The Endearing Nature of Comic Strips

Comic strips are a form of visual entertainment that a lot of people enjoy. The first comic strips appeared in Germany in 1865. It was about two boys who are getting punished for always getting into mischief. Comics strips gradually increased in popularity and began to appear regularly in American newspapers in the beginning of the 20th century. This popularity has paved the way for the creation of comic books.

They entertain us through funny or dramatic storylines, interesting characters, and classy artworks. Creating good comic strips requires a lot of hard work. You have to overcome the limitations of speech bubbles and the difficulty of telling a story frame by frame. Some comic strips have been created by a pair of artists, one person being involved in creating the story while the other is responsible for the visuals. Artistic drawings are also necessary in maintaining the interest of readers.

Many teenagers collect comic books dedicated to the characters of their favorite comic strips. Collectors often hang out in comic books store, waiting in anticipation for the latest issue of comic books. Some comic books editions are collector’s items and if preserved in mint quality condition.

Peanuts is one of the most successful daily newspaper comic strips ever created. Its characters have now become household names. We have been witnesses to the drama of how Charlie Brown, Snoopy, and other Peanuts’ characters struggle with the intricacies of being kids.
Movies and computer games have also increased the popularity of comic book superheroes that were once only limited to comic strips. The adventures of classic superheroes like Batman and Spiderman are reflections of the preoccupations of the time they were written in. They battle modern criminal activity and portray the moral sensibilities and political situations that are dominant in the time of their creation.

The simplicity of comic strips attract a reader’s interest. They are reassured by the clear depiction of the line between good and evil. Even though technology continues to advance, this bold and colorful means of entertainment will still hold a special place in the hearts of readers around the world.

Morgan Hamilton offers expert advice and great tips regarding all aspects concerning Comic Strips. Visit our site for more helpful information about Comic Strips and other similar topics.
Article Source: http://EzineArticles.com/?expert=Morgan_Hamilton

Choosing and Collecting Comics with Potential

There are thousands of comic book titles. They may be from the big dogs of the comic industry or from the small-time independent labels. Either way, all comic book collectors are biased when it comes to the title they accumulate. As a collector, you may be gathering issues of a specific title for your own personal pleasure or because it could be profitable someday. It is one thing to find the titles you like, but it is another to find titles that have good potential. With a lot of luck, you can kill two birds with one stone.

To complete your collection, there are a few steps to follow. For the first and most important, you must be updated and well informed. Read up on the subject from titles like the "Overstreet Price Guide" or the "Wizard Magazine". By doing this, you will be informed of the release dates of the issues to help you get the early releases and will also inform you of the cost and maybe even future values. When you find the title that you are interested in, do a rough estimate of the cost then go out and buy from a specialty shop, a catalog, online, or at a comic book convention. One can also buy from another collector. Good collectors prefer to sell their comics to another individual rather than to a comic shop because they get a better price. Before closing the deal, examine the comic and check its condition because in retailing, mistakes are inevitable. After carefully reading it, store properly in a safe place.

Back Issues are comics that are not presently sold on the racks and are sold separately in conditions ranging from "new/mint" to "very poor". The price is determined by the condition the comic is in. Also, it is good to shop around. You will see that shops compete and will undercut each other. You can often purchase overstocks of regular issues for half the cover price or more.

If the goal of your collection is to profit from it after a few years, you should fill it with titles that will grow in value over time. To achieve this, there are a few tricks to master. Once again, the key is to be informed. For example, Wizard Magazine enlists the top 100 selling comic books every month. The books on this list are the top sellers which mean that their characters are popular in that particular time. These books may have big potential in the future. Also, it is always good if you are able to buy first releases of the issues. Sometimes, the book publishers print the issues in different covers to promote sales. It is good to buy issues in their different covers too. One excellent tip is to know the creative teams of the comic because sometimes it is not the title that matters. A valuable issue may be due to the writer or the illustrator. Having an eye out for new and interesting material is useful because although most non-superhero books don't sell well, the interesting ones may gain in value. Getting to know your retailer can work to your advantage because their predictions of the next big thing will help you.

Remember that the comic's value is connected to its popularity. So sell with the tide. Sale does not depend on the titles you sell but on the timing as well. If for example a Spiderman movie is out, the sales of the comic books skyrocket.

Rare books also sell well. This is because the new comics are too mass-produced and anyone can get them. This results in the decrease of their value. It is advisable to buy comics with a very good storyline and exceptional illustrations. Buy books that you like because of their story and the art. Buy old books that fascinate you and try to get to know if the prices of these have already increased slightly. Be ready to pay for the best quality/grade of each issue. In choosing titles, take your time and shop hard. Remember that mainstream superhero titles are always going to be popular and buy the best of the issue. Don't listen to comic book dealers because they are often dishonest people trying to make money from children. Also try subscribing to a Comics buyer guide to learn all about the past and present issues. Lastly, learn to store your comic books properly to enjoy them for longer.

Michael Russell Your Independent guide to Comic Books. Article Source: http://EzineArticles.com/?expert=Michael_Russell

Heroes and the Evolution of Comic Books

Heroes came out of nowhere at the beginning of this TV season and has turned into a runaway hit show. This was not entirely unexpected; NBC had a lot of confidence in Heroes from the beginning. However, no one could have legitimately expected Heroes to become the top 15 hit and ratings phenomenon that its become. Why, I suppose, is the question. Why has Heroes become such a great hit? What is the shows appeal?

Heroes is a comic book story, through and through. Regardless of what comic you believe it to be knocked off of, all comic are derivative of something or other, and Heroes certainly has its unique qualities anyway. What Heroes does better than any of the comic book adaptations before it, is actually act like a comic in its execution. Of course, Heroes is the first real comic book story to make its way to prime-time live action TV. Smallville might be considered, certainly now, but that show, from the very beginning, considered itself a teen drama. Only now is it getting deep into DC mythology.

Heroes, on the other hand, is paced like a comic book. Every episode is an epic adventure, serial in nature, that covers a wide array of characters in a methodical manner. The writers are taking their time with the story, allowing the characters and relationships to develop in a way that we haven’t yet seen in comic books.

Why haven’t we seen it, however? Why haven’t there been more attempts to bring the comic book aesthetic to television? Have there been fewer break out comic books in the past ten years? The BuddyTV article examines this question with great insight and precision.

For more resources about Heroes or even about Heroes and the Evolution of Comic Books please review http://www.buddytv.com

Article Source: http://EzineArticles.com/?expert=Groshan_Fabiola

Comic Book Collector Questions

Many of us collected comic books as kids. As adults, we think back to a simpler time when our biggest worry was the release of the latest edition of our favorite comic. At the time, we collected comics simply because we loved them.

As we grew up, however, our interests changed. We became adults and too grown up for comic books. We might still have a stack of old comics in the attic, though, or we may have sold them at a yard sale years ago.

Some adults, though, remained proud of their comic book collections, and many turned that collecting instinct to profit, buying, and selling comic books to supplement their income.

If you are new to collecting for value, you may have some questions and concerns. This article will address the questions most commonly asked by new comic book collectors.

How do I grade my comic books?

You have two choices when it comes time to grade a comic book. You may send the comic book to the Comics Guaranty Company for grading, or you can grade the comic yourself. o The CGC will charge a fee for grading, and then seal your comic in a plastic sleeve. A CGC rating is the only purely objective means of grading and guarantees to a potential buyer that your comic does have a certain official rating.

However, since the CGC grading costs money, it is not worthwhile to have every comic graded that way. You can learn to grade comic books yourself and for lower dollar value comic books, this is the way to go. Remember to be objective when grading your own comics, as you do not want to cheat a buyer inadvertently.

For comic books that are in less than perfect condition, you will need to look carefully at each bit of damage or wear to determine which grade the comic book should receive. Online guides or comic book collectors' magazines often have reference sheets to tell you the specifics of each grade.

It may be best to work with a more experienced collector initially, until you are more familiar with how the grading system works. He or she can show you examples of various comic grades.

How can I properly store my comic books to decrease wear and tear?

First, individually bag each comic book in Mylar. These storage bags are available from any good comic book store. You will also want to use comic book boards to prevent bending or creasing.

Purchase these individually or in bulk at your comic book store. Remember to change out your boards every few years to prevent the breakdown of the board, which can have a negative impact on your comic. Finally, you will need storage boxes.

