具体描述
内容简介
When Superman debuted seventy-five years ago, it was not merely the beginning for one character, but for an entire genre. The phrase "super hero" had yet to be coined when ACTION COMICS #1 hit newsstands in 1938, but once Superman entered the scene, effortlessly lifting a car above his head on that first iconic cover, the character paved the way for each of the hundreds (if not thousands) of super-powered heroes written since.
SUPERMAN: A CELEBRATION OF 75 YEARS gathers a range of stories featuring the first and greatest super hero, highlighting the many roles the Man of Steel has played over the decades. In these celebrated stories, Superman is in turns the Herculean champion, the lonely alien survivor, the super-powered Boy Scout and the soul-searching leader. Over the course of seventy-five years, watch as the character grows from a simple strongman to the beloved international symbol he is today!
This Volume Collects:
("Superman, Champion of the Oppressed") / ("War in San Monte") -- ACTION COMICS #1-2 (1938) Writer: Jerry Siegel, Artist: Joe Shuster
"How Superman Would End the War" -- Look Magazine (1940) Writer: Jerry Siegel, Artist: Joe Shuster
"Man or Superman?" -- SUPERMAN #17 (1942) Writer: Jerry Siegel, Penciller: Joe Shuster, Inker: Joe Sikela
"The Origin of Superman" -- SUPERMAN #53 (1948) Writer: Bill Finger, Penciller: Wayne Boring, Inker: Stan Kaye
"The Mightiest Team in the World" -- SUPERMAN #76 (1952) Writer: Edmond Hamilton, Penciller: Curt Swan, Inker: John Fishchetti
"The Super-Duel in Space" -- ACTION COMICS #242 (1958) Writer: Otto Binder, Artist: Al Plastino
?"The Girl From Superman's Past" -- SUPERMAN #129 (1959) Writer: Bill Finger, Penciller: Wayne Boring, Inker: Stan Kaye
"Superman's Return to Krypton" -- SUPERMAN #141 (1960) Writer: Jerry Siegel, Penciller: Wayne Boring, Inker: Stan Kaye
"The Death of Superman" -- SUPERMAN #149 (1961) Writer: Jerry Siegel, Penciller: Curt Swan, Inker: George Klein
"Must There Be a Superman?" -- SUPERMAN #247 (1972) Writer: Eliot S. Maggin, Penciller: Curt Swan, Inker: Murphy Anderson
?"Rebirth" -- ACTION COMICS #544 (1983) Writer: Marv Wolfman, Artist: Gil Kane
"The Living Legends of Superman" (excerpt) -- SUPERMAN #400 (1985) Writer: Elliot S. Maggin, Artist: Frank Miller
"For the Man Who Has Everything" -- SUPERMAN ANNUAL #11 (1985)Writer: Alan Moore, Artist: Dave Gibbons
"The Name Game" -- SUPERMAN #11 (1987)? Writer/Penciller: John Byrne, Inker: Karl Kesel
"Doomsday" -- SUPERMAN #75 (1993)? Writer/Penciller: Dan Jurgens, Inker: Brett Breeding
"What's So Funny About Truth Justice and the American Way?" -- ACTION COMICS #775 (2001)? Writer: Joe Kelly, Pencillers: Doug Mahnke, Lee Bermejo
Inkers: Tom Nguyen, Dexter Vines, Jim Royal, Jose Marzan, Jr., Wade Von Grawbadger, Wayne Faucher
"Question of Confidence" -- Mythology: The DC Comics Art of Alex Ross (2003)? Writer: Chip Kidd, Artist: Alex Ross
"The Incident" -- ACTION COMICS #900 (2011)? Writer: David S. Goyer, Artist: Miguel Sepulveda
"The Boy Who Stole Superman's Cape" -- ACTION COMICS #0 (2012)?? Writer: Grant Morrison, Artist: Ben Oliver 作者简介
Born in 1914 in Cleveland, Ohio, Jerome Siegel was, as a teenager, a fan of the emerging literary genre that came to be known as science fiction. Together with schoolmate Joe Shuster, Siegel published several science-fiction fan magazines, and in 1933 they came up with their own science-fiction hero -- Superman. Siegel scripted and Shuster drew several weeks' worth of newspaper strips featuring their new creation, but garnered no interest from publishers or newspaper syndicates. It wasn't until the two established themselves as reliable adventure-strip creators at DC Comics that the editors at DC offered to take a chance on the Superman material -- provided it was re-pasted into comic-book format for DC's new magazine, ACTION COMICS.
