The Complete Little Orphan Annie Will Tomorrow Ever Come Daily Comic Strips 1924 1927

Introducing two of the strip's most incredible characters: The Asp - who has sometimes been likened to the Grim Reaper - and Mr. Am - who has been said might be a representation of the Almighty. Harold Gray is at the top of his game as he also introduces the mysterious Shanghai Peg and the frightening villain Boris Sirob, who actually kills both "Daddy" Warbucks and The Asp. "Daddy" dead? Wait until you read this one! Includes all dailies and color Sundays from October 1, 1936 through June 8, 1938.

Contains more than 1,000 daily comics in nine stories, from the first strip in 1924 through October 1927. This volume talks about how Annie escapes the orphanage and is adopted by Daddy; how she finds the mutt, Sandy and rescues him from being tortured; how she meets the Silos, who become recurring characters throughout the series; and more.

The first comprehensive edition chronicling the comic strip Little Orphan Annie from its origin in 1924 through 1927, featuring the adventures of the spirited red-head, her dog Sandy, and her benefactor, Oliver "Daddy" Warbucks.

In Pictopia is the legendary comic created in 1986, written b y the era's most adventurous mainstream comics writer and drawn by a bevy of indie cartoonists — helmed by Don Simpson, with Mike Kazaleh, Pete Poplaski, and Eric Vincent. Presented here for the first time, scanned from the original line art and full-color painted boards, in an appropriately oversized format. Pictopia is the allegorical city inhabited by old, forgotten, but once famous and iconic comics characters, now considered pitiable has-beens by the popular new comics characters who are cheerfully and inevitably taking their places in the pop culture panteon of celebrity. It is both a paean to timeless, beloved comics characters and a scathing critique of the then-contemporary comics sub-culture.

The orphan has turned out to be an extraordinarily versatile literary figure. By juxtaposing diverse fictional representations of orphans, this volume sheds light on the development of cultural concepts such as childhood, family, the status of parental legacy, individualism, identity and charity. The first chapter argues that the figure of the orphan was suitable for negotiating a remarkable range of cultural anxieties and discourses in novels from the Victorian period. This is followed by a discussion of both the (rare) examples of novels from the first half of the 20th century in which main characters are orphaned at a young age and Anglophone narratives written from the 1980s onward, when the figure of the orphan proliferated once more. The trope of the picaro, the theme of absence and the problem of parental substitutes are among the issues addressed in contemporary orphan narratives. The book also looks at the orphan motif in three popular fantasy series, namely Rowling’s Harry Potter septology, Pullman’s His Dark Materials trilogy and Martin’s A Song of Ice and Fire series. It then traces the development of the orphan motif from the end of the 19th century to the present in a range of different types of comics, including funnies and gag-a-day strips, superhero comics, underground comix, and autobiographical comics.

Chronicles the time of Annie and her dog Sandy during the depression.

Whether one describes them as sequential art, graphic narratives or graphic novels, comics have become a vital part of contemporary culture. Their range of expression contains a tremendous variety of forms, genres and modes − from high to low, from serial entertainment for children to complex works of art. This has led to a growing interest in comics as a field of scholarly analysis, as comics studies has established itself as a major branch of criticism. This handbook combines a systematic survey of theories and concepts developed in the field alongside an overview of the most important contexts and themes and a wealth of close readings of seminal works and authors. It will prove to be an indispensable handbook for a large readership, ranging from researchers and instructors to students and anyone else with a general interest in this fascinating medium.

"America's spunkiest kid fights gold-diggers and kidnappers"--Jacket

Little Orphan Annie — the original female comics hero — takes on chiseling business men and a gang of thieves, armed only with her sharp wit and a good left hook. Then she helps her surrogate parents by nursing "Daddy" Warbucks to health and helping save the Silos' family farm. And only that little chatter-box could become a cross between Robinson Crusoe and Dr. Doolittle when she and Sandy are shipwrecked on a deserted island. Enjoy all the unique adventure and earnest charm of Volume Two in The Library of American Comics presentation of Little Orphan Annie, containing nearly 1,000 comic strips from October 1927 to November 1930.

Together with the blind fiddler, "Uncle" Dan, Annie squares off against the Chizzler, then embarks on her first novel-length adventure. In a story lasting nearly a full year, Annie's supposed "real" parents — Boris and Libby Bleek, leaders of the criminal Ghost Gang — gain legal custody of her, while "Daddy" Warbucks is hounded into jail by the unscrupulous politician, Phil O. Bluster. "The One-Way Road to Justice" leaves a penniless Annie and "Daddy" and on the bum amidst the Great Depression. Contains every daily and color Sunday strip from July 10, 1933 through February 10, 1935, printed directly from Harold Gary's original artwork.