétendues réelles, participant grandement à l'évolution des tendances. Mais s'estimant de plus en plus spoliés par les éditeurs, Simon et Kirby décident de lancer leur propre maison d'édition, Mainline Comics, en 1953. Au programme : quatre titres surfant chacun sur un grand courant de l'époque. Malheureusement pour eux, ils ont assurément choisi le pire moment possible pour initier leur projet. À partir de 1950, l'éditeur EC Comics, avec à sa tête Bill Gaines, s'est engagé dans une surenchère d'horreur gore et de violence morbide pour attirer les jeunes lecteurs en manque de sensations fortes, appâtés par des couvertures toujours plus choquantes. Généralement accolées à un discours politique et social, certes implicite, mais extrêmement critique envers la fameuse “American way of life”, les histoires de EC Comics deviennent pour certains et certaines l'incarnation du danger représenté par la bande dessinée, qui pervertirait la jeunesse en la poussant au crime. La panique morale autour des comics de crimes et d'horreur, entretenue par des figures publiques comme le politicien Estes Kefauver et le psychiatre Fredric Wertham, devenu célèbre chez les fans de super-héros pour son livre Seduction of the Innocent, mènera à la création du Comics Code Authority, et surtout à une crise éditoriale majeure, qui verra disparaître près des deux tiers des bandes dessinées publiées à l'époque. Et qui dit moins de comics commercialisés dit moins de travail pour les imprimeurs et les distributeurs. Ce marché fragilisé, dont les différents acteurs font faillite les uns après les autres, couplé à des soucis juridiques avec leur précédent employeur, Crestwood Publications, forcera Jack Kirby et Joe Simon à baisser le rideau de Mainline en 1956, avec seulement quelques publications concrètes au compteur. Cet échec aura épuisé les deux artistes sur tous les plans et émoussé leur longue et solide collaboration. Tandis que Joe Simon décide de quitter le monde du neuvième art pour celui de la publicité et de la presse magazine, Jack Kirby rejoint les rangs de National Comics, qui deviendra DC Comics, avec une toute nouvelle série de science-fiction : Challengers of the Unknown. Une série souvent attribuée au seul génie de Kirby, mais sans doute nourrie de ses derniers échanges avec Joe Simon, et également des idées du scénariste Dave Wood, l'un des créateurs de Animal Man. 1956 est une année charnière pour le genre super-héroïque, la banqueroute de Mainline coïncidant fortuitement avec le retour des héros costumés sur le devant de la scène, en partie à l'initiative de DC Comics. Dans le quatrième numéro du périodique Showcase, l'éditeur présente une nouvelle version de son bolide écarlate, The Flash. Le succès est au rendez-vous, et si le retour en grâce des surhommes costumés va prendre encore quelques années, DC va amorcer un rafraîchissement créatif et éditorial de plusieurs de ses super-héros, dont bon nombre sont cantonnés à des anthologies comme World's Finest, Adventure Comics ou More Fun Comics, faute d'intérêt du lectorat. C'est notamment le cas de Green Arrow, présent à la fois au sommaire de World's Finest Comics depuis 1941 et de Adventure Comics depuis 1946. Il faut dire que le personnage, loin d'avoir rencontré le succès d'un Batman ou d'un Superman, n'a jamais eu droit à une publication à son nom, et a moins souvent l'honneur d'être représenté en couverture. Créé en 1941 par le scénariste Mort Weisinger et le dessinateur George Papp dans les pages de More Fun Comics #73, ce héros à gadget, expert en archerie, s'inspire à la fois de Batman, de Robin des Bois et du serial The Green Archer, diffusé dans les cinémas américain à partir de 1940. C'est dans More Fun Comics #89, publié en 1943, que les origines de Green Arrow et de son sidekick adolescent Speedy nous sont racontées pour la première fois. Oliver Queen, collectionneur d'armes et d'objets des peuples natifs américains, rencontre Roy Harper, un jeune orphelin élevé par une tribu amérindienne isolée après un crash d'avion dont il est le seul survivant. Après avoir déjoué les plans de pilleurs d'antiquités, nos deux héros, tous deux archers accomplis, décident de faire équipe pour combattre le crime, finançant leur croisade avec l'or d'un trésor qu'ils ont découvert dans la réserve indienne. Une origin story qui n'a pas grand-chose à voir avec celle que nous connaissons actuellement, mais on va y revenir. En 1946, le personnage et son acolyte sont transférés de More Fun Comics à Adventure Comics, où son co-créateur George Papp dessinera pendant de nombreuses années ses aventures, accompagné du scénariste Ed Herron, notamment considéré comme le créateur de Red Skull dans les pages de Captain America. Seulement, en 1958, quand George Papp succède à John Sikela au dessin sur Superboy, Green Arrow se trouve dépourvu de dessinateur attitré. L'éditeur Jack Schiff, connaissant les capacités de productions de Jack Kirby sur Challengers of the Unknown, lui propose de reprendre le titre. Kirby n'a alors jamais lu une seule aventure de Green Arrow, mais il a besoin d'argent, alors il accepte et lit quelques épisodes fournis par Schiff pour se faire une idée. Peu convaincu par les illustrés en question, Jack Kirby se dit qu'il pourra quand même faire quelque chose du