Siegel wrote the adventures of Superman (as well as other DC heroes, most notably the Spectre, his co-creation with Bernard Baily) through 1948 and then again from 1959-1966, in the interim scripting several newspaper strips including Funnyman and Ken Winston. Jerry Siegel died in January, 1996.
Joseph Shuster was born in 1914 in Toronto, Canada. When he was nine, his family moved to Cleveland, Ohio, where Shuster met Jerry Siegel. The two became fast friends and collaborators; together, they published the earliest science-fiction fan magazines, where Shuster honed his fledgling art skills. In 1936, he and Siegel began providing DC Comics with such new features as Dr. Occult, Slam Bradley and Radio Squad before selling Superman to DC in 1938.? Influenced by such comic-strip greats as Wash Tubbs' Roy Crane, Joe Shuster drew Superman through 1947, after which he left comic books to create the comic strip Funnyman, again with Siegel. Failing eyesight cut short his career, but not before his place in the history of American culture was assured. Shuster died of heart failure on July 30, 1992.,,,
好的,这是一本名为《光影铸就的传奇:电影特效的百年探索》的图书简介: 光影铸就的传奇:电影特效的百年探索 一部深入剖析视觉艺术与工程奇迹的史诗 在光影交织的银幕背后,隐藏着一个不断挑战人类想象力极限的领域——电影特效。从早期的机械装置到今日的数字模拟,电影特效的发展史,就是一部视觉艺术与前沿科技相互驱动、共同进化的恢宏史诗。本书《光影铸就的传奇:电影特效的百年探索》,将带领读者穿越时空,细致考察电影特效从诞生之初到如今的每一步关键飞跃,揭示那些塑造了我们集体记忆的“不可能的奇迹”是如何被幕后的艺术家和工程师们用智慧和汗水铸就的。 第一部分:魔术的起源——物理特效的黄金时代 (1890s – 1970s) 本书首先追溯电影特效的源头,深入解析蒸汽时代的工业美学如何渗透到早期电影制作中。我们探讨乔治·梅里爱(Georges Méliès)如何利用简单的停顿、重叠和双重曝光,创造出“会动的魔术”,为后世的视觉叙事奠定了基石。这一时期,特效是基于物理和机械的精妙操作。 我们将详细剖析“模型与微缩景观”的艺术。从《金刚》(King Kong, 1933)中惊天动地的巨兽,到《星球大战》(Star Wars, 1977)系列中宏大太空歌剧的诞生,模型制作大师们如何将尺幅缩小,却将史诗感放大?书中细致描述了罗斯玛丽·巴克斯(Rosemary Banks)等先驱者如何掌握“细致布景与摄影技巧”的结合,让观众相信一个几英寸高的城市模型就是真实的纽约。