Comic book storage boxes are available in long or short size. Long boxes are better value for the money, but if your comics must be stored in tight quarters, short boxes will give you more flexibility.

Remember to store your comic books in a climate controlled environment. Extremes of heat, cold, humidity, or dryness could have a negative impact on your comic books.

So what comic books should I buy?

The answer to that question really depends on your personal interests. Did you have a favorite comic book character as a kid or do you have one now? Seek out early editions of that character's comics or read the latest on what he or she is doing now.

If you see your comic book collection mostly as an investment, then you will want to carefully research and attempt to understand the market before jumping in. Spend time on online auction sites, visit comic book shops, and talk to other collectors.

Find out what is consistently hot, what is hot right now, and what the future trends expect to be. Focus on collecting first editions, full sets, and vintage "finds."

My comic book collection is huge! How can I possibly keep up with what I have?

A variety of tracking software is now available to monitor your comic book collection. Sme programs are free; others charge a small fee. The complexity of the programs varies dramatically, from simple tracking forms to the ability to generate multiple reports based on many different criteria.

Alternately, you can create your own database or spreadsheet file using software that you already own. Any office software can track a comic book collection. Simply decide which information you want to include and set up a new worksheet.

What should I know before I sell my comic book collection?

Be sure that each comic in your collection is individually graded, either by yourself or friend, or professionally through the Comics Guaranty Company (CGC). Any especially rare or valuable comics should definitely be graded by the CGC prior to sale, as the official rating will often increase the price you can receive.

Once every comic is graded, check the average selling price for each comic. Decide whether to sell individually, in sets, or in bulk. Often you can receive a better price for low value comics by selling them in bulk or in a complete set, while particularly high-end comics may command the best price alone.

Everything you want to know about comic books is at your fingertips from Mike Selvon's portal where a free gift awaits you. Visit us and leave a comment at our cartoons blog.

Article Source: http://EzineArticles.com/?expert=Mike_Selvon

Comic Book Collector Questions

Many of us collected comic books as kids. As adults, we think back to a simpler time when our biggest worry was the release of the latest edition of our favorite comic. At the time, we collected comics simply because we loved them.

As we grew up, however, our interests changed. We became adults and too grown up for comic books. We might still have a stack of old comics in the attic, though, or we may have sold them at a yard sale years ago.

Some adults, though, remained proud of their comic book collections, and many turned that collecting instinct to profit, buying, and selling comic books to supplement their income.

If you are new to collecting for value, you may have some questions and concerns. This article will address the questions most commonly asked by new comic book collectors.

How do I grade my comic books?

You have two choices when it comes time to grade a comic book. You may send the comic book to the Comics Guaranty Company for grading, or you can grade the comic yourself. o The CGC will charge a fee for grading, and then seal your comic in a plastic sleeve. A CGC rating is the only purely objective means of grading and guarantees to a potential buyer that your comic does have a certain official rating.

However, since the CGC grading costs money, it is not worthwhile to have every comic graded that way. You can learn to grade comic books yourself and for lower dollar value comic books, this is the way to go. Remember to be objective when grading your own comics, as you do not want to cheat a buyer inadvertently.

For comic books that are in less than perfect condition, you will need to look carefully at each bit of damage or wear to determine which grade the comic book should receive. Online guides or comic book collectors' magazines often have reference sheets to tell you the specifics of each grade.

It may be best to work with a more experienced collector initially, until you are more familiar with how the grading system works. He or she can show you examples of various comic grades.

How can I properly store my comic books to decrease wear and tear?

First, individually bag each comic book in Mylar. These storage bags are available from any good comic book store. You will also want to use comic book boards to prevent bending or creasing.

Purchase these individually or in bulk at your comic book store. Remember to change out your boards every few years to prevent the breakdown of the board, which can have a negative impact on your comic. Finally, you will need storage boxes.

Comic book storage boxes are available in long or short size. Long boxes are better value for the money, but if your comics must be stored in tight quarters, short boxes will give you more flexibility.

Remember to store your comic books in a climate controlled environment. Extremes of heat, cold, humidity, or dryness could have a negative impact on your comic books.

So what comic books should I buy?

The answer to that question really depends on your personal interests. Did you have a favorite comic book character as a kid or do you have one now? Seek out early editions of that character's comics or read the latest on what he or she is doing now.

If you see your comic book collection mostly as an investment, then you will want to carefully research and attempt to understand the market before jumping in. Spend time on online auction sites, visit comic book shops, and talk to other collectors.

Find out what is consistently hot, what is hot right now, and what the future trends expect to be. Focus on collecting first editions, full sets, and vintage "finds."

My comic book collection is huge! How can I possibly keep up with what I have?

A variety of tracking software is now available to monitor your comic book collection. Sme programs are free; others charge a small fee. The complexity of the programs varies dramatically, from simple tracking forms to the ability to generate multiple reports based on many different criteria.

Alternately, you can create your own database or spreadsheet file using software that you already own. Any office software can track a comic book collection. Simply decide which information you want to include and set up a new worksheet.

What should I know before I sell my comic book collection?

Be sure that each comic in your collection is individually graded, either by yourself or friend, or professionally through the Comics Guaranty Company (CGC). Any especially rare or valuable comics should definitely be graded by the CGC prior to sale, as the official rating will often increase the price you can receive.

Once every comic is graded, check the average selling price for each comic. Decide whether to sell individually, in sets, or in bulk. Often you can receive a better price for low value comics by selling them in bulk or in a complete set, while particularly high-end comics may command the best price alone.

Everything you want to know about comic books is at your fingertips from Mike Selvon's portal where a free gift awaits you. Visit us and leave a comment at our cartoons blog.

Article Source: http://EzineArticles.com/?expert=Mike_Selvon

Comic Book Collecting and the Essentials

Where comic book collecting is concerned, in over seven decades the genre of comics has transformed into something much more than children's reading material. Even age lines have become blurred as more adults, either for personal pleasure ore monetary gain, have turned to comic book collecting.

If a foray into cartoon book collecting is something you are interested in, then a general knowledge of periphery items is in order such as a good cartoon book price listing guide and even cartoon book collection software.

Comic books are more than just about collecting and storing in boxes. Many individuals chose to trade and even sell their acquisitions. To do this a current comic book price listing guide is absolutely essential for determining the value for comics in varying conditions.

Even if your end goal is not to sell your collection, it makes for great conversation as well as determining value for such things as home owner's property insurance. A cartoon book collection, emotional significance aside, can turn from a hobby into a monetary gain.

Comic book collecting for some individuals involves the art of selling pieces of their collection. This can be very profitable and is a great influence on the comic book market.

As new comic books are introduced and other older issues become increasingly hard to acquire, the value fluctuates. With collectors studying comic book price listing guides, there is an overall sense of direction where the hot trends will be found and helps other collectors sell their pieces for a good price.

Comic book collection software is almost essential if you want to be a competitive buyer and seller of comic books and merchandise. You can enter thousands of pieces of information into a database that is easily searchable in a matter of seconds.

Comic book collection software can also help you spot trends and prices in the market as well as patterns of particular genres. You can compare prices, time periods and other bits of information to help you make educated decisions with your cartoon book collecting practices.

Whether you are a beginning or an expert collector, this can be one of the most useful comic book collecting tools you will ever buy.

Everything you want to know about comic books is at your fingertips from Mike Selvon's portal. A free gift awaits you along with a lot more information about comic book collecting. Visit us and leave a comment at our cartoons blog.

Article Source: http://EzineArticles.com/?expert=Mike_Selvon

Heroes and the Evolution of Comic Books

Heroes came out of nowhere at the beginning of this TV season and has turned into a runaway hit show. This was not entirely unexpected; NBC had a lot of confidence in Heroes from the beginning. However, no one could have legitimately expected Heroes to become the top 15 hit and ratings phenomenon that its become. Why, I suppose, is the question. Why has Heroes become such a great hit? What is the shows appeal?

Heroes is a comic book story, through and through. Regardless of what comic you believe it to be knocked off of, all comic are derivative of something or other, and Heroes certainly has its unique qualities anyway. What Heroes does better than any of the comic book adaptations before it, is actually act like a comic in its execution. Of course, Heroes is the first real comic book story to make its way to prime-time live action TV. Smallville might be considered, certainly now, but that show, from the very beginning, considered itself a teen drama. Only now is it getting deep into DC mythology.

