query: When did Tite Kubo create Bleach?

title: Tite Kubo

text: His next series, Bleach, about a high school student who becomes a shinigami and fights creatures known as Hollows, began running in the same magazine in 2001. Kubo initially expected the series' serialization to continue no longer than five years.[5] The original story concept was submitted to Weekly Shōnen Jump shortly after the cancellation of Zombiepowder, but was rejected. Akira Toriyama, creator of Dragon Ball, saw the story and wrote a letter of encouragement to Kubo.[5] Bleach ran for 15 years of serialization and reached over 686 chapters from 2001 to 2016. Additionally, an anime adaptation of the series was broadcast in TV Tokyo for 8 years from 2004 to 2012, spanning over 366 episodes. The manga was named a winner of the Shogakukan Manga Award for its category in 2004.[8] Kubo and Makoto Matsubara have co-authored two novelizations of the Bleach series, which were published by Shueisha under their Jump Books label.[9][10] The first Bleach movie was released in Japan on December 16, 2006, followed by a second movie on December 22, 2007, a third on December 13, 2008, and a fourth on December 4, 2010. Kubo also appeared in the episode 112 of the Japanese radio program of Bleach B-Station. In that program, Kubo was interviewed by Masakazu Morita, voice actor of Ichigo Kurosaki, the main character of Bleach, and answered several questions from fans.[11] On July 26, 2008, Kubo went to the United States for the first time and made an appearance at the San Diego Comic-Con International.[12]

title: Bleach (manga)

text: Bleach was first conceived from Tite Kubo's desire to draw a Shinigami (Soul Reaper) in a kimono, which formed the basis for the design of the Soul Reapers in the series.[5][6] At first, Kubo thought that the Soul Reapers should use guns, so the first title for the series was "Snipe" (as in "sniper"); however, this was changed with the inclusion of swords.[7] After that, the series was meant to be named "Black" due to the color of the Soul Reapers' clothes, but Kubo thought the title was too generic. He later tried the name of "White," but came to like "Bleach" more for its association with the color white and that he did not find it too obvious.[8] The original story concept was submitted to Weekly Shōnen Jump shortly after the cancellation of Kubo's previous manga, Zombiepowder, but was at first rejected.[9] Manga artist Akira Toriyama saw the story and wrote a letter of encouragement to Kubo.[6] Bleach was accepted for publication a short time later in 2001, and was initially intended to be a shorter series, with a maximum serialization length of five years.[6] Early plans for the story did not include the hierarchical structure of the Soul Society, but did include some characters and elements that were not introduced into the plot until the Arrancar arc, such as Ichigo's Soul Reaper parentage.[5]

title: List of Bleach characters

text: The Bleach manga and anime created by Tite Kubo. The series takes place in a fictional universe in which the characters are split into various factionalized fictional races. All these races are subdivisions of humanity, but are distinguished by whether they live on earth or in one of the afterlives, by possession of thematically contrasting supernatural powers, and by the use of aesthetics drawn from the artistic traditions of different real-life regions.

title: Tite Kubo

text: Both of Kubo's serialized works are shōnen manga with a heavy focus on action. His fight scenes are noted for swift cuts and dramatic angle changes between panels, as well as minimal inclusion of background art or splash pages. As a character designer, Kubo held to a distinctively angular and lanky style through Zombiepowder and the early portions of Bleach, which filled out somewhat as Bleach continued. His designs often incorporate elements of body horror.[14][15][16]

title: Tite Kubo

text: Bleach All Colour But The Black[27] Bleach Official Bootleg[28] Bleach JET (upcoming)[29]

title: List of Bleach characters

text: Bleach's creative process is focused around character design. When writing plotlines or having difficulties generating new material, Tite Kubo begins by thinking of new characters, often en masse, and rereading previous volumes of Bleach.[1] Kubo has said that he likes creating characters with outward appearances that do not match their true nature, an element that can be found in many Bleach characters, as he is "attracted to people with that seeming contradiction", and finds an "urge to draw people like that when [he] works."[2] When creating characters for the manga, Kubo first designs character appearances and only then decides what their personalities will be, in reflection of what he drew. When brainstorming character designs, he will go out and draw the faces of real people he sees, a hobby of his dating back to childhood.[2] Kubo considers every character to be unique and wants each of them to have the opportunity for character development in the course of the series.[3] When asked about potentially-romantic relationships between certain characters, Kubo states that he "doesn't want to turn the series into a love story", since he thinks there are more exciting aspects of their personalities to draw out.[4]

title: List of Soul Reapers in Bleach

text: This is a list of featured in the manga and anime series "Bleach", created by Tite Kubo. Soul Reapers are a fictional race of spirits who govern the flow of souls between the human world and the afterlife realm called the "Soul Society".

title: Bleach (season 2)

text: The is the second season of the "Bleach" anime series, containing 21 episodes. The episodes are directed by Noriyuki Abe, and produced by TV Tokyo, Dentsu and Studio Pierrot. In the English release by Viz Media, the title is translated as The Entry. The episodes are based on Tite Kubo's "Bleach" manga series. The episodes' plot centers on Ichigo Kurosaki and his friends' journey to the Soul Society in order to save Soul Reaper Rukia Kuchiki from her impending execution.

title: Tite Kubo

text: Tite Kubo(久保 帯人,Kubo Taito, born June 26, 1977) is a Japanese manga artist. He is best known for his manga series Bleach, which has sold over 120 million copies as of 2018.[2][3]

title: List of Bleach characters

text: IGN also added that while some fights were dragged for many chapters, they are easy to enjoy due to the abilities of the characters and the artwork from Kubo.[94] In another review, comicbookbin said that Bleach's characters tended to avoid the most obvious courses of action, giving the series an element of unpredictability.[95] Tite Kubo has been praised by comicbookbin.com for creating a "dense multi-layered narrative housing a mob of characters". They remarked how each character from the series had two subplots making the reader hard to remember although that made them more complex.[96] In a review from the volume 20, they noted how Kubo turned the fights into "martial arts and epic fantasy serial" comparing them with fights from famous movies like The Matrix and praised how well drawn they are.[97] Anime News Network also added that the English voice acting of the characters is as good as the Japanese one, considering each of them very original.[98]

title: Bleach: Heat the Soul (series)

text: Bleach: Heat the Soul is a series of 3-D cel-shaded fighting games for the PSP based on the popular manga and anime series "Bleach" by Tite Kubo. Each installment is developed by Eighting and published by Konami. All installments have been released only in Japan.

title: Tite Kubo

text: Ultra Unholy Hearted Machine (1996, Weekly Shōnen Jump, Shueisha.) Crime fiction. Kubo's first published manga, his trademark angular designs are absent.[15] Rune Master Urara (1996, Weekly Shōnen Jump, Shueisha.) Fantasy. Has rough art and an in-between style.[14] Bad Shield United (1997, Weekly Shōnen Jump, Shueisha.) Sci-fi. The character aesthetics that carried through Zombiepowder. and the early arcs of Bleach are in full evidence here.[15] Burn the Witch (2018, Weekly Shōnen Jump, Shueisha.) Romantic comedy. Kubo's one-shot after Bleach ended. The art follows the hit series' unique style.[26]

title: Bleach (season 7)

text: The seventh season of the "Bleach" anime series is named the . In the English adaptation of the anime released by Viz Media, the title of the season is translated as The Hueco Mundo. The episodes are directed by Noriyuki Abe, and produced by TV Tokyo, Dentsu and Studio Pierrot. The twenty episodes featured in the season are based on Tite Kubo's "Bleach" manga series. The season follows Ichigo Kurosaki's journey to Hueco Mundo to rescue Orihime Inoue, who was kidnapped by the arrancar under the command of former Soul Reaper captain Sōsuke Aizen. Although episodes focused on the character Ashido Kanō were not featured in the manga due to timing issues, Kubo still helped the anime staff to show them in the anime.

