Comic Book Propaganda Exhibit

the art of persuasion
THE USE AND ABUSE OF PROPAGANDA IN COMIC BOOKS

The Art of Persuasion: The Use and Abuse of Propaganda in Comic Books Lauren Stern Corcoran College of Art + Design EX7800 Thesis Project May 13, 2012 Instructors: Gretchen Coss, Cybelle Jones and Evi Oehler

Table of Contents:
01.) Mission Statement, Target Audience and Teaching Points
02.) Site
03.) Bubble Plan and Flow
04.) Content Outline
06.) Inspiration
07.) Exhibit Plan
09.) Entry Experience
10.) Introduction
13.) “The Use and Abuse of Propaganda”
14.) Long Wall
18.) “Meet the Game-Changers” - Art Spiegelman
20.) “Us vs. Them”
22.) “Us vs. Them” - Reflection Panels
25.) “Action/Reaction”
26.) “Action/Reaction” - The 9/11 Terrorist Attacks
27.) “Action/Reaction” - The Bombing of Hiroshima
28.) Interactive
30.) Transparent Panels of Design Steps
32.) “Persuasions of Society” - Reflection Panels
33.) Conversation Hub
34.) Materials, Finishes and Furniture Selections
35.) Text Panel
36.) Typography
37.) Display Case
38.) Artifact Matrix

The Art of Persuasion: The Use and Abuse of Propaganda in Comic Books Lauren Stern Corcoran College of Art + Design EX7800 Thesis Project May 13, 2012 Instructors: Gretchen Coss, Cybelle Jones and Evi Oehler 00

MISSION STATEMENT:
The Art of Persuasion examines one of history’s most powerful tools-the
comic book-which has been used as a favored medium to spread both
harmful and beneficial agendas.

TARGET AUDIENCE: TEACHING POINTS:
.. Propaganda is not always negative; it can also help inspire people by raising
The Art of Persuasion should attract awareness of the environment, promoting peace, and criticizing slavery and
racism.
adults between the ages of 18 through
45 (who are the average readers of .. Cultural, political and social messages have been spread (intentionally or not)
comic books), as well as people who are in and by comic books for the past century.

interested in comic books and/or would .. Individuals and organizations have used comic books to spread both harmful
like to learn how they influence our and beneficial agendas with their hypnotic use of layout and imagery.

decisions and behavior. .. Comic books can be a powertful type of literature and art form because of their
intricate stories and high level of detail.


Site:

The United States Holocaust Memorial Museum
100 Raoul Wallenberg Place, SW Washington, DC 20024

The United States Holocaust Memorial Museum and The Art of Persuasion share similar
themes, such as the use and abuse of propaganda, the influence propaganda can exert on
people, and how prejudice and hatred can be a powerful weapon. All of these themes deal
with issues that affect society.