Heroes, on the other hand, is paced like a comic book. Every episode is an epic adventure, serial in nature, that covers a wide array of characters in a methodical manner. The writers are taking their time with the story, allowing the characters and relationships to develop in a way that we haven’t yet seen in comic books.

Why haven’t we seen it, however? Why haven’t there been more attempts to bring the comic book aesthetic to television? Have there been fewer break out comic books in the past ten years? The BuddyTV article examines this question with great insight and precision.

For more resources about Heroes or even about Heroes and the Evolution of Comic Books please review http://www.buddytv.com

Article Source: http://EzineArticles.com/?expert=Groshan_Fabiola

Tintin and the Broken Ear a Classic Tintin Mystery

The Adventures of Tintin are classics in the world of comics. Tintin is a young reporter who solves mysteries with his faithful side kick the dog Snowy. The character was created by Herge who both wrote and illustrated the albums.

Tintin and the Broken Ear is a classic from the adventure series and is believed to include a political subtext like many of Herge works. The middle part of the adventure is set in a fictitious South American dictatorship of San Theodoros in which the native generals are in a battle for power. The conflict between San Theodoros and Neuvo-Rico in the book is called the “Gran Chapo War” which mirrors the Gran Chaco War of 1932 to 1935 fought between Bolivia and Paraguay for control of the Gran Chaco region falsely believed to be rich in oil.

The story begins when a fetish (an object believed to have supernatural powers) that originally belongs to a tribe of South American Indians is stolen from a museum in the town where Tintin lives. The next day the statue is returned with a note saying it had been a bet. Tintin though ever the hero realises it is a fake because the replacement is complete when the original was missing an ear.

Tintin now obviously want to get to the bottom of the mystery so begins the journey to solve the crime. He finds that a wood carver has recently been killed and deduces that this man Balthazar probably carved the fake so goes in search of the mans parrot in a hope to getting a clue to the killer.

The lead sends him to South America along with two other men who also are following the trail Alfonso Perez and Ramon Bada. They are all trying to outdo each other. Ramon and Alfonso on the journey over by boat kill Roger Tortilla (not very imaginative) who was the man that originally stole the fetish. Tintin who had been in disguise arrest the men on docking in San Theodoros. In a twist the Colonel who greets them lets the men go and it is Tintin who is later arrested and is framed for terrorism and sentenced to death.

As Tintin is about to be killed by the firing squad he is saved by a rebel leader General Alcazar. Tintin who unusually has been drinking heavily swears his allegiance to Alcazar who is now in command of the country and makes Tintin a Colonel.

Tintin new position proves a help and a hindrance as Perez, Ramon and the disgraced General Tortilla try to kill him. It is at this point we are introduced to the “Gran Chapo War”. This war is pushed by two competing oil companies that both want the oil believed to be beneath the earth in the Gran Chapo region.

Tintin escapes another attempt on his life by General Trickler of Great American Oil (one of the competing companies). Tintin eventually finds himself among the people of Arumbaya. He tries to find out why so many people are after the fetish that in monetary value is worthless. Tintin gains information that leads him to believe that there is a valuable diamond belonging to the Arumbaya tribe hidden in the fetish.

Tinin leaves the tribe and comes across Perez and Ramon who have deserted the San Theodoros army. Tintin manage to capture them and learn from a note in Perez’s wallet that Tortilla had in fact placed the diamond in the fetish. How Tortilla is connected to Lopez is not revealed Perez and Ramon later escape from Tintin. Tintin is at a loss and has no leads returns home only to find many replicas of the statues are for sale. He learns that the factory producing them is owned by Balthazar’s brother who found the fetish among his brother’s effects. Balthazar’s brother has sold the fetish to an rich American Samuel Goldbarr, who has left for America. Tintin flies out on a plane to the ship only to discover that Ramon and Perez are already in possession of the fetish and therefore the diamond. There is a confrontation and the fetish breaks revealing the diamond. All three men try to save it but it falls into the ocean and is lost. Tintin is saved by the crew of the ship however Alonso Perez and Ramon Bada are lost at sea. It is typical of a Tintin mystery as they are all easy to follow which was the intention of Herge when creating his masterpieces. There are 23 albums in all and there have been over 200 million books and albums sold worldwide. There is to be a Tintin movie released in 2009 which will bring these books back to the mainstream where they belong.

John Helios has been a big Tintin fan for a number of years. He is very much looking forward to the new Tintin movie directed by Spielberg and Jackson. At his site you can watch Tintin and the Broken Ear in five easy parts.

Article Source: http://EzineArticles.com/?expert=John_Helios

Collecting and Caring for Comics

Comic books are a big part of popular culture as it combines art and writing. A comic book, also known as a comic strip or comic, is defined as a booklet of words and pictures that are integrated into a printed format. It is both a unique art form and a literary standard that originated in the United States in the late 1800s. The most basic definition is that a comic is a series of words and pictures presented in a sequence and forms a narrative. In comic books, the author uses everyday language placed in dialogue boxes and with a series of pictures portrays a thought quickly and directly. Unlike novels or short stories, the comic books' pictures control the reader's interpretation of the words and they are forced to see the writer's point of view. Comic books allow the reader to examine the minds of the characters through dialogue balloons thus inviting the reader into the make believe world of the writer. These visual sequences of art are mass-produced inexpensively.

Being an immensely influential part of popular culture, comic books are very good collectible items. Collecting comic books is a fun hobby and, if done right, can be very lucrative. The majority of comic book titles center on superhero characters but there are also comic books on comedy, drama, horror, fantasy, science fiction, mystery, for adults, for children, in foreign languages and adaptations. So as you can see, there is a wide variety to choose from, which can result in a huge comic book collection. All well kept comic books will either maintain or grow in value over time. The trick is to choose titles with the highest growth potential.

The very first step in collecting comic books is to buy them. The first step in purchasing a good comic book is to choose a good local comic or specialty store. Most stores have a saver programs or subscriptions that allow you to have the comics of your preferred title set aside for you. Most of the titles are either under Marvel Comics, DC Comics or Image Comics. The minority are under independent titles. Browse the store of choice and look for comic books with solid story lines and excellent illustrations. It will be to your advantage if you can get the earliest release of the issue. Also, because this is primarily a hobby, buy those that interest you and maybe these will increase in value.

For a collector's item to increase in value over the years, it should be in crisp condition. This is true of all collections, but comics call for special treatment. To keep them in mint condition, they must be carefully flipped through while reading. Please refrain from dog-earing and folding the pages. Afterwards place in a Mylar Sleeve. This is like a clear envelope with a pressed-board backing. This sleeve prevents moisture from damping the comic and the board ensures that the comic isn't folded or crumpled. Slide the comic into the sleeve against the treated side (the white side) and the comic cover facing front. If you plan on storing the comic books for more than five years, make sure to use premium quality acid-free backing board and paper. After this, the comics should be stored in a long or short comic box with the comics standing up. Make sure the box has the right fit and it is always helpful to include a list of the comic books stored inside the box in an organized manner according to title, date of release and issue number, to avoid unnecessary skimming and flipping through the comics. These supplies are common in specialty shops because they are really a necessity in comic storage.

Michael Russell Your Independent guide to Comic Books.
Article Source: http://EzineArticles.com/?expert=Michael_Russell

History of Comic Books - Part II

In part 2 of comic books history I'll be covering the first half of the Platinum age. The second half will be in the last installment.

The Platinum age started with a book that came out in 1897 titled "The Yellow Kid in McFadden's Flats." It was 196 pages long and in black and white. The cost was 50 cents and was published by G. W. Dillingham Company. It was actually part of a series Dillingham did on American authors. The phrase "comic book" was actually coined with this printing as the phrase was written on the back cover.

In 1899 a "Funny Books" comic came out which featured the format that became the traditional comic book format of the Platinum age. It was hard cover and very large at 16 1/2 by 12 inches. The book was created by F.M. Howarth, but published by E.P. Dutton. It was a black and white collection of reprints from the Puck magazine.

It wasn't until 1901 that the first color comic book came out. It was called "The Blackberries" and was 9 by 12 in hardcover.

