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Journal articles on the topic 'Marvel comics characters'

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

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1

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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Gibson, Mel. "Queer Girlhoods in Contemporary Comics." Girlhood Studies 13, no. 1 (2020): 1–16. http://dx.doi.org/10.3167/ghs.2020.130102.

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In this article, I look at how comics aimed at young readers can serve to disrupt normative notions, gendered binaries, and fixed designations through featuring, or focusing on, queer girlhoods. In doing so I consider two contemporary series, Ms. Marvel and Lumberjanes. I contextualize these titles against aspects of the publishing of comics, before analyzing some of the narratives and characters in the texts in relation to queer girlhoods. I conclude that the comics offer different approaches and, therefore, differentiated reading experiences for the young readers who engage with them, but th
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Bharti, Nihal. "Indian Comics: From Making History to Becoming History." Creative Launcher 10, no. 2 (2025): 265–72. https://doi.org/10.53032/tcl.2025.10.2.30.

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If one thinks of superhero comics today, one instantly thinks of Marvel and DC. For the past century these two American comics publishers have successfully established themselves all around the world however, in the late 80s and early 90s this was not the case. There were Indian comics publishers like Diamond comics, Raj comics and Tulsi comics which are credited for creating some iconic Indian superheroes and characters like Nagraj, Chacha Chaudhary, Angara etc. Many millennials have grown up reading these comics. From the 1980s to 1990s, Indian comics industry was at the zenith of its succes
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Khan, Shafaat Yar, and Nabiya Khan. "Tragedizing the Villain: Shakespearean Perspective on Iago as a Tragic Character." Linguistics and Literature Review 10, no. 2 (2024): 104–22. https://doi.org/10.32350/llr.102.06.

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Through a critical analysis of Shakespeare’s Othello, this study reveals how certain dramatic techniques contribute to the creation of tragic characters, particularly in the case of Iago as a villain. An examination of these techniques shows how Shakespeare blurred the distinction between hero and villain, not only in characters such as Macbeth and Richard III, but also in Iago. The critical analysis demonstrates how Shakespeare affected a moral ambiguity in creating Iago and crafted him as a tragic villain, calling for a sympathetic understanding of his motives and evoking sympathy. Based on
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Powell, Tina. "‘You’re a refugee, are you not?’ ‘Extraordinary bodies’, monstrous outsiders and US refugee policies in superhero comics." Australasian Journal of Popular Culture 12, no. 1 (2023): 9–20. http://dx.doi.org/10.1386/ajpc_00065_1.

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In the 1970s and 1980s, comic book publishing giants DC and Marvel sought to diversify their cast of superheroes to better represent their US readership. While the publishers’ increasingly diverse cast of numerous US constituencies sought to reflect a shift towards greater representation, the flow of migrants/immigrants/refugees that marked the cold war years of the 1960s, 1970s and 1980s remained largely out of the pages of mainstream comics. However, Marvel’s Chris Claremont and DC’s Marv Wolfman and George Perez introduced Vietnamese refugees to two teenage teams in the early 1980s. This ar
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Ju, Sun, 임세은, 남양희, and 온보란. "A Study on a Tendency of Using Dominant Colors in Superhero Comics Based on Character Identities - Mainly with Characters from Marvel Comics -." Journal of Digital Design 15, no. 1 (2015): 495–506. http://dx.doi.org/10.17280/jdd.2015.15.1.047.

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Dimas Misbahul Munir, Dian Leoni Andri, Fadhilah Desy Handayani, et al. "TO THE MOON AND BACK: THE ADAPTATION OF MOON AS SYMBOL IN MOON KNIGHT'S COMIC TO TELEVISION SERIES ADAPTATION." CrossOver 3, no. 2 (2023): 149–68. http://dx.doi.org/10.22515/crossover.v3i2.7035.

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Moon Knight is one of the best-selling series in Marvel Studios, and no studies discussed the moon's symbolism in the comic Moon Knight and the TV series adaptations. This paper focuses on a shift in the meaning of the symbol from comics to TV series adaptations. In this research, the qualitative descriptive study is done to reveal whether the TV series adaptation of Moon Knight story faithfully reflects the moon symbolism in the comics. The research uses Hutcheon’s adaptation theory as background to analyze symbol adaptation, from the comic to TV series, and Eliade symbol theory to discuss th
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Sabesan, Gokul Shankar, Sridevi Visvanathan, and K. R. Sethuraman. "Storytelling and Cartoon Characters in Medical Microbiology: An Engaging Approach to Enhance Teaching and Learning." SBV Journal of Basic, Clinical and Applied Health Science 7, no. 4 (2024): 170–74. https://doi.org/10.4103/sbvj.sbvj_52_24.

