Monday, October 02, 2017

Ramona Fradon, a Baltimore Comic Con interview

by Mike Rhode

Ramona Fradon is a noted Silver Age artist who worked for DC Comics for years. Her Amazon description reads: Ramona Fradon is a legendary comic book illustrator known for her work on Aquaman, Metamorpho, Plastic Man and Super Friends. She also drew the newspaper comic strip, Brenda Starr and is noted for the humor in her drawings. In her serious moments, she wrote a book about the Faust legend in relationship to Gnostic mythology. In 2006 she received the prestigious Eisner Lifetime Achievement award. She lives in upstate New York in a very old house with a very old dog. She's been at the Baltimore Comic Con for the past few years, and we conducted this interview via e-mail.

What type of comic work or cartooning do you do? 

I worked in comic books, mostly for DC, drawing Aquaman, Plastic Man, Super Friends and stories in House of Mystery and House of Secrets, I co-created Aqualad and Metamorpho and also illustrated the syndicated newspaper strip, Brenda Starr.

How do you do it? Traditional pen and ink, computer or a combination? 

I never worked with a computer and for most of my career, I inked with a #7 brush. Lately I have been using Micron felt pens.

When working in comic books, you probably didn't get to do your own inks very often. Would you have preferred to? Did you have a favorite inker?

I inked Aquaman and the mysteries and Brenda Starr, which was quite enough for me. I do a tight penciling and have always felt that inking  was redundant. I don't really have a favorite inker although I admire many of them.
When (within a decade is fine) and where were you born?

I was born in Chicago in 1926.

What is your training and/or education in cartooning? 

I studied design at Parsons School of Design and fine art at the Art Students' League in NY. I never studied cartooning specifically, although I was influenced by the great newspaper comics I read when I was growing up.

If you could, what in your career would you do-over or change? 

I would have written and drawn children's' books or done book illustrations.

What work are you best-known for?   

Probably Aquaman and Metamorpho.

What work are you most proud of?

Besides  the children's book I wrote (THE DINOSAUR THAT GOT TIRED OF BEING EXTINCT which is on Amazon)  I would say Metamorpho.

What would you like to do or work on in the future? 

That's a funny question for someone who is ninety-one (as of today, October 1st).

What do you do when you're in a rut or have writer's block?

I clean the house or take a vacation or catch up on reading until I feel like working again.

What do you think will be the future of your field? 

It seems as if Hollywood is determining it right now, but I expect it will have a lot to do with the internet in ways I can't imagine.

Do you have a website or blog?
No. But you can see my work on Catskill Comics website.

How was your BCC experience this year? How often have you attended it?

I think I have been there about five times. It's getting bigger, but thankfully, not overwhelmed by TV and Hollywood. Brad Tree and his staff do a great job and make being there a pleasure. They gave me the biggest table (actually two tables) I have ever had.

What's your favorite thing about Baltimore? 

I liked walking around the harbor and eating at a seafood restaurant that overlooks the water.

Least favorite?

Not-so-good crab cakes sometimes.


SPX Oral History - Joel Pollack

Rhode & Pollack at Baltimore Comic Con 2014
by Mike Rhode

Joel Pollack founded  Big Planet Comics in Bethesda, MD in 1986, and is still behind the counter a few days a week. The chain has grown to four stores, as Joel's former employees have opened their own stores. Joel was at the beginning of the Small Press Expo and jotted a few notes down.

I was involved in the first ten or so. The first was a collaboration between Jon Cohen (Beyond Comics), Lou Danoff (Zenith Comics), and myself with moral support (and much feedback) of Dave Sim (Cerebus) and Jeff Smith (Bone). It was planned for a Thursday evening before a Diamond Comic Distributor trade show. It was held at the Ramada Inn in Bethesda. Retailers were invited to set up.

What was your role? How did it change over time?

I'd like to think that I was a bit of a moral compass. I believe my greatest contribution to SPX was disallowing retailers from setting up, starting with the second SPX. I felt that it was a show about creators, and that creators shouldn't have to compete with retailers selling their products. As time went on, my role quickly diminished, and ultimately became the one task of procuring the park for the Sunday picnic/softball game. I actually umpired a few of the games.

Where was SPX when you worked on it?

