Richard Corben - komplettes VINTAGE Basisset (90 Karten) - Comicbilder 1993

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Richard Corben - Complete base set of 90 cards issued by Comic Images in 1993.

Richard Corben (October 1, 1940 – December 2, 2020) was an American illustrator and comic book artist best known for his comics featured in Heavy Metal magazine, especially the Den series which was featured in the magazine's first film adaptation in 1981. He was the winner of the 2009 Spectrum Grand Master Award and the 2018 Grand Prix at Angoulême. In 2012 he was elected to the Will Eisner Award Hall of Fame.

Biography

Richard Corben was born on a farm in Anderson, Missouri, and went on to get a Bachelor of Fine Arts degree from the Kansas City Art Institute, in 1965. At the same time, he trained in bodybuilding, but eventually retired from the art with few accomplishments due to a lack of time to dedicate himself to it.

After working as a professional animator at Kansas City's Calvin Productions, Corben started writing and illustrating for the underground comics, including Grim Wit , Slow Death , Skull , Rowlf , Fever Dreams and his own anthology Fantagor . In 1970 he began illustrating horror and science-fiction stories for Warren Publishing. His stories appeared in Creepy , Eerie , Vampirella , 1984 and Comix International . He also colored several episodes of Will Eisner's Spirit . All the stories and covers he did for Creepy and Eerie have been reprinted by Dark Horse Books in a single volume: Creepy Presents Richard Corben . The three stories he drew for Vampirella have been reprinted by Dynamite Entertainment in Vampirella Archives Vol. 5 .

In 1975, when Moebius, Druillet, and Jean-Pierre Dionnet started publishing the magazine Métal Hurlant in France, Corben submitted some of his stories to them. He continued his work for the franchise in America, where the magazine was called Heavy Metal . Also in 1975, a selection of his black-and-white underground comix stories was collected in hardcover as The Richard Corben Funnybook from Kansas City's Nickelodeon Press. In 1976 he adapted a short Robert E. Howard story in an early graphic novel, Bloodstar .

Among the stories drawn for Heavy Metal he continued the saga of his most famous creation, Den which had begun in the short film Neverwhere (Neil Gaiman used the same title, Neverwhere, later, but the two creations have nothing in common) and a short story in the underground publication Grim Wit No. 2. The saga of Den is a fantasy series about the adventures of a young underweight nerd who travels to Neverwhere, a universe taking inspirational nods from Robert E. Howard's Hyborian Age, Edgar Rice Burroughs's Barsoom and H. P. Lovecraft's horror dimensions. There, the boy becomes an enormously endowed nude muscleman who has erotic adventures in a world of outrageous dangers, hideous monsters, and buxom nude women who lustfully throw themselves at him. This story was adapted in a highly abridged form in the animated film Heavy Metal , where Den was voiced by John Candy in an abbreviated adaptation that involved Corben himself that he felt was satisfactory.

Corben's collaborations are varied, ranging from Rip in Time with Bruce Jones, to Harlan Ellison for Vic and Blood , to the Den Saga , the Mutant World titles, Jeremy Brood , and The Arabian Nights with Jan Strnad.

From 1986–1994 Corben operated his own publishing imprint, Fantagor Press . Among the titles Fantagor published were Den , Den Saga , Horror in the Dark , Rip in Time , and Son of Mutant World . Fantagor went out of business after the 1994 contraction of the comics industry.

Due to the sexual nature of Corben's art, it has been accused of being pornographic, a description he himself disagrees with, preferring to call his work "sensual" instead. One notorious example was the interview he gave Heavy Metal editor Brad Balfour in 1981. Corben was very dissatisfied with the interview. He felt it portrayed him as a "petty, childish, borderline psychotic oaf". He wrote a letter in retort, which was published in the September 1981 issue.

Corben did the cover of Meat Loaf's Bat Out of Hell , Jim Steinman's Bad for Good and a movie poster (based on a drawing by Neal Adams) for the Brian De Palma film Phantom of the Paradise . In addition, he provided cover art for the VHS release of the low-budget horror film Spookies .