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Abstract Narrative learning, or storytelling, has emerged as a powerful pedagogical tool in medical education, offering benefits in making complex concepts relatable and memorable. Incorporating popular comics and movies, such as Marvel characters, into microbiology lectures brings humour and liveliness, stimulating curiosity and breaking monotony. For instance, Shigella’s invasive tactics were compared to Dr. Strange’s ability to access hidden dimensions, simplifying its intracellular pathogenesis. This approach caters to diverse learning styles: visual learners benefit from illustrations, au
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Kinder, Elizabeth. "Finding balance: Nostalgia in Star Wars transmedia." Australasian Journal of Popular Culture 9, no. 2 (2020): 195–213. http://dx.doi.org/10.1386/ajpc_00027_1.

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Nostalgia is a necessary element of Star Wars: The Clone Wars (2008–20) and the ‘new’ Star Wars comics (Marvel, 2015–19), recent serial narratives in the ever-expanding transmedia Star Wars universe. The anticipation (and consequential reception) of these works is, in part, driven by nostalgia: the original Star Wars film, A New Hope, was released in 1977 and as the series has expanded in the decades since, in film and other media, nostalgia has become ingrained within the fandom as audiences are invited to repeatedly return to ‘a long time ago, in a galaxy far, far away’. As a result of decad
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Smith, Dina, Casey Stannar, and Jenna Tedrick Kuttruff. "Closet cosplay: Everyday expressions of science fiction and fantasy fandom among women." Fashion, Style & Popular Culture 7, no. 1 (2020): 29–50. http://dx.doi.org/10.1386/fspc_00004_1.

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Abstract Some American science fiction and fantasy (SF&F) female fans participate in Cosplay or costume play, the global practice of dressing in costume and performing fictional characters from popular culture. Cosplay is typically only socially sanctioned at conventions and other fan events, leaving fans searching for new ways to express their fandom in everyday life. Closet cosplay is one solution in which everyday clothing and accessories can be worn to express fandom. The motivations for wearing everyday fan fashion have been only briefly mentioned by other authors or studied within li
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Sheikh, Adnan Rashid, Faisal Rashid Sheikh, Shaukat Khan, and Athar Rashid. "Discursive Construction of New Female Identity in Latest Hollywood Blockbuster Movies." International Journal of English Linguistics 10, no. 1 (2019): 265. http://dx.doi.org/10.5539/ijel.v10n1p265.

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This study analyses the emergence of female portrayal in latest Hollywood superhero movies, after the #MeToo global movement about awareness of sexual harassment. This research adopts a qualitative approach in analysing the constructs of doing and undoing gender in blockbuster movies by Marvel and DC comics. This study seeks to explore the shift towards discursive and screen empowerment of female lead and supporting characters. Such movies serve as a barometer of the cultural and social milieu and hence project how women can display range of capabilities, independence and emotional strength on
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Paramita, Ashika Prajnya. "MS. MARVEL AS A REPRESENTATION OF THE STRUGGLE FOR AMERICAN IDENTITY." Rubikon : Journal of Transnational American Studies 3, no. 1 (2019): 10. http://dx.doi.org/10.22146/rubikon.v3i1.44368.

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In early 2014, Marvel Comics released a new series called Ms. Marvel. The main character of this series is a Pakistani-American Muslim girl named Kamala Khan. Her story is a breakthrough against the negative representation of Islam in the Western world, especially after 9/11. This research examines five issues taken from the first volume of the Ms. Marvel comic book series. The paper discusses the reason why this series is substantial in the struggle of Muslim immigrants to survive as a minority group in the United States. The results show that Ms. Marvel serves as a medium of communication fo
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Pardy, Brett. "Selling Marvel’s Cinematic Superheroes Through Militarization." Stream: Interdisciplinary Journal of Communication 8, no. 2 (2016): 23–35. http://dx.doi.org/10.21810/strm.v8i2.200.