重点介绍如何运用错视画法(Forced Perspective)和精密的机械动画(Stop-Motion Animation),让静止的物件获得生命。拉赫姆·贝克(Ray Harryhausen)的骨骼与肌肉的结合,如何让神话生物在银幕上栩栩如生,成为一个时代的标志。 同时,我们不会忽略对光线和环境的精妙控制。遮光板、烟雾、火焰以及水景的实景模拟,这些早期特效团队面对材料局限时的创造性解决方案,构成了本书早期篇章的基石。这不是简单的回顾,而是对早期电影人“用最少的资源实现最大的视觉冲击”这一哲学理念的深度解读。 第二部分:迈向数字革命的过渡期——光学与机械的交汇 (1970s – 1990s) 随着技术的发展,电影特效开始寻求更精确、更可控的解决方案。本书的第二部分聚焦于光学特效的成熟以及机械技术的巅峰。 我们将重点解析Dykstraflex摄影机系统的发明及其对运动控制的革命性影响。这种精确到毫秒级的运动捕捉,使得复杂的跟踪镜头和模型拍摄能够实现前所未有的流畅性。同时,我们深入探讨了“蓝幕/绿幕技术”(Chroma Key)的完善,以及它如何从简单的背景替换,进化为构建复杂虚拟环境的基础。 本部分的高潮在于对“角色动画”的深入研究。斯坦·温斯顿(Stan Winston)的工作室是如何将复杂的机械骨架与流体液压系统结合,创造出《异形2》(Aliens)中令人毛骨悚然的异形女王,以及《终结者2》(Terminator 2: Judgment Day)中T-1000液态金属形态的经典突破。书中详细对比了机械动画与计算机生成图像(CGI)在创作同一种视觉效果时的技术侧重点和美学差异。我们分析了CGI如何从辅助工具,逐渐成为主导力量,标志着电影工业的范式转移。 第三部分:代码与像素的交响——CGI的崛起与主宰 (1990s – 2010s) 进入二十世纪九十年代,计算机图形学(CGI)彻底重塑了电影制作的格局。《侏罗纪公园》(Jurassic Park)的上映,不仅仅是电影史上的一个里程碑,更是CG技术首次以完全可信的方式替代实景生物的证明。本书详细拆解了工业光魔(ILM)在此项目中的核心技术——皮肤纹理、骨骼绑定和实时物理反馈的早期实现。 随后,我们将目光投向了“数字演员”的诞生。从《指环王》三部曲中成千上万的数字军队,到《本杰明·巴顿奇事》中对角色年龄的逆向工程,我们探讨了数字面部捕捉(Performance Capture)和全身动作捕捉(Motion Capture)技术的不断成熟。书中专门辟章分析了皮克斯(Pixar)等动画工作室如何将叙事艺术与尖端的渲染技术完美融合,探讨了光线追踪、次表面散射等渲染算法对“真实感”的决定性影响。 这一时期,特效不再是“添加”的元素,而是“构建”世界的核心工具。我们审视了“数字双胞胎”(Digital Doubles)的概念,以及制作团队如何通过扫描和建模,为演员创建出可以承受任何物理伤害的虚拟替身。 第四部分:实时互动与超感知——未来特效的边界 (2010s – 至今) 在当代,电影特效正以前所未有的速度向更具互动性和沉浸感的方向发展。本书的最后部分着眼于当前和未来的趋势。 我们探讨“虚拟制片”(Virtual Production)的革命,特别是LED墙技术(如“The Volume”)如何将后期制作的复杂性前置到拍摄现场,模糊了实景与数字背景的界限。这不仅提高了效率,更让导演在拍摄时就能实时预览最终效果。 此外,书中深入分析了“实时渲染引擎”(如Unreal Engine)在电影制作中的应用,它们如何使得复杂的视觉效果可以在更短的时间内完成迭代,甚至催生了全新的创作流程。我们还考察了“人工智能辅助”特效制作的潜力,从自动生成环境纹理到辅助面部表情的细微调整。 结语:超越奇观,回归叙事 《光影铸就的传奇》的最终目标,并非仅仅是罗列技术名词。它旨在揭示一个深刻的真理:最伟大的电影特效,永远是为故事服务的工具。从梅里爱的剪影到今日的量子渲染,特效大师们始终在追求的,是如何让观众忘记“这是特效”,而完全沉浸于屏幕上的情感与冲突之中。本书是对所有那些敢于梦想、并用代码和机械将梦想变为现实的幕后英雄们,致以的崇高敬意。这是一部献给所有热爱电影、好奇于“它是如何做到的”的读者的视觉技术史诗。