Archive

Introduction

• Technical Storytelling: Comics and Community by Alexander Slotkin and Laura Gonzales

Articles

• Zines from the Borderlands: Chicanx/Latinx Pre-service Teacher Multimodal Critical Reflections by Mónica González Ybarra and Idalia Nuñez
• Skillshare and Guerrilla TechComm: Zines in the Technical Writing Classroom by Emma Kostopolus
• Bam! Pow! Zap! Battling Systemic Ableism in Technical and Professional Medical Communications through the Application of Graphic Medicine Grounded in Disability Justice by Kristen C. Bennett

Book Reviews

• Review of Alan Moore: A Critical Guide
• Review of Comics and the Body: Drawing, Reading, and Vulnerability
• Review of Creating Comics: A Writer’s and Artist’s Guide and Anthology
• Review of EC Comics: Race, Shock, and Social Protest

Colophon 

• Notes on Contributors

Articles

• The Joke Work of Batman: The Killing Joke by Brian Olszewski
• Journey to the West goes Queer by Christopher Younie
• Searching for Legitimacy: Spawn, McFarlane, and the Homage Cover by Jake Zawlacki

Book Reviews

• Review of Drawing on Religion by Matthew Brake
• Review of Who Understands Comics? Questioning the Universality of Visual Language Comprehension by Jason DeHart
• Review of R. Crumb: Literature, Autobiography, and the Quest for Self by Jesse Matlock
• Review of Vigilante Feminists and Agents of Destiny by Chandler Mordecai 
• Review of The Comics of Alison Bechdel: From the Outside In by Noah Mullens
• Review of Understanding China Through Comics by Sophia Pan
• Review of Ms. Marvel’s America: No Normal by Victoria Rahbar

From the Classroom

• Amity Teen: New Mobile Game Ad by Estefania Alfonso
• When You Hear Hoofbeats by Kaitlyn Mi
• From the Classroom: Critical-Making with Comics and Graphic Medicine During the COVID-19 Pandemic by Justin Wigard, Zaria Cannon, and Claudia Kramer

Colophon 

• Notes on Contributors

Articles

• The Yellow Kid and The Yellow Peril: R. F. Outcault’s Comics Series, Asian Caricature, and Chinese Exclusion by Michelle Ann Abate
• Vigilantism and Violent Forms in Frank Miller’s The Dark Knight Returns by Matthew Holder
• Place, Knowledge, and Bodies in This One Summer by Chester Scoville

Book Reviews

• Review of The Other 1980s: Reframing Comics’ Crucial Decade by Jackson Ayres
  
• Review of A Fire Story by Ryan Bedsaul
• Review of Unstable Masks: Whiteness and American Superhero Comics by Jackson DeHart
• Review of Dancing After Ten: A Graphic Memoir by Daun Fields
• Review of Supersex: Sexuality, Fantasy, and the Superhero by Rachel Hartnett
• Review of Pulses of Abstraction: Episodes from a History of Animation by Nicholas Orlando

From the Classroom

• Refill by Megan Biggs
• Amy & Laurie by Megan Cowan
• I Purple Myself by Sarah Falhi
• Adventure Time Zine by Gabriella Hamilton

Colophon 

• Notes on Contributors

Articles

• ‘We Are Here’: Queer Comics in Russia by Jose Alaniz
• Deconstructing Diana: An Examination of Disability and Gender in Wonder Woman by Alexandra Lampp Berglund
• Restless Figures: Animated Horror Stories as Hypertext by Bonnie Cross
• Satirizing the nuclear family in the comic art of Liv Strömquist by Kristy Beers Fägersten, Margareta Wallin Wictorin, and Anna Nordenstam
• “A Sort of Enchanted Place”: Town and Country Mysticism and the Architectural Façade in Seth’s Clyde Fans by Benjamin Fraser

Book Reviews

• Review of The Minamata Story: An Eco-Tragedy by Brianna Anderson
• Review of Graphic Narratives and the Mythological Imagination in India by Sourav Chatterjee
• Review of With Great Power Comes Great Pedagogy: Teaching, Learning, and Comics by Erika Rothberg

From the Classroom

• 入れ墨 by Matthew Lee
• Owarai Japan by Ibuki Nishino
• Life in the Circus by Teresa Powell

Colophon 

• Notes on Contributors

Articles

• Drawing (beyond) Melancholia in Barrack Rima’s Beyrouth Rewind and Lamia Ziadé’s Ma Très Grande Mélancolie Arabe by Carla Calargé and Alexandra Gueydan-Ture
• Signifying Silence: The Empty Speech Balloon by Lauren Chivington
• The Naïve Sidekick: The Representation and Categorization of Native Americans in the Red Wolf Story Arcs by Holly May Treadwell

Book Reviews

• Review of ORWELL by Alan Ali Saeed
• Review of Dreaming the Graphic Novel: The Novelization of Comics by Sourav Chatterjee
• Review of More Critical Approaches to Comics: Theories and Methods by Ryan Kerr
• Review of Anime Clubs for Public Libraries: A Practical Guide for Librarians by Brandon Murakami

Colophon 

• Notes on Contributors

Articles

• The Construction of Panels (Koma) in Manga by Natsume Fusanosuke. Translated by Jon Holt and Teppei Fukuda
• Drawing Listening and Reading with a Visual Ear by Dina A. Mahmoud
• Integration of Markup and Automated Image Retrieval for Cataloging Comics Signs in Digital Collections by Jacob Murel

Book Reviews

• Review of "The Women of Titmouse Animation" by Megan Fowler
• Review of Are You Listening? by Kathryn Hampshire
• Review of Manga Cultures and the Female Gaze by Brandon Murakami

Interview 

• The Fotonovela as a Healthcare Communication Tool: The Rural Women's Health Project as a Case Study for Graphic Medicine and Health Justice by Laken Brooks and Robin Lewy

From the Classroom 

• From the Classroom During a Year of Pandemic: Student Samples of Multimodal Composition by Brandon Murakami
• Nonbinary Representation in Children's Media by Katia Elena Carlo Berríos
• Under the Sea by Craig Haas
• Coronavirus PSA by Kennedy Hartman, David Hazday, and Ana Reano
• Habitat Destruction by Isabella Lugo and Antony Thai
• What About the Trees, Arthur? by Trevor Spence
• Cassandra by Morgan Spraker
• From Drool to Green School by Jennifer Vargas
• Ollie by Cassie Walsh

Colophon 

• Notes on Contributors

Introduction 

• Editors' Introduction by Anastasia Ulanowicz, Zack Shaw, and Ayanni C. H. Cooper

Articles 

• “You Too Shall Be New”: Synthezoid Phenomenology and Canonical Memory in The Vision by Tiffany Hong
• The Comics Shift: Modifying Material Rhetorics of Bookstores for Collaborative Category and Community Change by Kenneth Oravetz

