Spaced Repetition: * the rate of decay * the timing of active recall * the sweet spot of forgetting

the use of comic books around their early stages.

Overview of Moore’s Marvelman.

Article examines: * creative relationship between Abnett and Harrison (Harrison creates "visual aesthetic of a planet" and Abnett then concocting the story); * previous collaborations between the two in 2000AD * Harrison's career * plot structure * Annie Parkhouse's lettering * comparisons between The Out and Moore and Davis' The Ballad of Halo Jones

Feminism & Comic Books

Feminism & Comic Books

https://xkcd.com/614/info.0.json

https://thenib.com/piled-on/

https://medium.com/skeb-jp/guide-154f3a80c3b6

This looks like a reveal.js presentation, but it could be an interesting tool to create online cartoons or comics with.

https://theoatmeal.com/comics/email_address

https://theoatmeal.com/comics/reaching_people_2021

As an avid reader of PhD Comics, I wonder whether it might have some useful information/memes for use in my annotated bibliography project.

GANGNES: Adaptations of The War of the Worlds have tended to modify their settings to match those of their main audience. To aid in establishing their time periods and locations, they open with a prologue that is similar to this one, but with several details changed to suit the adaptation.

The 1938 RADIO DRAMA (Orson Welles, Mercury Theatre on the Air)) begins: "We know now that in the early years of the twentieth century this world was being watched closely by intelligences greater than man's and yet as mortal as his own. We know now that as human beings busied themselves about their various concerns they were scrutinized and studied, perhaps almost as narrowly as a man with a microscope might scrutinize the transient creatures that swarm and multiply in a drop of water. With infinite complacence people went to and fro over the earth about their little affairs, serene in the assurance of their dominion over this small spinning fragment of solar driftwood which by chance or design man has inherited out of the dark mystery of Time and Space. Yet across an immense ethereal gulf, minds that to our minds as ours are to the beasts in the jungle, intellects vast, cool and unsympathetic, regarded this earth with envious eyes and slowly and surely drew their plans against us. In the thirty-ninth year of the twentieth century came the great disillusionment."

The 1953 FILM ADAPTATION (Byron Haskin)) includes a bit of narration before the title that briefly discusses war technology from WWI and WWII, then begins: "No one would have believed, in the middle of the twentieth century, human affairs were being closely watched by a greater intelligence. Yet, across the gulf of space, on the planet Mars, intellects vast and unsympathetic regarded our Earth enviously, slowly and surely drawing their plans against us."

The 2005 FILM ADAPTATION (Steven Spielberg)) begins: "No one would have believed in the early years of the twenty-first century, that our world was being watched by intelligences greater than our own. That as men busied themselves about their various concerns, they observed and studied. Like the way a man with a microscope might scrutinize the creatures that swarm and multiply in a drop of water. With infinite complacency men went to and fro about the globe, confident of our empire over this world. Yet, across the gulf of space, intellects, vast and cool and unsympathetic regarded our plant with envious eyes. And slowly and surely, drew their plans against us."

Perhaps most interestingly, the opening lines were modified to fit a fictional setting: the DC Comics universe. The DC "Elseworlds" comic "SUPERMAN: WAR OF THE WORLDS" (1988) accommodates the existence of Krypton in this way: "No one would have believed, in the early decades of the twentieth century, that the Earth was being watched keenly and closely across the gulf of space by intelligences greater than man's and yet as mortal as his own. One such older world was Mars, where minds that are to our mind as ours are to the beasts--intellects vast and cool and unsympathetic--regarded Earth with envious eyes, and slowly and surely drew their plans against us. Another such world, unknown alike to our earth and to the red planet... was the doomed sphere called Krypton." The narration goes on to link the fates of Earth, Mars, and Krypton to establish their similarities and draw them together under the Elseworlds Martian invasion.

Nick Sousanis makes a similar point in his book Unflattening. His argument is that the comic form offers us a way to re-imagine ourselves that is attuned to both networked and isolated interactions.

I can't believe we got away with putting this image into a scholarly article.

Aprobaron un grupo sobre novelas gráficas y cómic.

En la página 7 empieza a definirse lo que es un cómic.

En la página 57 se refiere al ensayo de Kandinsky On the problem of form

Entendiendo los cómics, de Scott McCloud

I hadn't thought about it, but it is so true.

The philosophical underpinnings of Calvin and Hobbes

The original source of Alfred E. Neuman's face was probably a poster for a popular 1894 stage comedy called The New Boy.

Yeah to comic books for disrupting the world!