In 2000, Corben collaborated with Brian Azzarello on five issues of Azzarello's run on Hellblazer (146–150) which was collected in a trade called Hellblazer: Hard Time . He also adapted the classic horror story The House on the Borderland by William Hope Hodgson for DC's Vertigo imprint. In 2001, Azzarello and Corben teamed up to create Marvel's Startling Stories: Banner (a four issue mini-series exploring Doc Samson's relationship with Bruce Banner) and Marvel MAX's Cage (a five issue mini-series starring Luke Cage). In June 2004, Corben joined with Garth Ennis to produce The Punisher: The End , a one-shot title for Marvel published under the MAX imprint as part of Marvel's The End series. The story tells of The Punisher's final days on an earth ravaged by nuclear holocaust. Ever the independent, Corben would work with rocker Rob Zombie and Steve Niles in 2005 on a project for IDW Publishing called Bigfoot . In 2007, Corben did a two issue run on Marvel Comics' surreal demon biker, Ghost Rider . At Marvel's MAX imprint he has produced Haunt of Horror , a mini-series adapting classic works of horror to comics. The first mini-series, published in 2006, was based on the stories of Edgar Allan Poe followed by a second series in 2008 adapting works by H. P. Lovecraft. Between 2008 and 2009 he illustrated the flashback sequences in Conan of Cimmeria #1–7, collected as Conan Volume 7: Cimmeria . In 2009 he illustrated Starr the Slayer for Marvel's MAX comics imprint. Since then Corben has done more work for Marvel, DC, IDW, and most notably Dark Horse, drawing the Eisner Award–winning Hellboy .

In May 2020, Parallax Studio announced preproduction on the live-action animated film To Meet the Faces You Meet based on the comic book Fever Dreams illustrated by Corben and written by Jan Strnad. The film will feature the voices of Patton Oswalt and Patrick Warburton and is set to star Robert Picardo and Samuel Hunt.

Personal life

Corben's wife is named Madonna "Dona" (née Marchant). He was the special-effects/animation technician for her prize-winning film entry Siegfried Saves Metropolis in a contest sponsored by Famous Monsters of Filmland magazine in 1964 (see issues #34 and 35). They married soon afterwards in 1965.

Corben died on December 2, 2020, following heart surgery. He was 80 years old.

Corben's work in comics and animation has won him recognition, including the Shazam Award for Outstanding New Talent in 1971, and a Shazam Award for Superior Achievement by an Individual in 1973. Corben won a 1973 Goethe Award for "Favorite Fan Artist". He also received a CINE Golden Eagle and President of Japan Cultural Society trophy in 1968 for his short film Neverwhere .

While working for the Warren anthologies, he received numerous Warren Awards: 1973 Best Artist/Writer and Special Award for "Excellence", 1976 Best Art for "Within You, Without You" (Eerie #77) and Best Cover (also for Eerie #77), and 1978 Best Cover Artist.

In 2009 Corben won the "Best Finite Series/Limited Series" Eisner Award for Hellboy: The Crooked Man and in 2011 he won the "Best Single Issue (or One-Shot)" Eisner Award, for Hellboy: Double Feature of Evil. Finally, in 2012 he was elected to the Will Eisner Award Hall of Fame.

In 2015, Corben was inducted into the Ghastly Awards Hall of Fame. His previous Ghastly Awards include Best Artist in 2013 and Best One-shot Comics for his Dark Horse Poe adaptations... Edgar Allan Poe's The Conqueror Worm in 2012, Edgar Allan Poe: The Raven & The Red Death (2013) and Edgar Allan Poe’s Morella and the Murders in the Rue Morgue in 2014.

In January 2018 he won the prestigious Grand Prix at Angoulême and presidency of the 2019 festival. Beginning concurrently with the 2019 festival in January, a 250-piece collection of his original artworks was put on display at the Musée d'Angoulême, the exhibit ending March 10, 2019.

Fantasy is a genre of speculative fiction set in a fictional universe, often inspired by real world myth and folklore. Its roots are in oral traditions, which then became literature and drama. From the twentieth century it has expanded further into various media, including film, television, graphic novels, manga and video games.