title: List of Bleach characters

text: Kubo has cited influences for elements of Bleach ranging from other manga series to music, foreign language, architecture, and film. He attributes his interest in drawing the supernatural and monsters to Shigeru Mizuki's Ge Ge Ge no Kitaro and Bleach's focus on unique weaponry and battle scenes to Masami Kurumada's Saint Seiya, both manga Kubo enjoyed as a boy.[5] Bleach was first conceived from Kubo's desire to draw a shinigami in a kimono, which formed the basis for the design of the Soul Reapers.[5] Several characteristics from them such as the kidō spells and the zanpakutō swords are also based on Japanese literature.[2] Rukia Kuchiki was the first character Kubo designed, but he did not see her as a lead character, so he created Ichigo Kurosaki to be the series protagonist.[6] Other characters from the series also use different languages to describe their terminology; the powers from the Quincy are taken from German, while Hollows and Arrancar instead use Spanish terms; for the latter, Kubo believed that the language sounded "bewitching" and "mellow" and that felt appropriate for a species of ghost. The names of several Arrancar are based on famous architects and designers who inspired scenery appearing in Bleach.[2]

title: Bleach (season 16)

text: The sixteenth season of the "Bleach" anime series is known as the . It is directed by Noriyuki Abe, and produced by TV Tokyo, Dentsu and Studio Pierrot. Based on Tite Kubo's "Bleach" manga series, the season is set seventeen months after Ichigo Kurosaki lost his Soul Reaper powers and meets a man known as Kūgo Ginjō who proposes him to recover them.

title: List of Soul Reapers in Bleach

text: "Bleach" was first conceived from Tite Kubo's desire to draw "Shinigami" ("Soul Reaper" in the English adaptations) in a kimono, which formed the basis for the design of the Soul Reapers. Before deciding the use of kimono, Kubo thought of giving black suits to male Soul Reapers and any forms to female Soul Reapers, but thought that it was too generic and changed it to a kimono. Several characteristics from them, such as the "kidō" spells and the "zanpakutō" swords are also based on Japanese literature. Instead of using "zanpakutō", Kubo wanted to give the Soul Reapers guns, with the exception of Rukia, who would use a scythe. Seeing that guns are not suitable for kimono, he changed them to swords. When asked which of the Court Guard Squad captains and assistant captains were his favorites, Tite Kubo answered by saying that he liked "all of them" and that he likes to "support" characters "disliked by readers." Early plans for the story did not include the hierarchical structure of the Soul Society, but did include Ichigo's Soul Reaper heritage.

title: Rukia Kuchiki

text: "Bleach" was first conceived from Tite Kubo's desire to draw a "shinigami" in a kimono, which formed the basis for the design of the Soul Reapers. Because of this, Kuchiki was one of the first characters of the series to be created. Before deciding that every Soul Reaper had swords, Kubo thought that they all should use guns, while only Rukia used a scythe. However, this was changed as he created the Soul Reaper kimono. Kubo also mentioned that Rukia did not seem like a lead character, so he created Ichigo Kurosaki to be the series protagonist. Ichigo's initial design had black hair like Rukia; Kubo had to modify Ichigo's appearance to contrast with hers, giving Ichigo orange hair and a trademark scowl.

title: Tite Kubo

text: Bleach Official Character Book SOULs[30] Bleach Official Anime Guide Book VIBEs[31] Bleach Official Character Book 2 MASKED[32] Bleach Official Character Book 3 UNMASKED[33] Bleach 13 BLADEs.[34]

title: Bleach (season 9)

text: The ninth season of the "Bleach" anime series is named . The series is based on Tite Kubo's "Bleach" manga series. The episodes are directed by Noriyuki Abe, and produced by TV Tokyo, Dentsu and Studio Pierrot. The season focuses on the introduction of a new Soul Reaper captain, Shūsuke Amagai, and the mystery surrounding the Kasumiōji clan, one of the families that constitute the nobility of Soul Society.

title: Tite Kubo

text: Prior to being serially published, Tite Kubo wrote and illustrated several one-shot manga. Three of these were later published in English, included in Viz Media's collected volumes of Zombiepowder. These short manga display the rapid development of Kubo's artstyle in the mid-90s. Afterwards, Kubo published another one-shot after Bleach ended, with an artstyle that has been widely recognized as his own.

title: Yasutora Sado

text: "Bleach" author Tite Kubo stated that he began creating the characters "from their faces." According to Kubo, Chad "looked like he was of Mexican heritage" so he decided to make him half-Japanese and half-Mexican.

title: Bleach (season 8)

text: The eighth season of the "Bleach" anime series is named the . The episodes are directed by Noriyuki Abe, and produced by TV Tokyo, Dentsu and Studio Pierrot. Based on Tite Kubo's "Bleach" manga series, the episodes' plot centers on Ichigo Kurosaki's and his friends' battle against the Espada, the strongest members of former Soul Reaper captain Sōsuke Aizen's army, to save Orihime Inoue.

title: Bleach (season 4)

text: The fourth season of the "Bleach" anime series was directed by Noriyuki Abe and produced by Studio Pierrot. Like the rest of the series, it follows the adventures of Ichigo Kurosaki, but instead of adapting Tite Kubo's "Bleach" manga, it features an original, self-contained story arc. The twenty-eight episodes form the , which focuses on the introduction of the Bount, a race of humans that consume human souls to extend their lives, and their conflicts with Ichigo Kurosaki and his allies.

title: List of Bleach chapters (188–423)

text: The chapters 188–423 of the "Bleach" manga series, written and illustrated by Tite Kubo, comprise the . The plot follows the Soul Reaper Ichigo Kurosaki who is in charge of slaying Hollows, evil spirits that attack people. He also encounters former Soul Reaper Sosuke Aizen, who created an army of powerful Hollows called Arrancars to destroy the Soul Reapers' organization, Soul Society. In the arc, Ichigo and his allies enter the Hollows' world, the Hueco Mundo, as Aizen kidnaps one of his friends.

title: Bleach (manga)

text: Kubo has cited influences for elements of Bleach ranging from other manga series to music, foreign language, architecture, and film. He attributed his interest in drawing the supernatural and monsters to Shigeru Mizuki's GeGeGe no Kitaro and Bleach's focus on interesting weaponry and battle scenes to Masami Kurumada's Saint Seiya, manga that Kubo enjoyed as a boy.[5] The latter is based on Greek mythology and Kubo also considered it as a source for his focus on myths, monsters and the afterlife.[7] The action style and storytelling found in Bleach are inspired by cinema, though Kubo has not revealed any specific movie as being an influence for fight scenes. When pressed, he told interviewers that he liked Snatch but did not use it as a model.[10] Bleach's fight choreography is instead constructed with the aid of rock music, which the author listens to while imagining the fights in order to give him a sense of pacing for the panel cuts and change of angles through the scenes.[11] Kubo prefers to draw realistic injuries in order to render the fight more impactful, by making the readers feel the pain the characters are feeling.[12] Bleach's fight scenes are often broken up with brief gags, which the author inserts when he grows bored during the illustration process.[11]

title: Tite Kubo

text: Tite Kubo's earliest influence is from Shigeru Mizuki's manga Gegege no Kitaro. He remembers trying to sketch its characters and found his own designs to be simpler that of Mizuki's.[7] Bleach was first conceived from a desire on Kubo's part to draw shinigami in kimono, which formed the basis for the design of the Shinigami in the series, and conception of the character Rukia Kuchiki.[17] Kubo has cited influences for elements of Bleach ranging from other manga series to music, foreign language, architecture, and film. He attributes his interest in drawing the supernatural and monsters to Shigeru Mizuki's GeGeGe no Kitaro and Bleach's focus on interesting weaponry and battle scenes to Masami Kurumada's Saint Seiya, both manga Kubo enjoyed as a boy.[17] Kubo stated that Akira Toriyama's Dragon Ball taught him that all villains must be "strong, scary and cool" without exception, and added that to this day no fight scene has shocked him more than Trunks' first appearance.[18] The action style and storytelling found in Bleach are inspired by cinema, though Kubo has not revealed any specific movie as being an influence for fight scenes.[19] Kubo has also stated that he wishes to make Bleach an experience that can only be found by reading manga, and dismissed ideas of creating any live-action film adaptations of the series.[20]

title: Bleach (season 1)

text: The is the first season of the "Bleach" anime series. The episodes are directed by Noriyuki Abe, and produced by TV Tokyo, Dentsu and Studio Pierrot. In the English release by Viz Media, its title is translated as The Substitute. The episodes are based on Tite Kubo's "Bleach" manga series, spanning twenty episodes. The episodes' plot covers the adventures of Ichigo Kurosaki after becoming a Soul Reaper and assuming the duties of Soul Reaper Rukia Kuchiki.

