By Houman Sadri Introduction Scholarship on the development and initial establishment of Wonder Woman tends to agree that the primary concern of her creator, William Moulton…
By Robert Hutton Alison Bechdel’s graphic memoir Fun Home is a story that revolves around reading and interpretation. The comic tells the story of Bechdel’s relationship with…
By A. Cheree Carlson “The main ideal of criticism, as I conceive it, is to use all there is to use.” (Burke, 1973, 23) As an…
By Kathleen McClancy In 2005, Ed Brubaker violated one of the most sacred unwritten rules of mainstream comics when he brought Bucky Barnes back from the…
By Paul Atkinson Movement is not an inherent property of painting and comics and is largely constructed through compositional features, such as linearity, balance and visual…
By Michelle Ann Abate When Milton Caniff’s newspaper strip Terry and the Pirates made its debut on October 22nd, 1934, comics in the United States were forever changed.…
By Kieron Brown Introduction Intermediality, defined broadly as “any transgression of boundaries between conventionally distinct media” (Wolf “Intermediality” 17), begins with the notion that it is…
By Victoria Addis Curtis, Neal. Sovereignty and Superheroes. Manchester UP, 2016. To what extent can our favourite comic book superheroes be viewed as sovereigns in their own…
By Eric L. Berlatsky Mehta, Binita and Pia Mukherji. Postcolonial Comics: Texts, Events, Identities. New York: Routledge, 2015. If postcolonial studies has an ür-text, it is probably…
By Catherine E. Corder Mazur, Dan and Alexander Danner. Comics: A Global History, 1968 to the Present. Thames & Hudson Ltd., 2014. Dan Mazur and Alexander Danner’s…