personnage, pour peu qu'on lui laisse un peu de liberté. Et si cela va s'avérer beaucoup plus difficile qu'il le croit, l'artiste va quand même donner un sacré coup de jeune à Oliver Queen. La première histoire de Green Arrow dessinée par Kirby paraît dans Adventure Comics #250, durant l'été 1958. Écrite par Bill Finger, le co-créateur de Batman, “The Green Arrows of the World” nous permet de découvrir que l'archer vert n'est pas le seul justicier à utiliser un arc et des flèches, bien au contraire. Ayant fait des émules partout sur la planète, Oliver Queen reçoit la visite de différents homologues venus du Japon, de France, ou encore du Mexique. Il y a là un recyclage évident d'une thématique déjà exploitée par Batman quelques années plus tôt, notamment avec l'épisode intitulé “Batmen of All-Nations”, publié en 1955. C'est à partir du numéro suivant, avec “The Case of the Super-Arrows”, que la patte de Jack Kirby commence réellement à se faire sentir. Flèche Verte et Speedy s'y aventurent sur un territoire jusqu'alors rarement exploré au cours de leurs péripéties, celui de la science-fiction. Durant onze épisodes ; écrits alternativement par Ed Herron et Dave Wood, et largement enrichis par les idées de Jack Kirby ; le personnage de Green Arrow s'éloigne peu à peu de l'univers dans lequel il macère depuis sa création pour explorer d'autres mondes et d'autres dimensions, comme dans l'histoire “Prisoners of Dimension Zero”, dont la publication en deux parties est plutôt avant-gardiste pour l'époque. Avec “Green Arrow's First Case”, dans Adventure Comics #256, Jack Kirby et Ed Herron revisitent les origines du super-héros de Star City, oubliant son côté Robin des Bois et son rapport plus que discutable aux natifs américains pour en faire une sorte de Robinson. Désormais, le playboy milliardaire Oliver Queen est devenu Green Arrow après être tombé par-dessus bord lors d'un voyage dans les mers du Sud. Parvenant à atteindre Starfish Island, un îlot vierge et hostile, Oliver y survit en recyclant ses anciens vêtements pour se confectionner un équipement et devient un excellent archer à force d'entraînement. Il utilise alors la végétation pour se fabriquer une nouvelle tenue, ce qui permet de justifier la couleur verte de son accoutrement de vigilant masqué une fois revenu à la civilisation. Il y a quelque chose de particulièrement symbolique dans cette nouvelle origin story, où un jeune occidental fortuné quitte son costume pour renouer avec la nature et repartir à zéro autant humainement que socialement. Certes, la recette n'est pas des plus surprenantes, mais ça sonne toujours mieux que de s'enrichir en volant le patrimoine amérindien, si bien que cette version restera la base de toutes les réécritures suivantes, jusqu'à aujourd'hui. Contrairement à ce à quoi on pourrait s'attendre, les responsables éditoriaux de DC Comics ; Mort Weisinger, le co-créateur de Green Arrow, en tête ; n'apprécient pas du tout l'approche de Jack Kirby. Pour eux, le personnage n'a rien à faire dans des récits de science-fiction et, pour d'obscures raisons, ils préfèrent visiblement conserver son statut de "sous-Batman avec un arc". Kirby se fâche finalement avec Jack Schiff, pour une sombre histoire autour du strip Sky Masters, publié dans la presse, et c'est Lee Elias, connu pour ses provocantes couvertures gores chez Harvey, qui le remplace pour dessiner Green Arrow. Jack Kirby retourne chez Atlas, qui prendra très bientôt le nom de Marvel Comics, et ne remettra plus les pieds chez DC Comics avant 1970, pour développer son Quatrième Monde dans des séries comme Superman's Pal Jimmy Olsen, New Gods, ou Mister Miracle, y réutilisant notamment des concepts esquissés dans ses épisodes de Green Arrow. À partir de 1961, avec Stan Lee et Steve Ditko, Kirby va œuvrer à la création de pratiquement toutes les figures majeures de l'univers Marvel, qui continuent de nos jours à vivre moult aventures sur le papier et remplissent les salles de cinéma de blockbuster en blockbuster, depuis plus de deux décennies. L'artiste s'en donnera à cœur joie dans les pages des Fantastic Four ; sorte d'évolution super-héroïque des Challengers de l'Inconnu ; ou de Thor, dans lesquelles la célèbre "Méthode Marvel" de Stan Lee lui laissera une très grande autonomie créative. Que seraient devenus Green Arrow et l'univers DC à l'orée du Silver Age si le Roi des Comics était resté chez l'éditeur ? Se souviendrait-on d'Oliver Queen autrement que comme d'un second couteau utilisant des flèches-gadgets un brin kitsch ? Malgré les travaux de Neal Adams et Dennis O'Neil, de Mike Grell, Phil Hester, Kevin Smith, Jock, ou Jeff Lemire, et la longévité non négligeable de la série télévisée Arrow de la CW, l'archer vert reste, encore de nos jours, loin derrière la sainte trinité de DC comics en termes de renommée et d'impact sur la culture populaire. Pourtant, découvrir, ou redécouvrir, les aventures de Green Arrow, c'est aussi traverser les différentes périodes de l'histoire des comic books et en appréhender les tentatives et les tendances sous un autre jour. Une expérience que je vous recommande si vous voulez ajouter une corde à votre arc ! 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 ! Get full access to CHRIS - POP CULTURE & COMICS at chrisstup.substack.com/subscribe

