Podcasts about Winsor McCay

fWotD Episode 2880: Gertie the Dinosaur Welcome to Featured Wiki of the Day, your daily dose of knowledge from Wikipedia’s finest articles.The featured article for Monday, 24 March 2025 is Gertie the Dinosaur.Gertie the Dinosaur is a 1914 animated short film by American cartoonist and animator Winsor McCay. It is the first animated film to feature a dinosaur. McCay initially presented the film before live audiences as an interactive part of his vaudeville act; the frisky, childlike Gertie performed tricks at her master's command. McCay's employer William Randolph Hearst curtailed his vaudeville activities, prompting McCay to add a live-action introductory sequence to the film for its theatrical release, which was renamed Winsor McCay, the Famous Cartoonist, and Gertie. McCay abandoned a sequel, Gertie on Tour (c. 1921), after producing about a minute of footage.Although Gertie is popularly thought to be the earliest animated film, McCay had previously made Little Nemo (1911) and How a Mosquito Operates (1912). The American J. Stuart Blackton and the French Émile Cohl had experimented with animation even earlier. Gertie being a character with an appealing personality distinguished McCay's film from these earlier "trick films". Gertie was the first film to employ several animation techniques, like keyframes, registration marks, tracing paper, the Mutoscope action viewer, and animation loops. It influenced the next generation of animators, including the Fleischer brothers, Otto Messmer, Paul Terry, Walter Lantz, and Walt Disney. John Randolph Bray unsuccessfully tried to patent many of McCay's animation techniques and is said to have been behind a plagiarized version of Gertie that appeared a year or two after the original. Gertie is the best preserved of McCay's films—some of which have been lost or survive only in fragments—and has been preserved in the U. S. Library of Congress' National Film Registry as being "culturally, historically, or aesthetically significant" since 1991.This recording reflects the Wikipedia text as of 00:47 UTC on Monday, 24 March 2025.For the full current version of the article, see Gertie the Dinosaur on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm generative Olivia.

No mais recente episódio do Fliperama de Boteco, Guilherme Ferrari, Lili, Renato Guardia, Guilherme Dellagustin, Éder Aleixo e Marcos Melo convidam você você para mergulhar no mundo dos sonhos com Little Nemo: The Dream Master (Nemo: Pajama Hero), um clássico do NES lançado em 1990. Inspirado nas histórias em quadrinhos de Winsor McCay, o jogo é uma mistura encantadora de plataforma e aventura, onde o pequeno Nemo explora reinos oníricos cheios de criaturas fantásticas e […] O post Fliperama de Boteco #439 – Little Nemo: The Dream Master (NES) apareceu primeiro em FLIPERAMA DE BOTECO.

Giuseppe Castellano talks to Jill Pratzon, founder of Pratzon Art Restoration, Illustrator, and Graphic Novelist, about what it takes to restore and conserve the art of Winsor McCay, George Herriman, and other giants of illustration; what she learns about artists' lives through examining their art; what the key to being an illustrator is, beyond talent and skill; and more.

"Gertie: she's a scream. She eats, drinks and breathes! She laughs and cries. Dances the tango, answers questions and obeys every command! Yet, she lived millions of years before man inhabited this earth and has never been seen since!!" Author and animation expert Donald Crafton joins us to discuss one of the most siginifcant pieces of animation ever made, Gertie the Dinosaur (or technically just "Gertie". We get into it). We talk Winsor McCay, the evolution of the animated drawing, and the original film's very special mix of stage and screen.Watch the full film on our YouTube channel here.Hosts:Michael NataleTwitterLetterboxd Tom LorenzoTwitterLetterboxd Producer:Kyle LamparTwitter Guest:Donald CraftonShadow of a Mouse Follow the Show:TwitterInstagramWebsite Music by Mike Natale 

The story of a dinosaur animated in 1914 that inspired a generation of Disney artists. Bandcamp subscriptions: dhipodcast.bandcamp.com

John Jennings—Hugo Award winner, New York Times bestselling author, curator, scholar, and Artist—is keenly aware that in adapting novels for the graphic format, his decisions turn what has only been imagined into facts drawn on the page. In this conversation with critic, translator, and teacher of a creative course on the art of making comics, Jean-Christophe Cloutier, Jennings explores how he makes those decisions that range from the design of endpapers to selecting a character's skin tone with the ultimate aim of championing Black culture and Black comics. Given that Jennings has just entered the Marvel Universe with the debut of Silver Surfer: Ghost Light, the timing is right to reflect on the pressures and pleasures of adapting beloved stories for a contemporary audience. Jennings is both teacher and student of comics' powerful lessons, and lucky for listeners, his course comes with an illustrated syllabus, aka illabus. In the podcast's first ever episode about graphic novels, Jennings and Cloutier talk comic book history, the power of collaboration, and the importance of long showers. By John Jennings: Black Kirby: In Search of the MotherBoxx Connection, John Jennings and Stacey Robinson (2015) The Blacker the Ink: Constructions of Black Identity in Comics and Sequential Art, Edited by Frances Gateward and John Jennings (2016) Kindred, Octavia Butler, Adapted by Damian Duffy and John Jennings (2018) Parable of the Sower, Octavia Butler, Adapted by Damian Duffy and John Jennings (2021) After the Rain, Nnedi Okorafor, Adapted by John Jennings and David Brame (2021) Box of Bones: Book One, Ayize Jama Everett and John Jennings (2021) Silver Surfer: Ghost Light, John Jennings and Valentine De Landro (2023) Also mentioned: Megascope, Curated by John Jennings Understanding Comics: The Invisible Art, Scott McCloud (1993) Comics, Comix & Graphic Novels: A History of Comic Art, Roger Sabin (1996) Outside the Box: Interviews with Contemporary Cartoonists, Hillary L. Chute (2014) Maus, Art Spiegelman (1980-1991; complete version 1996) Unveiling Visions: The Alchemy of the Black Imagination, The Schomberg Center for Research in Black Culture (2015-2016) Barry Lyndon, Dir. Stanley Kubrick (1975) The Silver Surfer: And Who Shall Mourn for Him? Stan Lee, Howard Purcell, et al. (1969) Kitty Pryde and Wolverine, Chris Claremont and Al Milgrom (1984-1985) The Seven Beauties of Science Fiction, Istvan Csicsery-Ronay (2011) “Red Dirt Witch,” in How Long ‘til Black Future Month? N.K. Jemisen (2018) To learn more about the comic artists Jennings discusses, including Will Eisner, Jack Kirby, Winsor McCay, Frank Miller, and Charles Schulz, see Jeremy Dauber's American Comics: A History (2021) and Thierry Smolderen's The Origins of Comics (2014). Find out more about Novel Dialogue and its hosts and organizers here. Contact us, get that exact quote from a transcript, and explore many more conversations between novelists and critics. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

John Jennings—Hugo Award winner, New York Times bestselling author, curator, scholar, and Artist—is keenly aware that in adapting novels for the graphic format, his decisions turn what has only been imagined into facts drawn on the page. In this conversation with critic, translator, and teacher of a creative course on the art of making comics, Jean-Christophe Cloutier, Jennings explores how he makes those decisions that range from the design of endpapers to selecting a character's skin tone with the ultimate aim of championing Black culture and Black comics. Given that Jennings has just entered the Marvel Universe with the debut of Silver Surfer: Ghost Light, the timing is right to reflect on the pressures and pleasures of adapting beloved stories for a contemporary audience. Jennings is both teacher and student of comics' powerful lessons, and lucky for listeners, his course comes with an illustrated syllabus, aka illabus. In the podcast's first ever episode about graphic novels, Jennings and Cloutier talk comic book history, the power of collaboration, and the importance of long showers. By John Jennings: Black Kirby: In Search of the MotherBoxx Connection, John Jennings and Stacey Robinson (2015) The Blacker the Ink: Constructions of Black Identity in Comics and Sequential Art, Edited by Frances Gateward and John Jennings (2016) Kindred, Octavia Butler, Adapted by Damian Duffy and John Jennings (2018) Parable of the Sower, Octavia Butler, Adapted by Damian Duffy and John Jennings (2021) After the Rain, Nnedi Okorafor, Adapted by John Jennings and David Brame (2021) Box of Bones: Book One, Ayize Jama Everett and John Jennings (2021) Silver Surfer: Ghost Light, John Jennings and Valentine De Landro (2023) Also mentioned: Megascope, Curated by John Jennings Understanding Comics: The Invisible Art, Scott McCloud (1993) Comics, Comix & Graphic Novels: A History of Comic Art, Roger Sabin (1996) Outside the Box: Interviews with Contemporary Cartoonists, Hillary L. Chute (2014) Maus, Art Spiegelman (1980-1991; complete version 1996) Unveiling Visions: The Alchemy of the Black Imagination, The Schomberg Center for Research in Black Culture (2015-2016) Barry Lyndon, Dir. Stanley Kubrick (1975) The Silver Surfer: And Who Shall Mourn for Him? Stan Lee, Howard Purcell, et al. (1969) Kitty Pryde and Wolverine, Chris Claremont and Al Milgrom (1984-1985) The Seven Beauties of Science Fiction, Istvan Csicsery-Ronay (2011) “Red Dirt Witch,” in How Long ‘til Black Future Month? N.K. Jemisen (2018) To learn more about the comic artists Jennings discusses, including Will Eisner, Jack Kirby, Winsor McCay, Frank Miller, and Charles Schulz, see Jeremy Dauber's American Comics: A History (2021) and Thierry Smolderen's The Origins of Comics (2014). Find out more about Novel Dialogue and its hosts and organizers here. Contact us, get that exact quote from a transcript, and explore many more conversations between novelists and critics. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

John Jennings—Hugo Award winner, New York Times bestselling author, curator, scholar, and Artist—is keenly aware that in adapting novels for the graphic format, his decisions turn what has only been imagined into facts drawn on the page. In this conversation with critic, translator, and teacher of a creative course on the art of making comics, Jean-Christophe Cloutier, Jennings explores how he makes those decisions that range from the design of endpapers to selecting a character's skin tone with the ultimate aim of championing Black culture and Black comics. Given that Jennings has just entered the Marvel Universe with the debut of Silver Surfer: Ghost Light, the timing is right to reflect on the pressures and pleasures of adapting beloved stories for a contemporary audience. Jennings is both teacher and student of comics' powerful lessons, and lucky for listeners, his course comes with an illustrated syllabus, aka illabus. In the podcast's first ever episode about graphic novels, Jennings and Cloutier talk comic book history, the power of collaboration, and the importance of long showers. By John Jennings: Black Kirby: In Search of the MotherBoxx Connection, John Jennings and Stacey Robinson (2015) The Blacker the Ink: Constructions of Black Identity in Comics and Sequential Art, Edited by Frances Gateward and John Jennings (2016) Kindred, Octavia Butler, Adapted by Damian Duffy and John Jennings (2018) Parable of the Sower, Octavia Butler, Adapted by Damian Duffy and John Jennings (2021) After the Rain, Nnedi Okorafor, Adapted by John Jennings and David Brame (2021) Box of Bones: Book One, Ayize Jama Everett and John Jennings (2021) Silver Surfer: Ghost Light, John Jennings and Valentine De Landro (2023) Also mentioned: Megascope, Curated by John Jennings Understanding Comics: The Invisible Art, Scott McCloud (1993) Comics, Comix & Graphic Novels: A History of Comic Art, Roger Sabin (1996) Outside the Box: Interviews with Contemporary Cartoonists, Hillary L. Chute (2014) Maus, Art Spiegelman (1980-1991; complete version 1996) Unveiling Visions: The Alchemy of the Black Imagination, The Schomberg Center for Research in Black Culture (2015-2016) Barry Lyndon, Dir. Stanley Kubrick (1975) The Silver Surfer: And Who Shall Mourn for Him? Stan Lee, Howard Purcell, et al. (1969) Kitty Pryde and Wolverine, Chris Claremont and Al Milgrom (1984-1985) The Seven Beauties of Science Fiction, Istvan Csicsery-Ronay (2011) “Red Dirt Witch,” in How Long ‘til Black Future Month? N.K. Jemisen (2018) To learn more about the comic artists Jennings discusses, including Will Eisner, Jack Kirby, Winsor McCay, Frank Miller, and Charles Schulz, see Jeremy Dauber's American Comics: A History (2021) and Thierry Smolderen's The Origins of Comics (2014). Find out more about Novel Dialogue and its hosts and organizers here. Contact us, get that exact quote from a transcript, and explore many more conversations between novelists and critics. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Little Nemo in Slumberland is a comic strip created by American cartoonist Winsor McCay. It depicts Nemo having fantastic dreams that were interrupted by his awakening in the final panel. The strip is considered McCay's masterpiece for its experiments with the form of the comics page, its use of color and perspective, its timing and pacing, the size and shape of its panels, and its architectural and other details.Joining the show today is Prof. Scott Bukatman, who is a cultural theorist and professor of film and media studies at Stanford University. His research explores how such popular media as film, comics, and animation mediate between new technologies and human perceptual and bodily experience. Among many of his works on these subjects, The Poetics of Slumberland: Animated Spirits and the Animating Spirit, celebrates play, plasmatic possibility, and the life of images in cartoons, comics, and cinema. Recommended Readings:Winsor McCay, Little Nemo In Slumberland (1905-6)Scott Bukatman, The Poetics of Slumberland: Animated Spirits and the Animating Spirit (2012)This podcast is sponsored by Riverside, the most efficient platform for video recording and editing for podcasters.Buzzsprout - Let's get your podcast launched! Start for FREEDisclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Support the show

This dark fantasy film dropped exclusively on Netflix over the Thanksgiving holiday and stars Jason Mamoa & Kyle Chandler and is based on the comic strip that was written by Winsor McCay. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

SLUMBERLAND MOVIE REVIEW Little Nemo in Slumberland is the groundbreaking comic strip from innovative cartoonist and animator Winsor McCay. Ever since it first appeared in 1905, the strip has been adapted multiple times for stage and screen, with varying results. Slumberland has the budget and digital tools to bring McCay's eye-popping world to life in a way… Read More »Screener Squad: Slumberland

SLUMBERLAND MOVIE REVIEW Little Nemo in Slumberland is the groundbreaking comic strip from innovative cartoonist and animator Winsor McCay. Ever since it first appeared in 1905, the strip has been adapted multiple times for stage and screen, with varying results. Slumberland has the budget and digital tools to bring McCay's eye-popping world to life in a way… Read More »Screener Squad: Slumberland

Benoît PeetersCréation artistique (chaire annuelle 2022-2023)Collège de FranceAnnée 2022-2023Séminaire - Benoît Peeters : Little Nemo in Slumberland de Winsor McCayDans la série Little Nemo in Slumberland, publiée le New York Herald à partir de 1905, le monde du rêve permet à Winsor McCay (1869-1934) de donner libre cours aux transformations visuelles les plus éblouissantes. Chaque Sunday page répond à une double exigence : elle doit être assez spectaculaire pour accrocher l'œil de celui qui feuillette le journal d'une main distraite, mais assez intrigante pour l'inciter à la lecture. McCay joue en virtuose avec les possibilités de la planche de bande dessinée. Il y a des compositions en escalier, d'autres autour d'une grande image ronde. Certaines pages privilégient les cases verticales, d'autres n'utilisent que des images horizontales, de façon toujours remarquablement inventive. Quant à l'usage de la couleur, c'est l'un des plus accomplis de l'histoire de la bande dessinée. Servi par les tons à la fois vifs et subtils que les techniciens de l'imprimerie obtiennent à partir de ses indications, McCay ne se laisse jamais étouffer par le réalisme.