title: Bleach: The DiamondDust Rebellion

text: Tite Kubo, author from the "Bleach" manga, authored a one-shot based on Tōshirō, prior to the film's premier in order to promote it. He was also allowed to participate in the making of the film, to design the character of Kusaka. However, Kubo could not add Kusaka to his one-shot due to the fact the original concept came from the manga. In order to promote the second film of "Bleach", the trailer had the line "Execute Hitsugaya!". Kubo admitted that it was his own idea to make everybody be surprised, but he and Masakazu Morita, the voice actor of Ichigo Kurosaki, received a lot of letters from worried fans, causing Kubo to apologize in response.

title: Bleach (season 14)

text: The fourteenth season of the "Bleach" anime series is based on Tite Kubo's "Bleach" manga series. It is known as the , is directed by Noriyuki Abe, and produced by TV Tokyo, Dentsu and Studio Pierrot. The season continues the fight between the Soul Reapers and Sōsuke Aizen's arrancar army as the former defends Karakura Town from the latter's invasion, while Ichigo and his group fight the arrancars in Hueco Mundo to rescue Orihime Inoue.

title: Bleach (season 11)

text: The eleventh season of the "Bleach" anime series, released on DVD as , is directed by Noriyuki Abe, and produced by TV Tokyo, Dentsu and Studio Pierrot. The seven episode season is based on Tite Kubo's "Bleach" manga series. The episodes' plot follows the flashback arc of the series' storyline which retells the Vizard's past.


query: When did Batman premier?

title: Batman (1989 film)

text: Batman is a 1989 American superhero film directed by Tim Burton and produced by Jon Peters and Peter Guber, based on the DC Comics character of the same name. It is the first installment of Warner Bros.' initial Batman film series. The film stars Michael Keaton as Bruce Wayne/Batman and Jack Nicholson as the Joker, alongside Kim Basinger, Robert Wuhl, Pat Hingle, Billy Dee Williams, Michael Gough and Jack Palance. The film takes place early in the title character's war on crime, and depicts a battle with his nemesis the Joker.

title: Robin in other media

text: Robin did not appear in the Tim Burton movies "Batman" (1989) and "Batman Returns" (1992). This was an unusual move as the two 1940s serials as well as the 1966 movie and attendant TV show had presented the 'Dynamic Duo' as an inseparable pair, with the general public unaware that the comic-book incarnation of Batman often worked alone. The special edition version of the "Batman" (1989) DVD features an animated storyboard sequence of when Robin's parents are killed by the Joker. Jason Hillhouse provides the voice of Dick Grayson, while Kevin Conroy and Mark Hamill reprise their respective roles (from the DC animated universe) as Batman and the Joker in the storyboard sequence. Burton planned to cast Northern Irish actor Ricky Addison Reed as Robin, but later felt it was unimportant to the story and cut Robin out altogether. In an earlier script of "Batman Returns", he was portrayed as a technologically savvy street kid who would help Batman following his narrow escape when The Penguin tried to kill him. He would later play a crucial role in Batman's final confrontation with The Penguin. In that script, he was simply called Robin, has no known real name, and was to be played by Marlon Wayans.

title: Batman

text: The debut of the "Batman" television series in 1966 had a profound influence on the character. The success of the series increased sales throughout the comic book industry, and "Batman" reached a circulation of close to 900,000 copies. Elements such as the character of Batgirl and the show's campy nature were introduced into the comics; the series also initiated the return of Alfred. Although both the comics and TV show were successful for a time, the camp approach eventually wore thin and the show was canceled in 1968. In the aftermath, the Batman comics themselves lost popularity once again. As Julius Schwartz noted, "When the television show was a success, I was asked to be campy, and of course when the show faded, so did the comic books."

title: Orpheus (DC Comics)

text: During the 'War Games' story arc which took place in several Batman-related issues, Spoiler, desperate to prove herself, took one of Batman's contingency plans and set it into action. The plan was to get all of Gotham's crime lords under the control of Orpheus, an agent of Batman, and therefore under the control of Batman himself. The plan failed because Spoiler was unaware that the man who was set to meet with the crime lords, Matches Malone, was really just one of Batman's disguises. When "Matches Malone" did not show the meeting quickly broke out into a fight, leaving many dead. This quickly erupted into a brutal gang war on the streets of Gotham.

title: The New Batman Adventures

text: "The New Batman Adventures" premiered on Kids' WB just two years after "Batman: The Animated Series" ended its original run on Fox Kids. The animation style was changed significantly from "BTAS" due to budgetary issues. The animators decided to make the show look more compatible with the smoother "Superman: The Animated Series" with which "TNBA" would air in tandem as part of "The New Batman/Superman Adventures" on Kids' WB. "TNBA" was later given the same opening theme of "BTAS" when aired in syndication.

title: Batman & Robin: The Chiller

text: During the 2007 season, the Zero-G Rolls were removed from the ride and replaced with banked hills. Robin's hill was installed in March and Batman's in April. Batman's train was painted red so that Robin could use it, because Robin's train was damaged during a previous incident. The Robin side re-opened on April 7 and ran until June 28 when it was closed for the rest of the year. The Batman side did not operate at all, but three of the five cars from the original Robin train were placed on Batman's maintenance track. Because of all of the problems the coaster had and the numerous failed attempts to fix the coaster, Six Flags decided to dismantle the ride.

title: Alec Holland

text: Infuriated, Swamp Thing kills Headhunter immediately, singing the same lullaby his father did. He reveals to Batman that his father used to sing the song when he was scared as a child. Batman gets angry, claiming he was used by Swamp Thing. Swamp Thing turns sad because of the distant relationship with his father, and says that Batman doesn't understand. Batman is offended by the statement that he doesn't understand. Swamp Thing tells him that he believed Batman was the reason he came, and because he knew that, he had no reason to stay. Swamp Thing then disappears, leaving Batman alone.

title: The Dark Knight Strikes Again

text: Returning to the Batcave, Batman is contacted by Carrie, who is being attacked by the Joker-like man and now wearing a Robin costume. Batman arrives and recognizes the man as Dick Grayson, the first Robin who Batman fired long ago. Grayson has been genetically altered to have a powerful healing factor and shape-shifting ability, but is criminally insane. As Batman and Grayson contemptuously recall their bleak history together, Batman drops him through a trapdoor into a miles-deep crevasse filled with lava, while Elongated Man rescues Carrie. Grayson clings onto a ledge, climbs out of the chasm and faces Batman. When Grayson remains virtually unharmed by everything Batman throws at him, Batman hurls himself and Grayson into the chasm. Grayson falls into the lava and is disintegrated. Superman rescues Batman at the last minute as the Batcave explodes, and takes him to Carrie in the Batmobile."The Dark Knight Strikes Again" received mixed to negative reviews, with criticism focusing on its artwork, storyline, and character development. Claude Lalumière of "The Montreal Gazette" gave the series a mixed review and said, "the script lacks the emotional nuances of its predecessor, and ... the artwork is rushed and garish", and that it "has considerable chutzpah, but its careless execution is regrettable". Roger Sabin of "The Guardian" wrote that the series has "flashes of brilliancefew can control page layouts like Millerbut in general the idea of the ironic superhero seems rather dated." Tony Millionaire quoted that "Miller did things for comics just as The Ramones did for music".

title: Bat-Manga!: The Secret History of Batman in Japan

text: David Mazzuchelli, creator of "", became aware of "Batman" manga's existence when he went to Japan for a cartoonists convention in the early 1990s. The Japanese told him about a manga adaptation of "Batman", information he later passed along to his good friend, premiere designer and novelist Chip Kidd. Chip Kidd had been a serious fan of Batman ever since the age of two. When the TV series came out in the US, Chip stayed loyal to the series even while his friends started watching "Happy Days".