Around that same time, what became the most used format for comic books at 17 by 11 inches, came out. Some of the early titles of this format were "The Katzenjammer Kids", "Little Nemo" and "Happy Hooligan." It was during this time that the first "Buster Brown" comic was created, the character from which the Buster Brown shoes were made. As a matter of fact because of the success of Buster Brown many companies used the comic to sell their merchandise.

In 1910 the now popular "Mutt and Jeff" came out with a new format, the reprinting of daily strips in black and white. The book was still hard cover but was 15 by 5 inches. It was published by Ball Publishing and 5 volumes were published.

Then in 1919, Publisher Cupples & Leon used a different format. They were 10" by 10" with 4 panels per page. They were black and white, 52 pages for 25 cents. Titles and characters used for these books was "Mutt & Jeff" and "Bringing up Father."

It wasn't until 1922 that the first monthly published comic came out. The date on the cover was simply January and was 10 cents. The format was 8 1/2 by 9. The title was "Comics Monthly" and only lasted 12 issues. Each issue featured a different King Features comic character. The characters featured during this 12 month run were "Polly and Her Pals", "Mike and Ike", whom the candy was named after, "S'Matter Pop", "Barney Google", "Tillie the Toiler", "Indoor Sports", "Little Jimmy", "Toots and Casper", "Foolish Questions" and "Barney Google and Spark Plug." These were all reprints of comics originally printed in 1921.

In 1926 the forever popular "Little Orphan Annie" was first published by Cupples and Leon in 7 by 9 format. These were printed in both hard and soft cover and were 60 cents each.

It wasn't until 1929 that Dell, one of the soon to be larger comic book publishers, got into the act. Their first comic was called "The Funnies" and was done in tabloid size format. The comic was 16 pages and sold for 10 cents. It was sold at news stands along with the newspapers. What was unique about this comic was that it was done in 4 colors and was not a collection of reprints but original comics.

In 1930 Walt Disney also got into comic books with the "Mickey Mouse Book" published by Bibo and Lang. It was 9 by 12 and 20 pages long. Inside the comic were also games, stories and songs. This was really more a magazine than a comic and it really wasn't until 1931 that the first true Mickey Mouse comic came out. It was 32 pages long, 5 1/2 by 8 1/2 and published by David McKay Company. Over 50,000 copies of this comic were published. Between 1931 and 1933 there were a number of Mickey Mouse based comics that were published.

In the last issue we'll go over the years of 1933 to 1938. The reason for devoting one issue to only 6 years is because it was during this time that comic book publishing really took off and comics started coming out of the woodwork.

Michael Russell Your Independent guide to Comic Books Article Source: http://EzineArticles.com/?expert=Michael_Russell

Comic Books History - Part I

Because comic books have such a long history I'm breaking up this series into several parts.

Comic books. Arguably one of the largest industries in the world. To be able to store every comic ever written you would need a city the size of New York and even then I think you would run out of room. No question, comic books are here to stay. So when did this multi billion dollar a year industry actually start.

Actually the origin of comic books is not really known for certain. Up until recently there was one theory of what the first comic book was. Then new evidence suggested that this was incorrect. We may never really know when comic books started but as of this writing the first known comic book was "The Adventures of Obadiah Oldbuck" which was written in 1837 somewhere in Europe in several languages. In 1842 an English version of this comic was printed for the United States, more specifically New York City. The comic was 40 pages long and didn't really resemble the comics that we are used to seeing today. There were no word balloons with dialogue. Instead there was text typed at the bottom of each panel to describe the story. A copy of this comic was recently discovered in Oakland CA. The comic itself was done by Rudolphe Topffer who in Europe, was considered to be the creator of the picture story. He created the comic strip in 1827 as a graphic novel. After that he created 7 more graphic novels in many different languages including copies for the United States. These books stayed in print until about 1877. This was considered to be the Victorian Age of comic books which is still incomplete and still being researched even until today.

Even though many comics were printed after that, they have fallen into obscurity and the next known comic book was published in 1894 called "The Yellow Kid." The Yellow Kid was actually a character derived from the comic "Hogan's Alley" but the kid was so popular that the comic book became known by his name rather than by the official title of the comic book. Hogan's Alley was created by a gentleman by the name of Richard Outcault who actually got his start writing for "Truth Magazine". In an issue of "Truth" he did a character cartoon featuring "The Yellow Kid" and it's from that initial publishing that the actual comic came into being a short time later. It is believed that Outcault got his inspiration for "Hogan's Alley" from several cartoonists including Michael Angelo Wolf and Charles Saalburg, both of whom used street kids in their cartoons. It is believed that the title "Hogan's Alley" came from the song “O'Reilly and the Four Hundred" which starts off "Down in Hogan's Alley."

In the next of this series I will be covering what is referred to as "The Platinum Age Of Comics" which spans the years 1897 to 1938 which features the extremely popular "Mutt And Jeff" and "Little Orphan Annie" comics. You don't want to miss this.

------------------------------------------------------- Michael Russell Your Independent guide to Comic Books ------------------------------------------------------- Article Source: http://EzineArticles.com/?expert=Michael_Russell

Can A Comic Book Hero Explain Retrograde Mercury?

To begin with, let's set the record stright: Mercury is not the only planet to go retrograde. We hear about it a lot because it happens 3 times a year, but actually every planet and asteroid except for the Sun and Moon go retrograde at one time or the other. It is actually rare for there to be a time when we aren't experiencing some retrograde or the other. Every planet from Mercury which is closest to the Sun all the way out to Pluto and Ceres at the outer edge of our solar system goes retrograde. And so do all the Astroids, like Chiron, Vesta, Sedna, Pallas and Juno.

We can better understand retrograde Mercury by taking a favorite comic book character as an example - let's say Zorro with a capital Z. When the planets change directions (and they all do) they make a kind of "moonwalk" in the sky as they appear to zig backwards in their orbit.

These Mercury Retrogrades (and Mars, Venus, Pluto, Chiron or Jupiter Retrogrades). Are zig-zags that the planets make in the sky and they take various amounts of time. A retrograde of Mercury takes 3 weeks, but larger planets like Pluto or Saturn spend up to 6 months or longer in retrograde motion. But just looking at retrograde is to overlook some of the most important elements of the retrograde cycle. That's a lot like eating the frosting and ignoring the cake. Since we want to have our cake and eat it too - we need to understand the whole picture. The picture that retrograde makes starts weeks or months before the retrograde begins, and ends the same amount of time AFTER the retrograde ends. It is a three part process.

The three distinct parts of a mercury retrograde, or other planetary retrograde cycle each have a different character and meaning. Taking one without the others means missing some of the most important pieces of the puzzle. These three phases are

1) the pre-retrograde phase - called Entering the Shadow
2) the Retrograde Phase and
3) the post-retrograde phase - called Exiting the Shadow. Part one is like when Zorro draws the first part of his signature Z. It begins when the planet hits the degree it will return to at the very end of Retrograde. During the Retrograde time the planet appears to move backwards - all the way to the same degree where it began. This resembles the second / slash that Zorro draws with his blade when making his signature as it returns to the same level that the Z began at. Finally the planet changes directions again and makes it's final pass across the same degrees that it has crossed twice already - first when entering the shadow, then in retrograde, and now finally as it is exiting the shadow. And this resembles Zorro's final sword stroke as he finishes off the last flourish of the Z and moves on to new things.

To illustrate what happens during a Mercury Retrograde cycle, just imagine that our Hero Zorro is out and about, doing what he does when he spies a problem. He quickly get's into his "superhero" outfit. We can think of this preparation time as entering the Shadow. Then he runs off and fights the bad guys. We can think of this time as Retrograde, because he has come back to a situation in order to fix it. Finally he turns the bad guys over to the authorities and gets back into his street clothes; which we can compare to the phase of leaving the shadow. Job well done! And he moves on to other things.