Slumberland is a 2022 American fantasy adventure film directed by Francis Lawrence and written by David Guion and Michael Handelman. It is based on the comic strip, Little Nemo in Slumberland, by Winsor McCay. The film stars Jason Momoa and Marlow Barkley with Chris O'Dowd, Kyle Chandler and Weruche Opia in supporting roles.A young girl discovers a secret map to the dreamworld of Slumberland, and with the help of an eccentric outlaw, she traverses dreams and flees nightmares, with the hope that she will be able to see her late father again. ★ Support this podcast on Patreon ★

A lot of things in the art world have changed since the last time Marshall and I talked, perhaps nothing more so than AI art. More and more artists are wondering what this emerging technology means for them. That's why, in this episode, Marshall and I will catch up and discuss the current landscape of AI art, its ethics, and potential uses. Btw, the same day that we recorded this episode, Steven Zapata released a video about his thoughts that has been passed around widely. His video instantly made our episode outdated! As you listen to this, keep in mind, at that point we had not yet heard Steven's message - https://youtu.be/tjSxFAGP9Ss Stan's Drawing Basics Course: https://proko.com/drawing SHOW LINKS (some contain affiliate links): Disco Diffusion - http://discodiffusion.com/ Stable Diffusion - https://stability.ai/blog/stable-diffusion-public-release Midjourney - https://www.midjourney.com/home/ Dave McKean - https://www.davemckean.com/ Interview - https://youtu.be/I-PaCc96oQM Kirsten Zirngibl - https://www.kirstenzirngibl.com/ Kirsten Zirngibl Art - https://static.proko.com/media/images/stan/kz-art-draftsmen-s4e01.jpg Kirsten's presentation - https://2022.lightboxexpo.com/guest/kirsten-zirngibl/ Karla Ortiz - http://www.karlaortizart.com/ AI Spectrum from Kirsten's presentation - https://static.proko.com/media/images/stan/kz-ai-spectrum-draftsmen-s4e01.jpg Dorian Iten - https://www.dorian-iten.com/ Winsor McCay and African Architecture AI image - https://static.proko.com/media/images/stan/dorian-winsor-mccay-african-architecture-draftsmen-s4e01.jpg Referenced McCay images - https://static.proko.com/media/images/stan/winsor-mccay-references-draftsmen-s4e01.jpg Stan's McKean AI - https://static.proko.com/media/images/stan/mckean-inspired-podcast-ai-art-draftsmen-s4e01.jpg Art Parents episode - https://proko.com/330 CS Lewis - The Abolition of Man (book) - https://amzn.to/3UaBqfs Mary Shelley's Frankenstein - https://amzn.to/3zukecE Perspective Box episode - https://proko.com/369 AI Marshall Young (not done yet) AI Kristian pimples - https://static.proko.com/media/images/stan/kristian-pimples-draftsmen-s4e01.jpg Proko logo generation - https://static.proko.com/media/images/stan/proko-logo-koi-pond-ai-draftsmen-s4e01-4.jpg AI stuff sent to Marshall - https://static.proko.com/media/images/stan/ai-art-sent-to-marshall-draftsmen-s4e01.jpg Skull paintover series - https://static.proko.com/media/images/stan/skullz-paintover-draftsmen-s4e01.jpg Sandman Netflix poster - https://static.proko.com/media/images/stan/sandman-poster-draftsmen-s4e01.jpg AI Kim Jung Gi - https://restofworld.org/2022/ai-backlash-anime-artists/ Album covers - https://static.proko.com/media/images/stan/referenced-album-covers-draftsmen-s4e01.jpg Aaron Blaise art in studio - https://static.proko.com/media/images/stan/aaron-blaise-draftsmen-s4e01.jpg  Learn more about your ad choices. Visit megaphone.fm/adchoices

Invité : Serge Bromberg Au programme de cette année 1914 : La révolution Cabiria : décors gigantesques, effets spéciaux fous, durée colossale... Hollywood doit-il son hégémonie sur le cinéma à la Première Guerre Mondiale ? Les débuts de Charlie Chaplin et la naissance de Charlot. Comment expliquer le succès rapide et monumental de Charlie Chaplin ? Gertie le dinosaure de Winsor McCay. Emile Cohl, Winsor McCay... Les débuts du cinéma d'animation. Recommandations : Fantômas contre Fantômas (Louis Feuillade), Charlot mitron (Charlie Chaplin)

Joining Chris and Alex for this lightning quick journey through the origins and aesthetics of the lightning sketch tradition in Footnote #12 of the podcast is Dr Malcolm Cook, Associate Professor in Film Studies (University of Southampton), author of Early British Animation: From Page and Stage to Cinema Screens (2018) and co-editor (with Professor Kirsten Moana Thompson) of the collection Animation and Advertising (2019). Malcolm was also a special guest on the earlier Christmas advertisements episode, but here he discusses the importance of ‘lightning cartooning' to the history of animation; the spectatorial effects and perceptions involved in witnessing the live act of drawing; pioneers of the original stage show who became cinema's very first animators such as J. Stuart Blackton, Georges Méliès, Walter Booth, Tom Merry, and Winsor McCay; the lightning sketch as a crucial point of contact between moving images and graphic art; and what the convergence between this music hall and vaudeville tradition with ‘trick film' techniques has to say about about the emergence of the animated short. **Fantasy/Animation theme tune composed by Francisca Araujo**

In this issue, we shine a little more light on Fun Weekly, our comic book for the wee ones. Then again, how many adults would shit their pants in delight if they could ever find issue #47? Swaddled in a Mac Raboy Captain Marvel Family cover, Otto Binder and C.C. Beck serve up a 15 page adventure of them, Basil Wolverton brings us a 4 page Scoop Scuttle knee-slapper, Carl Barks sends Justin Time and his Uncle Scrooge back to the Aztec Empire for a meaty 12 pager, a center spread luxuriously reprints a Little Nemo In Slumberland by Winsor McCay, George Carlson delivers another delightful Jingle Jangle Tale, Walt Kelly gives us a Pogo and Albert story, John Stanley supplies a perfect kid comic, and Boody Rogers tops it off with a Sparky Watts story. Superb!

This episode we finish up our series on early animation by covering Gertie the Dinosaur and The Sinking of the Lusitania, both animated by Winsor McCay. Next time its back to Europe, where we will cover the the effect of the first world war on European film! I decided to end the Patreon, at least for the foreseeable future. It was a hard decision, but I wasn't in the position to devote the time that I wanted and needed to to make the channel what I wanted it to be. A special thank you to all my patrons for their support. I hope that I am able to find a way to bring all of the ideas I had for it to life for you in the future!If you would like to contact me, you can email me at historyoffilmpodcast@gmail.com.You can visit historyoffilmpodcast.com to access helpful resources for this episode.The history of the film has a discord server, which you can get access through this here link:discord.gg/Ud8EcEzvSFSupport the show

And now the concluding chapter in this rambling and too brief biography of Winsor McCay, as he releases his last landmark cartoon, though the very medium he helped innovate starts to pass him by.

ERIC GOLDBERG - Aladdin “The Genie” This was a live recording with Disney Studios.. ERIC GOLDBERG (Animator) is renowned for his role in creating and supervising the animation of the Genie character for “Aladdin,” for directing “Pocahontas” and the “Rhapsody in Blue” and “Carnival of the Animals” sequences for “Fantasia/2000,” along with numerous other achievements. He is the recipient of the 2011 Winsor McCay award from ASIFA-Hollywood for lifetime achievement in animation. Among his recent work, he created new animation for the Cirque du Soleil show, “Drawn to Life,” at Disney Springs in Orlando, Fla. He has also contributed animation to a variety of projection shows and special projects for Disney Parks and Experiences around the world. Goldberg's animation knowledge started early, creating flip books at age six and moving on to making prize-winning Super 8 films from the age of 13. After attending Pratt Institute in Brooklyn, NY, majoring in illustration, Goldberg became a full-time assistant animator to legendary director Richard Williams on “Raggedy Ann and Andy.” He went on to direct countless TV spots for Williams in London before coming to Los Angeles to serve as director of animation on the Emmy®-winning “Ziggy's Gift.” Returning to London, he co-founded Pizazz Pictures, a commercial studio with a world-wide clientele. Goldberg joined Walt Disney Animation Studios in 1990 to supervise the animation of the wise-cracking Genie in “Aladdin.” He then co-directed “Pocahontas” (1995), and animated the feisty satyr Phil in “Hercules” (1997). His directing stints on “Fantasia/2000” were a labor of love and were inspired by both George Gershwin and the legendary theatrical caricaturist Al Hirschfeld, who served as artistic consultant. Other Disney credits include “The Princess and the Frog” (for which he supervised Louis, the trumpet-playing alligator, earning him his third Annie Award for best character animation), “Winnie the Pooh” (supervising Rabbit and the “Backson Song” sequence), and “Wreck-It Ralph” (helping to flesh out the character of King Candy). He also served as head of animation for 2013's Oscar®-nominated short, “Get a Horse!” and recently was the director, writer, and a supervising animator for the animated shorts “Disney Presents Goofy in How to Stay at Home.” Goldberg and wife, Susan, a talented artist and art director in her own right, have two daughters, Rachel and Jenny, who both work as artists in the entertainment industry.

And now the second part of this rambling and too brief biography of the great Winsor McCay, as he not only creates his greatest comic strip but also embarks into the field of animation.

And the first part of this rambling and too brief biography of Winsor McCay, one of the most brilliant innovators of both comic strips and cartoons.

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

This is the first of two episodes (only two, I promise) about the great animator Winsor McCay. We cover his life before he became a filmmaker, and his two first movies: Little Nemo (1911) and How a Mosquito Operates (1912).The history of the film has a discord server, which you can get access through this here link:discord.gg/Ud8EcEzvSFThank you to my wonderful patrons who help make this show possible! A special thank you to patron Ed & Shari for supporting this program in such a big way. If you want to support this show, read your name down here in the credits, and get access to cool bonus content, you can! By visiting patreon.com/historyoffilm and becoming a patron, you can play an integral part in actually making this show exist. If you would like to contact me, you can email me at historyoffilmpodcast@gmail.com.You can visit historyoffilmpodcast.com to access helpful resources for this episode.Support the show (https://www.patreon.com/historyoffilm)

In deze eerste aflevering van 2022 en de 64ste van De Grote Vriendelijke Podcast praten kinderboekrecensenten Jaap Friso (JaapLeest.nl) en Bas Maliepaard (Trouw) met een prentenboekenduo dat al twintig jaar succesvol samenwerkt: schrijver Tjibbe Veldkamp en tekenaar Kees de Boer. Hun bekendste werk is de serie over Agent en Boef (Lannoo 3+), maar dit jaar maken nagenoeg alle peuters en kleuters in Nederland ook kennis met hun prentenboek 'Maar eerst ving ik een monster' (Lemniscaat 4+), dat is uitgeroepen tot Prentenboek van het Jaar en daarom centraal staat tijdens De Nationale Voorleesdagen (26 januari t/m 5 februari 2022). We praten over de slepende ontstaansgeschiedenis van dit boek, over hoe boeven moesten plaatsmaken voor monsters uit de ruimte, wat er tijdens het maakproces gebeurt in een pizzeria in Zwolle, waarom dit duo altijd grappige boeken maakt (en de helft misschien weleens iets anders wil proberen) en over het filmische fop-einde in dit verhaal. Verwijzingen in deze aflevering Het liedje bij het prentenboek 'Maar eerst ving ik een monster' is te beluisteren op YouTube. Meer over het stripboek 'Little Nemo in Slumberland' van Winsor McCay lees je hier. We verwijzen naar de recensie uit NRC Handelsblad van dit boek. Bas schreef dit in Trouw. Het interview waarin Kees de Boer pleit voor een ander soort prijzen voor prentenboeken lees je op Hebban. Besproken boeken 'Amos Muis blijft een dagje thuis' Philip C. Stead Tekeningen: Erin E. Stead Vertaling: Lourens van Veluw Paolo 4+ 'Iets heel bijzonders' Susin Nielsen Vertaling: Lydia Meeder & Barbara Zuurbier Lemniscaat 13+ 'Films die nergens draaien' Yorick Goldewijk Tekeningen: Yvonne Lacet Ploegsma, 10+

This podcast is powered by JewishPodcasts.org. Start your own podcast today and share your content with the world. Click jewishpodcasts.fm/signup to get started.

Little Nemo is having an anniversary, along with an upcoming film and video game. Here is our movie almanac about the groundbreaking one in 1911. Alican Pamir has more. #LittleNemo #WinsorMcCay #VintageComicBooks

On this episode of Showcase; Parthenon Marbles 00:02 David Rudenstine, Professor of Law at Cardozo Law School 02:28 Winsor McCay's Little Nemo 08:26 Digital Twins 11:29 Shortcuts 13:32 In Conversation with Hindi Zahra 15:13 #ParthenonMarbles #LittleNemo #HindiZahra

durée : 00:58:44 - Les Cours du Collège de France - par : Merryl Moneghetti - Comment monter un escalier dans une page de BD, des auteurs américains à Hergé? s'interroge Benoît Peeters. Comment Winsor McCay, le créateur de "Little Nemo" s'est-il servi du principe de métamorphoses pour développer l'art de la bande dessinée? Quels sont les nouveaux horizons de son écriture? - invités : Benoît Peeters Ecrivain, spécialiste de BD, scénariste, éditeur et professeur à l'Université de Lancaster

Welcome to the second episode of Kaiju Vs. History Podcast. In this episode we go over some of the early examples of monster movies. We dive into the origin of giant Kaiju like creatures in the collective world consciousness. Before King Kong graced the silver screen and after there were several proto-Kaiju and dinosaur films that would help formulate the tropes and cinema styles of the genre. First up we explore actual history with the history of giant animals on planet Earth – thats right its the actual history of everything from biblical accounts of Giants to the discovery of dinosaur bones. Throughout human history mankind has been fascinated by dragons and krakens and other massive creatures that could swallow a man whole. Next up we talk about a silent animated film from the mind of Little Nemo, Winsor McCay’s “The Rarebit Fiend: The Pet”. In this 1921 short celebrating its 100th anniversary this month we see perhaps the first depiction on film of a giant monster rampaging through city streets, terrorizing and eating people, all before being taken down by the armed forces. From Jules Verne’s “The Lost World” and its fanciful depiction of sub-Saharan African dinosaurs rampaging through the city streets to a Max Fleischer ‘Superman’ animated short, we explore other introductions of what would become cornerstones of Kaiju Eiga, first being formulated and shown on the big screen. We will revisit and return to these formulized facets of Kaiju films with next week’s first official Kaiju review. Next Week on Kaiju Vs. History: 1933’s KING KONG Twitter: @kaijuvshistory Email: kaijuvshistory@gmail.com

When a dinosaur obsession works out. Victoria Coules has the best PHD going. She is researching representations of Paleontology in media. This means she gets to look at dinosaurs all day as well as study why they were depicted the way they were. As part of her research she has been studying Winsor Mccay, the cartoonist who pioneered modern animation by drawing an interactive cartoon of a dinosaur. This was a pet project, and his contribution to animation isn't widely known. Thanks for listening do check out the links below and share this podcast with your friends. Links: x

In this episode, Greg, Leon and Rahul discuss the following comics: LA MANO DEL DESTINO (https://imagecomics.com/comics/releases/la-mano-del-destino-tp) THE STRANGE WORLD OF YOUR DREAMS (https://kirbymuseum.org/blogs/simonandkirby/archives/210) HAHA #1-4 (https://imagecomics.com/comics/series/haha) THE MANY DEATHS OF LAILA STARR #2 (https://www.boom-studios.com/wordpress/archives/the-many-deaths-of-laila-starr-2-first-look/) ORPHAN AND THE FIVE BEASTS #2 (https://www.darkhorse.com/Comics/3005-534/Orphan-and-the-Five-Beasts-2) Send any questions or feedback to (mailto:acecomicals@gmail.com) acecomicals@gmail.com. And also please subscribe (http://www.acecomicals.com/subscribe) and leave us a review! If you like what we do please consider donating to us (https://ko-fi.com/acecomicals) at https://ko-fi.com/acecomicals. All contributions will be used to defray the cost of hosting the website. Ace Comicals, over and out!#

In this episode, we talk to Don Bluth the man behind many classics such as "The Secret of NIMH", "The Land Before Time", "An American Tail", "Anastasia" and so many more! We discuss his favorite talent to work with, his favorite characters to create, and some advice for upcoming storytellers. Not to mention, audience questions! 17:33 – Is there another story like Nimh that you have wanted to do but haven’t? 18:20 – What was the most challenging aspect in the creation of Anastasia? 20:13 – Where you honored with the Winsor McCay award, and what was it like receiving this? 21:46 – How do you envision the reason for Spikes silence in The Land Before Time? 29:14 – What was your favorite character from your movies? 30:33 – What was your inspiration for Fievel Mousekewitz? 31:50 – What was it like working with Mr. Spielberg? 33:49 – Do you have a personal favorite out of the movies you’ve created? 35:14 – How did you meet Dom Deluise? 37:00 – How did you get so creative with the soundtracks with musicians? 39:44 – What would your advice be to new artists that have a dream like yours? This discussion was moderated by Patty Jenkins and originally aired live on galaxycon.com on April 3rf. Head over to check out more FREE livestream Q&As!