bubble plan and flow:
1.0 Introduction

2.0 The Use and Abuse of Propaganda

3.0 Meet the Game-Changers: Art Spiegelman

4.0 Us vs. Them

5.0 Meet the Game-Changers: Alan Moore

6.0 Action/Reaction

7.0 Meet the Game-Changers: Spire Christian Comics

8.0 Persuasions of Society

9.0 Conversation Hub


content outline:
1.0 Introduction 4.0 Us vs. Them
1.1 What are comic books?
1.2 Why are comic books such a powerful form of communication? Racism is more frequently discussed in comics than in many other art forms. When a comic
1.3 Are comic books used to spread propagandistic messages? book artist designs a character, he or she may use easily recognizable traits to convey the
general idea of that character to the reader. But in doing so, it is very easy to resort to
characteristics that are biased or perhaps even racist in nature.
2.0 The Use and Abuse of Propaganda 4.1 What are the different techniques of propaganda?
2.1 What is propaganda? 4.2 What groups are the most targeted?
2.2 Where is propaganda located and how it is used? 4.3 Blacks in Comics
2.3 Who uses propaganda? The majority of Black stereotypes that have evolved in popular culture emerged in the United States and
can be seen in a wide variety of comic books.
4.4 Asians in Comics
Asians have long been the target of racial positive and negative stereotypes. A great deal of propa-
3.0 meet the game-changers: Art Spiegelman ganda during World War II played on the widespread racism of the era.
4.5 Jews in Comics
The Jewish people have been subject to anti-Semitism for millennia, and the perpetrators of these
3.1 Art Spieglman
hate-based thoughts and acts have used literature, art, and even comics to convey their religious,
3.2 Maus
racial, cultural, and ethnic biases.
3.2.1 Graphic Imagery in Comic Books
3.2.2 Anthropomorphic Characters

5.0 Meet the Game-Changers: Alan moore
5.1 Alan Moore
5.2 Politics in Comic Books
5.2.1 Watchmen
5.2.2 V for Vendetta


content outline:
6.0 Action/Reaction 8.0 Persuasions of society
During wartime, the use of propaganda is often intensified in order to strengthen Comics have been used to inform, often to educate readers on how to live their lives. They have
the identity of a nation and portray the enemy as subhuman, worthy of both fear been used to convince readers-young or old-to stop and not use drugs, be conscious of their
and loathing. environment, and the advantages and dangers of nuclear power, etc.
6.1 The 9/11 Terrorist Attacks 8.1 Drug Use
Most people can recall where they were when they heard about the first plane hitting Comics have been used to both promote the use and negative aspects of drug use. These comics were
the World Trade Center. There have been retellings in all forms of media, but one that meant for young adults who would be making important life-changing decisions about drugs at that
has caught the eye of readers everywhere has been comic books. Individuals and moment or in the near future.
organizations have come together to create retellings and showcase their own per- 8.2 Nuclear Power
sonal views about the attacks and the aftermath of them as well as play homage to the One subject that has created quite a stir in many countries is whether or not to use nuclear power as a
victims of the attacks and the heroes that died trying to save them. source of energy. This debate has spilled into many different media avenues, such as television, radio,
6.2 The Bombing of Hiroshima and, of course, comics.
The horrific events that occurred after the bombing of Hiroshima and the use of 8.3 Homosexuality in Comics
atomic weaponry in World War II have been a topic expressed in comic books since Individuals and organizations have been sparked by this controversial topic. There have been examples
the bombing on August 6, 1945 at 8:15 AM. on the dangers and negatives aspects of homosexuality regarding religious beliefs that have been
directed at young adults to engrain those ideas into their mind.
8.4 Abortion in Comics
7.0 Meet the Game-Changers: Spire Christian Comics A subject that has provoked some of the most intense and controversial debates throughout society is
abortion. Within America in 1973 the debate over this issue ignited when Roe vs. Wade was decided by
the United States Supreme Court and abortion was made illegal.
7.1 Spire Christian Comics
7.2 Religion in Comic Books
There is an abudance of comics with varying degrees of religious content. These 9.0 conversation hub
comics have been made by people set on convincing their fellow man of the “right”
way of thinking and are prepared to utilize the accessibility, direct appeal, and impact Visitors will also be able to respond to a variety of questions and topics posted about the
that comics have to reach out and touch readers. controversial topics explored in the exhibition on tablets, and their responses will appear on
7.2.1 Archie’s One Way speech bubble-shaped screens attached to the wall. This area is a great place for visitors to spark
7.2.2 Hansi: The Girl Who Loved the Swastika up a conversation with fellow visitors, as well reflect on the topics explored in the
exhibition.


inspiration:
The vision for The Art of Persuasion is to
create a dynamic environment for
visitors. Elements that have been
inspirational for this exhibition
during the programming stages
include: Angular panels, comic book
layouts, bold colors, oversized
graphics, reflective and collaborative
environments, and an overload of text on
surfaces. These elements will be used
throughout the exhibition to immerse the
visitor into the exhibit’s content.