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The Marvel comics film adaptations have been some of the most successful Hollywood products of the post 9/11 period, bringing formerly obscure cultural texts into the mainstream. Through an analysis of the adaptation process of Marvel Entertainment’s superhero franchise from comics to film, I argue that militarization has been used by Hollywood as a discursive formation with which to transform niche properties into mass market products. I consider the locations of narrative ambiguities in two key comics texts, The Ultimates (2002-2007) and The New Avengers (2005-2012), as well as in the film
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Dixon, Alicia. "Mr. Feige, I don’t feel so good … Copyright ownership, creators’ rights, and the Marvel Cinematic Universe." Interactive Entertainment Law Review 6, no. 1 (2023): 20–31. http://dx.doi.org/10.4337/ielr.2023.01.02.

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The Marvel Cinematic Universe is the highest grossing franchise of all time. What happens when the creators of some of the characters that have made Earth’s Mightiest Heroes such an onscreen success attempt to reclaim their ownership of those characters? This article discusses the relationship of the MCU to copyright disputes in phases. First, the history of copyright contests over Marvel characters is discussed, starting with the licensing disputes surrounding the 1998 film Blade. Former attempts by creators to reclaim ownership of their comic book characters are then analysed and compared to
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Morsi, S. A., and T. Hidayatullah. "Visual Analysis of Ancient Egyptian Mythology Character in Marvel Comic." Proceeding of International Conference on Business, Economics, Social Sciences, and Humanities 2 (December 1, 2021): 521–29. http://dx.doi.org/10.34010/icobest.v2i.315.

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The goal of this research is to find the transformation in the perception framing of the ancient Egyptian Goddess in marvel’s comic book. This research studied the visual aspects of the character design of Sekhmet, one of marvel’s super-villain characters that were adapted from ancient Egyptian mythology. Marvel comic is one of the most popular American comic books that tell stories of its original superheroes and super-villain characters. The focus of this research is Sekhmet’s character that was designed based on an ancient Egyptian Goddess with the same name, Hathor-Sekhmet. This study used
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Srul, Klaudia. "Superbohaterki w kinie przed powstaniem Marvel Cinematic Universe. Historia adaptacji kobiecych kostiumów superbohaterskich." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 29, no. 38 (2021): 274–82. http://dx.doi.org/10.14746/i.2021.38.18.

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The article focuses on changes within superhero comic book movie adaptations from 1941 (Adventures of Captain Marvel premiere) to 2008 (the creation of Marvel Cinematic Universe) in the aspect of designing female characters’ costumes. Author’s refelections are based on the article From the Top of the Cowl to the Tip of the Cape. The Cinematic Superhero Costume as Impossible by Dru H. Jeffries published in 2013 in „Cinephile: The Univesity of British Columbia’s Film Journal”. The author of the cited paper focuses on the topic of adapting male comic book characters’ costumes which is a starting
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Kałużna, Zuzanna. "Racism, Black Identity and Historical Trauma - an Analysis of Marvel’s Comic Book Series “The Panther v. The Klan”." New Horizons in English Studies 9 (December 30, 2024): 242–54. https://doi.org/10.17951/nh.2024.9.242-254.

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Black Panther is a character created by the Marvel Comics publishing house in 1966, widely recognized as the first black superhero of mainstream American pop culture. This thesis examines the revolutionary significance of Black Panther to American society through an analysis of his first stories, with a particular focus on the storyline of “The Panther v. The Klan” (1976). The object of the research of this paper is to demonstrate the deeper message and relevant socio-political issues of the 1970s, also reflected in the present day, in selected comic strips from Don McGregor’s “Jungle Action”
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Maravilla, C. Scott. "Up from the Depths: The Cultural Appropriation of Godzilla in 1970s American Animation and Comics." Humanities 14, no. 1 (2024): 2. https://doi.org/10.3390/h14010002.

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The approach taken by Marvel and Hanna-Barbera to adapting Godzilla for a young American audience is a form of cultural appropriation. Cultural appropriation involves removing the subject from its cultural context. In this case, Marvel and Hanna-Barbera removed the character from its origin, where it emerged as a consequence of the atomic bomb. Gojira is first a scourge of Japan and later its savior against invasion from cosmic forces and nefarious kaiju. Godzilla is changed into what is ultimately a sanitized version of imperial inventory. The properties of the 1970s Godzilla, however, were n
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Majumdar, Ananda. "Reasons Makes Muslim Superhero Ms. Marvel Kamala Khan Awesome Just Like Everyone." ABC Research Alert 6, no. 1 (2018): Canada. http://dx.doi.org/10.18034/ra.v6i1.323.