Mostly Bethesda, though I believe I had some small role the one year it moved to Silver Spring.

What were some memorable events?

One of the big ones was Chris Oarr's tenure as executive director. I believe it was Chris who introduced the Sunday picnic/softball game and pig-roast. I believe it was Chris' idea to create the Ignatz Awards. Chris created the template for the current SPX.

What were your favorite parts of SPX?

The feeling of camaraderie amongst exhibitors and staff. The great volunteers that SPX attracted. The opportunity for creators to meet their fans, and sell their creations which were generally unavailable in comic shops.

Sunday, October 01, 2017

SPX 2017 Panels on YouTube

SPX 2017 Panel - Troubled Teenagers and Modern Times

Panelists Mardou(Sky In Stereo), Charles Forsman (The End Of The Fucking World, This is Not Okay), Sean Knickerbocker (Killbuck), Melissa Mendes (Lou, The Weight) and Nate Powell (Any Empire, Swallow Me Whole), led by moderator Craig Fischer, discuss how they are able to realistically and empathetically create vivid teenage characters who are struggling with morality, mental illness, drugs and the pressures of society.

SPX 2017 Panel - Barometer of the Free Press

Tom Spurgeon moderates a discussion among political cartoonists Ann Telnaes, Matt Wuerker, Keith Knight and Ben Passmore as they expand on the subject of Telnaes' keynote speech at the Canadian Committee for World Press Freedom luncheon in Ottawa. The panelists explore the role and responsibility of political cartoonists/satirists in a time when the freedom of the press is under attack.

SPX 2017 Panel - Genderfluidity, Technology and Futurism

L.Nichols moderates this panel on the recent movement in comics toward exploring genderfluidity within a science-fiction context, with an emphasis on technology and utopian ideals. Jeremy Sorese (Curveball), Carta Monir (Secure Connect), Kevin Czap (Fütchi Perf) and Rio Aubry Taylor (Jetty) each discusses how their own work fits into this bold new vision of comics.

SPX 2017 Panel - Gilbert Hernandez & Jim Rugg in Conversation

With Love & Rockets, legendary cartoonist Gilbert Hernandez helped create one of the most lauded comic series of all time. Pittsburgh cartoonist Jim Rugg has built a loyal fanbase with Street Angel, a beloved indie comic about a sword-wielding skateboarder and her heroic adventures. These two celebrated cartoonists discuss craft and practice, as well as their views on technology, culture, industry, and staying prolific while relevant in today's comic landscape.

SPX 2017 Panel - Filling in the Pieces: Comics Biography

When doing a comics biography, how do cartoonists approach the material they have at hand? For Box Brown, who did a biography of Andre the Giant, he struggled to find material that might reveal the wrestler's inner life. Anais Depommier had to sift through a mountain of material for her biography of Jean-Paul Sartre, a task made all the more difficult considering how much the philosopher wrote about himself. Luke Howard had to deal with a historically and racially sensitive topic in ragtime creator Ernest Hogan. Moderator Chris Mautner leads the discussion. Anais Depommier appears courtesy of a grant by The Cultural Services of the French Embassy.

SPX 2017 Panel - Fukushima Devil Fish:Susumu Katsumata's Anti-Nuclear Manga

Critiques of nuclear energy in Japanese manga did not begin with the Fukushima Daiichi meltdowns in 2011. One of the regulars of the legendary alternative manga monthly Garo in the magazine's heyday of the late 1960s and early 1970s, Susumu Katsumata (1943-2007) has the curious distinction of having risen within the world of political cartooning and literary comics while studying toward a graduate degree in nuclear physics in Tokyo. In the late 70s, he began drawing frequent humor strips about the dangers of nuclear power and stories about the "nuclear gypsies" who maintained Japan's nuclear plants under oppressive work conditions. This talk surveys Katsumata's work on the subject of nuclear power, which is the largest, most diverse, and most trenchant such oeuvre in Japanese visual art. Ryan Holmberg offers a preview of two of his upcoming publications with this wide-ranging visual survey, a collection of Katsumata's manga titled Fukushima Devil Fish (SISJAC and Breakdown Press) and No Nukes for Dinner.