The close out Spooktober Zach is joined by, "IMDZ" Zach Bolton and Adam Brinker to discuss the movie adaptaion comic, Stephen King's, Creepshow! Not only that, but they'll read a few EC Comics and discuss how close Creepshow is able to get to the company that it is homaging. Creepshow written by Stephen King with Bernie WrightsonArt by Bernie and Michele WrightsonEC Comics: The Living Corpse from Tales from the Crypt #18And All Through the House from Vault of Horror #35 Ray Bradbury's,  Black Ferris from Haunt of Fear #18---------------------------------------------------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

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

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

The Legion goes back in time for Superboy’s help in freeing Valor, and the Subs are right there with them. Just watch out for Knockout and the Comics Code Authority.

My guest this week is comedian Keegan Buckingham! What comic was in Disney Adventures magazine? What is Wizard Magazine? Can X-Men comics be too complicated? What does Brett wish he'd done in terms of comics? What happened in Age of Apocalypse? What about Onslaught? What caused Keegan to stop reading superhero books? What's the difference between drawing for fun and being a professional? Who are Brett's favorite artists? Why didn't Brett's kids get into MAD Magazine? When did Stan Lee ignore the Comics Code Authority? Do the people who see the movies also read the comics? How can we get kids into comics? What did they do wrong in Amazing Spider-Man #300? What does Brett wish he'd gotten? What's the deal with Rob Liefeld? Who founded Image Comics? Is there still such a thing as selling out? Who is James Kochalka?   http://keeganbuckingham.com/   https://www.brettsinger.com/   Reading list: Bob Newhart's book (autobiography, not a comic book) https://amzn.to/3N3g6X8   Julia Wertz (also IG) https://amzn.to/3oSOlsp https://www.instagram.com/juliajwertz/?hl=en   Litterbox Comics https://www.litterboxcomics.com/   Bone https://amzn.to/42y50PL   X-Men https://amzn.to/45UvoWK   Age of Apocalypse https://amzn.to/43VhaDr   Onslaught https://amzn.to/3J7cZMC   Too Much Coffee Man https://amzn.to/3P2YBsE   James Kochalka and his band James Kochalka Superstar http://jameskochalkasuperstar.com/   American Elf Volume 1: The Collected Sketchbook Diaries Of James Kochalka (free on Kindle Unlimited) https://amzn.to/3oZeeqk   The Watchmen https://amzn.to/43NuaLe   My Friend Dahmer https://amzn.to/3CnED4c   Jeffrey Brown https://amzn.to/43xYUA5   The Playboy by Chester Brown https://amzn.to/3qCVvS8   The Tick (original Ben Edlund books) https://amzn.to/42BXB1M   How To Draw Comics The Marvel Way https://amzn.to/42FCtYI   Neal Adams' Batman https://amzn.to/3WXqIeC   Death of Superman https://amzn.to/43TkdM7   Death of Captain America https://amzn.to/43UitT9   MAD Magazine https://amzn.to/3N26ITC   Brian Posegn/Gerry Duggan Deadpool books https://amzn.to/3qzvvH9   Infinity Gauntlet https://amzn.to/42rxOJC   Perry Bible Fellowship https://amzn.to/3qCXW79   https://pbfcomics.com/   Persepolis https://amzn.to/3X0uNib   The Comic Book Greats with Stan Lee https://en.wikipedia.org/wiki/The_Comic_Book_Greats   https://www.youtube.com/watch?v=-BbktJt48qo   Watch list: Persepolis https://amzn.to/3qzJdd4  

This week the Brains discuss horror comics - the history, the banning, the Comics Code Authority, the state of horror comics today and more! Can Nicki survive Alex and Brad's nerdy onslaught of comic book knowledge? Listen to find out!Find us on social media:Instagram: @splatterbrainspodcastFacebook: Splatter Brains PodcastOr one of you lovely listeners can e-mail us at brainssplatter@gmail.com

