DrawnStrips Reader 3.1

This reader supports various types of files, including some archive formats like CBR, CBZ, CB7, CBT, ZIP, RAR and TAR. Moreover, it allows importing an entire image folder as well as scanned PDF documents. Regrettably, I do not know why it did not let me open a separate JPG image.

Another convenient feature is that the reader can also convert the documents between the formats supported. For instance, you can convert a picture to other image formats, like JPEG, PNG and TIFF. It is also good that you can configure such parameters as brightness, contrast, gamma and sharpness, which comes handy particularly in the case of scanned pages. more

DrawnStrips Reader 3.1

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The background color can be changed, and you can also predetermine how the next comic opens in the folder. Magic Enhancer lets modifications on the fly. Attributes such as contrast, brightness, sharpness and gamma can be altered. Once the enhancements have been done, you may save the comic so that you need not do the enhancements again. Some other reader-friendly things worth mentioning are manga style reading, and native full screen mode. Also, the various controls fade away or are completely hidden when you don't need them.

Bandes dessinées (singular bande dessinée; literally 'drawn strips'), abbreviated BDs and also referred to as Franco-Belgian comics (BD franco-belge), are comics that are usually originally in French and created for readership in France and Belgium. These countries have a long tradition in comics, separate from that of English-language comics. Belgium is a mostly bilingual country, and comics originally in Dutch (stripverhalen, literally "strip stories", or simply "strips") are culturally a part of the world of bandes dessinées; these are translated to French and concurrently sold to the French-reading audience and vice versa.

Even though Les Pieds Nickelés, Bécassine and Zig et Puce managed to survive the war for a little while longer, modernized in all three cases and all of them continued by artists (the most notable one being Belgian Greg for the latter in the 1960s)[24] other than the original creators, none of them succeeded to find a readership outside France itself and are consequently remembered in their native country only.

The criticisms regarding the early stories notwithstanding and even though the format still had a long way to go, Tintin is widely considered the starting point and archetype of the modern Franco-Belgian comic as currently understood, and as amply demonstrated in the vast majority of treatises and reference works written on the subject since the 1960s, and the first to find a readership outside its originating country. As such the Tintin series went on to become one of the greatest post-war successes of the Franco-Belgian comic world, having seen translations in dozens of languages, including English, as well as becoming one of the relatively few European comics to have seen a major, successful, Hollywood movie adaptation as late as 2011, nearly thirty years after the death of its creator.

The advent of the new adult magazines had a profound effect on France's hitherto most influential comic magazine Pilote. Editor-in-chief Goscinny had at first refused to implement the changes demanded by its artists during the 1968 revolt in the editorial offices, but he now found himself suddenly confronted with the magazine hemorrhaging its most promising comic talents and diminishing sales. The magazine was eventually turned into a monthly magazine, its artists who had not yet left given more creative freedoms and the Belgian influence terminated definitively with the departure of co-editor Charlier in 1972 and the last Belgian artists Hubinon and Jijé following suit a short time thereafter, transforming the magazine into a purely French one. However, while the magazine was now targeted at an older adolescent readership with stories featuring more mature themes, Goscinny stopped short of letting the magazine become a truly adult magazine. Yet, the magazine was unable to regain the dominant position it had held in the previous one-and-a-half decade, due to the flooding of the market with alternatives.[59]

Peanuts is a syndicated daily and Sunday American comic strip written and illustrated by Charles M. Schulz. The strip's original run extended from 1950 to 2000, continuing in reruns afterward. Peanuts is among the most popular and influential in the history of comic strips, with 17,897 strips published in all,[1] making it "arguably the longest story ever told by one human being".[2][3] At the time of Schulz's death in 2000, Peanuts ran in over 2,600 newspapers, with a readership of around 355 million in 75 countries, and was translated into 21 languages.[4] It helped to cement the four-panel gag strip as the standard in the United States,[5] and together with its merchandise earned Schulz more than $1 billion.[1]

Schulz decided to produce all aspects of the strip himself from the script to the finished art and lettering. Schulz did, however, hire help to produce the comic book adaptations of Peanuts.[19] Thus, the strip was able to be presented with a unified tone, and Schulz was able to employ a minimalistic style. Backgrounds were generally not used, and when they were, Schulz's frazzled lines imbued them with a fraught, psychological appearance. This style has been described by art critic John Carlin as forcing "its readers to focus on subtle nuances rather than broad actions or sharp transitions."[20] Schulz held this belief all his life, reaffirming in 1994 the importance of crafting the strip himself: "This is not a crazy business about slinging ink. This is a deadly serious business."[21]

The final daily original Peanuts comic strip was published on Monday, January 3, 2000. The strip contained a note to the readers of the strip from Schulz and a drawing of Snoopy, with his trusty typewriter, sitting atop his doghouse deep in thought. Beginning the next day, a rerun package premiered in papers that had elected to pick it up (see below). Although Schulz did not draw any daily strips that ran past January 3, he had drawn five Sunday strips that had yet to run. The first of these appeared six days after the last daily, on January 9.

Snoopy is a dog, who later in the development of the strip would be described as a beagle.[53] While generally behaving like a real dog and having a non-speaking role, he connects to readers through having human thoughts.[54][55] Despite acting like a real dog much of the time, Snoopy possesses many different anthropomorphic traits. Most notably, he frequently walks on his hind legs and is able to use tools, including his typewriter. He introduces fantasy elements to the strip by extending his identity through various alter egos. Many of these alter egos, such as a "world-famous" attorney, surgeon or secret agent were seen only once or twice.[56] His character is a mixture of innocence and egotism; he possesses childlike joy, while on occasion being somewhat selfish.[57][58] He has an arrogant commitment to his independence but is often shown to be dependent on humans.[56][57] Schulz was careful in balancing Snoopy's life between that of a real dog and that of a fantastical character.[59] While the interior of Snoopy's doghouse is described in the strip as having such things as a library and a pool table and being adorned with paintings of Wyeth and Van Gogh, it was never shown: it would have demanded an inappropriate kind of suspension of disbelief from readers.[60]

American comic books have become closely associated with the superhero sub-genre. In the UK, the term comic book is used to refer to American comic books by their readers and collectors, while the general populace would mainly consider a comic book a hardcover book collecting comics stories. The analogous term in the United Kingdom is a comic, short for comic paper or comic magazine. 2ff7e9595c