Katie and Sally discuss "Dreams of the Rarebit Fiend" by Winsor McCay. Topics discussed include the golden age of illustration, Tony Millionaire, the Lindbergh baby, Rudyard Kipling, Amtrak drama, and more. This one is late because Katie is moving! Next time: "The Drifting Classroom vol 1." by Kazuo Umezu. Find us on instagram @thicklinespod.

Scribbling in your art can be an excellent starting point, or a disastrous dead end. In today’s episode, Marshall and Stan discuss how scribbling can reveal fresh ideas, how scribbling relates to categorizing thoughts, and how their training shaped the way they draw today. Call and Ask Your Art Questions: 1-858-609-9453 Thanks to Mint Mobile and BetterHelp for sponsoring today’s Draftsmen episode! Get your new wireless plan for just 15 bucks a month, and get the plan shipped to your door for FREE - http://mintmobile.com/draftsmen As a listener, you’ll get 10% off your first month by visiting our sponsor at Betterhelp.com/draftsmen! Show Links (some contain affiliate links): Bootcamps with Marshall and Vance Kovacs - https://www.marshallart.com/  Winsor McCay - https://proko.com/draftsmen-media/Winsor-McCay-s3e02.jpeg  Kim Jung Gi - https://proko.com/draftsmen-media/Kim-Jung-Gi-s3e02.jpeg  Jeff Watts - https://proko.com/draftsmen-media/Jeff-Watts-s3e02.jpeg  Stan’s Quicksketch - https://proko.com/draftsmen-media/Stan-Quicksketch-s3e02.jpeg  Edward Sorel - https://proko.com/draftsmen-media/Edward-Sorel-s3e02.jpeg  Heinrich Kley - https://proko.com/draftsmen-media/Heinrich-Kley-s3e02.jpeg Preston Blair - https://proko.com/draftsmen-media/Preston-Blair-s3e02.jpeg  Elizabeth Gilbert Ted Talk - https://www.ted.com/speakers/elizabeth_gilbert Back to the Future (actor swap) - https://proko.com/draftsmen-media/Back-To-The-Future-s3e02.jpg Jeff Goodby and Rich Silverstein Masterclass - https://www.masterclass.com/classes/jeff-goodby-and-rich-silverstein-teach-advertising-and-creativity The Natural Way to Draw by Kimon Nicolaides - https://amzn.to/3uLyNnz  James Gurney - https://proko.com/draftsmen-media/James-Gurney-s3e02.jpeg  Barron Storey - https://proko.com/draftsmen-media/Barron-Storey-s3e02.jpeg  Zettelkasten Method - https://zettelkasten.de/introduction/ How to Take Smart Notes by Sönke Ahrens - https://amzn.to/3uEIlAF Rome Research - https://roamresearch.com/ Edward de Bono: Six Thinking Hats - https://amzn.to/3dWlsSr  Howard Pyle Painting (Man on Horse) - https://proko.com/draftsmen-media/howard-pyle-s3e02.jpeg  Howard Pyle by Henry Pitz - https://amzn.to/3dZjsJm  Justin Sweet - https://proko.com/draftsmen-media/Justin-Sweet-s3e02.jpeg  Vance Kovacs - https://proko.com/draftsmen-media/Vance-Kovacs-King-Louie-s3e02.jpeg  Honore Daumier - https://proko.com/draftsmen-media/Honore-Daumier-s3e02.jpeg  Cliff Edwards (Scat Singing - Singing In the Rain) - https://youtu.be/dRcr_5qWa-o  Frank Gehry - https://proko.com/draftsmen-media/Frank-Gehry-s3e02.jpg  Learn more about your ad choices. Visit megaphone.fm/adchoices

He was a brilliant illustrator who basically invented comics AND animation. Throughout the 1920s and 1930s, Winsor McCay was one of the most prolific artists and illustrators in the world. He drew lavish editorial illustrations for the biggest newspapers in the country, had several ongoing comic strips where he defined a lot of the rules of the entire comics medium, and he was one of the first people to think of ways to utilize multiple illustrations to create a moving image - which would eventually evolve into the art of animation. On this episode of Deep Cuts, we deep dive into the inspiring and influential life and career of Winsor McCay. -- Get the official Deep Cuts shoulder patch! http://bit.ly/deepcuts_patch -- Listen to our new album, a 9 song rock opera about the rise and fall of Napster! https://open.spotify.com/album/63C5uu1tkzZ2FhfsrSSf5s?si=q4WItoNmRUeM159TxKLWew -- Additional incidental music credits: The Deadboy Detectives Learn more about your ad choices. Visit podcastchoices.com/adchoices --- Send in a voice message: https://podcasters.spotify.com/pod/show/deepcutspod/message

He was a brilliant illustrator who basically invented comics AND animation. Throughout the 1920s and 1930s, Winsor McCay was one of the most prolific artists and illustrators in the world. He drew lavish editorial illustrations for the biggest newspapers in the country, had several ongoing comic strips where he defined a lot of the rules of the entire comics medium, and he was one of the first people to think of ways to utilize multiple illustrations to create a moving image - which would eventually evolve into the art of animation. On this episode of Deep Cuts, we deep dive into the inspiring and influential life and career of Winsor McCay. -- Get the official Deep Cuts shoulder patch! http://bit.ly/deepcuts_patch -- Listen to our new album, a 9 song rock opera about the rise and fall of Napster! https://open.spotify.com/album/63C5uu1tkzZ2FhfsrSSf5s?si=q4WItoNmRUeM159TxKLWew -- Additional incidental music credits: The Deadboy Detectives Learn more about your ad choices. Visit megaphone.fm/adchoices

Katie and Sally answer listener questions, respond to requests, make some corrections, and talk about their backgrounds in art. Next time: "Dream of the Rarebit Fiend" by Winsor McCay. Follow us on our new Instagram @thicklinespod.

Lots of movies this time! Also what do you think of the alternate title A Morally Bankrupt Giving Tree? D.W. Griffith creates a lot of fodder for shady episode titles. We've got our introduction of Winsor McCay, some grand scale Italian and Russian historicals and mythologicals, and some steampunk that can take the place of the lost Aerial Anarchists! Listen along!   You can watch along with our video version of the episode here on Youtube! You can check out our Instagram, Twitter and other social media crap here: http://linktr.ee/1w1y And you can watch and form your own opinions from our 1911 Films Discussed playlist right here!   --- A Penultimate Méliès Check-in --- Baron Munchausen’s Dream The Diabolical Church Window Silent Film Party Background Playlist coming soon? --- D.W. Griffith Does More Civil War Nonsense And Also Some Not Awful Stuff --- The Lonedale Operator The Battle Swords and Hearts His Trust/His Trust Fulfilled The Miser’s Heart The Last Drop of Water --- Alice Guy returns at Solax and Louis Feuillade takes her place at Pathé --- Parson Sue Starting Something The Trust, or Battles For Money The Defect --- The Italian Epics --- L’Inferno Cris’s Haw Par Villa photos The Fall of Troy The Defense of Sevestopol (Not Italian) Pinocchio --- Potpourri --- The Pirates of 1920 The Automatic Motorist Animated Putty Winsor McCay: The Famous Cartoonist of the N.Y. Herald and His Moving Comics (AKA Little Nemo) Banks of the Nile (The Letterboxd review) Max’s Tragedy   Glen's Favorite: The Trust, (NOT His Trust) Cris's Favorite: Pinocchio, for its audacity   See you next year!

For this episode we meet a less famous, but no less fabulous, princess. Princess Camille from Little Nemo: Adventures in Slumberland is feisty and smart as a whip, and whether you grew up with this movie or not, there is plenty to glean from Camille's part of the story. Sarah will take you through the development of the original comic strip and the unique anime/animated film, and Jess will explore the various ways we can interpret the meaning of dreams. How we can apply Freud's and Jung's theories to both Little Nemo and ourselves? We pause in the middle for a quick "WHO WORKED ON SOMETHING AWESOME AND WORKED ON THIS MOVIE??" trivia game, and of course, include lots of laughs along the way. Join us on this slumberland adventure, and learn a little about dream theory, the importance of representation, and what it takes to hold Sarah's attention in a movie. Historical Reference Links: https://loveinterest.fandom.com/wiki/Princess_Camille https://en.wikipedia.org/wiki/Little_Nemo:_Adventures_in_Slumberland https://dotandline.net/little-nemo-turns-30/ https://nerdist.com/article/little-nemo-adventures-slumberland-terrifying-nightmare-king/ https://www.rogerebert.com/reviews/little-nemo-adventures-in-slumberland-1992 https://movies.fandom.com/wiki/Little_Nemo:_Adventures_in_Slumberland https://film.avclub.com/the-little-nemo-movie-is-like-a-dream-scattered-stran-1798283415 https://www.britannica.com/biography/Winsor-McCay https://www.museumofdreams.org/little-nemo-in-slumberland https://tvtropes.org/pmwiki/pmwiki.php/ComicStrip/LittleNemo Psychological Reference Links: https://www.thesap.org.uk/resources/articles-on-jungian-psychology-2/carl-gustav-jung/dreams/ https://www.laphamsquarterly.org/night/hero-thousand-dreams https://www.nytimes.com/slideshow/2014/12/05/books/review/07wolk.html https://artsofthought.com/2020/06/04/freud-interpretation-of-dreams/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Out of all pre-Disney cartoon shorts, Winsor McCay's Gertie the Dinosaur is perhaps the most well known. Today we take a look at it and its predecessor, Little Nemo, based on the comic series of the same name, to examine McCay's best-known contributions to animation as a medium. But, outside that historical context, how are these two shorts as pieces of entertainment? Are they still enjoyable, over 100 years after they were first conceived? Listen to find out! --- Support this podcast: https://anchor.fm/howsitholdup/support

durée : 00:29:07 - Le Rayon BD - par : Victor Macé de Lépinay - Depuis sa création en 1905 par Winsor McCay, Little Nemo est devenu un personnage majeur et fondateur dans l’histoire de la bande dessinée. Le Rayon BD retrace cette longue histoire, qui a instauré une nouvelle grammaire du dessin, avec le dessinateur Frank Pé et l'historien de l'art Pierre Pigot. - réalisation : Thomas Jost - invités : Frank Pé Auteur de bande dessinée et dessinateur; Pierre Pigot Historien de l'art et critique littéraire; Thomas Mourier Rédacteur en chef de la plateforme Bubble et auteur