On today's episode, we try out YET ANOTHER Mountain Dew variety Major Melon. When will the madness end? We also take a look at The Savage Dragon #1 by Erik Larsen and the differences between the original comic & the collected edition. EXCITING! We also discuss the Comics Code Authority and it's effects on the comic industry. HOT! On the next episode of NDC Hidden Tracks: WILDC.A.T.S #1! —————————————————————— Subscribe on your favorite podcast app & if you like the show, share it with your friends! Check out the NuDis Colony Playlist on Spotify & follow along on our journey through NuMetal: open.spotify.com/playlist/4JpmdS16YoAtPwVargXxgn Email NuDis Colony: nudispod@gmail.com Follow NuDis Colony on social media! Twitter: twitter.com/NuDisPod Instagram: www.instagram.com/nudispod/ "NuDis Colony" logo by Ross Lickteig with help from Jack Franklin. Follow Jack on Instagram: www.instagram.com/milkywaymaps/

ABOUT THE EPISODECultural historian and professor David Hajdu joins Sean in discussing the history of the Comics Code Authority. They discuss how the organization was formed, what were some of the first rules that were included from the Comics Code Authority, why it was decided to self-regulate rather than an outside body, and what lasting effects the formation of the Comics Code Authority has today. They also talk about the upcoming film in development that's based on David's book The Ten-Cent Plague, David's own comic book origin story, and what comics Sean and the listeners are reading. ABOUT THE GUESTDavid Hajdu is an award-winning cultural historian, critic, and novelist. His books include The Ten-Cent Plague: The Great Comic-Book Scare and How It Changed America and A Revolution in Three Acts, a work of graphic nonfiction with art by John Carey. He is a professor at Columbia University and a member of the National Council on the Humanities. His first published work was an original comic strip, The Endless Odyssey of Skip Toomaloo, published in his high-school newspaper.RESOURCES & LINKSEpisode Page - “#89 Comics Code Authority With David Hajdu”David Hajdu's websiteDavid Hajdu's Twitter - @davidhajdu_David Hajdu's Instagram - @davidhajdu_Join The Illuminicasters' DiscordOur Blog of Comics, Movies, & Series Reviews, Top 5 Lists, and AnnouncementsComic WatchThe Captioned Life Show website Hosted on Acast. See acast.com/privacy for more information.

In 1954, the Comics Code Authority was formed to censor newsstand comic books by banning depictions of violence, negative portrayals of law enforcement and any mention of homosexuality. The ban created the flourishing world of so-called ‘underground comix,' which approached banned items as a checklist and inspired a generation of LGBTQ cartoonists to draw themselves and their community on the page. A new PBS documentary, “No Straight Lines,” maps the history of LGBTQ comics frame by frame, from Rupert Kinnard's “Brown Bomber,” to Alison Bechdel's “Dykes to Watch Out For,” to their influence on the next generation of queer comic artists today. We'll talk about that history and hear from next generation artists Lawrence Lindell and Maia Kobabe, whose graphic memoir “Gender Queer” is now one of the most-banned books in the U.S. Guests: Maia Kobabe, cartoonist; author, “Gender Queer” Lawrence Lindell, cartoonist; author, “Blackward” and “From Truth with Truth” Vivian Kleiman, director, “No Straight Lines: Four Decades of Queer Comics” Rupert Kinnard, activist; cartoonist; author, “B.B. and the Diva,” and “Cathartic Comics”

Welcome back to another exciting discussion of the Silver Age! This week we look at The Brave and the Bold #25 (1959), written by Bob Kanigher, with art by Ross Andru and colors by Mike Espositio. This particular issue of the Brave and the Bold introduces the Suicide Squad! Although the inaugural Squad does not feature any supervillains due to the strict rules of the Comics Code Authority, it does its best to live up to its name. Featuring a team of average servicemen, with no superpowers, the Suicide Squad attempts dangerous missions to alleviate their surprisingly similar surviror's guilt. Sent on a series of deadly missions, with almost no chance of survival, the fan-favorite Rick Flag leads his team to stop the threats facing Earth. Will the Squad be able to stop the Red Wave of Communism? Or will the space monster destroy the city? Find out how all these questions are related and more by tuning in to this week's episode of Make Mine Paperback!

Welcome back to the Silver Age of Comics! This week, MMP focuses on The Fantastic Four #1, from the legendary duo of Stan Lee and Jack Kirby. The introduction of the Comics Code Authority in 1954 did little to slow down the production of comic books. Instead, writers like Stan Lee were forced to take a different approach to their craft, which resulted in the superhero story archetype we know and love today. Equally impressive is Jack Kirby's skill with drawing panels that show superhero action on a level that was unmatched at the time. The dynamic duo is able to deliver a story that introduces not one, but four new characters all at once! Although this book is far from perfect, it still served to blaze a trail in an era where comic books started to deviate from the Golden Age forebearers. Fantastic Four #1, like many of the works by the incredible team of Stan Lee and Jack Kirby, served as inspiration for countless new comic book creators. Listen in, as MMP discusses a classic book that all modern comic fans should give a look at!