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Ms. Marvel Kamala Khan is a new name in Marvel comics, a name that represents minor communities of America, it is not the first time by a minor representation, there are various Muslim minority hero or heroine comes into focus in American society but they are not that popular or centre of the focus, Ms. Marvel Kamala Khan episode of Marvel comics is the most popular among US people, though they do not want any more diversity but because of its realism and authenticity, this episode receives 2015 Hugo award. The achievement credits her role as the superhero that she does for various reasons suc
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Addis, Michela, and Gabriele Troilo. "Humanizing a Superhero: An Empirical Test in the Comic Books Industry." International Business Research 9, no. 11 (2016): 189. http://dx.doi.org/10.5539/ibr.v9n11p189.

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<p>One of the most firmly-established and widespread marketing policies in the comic book industry is the humanization of superheroes as a strategy to achieve success, especially for characters populating the Marvel Universe. However, there is no clear evidence of how exactly artists actually and operatively create human superheroes, and whether those variables truly affect sales of comic books. To address those two issues we run a quali-quantitative study by interviewing experts, and regressing sales on a broad range of variables of comic books gathered through content analysis and seco
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Go, Young-Min. "A Study On The Content Management For Character Maintenance - Focused on Marvel Comics." Cartoon and Animation Studies 52 (September 30, 2018): 159–99. http://dx.doi.org/10.7230/koscas.2018.52.159.

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Morsi, Syaima Antar, and Yully Ambarsih Ekawardhani. "Visual Analysis of Sekhmet’s Costumes and Attributes in Marvel Comic Book." ARTic 4, no. 1 (2021): 349–60. http://dx.doi.org/10.34010/artic.v4i1.8482.

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The purpose of this study is to analyze the costume and attributes of Sekhmet's character in one of marvel's comic books titled "The Heroic Age: Prince of Power, where Sekhmet is a female supervillain character that was adapted from Egyptian mythology. In The Heroic Age: Prince of Power, issue 3, Sekhmet is visualized wearing costumes and attributes that match the description and visualization that can be found in ancient Egyptian artifacts. This research used descriptive qualitative with a narrative method and one of Tsukamoto's manga matrix theories, the costume matrix, to analyze further th
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Wolski, Michał. "Zwyczajni niezwyczajni. Codzienność superbohaterów w komiksach spod znaku Ultimate Marvel." Załącznik Kulturoznawczy, no. 10 (December 31, 2023): 161–78. http://dx.doi.org/10.21697/zk.2023.10.08.

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Typically Atypical: The Everyday Life of Ultimate Marvel Comic Superheroes Depictions of food consumption in comic books are quite numerous but they rarely stick in the minds of readers, especially when they serve as the background for the unfolding story. If the authors, however, decide to depict food, they do so in large part to achieve a few specific purposes: emphasize the characteristics of the characters, deconstruct the seriousness of the narrative, and introduce humorous elements. All of this takes place on two levels: aesthetic (from realistic to cartoonish) and existential (eating is
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Kling, Ádám Márton. "Shakespeare and Witchcraft in Neil Gaiman’s Marvel 1602." Eger Journal of English Studies 20 (2020): 3–18. http://dx.doi.org/10.33035/egerjes.2020.20.3.

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Representing the cultural phenomenon of witchcraft and showcasing liminal existence was of great importance in the literature of 16-17 -century England. From political pamphlets to Shakespearean stage plays, the character of the witch and the marginalized have become a central topic of conversation in early modern texts. The primary goal of this research paper is to examine how Neil Gaiman’s comic book series, Marvel 1602 adapts aspects of certain early modern English works to create a graphic narrative that explains liminality and the modern ‘witchcraze.’
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Kosasih Galingging, Cikep, and Arwin Tannuary. "Contrastive Analysis between English and Indonesian Quotes in The Utterances of the Character in the Movie " Doctor Strange 2 Multiverse of madness"." Journal of Social Science and Humanities Research 1, no. 1 (2022): 1–11. http://dx.doi.org/10.56854/jsshr.v1i1.47.

