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This told the story of Oscar Francois de Jarjayes, a young girl in prerevolutionary France who is raised by her father a count to be an expert sword fighter. She is so good that she is appointed as the head of the royal guard serving to protect Marie Antoinette at the court of Louis XIV. So you have a lot of gender bending here, a woman taking on the societal role of a man in the very ordered prerevolutionary French social order, going on to have great romantic and ultimately tragic adventures herself in the process.

And further down the road is a direct descent of Rose of Versailles , one of the current mega-hits of the 90s in Japan: the TV show Revolutionary Girl Utena. The title character here is Utena Tenjou, a 14 year old junior high girl in a private boarding school in Japan. She is an orphan having lost her parents years before, butat the funeral a mysterious prince appeared to give her a rose signet ring and tell her to remain strong and he would someday return.

Then he disappeared. Instead of waiting for her prince to come as a traditional girl would, Utena decides to imitate him. She starts dressing as a boy, becomes athletic and learns to fence, and aspires to be as much like her mysterious prince as she can. The attraction of this show is all the conventions of fairy tales and romance that this series turns on their heads.

When she arrives at the school she discovers that there is a secret society within the student council where the members also wear the same rose signet ring and duel each other for the possession of the"Rose Bride", another student here named Anthy Himemiya. Utena is drawn into these duels because she disapproves of anyone "owning" Anthy, so she finally gets to play the role of the prince rescuing the fair damsel in distress.

Oh, and all of this is in the mysterious forest behind the school and no one can see it from the outside. You also notice that the student council president, Touga, is a classic example of the bishonen or "beautiful boy" I talked about earlier. This is for two reasons.

Second, the convention of an actor freezing right at the moment of dramatic action is something which comes from traditional Japanese theater, so this is what the Japanese audience expects. It draws out the actionand makes it more exciting. Another motif you saw here that is very common in anime is the hair blowing in the wind to signify significant emotions or the feeling of a scene. This is so common that in one of the Yamato Starblazers in the US movies, two of the characters are sitting out on the hull of the starship in the middle of deep space.

Neither one is wearing a spacesuit and both of them have the wind vacuum? So the overall impression you get from watching this sequence is how artificial, how theatrical, how unreal and surreal it is. In US animation and most western art for that matter the artist is trying for realism. But as Antonia Levi points out in her book about anime, Samurai From Outer Space , realism is not something that is valued as highly in Asian art as it is in western art. Remember, "this is not a pipe". So in Utena you are continually reminded that this is not real, that this is a fantastic allegory with the symbolism all in the foregroundinstead of the background.

Now most anime do not have as blatant a theatrically about them as Utena does. When you see Nausicaa next week it will be closer in style to Beauty and the Beast than Utena , but you will still see some of these stylistic motifs appearing there. Stop and think for a minute. Look at Bart. How many anglo people do you know who are yellow have square heads and eyes that bug out like that?

Comic heyday!

He looks like a cartoon character. McCloud wanted to do a serious book explaining complex and subtle background to the art theory and graphical element in comics. But he decided that the only way to really explain comics was to do this in cartoon form. Became Marvel Knights and was closed in , last publishing in []. Evil Twin Comics. Extrem Erfolgreich Enterprises. FAB Comics. Fan-Atic Press. Fantasy Flight Publications.

Farrell Comic Group. Was followed by Farrell Comic Group. Fierce Comics. Registered club open to any comic-fan [] with the goal to continue prematurly cancelled comic-series. Imprint: Edition Solitaire. Front Froid. Erotic comics imprint of Apple Comics. Fox Atomic Comics. Comics publishing imprint of Fox Atomic , itself an imprint of 20th Century Fox. Friendly Comics. France []. Australia []. Great Comics Publications. GC Comics. Greater Mercury Comics. Last Publication Jan Heaven Sent Gaming.

Publisher and creator of multiple original series spanning across multiple forms of media. Including comics.

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Titles: Heeby Jeeby Comix ; Brain , [] various one-shots. Publisher and creators of Mandy the Monster Hunter [] and other horror titles. Hero Nation. Successor to Editions Lug, which was succeeded by Semic S. Titles: Strangers , Hexagon Classics. Most of the staff moved to Bell Features []. Hirntot Comix. Hound Comics. Imprints: Coexist Publishing. Humanoids Publishing.

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Human Comics Independent Publishing. Finland [].