By understanding this deceptively simple concept we can see how to make use of any mercury retrograde, or retrograde of Saturn, Mars, Venus, Pluto and even the Astroids. At least we begin to understand how to use the "foreshadowing" period to gain insight as to what we will be reviewing and making changes to during the actual retrograde. This allows us to prepare for what may be coming. Each planet has it's own domain however and they all mean different things. To learn how to make use of the current Mercury Retrograde (or other retrograde planet) cycle visit: http://www.astrologychick.com/RxMercury.shtml

Aura G Wright is a published author and public speaker. Her self improvement columns have appeared internationally in The Yogi Times, Zink, FindBliss and others. To learn more Astrology please visit http://www.astrologychick.com for more on Mercury Retrograde visit http://www.astrologychick.com/RxMercury.shtml For more on personal development visit http://www.7MagicKeys.com

Article Source: http://EzineArticles.com/?expert=Aura_G_Wright

Review of Hellboy (Starring Ron Perlman)

Comic book films are all the rage these days. Ever since movies like X-Men, Blade and Spider-Man conquered the box office, Hollywood execs have been scrambling to mine the latest hot property from the printed page. When done correctly, these films capture the wonder and imagination of their original source material (which is saying a lot). When they fail, as in the case of movies like Electra and The Incredible Hulk, they become bland exercises in mediocrity - something which the boys in Los Angeles are all too familiar with.

But I don’t want to be too hard on Hollywood. It’s not necessarily easy to adapt a comic book. First of all, it’s hard to pull off unless you have a king-sized budget (just imagine a movie like Spider-Man done on the cheap). Then you’ve got to find a director who can transfer the visuals of a comic book to the big screen (Sam Raimi comes immediately to mind). Then there are all the usuals like competent actors and a solid script, as well as that intangible “something” which seems to be ever-present in movies which really come together. All in all, not an easy task, but one that studios are more than happy to take on for the time being. That is, at least until the superhero version of Ishtar comes along.

This entrant into the Hollywood superhero sweepstakes is called Hellboy and was directed by Guillermo del Toro (most known for his work on The Devil’s Backbone and Blade II). Based on the comic book by Mike Mignola, the plot is as follows: Towards the end of World War Two, Nazi mystics led by Rasputin (Karel Roden) attempt to open a portal at Hitler’s behest and bring forth an alien god from the depths of space. They are thwarted by a group of American soldiers and a youthful occult expert named Trevor Bruttenholm. Rasputin is hurled into the portal and everything is once again right with the world. Well, that is until they discover that something came through the portal while it was open. That something happens to be a small demon, complete with an oversized stone hand and long red tail. The soldiers adopt the childlike creature (who happens to love Baby Ruth candy bars) and give him the moniker of Hellboy (Ron Perlman).

Fast forward 60 years into the future. Bruttenholm (John Hurt) is the head of the Bureau of Paranormal Research, and a slow-aging Hellboy is their chief monster hunter. Other members include Liz Sherman (Selma Blair), a pyrokinetic with emotional problems, and Abe Sapien (acted by Doug Jones and voiced by David Hyde-Pierce), an aquatic telepath. And the newest addition is John Myers (Rupert Evans), a young agent hand-picked by the very ill Bruttenholm to be his replacement. Meanwhile, we find that Rasputin has returned from the void, and he has horrible plans....plans which only Hellboy can help or hinder.

Before I go any further, let me say that Ron Perlman is the man. He has an uncanny ability to convey emotion through layers of make-up and prosthetics, no doubt a skill he honed during his stint on the television series Beauty and the Beast. And playing larger-than-life characters is what he does best, as demonstrated by standout roles in Alien: Resurrection, City of Lost Children, and Blade II. With his oversized jaw and atypical looks, Perlman has been embraced by a generation who grew up staring at Klingons, Sith Lords, and other assorted oddities.

Perlman is in rare form in Hellboy, possessing both the physical presence and acting ability to pull off the role of a big red demon. Unfortunately, he doesn’t get a lot of help from his surroundings, especially the Del Toro script.

Don’t get me wrong, it’s a beautiful movie to look at, and the special effects are really top-notch. Take, for example, a scene in which Hellboy glimpses a vision of a possible future Earth, complete with vast tentacles stretching across the sky and smoldering cities in ruin. It would no doubt be enough to reduce even H.P. Lovecraft to tears.

But there’s something missing among all the effects and attitude. For a movie which deals with mysticism and alien gods, Hellboy, ironically, seems to lack a soul. Most of the characters just seem to be going through the motions with no real direction in mind. Even the villains seem made of cardboard, and their nefarious schemes lack any real sense of urgency or dread. If an alien god was about to cross over into this world, don’t you think it should seem a little scary? Del Toro should have watched John Carpenter’s Prince of Darkness to see how it’s done.

John Hurt, an excellent actor, is given very little to do as Bruttenholm. Even his illness is only briefly touched upon, robbing the movie of what could have been perhaps its most dramatic element. No, Hurt is mainly called upon to look dignified, something an actor of his caliber could pull off in their sleep.

Rupert Evans and Selma Blair also suffer from the poor script. A romance between the two is teased, but it is quickly dropped as the final act of the film draws near (another wasted opportunity). Blair spends most of the film slinking around in black and looking glum, and one wonders why our protagonist would be so smitten with her in the first place (unless, of course, it’s simply because she’s the only woman he knows). Evans (as John Myers) is a major player in the early part of the film, but seems to recede into the background and almost disappear by the end. True, Hellboy is the focus of the film, but it’s a little odd to feature someone so prominently in the early stages and then pull them away as the picture wears on. Even Jeffrey Tambor as Tom Manning seems to get more screen time down the stretch.

But the villains are what really keep Hellboy from rising above the rank of simply average. In a film like this, the antagonists are all-important. Heck, they’re all-important in every action movie. Just look at a film like Die Hard. Would John McClane have seemed half as heroic if he didn’t have a villain like Hans Gruber to match wits with?

As the central villain, Rasputin is a major letdown. He has potential to be sure, but that potential is buried beneath a mountain of generic villain-speak. In fact, the clockwork nazi named Karl Ruprecht Kroenen seems to be a far more interesting villain, although the script quickly runs out of ideas and just ends up thrusting him into a generic battle with our hero. Even the final monster, which is supposed to be the primary threat, is disposed of in short order (leaving the climax of the movie feeling very incomplete).

Hellboy is worth the price of a rental, if for no other reason than to see Perlman in action and admire the special effects. But don’t snap it up expecting the character depth of Spider-Man or the supernatural energy of Blade. Like the mystical villains which populate its landscape, Hellboy talks a good game but ultimately has nothing to say.

About The Author

Shane Rivers

http://www.cinemathreads.com/

Comic Books - The Green Hornet History

In this article we're going to briefly discuss one of the darkest heroes in comic book history, The Green Hornet.

The Green Hornet actually hit the scene as a radio program before it ever saw the light of day as a comic book. The radio show debuted in 1936. This was two years before Superman hit the scene in comic books and three years before the creation of Batman. Yes, The Green Hornet did come before both of them though most people don't realize that.

The character of The Green Hornet was created by George W. Trendle, who stated in his creation that John Reid, who was the Lone Ranger, was the great-uncle of Britt Reid, the Green Hornet. Something else very few people know. The Green Hornet was one of the forerunners of the super hero genre. And since Trendle linked The Green Hornet to The Lone Ranger, it could be said that The Lone Ranger was also a forerunner.

Like many crime-fighters that came after him, The Green Hornet wore a mask, as did The Lone Ranger. The Green Hornet's true identity of Britt Reid, was an editor of a newspaper, the Daily Sentinel. This way he could keep an eye on what was going on in the world around him, much like Clark Kent did as Superman when he took a job working as a reporter at the Daily Planet. There were actually many parallels between Reid and Kent even though Reid was human and Kent was from the planet Krypton. Unlike The Lone Ranger though who got rid of his true identity and just went by The Lone Ranger, Britt Reid kept both of his identities. Newspaper publisher by day and crime-fighter by night.

The Green Hornet did not fight crime on his own, however. He had his trusty sidekick Kato, who was Reid's Oriental houseboy. Kato was a master at martial arts long before Kung Fu movies were even thought of. Kato was really the muscle of the team while Reid was more of the brains, though he could put up a pretty big fight when and if he had to.

Unlike many of the super heroes that came after him, The Green Hornet was a plainly dressed man. He wore a hat popular during the times and a coat. The only thing he wore that would even be remotely considered odd was his mask. But as crime fighters went, he was a dull one to look at. Kato too wore a mask and was dressed like a chauffeur. The two certainly didn't win any awards for original fashion.

