Relevant bibliographies by topics / Marvel comics characters

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Academic literature on the topic 'Marvel comics characters'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 July 2025

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Journal articles on the topic "Marvel comics characters"

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Iskandar, Muhammad, and Sonson Nurusholih. "Volt Comic Character in Scott Mccloud's Superheroes Concept." KnE Social Sciences 10, no. 3 (2025): 55–61. https://doi.org/10.18502/kss.v10i3.17896.

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In early 2012, the phenomenon of the birth of a new Indonesian superhero character named “Volt” enlivened Indonesian superhero comics. Almost 10 years since it first appeared, this comic has been able to survive amidst the competition for comics originating from the west such as DC Comics and superheroes made by Marvel. This study will analyze the comic character Volt, whose physical visual depiction is heavily influenced by Western comic visuals and is well-received by comic fans in Indonesia,although this character is originally from Indonesia. The research method used is a qualitative descr
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Wolski, Michał. "Wampir antybohaterem? (Próżne) zmagania z rolą superbohatera na przykładzie Morbiusa, żywego wampira." Kultura Popularna 3, no. 49 (2017): 37–47. http://dx.doi.org/10.5604/01.3001.0009.8043.

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The aim of the paper is to analyze the American comic book character named Michael Morbius, the Living Vampire, who appears in Marvel comics and other audiovisual texts of culture (most notably the 1994 Spider-Man animated TV series). Morbius is not only an interesting exemplification of the vampire motif, but also can be described as the antihero – an outsider, a misfit and a morally ambiguous person. The paper also tries to answer the question of what makes characters recognized as contemporary antiheroes so popular – not only in comics, but, for instance, also in TV series – and in which wa
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Walshe, Shane. "« IRISH ACCENTS DRIVE ME NUTS »: THE REPRESENTATION OF IRISH SPEECH IN DC COMICS." Cahiers du Centre de Linguistique et des Sciences du Langage, no. 38 (November 17, 2013): 93–121. http://dx.doi.org/10.26034/la.cdclsl.2013.745.

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This article investigates the depiction of Irish speech and Irishness in American popular culture. It compares the language of Irish superheroes in the Marvel universe with that of Irish characters who appear in DC comics. It shows that the linguistic description of the characters hinges on perceived salient features and it discusses differences between the two comic-book worlds, as well as the question of to what degree the two representations are grounded in reality.
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Tembo, Kwasu. "Why Superman Will Not Save the World: Theorizing the Relationship Between Suffering and DC Comics Superman." Galactica Media: Journal of Media Studies 2, no. 3 (2020): 119–37. http://dx.doi.org/10.46539/gmd.v2i3.114.

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The hypothesis that there is an inextricable link between comic book superheroes and suffering would, to anyone with a cursory knowledge of superhero characters found in DC, Marvel, Image, Wildstorm and other houses, and their histories, ostensibly seem valid. This validity depends on which character one is applying said hypothesis to; the psychological and physical suffering of a Batman being more acceptable as such than that of a Plastic Man, for example. However, using DC Comics character Superman as a case study, this paper explores the inextricable link between Otherness, power, and suffe
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Tembo, Kwasu. "Why Superman Will Not Save the World: Theorizing the Relationship Between Suffering and DC Comics Superman (Translation into Russian)." Corpus Mundi 2, no. 2 (2021): 14–34. http://dx.doi.org/10.46539/cmj.v2i2.43.

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The hypothesis that there is an inextricable link between comic book superheroes and suffering would, to anyone with a cursory knowledge of superhero characters found in DC, Marvel, Image, Wildstorm and other houses, and their histories, ostensibly seem valid. This validity depends on which character one is applying said hypothesis to; the psychological and physical suffering of a Batman being more acceptable as such than that of a Plastic Man, for example. However, using DC Comics character Superman as a case study, this paper explores the inextricable link between Otherness, power, and suffe
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Gipson, Grace D. "Now It’s My Time! Black Girls Finding Space and Place in Comic Books." Arts 12, no. 2 (2023): 66. http://dx.doi.org/10.3390/arts12020066.