Book Reviews

• Review of Playing with the Book: Victorian Movable Picture Books and the Child Reader by Laken Brooks
• Review of The Dark Fantastic: Race and the Imagination from Harry Potter to The Hunger Games by Rachel Hartnett
• Review of Untamed: The Psychology of Marvel's Wolverine by Jason Kahler
• Review of "I'm Just a Comic Book Boy": Essays on the Intersections of Comics and Punk by Fi Stewart-Taylor

Colophon 

• Notes on Contributors

Introduction to Special Forum

• ImageTech: Comics and Materiality by Madeline B. Gangnes, Megan Fowler, and Jaquelin Elliott

Keynote Addresses

• Introduction to Keynote Addresses by Madeline B. Gangnes
• Comics are for Everyone: Rethinking Histories of Comics Fandom by Aaron Kashtan
• Material Comics by Mita Mahato
• #NostalgiaGate? Comics as Battleground in Transmedia Networked Publics by Anastasia Salter

Articles

• Print_and_PDF Culture: The Transmediation of Public Intimacy, Allied Readership and Feminist Collage by Millennial Zinesters by Claudia Maria Acosta
• A Fairytale Box of Thermochromic Fragments: Comics Materiality, Theory and Praxis by Allison Bannister
• Extending Realities, Expanding Readings? Spatial Reconfigurations and Activated Presence in XR Comics' Experiences by Carolina Martins
• Object Lessons: Comics Creators Roundtable on Materiality and Comics by Elaine Sponholtz
• The Unwrapped Editions: Searching for the "Ultimate" Format of Graphic Novels and its Limitations by Tomasz Żaglewski

Reviews

• Review of Glass Town: The Imaginary World of the Brontës by Jason D. DeHart
• Review of On Comics and Legal Aesthetics: Multimodality and the Haunted Mask of Knowing by Neal Curtis
• Review of Not Your Average Zombie: Rehumanizing the Undead from Voodoo to Zombie Walks by Tim Posada

Colophon

• Notes on Contributors

Articles 

• The Far Side of Comeeks: Gary Larson, Lynda Barry, and Ugliness by Michelle Ann Abate
• Graphic Accounts of Violence: Visualizing Slavery in American Comics by Irene A. Aigbedion
• The Swordsman as the Artist: Aesthetics of Fragmentation in Eiichirō Oda’s One Piece and 21st Century Cultural Hybridity by Willi Barthold
• Have We Cleared the Intersection Yet?: Black Women in Comic Film Adaptations by Chamara Moore
• The Heritage Broker and the Cultural Mediator: Navigating the Past and the Present in Liana Finck's A Bintel Brief: Love and Longing in Old New York by Matt Reingold
• 'What face... will the bogeyman of this dark century wear?' Politicizing a Contemporary Joker by Juha Virtanen

Reviews 

• Review of Breaking the Frames: Populism and Prestige in Comics Studies by Eric Berlatsky
• Review of Superman in Myth and Folklore by Jesse Matlock
• Review of The Comics Scare Returns: The Contemporary Resurgence of Horror Comics by Cara Wieland

Colophon 

• Notes on Contributors

In Remembrance of Don Ault 

• Remembering Don Ault by Anastasia Ulanowicz

Introduction to Special Issue

• Introduction to "Graphic Realities: Comics as Documentary, History, and Journalism" by Laura Schlichting and Johannes C. P. Schmid

Articles

• Graphic Narratives as Non-Fiction in the Late Middle Ages and Early Modern Era by Dirk Vanderbeke
• "True Story": The Aesthetic Balancing Acts of Documentary Comics by Nina Mickwitz
• Drawing Truth Differently. Matt Bors' Fictional Satire and Non-Fictional Journalism by Dieter Declercq
• 9/11, Comics, and the Threatened Orders of Pictorial Media: Non-Fictional Comics as Historical Re-Enactment by Lukas R. A. Wilde
• Comics Journalism and Animated Documentary: Understanding the Balance Between Fact and Fiction by Wibke Weber and Hans-Martin Rall
• Blending Fact and Fiction in Graphic War Narratives: A Diachronic Analysis of Argentine Falklands War Comics by Chiao-I Tseng and Tilmann Altenberg
• Comics as Historiography by Ofer Ashkenazi and Jakob Dittmar
• Joe Sacco and the Quest for Documentation in Comics by Jörn Ahrens

Reviews 

• Review of Muslim Superheroes: Comics, Islam, and Representation by Brianna Anderson
• Review of The Secret Origins of Comic Studies by Jeremy Carnes
• Review of Graphic Novels for Children and Young Adults: A Collection of Critical Essays by Jill Coste
• Review of The Comics of Charles Schulz: The Good Grief of Modern Life by Jacob Murel
• Review of Music in Disney's Animated Features: Snow White and the Seven Dwarfs to The Jungle Book by Lisa Scoggin

Colophon

• Notes on Contributors

General Issue Articles

• The Poverty of the Kid: Visualizing the Ragamuffin in R. F. Outcault's Hogan's Alley by Vincent M. Basso
• Representation Matters: Post-Racial Tensions in Moon Girl and Devil Dinosaur by Mary J. Henderson
• Fun (Mobile) Home by Emily Lauer
• Krazy Kolors: Exploring Identities and Ambiguities in George Herriman's Krazy Kat by Debraghya Sanyal

Forum: Comics and Fine Art

• Kverneland and Fiske in the Footsteps of Great Artists: Re-tracing as a Tool for Artist Biographies in Comics Forum by Rikke Platz Cortsen
• Comics in Museums and at their Periphery: Hierarchical Reaffirmation and Domination Adjustments in French Art Museums by Jean-Matthieu Méon
• The Expressionist Aesthetics of Anke Feuchtenberger's Graphic Narrative by Elizabeth Nijdam
• Collage Technique in Alison Bechdel's Fun Home: A Family Tragicomic by Malgorzata Olsza

Reviews 

• Review of The Narratology of Comic Art by Jean Braithwaite
• Review of Marvel's Black Panther: A Comic Book Biography from Stan Lee to Ta-Nehisi Coates by Ayanni C. H. Cooper
• Review of Power & Magic: The Queer Witch Comics Anthology by Taylor D. N. Daigneault
• Review of Comics, Trauma, and the New Art of War by Chase Machado
• Review of Autobiographical Comics by Sean Rachel Mardell
• Review of Why Comics?: From Underground to Everywhere by Jacob Murel
• Review of Visualizing Jewish Narrative: Essays on Jewish Comics and Graphic Novels by Molly J. Scanlon
• Review of The Anime Ecology by Zack Shaw
• Review of Between Pen and Pixel: Comics, Materiality, and the Book of the Future by Ruth Ellen St. Onge
• Review of DUMB: Living Without a Voice by Irene Velentzas