The Green Hornet's car was the Black Beauty. This vehicle was created long before Batman's Batmobile and had every gadget inside that you could think of, from rocket blasters to laser beams. The Green Hornet also had a Hornet Gun which could blow the locks clean off of doors.

The one thing fairly unique about the Hornet, especially for the times, was that he was looked at as a bad guy. This made his job that much harder with the police also on his tail.

The comic eventually made its way to a hit TV series starring Van Williams and the ever popular Bruce Lee.

------------------------------------------------------- Michael Russell Your Independent guide to Comic Books ------------------------------------------------------- Article Source: http://EzineArticles.com/?expert=Michael_Russell

Comic Books - The Incredible Hulk History

In this article we're going to cover the history of one of the most changing comic books and characters ever - The Incredible Hulk.

The Incredible Hulk was another Marvel creation from the genius mind of Stan Lee. The character debuted in 1962 and thus began a strange evolution of a character that was probably the most tormented in comic book history.

The Incredible Hulk was Dr. Bruce Banner. He was a scientist experimenting with gamma rays. Well, one of this experiments went haywire and Banner was exposed to the gamma rays himself. He was close to death and miraculously survived, but not without paying a huge price. It seems that whenever Banner became angry he would transform into this hideous green creature who became known as The Hulk.

Unlike most other super heroes, The Hulk was not good. He wasn't entirely bad either. He would come to the aid of the underdog and saved many an innocent person in his day. But he had very little affection for law and order. Maybe it had something to do with the fact that they were trying to kill him all the time. The Hulk consequently inflicted as much harm on the upholders of justice as he would do to the criminals. He was an odd bird all right.

Oddly, the first comic with the green Hulk lasted only 6 issues when the appearance of the Grey Hulk hit the stands. In this incarnation Banner would transform into the Grey Hulk at night and then back to himself when dawn came. The reason for this was because Banner could not live with what he had become. So he transformed into his darker side at night to let out his ugly side, since Banner was afraid of the dark. This was done without him knowing it. In later issues however, it was done consciously.

In 1964, two years after the first appearance of The Hulk, there was an issue of Tales To Astonish featuring Giant Man where he ended up meeting and fighting The Hulk. In the next issue of that book it would split into two sections. The first section would feature Giant Man and the second section would feature the Hulk. Finally in issue number 70, The Sub-Mariner took over Giant-Man's place in the book.

It wasn't until 1968 that The Hulk took over the whole book. It was at this time that Tales To Astonish was dropped and the new title for the book was The Incredible Hulk. This is the reason why you never find issues 7 through 101 of the Incredible Hulk, the only comic book hero to suffer this comic numbering fate.

The Hulk basically ran this way until 1998 when a book came out called "The Rampaging Hulk" which tells of the early history of The Hulk before anybody knew Bruce Banner was The Hulk. It lasted six issues.

Finally, in 1999 The Incredible Hulk ended its run with issue number 474. But it didn't stay dead. After the new comic titled simply "The Hulk" hit the stands, 12 issues in, the word Incredible was added back to the title. The Incredible Hulk had returned.

The Hulk was such a popular character it saw its way into cartoons and a feature movie, which unfortunately was not true to the comic and quite awful according to critics.

------------------------------------------------------- Michael Russell Your Independent guide to Comic Books ------------------------------------------------------- Article Source: http://EzineArticles.com/?expert=Michael_Russell

The Proper Use of Comic Book Supplies Will Help You Maintain a Top-Notch Collection

If you want to keep your comic book collection in tiptop shape, comic book supplies will become part of your collecting life. As soon as a magazine is printed there are natural environmental forces going to work to try and destroy the ink and the paper. You have put in a lot of time, effort and enjoyment in acquiring all your comics. You don't want them to turn back to the dust and elements from which they came do you? So the proper use of comic book supplies is essential.

Elements such as humidity, temperature, pollutants, human skin oils and even the chemicals of the printed materials themselves, will start to deteriorate and discolor your comic books from day one. Comic book supplies and tools that have been developed over the years to help us combat these natural forces are de-acidification paper, polymer type storage bags, stiff backing material, storage boxes and desiccants (dehumidification materials). Not only will these comic book supplies protect your comics for your own enjoyment, they will add to reinforce the future value of each comic book.

Most all of these comic book supplies can typically be located down at your local comic book shop. But as I have discovered lately, there can be a world of difference in preservation abilities depending on what materials are used in the manufacture of comic book supplies. Quite typically what you may find downtown will be of sufficient protective quality to protect your comics for quite a while. Although, polybags, to put your comics into, are quite common and fairly cheap, Mylar bags are definitely the way to go. They will protect for 100 years (that may be a little overboard) as opposed to 2 or 3 years for poly.

There has been a lot of elaborate science, particularly chemistry, which has gone into comic book supplies preservation material manufacturing the last several years. MicroChamber material has been developed that will increase preservation from de-acidification and environmental breakdown for a vastly superior time period as opposed to typical comic book supplies materials available today. Beware though, comic book supplies manufactured with this new material can become quite costly. But if you have some serious collector's items, which you feel are worth a significant amount of cash, isn't the investment worth it? It is also no secret that CGC uses these comic book supplies materials in every comic book they grade.

I have created a page at my comic book site, which incorporates links to some rather technical scientific articles on preservation and using MicroChamber materials. You can read an in-depth discussion at

www.comic-book-collection-made-easy.com/comic-book-supplies.html .

Be forewarned though, You may need a moderate understanding of chemistry and physics to completely follow some of the discussions. But the articles will open your eyes to what is available in the comic book industry for comic book supplies preservation supplies these days.

Now if you have a rather rare back issue that may well have a high dollar value, here is a process worth considering. De-acidification products are usually used to neutralize acids in the paper prior to storage of most paper products of a pulp nature. This is not to be taken lightly, as it is considered by most to be an extensive form of restoration. The current understanding of the process is that the staples are removed and the sheets are submerged, film developer style, in a bath of de-acidification material. Then the entire book is rebuilt with new staples. This process can cost around $50 per comic book, when done by a professional, but will restore and increase the life expectancy of your comic book by many years. This process, in my opinion, should only be considered for already deteriorated comics that may have a considerable future worth if restored.

One final item to consider, especially if you live in a high humidity area is the use of descants as part of your comic book supplies arsenal. A desiccant is a chemical sieve for water, and is available for industry use in small packets or in buckets. For our purposes an 8-oz can (that looks like you'd keep a grasshopper in) can be simply put inside the box to absorb moisture and indicates when it is full by changing from crystal colored to pink. These same cans can then be reused by baking them for 3-4 hours in an oven at about 350 F. Each canister can cost around $9-$10 from one supplier called GAYLORDMART. 1 canister per short box and 2 per long box should be sufficient. Another consideration is the little packets typically found in a box of shoes. These are even more inexpensive, but would require further research to insure no harm would come to each comic book.

So as you build your valuable comic book collection, you will want to put some serious consideration into the comic book supplies that you will need. Materials and supplier source will become important variables in your overall decisions. I will have more interesting topics and sources from time to time at my site, so come on over and visit. You may even want to bookmark it.

Dave Gieber owns and edits a website built around one of his childhood passions. Learn the basic essentials to comic book collecting success. To receive your free 5-part mini course visit: Comic Book Supplies

Article Source: http://EzineArticles.com/?expert=Dave_Gieber

How to Contact Comic Book Artists and Writers

The first annual New York Comic-con brought out Milla Jovovich and was so successful, organizers almost had to shut it down. The second annual New York Comic-con was organized much better, even bringing out Steven King and Stan Lee to meet fans.

Below are some more insider tips for contacting your favorite comic book artists and writers at various comic book conventions around the country...

Meeting in Person:

Although most comic book creators, artists, and writers will tell you where to send fan mail inside their publications, the comic book industry also takes great pains to make itself available to their fan base through conventions, expos, and fan events.

The general rule of thumb is if you wait a while, a comic convention (or “comic-con”) is likely to be announced in your area, and the organizers will make all sorts of promises as to who will be there (most of whom won’t show up). Buy your ticket anyway, and take a few hundred bucks and a good Sharpie pen -- because even if the people who show up aren’t the people promised, they’ll most likely be worth meeting.