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This essay examines how Black girl narratives are finding and making space and place in the arena of comic books and television. With the rise in Black girl (super)hero protagonists on the comic book pages and adapted television shows, it is essential to explore the significance of their rising inclusion, visibility, and popularity and understand how they contribute to the discourse surrounding the next generation of heroes. Guided by an Afrofuturist, Black feminist, and intersectional framework, I discuss the progressive possibilities of popular media culture in depicting Black girlhood and a
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McMurtry, Leslie. "Dark night of the soul: Applicability of theory in comics and radio through the scripted podcast drama." Studies in Comics 10, no. 2 (2019): 235–54. http://dx.doi.org/10.1386/stic_00004_1.

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Abstract This article responds to McCloud's theoretical framework for comics and applies this framework to audio drama, which I argue is, like comics, a mono-sensory medium (one can only be seen in static image and the other can only be heard); both require a great degree of closure from the audience to frame together sequential narratives (of visual art and sound, respectively). To do this, it uses the case study of Marvel and Stitcher's Wolverine: The Long Night (2018), a 'scripted podcast' (audio drama). While comics are escaping from decades of critical disregard due to their status as a p
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Zhou, Ziqing. "Revisiting Haraway's Cyborg Myth: A Case Study of Female Cyborg Characters in Marvel Comics." Transactions on Social Science, Education and Humanities Research 10 (August 29, 2024): 131–36. http://dx.doi.org/10.62051/y1dcwq44.

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This paper revisits Donna Haraway's Cyborg Myth through a case study of female cyborg characters in Marvel Comics. Haraway's Cyborg Manifesto presents the cyborg as a hybrid entity that challenges traditional boundaries of gender, identity, and technology, offering a framework for feminist theory and posthumanism. By analyzing characters such as Misty Knight, Jocasta, and Lady Deathstrike, this study explores how these figures embody or challenge the cyborg myth and its feminist implications. The analysis reveals the nuanced portrayals of female cyborgs in Marvel, highlighting themes of empowe
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Kahler, Jason. "The many masks of Dr Henry Pym: Alter ego, identity, disability and personality of a founding Avenger." Film, Fashion & Consumption 10, no. 1 (2021): 299–311. http://dx.doi.org/10.1386/ffc_00026_1.

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The unique history of Dr Henry ‘Hank’ Pym, better known as the Marvel Comics superhero Ant-Man, and his many varied costumes and alter egos, set him apart from other characters in comic books. Pym’s costumes reflect an uncertain and unstable mental state in ways other costumes do not. Through textual analysis, Pym’s costumes can be understood to represent his personality and a slipping identity that goes beyond the usual coding of superhero costuming. Pym’s consistent remaking of his appearance and identity point to a personality struggling to understand who he is in the context of his own lif
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Rahayu, Anita, and Agus Hari Wibowo. "Pembentukan Kata Majemuk Karakter Marvel pada Marvel.com (Pendekatan Morfologi)." Bahtera: Jurnal Pendidikan Bahasa dan Sastra 24, no. 1 (2025): 58–66. https://doi.org/10.21009/bahtera.241.06.

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The research focused on the analysis of the types and the reasons for the compounding behind the names of Marvel characters on marvel.com. Marvel Comics' character names were the possible linguistics media that created identities for the superheroes and villains that intrigued audiences worldwide. The factors behind the merging phenomenon, according to (Lieber, 2021), are semantic transparency, phonological form, and morphological structure. The types of compounds in this research were exocentric and endocentric, while the reasons behind the compounding were examined. The research applied a de
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Books on the topic "Marvel comics characters"

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Jurgens, Dan. You can draw Marvel characters. DK Pub., Inc., 2006.

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Dougall, Alastair, and Tom DeFalco. The Marvel Comics encyclopedia: A complete guide to the characters of the Marvel Universe. Edited by Sanderson Peter, Brevoort Tom, Teitelbaum Michael, et al. DK Pub., 2009.

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Inc, DK Publishing, ed. The Marvel Comics encyclopedia: The complete guide to the characters of the Marvel universe. DK Pub., 2006.

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Group, Marvel Comics, and Klutz Press, eds. Draw the Marvel Comics super heroes. Klutz Press, 1995.