SPX 2017 Panel - Kick-Ass Annie-Versary: Koyama Press Turns Ten

Annie Koyama has championed the work of emerging cartoonists for 10 years. As a leading publisher of underground comix, her roster features the work of many of today's top names in the indie comics scene, including Michael DeForge, Aidan Koch, Alex Schubert, Daryl Seitchik, and many more. KP artists Patrick Kyle, Eleanor Davis, Dustin Harbin, Hannah K. Lee, and Ben Sears assemble in a very special panel spotlighting one our favorite curators of small press cartoonists and their work. Moderated by Rob Clough of High-Low.

SPX 2017 Panel - Mental Illness, Motherhood and Memoir

A new trend in memoir comics is an exploration of motherhood and the ways in which mental illness and societal forces have a profound effect on the experience. Keiler Roberts (Sunburning), Luke Howard (Our Mother), Tyler Cohen (Primahood: Magenta) and Summer Pierre (Paper Pencil Life) provide their perspectives on the topic, both from the point of view of mother and child. Moderated by Rob Clough.

SPX 2017 Panel - The Serious Business of Humorous Memoir

Panelists Keith Knight (K Chronicles), November Garcia (Foggy Notions), Glynnis Fawkes (Reign Of Crumbs), and Jennifer Hayden (The Story Of My Tits) discuss will explain how their focus on the funnier side of their lives doesn't stop them from exploring serious issues as well. For some of these cartoonists, humor is an important tool in diffusing the gravity of their circumstances. Moderated by Marc Sobel.

SPX 2017 Panel - Shock Humor, Farce and Satire

In a world that seems increasingly difficult to satirize, learn how cartoonists Tommi Musturi (Simply Samuel), Aaron Lange (Trim), Sabin Cauldron (Maleficium), and Katie Fricas (The New Yorker) use different comedic tools to address the absurd, the awful and the just plain ridiculous. Moderator Heidi MacDonald keeps track of each artist's approach and how their view of the world colors their senses of humor. Tommi Musturi appears courtesy of the Finnish Literature Exchange.

SPX 2017 Panel - Trump Presidential Library

Celebrants and detractors alike are chewing on the fact that Donald Trump was elected president. Shannon Wheeler and Robert Sikoryak help you swallow. In their books, "Sh*t My President Says," from Top Shelf and, "The Unquotable Trump," from Drawn & Quarterly (respectively), these two cartoonists illustrate Trump's words for comedic effect and insight. There are slides, a brief history of political satire and politics in comic books, and laughter through the tears as they wrestle with an understanding of our current dystopia. Can satire keep up with reality? Shannon Wheeler is the two-time Eisner winning creator of, "Too Much Coffee Man," and a New Yorker cartoonist. Robert Sikoryak started at Raw magazine, is a New Yorker contributor, and the author of, "Terms and Conditions," from Drawn & Quarterly.

SPX 2017 Interviews - Creator Debuts and Highlights

Jack Russell from TheApogeeks.com interviews select creators debuting new work at Small Press Expo 2017 and share a few highlights from the show.

Friday, September 29, 2017

NPR doesn't much like The Inhumans tv show

Introducing ... The Inept, Inert 'Inhumans'

Glen Weldon

NPR's Monkey See blog September 29, 2017

http://www.npr.org/sections/monkeysee/2017/09/29/553704965/introducing-the-inept-inert-inhumans

and neither does the Times...


When It Comes to New Marvel Shows, Skip 'Inhumans' and Try 'The Gifted'

A version of this review appears in print on September 29, 2017, on Page C12 of the New York edition with the headline: One Out of Two Ain't Bad.

https://www.nytimes.com/2017/09/28/arts/television/marvels-inhumans-the-gifted-review.html

Scoop at Baltimore Comic-Con

GE Gallas blogs about her SPX table

Sept 30: Gordon Harris at Richmond ZineFest tomorrow



September 29, 2017

Richmond ZineFest tomorrow

Gordon will be tabling tomorrow at the Richmond Public Library from 11:00 AM to 4:00 PM.

He'll have copies of his first Zine, his all-new graphic novel for kids, MISTAKEN IDENTITY, and other fine things to share and behold.

Come on by! 