exhibit plan:

6.0 “action/reaction”
7.0 “meet the game-changers”:
9.0 “conversation hub” taboo comics Spire Christian Comics
theater
1.0 introduction

alan moore
introduction continued and 8.0 “persuasions of society”
2.0 “the use and abuse of
propaganda”

4.0 “us vs. them”
art spiegelman

Square Footage: 5,400
Ceiling Height: 12’ - 0”


entry experience:

As visitors approach the exhibition, they will be greeted by angled partitions with examples from comic books that will be seen throughout the exhibition. Creating comic panels on the two partitions and on the door will create a forced
perspective and will give the feeling to visitors that they are stepping into a comic book. Along the left wall will be propagandistic phrases from a variety of comic books with backlit angular panels in front and grayed-out corresponding
images printed on top. These elements will give visitors an idea of what they will be seeing and learning about throughout the exhibition. Angles are a big element in the exhibition because they have dimension and so do comic books
because of their powerful art and stories.


introduction:
35’ - 9”
9’ - 6”

Elevation of introduction wall showing propagandistic phrases from comic books and a variety of other media and onomatopoetic words
Scale: 3/8” = 1’-0”

Once visitors pass through the doors, they will enter the introduction section of the exhibition. Along the walls there will be phrases from comic books grayed out with large three-dimensional text adhered to the surface that will spell
out a variety of onomatopoetic words. One reason why comic books are so powerful is because of the use of these catchy words. Visitors will be surrounded by comic book propaganda phrases and propagandistic well-known phrases
from other forms of media as they go down the ramp to the rest of the exhibition. Propaganda is all around us, so I wanted that feeling to be emulated in this space.


introduction:

41’ - 8”
10’ - 9”

Elevation of entrance wall showing propagandistic phrases from comic books and a variety of other media
Scale: 1/4” = 1’-0”


the use and abuse of propagaganda

“the use and abuse of propaganda”:

As visitors travel down the ramp into the first section titled “The Use and Abuse of Propaganda”, they will learn about how propaganda has been used in comic books to help spread harmful and beneficial social agendas. Visitors will
learn about different techniques and applications of propaganda in the past and well as the present. Also, visitors will be able to see another reason comic books are so powerful by exploring their flow and visual cues. These push
readers to keep reading. This will be demonstrated to visitors by letting them compare Joe Sacco’s Palestine with magazine and newspaper articles about the same subject, and will show how the comic book seems more appealing.
Visitors will also be able to create their own comic book on the interactive drafting table seen in the perspective above.


long wall: 23’-0”

12’ - 0”

Blown-up section of “The Use and Abuse of Propaganda”
Scale: Not to scale

Elevation of long wall showing “The Use and Abuse of Propaganda”, “Meet the Game-Changers”: Art Spiegelman and “Us vs. Them”
Scale: 1/8” = 1’-0”


long wall: 12’ - 0”

12’ - 0”

Blown-up section of “Meet the Game-Changers”: Art Spiegleman
Scale: Not to scale

Scale: 1/8” = 1’-0”


long wall:
12’ - 0”

29’ - 0”

Blown-up section of “Us vs. Them”
Scale: Not to scale

Scale: 1/8” = 1’-0”


Meet the game-changers: Art spiegelman

“meet the game-changers” - Art spiegelman:
30’ - 0”
12’ - 0”

Elevation of “Meet the Game-Changers”: Art Spiegelman
Scale: 3/8” = 1’-0

This elevation shows part of the “Meet the Game-Changers” section, which focuses on Art Spiegelman’s infamous comic book Maus and how his use of anthropomorphic characters changed the whole dynamic of the comic book
as literature and art form. What made it so powerful was that it made the Holocaust approachable for readers, young and old, and enabled them to take in all of the graphic events of this tragedy, such as the hangings and violence
that took place within the concentration camps. Both here and in the perspective shown previously, I took the mice that were depicted as Jews in the comic and “caged them in” using fencing which you can see on the right side of
the elevation. I did this because they were trapped and were the center of negative attention and abuse throughout the Holocaust and Word War II.