Colophon 

• Notes on Contributors

Articles

• What You See Is What You Get: Visualizing Hypocrisy in Umezu Kazuo's Manga Cat-Eyed Boy by Jon Holt
• "must we all remain hopeless?": Superman vs. the Nuclear Threat in the Late Cold War by Rui Lopes
• Historical Avant-Garde: How Marcia Williams Recreates Shakespeare's Theater in the Comics Medium by Russell McConnell
• Global Attention in Reading Comics: Eye-movement Indications of Interplay between Narrative Content and Layout by Kai Mikkonnen and Olli Philippe
• Beyond Words: The Visual Demands of Joe Sacco's Safe Area Goražde by Nicholas Wirtz
• "Only the Winner is Allowed to Live": The Concept of Cannibalism in Attack on Titan by Asuka Yamazaki

Reviews 

• Editorial Note for Book Reviews by Anastasia Ulanowicz
• Review of The Moral Narratives of Hayao Miyazaki by Kevin Cooley
• Review of The Evolution of the Costumed Avenger: The 4,000 Year History of the Superhero by Jaquelin Elliott
• Review of The 10 Cent War: Comic Books, Propaganda, and World War II by Megan Fowler
• Review of Palookaville: Seth and the Art of Graphic Autobiography by Chase Machado
• Review of Chris Ware: Conversations by Christopher Smith

Colophon

• Notes on Contributors

Articles 

• 100 Years of Blossoming: A Generic History of Comics in Turkey by Ali Benice
• The Creation of the Comic Strip as an Audiovisual Stage in the New York Journal 1896-1900 by Eike Exner
• Readerly Transference: Psychoanalysis Via Comics in Alison Bechdel's Are You My Mother? by Audrey Farley
• "It's Sad, But Not Crazy"--Memory as Construction/Performance in Graphic Memoirs by Jennifer Daniels Klug
• Comics and Narratological Perspective: (Witnessing) Bias in Direct Experience by Rachel Kunert-Graf
• Bodies in Saga by Daniel Pinti
• Scarred Dragon--Historical Trauma Narratives in the Graphic Novels of Li Kunwu and Gene Luen Yang by Nicholas Schillinger
• Framing Super-Vision: Panoptic Vision and Controlling Frames in Alan Moore and Dave Gibbons' Watchmen by Matthew Schmalzer
• Feelings in the Gutter: Opportunties for Emotional Engagement in Comics by Will Simpson

Reviews 

• Review of Articulating the Action Figure: Essays on Toys and Their Messages by Kevin Cooley
• Review of Panel to the Screen: Style, American Film, and Comic Books During the Blockbuster Era by Christopher Lopez
• Review of Captain Marvel and the Art of Nostalgia by Jesse Ritchie

Creative Reviews 

• Editorial Note for New Creative Reviews
• Review of E.X.O.: The Legend of Wale Williams Part Two by Fiona Farnsworth
• Review of Drawing the Line: Indian Women Fight Back! by Kodi Maier
• Review of Chernobyl: The Zone by Anastasia Ulanowicz

Colophon 

• Notes on Contributors

Articles 

• "Submission is Faith in the Strength of Others": Synthesizing Male and Female Aspects of War in Azzarello and Chiang's Wonder Woman by Houman Sadri
• "How Can 'Is' Be Wrong": Queer Reading Strategies and Identification in Fun Home by Robert Hutton
• Burke in the Gutter: Dramatistic Criticism of Comics by A. Cheree Carlson
• Winter Soldiers and Sunshine Patriots: World War II and the Cold War in Captain America by Kathleen McClancy
• Between Movement and Reading: Reconceptualizing the Dynamic Picture Plane in Modernist Comics and Painting by Paul Atkinson
• Comics, Materiality, and the Limits of Media Combinations by Kieron Brown
• "You are Een the House of Sanjak!": Terry and the Pirates, the First Lesbian Character in U.S. Comics, and the Roots of Wonder Woman by Michelle Ann Abate

Reviews

• Review of Sovereignty and Superheroes by Victoria Addis
• Review of Postcolonial Comics: Texts, Events, Identities by Eric Berlatsky
• Review of Comics: A Global History, 1968 to the Present by Catherine Corder
• Review of Transmedial Narratology and Contemporary Media Culture by Fiona Farnsworth
• Review of Superwomen: Gender, Power, and Representation by Carlos Acosta Ponce
• Review of Debating the Truth: The Barcelona Disputation of 1263, A Graphic History by Danielle Reid
• Review of Humans and Paragons by Tom E. Simmons

Colophon 

• Notes on Contributors

Introduction to Special Issue 

• Mixing Visual Media in Comics by Nancy Pedri

Articles 

• Biographies of Famous Painters in Comics: What Becomes of the Paintings? by Thierry Groensteen
• Mixed Visual Media from the Standpoint of the Reader/Spectator by Pascal Lefèvre
• Don't Pray for Paris: Drawing in Post-Charlie Hebdo Graphic Novels by Bart Beaty
• Drawing Photo Novels by Jan Baetens
• Photography and the Layering of Perspective in Graphic Memoir by Nancy Pedri
• Seeing the Sensation: Sketch-Journaling and the Embodiment of Mental Illness in Autographics by Irene Velentzas
• Scrapbooking Caravaggio's Medusa, Reconfiguring Blake: What It Is, One! Hundred! Demons! and Lynda Barry's Feminist Intervention in the (Male) Artistic Canon by Olga Michael
• 80-'89: Comics' Greatest Decade by Ho Che Anderson

Reviews

• Review of The Comics of Joe Sacco by Charles Acheson
• Review of The Blacker the Ink by Eric Berlatsky
• Review of Transforming Anthony Trollope by Catherine Corder
• Review of Twelve-Cent Archie by Christopher Haynes
• Review of The New Mutants by Ashley Manchester
• Review of The Comic Book Film Adaptation by Erica McCrystal
• Review of Beyond Bombshells by Molly Scanlon

Colophon

• Notes on Contributors

Articles 

• The Allegorical X-Men: Emblems, Comics, and the Allegorical Potential of Text/Image Hybrid Genres by Sarah Briest
• Maxime Miranda in Minimis: Swarm  Consciousness in Miyazaki's Nausicaä of the Valley of the Wind by Adnan Mahmutovic and Denise Nunes
• Sex Magic, Kabbalah, and Feminist Imagination in Alan Moore's Promethea by Aaron Ricker

Forum: Traumics

• Comics and Trauma: A Postmortem and a New Inquiry by Christopher Pizzino
• Networking Multivalence Trauma through Holonymic Representation in David B.'s Epileptic by Charles Acheson
• Asterix's Journey to Find Oil: Environmental Traumics by Donna Axel and Roberta Spivak
• Textual Recall: The Art of Braiding in 'La casa del sol naciente' and El arte de volar by Janis Breckenridge and Jenna Stanley
• "I had not dared to remember": Trauma and Historical Memory in Recent Spanish Comics by Sarah Harris
• Representing Unrepresentability: Manu Larcenet's La Ligne de Front and the Quest to Document the 'Spirit' of War by Birte Wege