On this week's Stack podcast, we're reviewing: Home Sick Pilots #1 Image Comics Written by Dan Watters Art by Casar Wijngaard Venom #31 Marvel Written by Donny Cates Art by Iban Coello The Comic Book History of Animation #1 IDW Written by Fred Van Lente Art & Letters by Ryan Dunlavey Sweet Tooth: The Return #2 DC Comics By Jeff Lemire Scarenthood #2 IDW Story & Art by Nicke Roche Colors by Chris O'Halloran Vampirella: The Dark Powers #1 Dynamite Written by Dan Sbnett Art by Paul Davidson Seven Secrets #5 BOOM! Studios Written by Tom Taylor Illustrated by Daniele Di Nicuolo Crossover #2 Image Comics Written by Donny Cates Art by Geoff Shaw Spider-Man #5 Marvel Written by J.J. Abrams & Henry Abrams Art by Sara Pichelli American Vampire 1976 #3 DC Comics Written by Scott Snyder Art by Rafael Albuquerque Getting It Together #3 Written by Sina Grace & Omar Spahi Art by Jenny D. Fine & Sina Grace Origins #2 BOOM! Studios Creat by Arash Amel, Lee Krieger and Joseph Oxford Script by Clay McLeod Chapman Art by Jakub Rebelka King In Black: Namor #1 Marvel Written by Kurt Busiek Art by Benjamin Dewey The Vain #3 Oni Press Written by Eliot Rahal Illustrated by Emily Pearson Red Sonja: The Price of Blood #1 Dynamite Written by Luke Lieberman Art by Walter Geovani SUBSCRIBE ON RSS, ITUNES, ANDROID, SPOTIFY, STITCHER OR THE APP OF YOUR CHOICE. FOLLOW US ON TWITTER, AND FACEBOOK. SUPPORT OUR SHOWS ON PATREON. Full Episode Transcript: Alex:                 What is up, everybody? Welcome to The Stack. I'm Alex. Justin:              I'm Justin. Pete:                I'm Pete. Alex:                 And on The Stack we talk about a bunch of new comic books that have come out this very week. We review them, we give our unfiltered [crosstalk 00:00:23]. Pete:                Just try to filter us. Good luck. Alex:                 It's never going to happen. And we're going to come out raw and hard on this first one. Pete:                What? Well, don't say things like that. Alex:                 Yeah, but no, I'll say whatever I want. Home Sick Pilots number one from Image Comics, written by Dan Watters, art by Caesar Wijngaard. I don't know, I probably should check that before we got on the air or anything like that. Justin:              I think Caspar, is Caspar Wijngaard. Alex:                 Yeah. This is a new title obviously from Image Comics from two creators that frankly I don't think I've ever heard of, but this is … I wanted to put this up front because there's been a lot of hype on this. And there is a very big, in my opinion, bold debut that is well worth that hype. This focuses on an indie band, one member who ends up in a haunted house, disappears, weird things go on, crazy things go on. And it almost feels like to me a spiritual descendant of like, I don't know, so many different things at the same time that it feels original. But the first things that came to mind are like Locke and Key a little bit, Paper Girls a little bit. Pete:                Paper girls. Yeah. Alex:                 And it's great. I was so happy with this book and I'm so excited to see where it goes next. Did you guys feel the same way? Justin:              Yeah, I agree completely. I thought this book was great. The art's really nice and it really makes you really feel along with the characters, especially in the first third, that when you're young and you're like, “Let's go fuck around. Let's go mess something up. Let's go … ” That rebellious vibe. They do a good job of expressing that in a fun way. And then it does a nice job also of being a horror story that also edges into comic book world. It's not just a horror story. And I really appreciated that. Pete:                Yeah. I think this is really a fantastic first issue. Does a great job of getting us set up with who's who and what's going on, and then tells a really crazy story. I also really love the use of the all black panels are really great. Just some really fantastic storytelling [inaudible 00:02:39] perspective. They really did a great, great job. I can't recommend this comic enough. It's really interesting. And I cannot wait to see how this unfolds, really, really impressive. Alex:                 There's a double page spread in the middle of the book that was laid out in a way that honestly as a comic book reader was kind of confusing for me, but once I realized what they were going for, I really appreciated and liked, where two different groups are coming to a haunted house at the same time, but coming from opposite ends of the house. So the way you read it is you follow one group and then they meet in the middle and then you follow the other group from the other side of the page. Alex:                 One is going the way that we read in America, the other is going the way that you read anime. But it took me a second for my brain to adjust to that. But I thought it was such a smart, fascinating way of laying out the page. And that's what plays throughout the book is just these top of mind choices that they're going for. Justin:              Yeah. It's just a book that feels very cool. They're all musicians, they seem like they're in cool bands. It feels like it's just a good- Alex:                 You want to hang out with them, wondering what they're doing. Will they give you a call? Pete:                Justin, it's okay, you're cool, man. You don't have to just want to hang out with the cool kids all the time. Justin:              No, I'm just saying like, “Hey nerds, I'm going to hang out with these cool musicians. I'm out of here.” Pete:                Watch you become a nerd. Alex:                 Let's move on and talk about the opposite of a nerd, which as we know is jock with Venom number 31 from Marvel, written by Donny Cates, art by Iban Coello. This is picking right up off of the cliff hanger from King in Black number one, where Eddie Brock was thrown off the top. Love the sounds of coke being poured to the background. Pete:                Sorry. Making the last of my rum and coke here, so apologies. Justin:              Pete. Alex:                 It's okay. You got to listen. Justin:              Pete, it's 10:00 AM. What are you doing? Alex:                 Cook breakfast for your kids. Venom number 31, Eddie Brock has been thrown off of a building. And this takes place during 32 seconds, 31 seconds. Justin:              32 seconds, yeah. Alex:                 32 seconds, could have been 31 seconds, could match the number of the book, where he is falling to the ground and various things are going on. And he's thinking back on his life and the mistakes you've made. What'd you think about this issue as a follow-up to King in Black number one in particular? Pete:                Well, I thought it was really very interesting, this kind of using this kind of free for all to tell the story that's kind of insane and kind of, I think fits what's going on. This is a very over the top kind of insane thing that's happening in this book. I thought this was kind of an interesting way to kind of tell this story. The arts phenomenal, the action's very intense. Yeah, it's impressive how much store we get in as a person is falling to maybe their death. But the art I cannot say is just how creepy and weird and disgusting it is. It's really impressive the way they're doing it. Justin:              Yeah. I mean, especially after how big the first issue of this crossover was with so much happening, I really like this issue despite the fact that it takes place in 32 seconds really slows the action down. And it's sort of like setting the table, we're meeting a lot of the players that feel like they are going to be the core characters in this crossover. Eddie Brock, obviously his son, Dylan know. And we really get in their heads as we are moving forward. I appreciate this. And it's like one of those issues that sort of just like a show piece, it all takes place as this one quick thing is happening and the art's amazing. Pete:                Yeah. It seems like the son's going to be a part of this somehow. Alex:                 Yeah, I think so maybe, maybe a little bit. To what you're saying Justin- Justin:              Well, let me just say from the last issue was a huge broad strokes, you saw as much of Dylan as you did of Captain America. I do think this issue is important to be like, “Yes, Dylan is the linchpin of this crossover.” Alex:                 Yeah. Well, to your point Justin, I think what's really nice about this is creating different tones. It could feel since you're coming from the same writer, you could be getting big bombastic King in Black and then big bombastic Venom, but instead he's using them to hit two different storytelling modes to continue the same story. And it's very smart decision. Alex:                 Let's move on to talk about The Comic Book History of Animation number one from IDW written by Fred Van Lente, art and letters by Ryan Dunlavey. We have talked to Fred and Ryan about many, many series that they have done, Comic Book History of Comics, Action Philosophers, other things like that. They have been diving into specific histories forever, and this is no different, just a reliable duo. And I say that in the best sense that when you see Comic Book History of Animation at the front, you see who's doing it. You know what you're getting, it's smart, it's funny, it's informative, but it's a good story at the same time. I just had a blast reading this and it's so packed with information, is a good value for readers as well. Pete:                Yeah. I loved the kind of like, you've heard stories over the years, but this is really informative. The fact that there's a spinning house that rotates with the sun, that was really cool to find out. Yeah, this is really cool, very nerdy in all the right ways. The art does such a great job of keeping things action oriented and fun. It's not just like facts, facts, facts, they do a good way using the storytelling to kind of keep things fun and light. It's really impressive what they can accomplish. Justin:              Yeah. To your point, Pete, they really do a great job of just selecting the facts, details and just story points that they tell about these historical figures. What I got really excited about is the animation studio that was like basically the first Hollywood studio in Midwood, Brooklyn. I want to go drive out there and look around and be like, “This is the first Hollywood style studio, is right sort of 20 minutes away from me.” That's awesome. Pete:                Wow. Alex:                 Well, to that point, I think it's interesting the different things you can pick out. The thing that really drew me in was the story of Winsor McCay, who created Little Nemo in Slumberland, and how crucial he was to the development of animation as an art form, which I feel like was one of those facts that maybe I had heard at some point and kind of ignored or not really gotten stuck in my brain. And to hear it again in this way, and as part of the story that eventually leads up to Walt Disney while not necessarily getting into Disney Studios. It's good, it just really draws a narrative line between these things, which is what the best history stories do or the best history lessons do, and this is one of them. Justin:              There's another great panel where Walt Disney, who was sort of a dick, all of his animators that he had crossed are flipping him off wearing Mickey ears, that will really resonate. Pete:                I was a huge fan of Felix the Cat as a kid. And so that part where Felix is pissing on exec's desk really made me laugh. Alex:                 Good times. Justin:              Yeah, you'll laugh so hard your heart will ache, your sides will ache and your heart will go pitter pat. Alex:                 Sweet Tooth: The Return number two from DC Comics by Jeff Lemire. This is, as you could figure out for the title, the continuation, reverberation, whatever you want to call it, the original title. Pete:                The Return. Alex:                 Well, I think there's a lot of things going on here. With Sweet Tooth we don't necessarily know the full story or exactly what is going on with this new sweet tooth. But we find out a lot more about the world that he is in this issue, as well as potentially what's going on and how it maybe ties to the first series, or maybe not. It feels like there's more swerves going on. This is just great to revisit again in this new way. It's eerie. It's weird. It's dark. I am loving this series. Pete:                Yeah. This is a crazy issue. We're slowly kind of learning more of what's going on. And I really liked this kind of new friend that we meet. I think this is a very interesting character. I'm excited to learn more. This is very exciting to be back in this world kind of in a fresh way. And I really hate the creepy old church guy, but I'm excited to read more. This does a great job of getting you pumped for the next issue. Justin:              Yeah, I agree. I'm curious how this is sort of going to roll out because it does feel like they're telling the same story in some ways, but in just a total different mashed up iteration. So I'm curious sort of what the point of that is. Why are we hitting these same characters again in the same way, very much in the like, it's happening again, that sort of TB trope. I'm curious what that will mean. And I just got to say nobody draws crusty old villainist dudes better than Jeff Lemire. Pete:                Yeah. Alex:                 Yeah. Next up, Scarenthood number two from IDW Story, and art by Nick Roche, colors by Chris O'Halloran. We had Nick Roche on the story, on a live podcast a couple of weeks back, really enjoyed the first issue of this one. I think in particular, Justin, you were probably the biggest fan of the first issue, which found a bunch of parents dealing with some weird going on at their kids' school. How do you think the second issue held up? Justin:              I really enjoyed it again as well. I think what I said last time is this comic does such a great job of simultaneously really being about the horrors of everyday parenthood, as well as touching on this supernatural horror that is really just boiling underneath this town and these characters. And this issue does the same thing. We get a lot of great scenes, their main character and his kid that he's raising on his own, and sort of the little mistakes you make when you're a parent, when you're distracted and you apologize. And it just felt, the detail work here is so good. And so I got to give it up for Nick for putting that together. Pete:                Yeah. I think this really continues to be a very interesting book. I love the kind of like almost scary things that kind of happen in this. We're getting a little bit more story and a little bit less of the kind of ghost, kind of stuff and more like, okay, this is the team that we're going to be kind of leading this expedition as we move on. I think this is a really great issue. The art is fantastic. It's kind of a cool world and I'm excited to see where it goes in the art. Again, I really like it. Alex:                 Like we talked about with the first issue, I think this does a phenomenal job of capturing the frustration and terror of being a parent, and then funneling that into actual horror things and ghosts. There are moments in here as Pete pointed out, there's less of the supernatural activity, but the moments that were really just made my heart beat faster were the things about being, thinking you're a bad parent, being a bad parent, acting like a bad parent. All of those things are very true to life in the best way. And on top of that, you do have this really nice art and this spooky story talk into at the same time. It was good stuff. Next up- Justin:              One thing that really resonated with me is multiple times in this issue he's doing something and his kid is like, “Hey,” and he looks at the clock, he's like, “Oh shit, I got to go do this thing.” That was very real. Alex:                 Yes. Vampirella: The Dark Powers number one from Dynamite, written by Dan Abnett and art by Paul Davidson. In this issue Vampirella is now teaming up with a super team made up of people from project superpowers, I think is what's going on here. And she's just got her crazy vampire methods and they don't like them. Justin:              They don't like them. [crosstalk 00:15:03]. Pete:                Oh, go ahead. Alex:                 Go ahead, Pete. Pete:                I was just going to say that that's a cool idea, right? It's like put the person who doesn't do well on a team, on a team. You know what I mean? Because there is this thing of like, oh, this is my arch enemy, and they keep coming back to haunt me. And it's like, well, if you took care of business the first time, it wouldn't keep going. So having Vampirella unleashed on these bad guys is very fun. She likes her work. She's very good at it. And so yeah, it's kind of fun to see her not trying to fit in, but being on this team and how they're going to kind of deal with her. Justin:              Let me ask you, what is the team that you would be put on that would be the biggest mismatch, and it can be like a Cub scout trip leader. What's the team that would be the biggest? Alex:                 Maybe a podcast or something like that. Pete:                Yeah. I'd say a podcast with two assholes is what my answer is. Justin:              And so you'd be the mismatch by being an asshole? Pete:                Touché or douche as I should say. Alex:                 Let's move on and talk about Seven Secrets number five from Boom! Studios, written by Tom Taylor, illustrated by Daniele Di Nicuolo. In this we're dealing with the fallout of the attack on all the secrets they go to hide from their enemy, and things go very, very badly leading up potentially to finally finding out what these secrets are. This series is as usual very well-crafted by Tom Taylor. I like the anime inspired art [inaudible 00:16:39], I guess inspired art by Daniele Di Nicuolo. Just a good series through and through. Pete:                Yeah. Tom Taylor is a great writer and this is a very interesting, cool idea. In this issue though we kind of get this like … there's someone on the inside because they keep doing the wrong thing. And it's a little obvious where it's like, attacking us all at once, oh no, it's got … what should we do? Oh, let's all go to the same spot. And it's like, “Oh no, that's a horrible idea. But here we go.” But all that said, I'm really impressed with the art and the storytelling, I can't wait to see what happens next. Justin:              Yeah, I think the [inaudible 00:17:22] influenced art, I think it's really working. And I think the story really plays into that in a nice way. It feels like that was the intention throughout, which is great. And I just want to know a couple of the secrets. I don't want to be greedy. I just want to know two secrets. Alex:                 Yeah. Right. Justin:              Or maybe three. In general I don't know secrets. I keep secrets. I'm great at secrets. Pete:                Whoa, I don't believe that. Justin:              I've kept all of your secrets, Pete. Pete:                Whoa. Alex:                 Let's move on to talk about Crossover number two from Image Comics written by Donny Cates, art by Geoff Shaw. The first issue we found out that in Denver, I believe in Colorado, a big superhero crossover from every possible super year universe broke out, a dome appeared over Denver, locking it off. Some comic book characters were left outside, some were not. We found out different pieces of the story as we've followed a comic book shop worker has got embroiled with one of those rogue comic book characters. Find out a lot more about the state of the world in this issue, as well as having many, many teases for other things going on in this world, as well as the real world. What'd you think about this issue and how it picked up on the first one? Justin:              I mean, it's fucked up that there's all these dead actual comic book writers in the beginning. Alex:                 Yeah, they kill Scott Snyder, Brian Kayvon, Robert Kirkman, and somebody else. Justin:              Chip Zdarsky. And do you think CNN would be leading with these names, all these comic book writers? Chip Zdarsky, Scott Snyder, I don't think so. Alex:                 I did like the joke where they're like Brian Kayvon, Marvel comics writer. And I read that first page I was like, “Marvel comics writer,” and then the next page is the comic show crowder being like, “Marvel comics writer.” So well played. Justin:              That was very funny. And you could tell that this is all sort of, the winks here are strong and good. Pete:                Strong links for sure. Justin:              Strong links. And the story, it's such a good concept that it's one of those premises that almost feels like it's going to break under the weight of the story. But Donny Cates does such a great job of really straddling that line and keeping us just on the good side of like, “No, this is working, these people are going to enter the dome and encounter all of your favorite superheroes or maybe not.” We get the scene in the superhero prison where you see the arms of some of your characters you recognize. Pete:                Yeah, that's really cool. Justin:              Yeah, it's cool. Alex:                 It's like Batman's there, Spawn's there, Spiderman, bunch of others like that. It's definitely- Justin:              The Thing. Alex:                 … Easter egg heavy. The Thing, yeah. Pete:                I really thought the way that they intertwined different styles of art in this book is really impressive. A lot of the shading and shadowing and coloring really is impressive. And it fits well in this story, which is really cool. And then we got a really creepy reveal at the end. I think this is very interesting. Unfortunately, they lean a little hard on the comic book shop person is a lot of their god. It's like, I would just like one normal comic book shop owner, just one time, just one person- Alex:                 Doesn't exist. Pete:                … that's got their shit. But I really like the story. The Cates does good work. I'm excited to see how this unrails, unreveals itself. Alex:                 Yeah. Good stuff across the board as you mentioned, Geoff Shaw's art is really gorgeous as well. Let's move on, talk about Spider-Man number five from Marvel, written by J.J Abrams and Henry Abrams, art by Sara Pichelli. This was a huge launch I want to say a year ago at this point, something like that. Justin:              Ages ago. Alex:                 Yeah, ages ago, because of course, J.J Abrams and his son behind it, unclear how it fit into Spider-Man mythology, but it was very much its own thing. And of course, circumstances worked against it with COVID and delayed things. Seems like maybe it would have been delayed a little bit anyway, but who knows? But how do you think this wrapped up? Justin:              Sad. Sadly. I mean, we talked about this I think back when the first issue came out that seeing Peter Parker be a distant parent and a jerk or an absent parent replicating the mistakes that he suffered from where his parents died obviously and then uncle Ben died, seemed very out of character to me. So that was a hard pill to swallow. And then to have the way this issue ends up, I was like, “Ah.” I appreciate the sacrifice Peter makes. And I liked the reveal that we get at the end here, but I was just such a … it just bummed me out the way it ended. Pete:                Yeah. It's really kind of crazy and over the top. And it's got a little kind of like aliens meets Spiderman kind of vibe to it. But I feel like the heart of Spider-Man is still in this story, which is nice. At the end of the day still trying to do what he can, trying to do the best that he can. Alex:                 Whatever a spider can. Pete:                Yeah. Bu it's very gross and it's kind of scary, but there's some heartwarming stuff in it. Alex:                 This was kind of a bummer for me. I think Sara Pichelli's art is always great. And there's some phenomenal action sequences in here. But this is quippy even for a Spiderman book, everybody is joking all the time even in the middle of dire circumstances to the point where everybody kind of sounds the same. It wrapped up very quickly. I don't know if it was a victim of pacing necessarily, it certainly felt like that could be part of it. But after an intriguing start, I felt like this fizzled a bit at the end for me, even if it is worth picking up for Pichelli's art, who is only as good on Spider-Man personally. Justin:              Yeah. Alex:                 I thought you were going to say more. American Vampire number 1976, a lot of issues on that one. American Vampire 1976, number three, DC Comics written by Scott Snyder, art by Raphael Albuquerque. I just continue the storyline where Skinner Sweet and his pals are robbing an old train, great train robbery, a little bit of a twist on that as they fight the edge of the world and some other dark things go on as some of other characters track down Dracula. Man I love how much they're blowing out the mythology of this book. And just as always, Scott Snyder loves his details in a very good way, and Raphael Albuquerque- Justin:              Guy loves details. Alex:                 Loves details. Raphael Albuquerque just draws the hell out of a book. Pete:                Yeah, the Querque just kills it. One of my favorite artists on a book called- Justin:              Never heard him call the Querque. Pete:                But yeah, this was my kind of favorite. Alex:                 Hey, who's your favorite Star Trek captain, Pete? Pete:                Kirk. Alex:                 James Kirky. Pete:                Yeah. Alex:                 Which favorite thing to eat on Thanksgiving, Pete? Pete:                Jerky. Justin:              Beef turkey. Pete:                Stuffing. No, but a really fun bit at the start. I really liked that. And then they had kind of … What I like about this is they're having fun, but there's also some crazy kind of ideas poke around here. I wrote this down, the world becomes a greenhouse and all the buried secrets will come poking up. I thought that was a very kind of cool line in there. I mean, the arts phenomenal, the action in this issue, this issue really moves. It's got a great kind of pace to it. Amazing last panel. Yeah, this is great issue. Justin:              I think this book is one of the most consistently successful comic books on the stand. Scott Snyder and the Querque know how to really just deliver the great action, great character moves, while at the same time pushing the story forward. The reveals at the end of the issue are super exciting. This book is just so good. Alex:                 Next step, Getting it Together number three, written from Image Comics, written by Sina Grace and Omar Spahi, art by Jenny D. Fine and Sina Grace. Continuing our story of a bunch of friends if you will in San Francisco, mixing it up romantically. We get some big band stuff goes down in London. Justin:              A lot of big band music, classic 1950s big band stuff. Alex:                 I like this story. I'm into these characters. I like how they relate to each other. I do think the band drama is really good at particular and well done. There's a lot of nuance there in terms of how the characters react to the fact that their band might be falling apart, that I thought was very nicely drawn in terms of the characters. How'd you guys feel? Pete:                Yeah, it's weird, but I agree with you, Alex. I really love the band stuff. Justin:              Huh, it is weird. Pete:                And I feel like that's really kind of- Alex:                 Look at us, quirky in the turkey. That's what they always call us. Pete:                I don't know about that, but I think the art does a great with the paneling and the pacing to kind of really give it this tone. And I think this is kind of cool. You see texting and when it's done not so well in comics, but this is kind of a fun way to kind of have these texts conversations. And they did a good job of trying to be creative about it, which I think is impressive. But overall, I think this story really continues to move forward in an interesting way that does a great job of getting the reader excited for more information. Justin:              Pete, I thought you're going to say, “You see texting,” and I honestly hate these textings. Why can't you just give a call or just say hello, I don't want to get a bunch of words from you. Alex:                 Send a letter through the mail. Justin:              That's the way we used to do it in my hometown, letters. Alex:                 Back in the civil war, which I fought in. Pete:                Oh my God. Alex:                 Anyway, good stuff. Next up … Oh, go ahead. Justin:              I really like this as well. It's funny we have so many band based comics today, they approach it in a very different way. I said this back when we had the team on our show. But to me, this has some Scott Pilgrim fives in a very good way. If you like Scott Pilgrim, this feels like a updated version of that, where we get to explore those same worlds in a fun and reverent and visually interesting way. I love the way the issue ends with the music performance and into the drug stuff, really great. Alex:                 All right. Origins number two from Boom! Studios, created by Arash Amel, Lee Krieger and Joseph Oxford, script by Clay McLeod Chapman, and art by Jakub Rebelka. This is continuing a weird future story of a virus that's mostly wiped everybody out seemingly there- Pete:                Oh, no. Alex:                 Yeah. Justin:              Yeah, it happens. Alex:                 There is a guy who, as we find out, spoiler, but right at the top of the issue, has been cloned, who has been resurrected, potentially a bunch of times we find out a lot more about his past here. I think our general impression of the first issue was gorgeous, but confusing. Do you feel like it's more straightforward an issue too? Justin:              I do. Pete:                Well, I think for parts of it, yeah. We get the main characters kind of deal, which is interesting. But then it gets kind of really tripped out with what the main character is going through. But man, the art is fantastic. It really feels like this other worldly, which is very impressive. There's also some sweet small moments. Yeah, it's a little like, I got a little confused by the end of what's happening, but man, the art and storytelling are fantastic. This does feel very original and cool as far as the story goes, so I'm into it. Justin:              I feel like of all the books we've talked about and maybe in a while, this feels very much tailor made to become a feature film. And maybe that's the intention of this book. Because I do think this issue lays out some of the factors and sort of the places where the characters are a little bit better, and we get sort of locked in on our trio who begin this journey. So yeah, I like this, I think the second issue really pushes it forward in a good way. Alex:                 Next up, King in Black: Namor, number one from Marvel written by, Kurt Busiek, art by Benjamin Dewey. Right off the bat, I will say, I thought this was a great Namor story, it's Namor dealing with some issues in the present while he's flashing back to his past. So we get fun, young, shirtless Namor, kind of like a little skinnier, a little smaller, deal with [crosstalk 00:30:27]. Justin:              Tiny. Alex:                 Yeah. Justin:              Shirtless. Alex:                 Yeah, he is, it's cute. [crosstalk 00:30:29]. Pete:                Don't make it weird. Alex:                 He's like a cute teen Namor. Justin:              Now as you were saying his nipples are a little smaller. Pete:                what the fuck man? Alex:                 They're very hard because he's under the water. Justin:              Yes, cold. Pete:                Oh my God, what? Justin:              It's cold down there. Alex:                 Nothing's going on, you know what I mean? Pete:                Oh my God. Justin:              It's like from that song from The Little Mermaid like, it's always colder and your nipples are harder under the sea. Pete:                What the fuck. Alex:                 You got those [inaudible 00:30:53], doubt where [inaudible 00:30:54], under the sea. Pete:                All right. Stop. Stop. Alex:                 It's a good Namor book. I don't understand how it could actually King in Black. And this is a problem, I mean, I do want to talk about this book in a second, but I love the King in Black number one. As we talked about in this very Stack, I liked the Venom issue. Pete:                Oh, in this very Stack? Alex:                 In this very Stack. The other issues they've released so far have been weird. I don't know what this has to do with King in Black yet, this issue, the [crosstalk 00:31:27] which we reviewed last week also was like, here's this new concept? There's a wet dragon in here somewhere, don't worry about it too much. And then I don't know if you guys read the Atlantis Attacks issue that Greg Pak wrote, which was real good, but ended with the most red skies of red skies possible things where they're like, I wonder what's next for us. In the background there were some dragons and that was it. And it's just like, don't label it as an event if it doesn't actually have anything to do with the event. Pete:                Yet, they could be leading up to it. I appreciate the fact that Marvel was like, “Hey, listen, we need you to tie it in.” And they were like, “You go fuck yourself, I'm telling the story I want to tell. We'll put a fucking banner on the top, so everybody will be happy.” I think this is a good issue, Namor is usually a complete douche bag. So it's nice to see younger, less douchey version a little bit. I think there's a lot of cool characters [crosstalk 00:32:25]. I'm not going to fucking answer that bullshit. Justin:              Honestly I'm a larger nippled Namor guy. From the beginning I appreciate sort of Namor. Alex:                 Well, how he's grown into his nipples, right? Justin:              I mean, it's a thing that as he gets older, it's part of his history, that his nipples- Pete:                You two are the fucking worst. Alex:                 I always like to call them, I'd like to call him Namor the [inaudible 00:32:48]. Justin:              That's the way they originally created the character. Pete:                Don't laugh at that. Justin:              He was the nazi man. He wasn't even under- Alex:                 Stan Lee watches the [inaudible 00:32:57] days like, “I want a character with rock on nipples.” Justin:              I mean, that's probably a 100% accurate. Alex:                 Probably. And Steve Ditko was like, “I don't know, I'll draw some fucking bigger rounds nipples, we'll see what happens.” Justin:              In the far future Namor is mostly nipple. I think I agree with you. It is weird that these stories exist under this banner, but I also think this is a good way to launch new titles, new character, directions, everything, so I'm here for it. And I do think, well, there was Nereus [inaudible 00:33:32] in this issue. They do one of the characters that King talks about how there's some black rocks hidden underwater somewhere that probably are like, “Oh, a bunch of symbionts or something.” Eventually we'll get there. Pete:                Yeah, there you go. Zalbs, what are you talking about? Alex:                 I know. And again- Justin:              And also apparently this will tie into King in Black number two, which will then spin back into the Namor number two book. Because Namor apparently has something to do, because here's the thing, symbionts, very gloopy underwater. It's a weakness. Alex:                 There's a point to this book where somebody offers somebody piece of food. They're like, you've got to try this, this is really crispy. And that didn't track for me, because there's not a lot of things that are very crispy underwater. Justin:              That's fair. That is a 100%. I will say if you were to eat a lobster whole, it would be crispy. Alex:                 That's true. Or some coral, crunched down some coral, that might be crispy. Justin:              Depends on how good your teeth are. Alex:                 Points retracted. This is a good book. Let's move on, The Vein number three from ODI press written by Eliot Rahal and illustrated by Emily Pearson. We checked it on the first issue of this book, which is kind of turning into its own sort of American vampire story following a group of the empire criminals throughout history, throughout important moments in American history or world history I guess actually. Here we get them through several decades as they try to get blood, as they try to hide out. I think we're big fans of the first issue. Do you think this concept is still holding up three issues in? Justin:              I like this book. I do think this is like an American vampire that's coming at it from a totally different way. It's much more focused on the passing of time, the passage of time for vampires, which I think is fun. I like these characters. I like the action here. It's very funny that the back half of the issue focuses on the most gabagool, goofy ass gangster character. He's like, “Hey, I'm Johnny Boneno.” [inaudible 00:35:40]. That part was crazy. And then he's just like, “Yeah, I'm going to be a fun guy, okay, [Don Gambilino 00:35:47], I sell blood to vampires and I didn't mention that before. Pete:                No one killed old bananas yet. Justin:              No, just call me bananas, classic gangster name. Pete:                Johnny bananas. Alex:                 Good stuff. What'd you think about this issue, Pete? Pete:                I mean, it's interesting. It's great artwork. The subway stuff really made me miss New York. Because when you're living in New York, you can just wrap a body and a carpet and walk down the subway tunnels, no one will say shit to you. Alex:                 Yeah. Philly they're like, “Hey, what's that, a she steak? Give me a bite.” Pete:                They're like, “Guys, give me, you're going to eat that whole hoagie yourself?” But- Justin:              But in Philly- Alex:                 And they're halfway through and they're like, “Yo, is that a body? You got a body here?” Justin:              You seem to be painting New York as some sort of like Thunderdome. When in Philadelphia you can murder anyone at a sporting event and everyone be like, “Yep. It's the purge basically because our sports teams are playing.” Pete:                Hey, take it easy, all right, with that, like you're fucking all saints over there. All Right? Justin:              Okay. What are you, Mr. Philly now? You've lived there for four months, not even. Pete:                That's true. Justin:              We've got the Philadelphia Philly over here. Alex:                 [crosstalk 00:37:01] with Gritty, what's going on with that? Are you friends with Gritty? Pete:                Gritty, yeah. Our next door neighbor made his own Gritty costume, It's a lot of fun. Alex:                 No further questions. Pete:                Great. Justin:              Well, everyone in Philadelphia has to have a Gritty costume, right. They come by and check. Alex:                 Last but not least, Red Sonja: The Price of Blood number one from Dynamite written by Luke Lieberman and art by Walter Giovanni. This started off with Red Sonja captured in a dungeon. She flashes back, tells the story of how she got there. Typical, crazy Red Sonja adventures, getting drunk, killing people, you know how it is. But how do you think this held up, was this a new fresh take on Red Sonja? Is this a story you want to read more of? What are your thoughts? Justin:              It's interesting. I haven't read a ton of Red Sonja, and I didn't know she was this sort of partying fun, loving. I thought she was sort of grim. When she cuts, she goes to the literal fire festival. I don't know if that was meant to be the same one that we've seen so many documentaries about, but definitely had that vibe. So yeah, it's hard to pin down exactly what the character is from this issue anyway. Pete:                Yeah. I mean, this is more of Red Sonja who likes to murder and party. But I think this is, I am excited for more in this story just because I like her the way she fights and just straight up attacks anyone who kind of tries to wrong her. I think that's one of my favorite things about Red Sonja. And I'm glad that like, yes, there was kind of crazy shit happening in the party, but they didn't focus too hard on that, it was in the background, which is good. I want Red Sonja to be more about action and story and less about like TNA. I think that this comic does a good job with that. Alex:                 I liked Walter Giovanni's art in particular in this book, there's a part in the middle where Sonja kicks a guy out a window that I thought was really active and nicely staged just in terms of the angles of everything. It was very cool. And just across the board, the action and the characters are very clear, which is good. The settings are very clear. I know that sounds like faint praise, but I thought this was a solid first issue of a Red Sonja book, if not necessarily a radical reinvention, say like the Vampirella book that we talked about earlier. Justin:              Yes, good comparison. Alex:                 Thank you very much. And that is it for The Stack. If you'd like to support our show, patreon.com/comicbookclub, also do a live show every Tuesday nights at 7:00 PM, Crowdcast and YouTube, come hang out. We would love to chat with you about comic books. ITunes, Android, Spotify, Stitcher, or the app of your choice to subscribe and listen to the show at Comic Book Live on Twitter, comicbookclublive.com for this podcast and more. We've been Comic Book Club, this is The Stack. We'll see you next time. Justin:              Yeah, that's the facts. The post The Stack: Home Sick Pilots, Venom And More appeared first on Comic Book Club. Support the show: https://www.patreon.com/comicbookclub See omnystudio.com/listener for privacy information.