“us vs. them”:

When visitors enter “Us vs. Them”, they will be able to reflect on the characterizations of different animals depicted as animals and learn how and why the three most targeted racial/ethnic groups in comic books (i.e., Asians, Blacks,
and Jews) were depicted the way they were. For more in-depth information about how these races have been depicted over the years, visitors can approach the perimeter walls to learn about how Blacks have been portrayed as different
stereotypes, as well as Jews and Asians. A mechanical interactive is placed on the large blue wall which depicts how the three different races have been depicted in different mediums – Pictorial, Textual and Content – and how that
influences how they are drawn and portrayed.


“us vs. them”:
34’ - 0”
12’ - 0”

Elevation of Asians in Comics and Jews in Comics
Scale: 3/8” = 1’-0”


“us vs. them” - reflection panels:
8 ’- 0” 4’ - 0”

Elevations of front side of reflection panels in “Us vs. Them”
Scale: 3/4” = 1’-0”

In the middle of this section are three reflection panels showing the three most targeted groups in comics, which are Blacks, Asians, and Jews and how they have been portrayed as animals in comics. The front is a mirrored surface
with the character printed onto the front so visitors can look at their own reflection and compare their own characteristics with the different races being characterized. I think these panels give visitors a chance to reflect on how they
have been characterized and stereotyped within their own lives.


“us vs. them” - reflection panels:
7 ’- 0”

4’ - 0”

Elevations of back side of reflection panels in “Us vs. Them”
Scale: 3/4” = 1’-0”

The backs of the reflection panels in “Us vs. Them” discuss how each group has been portrayed as a certain animal and why. The text will be vinyl and adhered to the surface and the headings will be three-dimensional text. A great
aspect of these panels is that visitors can get a lot of information from them and if they want to learn more about other ways and in other comic books that these groups have been portrayed in, then you can visit the perimeter walls.
These panels were designed for people who like to “breeze” through an exhibition.


“action/reaction”:

Perspective of the “Action/Reaction” section showing the 9/11 wall, reflection space and interactive drawing wall

“Action/Reaction” showcases two horrific acts of violence: The Bombing of Hiroshima and the 9/11 terrorist attacks. In the middle of the section is a semi-enclosed space for reflection with blown-up graphics of comic panels
depicting the emotions of victims during 9/11 adhered to angular, back-lit panels from a variety of comic books about 9/11. This space was designed so visitors had a place to reflect about what they have seen as well as view
examples of comic books as an art form, which goes back to teaching point four (“Comic books can be a powerful type of literature and art form because of their intricate stories and high level of detail”). On the right, visitors can draw
their own comic panel on the touch sensitive wall and can reflect on the horrific events exhibited in this section, as well as see other visitors’ visual reflections.


“action/reaction” - the 9/11 terrorist attacks:
25’ - 8”
12’ - 0”

Elevation of the 9/11 terrorist attacks wall
Scale: 3/8” = 1’-0”

This wall discusses the 9/11 terrorist attacks and compares and contrasts this event to several comic books that depicted the event which are exhibited in this section. Specifically, it discusses where the blame was given, comparing
superheroes to the real heroes of the day – firemen and police officers – as well as discussing tolerance towards and stereotypes of the Sihks and others who “look” like potential terrorists. There will be a more modern television screen
facade in comparison to the 40’s style façade discussing the bombing of Hiroshima. It will play interviews with comic artists and writers, such as Art Spiegelman, who wrote In the Shadow of No Towers comic book about 9/11 and how
he and other comic books artists and writers portrayed the event in their comics. Visitors can look at the five examples of comic books in the display case, as well as flip through the two 9/11 volumes that hundreds of comic artists and
writers collaborated on. By looking at these volumes, visitors will get a better sense of how a comic is put together and how much emotion and collaboration went into producing these comics.