Welcome back to another exciting edition of Make Mine Paperback! Moving on from Golden Age comics, the next logical step is to discuss the Silver Age. Serving as the bridge between the two eras is Showcase #4 (1956), written by Bob Kanigher and John Broome with art by Carmine Infantino and colors by Joe Kubert. Often regarded as the comic that heralded in the Silver Age, Bary Allen takes on the mantle of The Flash while giving a nod to his Golden Age counterpart, Jay Gerrick. Although the company that would become DC had plenty of existing material and characters to work with, The Flash was born out of the Comics Code Authority. Showcase #4 is able to follow the restrictive Comic Code in a creative fashion that results in a fresh take on the comic book genre. In their bid to avoid controversy, the writers effectively created the template for Silver Age comics, which resulted in some of the most influential and well-known characters being developed that are still popular today. Listen in to the discussion of the comic book that created The Flash we know and love today as well as the story that served to advance the comic book genre to a new era.

Welcome back to the final discussion of Golden Age comics! Join MMP as they discuss one of the most controversial comic books of the era, Tales from the Crypt #23. This particular issue collects four short stories, each written and drawn by a different person: Reflections of Death (Al Feldstein), Last Respects (Graham Ingels), Seance (Jack Davis), and Voodoo Death (Johnny Craig). Widely regarded as one of the most influential horror anthologies of all time, Tales from the Crypt has paved the way for many of the other well-known horror collections we love today. Although this series seems cheesy by today's standards, it caused chaos at the time of its release to the point it was almost solely responsible for the adoption of the Comics Code Authority. Listen in as we go in-depth to each of the four stories to find out what we like and the things we would change. Hopefully, you will be able to sleep after reading such a terrifying comic with some spooky artwork!

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  

Brigitta Blair is an author/illustrator, and Camilla Zhang is a comics editor. Together they have created the Standard Comic Strip Template for Scrivener. GRAPHIC Brigitta Blair is an author/illustrator, and Camilla Zhang is a comics editor. Together they have created the Standard Comic Strip Template for Scrivener. We discussed comics, how they are made, and how the Scrivener template helps comic authors. Show notes: Brigitta Blair (https://www.brigittablair.com) Camilla Zhang (https://www.camillazhang.com) Steenz (https://www.oheysteenz.com) Standard Comic Script Template (https://www.camillazhang.com/standard-comic-script) Comics Code Authority (https://en.wikipedia.org/wiki/Comics_Code_Authority) Alison Bechdel, Fun Home (https://dykestowatchoutfor.com/fun-home-2/) Jen Wang, The Prince and the Dressmaker (https://www.jenwang.net/prince) Learn more about Scrivener (https://www.literatureandlatte.com/scrivener/overview), and check out the ebook Take Control of Scrivener (https://www.literatureandlatte.com/store). If you like the podcast, please follow it in Apple Podcasts (https://podcasts.apple.com/us/podcast/write-now-with-scrivener/id1568550068) or your favorite podcast app. Leave a rating or review, and tell your friends. And check out past episodes of Write Now with Scrivener (https://podcast.scrivenerapp.com).

John is Chris Garcia, Alison is Chris Garcia, and Liz is Chris Garcia. Please email your letters of comment to comment@octothorpecast.uk and tag @OctothorpeCast when you post about the show on social media. Content warnings this episode: None Hugo statistics by Nicholas Whyte and Kat Jones E Pluribus Hugo It was up for reratification at Chicon 8 Nicholas Whyte wrote about EPH in 2015 Credits Cover art: What If…? by Alison Scott Alt text: Three figures with long brown hair and brown bears are central in the image. They look eerily like Chris Garcia. The left Chris Garcia is wearing John's glasses and a Flintstones shirt with his arms folded; the central Chris Garcia is wearing Alison's glasses and a black shirt with his (her?) arms outstretched and fingers doing horns; and the right Chris Garcia is wearing a stripy blue-and-white top and appears to be doing a wrestling move in a downward fashion. The left Chris Garcia has a speech bubble saying “WELCOME TO THE VERY 69TH EPISODE OF OCTOTHORPE. I'M CHRIS GARCIA”. The central Chris Garcia has a speech bubble saying “I'M CHRIS GARCIA”. The right Chris Garcia has a speech bubble saying “AND I'M CHRIS GARCIA. IN THIS EPISODE I REVEAL MY MULTITASKING TIPS”. The text “What if… all three of us were Chris Garcia? appears in a typeface reminiscent of classic Tintin covers in the top-centre of the artwork. The top-left corner has “Octothorpe 69 Nov 2022” written in the style of a comic cover; the top-right corner has “Rejected by the Comics Code Authority”. In the bottom-right hand corner the words “You can catch Chris Garcia every month in Journey Planet and the Drink Tank” appear. A barcode in the bottom-left hand corner is actually cunningly-disguised text that reads (ROT13 to avoid spoilers) “Lbh ner Puevf Tnepvn naq V pynvz zl svir cbhaqf”. The background is two shades of purple. Theme music: “Fanfare for Space” by Kevin MacLeod (CC BY 4.0)