durée : 00:58:44 - Les Cours du Collège de France - par : Merryl Moneghetti - Comment monter un escalier dans une page de BD, des auteurs américains à Hergé? s'interroge Benoît Peeters. Comment Winsor McCay, le créateur de "Little Nemo" s'est-il servi du principe de métamorphoses pour développer l'art de la bande dessinée? Quels sont les nouveaux horizons de son écriture? - réalisation : Laure-Hélène Planchet - invités : Benoît Peeters Ecrivain, spécialiste de BD, scénariste, éditeur et professeur à l’Université de Lancaster

Johnny Appleseed was born on this day in 1774. / Pioneering cartoonist and animator was born on this day sometime in the mid-1800s, though the exact year is unknown. Learn more about your ad-choices at https://news.iheart.com/podcast-advertisers

Panel by Panel goes back in time further than it ever has before - to 1910 and a panel from Winsor McCay's seminal Little Nemo in Slumberland strip! - and though it's a random affair, who better than the learned Martin Gray to help us discover this image from the pre-Golden Age? Dreams, surrealism, and the dawn of new art forms... check it out. A clean look at the image in the Panel by Panel Supplemental. This podcast is a proud member of the FIRE AND WATER PODCAST NETWORK Visit our WEBSITE: http://fireandwaterpodcast.com/ Follow us on TWITTER - https://twitter.com/FWPodcasts Like our FACEBOOK page - https://www.facebook.com/FWPodcastNetwork Use our HASHTAG online: #FWPodcasts Support us on Patreon: https://www.patreon.com/fwpodcasts Subscribe via iTunes as part of the FIRE AND WATER PODCAST: http://itunes.apple.com/podcast/the-fire-and-water-podcast/id463855630 Leave us a comment, we'll read it between the panels!