title: Batman: Gothic

text: Batman returns to Gotham and confronts Morganstern, the last mob boss on Whisper's list. Morganstern tells Batman about how he and the other mobsters hunted down Whisper because the child murders and subsequent increased police presence were making their operations difficult. When they found him, they tried to kill him but found to their horror that, no matter what they did, his body repaired itself. Ultimately, they decided to chain him up and throw him into Gotham harbor. Batman agrees to be present at a meeting between Morganstern and Whisper at a local warehouse.

title: Composite Superman

text: In "Superman/Batman" #6, Hiro Okamura creates a spaceship in the form of a mecha version of the Composite Superman. In a more recent arc in "Superman/Batman", a new Composite Superman Batman was created when Mister Mxyzptlk merged the Supermen and Batmen of several alternate realities together. Startled to be joined together, Batman mentally exclaimed to Superman, "Clark, your mind races, I never knew"; Superman replies, "And yours Bruce, is so dark". This ends at the battle's conclusion, and all the Batmen and Supermen who did not "need to be here" were sent away, leaving only the normal DCU Superman and Batman.

title: Batman Begins

text: Film director Tim Burton—who had directed the 1989 Batman film and its first sequel—felt Nolan "captured the real spirit that these kind of movies are supposed to have nowadays. When I did "Batman" twenty years ago, in 1988 or something, it was a different time in comic book movies. You couldn't go into that dark side of comics yet. The last couple of years that has become acceptable and Nolan certainly got more to the root of what the "Batman" comics are about."

title: Batman: The Man Who Laughs

text: The New 52 storyline "Death of the Family" references the story during Batman's part of the arc, in that Joker was recreating all of his first crimes, but with a twist on how he did it last time. For example, the news report that plays on TV is a man dressed up as the Joker to announce his next crime shortly before being shot. It is revealed that he was John Claridge, son of Henry Claridge, who Joker murders first in "The Man Who Laughs". When Batman believes he is going after the Mayor, it turns out that he poisoned the mayor's security instead, but instead of smiles they all wear mutilated frowns. When they finally face off at the reservoir, Batman makes a guess that the Joker is going to poison it, and then Joker goes on to detail what would have happened if it played out exactly like last time, but instead reveals that since the people closest to the reservoir would have been poisoned before Batman or Nightwing detonated the viaduct anyway, he took the liberty of drowning the residents of nearby condos prior to Batman's arrival, and detonated the aqueduct while Nightwing was still on it. He not only recreated the crime, he stopped it before Batman did so that they could have time to talk.

title: List of criminal organizations in DC Comics

text: The murders of several foreign intelligence agents led Batman on an international search for answers. In the course of the case, Batman learned of the abduction of Hungarian physicist Lucas Nagy and eventually pieced together clues that indicated that a terrorist organization known as Omega had forced him to build a 20-megaton nuclear bomb. When the terrorists threatened Gotham City with a nuclear holocaust, Batman's own experiences seemed to back up their claims. Eventually, Batman discovered that Omega's leader had manipulated everyone. Unable to force Nagy to create such a bomb, the leader realized that no one would know whether Omega truly had a bomb and set out to convince everyone that it did exist, with Batman as "Omega's prime witness". Only their appearance is in Batman #283.As seen in Fanzing #49"/>

title: Superman/Batman

text: Superman/Batman is a monthly comic book series published by DC Comics that features the publisher's two most popular characters: Superman and Batman. "Superman/Batman" premiered in August 2003, an update of the previous series, "World's Finest Comics", in which Superman and Batman regularly joined forces.

title: Batman & Robin: The Chiller

text: Batman & Robin: The Chiller was a dual-tracked, launched roller coaster located at Six Flags Great Adventure in Jackson, New Jersey. Designed by Premier Rides, the ride opened to the public on June 7, 1997. After a series of setbacks shortly after its debut, the roller coaster closed for much of its inaugural season and didn't reopen until 1998. When it did, ride operation was changed to launch only one side at a time as a result of the amount of power required by the ride's linear induction motor (LIM) launch system. Although modifications were made over the years to improve the ride experience and limit the amount of downtime, the park decided to remove the attraction following the 2007 season.

title: Batman: The Animated Series

text: In 1999, a futuristic spin-off series titled "Batman Beyond" premiered on The WB, featuring a teenager named Terry McGinnis taking on the duties of Batman under the guidance of an elderly Bruce Wayne. Then in 2001, the "Justice League" animated series premiered on Cartoon Network, featuring Batman as one of the founding members of the League. This was continued in 2004 by "Justice League Unlimited", featuring a greatly expanded League. Many DC cartoons unrelated to the larger DC animated universe, such as "Teen Titans" and "The Batman", also featured character designs strongly influenced by those of Bruce Timm.

title: Talia al Ghul

text: In the years since the character met Batman, Talia is repeatedly depicted as torn between loyalty to her father and her love of Batman. However, she has proven an important 'ally' in her way; most prominently, she encourages Batman to return to Gotham City when it is declared a "No Man's Land" (1999) following an earthquake, and Batman had lost his fighting spirit and did not believe he "could" save Gotham.

title: Batman: Year Two

text: Batman is eventually captured by Chill, who unmasks the unconscious crimefighter, but does not recognize him, because Batman applied elaborate makeup and hair dye to alter his physiognomy. Chill subjects Batman to a video reel and a hallucinogenic drug that reduces Batman to a quivering wreck suffering from survivor's guilt. Chill has Batman posed at the top of a tall pedestal overlooking a pool of acid, forcing him to watch a video where a young boy's parents are killed in front of him and then the boy subsequently thanks God he did not die himself, hoping that Batman will kill himself from the resulting guilt. When Marcia, who saw her father as nothing more than a thug who abused her mother, and cared nothing for the revenge plot, attempts to double cross Chill in order to deliver Batman to mob boss Morgan Jones, Chill slashes Marcia, apparently killing her. Robin arrives on the scene and coaxes Batman out of his hallucinogenic haze, spurring him to break free of his bonds. Batman and the Reaper fight, and Batman emerges victorious. As Batman holds the unmasked Chill over the acid pool, urged by Robin to drop him in, Chill's son Joey reveals himself and his father's identity. Deciding to act on the indecision that he faced when he had Joe Chill at his mercy years earlier, Bruce spares Chill Jr.'s life, reflecting that what began with Joe Chill and Thomas Wayne should end with their 'grandsons' of Joey and Dick. After the police arrive and Chill is taken away in an ambulance, Batman goes to a bridge and discards Joe Chill's firearm into the ocean.

title: LGBT themes in speculative fiction

text: Some continue to play off the homosexual interpretations of Batman. One notable example occurred in 2000, when DC Comics refused to allow permission for the reprinting of four panels (from "Batman" #79, 92, 105 and 139) to illustrate Christopher York's paper "All in the Family: Homophobia and Batman Comics in the 1950s". Another happened in the summer of 2005, when painter Mark Chamberlain displayed a number of watercolors depicting both Batman and Robin in suggestive and sexually explicit poses. DC threatened both artist and the Kathleen Cullen Fine Arts gallery with legal action if they did not cease selling the works and demanded all remaining art, as well as any profits derived from them.

title: Batman

text: In 2014, the live-action TV series "Gotham" premiered on the Fox network, featuring David Mazouz as a 12-year-old Bruce Wayne. In 2018, when the series was renewed for its fifth and final season it was announced that Batman would make an appearance in the show's series finale.

title: Batman

text: Batman's primary character traits can be summarized as ""wealth; physical prowess; deductive abilities and obsession"". The details and tone of Batman comic books have varied over the years due to different creative teams. Dennis O'Neil noted that character consistency was not a major concern during early editorial regimes: "Julie Schwartz did a Batman in "Batman" and "Detective" and Murray Boltinoff did a Batman in the "Brave and the Bold" and apart from the costume they bore very little resemblance to each other. Julie and Murray did not want to coordinate their efforts, nor were they asked to do so. Continuity was not important in those days."

title: Batmobile

text: The live action television series was so popular that its campy humor and its Batmobile (a superficially modified concept car, the decade-old Lincoln Futura, owned by George Barris whose shop did the work) were quickly introduced into the Batman comic books. But the high camp and general silliness of the television show did not sit well with long-time Batman comic book fans. So, when the series was canceled in 1968, the comic books reacted by becoming darker and more serious, including having Batman abandon that Batmobile. Its replacement for a number of years was a much simpler model with a stylized bat's head silhouette decal on the hood being the only decoration of note. The 1960s TV style Batmobile still appears from time to time in the comic books, most recently in "Detective Comics" #850 and the issues of "Batman Confidential".