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Doctor Strange in the Multiverse of Madness (2022) was written by Michael Waldron and Directed by Sam Raimi based on Marvel Comics and produced by Kevin Feige. Using descriptive qualitative method his study entitled “Contrastive Analysis between English and Indonesian Quotes in The Utterances of the Character in the movie " Doctor Strange 2 Multiverse of madness" aims to understand the meaning of quotes based on the translation of the film's subtitle. English and Indonesian quotes themselves have different meanings. With the Contrastive aspect of analysis which is based on finding the differen
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Vorontsova, I. A., E. I. Boychuk, and E. A. Pospelova. "Linguopragmatic Features of “Marvel” Trans-media Discourse Translation (With Special Reference to “Wanda/Vision” Mini-Series and Its Prequel Comic Books)." Prepodavatel XXI vek, no. 4/2 (December 30, 2023): 475–291. http://dx.doi.org/10.31862/2073-9613-2023-4-475-491.

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The article focuses on the study of trans-media in the aspect of linguistic pragmatics and translation studies. The main emphasis of the study is on the Wanda/ Vision line of the multimodal fictional MARVEL universe, represented by comics and TV series. The authors come to the conclusion that the key strategy of translating texts included in the trans-media system should be recognized as adherence to the canon, which guarantees the character and narrative framework recognizability, creates the impression of the wholeness of the trans-media project, and provides the depth of aesthetic experienc
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Wardhani, Komang Triyas, Silvia Damayanti, and Renny Anggraeny. "Narcissitic Personality Disorder Pada Tokoh Elena Dalam Komik Tomodachi Gokko Karya Momochi Reiko." Jurnal SAKURA : Sastra, Bahasa, Kebudayaan dan Pranata Jepang 2, no. 1 (2020): 35. http://dx.doi.org/10.24843/js.2020.v02.i01.p04.

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The tittle of this research “Narcissitic Personality Disorder at Character Elena Figure in comic Tomodachi Gokko by Momochi Reiko”. The aims of this research are to described NPD Characteristic, the reasons of NPD in character Elena, impact of NPD to Elena and other characters in comic Tomodachi Gokko by Momochi Reiko.The theories that have been used are Wellek and Warren’s literature and psychology theory (2016), Sigmund Freud Narcissism theory (1914), Gunderson’s Narcissitic Personality Disorder (1994), Lajos Egri’s Three Dimensions of Characterrization (1946) and Marcel Danesi’s semiotic th
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Wright, David C. "Marvel’s Agent Carter." Science Fiction Film & Television 15, no. 3 (2022): 315–35. http://dx.doi.org/10.3828/sfftv.2022.24.

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Marvel’s Agent Carter was the first woman-led comics-based Marvel television show. The two-season series features Peggy Carter, a strong woman and leader who not only combated agents that endangered late 1940s America but also the sexism and racism of the period. Her most powerful opponent in each season is a similarly strong woman, in each case a version of the femme fatale of 1940s film noir. The show underlines that while both Carter and the women who oppose her seek empowerment, their goals differ. The series shows that women’s choices were constrained and sexual harassment was commonplace
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Suciadi, Marcellinus Ferdinand, Andre Andre, and Levina Novelinda. "Pengembangan Digital Motion Comic Berfokus pada Autentikasi Mitologi, Studi Kasus: “Ragnarok”." KELUWIH: Jurnal Sains dan Teknologi 1, no. 2 (2020): 86–92. http://dx.doi.org/10.24123/saintek.v1i2.2954.

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Abstract—Norse Mythology is a mythology that originated in the Scandinavian region, which is the basis of all mythologies in the area. At this time, people's knowledge of Norse mythology was only obtained from films, and the adaptation was not in accordance with the original mythology. Submission of stories remains inauthentic due to additional characters that are not present in the original story, thus affecting the authentication of the mythology being conveyed. To educate the public about Norse mythology, interesting media are needed but can also convey a message by not changing the specifi
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Meller, Oskar. "Posthumanizm i „syntezoidalny mimetyzm” w komiksie „Vision” Toma Kinga i Gabriela Hernandeza Walty." Literatura i Kultura Popularna 27 (December 30, 2021): 467–79. http://dx.doi.org/10.19195/0867-7441.27.29.