Panel by Panel goes back in time further than it ever has before - to 1910 and a panel from Winsor McCay's seminal Little Nemo in Slumberland strip! - and though it's a random affair, who better than the learned Martin Gray to help us discover this image from the pre-Golden Age? Dreams, surrealism, and the dawn of new art forms... check it out. A clean look at the image in the Panel by Panel Supplemental. This podcast is a proud member of the FIRE AND WATER PODCAST NETWORK Visit our WEBSITE: http://fireandwaterpodcast.com/ Follow us on TWITTER - https://twitter.com/FWPodcasts Like our FACEBOOK page - https://www.facebook.com/FWPodcastNetwork Use our HASHTAG online: #FWPodcasts Support us on Patreon: https://www.patreon.com/fwpodcasts Subscribe via iTunes as part of the FIRE AND WATER PODCAST: http://itunes.apple.com/podcast/the-fire-and-water-podcast/id463855630 Leave us a comment, we'll read it between the panels!

Here’s to another week and another episode How Do You Like it So Far? Fans! We have got a very special guest for you this week - Scott McCloud, the author of Understanding Comics, Making Comics, and Reinventing Comics. He met Henry at MIT ages ago and they have been friends ever since! Join Colin and Henry as they discuss comic book fundamentals with McCloud such as “what are comics?” and the difference between graphic novels and comic books. They also dive deep into the history of comics with McCloud (did you know that comics are hundreds of years old?!), the difference and confluence of American, Japanese and European comic styles, how the digital revolution is changing the comic book landscape. McCloud reveals how the American comic scene had roots in vaudeville. Artists such as Winsor McCay would incorporate a theatrical element and draw comic panels on stage where each panel was like a “theater box.” Listen in as McCloud explains how comics take advantage of the composition of memory and how contemporary comics are experimenting with diverse styles and increasingly welcome to women and artists of color. McCloud also predicts that soon female readership will reach critical point! Also, looking for comic book recommendations? Take a look in our show notes for some of the comics and cartoonists mentioned in this episode!

Hoy nos visita Francisco Curihuinca. En este episodio desmenuzamos una de las obras fundacionales del Cómic y su lenguaje Little Nemo. Esta obra de Winsor McCay, desarrolla algunos de los elementos del lenguaje comiquero mas trascendentes y perdurables que existen. Esperamos que este capítulo les sea interesante. Recuerda que también pueden escuchar nuestro #Podcast de #DevorandoComics en: -Ivoox: https://cl.ivoox.com/es/podcast-devorando-comics_sq_f1586450_1.html -spotify: https://open.spotify.com/show/6dYRuOsPRRM5QM3hjbvuSx?si=psrhTDwLRj-HZ7lwcxP8UQ No olviden visitar #DevorandoComics en: -Web oficial: www.devorandocomics.cl -Twitter: https://twitter.com/dibujosshinzen -Instagram: https://www.instagram.com/devorandocomics.cl/ -Facebook: https://www.facebook.com/Devorandocomicscl-734381686931505/ -twitch: https://www.twitch.tv/devorandocomics/videos La música de fondo corresponde a: Happy Life - Americana Volume One by Ryan Andersen is licensed under a Attribution-NonCommercial License. Permissions beyond the scope of this license may be available at www.music-for-sync.com or contact artist via email. https://freemusicarchive.org/music/Ryan_Andersen/Happy_Life_-_Americana_Volume_One/

Histories and criticism of comics note that comic strips published in the Progressive Era were dynamic spaces in which anxieties about race, ethnicity, class, and gender were expressed, perpetuated, and alleviated. The proliferation of comic strip children—white and nonwhite, middle-class and lower class, male and female—suggests that childhood was a subject that fascinated and preoccupied Americans at the turn of the century. Many of these strips, including R.F. Outcault’s Hogan’s Alley and Buster Brown, Rudolph Dirks’s The Katzenjammer Kids, and Winsor McCay’s Little Nemo in Slumberland were headlined by child characters. Yet no major study has explored the significance of these verbal-visual representations of childhood. Nominated for the Eisner Award and winner of the Charles Hatfield Book Prize as well as the Ray & Pat Browne Award, Lara Saguisag's new book, Incorrigibles and Innocents: Constructing Childhood and Citizenship in Progressive Era Comics(Rutgers University Press, 2018), addresses this gap in scholarship, examining the ways childhood was depicted and theorized in late nineteenth- and early twentieth-century comic strips. Drawing from and building on histories and theories of childhood, comics, and Progressive Era conceptualizations of citizenship and nationhood, Saguisag, Associate Professor of English at the College of Staten Island—City University of New York, demonstrates that child characters in comic strips expressed and complicated contemporary notions of who had a right to claim membership in a modernizing, expanding nation. Ryan Tripp is part-time and full-time adjunct history faculty for Los Medanos Community College as well as the College of Online and Continuing Education at Southern New Hampshire University. Learn more about your ad choices. Visit megaphone.fm/adchoices

Histories and criticism of comics note that comic strips published in the Progressive Era were dynamic spaces in which anxieties about race, ethnicity, class, and gender were expressed, perpetuated, and alleviated. The proliferation of comic strip children—white and nonwhite, middle-class and lower class, male and female—suggests that childhood was a subject that fascinated and preoccupied Americans at the turn of the century. Many of these strips, including R.F. Outcault’s Hogan’s Alley and Buster Brown, Rudolph Dirks’s The Katzenjammer Kids, and Winsor McCay’s Little Nemo in Slumberland were headlined by child characters. Yet no major study has explored the significance of these verbal-visual representations of childhood. Nominated for the Eisner Award and winner of the Charles Hatfield Book Prize as well as the Ray & Pat Browne Award, Lara Saguisag's new book, Incorrigibles and Innocents: Constructing Childhood and Citizenship in Progressive Era Comics(Rutgers University Press, 2018), addresses this gap in scholarship, examining the ways childhood was depicted and theorized in late nineteenth- and early twentieth-century comic strips. Drawing from and building on histories and theories of childhood, comics, and Progressive Era conceptualizations of citizenship and nationhood, Saguisag, Associate Professor of English at the College of Staten Island—City University of New York, demonstrates that child characters in comic strips expressed and complicated contemporary notions of who had a right to claim membership in a modernizing, expanding nation. Ryan Tripp is part-time and full-time adjunct history faculty for Los Medanos Community College as well as the College of Online and Continuing Education at Southern New Hampshire University. Learn more about your ad choices. Visit megaphone.fm/adchoices

Histories and criticism of comics note that comic strips published in the Progressive Era were dynamic spaces in which anxieties about race, ethnicity, class, and gender were expressed, perpetuated, and alleviated. The proliferation of comic strip children—white and nonwhite, middle-class and lower class, male and female—suggests that childhood was a subject that fascinated and preoccupied Americans at the turn of the century. Many of these strips, including R.F. Outcault’s Hogan’s Alley and Buster Brown, Rudolph Dirks’s The Katzenjammer Kids, and Winsor McCay’s Little Nemo in Slumberland were headlined by child characters. Yet no major study has explored the significance of these verbal-visual representations of childhood. Nominated for the Eisner Award and winner of the Charles Hatfield Book Prize as well as the Ray & Pat Browne Award, Lara Saguisag's new book, Incorrigibles and Innocents: Constructing Childhood and Citizenship in Progressive Era Comics(Rutgers University Press, 2018), addresses this gap in scholarship, examining the ways childhood was depicted and theorized in late nineteenth- and early twentieth-century comic strips. Drawing from and building on histories and theories of childhood, comics, and Progressive Era conceptualizations of citizenship and nationhood, Saguisag, Associate Professor of English at the College of Staten Island—City University of New York, demonstrates that child characters in comic strips expressed and complicated contemporary notions of who had a right to claim membership in a modernizing, expanding nation. Ryan Tripp is part-time and full-time adjunct history faculty for Los Medanos Community College as well as the College of Online and Continuing Education at Southern New Hampshire University. Learn more about your ad choices. Visit megaphone.fm/adchoices

Histories and criticism of comics note that comic strips published in the Progressive Era were dynamic spaces in which anxieties about race, ethnicity, class, and gender were expressed, perpetuated, and alleviated. The proliferation of comic strip children—white and nonwhite, middle-class and lower class, male and female—suggests that childhood was a subject that fascinated and preoccupied Americans at the turn of the century. Many of these strips, including R.F. Outcault’s Hogan’s Alley and Buster Brown, Rudolph Dirks’s The Katzenjammer Kids, and Winsor McCay’s Little Nemo in Slumberland were headlined by child characters. Yet no major study has explored the significance of these verbal-visual representations of childhood. Nominated for the Eisner Award and winner of the Charles Hatfield Book Prize as well as the Ray & Pat Browne Award, Lara Saguisag's new book, Incorrigibles and Innocents: Constructing Childhood and Citizenship in Progressive Era Comics(Rutgers University Press, 2018), addresses this gap in scholarship, examining the ways childhood was depicted and theorized in late nineteenth- and early twentieth-century comic strips. Drawing from and building on histories and theories of childhood, comics, and Progressive Era conceptualizations of citizenship and nationhood, Saguisag, Associate Professor of English at the College of Staten Island—City University of New York, demonstrates that child characters in comic strips expressed and complicated contemporary notions of who had a right to claim membership in a modernizing, expanding nation. Ryan Tripp is part-time and full-time adjunct history faculty for Los Medanos Community College as well as the College of Online and Continuing Education at Southern New Hampshire University. Learn more about your ad choices. Visit megaphone.fm/adchoices

Histories and criticism of comics note that comic strips published in the Progressive Era were dynamic spaces in which anxieties about race, ethnicity, class, and gender were expressed, perpetuated, and alleviated. The proliferation of comic strip children—white and nonwhite, middle-class and lower class, male and female—suggests that childhood was a subject that fascinated and preoccupied Americans at the turn of the century. Many of these strips, including R.F. Outcault’s Hogan’s Alley and Buster Brown, Rudolph Dirks’s The Katzenjammer Kids, and Winsor McCay’s Little Nemo in Slumberland were headlined by child characters. Yet no major study has explored the significance of these verbal-visual representations of childhood. Nominated for the Eisner Award and winner of the Charles Hatfield Book Prize as well as the Ray & Pat Browne Award, Lara Saguisag's new book, Incorrigibles and Innocents: Constructing Childhood and Citizenship in Progressive Era Comics(Rutgers University Press, 2018), addresses this gap in scholarship, examining the ways childhood was depicted and theorized in late nineteenth- and early twentieth-century comic strips. Drawing from and building on histories and theories of childhood, comics, and Progressive Era conceptualizations of citizenship and nationhood, Saguisag, Associate Professor of English at the College of Staten Island—City University of New York, demonstrates that child characters in comic strips expressed and complicated contemporary notions of who had a right to claim membership in a modernizing, expanding nation. Ryan Tripp is part-time and full-time adjunct history faculty for Los Medanos Community College as well as the College of Online and Continuing Education at Southern New Hampshire University. Learn more about your ad choices. Visit megaphone.fm/adchoices

Pioneering cartoonist and animator was born on this day sometime in the mid-1800s, though the exact year is unknown. If you want to learn more about McCay, listen to the two-part episode of Stuff You Missed in History Class on him here: https://www.missedinhistory.com/tags/winsor-mccay.htm Learn more about your ad-choices at https://news.iheart.com/podcast-advertisers

Jonathan Abarbanel, our first theatre critic guest, comes with great perspective not just as a theatre historian and scholar but also as an artist. He's been an actor, dramaturg, playwright, and producer, so he knows what it means and takes to bring work to the stage. He's the immediate past president of the American Theatre Critics Association. He's reviewed Chicago theatre for 50 years and continues as a great critic for the Windy City Times and Footlights magazine. He and Kerry Reid are the "Dueling Critics" on The Arts Section on WDCB public radio. This marvelous and nuanced conversation about Isaac Gomez's play, La Ruta, is a great example of their collaboration and a chance to hear some longer form criticism from two real pros. Frank tells us about his trip to the Dalmation Coast, including a visit to the "Museum of Broken Relationships" in Zagreb. Sounds like a must-see. Jonathan was an early member of the off-loop theatre movement and was part of exciting and important developments like working with Del Close on the Harold. He briefly worked as a copywriter and producer in advertising an came up with an iconic slogan "America spells cheese, K-R-A-F-T"! Another claim to fame was his appearance on the Antique Road Show with original artist boards of Winsor McCay's comic strip, "Little Nemo in Slumberland." Winsor invented animated cartoons with a character called "Gertie the Dinosaur". Jonathan was working summer stock and came across the boards in a barn. He offered to buy them from the property's owner who said just to take whatever he wanted...They were worth a lot of money when he went on the Road Show and are worth even more now. Picture here is one of the Little Nemo strips he owns, as it appeared in print in full color. Jonathan describes it as "a zoo on Mars and a Martian is showing Nemo and his gang around." We asked Jonathan about his philosophy of criticism and he responded that he does not believe in attack criticism. And since his review space in the Windy City Times is usually only about 450 words, he doesn't have space to show off his "style." He'd rather spend 10 words writing about a costume or sound design than trying to show off his wit. He is very direct. To Jonathan, every single word sounds. Especially when writing about new work. About 50% of the shows produced in Chicago are new work. He will generally approach the script first, rather than the production elements or acting. The question is, "Does it work?" He talks about how consistently excellent most of the performances in Chicago theatre are right now. Speaking of which, Gary, Frank, and Jonathan agree that the performances in Steppenwolf's production of the new play by Tina Landau and Tarell Alvin McCraney, Ms. Blakk for President, were just terrific! Jonathan quotes the famous New Yorker critic, John Lahr's book title, Astonish Me, Adventures in Contemporary Theatre about what he's looking for when he walks into a theater. "Make me walk out full of the wonder of your production." He looks for that show that "just hits him in the guts." Sometimes he just "puts his pen down and lets it happen to him."    