We're joined by Andrew Cahak of the Life Was Peachy podcast to discuss the 10 year anniversary of The Dark Knight Returns, the legacy of Angela from Spawn, the return of the one true Spider-Man, the state of the Comics Code Authority in 1996, plus ROB LIEFELD SPEAKS about his departure from Image Comics. All this and plenty of laughs on the latest episode of WIZARDS! ★ Support this podcast on Patreon ★

We're back, live in studio for the first time in a little more than a year! And as has become tradition when us Geeks get together, a spotlight will follow. Chris Eberle meticulously drafted a breakdown of one of Marvel's most meticulous, crafty, and dangerous villains, the one and only Green Goblin! We go through his cooky origins featuring a movie set, a broomstick and The Hulk to stories much closer to the Goblin we know and love as the Silver Age draws on. Key issues include The Spectacular Spider-Man Magazine issue 2, Amazing Spider-Man 39 and 40, and the first issues of Marvel to dare to go without the Comics Code Authority, issues 96 through 98. We also discuss Norman's fatherly relationship with Peter and his lack thereof with Harry, some appearances in other media, and so much more. And after all, what better way to get ready for fall than to talk about various pumpkins? (2:18:19)

Heroes Through the Decades ass kicks into the '90s, with Wesley Snipes' cool, charismatic badass vampire hunter - Blade! In 1971 the Comics Code Authority updated its code criteria, which had been in place since 1954, relaxing the rules on the depiction of horror in comics. For the first time, vampires were allowed in comic books. Marvel's first pseudo-vampire character, Morbius the Living Vampire sowed the seeds for the second; Blade the Vampire Hunter. Wesley Snipes was originally interested in making an adaptation of Black Panther before his attention was piqued with a movie adaptation of Blade. In many ways, it feels like the character of Blade was made for Wesley Snipes, and he not only decided to star in Blade, but also produce it through his production company Amen Ra Films. Snipes was literally and figuratively invested in this production. Snipes, along with writer David S. Goyer (who fought against studios trying to whitewash the character) and director Stephen Norrington, formed a trifecta of creative passion for Blade; for his story, the homage paid to Hong Kong action films and to make this story as bloody, gory and fun as it could be. Insert very '90s techno rave music here. IT'S BLOOD RAVE TIME! I would love to hear your thoughts on Blade (1998) ! GET IN TOUCH.... Twitter https://twitter.com/verbaldiorama (@verbaldiorama) Instagram https://www.instagram.com/verbaldiorama (@verbaldiorama) Facebook https://www.facebook.com/verbaldiorama (@verbaldiorama) Letterboxd https://www.facebook.com/verbaldiorama (@verbaldiorama) Email verbaldiorama [at] gmail [dot] com Website https://my.captivate.fm/verbaldiorama.com (verbaldiorama.com) SUPPORT VERBAL DIORAMA.... Give this podcast a five-star https://verbaldiorama.com/rateandreview (Rate & Review) Join the https://verbaldiorama.com/patreon (Patreon) Thank you to all the patrons Simon E, Sade, Claudia, Simon B, Laurel, Derek, Vern, Kristin, Cat, Andy, Mike, Griff, Luke, Emily, Michael, Scott, Brendan, Ian M, Lisa, Sam, Will, Jack, Dave, Chris, Stuart, Ian D, Sunni and Drew BRAND-NEW https://verbaldiorama.com/merch (Merch) STORE!! T-shirts inspired by The Mummy (1999) with more collections to come! EPISODE THANKS TO.... Most excellent patrons: Andy for his patron thoughts. You can find him @geeksaladradio on Twitter and his podcast Geek Salad on all your podcast apps. Scott for his patron thoughts. You can find him @MSMRpod on Twitter and his podcast Monkey See Monkey Review on all your podcast apps. Ian and Brendan for your patron comments too! Twitter peeps @HarrymetMovies @Kevhaney @chancewhitmore5 @UKFilmNerd @anightmarepod @AlonzoTheArtist @30Podcast @NeededRoads @Stuntgoat75 @FantayziaR @Johnathanblade Instagram folk @sassylassy76 Facebook chums Andy T Tony M Theme Music: Verbal Diorama Theme Song Music by Chloe Enticott - https://www.facebook.com/watch/Compositionsbychloe/ (Compositions by Chloe ) Lyrics by Chloe Enticott (and me!) Production by Ellis Powell-Bevan of Ewenique Studio https://www.captivate.fm/signup?ref=emmcgowan (This podcast is hosted by Captivate, try it yourself for free.) Mentioned in this episode: Livestream for the Cure 2022 The 6th Annual Livestream for the Cure will take place May 19th - 21st over 45 hours, as creators from around the world come together to fight for hope - the hope of a future immune to cancer. Join me and other podcasters and content creators from across the world as we support Livestream for the Cure and raise $20,000 for the Cancer Research Institute. I'll be joining Nick on Livestream for the Cure on Saturday 21st May between 17:00-18:00 BST (12:00-13:00 Eastern US time / 09:00-10:00 Pacific US time). https://verbaldiorama.com/livestreamforthecure2022 (LivestreamfortheCure)