Most comic conventions today go far beyond only comic books. They often feature actors, directors, television stars, set designers, comic artists, writers, and an assortment of retro names that will have you scratching your head trying to remember who they were. The show will usually charge around $25 for a ticket, but the attractions will last all day long, from rare film screenings to autograph sessions to bootleg comics for sale. Most conventions travel around the country so fans don’t have to spend any money to travel.

What should you bring to get signed? Nothing really, unless you know someone is going to be there and you have some great piece of memorabilia sitting around relevant to that person. Usually there are plenty of items for sale at comic conventions you can purchase to have signed.

Prices at convention’s vendor booths are usually not cheap, however you can pick up some really neat pieces of pop culture memorabilia if you look hard enough, and the chance to get that item signed by its creator can be something really special.

Comic book conventions and the comics themselves are a huge industry that gets bigger every year. Therefore, comic-cons are a great place to spot up and coming stars before their signatures becomes worth thousands of dollars when they really hit it big.

How do you find a comic convention I your area? It’s pretty easy -- just visit the Comic Book Conventions Web site. This resource list all upcoming comic-cons, usually four or five per weekend, and it also announces changes to programming, cancellation, and contact information.

The better conventions come back the same time every year, such as the Mid-Ohio-Con, which takes places in Columbus, Ohio on Thanksgiving weekend. The 2004 Mid-Ohio-Con lineup included the Soup Nazi from Seinfeld and Noel Neill, the original TV Lois Lane, as well as numerous other comic industry names.

The Vancouver Comic-Con happens once every few months, while Dragon-Con takes place each September. Every corner of the country has some sort of gathering, but even if you have to get in the car and drive a few hours to a really good-size convention near you, the money spent in doing so can be gained back when you take that authentic John Byrne sketch and put it up for auction on eBay.

The big names of the comic convention business include the following:

San Diego Comic-Con International, P.O. Box 128458, San Diego, CA 92112-8458, 619-491-2475

The biggest and the best, Comic-Con has become a brand name in the business. Tens of thousands of enthusiasts gather every year, some flying in from across the country to listen to panels of experts, get autographs, buy memorabilia, watch special screenings of movies, and just hang out.

Dragon*Con, P.O. Box 16459, Atlanta, GA 30321-0459, 770-909-0115

A solid number two, Dragon*Con takes on more of a fantasy tilt—but it’s not just for Dungeons and Dragons fanatics. D*C gets bigger every year, and as the collectors grow from obsessed teenagers to well-funded adult fans, the money going through the registers keeps increasing as well.

Big Apple Comic Convention, 75-34 Metropolitan Avenue, New York, NY 11379, 201-865-3288

This one is in New York City, so of course it’s big. If you live in the northeast, the Big Apple Con is the one for you.

Mid-Obio-Con, P.O. Box 3831, Mansfield, OH 44907, 419-526-1427

The Midwest really knows how to put on a show, and M-O-C always has an interesting lineup of names. It’s not the biggest comic-con around, but it’s got a reputation as one of the best.

Mega-Con, P.O. Box 1097, Safety Harbor, FL 34695, 727-796-5725

New York Comic-con, Jacob Javiz Center, 655 West 34th Street, New York, NY 10001, 1-888-605-6059

Sending Fan Mail:

To write your favorite comic book artist, look for his or her fan mail address printed in the comic book. Or send your letter to the comic book publisher, whose address will also appear inside the book.

Visit Contact Any Celebrity for instant access to the best mailing address, agent, manager, publicist, production company, and charitable cause for your favorite comic book artists and writers.

For instant access to the best mailing address, agent, manager, publicist, production company, and charitable cause for over 54,000 celebrities worldwide, visit Contact Any Celebrity now at http://www.contactanycelebrity.com to search their online database!

Article Source: http://EzineArticles.com/?expert=Jordan_McAuley

COMIC BOOK STORE

Comic book stores are literally everywhere – every city has at least one. The most obvious way to find them is to check your local yellow pages or city directory. You can also buy comic book magazines that detail where you’ll find rare comic books in your area. These magazines discuss comic book prices and the latest collectors’ trends, so they’re worth the few dollars you pay for them.

If there are no local comic stores in your general geographic area, you will find lots of comic book shops and stores on the World Wide Web that may give you a listing of the stores in or around your area. These sites will usually ask for your zip code to determine where you are located, and then they will generate a list of comic book stores within that general area.

Reliable comic book shops now operate over the Internet to reach people in far away places and people who don’t have the time to actually go to a comic book store and browse.

Shopping for comic books online can be just as exciting as shopping in a store. Most online comic book stores have bigger inventories so you’ll have access to more issues. They even carry rare back issues.

If you have no time to visit a comic book store or go online and browse through collections for sale, then order a comic book catalog. You can bring the catalog wherever you go, so you can incorporate shopping for comic books with your daily activities.

Comic Books provides detailed information on Comic Books, Comic Books For Sale, Vintage Comic Books, Comic Book Stores and more. Comic Books is affiliated with How To Draw Caricatures.

Article Source: http://EzineArticles.com/?expert=Jennifer_Bailey

SPIDERMAN 3

Peter has begun to feel secure in his life and plans to propose to Mary Jane. One night in a park, while Peter and Mary Jane are on a date, a small meteorite crashes nearby, and an alien symbiote oozes out, attaching itself to his moped. Meanwhile, escaped convict Flint Marko falls into a particle accelerator which transforms him into a shape shifting sand monster. Peter's best friend, Harry Osborn, who seeks vengeance for his father's death, which he believes Peter caused, attacks him. The battle leaves him with short-term amnesia, making him forget his vendetta.

Later, during a festival honoring Spider-Man for saving Gwen Stacy’s life, Marko attempts to rob an armored car, and overpowers Spider-Man. Captain Stacy later informs Peter and Aunt May that Marko is the one who killed Ben Parker, and a vengeful Peter waits for Marko to strike again. The symbiote bonds with his costume while he is asleep, and Peter discovers that not only has his costume changed, but his powers have been enhanced as well. The black suit also alters Peter's personality, making him more violent, exemplified by a near lethal attack on Marko during a battle underground.

Affected by the suit, Peter exposes and humiliates Eddie Brock Jr., a rival photographer at the Daily Bugle, who sells fake pictures of Spider-Man. The shift in Peter's personality alienates Mary Jane, whose stage career is floundering, and she finds solace in Harry. Harry then recovers from his amnesia and threatens to kill Peter unless MJ breaks up with him. After Mary Jane leaves Peter, stating she is in love with another man, Harry meets him at a restaurant and claims to be the other man. Harry speeds off before Peter can confront him, but Peter finds him at the Osborn mansion. With the help of the black suit, Peter is victorious in a brutal fight which leaves Harry's face disfigured.

In an effort to make MJ jealous, Peter brings Gwen to the nightclub where Mary Jane works and gets into a fight. In the scuffle, he accidentally throws MJ to the floor. Peter realizes the symbiote-suit is changing him for the worse. He runs out of the nightclub and goes to a church bell tower to be rid of it. Initially he is unable to pull the suit off, but the sound waves from the church bells weaken the symbiote, freeing Peter. Eddie Brock is at the same church, praying for Peter’s death, and the symbiote falls from the tower and takes over his body. The newly powered Eddie finds Marko and suggests that they join forces to destroy Spider-Man.

The pair use Mary Jane as bait to lure Spider-Man to confront them. Peter approaches Harry for help, but is turned down and leaves. However, Harry learns the truth about his father's death and arrives in time to rescue Peter, teaming up against Brock and Marko. As the fight progresses, Brock attempts to impale Peter with the glider, but Harry sacrifices himself and is fatally wounded. Peter recalls how the church bell's toll weakened the symbiote, and frees Eddie from it by clanging several pipes together. Peter throws a pumpkin bomb at the symbiote just as Eddie, who has grown attached to its power, attempts to re-bond with it; Eddie and the symbiote are destroyed.

After the battle, Marko tells Peter that he had no intention of killing Ben Parker, and that it was an accident born out of a desperate attempt to save his daughter's life. Peter forgives Flint, who dissipates and floats away. Peter and Harry forgive each other as Harry dies with Mary Jane and Peter by his side. Afterward, Peter and Mary Jane begin to mend their relationship.