Fantasy is distinguished from the genres of science fiction and horror by the absence of scientific or macabre themes respectively, though these genres overlap. In popular culture, the fantasy genre predominantly features settings of a medieval nature. In its broadest sense, however, fantasy consists of works by many writers, artists, filmmakers, and musicians from ancient myths and legends to many recent and popular works.

Traits

Most fantasy uses magic or other supernatural elements as a main plot element, theme, or setting. Magic and magical creatures are common in many of these worlds.

An identifying trait of fantasy is the author's use of narrative elements that do not have to rely on history or nature to be coherent. This differs from realistic fiction in that realistic fiction has to attend to the history and natural laws of reality, where fantasy does not. In writing fantasy the author creates characters, situations, and settings that are not possible in reality.

Many fantasy authors use real-world folklore and mythology as inspiration; and although another defining characteristic of the fantasy genre is the inclusion of supernatural elements, such as magic, this does not have to be the case. For instance, a narrative that takes place in an imagined town in the northeastern United States could be considered realistic fiction as long as the plot and characters are consistent with the history of a region and the natural characteristics that someone who has been to the northeastern United States expects; however, if the narrative takes place in an imagined town, on an imagined continent, with an imagined history and an imagined ecosystem, the work becomes fantasy with or without supernatural elements.[dubious – discuss ]

Fantasy has often been compared to science fiction and horror because they are the major categories of speculative fiction. Fantasy is distinguished from science fiction by the plausibility of the narrative elements. A science fiction narrative is unlikely, though seemingly possible through logical scientific or technological extrapolation, where fantasy narratives do not need to be scientifically possible. Authors have to rely on the readers' suspension of disbelief, an acceptance of the unbelievable or impossible for the sake of enjoyment, in order to write effective fantasies. Despite both genres' heavy reliance on the supernatural, fantasy and horror are distinguishable. Horror primarily evokes fear through the protagonists' weaknesses or inability to deal with the antagonists.

History

Early history

Elements of the supernatural and the fantastic were a part of literature from its beginning. Fantasy elements occur throughout the ancient Akkadian Epic of Gilgamesh . The ancient Babylonian creation epic, the Enûma Eliš , in which the god Marduk slays the goddess Tiamat, contains the theme of a cosmic battle between good and evil, which is characteristic of the modern fantasy genre. Genres of romantic and fantasy literature existed in ancient Egypt. The Tales of the Court of King Khufu , which is preserved in the Westcar Papyrus and was probably written in the middle of the second half of the eighteenth century BC, preserves a mixture of stories with elements of historical fiction, fantasy, and satire. Egyptian funerary texts preserve mythological tales, the most significant of which are the myths of Osiris and his son Horus.

Myth with fantastic elements intended for adults were a major genre of ancient Greek literature. The comedies of Aristophanes are filled with fantastic elements, particularly his play The Birds , in which an Athenian man builds a city in the clouds with the birds and challenges Zeus's authority. Ovid's Metamorphoses and Apuleius's The Golden Ass are both works that influenced the development of the fantasy genre by taking mythic elements and weaving them into personal accounts. Both works involve complex narratives in which humans beings are transformed into animals or inanimate objects. Platonic teachings and early Christian theology are major influences on the modern fantasy genre. Plato used allegories to convey many of his teachings, and early Christian writers interpreted both the Old and New Testaments as employing parables to relay spiritual truths. This ability to find meaning in a story that is not literally true became the foundation that allowed the modern fantasy genre to develop.

The most well known fiction from the Islamic world was One Thousand and One Nights (Arabian Nights) , which was a compilation of many ancient and medieval folk tales. Various characters from this epic have become cultural icons in Western culture, such as Aladdin, Sinbad and Ali Baba. Hindu mythology was an evolution of the earlier Vedic mythology and had many more fantastical stories and characters, particularly in the Indian epics. The Panchatantra (Fables of Bidpai ), for example, used various animal fables and magical tales to illustrate the central Indian principles of political science. Chinese traditions have been particularly influential in the vein of fantasy known as Chinoiserie, including such writers as Ernest Bramah and Barry Hughart.