“action/reaction” - the bombing of hiroshima:
22’ - 2”
12’ - 0”

Elevation of the bombing of Hiroshima wall
Scale: 3/8” = 1’-0”

Similar to the wall about 9/11, this wall focuses on Keiji Nakazawa’s horrific experience as a child witnessing the bombing of Hiroshima. Images and newspaper articles will be displayed in comparison to the events portrayed in the
comics to show how the comic book artist and writers depiction compares and contrasts with the event as it was portrayed by more traditional news sources. Examples from I Saw It showing the aftermath of the town and the victims,
as well as images from the event itself will be displayed. There will be a display case showcasing I Saw It, Gen of Hiroshima and the original Barefoot Gen. Also, a vintage television facade showing clips from the film Barefoot Gen and
interviews with survivors of the bombing, including Keiji Nakazawa, will be shown. Along the left side there will be all ten volumes of Barefoot Gen so visitors can flip through to see what happened right before the drop, during, after
and how the survivors overcame in the aftermath of the fall of the atomic bomb. By looking at these volumes, visitors will have a better understanding of how a comic is put together and how much effort went into producing these.


interactive:

Isometric view of interactive drafting table in “Action/Reaction” Isometric view of interactive drafting table in “Action/Reaction”
Note: Each top of an interactive will be a different color to correspond to the color of the section and will have a black base

I was inspired by the drafting tables comic artists and writers used and, therefore, I designed an interactive drafting table. Interactive drafting tables will be placed throughout the
exhibition. There will be several different activities that will be on the interface. Activities will include: Creating your own comic book panel that reflects a topic being explored in the
exhibition; write or draw your own message on an existing blank propaganda poster or advertisement to see how you interpret the message being displayed and how your depiction
compares and contrasts with the actual example; exploring the various comic books exhibited in the exhibition by being able to flip through and zoom into the panels to see all of
the excellent details that comic artists put into each panel (which is the example shown above), and; participate in the visitor poll and comment forum which explores the variety of
comic books and topics displayed in the exhibition.


transparent panels of design steps:
9’ - 3”
12’ - 0”

Elevation of transparent panels of design steps from initial sketching (on left) to final inking (on right)
Scale: 3/8” = 1’-0”

I wanted visitors to get a sense of how comics are created and the steps it takes to put just one panel together, so I designed three transparent glass panels in-between the final “Meet the Game-Changers” section and
“Persuasions of Society”. Visitors can stand in front of the panels and see a combination of all the steps of drawing a comic panel combined, as well as walk through the “pass-through’s” in order to get to the next
section and to see them up-close and the amount of detail that each step takes from initial sketching and planning to final inking.


transparent panels of design steps:

Front view showing the combination of all the design steps combined Side view showing how visitors can pass-through each panel


“persuasions of society” - Reflection panels:

Front view of panel discussing nuclear power in comic books Back view of panel discussing abortion in comic books

When visitors enter “Persuasions of Society” they will approach three sets of reflection panels that pin two views about a subject against each other such as Pro-Nuclear Power which explores the comic book Power for Progress
versus Anti-Nuclear Power which discusses the comic book All-Atomic Comics. Visitors will able to see examples explored more deeply on the panels and if they want to dive more into the topics displayed on the panels they can
learn more along the long wall. These panels are definitely for people who like to “breeze” through an exhibition. In the middle of the panels, there will be a mirror attached to reiterate the idea of reflection which can be seen in
“Us vs. Them”. Visitors will be able to see their own reflection in the mirror and see how they and others react to how these controversial subjects are depicted in comic books.