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Lee, Stan. Origins of Marvel Comics. Marvel Entertainment Group, 1997.

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Nuno, Plati, ed. Marvel girl. Spotlight, 2011.

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O'Malley, Tom. Marvel heroes. Haynes North America, 2008.

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Wyatt, Chris. Meet the Marvel super heroes. Marvel Press, 2015.

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(Illustrator), Alex Ross, ed. Marvels (Marvel Premiere Classic). Marvel Comics, 2008.

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Marvel: The Characters and Their Universe. Universe, 2001.

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Book chapters on the topic "Marvel comics characters"

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Eriksen, Thomas Hylland, and Martina Visentin. "Threats to Diversity in a Overheated World." In Acceleration and Cultural Change. Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-33099-5_3.

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AbstractMost of Eriksen’s research over the years has somehow or other dealt with the local implications of globalization. He has looked at ethnic dynamics, the challenges of forging national identities, creolization and cosmopolitanism, the legacies of plantation societies and, more recently, climate change in the era of ‘accelerated acceleration’. Here we want to talk not just about cultural diversity and not just look at biological diversity, but both, because he believes that there are some important pattern resemblances between biological and cultural diversity. And many of the same force
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Formato, Enrico. "New Urbanization Phenomena and Potential Landscapes: Rhizomatic Grids and Asymmetrical Clusters." In Regenerative Territories. Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-78536-9_8.

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AbstractMore and more nowadays, the Circular Economy is at the heart of European public policies. As a result of the “Next Generation EU” Recovery Plans, a huge amount of financial resources will be available in the coming years to give shape the concept of “ecological transition". For that purpose, radical vision and operational concreteness are needed.In order to strengthen the territorial dimension of public policies aimed at ecological transition, the paper points to consider the status quo of the European territory, looking for recurring elements and differences. In this perspective, a re
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Stevens, J. Richard. "Mentoring Ms. Marvel." In Ms. Marvel's America. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496827029.003.0002.

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In Marvel’s 2014 Ms. Marvel, Kamala Khan presented an intersectional symbol of female heroism. Referencing the original 1977 character (Carol Danvers), Khan’s portrayal as a Muslim-American teen from New Jersey represented key contrasts to the blonde New York super-heroine, despite the fact that she initially takes on Danvers’ form. Khan eventually encounters Danvers, who serves as a mentor to the teen superhero. The relationship would define both characters, finally providing Danvers with the opportunity to explore her own compromised feminism. This chapter reviews the troubled history of Dan
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"Representations of Indigenous Australians in Marvel Comics." In Graphic Indigeneity, edited by Dennin Ellis. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496828019.003.0004.

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Dennin Ellis focuses on the distillation and reconstruction of Aboriginal characters in the Outback Era of the Uncanny X-Men series. By focusing his scholarly lens on characters like Gateway, Talisman, and the Reavers, he analyzes how Marvel missed an opportunity to wake readers to the violence of colonization and imperialism in committing acts of genocide against Indigenous Australians.
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Borenstein, Eliot. "The Best Marvel Comic of the 1970s." In Marvel Comics in the 1970s. Cornell University Press, 2023. http://dx.doi.org/10.7591/cornell/9781501767821.003.0001.

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This introductory chapter explains how several trends and individuals had come together to eventually produce “the best Marvel comic of the 1970s.” The comic in question is, in fact, Enigma (1993), by Vertigo, an imprint of Marvel's rival, DC Comics. To explain this discrepancy and why the 1970s is a particularly significant era in Marvel's history, the chapter explores the various characteristics which make Enigma an artistic success. It argues that Enigma was indeed a product of trends, aspects, approaches, and characters that were already developed in Marvel titles from the 1970s. And yet t
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Pumphrey, Nicholaus. "Kamala Khan, Miles Morales, and Marvel Now!" In Ms. Marvel's America. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496827029.003.0013.