Un episodio especial en español dedicado al comic "Little Nemo in Slumberland" del dibujante de historietas Windsor McCay. ¡Clic para leer!

Voice Director Andrea Romano visits the show after recently receiving a Winsor McCay lifetime achievement award at the 46th Annual Annie Awards. Andrea and Phil geek out over Batman - The Animated Series! ☁ On Twitch: http://twitch.tv/philmachi ☁ On Patreon: http://www.patreon.com/philmachi ☁ Subscribe: https://tinyurl.com/yxcdq4tt ☁ Animated News via Facebook: http://www.facebook.com/StayToonedShow ☁ Phil's comics: http://www.retailsunshine.com/StayTooned Thank you for all your support and please spread this show around! All images seen and music heard are TM and copyright of their respective owners. Phil Machi & Livestock Productions do not claim ownership to any of these properties. Stay 'Tooned! and its logo are TM and copyright Phil Machi & Livestock Productions. All rights reserved. Share on social media using: #StayToonedShow --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/philmachi/message Support this podcast: https://anchor.fm/philmachi/support

Compre livros com desconto aqui https://amzn.to/2BHsh7d Fiz uma resenha sobre essa HQ bem curiosa publicada pela Todavia que viaja pelos bastidores do início da animação. Aliás, inspirado na HQ, gravei um vídeo sobre Winsor McCay que você pode assistir aqui Compre o livro aqui https://amzn.to/2WQa1T4 https://youtu.be/qvepnTnj4Zc (adsbygoogle = window.adsbygoogle || []).push({});

Compre livros com desconto aqui https://amzn.to/2BHsh7d Compre livros do Winsor McCay Ao ler Boulevar dos Sonhos partidos (compre aqui https://amzn.to/2WQa1T4 leia a resenha aqui), um personagem me chamou muito a atenção, um pioneiro da animação que na HQ é chamado de Winsor Newton (uma marca famosa de materiais artísticos, aliás). Como esse Winsor é uma referência direta a Winsor McCay, um artista brilhante, achei justo fazer um vídeo sobre ele para a minha série sobre artistas que valem a pena serem estudados. Abaixo seguem minhas anotações dos pontos chaves sobre esse artista, mas para a análise completa você precisa ver o vídeo ou ouvir o áudio desse post. Zenas Winsor McCay (c. 1866–71 – July 26, 1934) (EUA/Canadá) - pseudônimo Silas "Eu simplesmente não conseguia parar de desenhar tudo e qualquer coisa" Desenho detalhado e habilidade de desenhar de memória desde cedo. O pai o mandou para um curso de administração, mas ele faltava sempre, pegava o trem para outra cidade onde ganhava dinheiro fazendo retratos em um dime museum, um museu de atrações populares. Teve aulas de desenho e perspectiva geométrica com  John Goodison, um artista e geógrafo que o incentivou a trabalhar com cores. Trabalho com publicidade, cartazes, pintura, retratos até começar a trabalhar para jornais. Em 1903 começou a desenhar uma tira George Randolph Chester chamada A Tale of the Jungle Imps by Felix Fiddle. Primeira tira popular Little Sammy Sneeze. Depois Dream of the Rarebit Fiend que foi a base para a tira mais famosa Little Nemo (1905 a 1911) - continuidade, uso diferenciado de painéis, estilo art nouveu (Mucha). Um dos pioneiros da animação, algo que derivou da sua obsessão por desenhar e de uma suposta aposta com George McManus que disse que ele não conseguiria fazer desenhos o suficiente. Fez animações impressionantes do seus personagens, inclusive do Little Nemo. Em um dos filmes há uma imagem dele em uma sala repleta de papel e toneis de tinta. Se apresentava em teatros vaudeville (teatros de variedades). Fazia uma mistura de desenho ao vivo com uma interação com as suas animações. A mais famosa é Gertie, o dinossauro. Animações com cenários detalhados desenhados um a um. https://youtu.be/ob_qLTNZQN8 (adsbygoogle = window.adsbygoogle || []).push({});

Sie sind gezeichnet, nachgezeichnet, gemalt, geknetet, geknipst, gecaptured, gerendert oder mitunter auch mehreres auf einmal. Sie sind ungefähr so alt wie die Menschheit selbst. Und fast genauso vielfältig gewachsen. Was als Höhlenmalerei und Hieroglyphen begann, ging zum Comic oder Daumenkino über und entwickelte sich schließlich zu „Gertie“. Ein handgezeichneter Dinosaurier, der sich bewegen konnte. Entwickelt von Winsor McCay im Jahre 1914. Damit war „Gertie“ einer der ersten richtigen Zeichentrickfilme aller Zeiten. Schon bald darauf folgte die nächste Stufe: sie hieß Walt Disney. Der brauchte ein paar Anläufe. Sie hießen Alice oder Oswald. Dann erschuf er Micky Mouse – und damit ein ganzes Imperium. Es brachte Schneewittchen, Pinocchio und Dumbo auf die Leinwand. Oder Robin Hood, Susi & Strolch, Das Dschungelbuch und natürlich den König der Löwen. Aber es war nicht alleinherrschend. Deutschland, Frankreich, Japan: Überall wurde animiert. Per Scherenschnitt, Stop-Motion oder eben Zeichenkunst. Die Welt lernte Asterix und den Däumling kennen. Akira, Die Biene Maja, Der Phantastische Planet, Tim & Struppi. Dazu Fritz the Cat, die Animal Farm, die Konferenz der Tiere oder Cyborg 009. Das Genre wuchs und wuchs. Und erreichte im Jahr 1995 eine weitere Stufe: die Computeranimation. Mit der „Toy Story“ vom Studio Pixar wurde der Weg geebnet für neue Ideen, Bilder, Techniken und Erfolgsserien. Seitdem ist so viel passiert. Und so viel entstanden. Müllroboter, Clownfische oder Gourmet-Ratten. Drachenreiter, Minions, Märchen-Shreks. Knet-Abenteuer wie Wallace & Gromit. Stop-Motion-Wunderwerke wie Coraline oder Kubo. Japanische Juwelen wie Prinzessin Mononoke oder Your Name. Und so viel mehr. All das hat uns geprägt, begeistert, sogar verstört und verzaubert. Es wird also höchste, dem Animationskino ein Spezial zu widmen.

Um rabisco sobre a vida e obra de Winsor McCay

vedi libro: https://www.libri.it/piccolo-vampiro-2 Piccolo Vampiro e i suoi amici tornano con quattro nuove, rocambolesche avventure da leggere tutte d’un fiato, raccontate con il tratto leggero e giocoso di Joann Sfar e i deliziosi colori di Walter. In Piccolo Vampiro e la casa che sembrava normale il nostro eroe si imbatte in una dimora dall’aspetto misterioso: dal caminetto esce fumo e sembra abitata, ma è piena di ragnatele, come se fosse abbandonata. Incuriosito, si intrufola nella casa, dove incontra un nuovo, buffissimo amico. I due si accorgono che l’uomo e la donna seduti nel salotto non sono altro che marionette, decidono di indagare su chi le controlli e trovano una specie di sala comandi. Qui, tirando una leva, finiscono in un limbo all’intersezione tra i mondi, dove scoprono un losco traffico d’armi… e come tutti quelli che sanno troppe cose, vengono fatti prigionieri! Per fortuna Piccolo Vampiro può trasformarsi in topolino e sgattaiolare via in cerca di aiuto… In Piccolo Vampiro e la zuppa di cacca, il vampirello e i suoi amici dovranno vedersela con le bizzarre abitudini culinarie di Margherita: il tontolone ha preparato una zuppa di cacca per il compleanno di Michele, che però non sembra apprezzare… Margherita ci rimane malissimo, e il bambino si sente così in colpa che per consolare l’amico è disposto perfino ad assaggiarla! Intanto arriva l’ora del bagno per Piccolo Vampiro, e Margherita insiste per entrare nella vasca insieme a lui. Scopriremo così che i suoi peti sono talmente puzzolenti da risvegliare i morti… che infatti escono dalle loro tombe e accorrono in processione al castello infestato reclamando una tazza di tè! L’unico modo per placarli sarà assecondarli… ma presto, prima che la Signora Pandora torni e vada su tutte le furie! In Piccolo Vampiro e i Babbi Natale verdi, una delle più celebri leggende natalizie si tinge di mistero e di una punta di terrore. Al castello infestato lo spirito natalizio è già nell’aria, e tutti aspettano con ansia l’arrivo di Babbo Natale… Ma Michele protesta: quella di Babbo Natale è solo una favola! …O forse no? L’unico modo per conoscere la verità sarà rimanere svegli la notte della vigilia, ma questa curiosità potrà rivelarsi molto pericolosa! In questo episodio Piccolo Vampiro, Michele e Pomodoro scoprono un antichissimo popolo di giganti grandi come montagne e uno stuolo di vecchietti verdi che costruiscono compulsivamente doni. Mentre il Capitano dei morti e il nonno di Michele seguono la falsa pista del Babbo Natale lappone a cui tutti scrivono le lettere, i bambini trovano il vero Babbo Natale ed entrano fin dentro al suo cuore, per scoprire che la sua leggenda è tenuta in vita al caro prezzo di un sacrificio umano… Con Piccolo Vampiro e il sogno di Tokyo, Joann Sfar rende omaggio a Little Nemo di Winsor McCay per celebrare i cento anni del piccolo grande sognatore del mondo dei fumetti. Ispirato dalla lettura dei manga che gli ha prestato Michele, Piccolo Vampiro sogna di fare un viaggio a Tokyo… Così atterra in un mondo fantastico, fatto di personaggi variopinti ed estremamente educati e combattimenti quotidiani tra mostri ed eroi mascherati. Ma dietro questa patina sfavillante e caramellosa, il vampirello scopre ben presto una società totalitaria, fatta di lavori alienanti, controlli asfissianti e rigide convenzioni sociali… e come se non bastasse, una cricca di ragazzine alla moda ha messo le grinfie su Pomodoro e non vuole restituirlo al legittimo padroncino! La situazione sembra disperata, ma il provvidenziale incontro con un corvo-clochard permette ai nostri eroi di scappare da questo incubo. Con queste quattro nuove storie, il fumettista nizzardo torna a divertire adulti e bambini toccando temi anche profondi, come la guerra, l’alienazione e il totalitarismo, ma senza mai rinunciare alla delicatezza, all’ironia e a quell’irresistibile punta di irriverenza che lo caratterizzano. Mirta Cimmino

Hello and welcome to the second episode of Fanboy Nation’s Toon-In-Talk, your rendezvous for animation interviews. This episode features the animation jack-of-all-trades Scott Christian Sava, who is currently writing and directing the brand new animated feature film Animal Crackers. Scott is known for his animated work for such studios as Cartoon Network, Disney, Nickelodeon, Paramount, Universal, Lucas Film, and more. He’s also written the excellent webcomic The Dreamland Chronicles. In episode two, Whitney and Scott talk about his career Show Notes Whitney gets some housekeeping out of the way: check out the new Toon-In Talk Website and feel free to contact her about suggesting or being a guest on the show. Naybeth Díaz designed the extra cool Toon-In Talk logo and cover art. Whitney shares some details on her new book about Lotte Reiniger and the first animated movie ever created. Scott is storyteller. He writes the thrilling webcomic The Dreamland Chronicles and recently he started production on a full length animated movie called Animal Crackers. Another of his books The Luckiest Boy was put into production buy another studio. In 1990, became an intern at Sega and tried his hand at being an animator. He worked animation jobs during the day and worked on comic books at night. He never had any groundbreaking training in animation, just tried his hand at many things. Scott was doing A LOT work for Haim Saban Entertainment’s Power Rangers. Because he received so much work, Scott decided to form Blue Dream Studio to keep up with the input. Blue Dream kept growing and it has done work for Spider-Man, X-Files, Alien vs. Predator, and more. Blue Dream speciality is character animation. They’ve fleshed out TV pilots for Cartoon Network and Nickelodeon as well as animation for videogames. The Dreamland Chronicles is inspired by Winsor McCay’s Little Nemo in Slumberland. Scott draws his inspiration from other people’s work and says his own creations are amalgamation of them. Before he started Animal Crackers, Scott didn’t think he could write a script. Through encouragement, he wrote a script and some animation contacts helped him get production started. During the process, he learned that he had to become to producer to get the movie made. Tony Bancroft will be co-directing the movie with Scott. Tony was a Disney animator who worked at the Mouse House during the Disney Renaissance. Dean Lorey will be the writer and he’s worked on Arrested Development, My Wife and Kids, and Major Pain. To find a character designer, Scott did an IMDB search of movies he like. He signed Carter Goodrich for the character designer and he’s worked on Finding Nemo, Monsters Inc., and The Croods. To create the Animal Crackers short, Scott put on his producer hat and persuaded his animation friends to make it. The movie is about a guy named Owen who inherits a circus and a box of animal crackers from his uncle. He learns that the animal crackers are magical and transform the eater into whatever animal the shape of the cookie is. Whitney and Scott talk about magical animal cookie logistics. Scott is also the art director for his film and might even do a voice. It’s a small budget film, so he’ll be doing a lot of jobs on the movie. Scott explains what a bondsman is and Whitney wonders if he’s taking lessons from The Thief and the Cobbler. Whitney is curious about who will be providing music for the movie and Scott wants to see if he can do a rock n’ roll cover of Shirley Temple’s “Animal Crackers.” Scott’s sons and his extended family want parts in the film. The movie is projected to come out in fall 2016. Whitney tries to guess who the film’s distributor is.

Acesse nosso SITE: goo.gl/hDQkSw e FACEBOOK: goo.gl/3mGhfd Compre DESAPLANAR na Amazon: https://amzn.to/2PueyHf Resenha de DESAPLANAR: https://goo.gl/omzE95 Resenha de ALMOÇO NU: https://goo.gl/Gi462Y Vídeo sobre MISTÉRIOS E PAIXÕES: https://goo.gl/paJmSS Vídeo sobre WINSOR MCCAY: https://goo.gl/6tv8L2 Vídeo sobre LIVROS TEÓRICOS DE HQ: https://goo.gl/4xDgtD TED Talks com SCOTT MCCLOUD: https://goo.gl/tcrRWi Desaplanar (Unflattening) é uma obra singular nos Quadrinhos e... espere! Será que podemos chamar esse trabalho de HQ, simplesmente? Essa é uma questão complicada. Como já falamos dela anteriormente, na resenha que você acessa no link deste parágrafo, segue abaixo um trecho do texto que dá alguma ideia sobre o trabalho: Trata-se de uma tese de doutorado, apresentada na Universidade Columbia em 2014, elaborada em formato de Histórias em Quadrinhos. O pioneirismo foi recompensado. No ano seguinte, a editora da Universidade Harvard publicou o trabalho, rendendo vários prêmios e elogios rasgados de acadêmicos e da imprensa especializada. Se existe um objetivo primordial em Desaplanar, é o questionamento de um senso comum sobre a primazia do texto na assimilação do conhecimento, puxando um rosário de tópicos que captura entusiastas das HQ’s, colegas do autor na área da educação ou, simplesmente, pessoas interessadas em qualquer tipo de arte. Apenas um requisito é básico nessa viagem: a vontade de alargar os horizontes da percepção e do entendimento. Pois bem, isso ajuda a entender, mas não é o bastante. Confira nosso bate papo animado sobre essa peça única. A conversa passou sobre Almoço Nu, de Burroughs, e sua adaptação, Mistérios e Paixões, além de Winsor McCay e livros teóricos sobre HQ. Também não poderíamos esquecer de Scott MCloud,uma das influências de Nick Sousanis. Todos os links desses assuntos, que abordamos em ocasiões anteriores, estão no começo desta descrição. Esperamos conseguir estimular a curiosidade de quem não conhecia, assim como propor novas interpretações a quem já a leu. Será que atingimos esse objetivo? Ficou bom? Foi muito curto ou muito longo? Conte para nós comentando nesta postagem ou mandando um email para podcast@formigaeletrica.com.br. Queremos ouvir sua opinião, então sinta-se à vontade. FormigaCast volta daqui a quinze dias, com mais um assunto legal. Até lá!

