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The article discusses a study aimed at providing guidance for comic book artists to understand that comic book readers look at first, whether images or text and examines which word balloon size is best for several target audiences. Topics discussed include a look at Roy Lichtenstein's "Eddie Diptych" which shows that the image initially overpowers the text and the need for word balloons by viewers to tell the story not communicated by the image alone.

The article focuses on Grant Morrison's six-volume superhero work "Doom Patrol" and satire in the shared-narrative universe. The Doom Patrol are considered important superheroes, not just mythic forces clad in form-fitting spandex. "Doom Patrol" is allegedly a satiric work. The satire of "Doom Patrol," both of the traditional and shared-narrative varieties, offers either a cube, a block upon which to build, or a corner, in which people are trapped, unable to progress.

The article explores the career of shojo mangaka Kaoru, a Chinese-Malaysian artist who uses a Japanese pen name. It also considers the historic transmission of Japanese manga and related media products to the Chinese-Malaysian community. In addition, it discusses whether manga-based comics created by and for women may serve as an open platform for interaction among intricate cultural communities within Malaysia.

The article explores the rise of graphic diary and female artists in Indonesia. The graphic diary reportedly plays a vital part in the future of Indonesian comics, and Indonesian women artists have been successful in creating it. The main keys in creating fictional comics that are suitable for Indonesian readers include the use of realistic factors of a graphic diary and combining them with themes popular among Indonesians.

The article explores the relations between women and comics/manga. It discusses reasons for studying women's comics, the rise of women's comics in the U.S., highlighting the case of Trinia Robbins, and the 1970s as the turning point for shôjo manga. It also examines the growing popularity of shôjo comics and shôjo authors, including Yoko Kitajima, Chieko Hosokawa and Yasuko Fujiki, and the challenge of self-orientalism in shôjo manga and the new generation.

The article focuses on the life and work of cartoonist Elizabeth Powell in the U.S. Powell was described as a master cartoonist who had her own perceptiveness, passion and drawing skill, and a low-income mother attempting to bear her burdens with dignity. It states that the most striking quality of Powell's drawings was empathy. Some of her drawings featured in this article included a pencil drawing of a globalizing devil figurine, two naked figures joined at the head and embracing each other, a relief print of a lynching, and a philosophical pair of pigeons.

The article discusses the work of several contemporary Russian women comic artists, particularly their use of design strategies for refashioning feminine identity in the post-Soviet era. Since foreign comics were designated as bourgeois trash in the Socialist Realist period, the medium essentially was frozen. In the Western sense, comics did not officially exist in Russia for decades. The revival of komiks can be traced to the 1999 uploading of Andrei Ayoshin's website Komiksolyot, a clearinghouse, forum, encyclopedia and web-gallery of komiks art. In February 2002, the first annual Russian comics industry festival, KomMissia, was launched. It was organized by Pavel Sukhikh and his loose collective/studio People of the Dead Fish.

The article discusses the second Oubapo publication "Les Vacanes de l'Oubapo," published in 2000 and the third volume "Oubapo 2," which appeared in 2003 in Europe. The second volume consists of works by six artists including Menu, Trondheim, Francois Ayroles and Jochen Gerner. It provides an exploration of six of the generative constraints proposed by Thierry Groensteen. The third volume presents examples of strips produced on the basis of transformative and generative constraints. The first section tackles on the impact of the generative contraints, while the second section analyzes the success of the transformative constraints in clearing the potential of the medium.

The association between childhood cancer and home pesticide use was examined in a case-control study of children under 15 years of age. Parents of 252 children diagnosed with cancer in the Denver area between 1976 and 1983 and of 222 control subjects were interviewed regarding use of home pest extermination, yard treatment, and pest strips. The strongest associations were found for yard treatments and soft tissue sarcomas (odds ratios [ORs] around 4.0) and for use of pest strips and leukemias (ORs between 1.7 and 3.0). These results suggest that use of home pesticides may be associated with some types of childhood cancer. [ABSTRACT FROM AUTHOR]

The article focuses on comic books. According to the author, comic books do not get as much respect as films and novels. Paul Lopes of the "Sociological Forum" observes the ways in which the comic book has been stigmatized as a genre. Lopes claims that comic book was seen as a product for illiterate people in its earliest days. The talents of comic book artists are unrecognized and its fans are routinely disliked. While the lovers of comic books have been able to organize conventions, persistent stigmatization has hindered the development of comic books as a cultural form.