By Katherine Shaeffer and Richard Burt In one sense, Shakespeare’s monumental reputation makes defending a ‘Shakespeare Special Issue’ of ImageTexT superfluous. Shakespeare is not just a core component…
By Cara Byrne From Oscar Wilde’s The Happy Prince and Other Tales (1888) to Langston Hughes’ The Dream Keeper (1932) to Margaret Atwood’s Princess Prunella and the Purple Peanut (1995), for centuries…
By Brandon Christopher A man in black, dying, turns to his companion and says “I die, Horatio.” This line, Hamlet’s dying appeal to his companion, has…
By Svenn-Arve Myklebost The act of adapting a play into a comic book1 is distinct from other types of transmediation, such as the most typical occurrence:…
By F. Vance Neill The use of Shakespeare in comics is more than mere adaptation. It is an attempt to stage a production of a Shakespeare…
By Margaret Roper In the last decades of the twentieth century adaptations and critical responses to The Tempest can be broadly divided into two basic themes. Lanier describes…
By Jason Tondro Kill Shakespeare, written by first-time comic authors Anthony Del Col and Conor McCreery, with art by industry veteran Andy Belanger and colors by…
By André Gilroy Apostolidès, Jean-Marie. The Metamorphoses of Tintin: Or Tintin for Adults. Trans. Jocelyn Hoy. Stanford, CA: Stanford University Press, 2010. Print. To my young critical…
By Jeremiah Massengale Wright, Bradford W. Comic Book Nation: The Transformation of Youth Culture in America. Baltimore: The Johns Hopkins University Press, 2001. Since the earliest days…
By Shauna Osborn Parille, Ken and Isaac Cates. Daniel Clowes: Conversations. Jackson: University Press of Mississippi, 2010. Print. The Clowes quote that opens Daniel Clowes: Conversations is not what…