Reviews

• Review of The World of Shaft by Leila Estes
• Review of Miyazaki's Animism Abroad: The Reception of Japanese Religious Themes by American and German Audiences by Michael Hale
• Review of The Superhero Costume: Identity and Disguise in Fact and Fiction by Christopher Maverick
• Review of Bending Steel: Modernity and the American Superhero by Liam Nolan
• Review of The Dark Night Returns: The Contemporary Resurgence of Crime Comics by Derek Parker Royal

Colophon 

• Note on Contributors

Articles

• The Rhetorical Invention of Comics: A Selection of Rodolphe Töpffer's Late Reflections on Composing Image-Text Narratives by Sergio C. Figueiredo
• Chris Ware's Building Stories as Deleuzian Fabulation, or How and Why to Read Comics Affectively by Vincent Haddad
• Pictures at a Remove: Seth's Drawn Photographs by Daniel Marrone

Reviews

• Review of Representing Multiculturalism in Comics and Graphic Novels by Dominic Davis
• Review of William Schoell's The Horror Comics by Jaquelin Elliott
• Review of Seth: Conversations by Catherine Kasper
• Review of American Comic Book Chronicles: The 1970s by Derek Parker Royal
• Review of Graphic Details by Stephen Tabachnick

Colophon 

• Notes on Contributors

Articles

• God A Stinks -- Synesthesia in the Maya Afterlife by Amy Giroux
• A conversation with Canadian illustrator, animation designer and comic book artist/writer Paul Rivoche by Jeffery Klaehn
• Trauma, Memory, and Imagination in Paul Hornschemeier's Mother, Come Home by Mitchell C. Lilly
• Ambulatory Identities: Montijo's Revisions of Chicano/a Hybridity in Pablo's Inferno by Jorge Santos

Reviews 

• Review of The French Comics Theory Reader by Eric L. Berlatsky
• Review of Ed vs. Yummy Fur: Or, What Happens When a Serial Comic Becomes a Graphic Novel by Christopher M. Cox
• Review of Gothic in Comics and Graphic Novels by Jaquelin Elliott
• Review of Soul of the Dark Knight: Batman as Mythic Figure in Comics and Film by Megan Fowler
• Review of The Visual Language of Comics: Introduction to the Structure and Cognition of Sequential Images by A. David Lewis
• Review of Considering Watchmen: Poetics, Property, Politics by Mitch Murray

Colophon 

• Notes on Contributors

Introduction to Special Issue - The Worlds of Grant Morrison 

• Which Side Are You On? The Worlds of Grant Morrison by Francesco-Alessio Ursini, Adnan Mahmutovic and Frank Bramlett

Which Side Are You On? A Roundtable

• Roundtable Transcript by Francesco-Alessio Ursini, Adnan Mahmutovic, and Frank Bramlett (Issue Editors); Kate Roddy, Keith Scott, Darragh Greene, Nick Galante, Tommi Kakko, David Coughlan, and Roy Cook

Articles

• Morrison, Magic, and Visualizing the Word: Text as Image in Vimanarama by Roy T. Cook
• A Rubble of Fragments: Disintegration into Panels in Grant Morrison's Comics by Clare Pitkethly
• No Guru, No Method, No Teacher: "Grant Morrison" and GrantMorrison^TM by Keith Scott
• "Here Comes Tomorrow": The Ethics of Utopianism in Grant Morrison's New X-Men by Darragh Greene
• Eternal Superteens and Mutant Spermatozoa: Grant Morrison and the Comic as Porneau by Kate Roddy
• World of My Own: Joe the Barbarian and the Cathartic Power of Fantasy by Nick Galante
• Ecce Animot: Or, The Animal Man That Therefore I Am by Adnan Mahmutovic, David Coughlan, and Stephen Blake Ervin
• Making and Breaking the Superhero Quotidian: How All-Star Superman Embodies and Revises the Everyday by Frank Bramlett
• "The Image Rules the World": Focalization, Hallucinations, and Metalepsis in The Invisibles by Tommi Kakko and Mervi Miettinen
• Language and Thought in The Invisibles by Francesco-Alessio Ursini

Reviews

• Review of The Superhero Reader by Eric L. Berlatsky
• Review of The Ages of the Avengers: Essays on the Earth's Mightiest Heroes in Changing Times by Peter Han
• Review of Comics and Narration by Melissa Loucks
• Review of Southeast Asian Cartoon Art: Histories, Trends, and Problems by Jeremy Stoll

Colophon

• Notes on Contributors

Editor's Note

• A Note from the Editors by Terry Harpold and Anastasia Ulanowicz

Articles

• Constructing Guy Delisle's Shenzhen and Deng Xiaoping's Shenzhen: Graphic Novel and Urban Space by Michelle E. Bloom
• Invisible Spaces for the "Impossible" State: National Identity and the Production of Space in Joe Sacco's Palestine by Cristina Delgado-Garcia
• The Epistemology of the Phone Booth: The Superheroic Identity and Queer Theory in Batwoman: Elegy by Andréa Gilroy

Forum: Monsters in the Margins 

• Introduction by Katherine Shaeffer and Spencer Chalifour
• From Humbaba to the Wild Things: The Monster Archetype That is Forever With Us by John Cech
• Guest Artist Illustration: Monster Picnic by Jonathan Case
• Two Lunatics: Sanity and Insanity in The Killing Joke by Eric Doise
• Obama Zombies and Rhetorical (Dis)Identifications in an Era of Dog Whistle Politics and Political Polarization by Laurie Gries
• Erotic Grotesque Redemption: Transgressive Sexuality and the Search for Salvation in Katsuya Terada's The Monkey King Volume 1 by Caleb Simmons
• Chick Tracts, Monstrosity, and Pornography by Anastasia Ulanowicz

Reviews

• Review of Redrawing French Empire in Comics by Anne Cirella-Urrutia
• Review of Black Comics: Politics of Race and Representation by Francesca Lyn
• Review of Jose Alaniz's Death, Disability and the Superhero: The Silver Age and Beyond by Ashley Manchester
• Playing at the Margins: A Review of Transnational Perspectives on Graphic Narratives by Kate Polak
• Review of Comics and Language: Reimagining Critical Discourse on the Form by Molly J. Scanlon

Colophon 

• Notes on Contributors

Introduction to Special Issue - A Comic of Her Own: Women Writing, Reading and Embodying through Comics 

• A Comic of Her Own: Women Writing, Reading and Embodying through Comics by Jeffrey A. Brown and Melissa Loucks