title: Batman & Bill

text: Batman & Bill is an American documentary film that premiered on Hulu on May 6, 2017. Directed, written and produced by Don Argott and Sheena M. Joyce, explores the creation of the Batman, how Bob Kane was accepted as the sole creator, and how Bill Finger was never credited for his work despite creating the Batman mythos.

title: Jimmy Olsen

text: Jimmy appears in "The Batman" animated series, played by voice actor Jack DeSena. In season five's premiere, he and Dick Grayson have a back and forth discussion about Batman and Superman from their sides of view. While Jimmy favors Superman to Batman, he is still impressed by Batman's Batmobile.

title: The Batman vs. Dracula

text: The Batman vs. Dracula is a 2005 animated movie based on "The Batman" television series. It premiered on television and was later released on home video. It has a much darker tone than the show, and features Vicki Vale (in her first animated appearance, voiced by Tara Strong, who voiced Barbara Gordon / Batgirl on "The New Batman Adventures"). The movie was released to DVD on October 18, 2005 and made its television debut on Cartoon Network's Toonami block on October 22, 2005. It was released on DVD as a tie-in with the live action "Batman Begins." When the film was first aired on TV, the TV rating given was TV-Y7-FV as it was assumed that it was going to be in the same tone as the kids TV series. Subsequent airings have carried a TV-PG-V rating.

title: Batman Beyond

text: In April 2014, a "Batman Beyond" short by Darwyn Cooke premiered at WonderCon. The short, which saw Will Friedle and Kevin Conroy reprise their roles from the show, sees Batman (Terry McGinnis) battle a Batman android in the Batcave, resembling the design from "The New Batman Adventures", with help from the elderly Bruce Wayne and the Batmobile. Once defeated, Batman and Bruce look out to see and prepare to fight seven additional invading androids resembling the designs from "Beware the Batman", "The Batman", "", "The Dark Knight Returns", "Batman" (1989 film), "Batman" (TV series), and the original design by Bill Finger. Though the source of the androids is unstated they are reminiscent of the "Batman: The Animated Series" story arc involving the computer program HARDAC. The Batmobile from "Batman: The Animated Series", also made a cameo appearance in the short's background.

title: The Batman Adventures: Mad Love

text: Harley decides that the only way to make the Joker love her is to kill Batman, which she attempts to do by feeding him to a school of piranhas. Batman distracts her by telling her that the Joker had been using her from the start, and that Joker's stories of an unhappy childhood were lies. When she tearfully insists that Joker really loves her, Batman convinces her to call Joker so that he will know she accomplished her goal (as the piranhas would leave no convincing evidence, other than bones and a tattered costume which anyone can fabricate). When Joker arrives, however, he is infuriated that Harley would try to kill Batman herself and knocks her out a window, where she is found by nearby police officers. Joker then decides nonetheless to use the opportunity to finally kill Batman, which escalates into a wild chase ending atop a moving subway train. Batman taunts Joker by saying that Harley came closer to killing him than he ever did. Joker attacks him in rage, but Batman sends him lunging into a burning smokestack.

title: Batman

text: The character of Batman has appeared in various media aside from comic books, such as newspaper syndicated comic strips, books, radio dramas, television, a stage show, and several theatrical feature films. The first adaptation of Batman was as a daily newspaper comic strip which premiered on October 25, 1943. That same year the character was adapted in the 15-part serial "Batman", with Lewis Wilson becoming the first actor to portray Batman on screen. While Batman never had a radio series of his own, the character made occasional guest appearances in "The Adventures of Superman" starting in 1945 on occasions when Superman voice actor Bud Collyer needed time off. A second movie serial, "Batman and Robin", followed in 1949, with Robert Lowery taking over the role of Batman. The exposure provided by these adaptations during the 1940s "helped make [Batman] a household name for millions who never bought a comic book".

title: Killer Croc

text: In "Batman: Crimson Mist", Killer Croc begins as a rumoured serial killer stalking Gotham's sewers, later joining Two-Face's gang as the muscle. Faced with the threat of the vampire Batman stalking and killing his opponents, Killer Croc and Two-Face form an alliance with Commissioner Gordon and Alfred Pennyworth to trap Batman in the Batcave and expose him to the sunlight (although Croc briefly contemplated just physically tearing Batman apart himself before the others pointed out that he was too fast for Croc, the vampire Batman proving more than a match for him physically when they did engage in close-quarter combat despite his withered physical condition). Although Croc and Two-Face attempt to kill Gordon and Alfred when Batman is believed dead, Alfred is able to help his old master recover by sacrificing his life and blood to give Batman the strength to stop Gotham's last criminals. With Alfred's sacrifice, Batman impales Croc with a stalactite, commenting that Croc can keep his cold blood thanks to Alfred's sacrifice having sated his appetite for the moment.

title: Rats Like Cheese

text: Commissioner James Gordon tells Batman that three disreputable men visited Diamante earlier that day, and when his landlady entered to clean, the apartment was empty of people. She did find a note that read simply, "You will soon hear my demands" along with an icicle - clearly the work of Mr. Freeze. As the meeting continues, Freeze telephones, and informs the commissioner, Chief Miles O'Hara, and Batman and Robin of his terms: for the safe release of Paul Diamante, he demands Batman in exchange and Batman agrees to come to Mr. Freeze.


query: What is the biggest legend in Qatari folklore?

title: Culture of Qatar

text: Among Qatar's most noted folk heroes are Qatari ibn al-Fuja'a, a 7th-century war poet,[15] and Rahmah ibn Jabir Al Jalhami, an 18th- and 19th-century pirate and transitory leader of Qatar.[16] Recurring themes in Qatari folk tales are djinn, pearl diving, and the sea.[17]

title: Folklore of the Low Countries

text: Sea folklore includes the legend of Sint Brandaen and later the legend of Lady of Stavoren about the ruined port city of Stavoren.

title: Canadian folklore

text: Canadian folklore is the traditional material that Canadians pass down from generation to generation, either as oral literature or "by custom or practice". It includes songs, legends, jokes, rhymes, proverbs, weather lore, superstitions, and practices such as traditional food-making and craft-making. The largest bodies of folklore in Canada belong to the aboriginal and French-Canadian cultures. English-Canadian folklore and the folklore of recent immigrant groups have added to the country's folk.

title: The Bahamas

text: Bahamas culture is rich with beliefs, traditions, folklore and legend. The most well-known folklore and legends in the Bahamas includes Lusca in Andros Bahamas, Pretty Molly on Exuma Bahamas, the Chickcharnies of Andro Bahamas, and the Lost City of Atlantis on Bimini Bahamas.

title: Tracking the Chupacabra

text: The author, Benjamin Radford, attempts to solve the mystery of the chupacabra, including whether it is a legend or real animal, what its physical and behavior characteristics are, its origin and connection to folklore, and what exactly is happening to the animals reported to be its victims.

title: Folklore in Hawaii

text: Folklore in Hawaii in modern times is a mixture of various aspects of Hawaiian mythology and various urban legends that have been passed on regarding various places in the Hawaiian islands. The following is a partial list of some of these legends.

title: Folklore of Italy

text: Folklore of Italy refers to the folklore and urban legends of Italy.

title: Buckriders

text:
[[Category:Belgian folklore]]
[[Category:Belgian legends]]
[[Category:Culture of Limburg (Netherlands)]]
[[Category:Dutch folklore]]
[[Category:Dutch legends]]
[[Category:Dutch legendary creatures]]
[[Category:European demons]]
[[Category:Fictional gangs]]
[[Category:Fictional ghosts]]
[[Category:German folklore]]
[[Category:German legends]]
[[Category:Heerlen]]
[[Category:Limburgian culture]]
[[Category:Outlaws]]
[[Category:Occult]]

title: Urban Legend (film)

text: Filmed in Toronto in the spring of 1998, "Urban Legend" was released in the United States on September 25, 1998, and grossed over US$70 million worldwide. The film has been credited by both cinema and folklore scholars as being one of the first major films to redistribute the urban legends and folklore depicted within it to the public.