Beowulf is among the best known of the Nordic tales in the English speaking world, and has had deep influence on the fantasy genre; several fantasy works have retold the tale, such as John Gardner's Grendel . Norse mythology, as found in the Elder Edda and the Younger Edda, includes such figures as Odin and his fellow Aesir, and dwarves, elves, dragons, and giants. These elements have been directly imported into various fantasy works.The separate folklore of Ireland, Wales, and Scotland has sometimes been used indiscriminately for "Celtic" fantasy, sometimes with great effect; other writers have specified the use of a single source. The Welsh tradition has been particularly influential, due to its connection to King Arthur and its collection in a single work, the epic Mabinogion.

There are many works where the boundary between fantasy and other works is not clear; the question of whether the writers believed in the possibilities of the marvels in A Midsummer Night's Dream or Sir Gawain and the Green Knight makes it difficult to distinguish when fantasy, in its modern sense, first began.

Modern fantasy

Although pre-dated by John Ruskin's The King of the Golden River (1841), the history of modern fantasy literature is usually said to begin with George MacDonald, the Scottish author of such novels as The Princess and the Goblin and Phantastes (1858), the latter of which is widely considered to be the first fantasy novel ever written for adults. MacDonald was a major influence on both J. R. R. Tolkien and C. S. Lewis. The other major fantasy author of this era was William Morris, an English poet who wrote several novels in the latter part of the century, including The Well at the World's End .

Despite MacDonald's future influence with At the Back of the North Wind (1871), Morris's popularity with his contemporaries, and H. G. Wells's The Wonderful Visit (1895), it was not until the 20th century that fantasy fiction began to reach a large audience. Lord Dunsany established the genre's popularity in both the novel and the short story form. H. Rider Haggard, Rudyard Kipling, and Edgar Rice Burroughs began to write fantasy at this time. These authors, along with Abraham Merritt, established what was known as the "lost world" subgenre, which was the most popular form of fantasy in the early decades of the 20th century, although several classic children's fantasies, such as Peter Pan and The Wonderful Wizard of Oz , were also published around this time.

Juvenile fantasy was considered more acceptable than fantasy intended for adults, with the effect that writers who wished to write fantasy had to fit their work in a work for children. Nathaniel Hawthorne wrote fantasy in A Wonder-Book for Girls and Boys , intended for children, though works for adults only verged on fantasy. For many years, this and successes such as Alice's Adventures in Wonderland (1865), created the circular effect that all fantasy works, even the later The Lord of the Rings , were therefore classified as children's literature.

Political and social trends can affect a society's reception towards fantasy. In the early 20th century, the New Culture Movement's enthusiasm for Westernization and science in China compelled them to condemn the fantastical shenmo genre of traditional Chinese literature. The spells and magical creatures of these novels were viewed as superstitious and backward, products of a feudal society hindering the modernization of China. Stories of the supernatural continued to be denounced once the Communists rose to power, and mainland China experienced a revival in fantasy only after the Cultural Revolution had ended.

Fantasy became a genre of pulp magazines published in the West. In 1923, the first all-fantasy fiction magazine, Weird Tales , was published. Many other similar magazines eventually followed, including The Magazine of Fantasy and Science Fiction ; when it was founded in 1949, the pulp magazine format was at the height of its popularity, and the magazine was instrumental in bringing fantasy fiction to a wide audience in both the U.S. and Britain. Such magazines were also instrumental in the rise of science fiction, and it was at this time the two genres began to be associated with each other.

By 1950, "sword and sorcery" fiction had begun to find a wide audience, with the success of Robert E. Howard's Conan the Barbarian and Fritz Leiber's Fafhrd and the Gray Mouser stories. However, it was the advent of high fantasy, and most of all J. R. R. Tolkien's The Hobbit and The Lord of the Rings , which reached new heights of popularity in the late 1960s, that allowed fantasy to truly enter the mainstream. Several other series, such as C. S. Lewis's Chronicles of Narnia and Ursula K. Le Guin's Earthsea books, helped cement the genre's popularity.

The popularity of the fantasy genre has continued to increase in the 21st century, as evidenced by the best-selling status of J. K. Rowling's Harry Potter series and George R. R. Martin's Song of Ice and Fire series.