Articles

• Does 21st Century Feminist Fiction Challenge or Uphold Conventional Notions of the Family? A Critique of A Mercy and Fun Home by Monalesia Earle
• Evolving Sub-Texts in the Visual Exploitation of the Female Form: Good Girl and Bad Girl Comic Art Pre- and Post-Second Wave Feminism by Christopher Hayton
• Re-booting Barbara Gordon: Oracle, Batgirl, and Feminist Disability Theories by Carolyn Cocca
• Bound and Dreaming: Female Empowerment through Sado-Masochistic Fantasy in Guido Crepax's Valentina by Cara Takakjian
• Zombies vs. Superheroes: Resurrecting Gender Formulas in The Walking Dead and The Fantastic Four by Chris Galavar
• "How Can I Refuse You, Mother Box?!" Abjection and Objectification of Motherhood in Jack Kirby's Fourth World by Annamarie O'Brien
• Making Serious Subjects Lighter: Trauma in the Adolescent Autographic by Michael Kersulov

Reviews 

• Review of Jeet Heer's In Love with Art: Françoise Mouly's Adventures in Comics with Art Spiegelman by Charles Acheson
• Review of Comics and the Senses: A Multisensory Approach to Comics and Graphic Novels by Brian Bates
• Review of The Lost Art of Ah Pook Is Here: From the Graphic Novel by Sergio Figueiredo
• Review of From Comic Strips to Graphic Novels: Contributions to the Theory and History of Graphic Narrative by Orion Ussner Kidder
• Review of Animating the Unconscious: Desire, Sexuality and Animation by Robin Alex McDonald

Colophon 

• Notes on Contributors

Introduction to Special Issue - Comics and Post-Secondary Pedagogy

• TEACHING! POW! COMICS! BAM!: Pedagogical Approaches to Comics in Post-Secondary Classrooms by Najwa Al-Tabaa

Articles 

• Comics Poetry: Praxis and Pedagogy by Tamryn Bennett and Guillermo Batiz
• Creating Graphic Nonfiction in the Postsecondary English Classroom to Develop Multimodal Literacies by Emily A. Wierszewski
• Webcomics, Multimodality, and Information Literacy by Dale Jacobs
• Library 1100: Information Literacy, Sequential Art, and Introduction to Library Research by Robert G. Weiner and Carrye Kay Syma
• Comics as a Design Ecosystem: A Case for Comics in Design Education by Erik A. Evensen
• Too Much Reading: Teaching Liberal Arts Comic Courses in a Studio College by Diana Green

Reviews

• Toward a History of the Black Superhero: Review of Super Black: American Pop Culture and Black Superheroes by Ezra Claverie
• Review of Teaching Comics and Graphic Narratives: Essays on Theory, Strategy and Practice by Oriana Gatta
• Gosh! by Terry Harpold
• Review of Crossing Boundaries in Graphic Narrative by Will Moore
• Review of Studying Comics and Graphic Novels by Derek Parker Royal
• Comics Scholarship Joins Broader Discussions about Popular Culture, Region and Race: Review of Comics and the U.S. South by Kerry Soper
• Review of From Comic Strips to Graphic Novels by Jeff Thoss
• Michael Phillips's Vision of William Blake's The Marriage of Heaven and Hell: A Review Essay by Walton Wood

Colophon 

• Notes on Contributors

Articles 

• Fascism and Mass Culture in Howard Chaykin's Blackhawk by Brannon Costello
• Breaking Quarantine: Image, Text, and Disease in Black Hole, Epileptic, and Our Cancer Year by Bruce Dadey
• Mourning and Melancholia in Alison Bechdel's Fun Home: A Family Tragicomic by Rachel Dean-Ruzicka
• George McManus and Irish America by Charles Fanning
• The Abyss Gazes Also: The Self-Referential Cynicism of Watchmen by Matthew Levy and Heather Matthews

Reviews

• Review of Beautiful Fighting Girl by Kathryn Hemmann
• Review of Projections: Comics and the History of Twenty-First Century Storytelling by Aaron Kashtan
• Review of Bart Beaty's Comics Versus Art by Cameron Kunzelman
• Review of Unpopular Culture by Tim Lanzendörfer
• Review of Critical Survey of Graphic Novels: Independent and Underground Classics by John Rodzvilla
• Review of War, Politics, and Superheroes: Ethics and Propaganda in Comics and Film by James E. Siburt
• Review of Critical Approaches to Comics: Theories and Methods by Jeremy Stoll
• Subtle Coercion or Painfully Obvious Jokes? A Note on Fredrik Stomberg's Comic Art Propaganda: A Graphic History by Lia Yoka

Colophon 

• Notes on Contributors

Introduction to Special Issue - The Worlds of the Hernandez Brothers edited by Derek Parker Royal and Christopher González

• The Worlds of the Hernandez Brothers by Derek Parker Royal

Articles 

• Autoclastic Icons: Bloodletting and Burning in Gilbert Hernandez's Palomar by Christopher Pizzino
• Gilbert Hernandez as a Rhetor by F. Vance Neill
• Picturing the Transnational in Palomar: Gilbert Hernandez and the Comics of the Borderlands by Jennifer Glaser
• Comics as Remediation: Gilbert Hernandez's Human Diastrophism by Jesse Molesworth
• Mood, Mystery, and Demystification in Gilbert Hernandez's Twentieth-First-Century NeoNoir Stand-Alones by Frederick Luis Aldama
• Turf, Tags, and Territory: Spatiality in Jaime Hernandez's "Vida Loca: The Death of Speedy Ortiz" by Christopher González

Reviews 

• Review of Recent Books from Gilbert Hernandez by Derek Parker Royal
• Review of Love and Rockets New Stories, No. 5 by James Bucky Carter
• Review of God and Science: Return of the Ti-Girls by Andrew J. Kunka
• Review of The Art of Jaime Hernandez by Patrick L. Hamilton

Selected Bibliography 

• The Hernandez Brothers: A Selected Bibliography by Derek Parker Royal

Colophon 

• Notes on Contributors

Introduction to Special Issue - Shakespeare and Visual Rhetoric edited by Richard Burt and Katherine Shaeffer

• Editor's Introduction by Katherine Shaeffer and Richard Burt

Articles

• Visual Statements in Shakespearean Adaptations: Illustrating Romeo and Juliet for Children by Cara Byrne
• "To dignify some old costumed claptrap": Shakespearean Allusion and the Status of Text in the DC Comics of Grant Morrison by Brandon Christopher
• Shakespeare Manga: Early- or Post-modern? by Svenn-Arve Myklebost
• Interface Rhetoric in Shakespearean Comics: A Study of the Effect of Interface on the Construction of Shakespeare's Plays by F. Vance Neill
• The Tempest: Pastoral Romance or Colonial Critique? by Margaret Roper
• "These are not our Father's words!": Kill Shakespeare's Defense of the Meta-Text by Jason Tondro

Reviews

• Review of The Metamorphoses of Tintin by Andréa Gilroy
• Review of Bradford W. Wright's Comic Book Nation by Jeremiah Massengale
• The Toils of a Clowes: A Review of Daniel Clowes: Conversations by Shauna Osborn
• Review of Dante's Divine Comedy by Seymour Chwast by Nicholas A. Theisen

Colophon 

• Notes on Contributors

Introduction to Special Issue - ImageNext: Visions Past and Future edited by Katherine Shaeffer