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In 2012, Marvel Comics created a diversity campaign called Marvel Now! Several new characters were developed in order to add diverse superheroes to the Marvel Universe in an attempt to attract new fans through representation. This introduction of new heroes brought readers a Pakistani-American, Muslim Ms. Marvel in Kamala Khan, as well as Miles Morales, a Spider-Man of Black and Latino heritage. Given the stereotype that the majority of comic book fans are white, cisgender males, there was considerable resistance from traditional readers regarding these two new characters. This chapter examine
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Borenstein, Eliot. "Everyday Transcendence." In Marvel Comics in the 1970s. Cornell University Press, 2023. http://dx.doi.org/10.7591/cornell/9781501767821.003.0003.

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This chapter contends that one of Steve Englehart's primary themes is the quest for enlightenment and personal growth. Throughout his Marvel work, Englehart appeared to be interested in his characters only to the extent that he could show them growing and changing before the reader's very eyes, preferably in a manner that required a great deal of introspection and, not infrequently, esoteric or pharmacological assistance. Englehart's drama was one of self-development, but that did not mean that all his characters advanced along the same predetermined path. For some of Englehart's characters, t
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Lund, Martin. "Placing Ms. Marvel and Dust." In Ms. Marvel's America. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496827029.003.0003.

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The US has historically had trouble with ethnoracial formation, tensions having often boiled over when public awareness of various immigrant groups reached critical mass. Post-9/11, Muslims became the latest such “problem.” This “Muslim problem” is hotly debated in US comics culture. This chapter looks at Dust and Ms. Marvel, two post-9/11 Marvel Muslim superheroines, to show how Marvel has attempted corrective representations of Muslims and how these characters can be said to perpetuate or complicate Muslim stereotypes. Comics’ urban representations are never merely mimetic of material space,
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Borenstein, Eliot. "Subjectivity and Its Discontents." In Marvel Comics in the 1970s. Cornell University Press, 2023. http://dx.doi.org/10.7591/cornell/9781501767821.003.0007.

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This chapter takes a look at how Steve Gerber implements absurdity in his work. It emphasizes that Gerber did not run from absurdity; absurdity was the point. Absurdity is the default position of Gerber's world, sometimes almost joyous, sometimes suicidal. His characters oscillate between embracing the absurdity of their various plights and withdrawing or dissociating. The chapter states that Gerber's approach to the daft premises of the Marvel Universe is far more accepting and catholic than that of many serious comics writers to follow him, because absurdity is neither a negative in and of i
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Borenstein, Eliot. "Crouching Tiger, Running Commentary." In Marvel Comics in the 1970s. Cornell University Press, 2023. http://dx.doi.org/10.7591/cornell/9781501767821.003.0004.

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This chapter discusses Doug Moench's use of first-person narrative captions. In comics, a first-person narrator has some advantage over certain other narrative forms prevalent at Marvel in the 1960s and 1970s. For reasons that might have to do with habit or tradition, Marvel characters who narrate aloud usually do so in a melodramatic mode, tossing around exclamation marks as though they were trying to meet a punctuation quota. In captions, the tone tends to be more subdued. In Moench's hands, first-person narration does double duty, bringing the reader into the hero's head while also setting
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Reports on the topic "Marvel comics characters"

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Бережна, Маргарита Василівна. The Traitor Psycholinguistic Archetype. Premier Publishing, 2022. http://dx.doi.org/10.31812/123456789/6051.

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Film studies have recently begun to employ Jung’s concept of archetypes prototypical characters which play the role of blueprint in constructing clear-cut characters. New typologies of archetype characters appear to reflect the changes in the constantly developing world of literature, theater, film, comics and other forms of entertainment. Among those, there is the classification of forty-five master characters by V. Schmidt , which is the basis for defining the character’s archetype in the present article. The aim of the research is to identify the elements of the psycholinguistic image of Ju
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Бережна, Маргарита Василівна. The Destroyer Psycholinguistic Archetype. Baltija Publishing, 2021. http://dx.doi.org/10.31812/123456789/6036.

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The aim of the research is to identify the elements of the psycholinguistic image of the main antagonist Hela in the superhero film Thor: Ragnarok based on the Marvel Comics and directed by Taika Waititi (2017). The task consists of two stages, at the first of which I identify the psychological characteristics of the character to determine to which of the archetypes Hela belongs. As the basis, I take the classification of film archetypes by V. Schmidt. At the second stage, I distinguish the speech peculiarities of the character that reflect her psychological image.
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