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Cultural texts on the subject of posthuman can be found long before the post-anthropocentric turn in humanistic research. Literary explanations of posthumanism have entered the conventional canon not only in terms of the science-fiction classics. However, a different line follows the tradition of presenting posthumanist existence in the comic book medium. Scott Jeffrey accurately notes that most comic superheroes are post- or trans-human. Therefore, the transgression of human existence into a posthumanoid being is presented. However, in the case of the less culturally recognizable character of
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Saptanto, Deswandito Dwi, and Maya Kurnia Dewi. "Gundala and Gatotkaca in the concept of modern Indonesian superheroes: Comparative analysis of the Indonesian and American superheroes." EduLite: Journal of English Education, Literature and Culture 5, no. 1 (2020): 136. http://dx.doi.org/10.30659/e.5.1.136-147.

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The superhero universe has always been an attraction in the world of film industry. The birth of superhuman ideas has made people increasingly interested in taking the storyline. This research is a literature study on the existence of a new world in Indonesian cinema that takes the theme of Indonesia's superhero universe competes against the universe of American superheroes. The purpose of this study is to compare Indonesian and American superhero films in order to understand the complete concept of depicting Indonesian superheroes in the process of switching from comics to films comparing wit
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Bidaud, Samuel. "Proust et Hergé : de quelques points communs entre À la recherche du temps perdu et Les Aventures de Tintin." Interlitteraria 23, no. 1 (2018): 173–88. http://dx.doi.org/10.12697/il.2018.23.1.18.

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Proust and Hergé: on some similarities between À la Recherche du temps perdu and Les Aventures de Tintin. Part I. Marcel Proust and Hergé seem to have nothing in common. Their works are indeed very different: they do not belong to the same genre, nor treat the same themes or have the same public. What parallel could be established between À la Recherche du temps perdu (In Search of Lost Time), which revolutionized the genre of the novel, and Les Aventures de Tintin (The Adventures of Tintin), a series of comic albums apparently intended only for children? A closer study reveals however that Pr
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Kuznetsova, Mariia. "Secondary Multimodal Discourse of the Modern English Mass Culture as a Phenomenon of the Convergence Culture." PSYCHOLINGUISTICS 25, no. 2 (2019): 138–63. http://dx.doi.org/10.31470/2309-1797-2019-25-2-138-163.

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The article focuses on psycholinguistic features of the secondary multimodal discourse of the modern English mass culture as a linguistic, social and cultural phenomenon and a specific type of communication with a peculiar context. This research paper represents the unique and valid definition of the secondary type discourse, its role, and place as the phenomenon of the convergence culture in the modern English youth subculture.
 Based on the differentiation of such related concepts as «youth subculture» and «interpretative community» the research proves that the latter concept is a struc
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Juricevic, Igor. "With Great Power Comes Gender Diversity: STEM Stereotypes and Marvel Superpowers." REDEN. Revista Española de Estudios Norteamericanos 4, no. 1 (2022). http://dx.doi.org/10.37536/reden.2022.4.1839.

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Gender representation inequality occurs across various STEM sub-disciplines. For example, the sub-disciplines of computer science and engineering are male-dominant, while psychology and biological sciences are female-dominant. One possible cause of this gender inequality is the STEM professional stereotype; created, in large part, by media portrayals of STEM scientists. Across four studies I analyze the gender representation in portrayals of STEM skills in Marvel comics and their relation to real-world STEM educational outcomes, namely, bachelor’s degrees attained in STEM. Study #1 shows that
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Tomabechi, Nao. "Queer Antiheroism of DC Comics’ Secret Six." REDEN. Revista Española de Estudios Norteamericanos 6, no. 2 (2025). https://doi.org/10.37536/reden.2025.6.2993.

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Following the increase of LGBTQ+ characters and growing demands for authentic diversity in the superhero genre, the concern for queer representation in superhero comics scholarship has risen in the past few years, which is undoubtedly a significant advancement. One character that frequently appears in discussions of queer representation is Marvel’s Northstar, who is the first major superhero to have come out as gay in 1992. Similarly, Batwoman with her much-acclaimed solo series in DC, and the very popular superhero team Young Avengers from Marvel, where most of the members are sexual minoriti
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Del Monaco, Adriana, Evandro Drigo, JCM Lautert, SS Margarido, and TY Miyashiro. "Case report: Auxiliary device for recreational use in a child with upper limb malformation, made by additive manufacture (3D printing)." Academic Society Journal, December 1, 2018, 242–47. http://dx.doi.org/10.32640/tasj.2018.4.242.