“conversation hub”:

When visitors enter the last section, the “Conversation Hub”, they will be approached by numerous questions that they can think about, such as “What do you think the future for spreading propagandistic messages will be?”
Visitors will also be able to respond to a variety of questions and topics posted about the controversial topics explored in the exhibition on tablets, and their responses will appear on speech bubble-shaped screens attached to the
wall. Television screens suspended from the ceiling will show video clips from different comic book artists and writers such as Joe Sacco, Marjane Satrapi, Keiji Nakazawa, Art Spiegelman, and Fredrik Stromberg discussing how they
deal with these different controversial subjects. This area is a great place for visitors to spark up a conversation with fellow visitors, as well reflect on the topics explored in the exhibition.


materials, finishes and furniture selections:

Armstrong Ceiling Systems
Dune Angled Tegular
Luna Textiles Craft LCF-2204R Clipper
Allermuir JA1 Bench Allermuir JA2 Stool Allermuir JA3T Table

SW 6601 Tanager SW 6947 Tempo Teal SW 6197 Aloof Gray
3form 100 Percent Arreis
3form Varia Ecoresin
Mirrored Surface Carbon Sierra Pine MDF
Vapor-Custom Imaging Printing

SW 6903 Cheerful SW 6127 Ivoire SW 6202 Cast Iron

Armstrong Wall Base Shaw Contract Group
SW 6727 Houseplant SW7003 Toque White SW 6216 Jasper 60 - Jet Black Ambient Tile 59330


text panel:

Example of a 24” x 36” section panel in “Action/Reaction”

Section Panel: Panel - 24” x 36” Overall - 26” x 38”

Sub-Section Panel: Panel - 11” x 17” Overall - 13” x 19”

Label: Panel - 4” x 6” Overall - 6” x 8”


typography:
quotes and headings:
single sleeve
abcdefghijklmnopqrstuvwxyz
0123456789
Body:
Swis721 LtCn BT
ABCDEFGHIJKLMNOPQRSTUVWXYZ
abcdefghijklmnopqrstuvwxyz
0123456789
Blown-up section of 24” x 36” section panel in “Action/Reaction”


display case:

Isometric view of display case in “Action/Reaction” Side view of display case in “Action/Reaction”

Note: Each top of a case will be a different color to correspond to the color of the section and will have a black base


artifact matrix:
Image Artifact Name Section # Section Name Artifact Dimensions Location
I Saw It: The Atomic Bombing Section 6 Action/Reaction 10.25” x 6.5” x 0.25” Display case on wall about the
of Hiroshima, A Survivor’s True bombing of Hiroshima
Story

By: Keiji Nakazawa

Gen of Hiroshima Section 6 Action/Reaction 10.25” x 6.5” x 0.25” Display case on wall about the
bombing of Hiroshima
By: Keiji Nakazawa

Barefoot Gen, Volume 1 (Original Section 6 Action/Reaction 8” x 5.9” x 1” Display case on wall about the
print) bombing of Hiroshima

By: Keiji Nakazawa

Barefoot Gen, Volume 1: A Section 6 Action/Reaction 8.3” x 5.9” x 0.6” Book shelf on wall about the
Cartoon Story of bombing of Hiroshima
Hiroshima

By: Keiji Nakazawa

Barefoot Gen, Volume 2: The Day Section 6 Action/Reaction 8.2” x 5.9” x 0.6” Book shelf on wall about the
After bombing of Hiroshima

By: Keiji Nakazawa


artifact matrix:
Barefoot Gen, Volume 3: Life Section 6 Action/Reaction 8.5” x 6.3” x 0.6” Book shelf on wall about the
After the Bomb bombing of Hiroshima

By: Keiji Nakazawa

Barefoot Gen, Volume 4: Out of Section 6 Action/Reaction 8.3” x 5.9” x 0.7” Book shelf on wall about the
the Ashes bombing of Hiroshima

By: Keiji Nakazawa

Barefoot Gen, Volume 5: The Section 6 Action/Reaction 8.3” x 6.1” x 0.6” Book shelf on wall about the
Never-Ending War bombing of Hiroshima