title: Ivo Senjanin

text: Ivan Vlatković ( 1571–died 1612), known in folklore as Ivo Senjanin ("Ivo of Senj"), was a Habsburg Croatian Uskok who led numerous military exploits against the Ottoman Empire. Due to few historical sources, much of what is known about him today is mainly attributed to legend and folklore detailing his life and accomplishments with a medieval romanticism.

title: Kaltham Jaber

text: Jaber wrote an Arabic book entitled "The Life Cycle in the Qatari Society Tradition", published in 2015 by Qatar Museums. Documenting the intricacies of the life of an average Qatari, the book is based on both, personal accounts, and a large-scale study carried out by the Qatar-based Arab Gulf States Folklore Centre in the early 1990s. It is equipped with numerous illustrations and contains facets about Qatari culture.

title: Jan Harold Brunvand

text: Over the next two decades, Brunvand added to the collection with "new" urban legends: "The Choking Doberman and Other "New" Urban Legends", "The Big Book of Urban Legends" (which was formatted as a comic book), "The Mexican Pet: More "New" Urban Legends", "Curses! Broiled Again!", "The Baby Train: And Other Lusty Urban Legends", "Too Good to be True: The Colossal Book of Urban Legends", and "The Truth Never Stands in the Way of a Good Story!". He made several appearances on Late Night with David Letterman and, in 1987, began a twice-weekly syndicated newspaper column called "Urban Legends." He participated in countless radio talk shows and dozens of press interviews, educating people about this pass-along folk narrative that, typically involves people misunderstanding or making false assumptions about a story they heard. They forget details and fill in the gaps by inventing what they are missing to make sense of the story. Though criticized for the popular orientation of his books, Brunvand was dedicated to publicizing the field of folklore, exploring the roots of the stories, where possible, and, in some cases debunking them. "Folklorists fill different educational roles," Brunvand told members of The Missouri Folklore Society in 2003, "sometimes in classrooms, but often in a more public forum. I believe that the public and media image of what a folklorist does is in fact part of what we "should" be doing, whether we were trained specifically for it or not, whether we work in academe or not, and whether we like it or not."

title: Jan Harold Brunvand

text: Although recognized by critics for its usefulness as an introductory volume and reference point for expanding the field of folklore, reviewers cautioned that "The Vanishing Hitchhiker" lacked the depth necessary for people actively researching urban legends. Janet L. Langlois, for example, wondered what criteria Brunvand used in selecting stories for the book, as well as what made the legends American, urban and modern. Reviewer Gary Alan Fine wrote, "The paperback edition makes an excellent supplementary reading for introductory folklore students. It's all good fun, and Brunvand, folklore's Carl Sagan, should thrive and prosper, letting the all-purpose intelligentsia know that folklore is just as much fun as interplanetary travel and not nearly as expensive." To this, Brunvand countered: "I really won't think I have arrived until they refer to Carl Sagan as 'The Jan Brunvand of astronomy.'"

title: Jan Harold Brunvand

text:
While teaching folklore at the University of Utah, Brunvand noticed a disconnect with his students and their views toward folklore. "They always seemed to think that folklore belonged to somebody else, usually in the past, that was something quaint and outdated." He began asking his students to think about and discuss stories from their own lives. These stories helped form the basis of a collection which Brunvand later included in several popular books on the topic of urban legends.
In 1981, Brunvand's first book devoted to urban legends was published. "The Vanishing Hitchhiker: American Urban Legends and Their Meanings" helped to popularize the topic for a student audience. Urban legends, Brunvand explains, are "kissing cousins of myths, fairy tales and rumors. Legends differ from rumors because the legends are stories, with a plot. And unlike myths and fairy tales, they are supposed to be current and true, events rooted in everyday reality that at least could happen." Urban legends reflect modern-day societal concerns, hopes and fears, but are "weird whoppers we tell one another, believing them to be factual."

title: Japanese raccoon dog

text: The "tanuki" has a long history in Japanese legend and folklore. "Bake-danuki" () are a kind of "tanuki yōkai" (ghost) found in the classics and in the folklore and legends of various places in Japan.

title: Georgic and Merlin

text: Many French variants of this tale feature a wild man instead of a bird, but in Brittany, it is very common that this figure, whether a bird or a man, is called Merlin. It is not clear what connection this figure has the Merlin of Arthurian legends, either with the legends as a source from the folklore, or the folklore as a source for the legend.

title: Diane Goldstein

text: She held a three-year appointment to the Canadian Federal Committee for AIDS Priorities and Policy. She is the current president of the International Society for Contemporary Legend Research, and serves, or has served, on the editorial boards of the "Journal of American Folklore"; "Folklore Ethnologies, and Contemporary Legend", "Electronic Journal of Folklore" and the "Journal of Applied Folklore."Speaking in an interview shortly before her appointment as the American Folklore Society’s president elect, Goldstein is quoted as stating, "I am a firm believer that folklore, in its various guises, has vital perspectives on critical social issues…" but she also added, "I have extensive experience…convincing others outside of our discipline of the significance of our disciplinary perspectives and [I] would like to explore ways that we can better present those perspectives…to make our relevance visible within the academy, with the public and with cultural policymakers".

title: English folklore

text: English folklore is the folk tradition which has developed in England over a number of centuries. Some stories can be traced back to their roots, while the origin of others is uncertain or disputed. England abounds with folklore, in all forms, from such obvious manifestations as the traditional Robin Hood tales, the Brythonic-inspired Arthurian legend, to contemporary urban legends and facets of cryptozoology such as the Beast of Bodmin Moor.

title: Folklore of the United States

text: The Headless Horseman is a fictional character from the short story "The Legend of Sleepy Hollow" by American author Washington Irving. The story, from Irving's collection of short stories entitled The Sketch Book of Geoffrey Crayon, has worked itself into known American folklore/legend through literature and film.

title: Australian folklore

text: Australian folklore refers to the folklore and urban legends that have evolved in Australia from Aboriginal Australian myths to colonial and contemporary folklore including people, places and events, that have played part in shaping the culture, image and traditions that are seen in contemporary Australia.

title: Yuri Sokolov

text: "Russian Folklore" became one of the biggest staple texts for any non-Russian folklore or anthropology scholar who was studying the Russian or Soviet society largely because of his influence in the folklore field. The work is divided into 3 sections that describe the different eras of folklore. Since he did field work both before and after the Soviets took over in the October Revolution, he has a section of "Folklore Before The October Revolution" and "Soviet Folklore". Before he goes into the two eras of folklore, he discusses "Problems and Historiography of Folklore". Some scholars are critical of the sources from which he obtained his information, but his image still remains as one of the forefathers in the bringing of Russian Folklore to the Russian and American University setting.

title: Roswell Conspiracies: Aliens, Myths and Legends

text: These known incidents could be found in legend, myth and folklore of beings so strange and alien that they became the fabric of what human beings thought of when they thought of being frightened; vampires, werewolves, banshees, manitou, evil spirits, etc. As human beings progressed into the Industrial Age the attacks seemed to lessen, but recently they'd begun to go on the rise.

title: Giants, Monsters & Dragons

text: Giants, Monsters & Dragons: An Encyclopedia of Folklore, Legend and Myth is an encyclopedia of monsters, folklore, myths, and legends compiled by Carol Rose. The book features small entries about monsters, folklore, myths and legends from around the world, and includes many illustrations.

title: French folklore

text: French folklore encompasses the fables, folklore and fairy tales and legends of the French people.

title: Gilbert Hunter Doble

text: It is hardly necessary to dwell here on the value and significance of these "lives". We may regard them as religious romances or novels, and as is generally agreed, they were written to enhance the cause of the church or "parochia", whose freedom and independence was not infrequently threatened at this time. In no sense are they 'historical'; indeed they have more to offer the student of social anthropology and primitive religion. Much of what they contain is pure imagination, mingled and blended with myth, folklore and legend. But, as Doble reminds us, 'Legend is history, in the sense that the legends and traditions of a people are part of its history.'