Media

The term "Fantasy Art" is closely related, and is applied primarily to recent art (typically 20th century onwards) inspired by, or illustrating, fantasy literature. It can be characterised by subject matter—which portrays non-realistic, mystical, mythical or folkloric subjects or events—and style, which is representational and naturalistic, rather than abstract—or in the case of magazine illustrations and similar, in the style of graphic novel art such as manga.

Several fantasy film adaptations have achieved blockbuster status, most notably The Lord of the Rings film trilogy directed by Peter Jackson, and the Harry Potter films, two of the highest-grossing film series in cinematic history. Meanwhile, David Benioff and D. B. Weiss would go on to produce the television drama series Game of Thrones for HBO, based on the book series by George R. R. Martin, which has gone on to achieve unprecedented success for the fantasy genre on television.

Fantasy role-playing games cross several different media. Dungeons & Dragons was the first tabletop role-playing game and remains the most successful and influential. According to a 1999 survey in the United States, 6% of 12- to 35-year-olds have played role-playing games. Of those who play regularly, two thirds play D&D . Products branded Dungeons & Dragons made up over fifty percent of the RPG products sold in 2005.

The science fantasy role-playing game series Final Fantasy has been an icon of the role-playing video game genre (as of 2012 it was still among the top ten best-selling video game franchises). The first collectible card game, Magic: The Gathering , has a fantasy theme and is similarly dominant in the industry.

Classification

By theme (subgenres)

Fantasy encompasses numerous subgenres characterized by particular themes or settings, or by an overlap with other literary genres or forms of speculative fiction. They include the following:

  • Bangsian fantasy, interactions with famous historical figures in the afterlife, named for John Kendrick Bangs

  • Comic fantasy, humorous in tone

  • Contemporary fantasy, set in the real world but involving magic or other supernatural elements

  • Dark fantasy, including elements of horror fiction

  • Epic fantasy, see "high fantasy" below

  • Fables, stories with non-human characters, leading to "morals" or lessons

  • Fairy tales themselves, as well as fairytale fantasy, which draws on fairy tale themes

  • Fantastic poetry, poetry with a fantastic theme

  • Fantastique , French literary genre involving supernatural elements

  • Fantasy of manners, or mannerpunk, focusing on matters of social standing in the way of a comedy of manners

  • Gaslamp fantasy, stories in a Victorian or Edwardian setting, influenced by gothic fiction

  • Gods and demons fiction (shenmo ), involving the gods and monsters of Chinese mythology

  • "Grimdark" fiction, a somewhat tongue-in-cheek label for fiction with an especially violent tone or dystopian themes

  • Hard fantasy, whose supernatural aspects are intended to be internally consistent and explainable, named in analogy to hard science fiction

  • Heroic fantasy, concerned with the tales of heroes in imaginary lands

  • High fantasy or epic fantasy, characterized by a plot and themes of epic scale

  • Historical fantasy, historical fiction with fantasy elements

  • Juvenile fantasy, children's literature with fantasy elements

  • Low fantasy, characterized by few or non-intrusive supernatural elements, often in contrast to high fantasy

  • Magic realism, a genre of literary fiction incorporating minor supernatural elements

  • Magical girl fantasy, involving young girls with magical powers, mainly in Japanese anime and manga

  • Paranormal romance, romantic fiction with fantasy elements

  • Romantic fantasy, focusing on romantic relationships

  • Sword and sorcery, adventures of sword-wielding heroes, generally more limited in scope than epic fantasy

  • Urban fantasy, set in a city

  • Weird fiction, macabre and unsettling stories from before the terms "fantasy" and "horror" were widely used; see also the more modern forms of slipstream fiction and the New Weird

  • Wuxia, Chinese martial-arts fiction often incorporating fantasy elements

By the function of the fantastic in the narrative

In her 2008 book Rhetorics of Fantasy , Farah Mendlesohn proposes the following taxonomy of fantasy, as "determined by the means by which the fantastic enters the narrated world", while noting that there are fantasies that fit none of the patterns:

  • In "portal-quest fantasy" or "portal fantasy", a fantastical world is entered through a portal, behind which the fantastic elements remain contained. A portal-quest fantasy tends to be a quest-type narrative, whose main challenge is navigating a fantastical world. Well-known examples include C. S. Lewis's novel The Lion, the Witch and the Wardrobe (1950) and L. Frank Baum's novel The Wonderful Wizard of Oz (1900).