• Editor's Introduction by Katherine Shaeffer

Articles 

• Monitoring the Past: DC Comics' Crisis on Infinite Earths and the Narrativization of Comic Book History by Andrew J. Friedenthal
• The Military Vanguard for Desegregation: Civil Rights Era War Comics and Racial Integration by Christopher J. Hayton and David L. Albright
• The Parts That Got Left Out of the Donald Duck Book, or: How Karl Marx Prevailed Over Carl Barks by David Kunzle
• Urban America in the Newspaper Comic Strips of the Nineteenth Century: Introducing the Yellow Kid by Christina Meyer
• Illustration: Greetings from Florida, the Sunshine State by John Porcellino
• Reading from Within the Panel by David Steiling

Reviews

• Review of Arguing Comics: Literary Masters on a Popular Medium by Eric L. Berlatsky
• Review of The Best American Comics Criticism by Eric L. Berlatsky
• Review of Laurence Grove's Comics in French: The European Bande Dessinée in Context by Alice Claire Burrows
• Review of Suspended Animation: Children's Picture Books and the Fairy Tale of Modernity by Caroline Campbell
• Review of Selected BD Scholarship by Anne Cirella-Urrutia
• Review of The Dragon and the Dazzle by Martin de la Iglesia
• Review of Drawn and Dangerous: Italian Comics of the 1970s and 1980s by Laura Perna
• Review of Graven Images by Paul Petrovic
• Review of Do the Gods Wear Capes?: Spirituality, Fantasy, and Superheroes by Greg Steirer

Colophon 

• Notes on Contributors

Articles

• Fidelity and Period Aesthetics in Comics Adaptation by Matthew Bolton
• The Violence Museum: Aesthetic Wounds from Popeye to We3 by Jonathan Gaboury
• Two Texts on "Comics" from China, ca. 1932: "In Defense of 'Comic Strips'" by Lu Xun and "Comic Strip Novels" by Mao Dun by Sean Macdonald
• When Photographs Aren't Quite Enough: Reflections on Photography and Cartooning in Le Photographe by Nancy Pedri
• Globalization and the Picture Book by Susan Stan
• The Empirical Twilight: A Pony's Guide to Science & Anarchism by Walton Wood

Reviews

• Review of Charles M. Schulz's My Life With Charlie Brown by Eric L. Berlatsky
• Review of History and Politics in French-Language Comics and Graphic Novels by Anne Cirella-Urrutia
• Surveying the Field: Recent Scholarship on Superheroines by Megan Condis
• Review of Caped Crusaders 101: Composition through Comic Books by Michael Dean
• Book Art: A Review of Art of McSweeney's by Zara Dinnen
• Review of Theodor SEUSS Geisel by Donald E. Pease by Rebekah Fitzsimmons
• Review of Drawing France: French Comics and the Republic by Andréa L. Gilroy
• Review of José Alaniz' Komiks: Comic Art in Russia by Alison Mandaville
• Review of Teaching Visual Literacy by Clinton L. Robison
• Review of Toni Johnson-Woods' MANGA by Caleb Simmons
• Review of Animators Unearthed: A Guide to the Best of Contemporary Animation by Walton Wood

Colophon 

• Notes on Contributors

Introduction to Special Issue - Alan Moore and Adaptation edited by Rex Krueger and Katherine Shaeffer

• Editors' Introduction by Rex Krueger and Katherine Shaeffer

Articles 

• "Her Guardiner": Alan Moore's Swamp Thing as the Green Man by Colin Beineke
• The Saga of the Swamp Thing: Feminism and Race on the Comic Book Stand by Megan A. Condis
• Interplay Amidst the Strangeness and the Charm: Under-language and the Attenuation of Meaning in the Film Adaptation of Watchmen by Vyshali Manivannan
• The Culturally Constituted Gaze: Fetishizing the Feminine from Alan Moore and Dave Gibbons's Watchmen to Zack Snyder's Watchmen by Paul Petrovic
• A Man of Steel (by any other name): Adaptation and Continuity in Alan Moore's "Superman" by Jack Teiwes

Reviews

• Review of Annalisa Di Liddo's Alan Moore: Comics as Performance, Fiction as Scalpel by Eric L. Berlatsky
• Review of Mechademia 4: War/Time by Ellen Grabiner
• Comics OR Philosophy? A Review of Comics as Philosophy (2005) by Mervi Miettinen
• Review of Art Spiegelman: Conversations by Laura Perna
• Review of Of Comics and Men: A Cultural History of American Comic Books by Mathew Pustz
• Review of The Anime Machine by Caleb Simmons
• Review of Graphic Women: Life Narrative and Contemporary Comics by Anastasia Ulanowicz

Colophon 

• Notes on Contributors 

Introduction to Special Issue - Convergences: Comics, Culture and Globalization edited by Tania Darlington and Aaron Kashtan

• Editors' Introduction by Tania Darlington and Aaron Kashtan

Articles 

• Imagining a Multiplicity of Visual Rhetorical Traditions: Comics Lessons from Rhetoric Histories by Franny Howes
• Mullahs to Donkeys: Cartooning in Azerbaijan by Alison Mandaville
• Native Noir: Genre and the Politics of Indigenous Representation in Recent American Comics by Derek Parker Royal
• "Surrounded by Stillness and Quiet": Translation, Transparency, and Genre in Jason's Jernvognen by Joel Simundich
• Alan Moore, "Secondary Literacy," and the Modernism of the Graphic Novel by Phillip E. Wegner

Reviews

• Review of Time Frames: Japanese Cinema and the Unfolding of History by Andréa L. Gilroy
• "SPLAT! CRACK!": Review of Secret Identity: The Fetish Art of Superman's Co-Creator Joe Shuster by Terry Harpold
• Review of The Power of Comics by Rex Krueger
• Review of Isadora Duncan: A Graphic Biography by Philip Nel
• Review of Looking for Calvin and Hobbes by Laura Perna
• Review of Teaching the Graphic Novel by Sarah N. Petrovic
• Review of Walter Benjamin's Archive: Images, Texts, and Signs by Anastasia Ulanowicz

Colophon

• Notes on Contributors

Introduction to Special Issue - Convergences: Comics, Culture and Globalization edited by Phillip E. Wegner

• Editor's Introduction by Philip E. Wegner

Articles 

• Contested Utopias: Ghost in the Shell, Cognitive Mapping, and the Desire for Communism by Matthew Stoddard
• The City Ascends: Laputa: Castle in the Sky as Critical Ecotopia by Anthony Lioi
• "An Unfinished Project that was Also a Missed Opportunity": Utopia and Alternate History in Hayao Miyazaki's My Neighbor Totoro by Phillip E. Wegner
• Possessed by and of: Up against Seeing: Princess Mononoke by John Leavey