 



Thursday, September 28, 2017

Best-paying cartoon magazine editor dies at 91

Hugh Hefner, visionary editor who founded Playboy magazine, dies at 91 [in print as Playboy founder brought titillation to the masses]

Washington Post September 28 2017, p. A1, 7
online at https://www.washingtonpost.com/local/obituaries/hugh-hefner-founder-of-playboy-magazine-dies-at-91/2017/09/27/0560ae1a-a3fe-11e7-ade1-76d061d56efa_story.html

Writer Gabby Rivera Is A True Superhero

Writer Gabby Rivera Is A True Superhero

Writer Gabby Rivera is helping bring the Marvel Comics character America Chavez to life.

Juliette Salgado/Courtesy of the artist

When writer Gabby Rivera read an email from Marvel Comics asking her to write for them, she was convinced it was spam at first.

But it turned out to be legit: Marvel wanted Rivera to put words to a new comic series featuring the queer, Latinx superhero America Chavez. The next thing she knew, Rivera was deep in research on superheroes from Marvel's vast archive.

NPR's Camilo Garzón caught up with Rivera at her home in Brooklyn.

Wednesday, September 27, 2017

A BCC Interview with John Patrick Green

by Mike Rhode

For years now, John Patrick Green (as he now styles himself to avoid confusion with the young adult writer John Green) has been a regular at the Small Press Expo, usually accompanied by Dave Roman and Raina Telgemeier. This year, I caught up with him at Baltimore Comic Con where he agreed to answer a few questions.

What type of comic work or cartooning do you do?

I'm the writer/artist of HIPPOPOTAMISTER and the upcoming KITTEN CONSTRUCTION COMPANY early-reader graphic novels, both from First Second Books, and also the artist of the TEEN BOAT! and JAX EPOCH series' with writer Dave Roman. I also do a lot of freelance graphic novel and type design for other publishers like Scholastic Graphix.

How do you do it? Traditional pen and ink, computer or a combination?

I do a combination of traditional and digital. I still like to draw by hand onto actual paper, and then scan the work into the computer for colors. For inking often what I'll do is sketch out my pencils, scan and compose them into proper layouts in Photoshop, print the pencils as "blue lines" onto bristol, then ink over the printout. Then I'll scan those back into the computer for coloring, and the leftover blue lines can just be turned off, without having to erase graphite from the page like with classic inking over pencils. Depending on the project I'll do my balloons, captions, and letters by hand or in computer.

When (within a decade is fine) and where were you born?

I grew up an '80s kid on Long Island, NY.

What is your training and/or education in cartooning?

I went to School of Visual Arts (SVA) in Manhattan for graphic design, but I took a number of comic book-related electives. I pretty much grew up making comics, starting around 4th grade or so, and was always taking as many art classes as I could in school. I'd say I'm mostly self-taught, but my college experience was invaluable.

Who are your influences?

My earliest influences would be newspaper strips, like Garfield and later Calvin & Hobbes. Favorite painters would be Van Gogh, René Magritte, and Norman Rockwell. As for comics, my biggest influence as far as my own sensibilities go is probably the original Spider-Ham series (yes, I said "ham.") I was definitely more of a Marvel kid than a D.C. kid, but I was also inspired by a lot of indy books like Teenage Mutant Ninja Turtles and Usagi Yojimbo, especially. And being an '80s kid, of course Star Wars was a big part of my youth.
  
If you could, what in your career would you do-over or change?

I wouldn't say I have any regrets, but possibly the one thing I'd do differently is stay at Disney Publishing. I worked for Disney Adventures Magazine for almost 10 years, and I loved working for Disney, but I'd gone freelance before Disney bought out Marvel and Lucasfilm. So being huge fan of those things as a kid, I occasionally wonder if I'd stayed at Disney just a little longer, would I have a hand in those properties now?

What work are you best-known for?

Probably TEEN BOAT! It's the only graphic novel about a boy who can transform into a small yacht. It features the angst of being a teen and the thrill of being a boat!

What work are you most proud of?

That's tough! I don't know if I'm necessarily more proud of any one project of mine over another. I guess I'd probably go with HIPPOPOTAMISTER because it's gotten a lot of positive responses from librarians and kids, and the recognition certainly feels good. But that doesn't make me like any of my other books less. I am proud of my KITTEN CONSTRUCTION COMPANY book, but that doesn't come out for awhile, so I'd say I'm more nervous about how people will respond to it.

