Search results for ""about comics""

The Thinking Reader's Da Vinci Code...London, 1991. But not the London you may be familiar with. Imagine an England under Catholic rule - a rule so iron-fisted that science and technology has been set back decades. "Ring of Roses is a fascinating piece of comics art. If you can penetrate the book's complexity, there is a lot to digest and think about." (Comics Bulletin).

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"Surreal and hilarious happenings in the Beetlejuician afterlife." — PUBLISHERS WEEKLY"Deceptively emotional . . . a comic that you must read twice." — WOMEN WRITE ABOUT COMICSWhen Wine Ghost was alive, she was a booze-soaked train wreck. Now that she''s dead . . . well, to be honest, not a lot has changed. But when an old friend from her days among the living unexpectedly turns up in Hell, she''s faced with a lot more responsibility—and self-reflection—than she''s used to dealing with! Fortunately, if anyone knows how to handle life after death, it''s Wine Ghost. She learned the ins and outs of Hell a long time ago, but it''s her pal''s first days down in The Depths. And boy howdy, are they both in for a wild ride!

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Discover Lysandra Vuong''s hit supernatural action Webtoon Covenant in print for the first time ever. If you need a comic that blends action fantasy with mythology, comedy, and punk gothic fashion, Covenant is wildly enjoyable. -Women Write About Comics Ezra and Sunny will leave readers wanting more. This is catnip for fans of sexy fight scenes. —Publishers WeeklyIn a world where priests are decked out in holy tattoos and brandish machine guns in the face of demons, a powerful exorcist and a mysterious boy cross paths . . . in a college classroom. Erza’s faith is waning when God intervenes and sends him on a mission to protect Sunny, an outwardly normal human, from demonic forces. Looks can be deceiving, however, as Sunny proves to have hidden secrets and a bloody past nipping at his heels. Between Erza’s sunny sarcasm, and Sunny’s closed-off distant demeanor, the two stru

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Written in straightforward, jargon-free language, A Concise Dictionary of Comics guides students, researchers, readers, and educators of all ages and at all levels of comics expertise. It provides them with a dictionary that doubles as a compendium of comics scholarship. A Concise Dictionary of Comics provides clear and informative definitions for each term. It includes twenty-five witty illustrations, and pairs most defined terms with references to books, articles, book chapters, and other relevant critical sources. All references are dated and listed in an extensive, up-to-date bibliography of comics scholarship. Each term is also categorized according to type in an index of thematic groupings. This organization serves as a pedagogical aid for teachers and students learning about a specific facet of comics studies and as a research tool for scholars who are unfamiliar with a particular term but know what category it falls into. These features make A Concise Dictionary of Comics especially useful for critics, students, teachers, and researchers, and a vital reference to anyone else who wants to learn more about comics.

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The manga adaptation of the beloved novel featuring all-new scenes by Rainbow Rowell! “The graphic novelisation of Fangirl is a beautiful, contemplative, and fun reading experience.” —Women Write About Comics Cath is a Simon Snow fan. Okay, everybody is a Simon Snow fan, but for Cath, being a fan is her life. Cath’s sister has mostly grown away from fandom, but Cath just can’t let go… Everything in Cath’s offline life is going wrong. Just when she’s started to realise her feelings for Levi, she sees him kissing someone else. Plus, her writing partner, Nick, is acting strange, and her twin sister, Wren, is suddenly making time for their mother—the same woman who walked out of their lives ten years ago! When their dad ends up in the hospital, Cath decides it’s time to rethink her plans for the future. But how can she leave the past behind when it keeps showing up at her door?