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Signatory agency also publishing comics; imprint: Freestyle []. Imperial Comics. Innovation Comics. Imagine Worlds Comics. Former Paragon Publications until ; former Americomics until []. Jademan Comics. Kandora Publishing. Kasakura Shuppansha Kasakura Publishing. Imprints at: Cult Comics. Parent company is Viz Media Europe. Bought by Ocean Capital Corp. Klutz Enterprises. Japan []. Bought imprint Cross Culture from Alias Comics in []. Laska Comix. Defunct Dark Horse Comics imprint for creator-owned materials; followed by Maverick.

Titles: Horror City ; Lluvia de Sangre []. Lev Gleason Publications. Former Virgin Comics. Lodestone Comics. Lonely Robot Comics. Ludovico Technique LLC.

  • List of comics publishing companies - Wikipedia;
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  • Lucha Comics. Mad Dog Graphics. Majestic Entertainment. Matrix Graphic Series. Dark Horse Comics imprint for creator-owned materials, follow-up to Legend. Max Comics MAX.

    Comichron: Yearly Comic Book Sales

    Michael Hunt Publishing. See: Radio Comics. Millennium Publications. Mirror Comics. Mirror Comics Studios. Became Archie Comic Publications in Dark Horse Comics imprint for "diverse literary fiction and non-fiction prose for authors with a unique voice". Neko Press. New Baby Productions. See: Academy Comics. New Sirius Productions. Norway []. Noble Comics. Northstar Publishing. Chicago-based publisher known for publishing Faust.

    NPC Comics. Also known as National Press Comics. US [] [ not in citation given ]. Off Shoot Comics. Onward Comics. Outpouring Comics. Founded first release in ; becomes Americomics in []. Perro Muerto Producciones. Peru []. Lima based small press company. Later became Paradox Press. Piredda Verlag. Publishes german-translated editions of Franco-Belgian comics.

    Planet Random Creative. Plasma Heroes. Plem Plem Productions! Pocket Watch Books. Pocket Watch Books [] creates photo-illustrated graphic novels with strong female characters and storylines. Alice in Wonderland and Bounty! Portal Comics. Power Comics Company. Titles: Power Comics ; Cobalt Blue.

    Pow Pow Press. Bosnia []. See: Mighty Comics. Real Life Comics. Raytoons Comics. Reasonably Priced Comics.


    Rebellion Developments. Now also owns the former back catalogue of Fleetway. Rebel Studios. Red Circle Comics. Red Giant Entertainment. Publishes comics and graphic novels. US [10]. Started with Aardvark-Vanaheim titles, except for Cerebus [10]. Revil Comics. Re-Visionary Press. Rolf Kauka Comics. Scotland []. Rural Home. Also published under Rural Home Publishing Co. Schwarzer Turm. South Korea [].

    VERTIGO R.I.P.- Comic Book Industry Cowards Serve Each Other Birthday Cake At A Funeral

    Dark Horse Comics imprint []. Seven Seas Entertainment. Shanda Fantasy Arts. Shooting Star Comics. Shuppan Manga. Silver Moon Comics. Silverwolf Comics. Becomes Greater Mercury Comics [ citation needed ]. Sirius Comics. So Cherry Studios. Spilt Ink. The butique digital and print ready inprint of comics creator and artist Salgood Sam. The publishing industry is still in its infancy, and has yet to fully exploit its newfound freedom to sponsor local talent.

    Comic artists, including those with major publishing deals, still cannot make a living out of their art and most still distribute at only a few select spots, for example, at Taman Ismail Marzuki the Jakarta Arts Centre. Since professional publishing neglects local output, the Indonesian public remains largely unaware of its own comic talent.

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    Fewer again make a living from their comics. The comic earned the artist a grand total of Rp 23, and is not even listed in the Balai Pustaka catalogue! Papillon Studio in Semarang is a major comic producer, managed and promoted by Kio with a staff of Papillon publish a local version of Japanese-influenced work.

    As Kio explains, the problem is distribution. Their publisher is Elex Media Komputindo, an offshoot of Gramedia, the largest publisher in Indonesia. Despite this, no one seems to know how the comic is actually distributed and in Java the comic remains unavailable. The great failing in these publishing efforts is the push to copy foreign styles rather than promote an Indonesian style. Many of the black and white, independent self-published comics have well-developed stories and great illustrations. Unlike the imported varieties from Japan, the US and Europe, they are highly relevant for contemporary Indonesia.

    Tono, a student at Petra University in Surabaya, is a perfect example. He produced a comic called Duit Money about kids hanging out doing what local kids do: skateboarding, drinking, fighting and eventually dying over money. His comic has no dialogue, which means the reader needs to fill in the blanks. Tono is like the vast majority of young komikus who produce comics out of love for the medium and a desire to express their view on life as a modern Indonesian.

    Their political spunk is refreshing compared to the self-censorship and conservatism that still exists in much of the mainstream media.