Damon Herd offers a discussion of Dieter Roth’s Solo Scenes, a multimedia presentation that echoes the form of a comic. In his discussion, Herd compares Roth’s work to autobiographical comics, raising the evocative question of whether a work created outside of the comics world can still be considered a comic.
Here, James Baker focuses error as a form of satire. Baker focuses on “The Royal Jersey” (1797), one of George Cruikshank’s etchings of Prince George Augustus Frederick and one that presents a unique form of graphical mishap.
Brian Cremins examines the relationship between nostalgia and comics scholarship as well as his memories of Strange Tales #180 (June 1975).
Robert Loss looks at Neil Gaiman’s The Sandman: Dream Country (1991, 1995) as a meditation on femininity, power and imagination that nevertheless is subjected to a “patronal feminism” as system of authority.
David Large examines fixed and fluid locations and characters in the congenitally intertextual series The Unwritten (DC Vertigo Comics 2009–).
Brian Cremins explores gender issues in Captain Marvel Adventures #19 (January 1, 1943) and Paul Thomas Anderson’s film The Master (2012).
Chase Pielak explores a sequence in Wolverine Origin (2009) as a space for boundary confrontation and collapse between the character, the animal and the reader.
Julio Souto contrasts the evolution of Superlópez, a Spanish comic book character, with “the myth of Superman” as described by Umberto Eco.
Darren R. Reid engages with the gender politics of Superman’s first comic book appearance.
Jordi Canyissà discusses Feinte Trinité by François Ayroles as a work that undermines the vast majority of definitions of the comics medium.
Employing a modular format as a way to include footnote disgressions without relegating them to a marginal space, Nicolas Labarre reflects on the possibly ironical depiction of President Reagan in Frank Miller’s The Dark Knight Returns.
Michael Griffin uses an algebra derived from mythology used to model stories to discuss Wonder Woman: The Hiketeia (2002). He illustrates the mythic archetype of nemesis, which is a key part of a complete hero cycle.
Janine Utell examines James Joyce, intertextuality, and the transgressive figure of the daughter in two recent graphic memoirs: Alison Bechdel’s Fun Home (2006) and Dotter of Her Father’s Eyes by Mary and Bryan Talbot (2012).
Jonathan Evans discusses the representation of translation and interpreting in Guy Delisle’s Shenzhen: A Travelogue from China (2006), focusing on scenes in the text when the process is highlighted by being questioned.
Nicolas Labarre takes a look at a page of the 1998 crossover between Aliens and WildC.A.T.S. In light of previous crossovers, he examines the transgressive potential of the creature in terms of genre and adaptation.
In this article Jesse Prevoo discuses focalisation in the murder of Sir Danvers Carew, a pivotal moment in John K. Snyder’s Classics Illustrated version of The Strange Case of Dr. Jekyll and Mr. Hyde.
Tiágo Canario offers an autobiographical reading of Frédéric Boilet’s Yukiko’s Spinach, employing theories by Philippe Lejeune and Jan Baetens.
In this article Zach Welhouse employs theories of visual rhetoric for examining Barack Obama’s identification with the iconic body language of the superhero.
In this article James Baker explores the British Cartoon Archive’s new Rowlandson collection, and examines the role physical object analysis can play in helping us better understand the Georgian print consumer.
Nicolas Labarre examines the strategies used by Roy Thomas and Mike Mignola to adapt Francis Ford Coppola’s 1991 Dracula. Reflecting on the logic of adaptation as part of a multi-media cross-promotional effort, he highlights the tension between imitation and originality.
Michael Hill pays a formal and historical visit to Neal Adams’ X-Men run in the late 1960s, looking closely at two pages of diagonal panels from X-Men #59, August 1969.
Kathleen Dunley continues her exploration of Ben Katchor’s work, this time looking at an example from the Cheap Novelties collection. Dunley zooms in to show how Katchor’s work can offer complex notions of memory and narrative.
Ernesto Priego looks at the last and first pages of issues 1 and 2 of Shade the Changing Man (1990) discussing raccord as a narrative strategy based on the conditions of production and distribution of comic books.