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EISNER AWARD WINNER | Best Academic/Scholarly Work About Comics | 2019 One of the most influential women in independent comics, Julie Doucet, receives a full-length critical overview from a noted chronicler of independent media and critical gender theorist. Grounded in a discussion of mid-1990s media and the discussion of women’s rights that fostered it, this book addresses longstanding questions about Doucet’s role as a feminist figure, master of the comics form, and object of masculine desire. Doucet’s work is hilarious, charming, thoughtful, brilliant, and challenging, even three decades on. Anne Elizabeth Moore is an award-winning journalist, bestselling comics anthologist, and internationally lauded cultural critic. Her most recent book, Body Horror, is on the Nonfiction Shortlist for the 2017 Chicago Review of Books Nonfiction Award, was named a Best Book of 2017 by the Chicago Public Library, and was nominated for the 2018 Lammys. She teaches at the School of the Art Institute of Chicago and the College for Creative Studies. She was born in Winner, SD, and resides in Detroit with her cat. Praise for Body Horror: “[Body Horror is] scary as fuck and liberating. . . . Moore connects the dots that you did not even think were on the same page.” —Viva la Feminista

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Answering foundational questions like "what is a comic" and "how do comics work" in original and imaginative ways, this book adapts established, formalist approaches to explaining the experience of reading comics. Taking stock of a multitude of case studies and examples, The Comics Form demonstrates that any object can be read as a comic so long as it displays a set of relevant formal features. Drawing from the worlds of art criticism and literary studies to put forward innovative new ways of thinking and talking about comics, this book challenges certain terminology and such theorizing terms as 'narrate' which have historically been employed somewhat loosely. In unpacking the way in which sequenced images work, The Comics Form introduces tools of analysis such as discourse and diegesis; details further qualities of visual representation such as resemblance, custom norms, style, simplification, exaggeration, style modes, transparency and specification, perspective and framing, focalization and ocularization; and applies formal art analysis to comics images. This book also examines the conclusions readers draw from the way certain images are presented and what they trigger, and offers clear definitions of the roles and features of text-narrators, image-narrators, and image-text narrators in both non-linguistic images and word-images.

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"Magnificent! The best how-to manual ever published." - Kevin Kelly, Cool Tools Scott McCloud tore down the wall between high and low culture in 1993 with Understanding Comics, a massive comic book about comics, linking the medium to such diverse fields as media theory, movie criticism, and web design. In Reinventing Comics, McCloud took this to the next level, charting twelve different revolutions in how comics are generated, read, and perceived today. Now, in Making Comics, McCloud focuses his analysis on the art form itself, exploring the creation of comics, from the broadest principles to the sharpest details (like how to accentuate a character's facial muscles in order to form the emotion of disgust rather than the emotion of surprise.) And he does all of it in his inimitable voice and through his cartoon stand-in narrator, mixing dry humor and legitimate instruction. McCloud shows his reader how to master the human condition through word and image in a brilliantly minimalistic way. Both comic book devotees and the uninitiated will marvel at this journey into a once-underappreciated art form.

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In The New Nancy Jeff Karnicky explores how today’s successful daily comic strips are flexible and relatable, and he uses Olivia Jaimes’s 2018 reboot of the long-running comic strip Nancy to illustrate the ways that contemporary comics have adapted to twenty-first-century technology and culture. Because comic creation has become part of the gig economy, flexible comics must be accessible to both online and print readers, and they must quickly grab readers’ attention. Flexible comic creators like Jaimes must focus both on the work of producing comics and on building an audience. Daily comics also must form a relatable connection with readers. Most contemporary comic creators cultivate an online persona through which they engage readers with specific identities, beliefs, and expectations. This work might form a mutually beneficial bond that results in a successful daily comic strip, but it risks becoming fraught, toxic, and sometimes even dangerous. Jaimes cultivates a relatable persona in connection with longtime readers and new fans. Nancy finds its humor in both nostalgic objects (like cookie jars) and contemporary technological objects (like smartphones). Rebooted comic strips like Nancy directly confront the stereotypical representations that haunt the past of comics. Focusing on Nancy’s role in contemporary culture, Karnicky uses literary studies, cultural studies, and media studies to argue that Jaimes’s comic strip has something to say about comics, contemporary culture, and the intersection of the two.