Reviews

• Digital Love: A Review of Cinephilia in the Age of Digital Reproduction: Film, Pleasure and Digital Culture, Vol. 1 by Megan Condis
• Review of Otaku: Japan's Database Animals by Tania Darlington
• Review of God of Comics: Osamu Tezuka and the Creation of Post-World War II Manga by Tof Eklund

Colophon 

• Notes on Contributors 

Articles 

• Graphic Whiteness and the Lessons of Chris Ware's Jimmy Corrigan by Juda Bennett and Cassandra Jackson
• Watchmen: The Graphic Novel as Trauma Fiction by Brandy Ball Blake
• The Confluence of Heroism, Sissyhood, and Camp in The Rawhide Kid: Slap Leather by Frank Bramlett
• "To the Stables, Robin": Regenerating the Frontier in Frank Miller's Batman: The Dark Knight Returns by Theo Finigan
• Breaking the Frame: Political Acts of Body in the Televised Dark Knight by DT Kofoed
• "Mosaic Thresholds": Manifesting the Collection and Production of Comics in the Works of Chris Ware by Aaron Mauro
• The Beautiful Ambiguity of Blankets: Comics Representation and Religious Art by Benjamin Stevens

Reviews

• "Now you will pay a dreadful penalty!": A Review of I Shall Destroy All the Civilized Planets! and You Shall Die by Your Own Evil Creation! by Fletcher Hanks by Terry Harpold

Colophon 

• Notes on Contributors 

Introduction to Special Issue - ImageSexT: Intersections of Sex, Gender, and Sexuality edited by Lyndsay Brown and Tof Eklund

• Editors' Introduction by Lyndsay Brown and Tof Eklund

Articles

• The Queering of Haruhi Fujioka: Cross-Dressing, Camp and Commoner Culture in Ouran High School Host Club by Tania Darlington
• I for Integrity: (Inter)Subjectivities and Sidekicks in Alan Moore's V for Vendetta and Frank Miller's Batman: The Dark Knight Returns by Jordana Greenblatt
• Our Minds in the Gutters: Sexuality, History, and Reader Responsibility in George O'Connor's Graphic Novel Journey into Mohawk Country by Melissa L. Mellon
• Spectral Memory, Sexuality and Inversion: An Arthrological Study of Alison Bechdel's Fun Home: A Family Tragicomic by Adrielle Mitchell
• "Gimme Gimme This, Gimme Gimme That": Confused Sexualities and Genres in Cooper and Mayerson's Horror Hospital Unplugged by James Newlin
• The Joy of Plex: Erotic Arthrology, Tromplographic Intercourse, and "Interspecies Romances" in Howard Chaykin's American Flagg! by Daniel F. Yezbick

Reviews

• Review of Jim Ottoviani and Dylan Meconis' Wire Mothers: Harry Harlow and the Science of Love by Star Hoffman

Colophon 

• Notes on Contributors 

Articles 

• Gotham (K)Nights: Utopianism, American Mythology, and Frank Miller's Bat(-topia) by Graham J. Murphy
• Abstraction, Trauma, and the Orphan in Brian Michael Bendis and David Mack's Daredevil: Wake Up by Rex Krueger
• Race, Space, and New Right Editorial Cartoons in the United States by Patrick Lynn Rivers
• Reading Peanuts: The Secular and the Sacred by Stephen J. Lind

Reviews 

• Review of Reading Network Fiction by David Ciccoricco by Hanli Geyser
• Review of Shake Girl by Katherine Shaeffer
• "Spaniards and Queers and Comics: Oh My!": A Review of Queer Transitions in Contemporary Spanish Culture by Gema Perez-Sanchez by Ellen Gil-Gómez
• Review of Jessica Abel and Matt Madden's Drawing Words and Writing Pictures by Tof Eklund

Supplement 

• From the Margins of the Margin: Seeing Educational Comics by Joseph Witek
• On the difficulty of characterizing what educational comics are about by John Van Hook
• Educational Comics: A Family Tree

Colophon 

• Notes on Contributors 

Introduction to Special Issue - The Comics Works of Neil Gaiman edited by Philip Sandifer and Tof Eklund

• Editors' Introduction by Philip Sandifer and Tof Eklund

Articles 

• Fairy and Faerie: Uses of the Victorian in Neil Gaiman's and Charles Vess's Stardust by Meredith Collins
• Through Every Mirror in the World: Lacan's Mirror Stage as Mutual Reference in the Works of Neil Gaiman and Tori Amos by S. Alexander Reed
• Incommensurable Ontologies and the Return of the Witness in Neil Gaiman's 1602 by James R. Fleming
• Get Gaiman?: PolyMorpheus Perversity in Works by and about Neil Gaiman by Clay Smith
• Phantom Towers: Crypto-towers Haunting Dave McKean's Cages and Mirrormask by Matthew Feltman
• "Being" Centered in Sandman: History, Dreams, Gender, and the "Prince of Metaphor and Allusion" by Rodney Sharkey
• "Tales Worked in Blood and Bone": Words and Images as Scalpel and Suture in Graphic Narratives by Jon Saklofske
• The Sandman as Neomedieval Text by Zuleyha Cetiner-Oktem

Reviews

• Review of The Sandman Papers: An Exploration of the Sandman Mythology, ed. Joe Sanders by Aaron Kashtan

Colophon 

• Notes on Contributors 

Introduction to Special Issue - Comics & Childhood edited by Cathlena Martin and Charles Hatfield

• Welcome by Cathlena Martin
• Introduction by Charles Hatfield

Articles

• Learning from the Sequence: The Use of Comics in Instruction by Gorg Mallia
• Riddles of Engagement: Narrative Play in the Children's Media and Comic Art of George Carlson by Daniel Yezbick
• The Many Sides of Hank: Modifications, Adjustments, and Adaptations of Mark Twain's A Connecticut Yankee in King Arthur's Court by Cari Keebaugh
• Crossovers and Changeovers: Reading Lynn Johnston through Margaret Mahy by Sam Hester
• When Real Things Happen to Imaginary Tigers by Philip Sandifer
• Imagetext in The Curious Incident of the Dog in the Night-time by James Bucky Carter
• Opening-Up Aesop's Fables: Heteroglossia in Slade & Toni Morrison and Pascal Lemaître's 'The Ant or the Grasshopper?' by Veronique Bragard
• Baby-Boom Children and Harvey Comics After the Code: A Neighborhood of Little Girls and Boys by Kathy Merlock Jackson and Mark D. Arnold

Roundtable

• ImageSexT: A Roundtable on Lost Girls by Philip Sandifer
  • Down the Rabbit Hole by Kenneth Kidd
  • A Magical Realism of the Fuck by Tof Eklund
  • A Review and a Response by Charles Hatfield
  • History, Pornography, and Lost Girls by Meredith Collins

Translation

• Translator's Comments on Benoît Peeters, "Four Conceptions of the Page" by Jesse Cohn
• "Four Conceptions of the Page" by Benoît Peeters, translated by Jesse Cohn