The story of how Winsor McCay helped create the field of American animation.

Even as his career in comics was at its zenith, Winsor McCay continued to explore other business ventures for his art. He added vaudeville performances to his busy schedule, and then became an animation pioneer.  Learn more about your ad-choices at https://news.iheart.com/podcast-advertisers

McCay is credited as a pioneer in early animation. But before he made drawings come to life, he worked as a billboard artist, an artist-journalist, and then a comics creator for newspapers.  Learn more about your ad-choices at https://news.iheart.com/podcast-advertisers

Everyone loves cartoons! So we’re taking an unusual look at two big moments in cartoon history – when a vaudeville performer and comic-strip writer made animation history on a cold Chicago night, and also the time a cheeky political cartoonist brought down one of the most crooked politicians in history. Gertie the Dinosaur and Winsor McCay read by Amber Estes-Thieneman Thomas Nast and Boss Tweed read by Jason Lawrence On the Sunny Side of the Street performed by Mick Sullivan The Past and the Curious is a history podcast for kids, families and adults created by a professional museum educator with the help of brilliant friends. We are a proud Kids Listen member and dedicated to nurturing curiosity of the past in everyone. Written and produced by Mick Sullivan. Don’t steal things you didn’t create.

We NES kids know Little Nemo best from his classic Capcom platformer, but what about the character's role in a revolutionary newspaper comic from the early 20th century? And what of Little Nemo's extraordinarily expensive and fairly obscure box office flop that spawned two different video games? On this episode of Retronauts Micro join Bob Mackey, Henry Gilbert, and Mikel Reparaz as the gang traces the history of Winsor McCay's sleepy hero across three different forms of media.

In Episode 4 we discuss Lauren’s favorite childhood movie, ‘Little Nemo: Adventures in Slumberland,' and all of the magical vibes that go along with it. Tune in to hear us discuss Winsor McCay, our intense centipede fear, Twizzlers, and so much more.

Chris and Joe went to second annual CXC festival in Columbus, Ohio, and decided to record a podcast about their trip on the car ride home. That’s a great idea, right? In between they talk about Winsor McCay, Charles Burns, Garry Trudeau and just how cool that Billy Ireland museum is (it’s pretty cool).

Gertie The Dinosaur by Winsor McCay

Ben was sucked into his television set and left Mike and John to carry us to the conclusion of Issue 16 - Maniac Mansion. We discuss the father of Animation. Do yourself a favour and look here (https://en.wikipedia.org/wiki/Winsor_McCay). We apologize for Mike leaving his ipad too close to the mic. 01:45 - Previews: Litte Nemo. First the anime, then the game! 05:45 - The History of Little Nemo's creator, Winsor McCay! 12:30 - Previews: Dragon warrior 2 16:45 - Previews: Solar Jetman! 19:00 - Previews: Ninja Turtles 2! 23:30 - Previews are over. Time for New Games! Dick Tracy! and we get political. 35:00 - Video Shorts. Bugs Bunny birthday Coke party. Giligans Island. Bigfoot! Galaga! Mad Max, Back to the Future 2 and 3. Cabal 49:00 - Nes Journal - Introducing the Super nintendo Spec sheet! and Mike divulges a bit of his past with Video Game Mu

One for the lawmen, as members of The Black Hand are hauled off to the big house. Tragedy strike in Alabama, when an explosion kills 128 at the Pratt Company coal mine. And We look at the works of Animator & Cartoonist Winsor McCay, the man who inspired Walt Disney.

http://wwwx.dowling.edu/library/new/GeneHorton.mp3 Stream in the player above or download audio. Gene Horton and friend. “You are on the Merrick Road, not far from Blue Point, the place that made the oyster famous. You look to the right and to the left, and, tacked to a tree, you see a sign and you try to read it, but the top of it has been shot off by a quail hunter. However, on the lower part you decipher, between the birdshot: ‘An inn what is an inn.' ” Welcome to Ye Anchorage Inn, as described in the Brooklyn Daily Eagle in 1908. Your host is Capt. Bill Graham: huckster, artist, impresario, and roadside entrepreneur. He and his wife Molly ran the Inn from 1897 to 1920, creating a unique amalgam of tavern, hotel, hunting lodge, picnic ground, and Bohemian hot spot on the northwest corner of Montauk Highway and Kennedy Ave. Graham's clientele ranged from vaudevillians and silent movie stars to politicians, philosophers, and artists. Winsor McCay and Montgomery Flagg left sketches on the walls while early motorists made Ye Anchorage a must-see destination on their Long Island jaunts. Graham kept up a constant parade of promotional events, from his famous Sphinx statue (now in Bayport) to faux bullfights and horse raffles. He chronicled it all in his own personal magazine, The Log, full of stories, poems, artwork, and anything else he could think of. In this episode, Blue Point historian Gene Horton details the history of Will Graham, the Irish immigrant who became a part of the history of the Great South Bay. Drawing on his vast research and collection, Gene paints a vivid picture of the man and his times.   Further Research: Books by Gene Horton (via WorldCat.org) Gene Horton on The History of Blue Point (Dowling Library Omnibus podcast #6. Skip to 11:06) Casa Basso/Theophilius Brouwer (via Westhampton Beach Historical Society) Elbert Hubbard: An American Original (PBS)

This week on the Major Spoilers Podcast - We respect you, dear listener and dear reader, that’s why we talk about the Marvel movie announcement, Constantine on NBC, Little Nemo in Slumberland, John Wick and New 52 Futures End. Show your thanks to Major Spoilers for this episode by becoming a Major Spoilers VIP. It will help ensure The Major Spoilers Podcast continues far into the future! NEWS Marvel Announces Phase 3 LINK REVIEWS STEPHEN Little Nemo: Return to Slumberland #2 Eric Shanower (w) • Gabriel Rodriguez (a & c) Betrayal and a kiss! Scratchy clothes and the threat of a tea party! Nemo just wants to get away from Slumberland—and his wish may come true when the insufferable Flip brings the sun to melt it all. Can this already be the final adventure in this exciting new vision of Winsor McCay’s classic comic strip? FC • 32 pages • $3.99 [rating:4.5/5] MATTHEW New 52 Futures End #25 Writers: Keith Giffen, Dan Jurgens, Jeff Lemire, Brian Azzarello Artist: Patrick Zircher Publisher: DC Comics Cover Price: $2.99 The revelation of their ultimate adversary forces the S.H.A.D.E. team to find a new ride as they learn what it means to watch for the Storm. [rating:1/5] ZACH John Wick Staring: Keanu Reeves, Michael Nyqvist, Alfie Allen, Adrianne Palicki, Bridget Moynahan, Dean Winters, Ian McShane, John Leguizamo, William Dafoe Director: Chad Stahelski Distributor: Lionsgate Former hitman John Wick, as he comes out of retirement to track down a group of gangsters. [rating:4/5] Major Spoilers Poll of the Week: It’s here! The moment you’ve been waiting for – the finalists for the 2014 costume contest. Narrowing down the finalists to the top five was difficult – everyone who entered deserves a round of applause, but only one can be crowned the champion. And that champion will be determined by YOU! NOTE: Voting Closes October 30, 2014 at 11:59 PM CDT. Get those votes in today! [poll=“360"] Contact us at podcast@majorspoilers.com Call the Major Spoilers Hotline at (785) 727-1939. The Major Spoilers Store is located at majorspoilers.bigcartel.com A big Thank You goes out to everyone who downloads, subscribes, listens, and supports this show. We really appreciate you taking the time to listen to our ramblings each week. Tell your friends about the podcast, get them to subscribe and, be sure to visit the Major Spoilers site and forums.

This week on the Major Spoilers Podcast - We respect you, dear listener and dear reader, that’s why we talk about the Marvel movie announcement, Constantine on NBC, Little Nemo in Slumberland, John Wick and New 52 Futures End. < strong>Show your thanks to Major Spoilers for this episode by becoming a Major Spoilers VIP. It will help ensure The Major Spoilers Podcast continues far into the future! NEWS Marvel Announces Phase 3 LINK REVIEWS STEPHEN Little Nemo: Return to Slumberland #2 Eric Shanower (w) • Gabriel Rodriguez (a & c) Betrayal and a kiss! Scratchy clothes and the threat of a tea party! Nemo just wants to get away from Slumberland—and his wish may come true when the insufferable Flip brings the sun to melt it all. Can this already be the final adventure in this exciting new vision of Winsor McCay’s classic comic strip? FC • 32 pages • $3.99 [rating:4.5/5] MATTHEW New 52 Futures End #25 Writers: Keith Giffen, Dan Jurgens, Jeff Lemire, Brian Azzarello Artist: Patrick Zircher Publisher: DC Comics Cover Price: $2.99 The revelation of their ultimate adversary forces the S.H.A.D.E. team to find a new ride as they learn what it means to watch for the Storm. [rating:1/5] ZACH John Wick Staring: Keanu Reeves, Michael Nyqvist, Alfie Allen, Adrianne Palicki, Bridget Moynahan, Dean Winters, Ian McShane, John Leguizamo, William Dafoe Director: Chad Stahelski Distributor: Lionsgate Former hitman John Wick, as he comes out of retirement to track down a group of gangsters. [rating:4/5] Major Spoilers Poll of the Week: It’s here! The moment you’ve been waiting for – the finalists for the 2014 costume contest. Narrowing down the finalists to the top five was difficult – everyone who entered deserves a round of applause, but only one can be crowned the champion. And that champion will be determined by YOU! NOTE: Voting Closes October 30, 2014 at 11:59 PM CDT. Get those votes in today! [poll=“360"] Contact us at podcast@majorspoilers.com Call the Major Spoilers Hotline at (785) 727-1939. The Major Spoilers Store is located at majorspoilers.bigcartel.com A big Thank You goes out to everyone who downloads, subscribes, listens, and supports this show. We really appreciate you taking the time to listen to our ramblings each week. Tell your friends about the podcast, get them to subscribe and, be sure to visit the Major Spoilers site and forums.

On this week's episode of the podcast, Andy and Derek explore the worlds of hardcore cohabitation, biographical brilliance, and wood witches. They begin with Henry & Glenn Forever & Ever, the new collection from Tom Neely and friends (Microcosm Publishing). This follows Neely's original minicomic Henry & Glenn Forever and collects the four-issue miniseries published between 2013 and 2014. For those unfamiliar, this is a situational satire of metal rockers Henry Rollings and Glenn Danzig, working from the premise of their love for one another and placing their relationship in a variety of different sitcom-like scenarios. Tom Neely created the original, and more narratively substantive, stories of Henry and Glenn, but he has many of his artist friends — such as Mark Randolph, Ed Luce, Johnny Ryan, and Noah Van Sciver — contribute short pieces as well. Some stories are better than others, but the Two Guys conclude that the book as a whole is hilariously fun. Next, Derek and Andy turn to Masterful Marks: Cartoonists Who Changed the World, a collection of graphic biographies edited by Monte Beauchamp (Simon and Schuster). In fact, they spend a good chunk of this week's show talking about this book…and there is a lot to discuss. It's composed of sixteen short comics that present the lives of such luminaries as Jerry Siegel and Joe Shuster, Jack Kirby, Winsor McCay, Charles Schulz, Walt Disney, Osamu Tezuka, Chas Addams, Dr. Seuss, and Hergé. These biographies are written and drawn by impressive creators in their own rights, such as Nora Krug, Arnold Roth, Frank Stack, and Denis Kitchen. The guys discuss most of these biographies, but they particularly highlight two of their favorites: Peter Kuper's take on Harvey Kurtzman and Drew Friedman's look at Robert Crumb. In fact, the latter is not so much a biography of the legendary artist as much as it is a story of Friedman's experiences and relationship with Crumb. Much like Kuper's, this is more than a straight-out biography. It's a personal and even self-reflexive narrative. Finally, the Two Guys get all excited about the new series from Scott Snyder and Jock, Wytches (Image Comics). They point out that while this could have easily been a Vertigo title, Snyder is apparently wanting to try his indie chops over at Image with a new ongoing series. And he and Jock have started off impressively! What makes the first issue of Wytches so engaging is its elaborate setup and its emersion in the everyday. Both Andy and Derek mention how the world that Snyder sets up reminds them of their own childhoods and the kind of creepy wooded areas that fueled their own imaginations. They're both on board with this new title, and they hope — they expect — it to be another in Image's growing line of perennials, following the likes of The Walking Dead, Saga, and Manhattan Projects.

In a follow-up to the earlier episode on the history of vaudeville, Katie and Sarah take a closer look at some of the most memorable vaudevillians. Listen in and learn more about everyone from the Marx brothers to Winsor McCay in this episode. Learn more about your ad-choices at https://news.iheart.com/podcast-advertisers

I en tid när digitalkameror finns i var och varannan mobiltelefon och vi laddar upp våra digitala foton på sajter som Flickr eller Facebook, så har våra arkiv och museer varit desto långsammare med att anamma den nya tekniken. Trots att de ruvar på kulturhistoriska fotoskatter så har de inte lagt upp mer än en bråkdel av sina bilder på webben, och den som vill botanisera bland bilderna måste alltså bege sig till respektive arkiv för att på ort och ställe bläddra bland fotografierna. Allt fler arkiv och museer lägger dock ut sina fotosamlingar på webben, något som får effekter både för upphovsrätten och för hur vi ser på vad som är ett fotografi. Det säger konstvetaren Anna Dahlgren vid Nordiska Museet, som tillsammans med Pelle Snickars är redaktör för den nya forskningsantologin I bildarkivet, om fotografi och digitaliseringens effekter. I dagarna är det 100 år sedan Sveriges första långfilm hade premiär. Filmen som visades för första gången 9 januari 1910 var en filmatisering av den då folkkära teaterpjäsen Värmlänningarna. Vår krönikör filmforskaren Anne Bachmann har tittat närmare på filmen. I den andra delen i vår serie om tecknad film berättar filmvetaren Midhat Ajanovic om filmanimatörerna Winsor McCay, Victor Bergdahl, Viking Eggeling och Walt Disney. Programledare är Urban Björstadius.

Little Nemo in Slumberland: Splendid Sundays 1905-1910 (Sunday Press)A celebration of the great Winsor McCay's Sunday funnies! Why? Because Nemo in Slumberland has been printed in its original full-color and actual size for the very first time!