  • In "immersive fantasy", the fictional world is seen as complete, its fantastic elements are not questioned within the context of the story, and the reader perceives the world through the eyes and ears of the protagonist, without an explanatory narrative. This narrative mode "consciously negates the sense of wonder" often associated with speculative fiction, according to Mendlesohn. She adds that "a sufficiently effective immersive fantasy may be indistinguishable from science fiction" because the fantastic "acquires a scientific cohesion all of its own". This has led to disputes about how to classify novels such as Mary Gentle's Ash (2000) and China Miéville's Perdido Street Station (2000).

  • In "intrusion fantasy", the fantastic intrudes on reality (unlike portal fantasies), and the protagonists' engagement with that intrusion drives the story. Normally realist in style, assuming the normal world as their base, intrusion fantasies rely heavily on explanation and description. Immersive and portal fantasies may themselves host intrusions. Classic intrusion fantasies include Dracula by Bram Stoker (1897) and the works of H. P. Lovecraft.

  • In "liminal fantasy", the fantastic enters a world that appears to be our own, but this is perceived as normal by the protagonists, although it disconcerts and estranges the reader. It is a relatively rare mode, and such fantasies often adopt an ironic, blasé tone, as opposed to the straight-faced mimesis of most other fantasy. Examples include Joan Aiken's stories about the Armitage family, who are amazed that unicorns appear on their lawn on a Tuesday, rather than on a Monday.

Subculture

Professionals such as publishers, editors, authors, artists, and scholars within the fantasy genre get together yearly at the World Fantasy Convention. The World Fantasy Awards are presented at the convention. The first WFC was held in 1975 and it has occurred every year since. The convention is held at a different city each year.

Additionally, many science fiction conventions, such as Florida's FX Show and MegaCon, cater to fantasy and horror fans. Anime conventions, such as Ohayocon or Anime Expo frequently feature showings of fantasy, science fantasy, and dark fantasy series and films, such as Majutsushi Orphen (fantasy), Sailor Moon (urban fantasy), Berserk (dark fantasy), and Spirited Away (fantasy). Many science fiction/fantasy and anime conventions also strongly feature or cater to one or more of the several subcultures within the main subcultures, including the cosplay subculture (in which people make or wear costumes based on existing or self-created characters, sometimes also acting out skits or plays as well), the fan fiction subculture, and the fan video or AMV subculture, as well as the large internet subculture devoted to reading and writing prose fiction or doujinshi in or related to those genres.

According to 2013 statistics by the fantasy publisher Tor Books, men outnumber women by 67% to 33% among writers of historical, epic or high fantasy. But among writers of urban fantasy or paranormal romance, 57% are women and 43% are men.

Analysis

Fantasy is studied in a number of disciplines including English and other language studies, cultural studies, comparative literature, history and medieval studies. For example, Tzvetan Todorov argues that the fantastic is a liminal space. Other work makes political, historical and literary connections between medievalism and popular culture.

Related genres
  • Science fiction

  • Horror

  • Superhero fiction

  • Supernatural fiction

  • Science fantasy

  • Condition: Neu
  • Subject Type: Fantasy Art
  • Card Size: Standard
  • Metric Dimensions of Cards: 89 mm by 64 mm
  • Autographed: No
  • Set: Richard Corben
  • Character: Richard
  • Number of Cards: 90
  • Custom Bundle: No
  • Material: Card Stock
  • Year Manufactured: 1993
  • Age Level: 18+
  • Original/Licensed Reprint: Original
  • Franchise: Richard Corben
  • Vintage: Yes
  • Type: Non-Sport Trading Card
  • Language: English
  • Illustrator: Richard Corben
  • Manufacturer: Comic Images
  • Approximate Size of Cards: 3.5 inches by 2.5 inches
  • Features: Base Set
  • Featured Person/Artist: Richard Corben
  • Genre: Action, Fantasy, Sci-Fi, Fantasy Art, Commercial Art, Airbrush Art, Graphic Novel Art, Heavy Metal Magazine, Comic Book Art
  • Country/Region of Manufacture: United States

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