title: Folklore of the Low Countries

text: Folklore of the Low Countries, often just referred to as Dutch folklore, includes the epics, legends, fairy tales and oral traditions of the people of Belgium, Netherlands and Luxembourg. Traditionally this folklore is written or spoken in Dutch.

title: The Brief History of the Dead

text: A reference is made to the Wandering Jew, a legend from medieval Christian folklore. As the legend has it, after mocking Jesus Christ during the crucifixion this man was condemned by Christ to roam the earth until the Second Coming. One character, who believes this legend, speculates about what the emptying of The City could mean in light of this story.

title: Irish folklore

text: When Christianity was first brought in Ireland during the 5th century by missionaries, they were not able to totally wipe out the pre-existing folklore and beliefs in God-like fairies. But folklore didn’t remain untouched, and the myths and Christian beliefs were combined such that Irish folklore would “enforce Christian ideals but still remain as a concession to early fairy belief systems”. Christianity altered the importance of some beliefs and define a new place for them in folklore. For example, fairies, who were previously perceived as God, became merely magical, and of much lesser importance. Along with it, a fusion of folklore legends and Christianity was witnessed. One of the major example of this is the existence of legends featuring both Saint Patrick, a central figure in the Irish church, and fairies (for example, “The Colloquy of the Ancients” is a dialogue between Saint Patrick and the ghost of Caeilte of the Fianna, an ancient clan of Celtic warriors).

title: Wafika Sultan Al-Essa

text: Her styles are influenced by Qatari folklore and the country's natural history. Her style is also influenced by Islamic art, which is evident in her calligraphic works. Her paintings are typically titled after Qatari folk songs and proverbs, and some of the paintings have a symbiotic theme. In her initial years, her interests in plastic arts were hindered by the conservative views held by Qatari society on the art form.

title: Vampire folklore by region

text: Among the Wyandots was the legend of the hooh-strah-dooh. A cross between what current fiction/legends portray as zombies and vampires, the hooh-strah-dooh was an evil spirit that inhabited recently dead bodies and caused the corpse to rise and devour the living. The redbud was believed to be an effective ward.

title: Narrative

text: Myth is often used in an overarching sense to describe a multitude of folklore genres, but there is a significance in distinguishing the various forms of folklore in order to properly determine what narratives constitute as mythological, as esteemed anthropologist Sir James Frazer suggests. Frazer contends that there are three primary categories of mythology (now more broadly considered categories of folklore): Myths, legends, and folktales, and that by definition, each genre pulls its narrative from a different ontological source, and therefore have different implications within a civilization. Frazer states:


query: What was E. E. Cummings' first published poem?

title: E. E. Cummings

text: Following his autobiographical novel, The Enormous Room, Cummings' first published work was a collection of poems titled Tulips and Chimneys (1923). This work was the public's first encounter with his characteristic eccentric use of grammar and punctuation.

title: E. E. Cummings

text: Numerous composers have set Cummings' poems to music:

title: E. E. Cummings

text: Some of Cummings' most famous poems do not involve much, if any, odd typography or punctuation, but still carry his unmistakable style, particularly in unusual and impressionistic word order.

title: Voulez-vous coucher avec moi?

text: A poem by E. E. Cummings published in 1922 and known by its first line "little ladies more" contains the phrase "voulez vous coucher avec moi?" twice.

title: E. E. Cummings

text: Friends begged Cummings to reconsider publishing these poems, and the book's editor pleaded with him to withdraw them, but he insisted that they stay. All the fuss perplexed him. The poems were commenting on prejudice, he pointed out, and not condoning it. He intended to show how derogatory words cause people to see others in terms of stereotypes rather than as individuals. "America (which turns Hungarian into 'hunky' & Irishman into 'mick' and Norwegian into 'square- head') is to blame for 'kike,'" he said.[36]

title: 1 × 1

text: 1 × 1 (One Times One, sometimes stylized I × I) is a 1944 book of poetry by American poet E. E. Cummings. Cummings' biographer Richard S. Kennedy described the theme of the book, Cummings' ninth, as "oneness and the means (one times one) whereby that oneness is achieved—love". The book contains 54 poems, including portraits of people important to Cummings, and antiwar poems. It received the Shelley Memorial Award in 1945, and was reissued by publisher Harcourt Brace in 1954.

title: E. E. Cummings

text: The Enormous Room (1922) Tulips and Chimneys (1923) & (1925) (self-published) XLI Poems (1925) is 5 (1926) HIM (1927) (a play) ViVa (1931) CIOPW (1931) (art works) EIMI (1933) (Soviet travelogue) No Thanks (1935) Collected Poems (1938) 50 Poems (1940) 1 × 1 (1944) Santa Claus: A Morality (1946) XAIPE: Seventy-One Poems (1950) i—six nonlectures (1953) Harvard University Press Poems, 1923–1954 (1954) 95 Poems (1958) 73 Poems (1963) (posthumous) Fairy Tales (1965) Etcetera: The Unpublished Poems (1983) Complete Poems, 1904–1962, edited by George James Firmage, Liveright 2008

title: No Thanks (poetry collection)

text:
No Thanks is a 1935 collection of poetry by E. E. Cummings. Cummings is also often referred to as e.e. cummings due to his creative use of orthography in some of his work, and his perceived bias for the lowercase form of his name. He self-published the collection with the help of his mother and dedicated it to the fourteen publishing houses who turned the collection down. The book is unconventionally bound not on the left but rather the top, like a stenographer's pad.
This was his most difficult collection of poems to publish and well-received due to its originality.

title: E. E. Cummings

text: Despite Cummings' familiarity with avant-garde styles (likely affected by the Calligrammes of French poet Apollinaire, according to a contemporary observation[23]), much of his work is quite traditional. Many of his poems are sonnets, albeit often with a modern twist. He occasionally used the blues form and acrostics. Cummings' poetry often deals with themes of love and nature, as well as the relationship of the individual to the masses and to the world. His poems are also often rife with satire.

title: Iain Landles

text: Landles gained a Doctorate from the University of Sussex and has published extensively on the poet E.E. Cummings, for example, "The Case for Cummings" and is also a Contributing and Consulting editor for "SPRING, The Journal of the E. E. Cummings Society". He finished his first novel "KK: A Death" in January 2009, and has recently completed "1920: Variations on a Theme of Masculinity" which is to be published by Black Opal Books in August, 2017. He is currently working on a new play.

title: E. E. Cummings

text: Many of Cummings' poems are satirical and address social issues[32] but have an equal or even stronger bias toward romanticism: time and again his poems celebrate love, sex, and the season of rebirth.[33]

title: Dying Is Fine

text: "Dying Is Fine" was one of the first songs written by Ra Ra Riot. It was released several times, being reworked for their first full album, "The Rhumb Line", in 2008. The song was inspired by the E. E. Cummings poem, "dying is fine)but death"

title: E. E. Cummings

text: Cummings' work often does not proceed in accordance with the conventional combinatorial rules that generate typical English sentences (for example, "they sowed their isn't"). In addition, a number of Cummings' poems feature, in part or in whole, intentional misspellings, and several incorporate phonetic spellings intended to represent particular dialects. Cummings also made use of inventive formations of compound words, as in "in Just"[29] which features words such as "mud-luscious", "puddle-wonderful", and "eddieandbill." This poem is part of a sequence of poems titled Chansons Innocentes;[30] it has many references comparing the "balloonman" to Pan, the mythical creature that is half-goat and half-man. Literary critic R.P. Blackmur has commented that this use of language is "frequently unintelligible because [Cummings] disregards the historical accumulation of meaning in words in favour of merely private and personal associations."[31]

title: Vince Gotera

text: Gotera is also an emerging filmmaker. His 2009 video titled "'Maybe Dats Your Pwoblem Too' by Jim Hall" is a spoken-word performance of James W. Hall's humorous poem with Spiderman as speaker. About this film Jim Hall wrote, "I'm honored he did such a great job with this poem. He actually performs it better than I do." "Deconstructing Cummings" is Gotera's animation of e. e. cummings's poem "l(a" – a video aimed at helping students "decode" and understand a notoriously difficult poem.

title: E. E. Cummings

text: Edward Estlin "E.E." Cummings (October 14, 1894– September 3, 1962), often styled as eecummings, as he is attributed in many of his published works,[1] was an American poet, painter, essayist, author, and playwright. He wrote approximately 2,900 poems, two autobiographical novels, four plays, and several essays.