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VISUALLY AND EMOTIONALLY RICH, TAKE A LOOK INSIDE ART SPIEGELMAN'S MODERN CLASSIC, MAUS'If you are serious about comics or the Holocaust, this book should be on your shelf' San Francisco Book ReviewMAUS is widely renowned as one of the greatest pieces of art and literature ever written about the Holocaust. Readers adore it, and it's studied in colleges and universities all over the world.In MetaMAUS, Art Spiegelman re-enters the world of his Pulitzer-prize winning graphic novel to probe the questions that it often evokes: Why the Holocaust? Why mice? Why comics?Including never-before-seen sketches, alternate drafts, family photos, diary entries and the transcript of his interviews with his father Vladek as well as an interview with Art himself, MetaMAUS is as ground-breaking as the masterpiece whose creation it reveals.The perfect gift, this vital companion is a must-read for any fan of MAUS. ___________________________________________________________________________'Richly rewarding...The book serves as a masterclass on the making and reading of comics' The New York Times Book Review'A fascinating meditation on art, writing, and one of the darkest periods in human history' The Atlantic'MetaMaus will leave even the most ardent admirers of Maus newly in awe of its author's creative courage, ingenuity and stamina' San Francisco Chronicle

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Ben Madsen is a bounty hunter. Yeah…he knows how that sounds. But Ben likes his job—until the bondsman convinces him to take a bounty he doesn’t want, to get the kind of paycheck he needs. When the big payday turns out to be more than Ben bargained for, he’s swept into an otherworldly conspiracy and dropped into alien city hidden right here on Earth. Good thing he’s the best man for the job—sort of. Hero or fall guy, Ben Madsen will prove one thing during his misadventures: He’s really good at jumping from high places and surviving. From Stephen Levinson and executive producer Mark Wahlberg comes a sci-fi adventure full of humor, heart, and you guessed it…aliens: ALIEN BOUNTY HUNTER. PRAISE FOR ALIEN BOUNTY HUNTER: “[ALIEN BOUNTY HUNTER] has a bold, clean aesthetic with jazzy, vibrant colors that feel like a mix between the best horror and gangster movies of the ‘80s.” – Rowan Grover, Multiversity Comics “ALIEN BOUNTY HUNTER does something rare in modern comics in that each issue feels like part of an ongoing story but also a complete tale in its own. […] A pretty excellent comic book.” – Nola Pfau, Women Write About Comics “Throw in some exciting action and powerful emotions and I honestly can’t find any fault in [ALIEN BOUNTY HUNTER].” – John McCubbin, Snap Pow

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"Verse and visuals meet, with spectacular results." -- FOREWORD (Starred Review)“A thoughtful and vibrant dive into the art of cis female, trans, and nonbinary poets.” - BOOKLIST"This ambitious anthology of feminist comics poetry aims high, and soars." -- PUBLISHERS WEEKLY"Pairing poetry with art highlights the imagery in a fuller way, which is where . . . Embodied finds its greatest success." -- COMICS BEAT"There's nothing quite like Embodied in the comics world." -- WOMEN WRITE ABOUT COMICSPoetry and comics collide in this intersectional feminist anthology featuring twenty-one stories that explore the relationship between gender, identity and the body. A diverse array of award-winning contemporary poets and comic book artists who identify as cis women, trans, and non-binary, work together to create sequential art poems showcasing the relevance, urgency, and power of both genres.Beautifully illustrated and bracingly written, EMBODIED is a memorable collaboration between cis female, trans, and non-binary poets and comics artists showcasing the power of both forms in a stunningly unique keepsake volume that will be treasured for ages.Mystical, rooted, painful, joyous, and ecstatic; visions of the body, our genders, and our very identities from across the spectrum of contemporary poetry come together in this monumental intersectional feminist anthology where verse and comics unite in spectacular new ways.Featuring poetry by national bestseller Maggie Smith, Pulitzer Prize finalist Diane Seuss, and National Endowment of the Arts fellowship recipients Kendra DeColo, Jennifer Givhan, Vanessa Angelica Villarreal, Kayleb Rae Candrilli, Ruth Awad, and Paul Tran.This edition includes a study guide and a process art section.A percentage of the proceeds will benefit International Women's Health Coalition.