We're jumping in our time machine and headed back to the year 1954 to discuss the events that lead to the comic book version of the parental advisory sticker. Join us for a special episode dedicated to the history of the Comics Code Authority! The audio used in this episode is from the 1955 broadcast called Confidential File: Horror Comic Books! as well as from the 1954 Senate Subcommittee Hearing into Juvenile Delinquency. Both have entered the public domain and are being used here for educational purposes. 

Meet Siobhan Coombs in this episode. She's the founder of @CockatooComics based in Sydney Australia. She helps us understand the role of cartoons and movies in our pop culture. She mentions Pat Grant and the Comics Code Authority from the USA and the impact that had on the world since the 1960s. What is "the seduction of the innocent?" How does she run a business and manage two young boys along with her partner and some help from many? This is a great interview and who knows... we might see her in a Shakespeare play one day. Here she is with her business partner:https://www.flickr.com/photos/bobmendo/51994460361/in/album-72177720296857670/Amanda McInnes continues in her sponsorship of the podcast. This time we talk about Frequent Flyer programs. How do they work? And for what? Contact Amanda using this link: https://bit.ly/amanda365 Remember to 'follow' the podcast or 'subscribe' and certainly comment to us, maybe even in video form-- we would be sure to use that in a subsequent episode.Support the show

Episode 62.  Eddie and James B discuss this landmark issue in the history of comics.  In The Amazing Spider-Man 96 “And Now The Goblin”  Peter is on his way back from London forlorn because he failed to find Gwen. But the pictures he took of Spidey fighting the terrorists are excellent so that's good, right?  Joe Robbie also has possibly figured out that Peter and Spidey are one and the same.  Oh, that's not so good. In ASM 97 (10:45) “In The Grip of the Goblin” Harry gets irritated with Peter for not stopping MJ's advances. Peter and Harry run into MJ who makes more advances towards Peter. In an alley Harry is sold some drugs.  What will he do? Oh yeah, and the Green Goblin is back!   Want us to console you?  Reach out to us at letsreadspiderman@gmail.com. You can also hit us up on Twitter at @Letsreadspidey to let us know your thoughts on Eddie's new mic, our new social media sponsor (18:45), or Eddie's Jive Talk (25:00) or his new Fu Manchu Mustache (25:45). Stay tuned for our next episode.  The conclusion to this Goblin Saga, with returning special guest Steve to discuss his favorite issue! Theme Music by Jeff Kenniston  https://www.flickr.com/photos/54493487@N02/5916677801/    Sponsor Music by Smooth E to the H @EHasspacher.  Lettering by Arial Black.   Sound effects generously provided royalty free by www.fesliyanstudios.com.  Podcast hosted by Podbean.  Eddie's dog Pepper's food dish provided by Irving Forbush.  

Episode 61.  Eddie and James B are celebrating 6 months of podcasting with really good microphones (only took 6 months) while discussing issues 94 and 95 of The Amazing Spider-Man.  In ASM 94 “On Wings of Death”  Peter is still torn up about Gwen leaving to live in London. Across town we see the Beetle breaking into random mom and pops stores. Eventually the Beetle finds the one he wants adjacent to a bank vault and takes Aunt May hostage during the robbery.   In ASM 95 (05:30) "Trap for a Terrorist!" (which Eddie decided to call “Spidey Fights in London!” because it says that on the cover), Peter returns to staring at the ground while walking about thinking about Gwen in London. In a rare stroke of luck Robbie decides to send him to London on the Daily Bugle's dime!  While landing in London, it is discovered that the plane contains a terrorist bomb!  Peter wants to switch to Spider-Man but realizes Gwen will know he's Spider-man if she learns Peter is also in London!  What will he do? Special Bonus (14:20) What If Someone Else Besides Spider-Man Had Been Bitten By The Radioactive Spider? from the comic What If Volume 1, issue 7. Reviewing how Flash, Betty or John Jameson would have been as Spider-Man instead of Peter Parker. Reach out to us at letsreadspiderman@gmail.com or on Twitter at @Letsreadspidey to let us know your thoughts on our new mics, our new sponsor, or Eddie's beard. Stay tuned for our next episode.  The controversial one where the Comics Code Authority put their foot down and refused to bless the book! Theme Music by Jeff Kenniston  https://drive.google.com/file/d/1gVI0B0y-kkbZVRCIF4LKrcY9m54tLojP/view?usp=sharing   Sponsor Music by Eddie Hasspacher @EHasspacher.  Lettering by Google.   Sound effects generously provided royalty free by www.fesliyanstudios.com.  Podcasting by Podbean.  Eddie's Tea Mug provided by Irving Forbush, esquire.  