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Patients with a deficiency in any member of body have difficulties in day-to-day activities, such as practicing recreational physical activities and, in case of children, play. Therefore, the aim of this project was to create a low cost and water resistant device that would help children with disabilities of the upper limb to have greater freedom and comfort when it comes to playing. Another important point, with customization that refers to characters of movies and comics, is to promote a significant improvement in self-esteem and in the relationship with other children, especially in school
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Sampaio, Guilherme Dias. "Magali, Groot ou Magroot: análise do processo referencial em uma paródia da Turma da Mônica." 9ª Arte (São Paulo), October 18, 2024, e230625. https://doi.org/10.11606/2316-9877.dossie.2024.e230625.

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It aims to analyze how referents are established in a multimodal parody, where there was the transposition of cinema's code to comics. Theoretical concepts from Textual Linguistics and Cognitive Semantics were employed for this purpose. The objective was to analyze the processes of reference in a comic book from the "Monica's Gang" series "The Great Parodies of Monica’s Gang: Guardoidões of the Galaxy", a parody of the movie "Guardians of the Galaxy". The series promotes the merging of the Marvel´s and Turma da Mônica´s universes. Considering that Mauricio de Sousa's creations represent the mo
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Posada, Tim. "Fetishizing Captain America’s sidearm: iconography, exceptionality, and the politics of representing guns." Palgrave Communications 5, no. 1 (2019). http://dx.doi.org/10.1057/s41599-019-0323-9.

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Abstract In 2007, Captain America, or Cap to his peers, died outside the courthouse where he would answer for leading a band of superheroes against the government’s Superhuman Registration Act in a plot line Fox and Friends took issue with, condemning Marvel Comics for killing Cap “while we’re at war,” referring to President George W. Bush’s war on terror. In 2008, former sidekick Bucky took up the Cap banner. Legacy characters are common in comics, but fans noted an unexpected addition to the costume: a handgun. Cap’s shield, a symbol of defense, now had an offensive accent. News media outlet
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Hutchins, Hope. "Mainstream Superhero Comics and Gendered Representations of Social Control." Inquiry@Queen's Undergraduate Research Conference Proceedings, November 15, 2017. http://dx.doi.org/10.24908/iqurcp.7197.

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In the context of increasing familiarity with mainstream superhero comics and their characters, a wide range of readers are being exposed to the values regarding gender and social control being communicated in this genre. Therefore, it is important to assess whether social control is signified differently for males and females in superhero comics. This presentation will begin with a discussion of why it is important to study comics and graphic novels. I will then outline the concept of social control and criminological theories centered on this idea before demonstrating why superheroes may be
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"Translation solutions used in the binary and intersemiotic translation of the graphic novel about the Marvel universe." Current Issues in Philology and Pedagogical Linguistics, no. 4 (December 25, 2023): 39–53. http://dx.doi.org/10.29025/2079-6021-2023-4-39-53.

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The article discusses the key translation solutions that have been applied by translators in the binary and intersemiotic translation (film adaptation) of a graphic novel about the Marvel universe. The object of the study includes occasionalisms, substandard lexis and onomatopoeia in the graphic novel “X-Men: Battle of the Atom” as one of the most popular within the analyzed universe. Within the framework of the research, such linguistic methods as the continuous selection method, the contextual analysis method, the structural and semantic analysis method, the descriptive method, the comparati
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Cuñarro, Liber, and José Enrique Finol. "Semiótica del cómic : códigos y convenciones." Signa: Revista de la Asociación Española de Semiótica 22 (January 1, 2013). http://dx.doi.org/10.5944/signa.vol22.2013.6353.

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El objetivo de este artículo es desarrollar un estudio de las principales convenciones del cómic para abordar el problema lingüístico, icónico y gráfico desde una perspectiva semiótica. El análisis se basa en el estudio de la novela gráfica Civil War (2006), de Marvel. La lectura de una novela gráfica es al mismo tiempo un acto de percepción estética y una persecución intelectual, en ella se entrelazan el régimen artístico (perspectiva, simetría, líneas) y el régimen literario (gramática, trama, sintaxis). Es la existencia de esta gramática y de esta serie de convenciones establecidas las que
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