By: Keiji Nakazawa

Barefoot Gen, Volume 6: Writing Section 6 Action/Reaction 8.3” x 6.1” x 0.6” Book shelf on wall about the
the Truth bombing of Hiroshima

By: Keiji Nakazawa

Barefoot Gen, Volume 7: Bones Section 6 Action/Reaction 8” x 5.8” x 0.7” Book shelf on wall about the
into Dust bombing of Hiroshima

By: Keiji Nakazawa


artifact matrix:
Barefoot Gen, Volume 8: Merchants Section 6 Action/Reaction 8” x 5.8” x 0.7” Book shelf on wall about the
of Death bombing of Hiroshima

By: Keiji Nakazawa

Barefoot Gen, Volume 9: Breaking Section 6 Action/Reaction 8.3” x 5.8” x 0.6” Book shelf on wall about the
Down Borders bombing of Hiroshima

By: Keiji Nakazawa

Barefoot Gen, Volume 10: Never Section 6 Action/Reaction 8.3” x 5.8” x 0.6” Book shelf on wall about the
Give Up bombing of Hiroshima

By: Keiji Nakazawa

Amazing Spider-Man #36 Section 6 Action/Reaction 11.2” x 8.9” x 0.9” Display case on wall about the
9/11 Special Edition 9/11 terrorist attacks

By: John Romita Jr.

Heroes: The World’s Greatest Section 6 Action/Reaction 10.6” x 7.9” x 0.2” Display case on wall about the
Super Hero Creators Honor the 9/11 terrorist attacks
World’s Greatest Heroes

By: Kurt Busiek, Paul Dini, Kevin
Smith, Alan Moore, Neil Gaiman,
Jim Shooter, Stan Lee, Jim
Krueger, Gail Simone and Fabian
Nicieza


artifact matrix:
A Moment of Silence: Saluting Section 6 Action/Reaction 10.75” x 8.25” x 0.25” Display case on wall about the
the Heroes of September 11th 9/11 terrorist attacks

By: Marvel Comics

In the Shadow of No Towers Section 6 Action/Reaction 14.4” x 10.3” x 0.9” Display case on wall about the
9/11 terrorist attacks
By: Art Spiegelman

The Big Lie Section 6 Action/Reaction 13” x 10” x 1” Display case on wall about the
By: Rick Veitch

9-11: Artists Respond, Volume 1 Section 6 Action/Reaction 10” x 6.6” x 0.4” Book shelf on wall about the
By: Will Eisner, P Craig Russell,
.
John McCrae, Eric Powell, Jon J.
Muth, David Chelsea, Eric Drooker,
Kevin Nowlan, Paul Sloboda, Paul
Chadwick, and Randy Stradley
9-11: Stories to Remember, Section 6 Action/Reaction 10.2” x 6.7” x 0.4” Book shelf on wall about the
Volume 2 9/11 terrorist attacks

By: Neil Gaiman, Stan Lee, Jill
Thompson, Kieron Dwyer, and
Steven T. Seagle


artifact matrix:
All-Atomic Comics Section 8 Persuasions of Society 10” x 7” x 0.25” Display case on long wall

By:Leonard Rifas

Power for Progress Section 8 Persuasions of Society 10” x 7” x 0.25” Display Case on long wall

By: Consumers Power Company

Abortion Eve Section 8 Persuasions of Society 9.75” x 7” x 0.25” Display case on long wall

By: Chin Lyvely and Joyce Sutton

Green Lantern, Volume 2 #85: Section 8 Persuasions of Society 10.25” x 7” x 0.25” Display case on long wall
The Shocking Truth About Drugs!

By: Denny O’Neil and John
Broome

Wimmen’s Comix presents Section 8 Persuasions of Society 10.25” x 7.25” x 0.25” Display case on long wall
Little Giirls

By: Phoebe Gloeckner


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