In 1954, Dr. Frederick Wertham's book, Seduction of the Innocent, claimed the comics were depraved and were harmful to children. This led to the creation of the Comics Code Authority, a voluntary yet omnipresent label ensuring comics bearing its sigil would follow many guidelines, one, in particular, being that “Illicit sex relations are neither to be hinted at nor portrayed. Rape scenes, as well as sexual abnormalities, are unacceptable.” This lead to the utilization of queer coding, especially with early work, which was often unflattering. Villains were often the focus of queer coding, which lead directly to villainizing gay people and ideas. Another aspect of queer coding is queerbaiting, which “baits” a queer audience with themes and character interactions that appeal while never delivering on these themes. But Tim Sheridan and Meghan Fitzmartin are two people who are changing the world of comics in 2021. Your host is Levi Chambers, co-founder of Gayety. Follow the show and keep up with the conversation @Pride. Want more great shows from Straw Hut Media? Check out or website at strawhutmedia.com. Your producers are Levi Chambers, Maggie Boles, Ryan Tillotson and Edited by Silvana Alcala Have an interesting LGBTQ+ story to share? We might feature U! Email us at lgbtq@strawhutmedia.com. *This podcast is not affiliated with Pride Media. Sponsored by: Avocado Green Mattress First Republic Bank Learn more about your ad choices. Visit megaphone.fm/adchoices

Young Voices' Caleb Franz discusses how the Comics Code Authority was used to kill horror comics, as well as curb free speech and artistic expression as a result. Newsletter Sign up for Remso's newsletter so you get exclusive content and can stay connected in the era of Big Tech censorship of free thought! [Click here] Robinhood Get your free stock just for signing up with Robinhood and start investing today. [Click here] Learn more about your ad choices. Visit megaphone.fm/adchoices

We return for a Chip Double-Dip on Kaori Tsurutani's BL METAMORPHOSIS, as we finish the series with volumes 3, 4, and 5. Sure, we liked it, but HOW did we like it, and WHY? Listen on and find out. Follow along with show notes at Mangasplaining.com.In this episode: 00:00: BL Metamorphosis Volume 3, 4, & 556:07: The Break!56:30: Host Q&A: Is there a Japanese version of the Comics Code Authority?1:14:00: Shout Outs! Dua Lipa, Shojo Manga, The Sopranos, and a question for the audience!Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

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/

In this Episode, Big Jay sits down with The Finger, JET and Schnoz to continue the discussion about Super Heroes!We pick up where we left off by continuing the history of Comic Books during the dark and twisted days of the 1950's, to the creation of the Comics Code Authority and how it nearly destroyed the Industry.But there is hope on the horizon as a young Comic Artist named Stan Lee reinvigorates the Super Hero genre (and Comics) in the 1960's with the creation of THE FANTASTIC 4, SPIDER MAN, THE HULK, IRON MAN and more! From there we discuss how Comic Books grew in popularity and evolved through the decades and how their Characters have grown to become the Pop Culture phenomenon they are today.PLUS - The Guys share who their favorite Super Heroes are and why.Excelsior! 

In our newest episode, we dive right into the film (4:29).  We talk about the various styles of art we see from the jump, get into the "Comics Code Authority" and what that means (6:26), and meet our protagonist, Miles Morales (12:40).  

In this episode, Anna, Mav, Andrew, and comics scholar Dr. Shawn Gilmore (@gipperfish), impresario of VaultofCulture.com, discuss Excalibur #5, "Send in the Clowns." We talk British comics influences, the rise and fall of Courtney Ross, the flexible roles of villains, and a whole lotta supersex, including a very queer, very creamy climax we can only assume the Comics Code Authority was too embarrassed to challenge.

We explore the history of EC Comics: their rise in the 40s & 50s with titles such as "Tales From the Crypt", their battle with the Comics Code Authority and their enduring legacy.    Quip starts at just $25 and if you go to http://getquip.com/wizard right now, you can get your first refill pack for FREE.     This episode was brought to you by one of our Patrons! Support us on Patreon and get bonus weekly episodes, discord chats and more!         Honey-Bee, Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 3.0 License creativecommons.org/licenses/by/3.0  

The Comics Code Authority sounds cool, but it almost killed Dracula. Wait, wouldn't that be a good thing? Anyway, there was once a time when you couldn't depict anything you want wherever you want. There's something to be said for restraint, but not everything has to be Leave it to Beaver. James Warren agrees. James Warren, Empire Of Monsters: The Man Behind Creepy, Vampirella, And Famous MonstersBook Link- bit.ly/EmpireOfMontersSee omnystudio.com/listener for privacy information.See omnystudio.com/listener for privacy information.