COMICS FROM 1970s ERA

The 1970s were troubled years for the comic book industry. A sharp drop in the birthrate meant that fewer children were buying comics, and sales declined. While some publishers tried to promote new comic magazines aimed at an older audience, others drastically cut their production. Television also continued to compete for the same audience, offering animated cartoons (The Superfriends, 1973-1986) and even live-action shows (The Incredible Hulk, 1977-1982; Wonder Woman, 1976-1979) based on comic book characters.

With newsstand sales plummeting and many companies folding, the comic book medium was saved at the end of the decade by direct market distribution. This method consisted of a network of specialized comic stores that bought comic books on a nonreturnable basis—once the stores purchased the comic books from the publishers, the stores could not return unsold comics. Bolstered by guaranteed sales of their product, comic book publishers rebounded.

Marvel preserved its position as a leading comic book publisher with a successful line of X-Men comics in the 1970s. The X-Men were mutants who had special powers, such as being able to levitate objects or shoot a powerful beam from their eyes. The original X-Men appeared in 1963, but the comic did not gain a large following until the late 1970s. The series eventually spawned an entire line of spinoffs, such as X-Factor and X-Terminator. (Source : Encarta)

COMICS FROM 1960s ERA

In the 1960s the comic book industry began to move in new directions. A leader in this trend was Marvel Comics, which introduced a host of new superheroes who had special powers but also suffered many of the same insecurities as real people. The first such heroes were the Fantastic Four, created by Marvel’s Stan Lee in 1961: Mr. Fantastic, who could stretch his elastic body almost without limit; the Invisible Woman, who had the power to make herself and other things invisible; the Human Torch, who could transform his body into flame; and the Thing, who was made of orange rock and had superhuman strength. Despite their powers, the Fantastic Four suffered the same difficulties in life as anyone else. The Fantastic Four comic would also introduce other popular superheroes-with-flaws, such as the Silver Surfer (1966).

The Incredible Hulk (1962) was another character that Lee created. The Hulk was the “alter ego” of Dr. Bruce Banner, a scientist who was accidentally exposed to massive amounts of gamma radiation. After the exposure, whenever Banner’s temper flared he turned into a green-skinned, muscle-bound monster called the Hulk. The most successful Marvel character may have been Spider-Man, another Lee character who debuted in 1962. Spider-Man’s true identity was Peter Parker, an awkward teenager who is bitten by a radioactive spider and gains speed, agility, and strength. Despite these advantages, Parker still suffers many of the same personal problems as a regular high school boy—and this helped make him one of the comics’ most popular characters. Marvel’s innovations led to huge sales and a spot at the top of the industry along with DC.

A different sort of innovation took place during this period among so-called underground cartoonists such as Robert Crumb, Gilbert Shelton, and S. Clay Wilson. These artists covered a wide range of subject matter—even incorporating sexual content and drug use—as they pushed the limits of comics, or comix, as they liked to call them. Eventually these underground artists achieved popular recognition and some became famous, like Crumb, the creator of memorable characters such as Fritz the Cat and Mr. Natural.

The offbeat comic magazine Mad was first published in the 1950s, but it gained in popularity during the industry changes of the 1960s. The publication was one of the sole survivors of the EC Comics empire, which crumbled under governmental scrutiny of the industry in the early 1950s. Featuring a host of talented regular writers and artists, Mad’s anti-authoritarian skewering of popular culture—everything from movie satires to comic strips and side-panel cartoons—found a wide audience among teenagers and young adults of the era. (Source : Encarta)

COMICS FROM 1940s AND 1950s ERA

During World War II the demand for superheroes ran high, and several of the most famous and enduring characters debuted during this period. These heroes included Captain America, who battled Nazis beginning in 1941; Wonder Woman (1941), who boasted superhuman strength and speed, special bracelets that deflected bullets, and a magic lasso; and others, such as The Sub-Mariner (1939), Green Lantern (1940), the Flash (1940), and Captain Marvel (1940).

After the boom of the war years and with the early coming of television, comic-book readership dropped dramatically. Many publishers went out of business, and others turned to stories featuring violence and horror. The most extreme case was William Gaines’s line of horror comics that became popular during this period under the EC label, including titles such as Crypt of Terror, The Vault of Horror, and The Haunt of Fear.

This trend toward violence and horror tales resulted in a public outcry that reached a peak in 1954. In that year psychiatrist Frederic Wertham published Seduction of the Innocent, a book sharply critical of the comic book industry, and the U.S. Senate held hearings on Juvenile Delinquency (Comic Books). To prevent government censorship, publishers were compelled to set up the Comics Code Authority (CCA), a self-regulating body with broad policing powers. The comic book code saved the industry from probable ruin, but it also stifled creativity in the field, discouraging artists and publishers from exploring new styles and genres. Sales slipped even more. (Source : Encarta)

COMICS FROM 1930s ERA

The first comic book to be published with some brand-new material was The Funnies, which ran for 13 issues in 1929. Some early comic books were created for manufacturers to give away as a special bonus, such as Funnies on Parade, which was made for Proctor & Gamble in 1933. The first comic book to sell on newsstands was Famous Funnies in 1934. In 1935 came the appearance of New Fun, the first comic book containing exclusively original material. New Fun was published by DC Comics, which would go on to become one of the largest comic book publishers in the world. In 1937 DC began publishing Detective Comics, the first series utilizing a single theme from issue to issue.

Comic books vaulted into the public consciousness in 1938 with the debut of the character Superman in Action Comics. Superman, who came from a dying planet as a child, was endowed with special abilities under the Earth’s sun—he could fly and boasted superhuman strength, X-ray vision, and other powers. He also had a secret identity as a mild-mannered newspaper reporter named Clark Kent. The popular new character sent sales of Action Comics soaring, and an American myth was born.

The success of Superman ensured the viability of comic books as a form and gave rise to countless other superheroes. One of them was Batman, so named for his costume that looked like a bat. He fought evildoers not with superhuman powers but with uncommon physical skills and intelligence. This character debuted in 1939 in Detective Comics and quickly became as well known as Superman. Both characters have been featured in television series and motion pictures through the years, gaining further popularity. (Source : Encarta)

MILLION REWARD FOR RARE COMICS BOOK

October 2003 (Newstream) -- A reward of up to $1 million is being offered by prominent Baltimore business executive, Stephen A. Geppi, for a near mint condition copy of the rare 1938 comic book that first introduced Superman and launched an icon of American pop culture.

The reward is in conjunction with the First Annual Las Vegas Comic-Con (www.LasVegasComicCon.com), October 31 - November 2, at the Mandalay Bay Convention Center where Geppi will exhibit a copy of the fabled "Action Comics #1."

Originally sold for ten-cents each in 1938, even worn copies of Action Comics #1 today are valued at tens of thousands of dollars each. Less than 100 copies are known to exist.

"I'll pay at least $25,000 for an un-restored, complete copy in good condition, and up to $1 million for a genuine, "near mint" condition copy of Action Comics #1," said Geppi, President and CEO of Diamond Comic Distributors, a $300 million a year business that distributes comics, collectibles, toys and games throughout the world. He is also the owner and publisher of Baltimore Magazine and a part owner of the Baltimore Orioles.

The distinctive cover of the 64-page comic book depicts Superman lifting an automobile.

Experts caution there are inexpensive reprints of the 1938 comic book in the market, but these are easy to distinguish because the modern copies were printed on significantly larger pages than the valuable originals.

"The Golden Age of Comics really started with the introduction of Superman. Action Comics #1 has been called the Queen Mother of comic books, giving birth to both a popular superhero and an entire genre of Americana," said Robert Brueggeman, Event Director of the Las Vegas Comic-Con, a three-day public event that will bring together artists, writers and publishers.

"I hope this reward prompts people to check their basements, attics, garages and elsewhere for vintage comic books and memorabilia they want to sell. You never know what grandpa might have stashed away," said Geppi.

"We'll have experts available at the Las Vegas Comic-Con to give free appraisals to everyone who brings in their old comic books for evaluation," said Brueggeman.

Geppi's $1 million reward is for a copy of Action Comics #1 that grades at least 9.4 (near mint condition) on the CGC grading scale.

For additional information about the reward offer, contact Stephen Geppi at (410) 560-7100 x 169. For information about Las Vegas Comic-Con, October 31 - November 2, call (866) 36-COMIC, or go to www.LasVegasComicCon.com.