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Considers how comics display our everyday stuff—junk drawers, bookshelves, attics—as a way into understanding how we represent ourselves now For most of their history, comics were widely understood as disposable—you read them and discarded them, and the pulp paper they were printed on decomposed over time. Today, comic books have been rebranded as graphic novels—clothbound high-gloss volumes that can be purchased in bookstores, checked out of libraries, and displayed proudly on bookshelves. They are reviewed by serious critics and studied in university classrooms. A medium once considered trash has been transformed into a respectable, if not elite, genre. While the American comics of the past were about hyperbolic battles between good and evil, most of today’s graphic novels focus on everyday personal experiences. Contemporary culture is awash with stuff. They give vivid expression to a culture preoccupied with the processes of circulation and appraisal, accumulation and possession. By design, comics encourage the reader to scan the landscape, to pay attention to the physical objects that fill our lives and constitute our familiar surroundings. Because comics take place in a completely fabricated world, everything is there intentionally. Comics are stuff; comics tell stories about stuff; and they display stuff. When we use the phrase “and stuff” in everyday speech, we often mean something vague, something like “etcetera.” In this book, stuff refers not only to physical objects, but also to the emotions, sentimental attachments, and nostalgic longings that we express—or hold at bay—through our relationships with stuff. In Comics and Stuff, his first solo authored book in over a decade, pioneering media scholar Henry Jenkins moves through anthropology, material culture, literary criticism, and art history to resituate comics in the cultural landscape. Through over one hundred full-color illustrations, using close readings of contemporary graphic novels, Jenkins explores how comics depict stuff and exposes the central role that stuff plays in how we curate our identities, sustain memory, and make meaning. Comics and Stuff presents an innovative new way of thinking about comics and graphic novels that will change how we think about our stuff and ourselves.

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Considers how comics display our everyday stuff—junk drawers, bookshelves, attics—as a way into understanding how we represent ourselves now For most of their history, comics were widely understood as disposable—you read them and discarded them, and the pulp paper they were printed on decomposed over time. Today, comic books have been rebranded as graphic novels—clothbound high-gloss volumes that can be purchased in bookstores, checked out of libraries, and displayed proudly on bookshelves. They are reviewed by serious critics and studied in university classrooms. A medium once considered trash has been transformed into a respectable, if not elite, genre. While the American comics of the past were about hyperbolic battles between good and evil, most of today’s graphic novels focus on everyday personal experiences. Contemporary culture is awash with stuff. They give vivid expression to a culture preoccupied with the processes of circulation and appraisal, accumulation and possession. By design, comics encourage the reader to scan the landscape, to pay attention to the physical objects that fill our lives and constitute our familiar surroundings. Because comics take place in a completely fabricated world, everything is there intentionally. Comics are stuff; comics tell stories about stuff; and they display stuff. When we use the phrase “and stuff” in everyday speech, we often mean something vague, something like “etcetera.” In this book, stuff refers not only to physical objects, but also to the emotions, sentimental attachments, and nostalgic longings that we express—or hold at bay—through our relationships with stuff. In Comics and Stuff, his first solo authored book in over a decade, pioneering media scholar Henry Jenkins moves through anthropology, material culture, literary criticism, and art history to resituate comics in the cultural landscape. Through over one hundred full-color illustrations, using close readings of contemporary graphic novels, Jenkins explores how comics depict stuff and exposes the central role that stuff plays in how we curate our identities, sustain memory, and make meaning. Comics and Stuff presents an innovative new way of thinking about comics and graphic novels that will change how we think about our stuff and ourselves.

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