What would you like to do  or work on in the future?

So many things that it's hard to narrow it down! I'd love to finally finish NEARLY DEPARTED, this video game I've been designing for years, but technology moves so fast that every time I get around to working on it, most of my effort goes to rebuilding it for modern systems. That's more of a hobby project, but it'd be nice to put it to bed. Same for getting the final volume of JAX EPOCH published, as that's been completed for a few years and hasn't been released. As for my next book (after finishing the ones already in my queue), usually the thing I'd "like" to work on is whatever a publisher gives me the green light for! When there are half a dozen book ideas I want to do, but can't do all at once, it can be a big help to have someone else say "do this one!"

What do you do when you're in a rut or have writer's block?

There isn't really one specific thing I do. It could be anything, really. Sometimes I'll just zone out. Sometimes I'll pace around. Usually I'll just preoccupy myself with another project, or watch some TV, or play a video game, or cook some food, or do some chores, like wash dishes or something. So my strategy is basically "do something else and come back later." I guess that's also known as procrastination.

What do you think will be the future of your field?

The future is now! There are already a lot of things going on in comics and the book industry that I'd call futuristic. Digital versions with sound effects and motion graphics, things like that. Having a social media presence be so much a part of an author's profile. The Kickstarters and Patreons and the like being new or alternative funding and distribution models. But as much as things change, I think there's still a place for people who just want to write or draw. It certainly helps to keep up with the changes in the industry, but the basics aren't going to completely go away. Until the robots come for us, that is.

How was your BCC experience? How often have you attended it?

This was my first time at BCC and it was great. I've exhibited at big shows like San Diego Comic-Con before, and this show is in a similar vein. Lots of wonderful fans and the convention was well-run. And I got to see a lot of other creators that I haven't crossed paths with in awhile. I look forward to doing it again in the future. I haven't spent much time in Baltimore, but it seemed like a great city, so I hope to be back soon.

Do you have a website or blog?

My website is www.johngreenart.com, but I am absolutely terrible at keeping it up-to-date. Probably the best way to be informed of my projects and appearances is to follow me on twitter: @johngreenart

Kneel Protest by Cosplayers at Baltimore Comic Con

A guest post by photographer Bruce Guthrie.


 
On the last day of the BCC, there's a group cosplay photo shoot that's done on the steps of the convention center.  It's always interesting.

It's organized by a cosplay guy who's not connected at all with the convention.  He just loves to organize this sort of thing and apparently also organizes photo shoots at Awesome Con and other places.  

This year at BCC, Marvel kicked DC's butt -- probably twice as many wore Marvel costumes vs DC.  And when the organizer tried to get a Justice League group shot, he found there was absolutely no one dressed as Batman.

(Keep in mind that Batman has always been my favorite comic book character.  When I had to come up with a software company so I could do some part-time coding work for NIH, I thought of my first name and called it "Wayne Software".  I had business cards made and had "Batman Lives" in hexadecimal characters appearing underneath the name of the company.  I was the only one who had any clue what that meant.)

At the end of the photo shoot, he said there would be one more group shot and he said that if anyone felt at all uncomfortable doing it, please feel free to leave.  He then asked everyone to either kneel or raise a fist.  A couple of people left but most stuck around.

There was no explanation of the protest...  and really no need to explain it.  We all understood.  

Thinking about it...  It used to be a protest against police treatment of African-Americans that started during Obama's term.  But it's become an anti-Trumputin thing. 



.


__,_._,___

Tuesday, September 26, 2017

Drawing Inspiration with Cartoonist Jim Toomey Live Now




Drawing Inspiration with Cartoonist Jim Toomey


Tuesday, September 26 at 7 pm

Reception at 6:30 pm with refreshments


Nationally syndicated cartoonist Jim Toomey, who has been drawing the newspaper comic strip "Sherman's Lagoon" for almost two decades, uses live drawing to demonstrate how he weaves an environmental message into his work, and how he has taken what he has learned in "old media" and applied it to creating short films and animations for an online audience.