Reviews

• Review of Aesthetic Approaches to Children's Literature: An Introduction by Joseph T. Thomas, Jr.
• Review of Moomin: The Complete Tove Jansson Comic Strip Vol. 1 by Philip Nel
• Review of The Mysterious Flame of Queen Loana by Thomas Stewart

Colophon 

• Notes on Contributors

Introduction to Special Issue - Comics & Childhood edited by Roger Whitson and Donald Ault

• Introduction by Roger Whitson, Guest Editor

Articles

• Minute Particulars and Quantum Atoms: The Invisible, the Indivisible, and the Visualizable in William Blake and in Niels Bohr by Arkady Plotnitsky
• Wordsworth Illustrates Blake ("All light is mute amid the gloom") by Nelson Hilton
• William Blake and the Novel Space of Revolution by Ron Broglio
• Blake's Lines: Seven Digressions Through Time and Space by Esther Leslie
• Panelling Parallax: The Fearful Symmetry of Alan Moore and William Blake by Roger Whitson
• Re-Visioning William Blake's The Four Zoas by Donald Ault

Interview

• Engraving the Void and Sketching Parallel Worlds: An Interview with Bryan Talbot by Roger Whitson

Art

• William Blake: On the Infinite Plane by Matthew Ritchie
• Tygers of Wrath by John Coulthart
• Mr. Blake's Company by Joel Priddy

Colophon 

• Notes on Contributors

Articles

• Reading the Illustrations of Jules Verne's Voyages extraordinaires: The Example of Le Superbe Orénoque by Terry Harpold
• The Exotic Other Scripted: Identity and Metamorphosis in David Mack's Kabuki by Jim Casey and Stefan Hall
• Desire without Closure in Jaime Hernandez's Love and Rockets by Esther Saxey
• Architectural Grounding in Miller's Elektra: Temporality and Spatiality in the Graphic Novel by Renée Tobe
• Imagining Terrorists before September 11: Marvel's GI Joe Comic Books, 1982-1994 by Christopher Norlund
• Yorick, Don't Be a Hero: Productive Motion in Y: The Last Man by Lyndsay Brown

Reviews

• Review of Drawn to Extremes: The Use and Abuse of Editorial Cartoons by Michael Mayne
• Review of Action Chicks: New Images of Tough Women in Popular Culture by Ione Damasco
• Review of The Gospel According to Superheroes: Religion and Popular Culture by James Fleming
• Review of Fredric Wertham and the Critique of Mass Culture by Tof Eklund
• Review of Black Superheroes, Milestone Comics, and Their Fans by Lelac Almagor
• Review of Lost Girls by Alan Moore and Melinda Gebbie by Philip Sandifer

Colophon 

• Notes on Contributors

 Introduction 

• Welcome by Stephanie Boluk

Artists

• Theological Compatibilism & Animation: Vessel of Wrath by Nathan Gilder

Articles

• Beyond the Balloon: Sound Effects and Background Text in Lynn Johnston's For Better or For Worse by Suzanne Covey
• Ecofeminist Themes in Paolo Eleuteri Serpieri's Morbus Gravis by Matthew Jones
• The Tides of History: Alan Moore's Historiographic Vision by Sean Carney
• Gothic Oedipus: Subjectivity and Capitalism in Christopher Nolan's Batman Begins by Mark Fisher

Reviews

• Review of Superman on the Couch: What Superheroes Really Tell Us About Ourselves and Our Society by James R. Fleming
• Review of Raeburn's Chris Ware by Emma Tinker
• "Old Comics and Current Technology Combine to Form New Hybrids", Review of 40 Years of The Amazing Spider-Man and 44 Years of Fantastic Four by James Bucky Carter
• 2005 Comic-Con Shines a Light on Eisner: A Look at Two Documentaries and a Tribute by Vanessa Raney

Colophon 

• Notes on Contributors

Introduction 

• Welcome by Zach Whalen
• Memoriam for Bruce Hamilton by Donald Ault

Articles

• Paraliterary Immersion and the Puzzleform: An Essay in Social Restitution by Alvaro Alemán
• Gendered Visions of Graphic Fiction: Adrian Tomine's Summer Blonde by Bianca Isaki
• Pound's Poetry as IMAGE TEXT by James McDougall

Reviews

• I, too, was a Teenage Marvel Zombie: Review of Give Our Regards to the Atomsmashers!: Writers on Comics by Travis Fristoe
• Review of How to Read Superhero Comics and Why by James Fleming
• Review of Charles Burns' Black Hole by Vanessa Raney

Colophon

• Notes on Contributors

Introduction 

• Preludium: Crumb, Barks, and Noomin: Re-Considering the Aesthetics of Underground Comics by Donald Ault
• Memoriam for Will Eisner (March 6, 1917-January 2, 2005) by Charles Hatfield

Articles

• Comics on the Main Street of Culture by Eddie Campbell
• Wimmin and Comix by Diane Noomin
• Still Asking the Unanswerable Question, 'Are We Having Fun Yet?' by Bill Griffith
• London Khorographic by Julian Wolfreys
• Alan Moore and the Graphic Novel: Confronting the Fourth Dimension by Mark Bernard and James Bucky Carter
• Webcomics: The Influence and Continuation of the Comix Revolution by Sean Fenty, Trena Houp, and Laurie N. Taylor

Reviews

• Review of Comic Strips and Consumer Culture by Joshua Paddison
• Review of Leaving Springfield by Cathlena Martin
• Review of Everything is Illuminated by Sudha Shastri
• Review of The Rubber Frame by Tof Eklund

Contributors

• Notes on Contributors

Introduction 

• Welcome by Donald Ault

Artists

• Keynote Address at the 2002 UF Comics Conference by Will Eisner
• Panel Discussion at 2002 UF Comics Conference by Daniel Clowes, Terry Zwigoff and Isaac Cates
• Q & A Session at 2002 UF Comics Conference with Daniel Clowes and Terry Zwigoff
• Presentation at 2002 UF Comics Conference by Joe Sacco
• Underground(s): Robert Williams at 2003 UF Comics Conference by Robert Williams
• Underground(s): Kim Deitch at 2003 UF Comics Conference by Kim Deitch

Articles 

• The Presence of the Artist: Kim Deitch’s Boulevard of Broken Dreams vis-à-vis the Animated Cartoon by Charles Hatfield
• Imagetext, or, Why Art Spiegelman Doesn't Draw Comics by Joseph Witek
• Jewish Fathers and Sons in Spiegelman's Maus and Roth's Patrimony by Andrew Gordon
• Racial Imagery, Racism, Individualism, and Underground Comix by Leonard Rifas
• David Boring: Loose Threads and Five Card Nancy by Isaac Cates
• Compromised Divisions: Thresholds in Comic Books and Video Games by Laurie N. Taylor
• Imagetextuality: "Cutting Up" Again, Part III by Donald Ault

Colophon 

• Notes on Contributors
• Future Issues