title: J. A. Lindon

text: Lindon was based in Addlestone and Weybridge. His poems often won weekly newspaper competitions, but seldom appeared in anthologies. Among his anthologized works include numerous parodies, including spoofs of Dylan Thomas, E. E. Cummings, T. E. Brown, Lewis Carroll, Rudyard Kipling, and Ernest L. Thayer. His palindromic poems appeared occasionally in "", and several were collected in Howard W. Bergerson's "Palindromes and Anagrams". Lindon is also noted as being the world's first writer of vocabularyclept poetry, in which poems are constructed by rearranging the words of an existing poem.

title: E. E. Cummings

text: Cummings returned to Paris in 1921 and had lived there for two years before returning to New York. His collection Tulips and Chimneys was published in 1923 and his inventive use of grammar and syntax is evident. The book was heavily cut by his editor. XLI Poems was published in 1925. With these collections, Cummings made his reputation as an avant garde poet.[7]

title: Pity this busy monster, manunkind

text: "pity this busy monster, manunkind" is a poem by American poet E. E. Cummings, first published in his 1944 book "1 × 1". It is among his best-known poems.

title: E. E. Cummings

text: Bloom, Harold, Twentieth-century American Literature, New York: Chelsea House Publishers, 1985–1988. ISBN978-0-87754-802-7. Friedman, Norman (editor), E. E. Cummings: A Collection of Critical Essays. ISBN978-0-9829733-0-1 Friedman, Norman, E. E. Cummings: The Art of his Poetry. Galgano, Andrea, La furiosa ricerca di Edward E. Cummings, in Mosaico, Roma, Aracne, 2013, pp.441–44 ISBN978-88-548-6705-5 Heusser, Martin. I Am My Writing: The Poetry of E.E. Cummings. Tübingen: Stauffenburg, 1997. Hutchinson, Hazel. The War That Used Up Words: American Writers and the First World War. New Haven, CT: Yale University Press, 2015. James, George, E. E. Cummings: A Bibliography. McBride, Katharine, A Concordance to the Complete Poems of E.E.Cummings. Mott, Christopher. ", Spring: The Journal of the E. E. Cummings Society, vol. 4, pp.71–75, Fall 1995. Norman, Charles, E. E. Cummings: The Magic-Maker, Boston, Little Brown, 1972. Sawyer-Lauçanno, Christopher, E. E. Cummings: A Biography, Sourcebooks, Inc. (2004) ISBN978-1-57071-775-8.

title: Anyone lived in a pretty how town

text: "anyone lived in a pretty how town" is a poem written by E. E. Cummings. First published in 1940, the poem details the lives of residents in a nameless town. Like much of Cummings's work, the poem is actually untitled, so critics use the first line to refer to the poem. Cummings often wrote in a manner that did not follow standard English syntax and punctuation. This style is evident in the poem's first line, which is written in all lowercase letters and contains the unlikely phrase "pretty how town".

title: Puella Mea

text: Puella Mea is a poem by E. E. Cummings. It is notable as his longest poem, at 290 lines. The title is Latin and translates as "My Girl", referring to Elaine Orr Thayer, his first wife, and the mother of his only child, Nancy Thayer Andrews.

title: Is 5

text: is 5 is a collection of poetry by E. E. Cummings, published in 1926. It contains 88 poems, divided into five sections.

title: L(a

text: "l(a" is a poem by E. E. Cummings. It is the first poem in his 1958 collection "95 Poems".

title: E. E. Cummings

text: In the 1930s Samuel Aiwaz Jacobs was Cummings' publisher; he had started the Golden Eagle Press after working as a typographer and publisher.

title: Henry Holcomb Bennett

text: It was first published in "The Youth's Companion" on January 13, 1898. It was collected in "An American Anthology" in 1900, edited by Edmund Clarence Stedman (1833-1908). The poem was also published in "The Young and Field Reader", Book Five, Boston, Ginn and Company, c. 1915, submitted by Ross I. Morrison, Sr and "Woman's World" in July 1919. It was soon published and sung widely—especially on the 4th of July. Years later, poet E. E. Cummings recited the poem at his class's commencement.

title: E. E. Cummings

text: Cummings spent the last decade of his life traveling, fulfilling speaking engagements, and spending time at his summer home, Joy Farm, in Silver Lake, New Hampshire. He died of a stroke on September 3, 1962, at the age of 67 in North Conway, New Hampshire at the Memorial Hospital.[15] Cummings was buried at Forest Hills Cemetery in Boston, Massachusetts. At the time of his death, Cummings was recognized as the second most read author in the United States, behind Robert Frost.[16] Even after his death in 1962, his work continues to be published. Some recent poems include:

title: E. E. Cummings

text: Cummings is known for controversial subject matter, as he wrote numerous erotic poems. He also sometimes included ethnic slurs in his writing. For instance, in his 1950 collection Xaipe: Seventy-One Poems, Cummings published two poems containing words that caused outrage in some quarters.[34]

title: E. E. Cummings

text: In 1943, modern dancer and choreographer Jean Erdman presented "The Transformations of Medusa, Forever and Sunsmell" with a commissioned score by John Cage and a spoken text from the title poem by E. E. Cummings, sponsored by the Arts Club of Chicago. Erdman also choreographed "Twenty Poems" (1960), a cycle of E. E. Cummings' poems for eight dancers and one actor, with a commissioned score by Teiji Ito. It was performed in the round at the Circle in the Square Theatre in Greenwich Village.

title: E. E. Cummings

text: In 1961, Pierre Boulez composed "Cummings ist der dichter" from poems by E.E. Cummings.[42] Aribert Reimann set Cummings to music in "Impression IV" (1961) for soprano and piano.[43] Morton Feldman (1926-1987) in 1951 composed "4 Songs to e.e. cummings" for soprano, piano and cello, using material from Cummings' "50 poems" of 1940: "!Blac", "Air", "(Sitting In A Tree-)" and "(Moan)". The Icelandic singer Björk used lines from Cummings's poem "I Will Wade Out" for the lyrics of "Sun in My Mouth" on her 2001 album Vespertine. On her next album, Medúlla (2004), Björk used his poem "It May Not Always Be So" as the lyrics for the song "Sonnets/Unrealities XI." The American composer Eric Whitacre wrote a cycle of works for choir titled The City and the Sea, which consists of five poems by Cummings set to music. Others who have composed settings for his poems include Dominic Argento, William Bergsma, Leonard Bernstein, Marc Blitzstein, John Cage, Romeo Cascarino, Aaron Copland, Serge de Gastyne, David Diamond, John Duke, Margaret Garwood, Daron Hagen, Michael Hedges, Richard Hundley, Barbara Kolb, Leonard Lehrman, Robert Manno, Salvatore Martirano, William Mayer, John Musto, Paul Nordoff, Tobias Picker, Vincent Persichetti, Ned Rorem, Peter Schickele, Elie Siegmeister, Aki Takase, Hugo Weisgall, Dan Welcher, and James Yannatos, among many others.[44]

title: Iconicity

text: Iconicity often occurs within poetry through the use of onomatopoeia, which may be called auditory iconicity. Sometimes, though, the form of the poem resembles or enacts the poem's content, and in this case, a visual iconicity is present. One poet well known for his visual poems, and therefore visual iconicity, is E. E. Cummings. A subset of visual iconicity involves a spatial iconicity. For instance, in Cummings's grasshopper poem ("r-p-o-p-h-e-s-s-a-g-r") the word "arriving" begins on the far right of the poem with the "a", the "r" is near the middle of the poem, and the rest of the word is on the left of the poem. The reader must travel a great distance across the poem, therefore, in order to "arrive". The spatial dimension, then, can relate to a temporal dimension. In the poems "The Fish" and "The Moose" by Elizabeth Bishop, temporal iconicity is at work. The amount of time it takes to read "The Fish" coincides with the length of time a fish could live outside of water; likewise, the duration of the long bus ride in "The Moose" coincides with the poem's long first sentence as well as the twenty-some stanzas it takes before the passengers on the bus (and the reader) actually encounters the moose.