Free and open to the public.  Location:

Malsi Doyle & Michael Forman Theater – 2nd Floor, McKinley Building, American University

4400 Massachusetts Avenue, NW, Washington, DC 20016-8017



Episode 237 – Ann Telnaes and Matt Wuerker

Episode 237 – Ann Telnaes and Matt Wuerker

Gil Roth

Virtual Memories podcast Sep 25, '17

http://chimeraobscura.com/vm/episode-237-ann-telnaes-and-matt-wuerker

http://traffic.libsyn.com/virtualmemories/Episode_237_-_Ann_Telnaes_and_Matt_Wuerker.mp3


"I did some hard-hitting cartoons during the Bush administration. . . . I kind of wish I held back a little because now it's like, 'Where do we go from here?'" –Ann Telnaes

It's a double-Pulitzer-winner episode! First, the great editorial cartoonist, animator and essayist Ann Telnaes joins the show to talk about the role of satire against the abuse of power, her political awakening, her present sense of urgency and her upcoming Trump's ABC (Fantagraphics), the reaction to the Charlie Hebdo murders, the images editors won't print, and the sanctuary of the Alexander Calder room at the National Gallery. Then past guest Matt Wuerker returns to the show (here's our first ep.) to talk about The Swamp, the loss of comity and the growth of tribalism in contemporary DC (characterized by that weekend's dueling rallies between Trump supporters and Juggalos), the problem with having easy targets, bringing conservative cartoons into his weekly roundup for Politico, taking up fly-fishing in his dotage, and more! Give it a listen! And go preorder Trump's A B C!

"It hasn't been this good for political cartoonists since Nixon and Watergate." –Matt Wuerker

About our Guests

Ann Telnaes creates editorial cartoons in various mediums — animation, visual essays, live sketches, and traditional print — for The Washington Post. She won the Pulitzer Prize in 2001 for her print cartoons and the National Cartoonists Society's Reuben for Outstanding Cartoonist of the Year for 2016.

Telnaes' print work was shown in a solo exhibition at the Great Hall in the Thomas Jefferson Building of the Library of Congress in 2004. Her first book, Humor's Edge, was published by Pomegranate Press and the Library of Congress in 2004. A collection of Vice President Cheney cartoons, Dick, was self-published by Telnaes and Sara Thaves in 2006. Her work has been exhibited in Paris, Jerusalem, and Lisbon.

Telnaes attended California Institute of the Arts and graduated with a Bachelor of Fine Arts, specializing in character animation. Before beginning her career as an editorial cartoonist, Telnaes worked for several years as a designer for Walt Disney Imagineering. She has also animated and designed for various studios in Los Angeles, New York, London, and Taiwan.

Matt Wuerker is the staff cartoonist and illustrator for POLITICO. He likes to cross hatch… a lot. He was the winner of the 2012 Pulitzer Prize for Editorial Cartooning. He was a finalist for the award in 2009 and 2010. He has also been awarded the 2010 Herblock Prize (presented at the Library of Congress) and the 2010 Berryman Award by the National Press Foundation.

Sept 27: Liniers in DC

In the DC area?
Liniers is comin' to town!

Picture
Picture

Wednesday, September 27, 2017 at 7:30 PM

Takoma Park Library
101 Philadelphia Ave
​Takoma Park, MD 20912

In partnership with Politics & Prose, join Liniers for a very special book reading of Good Night, Planet and Q&A at the Takoma Park Library.
Illustration and signing to follow!

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Liniers with new fans!


MORE INFO>>






Liniers to visit three DC public schools for bilingual presentations

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This week Liniers will present Good Night, Planet and Buenos Noches, Planeta to children at three Washington DC-area public schools. These are always fantastic events with book signings for the students. Thank you to Politics & Prose and An Open Book Children's Literacy Foundation for making these events possible.

Comic Riffs on banned books

Banned Books Week: Why are illustrated books being challenged more than ever?

Washington Post Comic Riffs blog September 25 2017
https://www.washingtonpost.com/news/comic-riffs/wp/2017/09/25/banned-books-week-half-of-the-most-challenged-books-including-bill-cosbys-tale-are-illustrated/

International Journal of Comic Art 19-1 Table of Contents

International Journal of Comic Art
Vol. 19, No. 1 Spring/Summer 2017


Freedom To Cartoon: An Endangered Concept
A Symposium
Edited by John A. Lent
1
Global Infringements on the "Right to Cartoon": A Research Guide
John A. Lent
4
From Socialism to Dictatorship: Editorial Ideologies in Chilean Science Fiction and Adventure Comics
Camila Gutierrez Fuentes
71
La Figura del Presidente Salvador Allende.Caricatura Politica e Imagenes Fatldicas
Jorge Montealegre I.
87
Control over Comic Books in Spain during the Franco Dictatorship (1939-1975)
Ignacio Fernandez Sarasola
95
Early Censorship of Comics in Brazil and Spain and Their Use as an Educational Resource as an Escape
Cristiana de Almeida Fernandes, Vera Lucia dos Santos Nojima, Ana Cristina dos Santos Malfacini, and Maria da Conceicao Vinciprova Fonseca
130
Two Life Times and 15 Years: A Cuban Prisoner's Coping Through Cartoons
John A. Lent
159
American Infection: The Swedish Debate over Comic Books, 1952-1957
Ulf Jonas Bjork
177
Seduced Innocence: The Dutch Debate about Comics in the 1940s and 1950s
Rik Sanders
Translated by Melchior Deekman
190
Pioneers in Comic Art Scholarship
"Acquire the Widest Possible Comics Culture": Au Interview with Thierry Groensteen
John A. Lent
205
Pioneers in Comic Art Scholarship
The Multi-Varied, 50-Year Career of a Fan-Researcher of Comic Art
Fred Patten
219
Gutter Ghosts and Panel Phantasms: Horror, Haunting, and Metacomics
Lin Young
243
World War II in French Collective Memory: The Relevance of Alternate History Comics.
An Analysis of the Wunderwaffen Saga
Simon Desplanque
270
Genre Hybridity as the Scheme of the Comics Industry
Jaehyeon Jeong
290
On the Pastoral Imaginary of a Latin American Social Democracy: Costa Rica's El Sabanero
Hector Fernandez L'Hoeste
309
Between Fine and Comic Art. On the Arab Page: Much Connects Art and Comics in Egypt and the Wider Middle East
Jonathan Guyer
334
"Art Is My Blood": A Short Interview with Nora Abdullah, Pioneer Female Malay Comic Artist
Lim Cheng Tju
345
Comics Theory for the Ages: Text and Image Relations in Medieval Manuscripts
Jesse D. Hurlbut
353
Examining Film Engagement Through the Visual Language of Comics
R. Brad Yarhouse
384
Hemispheric Latinx Identities and Transmedial Imaginaries: A Conversation with Frederick Luis Aldama
Janis Breckenridge
405
In Search of the Missing Puzzle Pieces: A Study of Jimmy Liao's Public Art Installations in Taiwan
Hong-Chi Shiau and Hsiang-wen Hsiao
413
Far from the Maddening Crowd: Guy Delisle as Cultural Reporter
Kenan Kocak
428
Portrayal of Massacre: A Comparative Study between Works of Joe Sacco, Art Spiegelman, and Fumiyo Kono
Sara Owj
479
Toriko's Database World
Bryan Hikari Hartzheim
499
Beyond Images and Gags: Comic Rhetoric in "Luann"
Veronica Anzaldua
525
Happy Ike, The Pink Kid and the American Presence in Early British Comics
Michael Connerty
538
The Swedish Phantom: Sweden's Domestication of an American Comic Book Hero
Ulf Jonas Bjork
547
Start Spreading the News: Marvel and New York City
Barry Pearl
562
Honore Daumier: Caricature and the Conception/Reception of "Fine Art"
Jasmin Cyril
575
China's Cartooning in the War of Resistance against the Japanese Invasion
Zola Zu
586
Belgian bande dessinee and the American West
Annabelle Cone
595
The Printed Word
John A. Lent
620
Book Reviews
M. Thomas Inge
David Lewis
John A. Lent
Lim Cheng Tju
Janis Breckenridge
Benoit Crucifix
Christopher Lee Proctor II
Michael J. Dittman
Leslie Gailloud
627
Exhibition and Media Reviews
Edited by Michael Rhode
Maite Urcaregui
Pascal Lefevre
Keith Friedlander
647
Portfolio
655