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Latinx Comics Studies: Critical and Creative Crossings offers an intersectional and interdisciplinary approach to analyzing Latinx studies and comics studies. The book draws together groundbreaking critical essays, practical pedagogical reflections, and original and republished short comics. The works in this collection discuss the construction of national identity and memory, undocumented narratives, Indigenous and Afro-Latinx experiences, multiracial and multilingual identities, transnational and diasporic connections, natural disasters and unnatural colonial violence, feminist and queer interventions, Latinx futurities, and more. Together, the critical and creative works in this collection begin to map out the emerging and evolving field of Latinx comics studies and to envision what might be possible in and through Latinx comics. This collection moves beyond simply cataloguing and celebrating Latinx representation within comics. It examines how comics by, for, and about Latinx peoples creatively and conceptually experiment with the very boundaries of “Latinx” and portray the diverse lived experiences therein.

Jean Giraud (1938–2012) started drawing comics in the late 1950s for a variety of French comics magazines. Under his real name, he found success in 1963 with the western series Blueberry, written by Jean-Michel Charlier and published in Pilote magazine. In the 1970s, he started producing science fiction works under the name of Moebius, which brought him international success, and which included works such as Arzach. He died in 2012 as a global celebrity in the comics world and a major influence across visual media. This first book-length, English-language study of Moebius finally brings international attention to an artist whose influence on the medium was profound and immediate, making him a role model for aspiring comics creators throughout his career. He was widely imitated while at Métal Hurlant in the 1970s, was “prominent among the spiritual fathers of the comic book rebels” in the 1990s, and again an example for the independent artists identified as the “new bande dessinée” in France in the early 2000s. Featuring close readings of key texts, including Blueberry, The Airtight Garage of Jerry Cornelius, and “The Long Tomorrow,” this volume examines Moebius's style and aesthetic achievement. Notably, the volume explores the tension between Giraud and Moebius—one name for westerns, the other for science fiction; one name for the domestic market, another as a global brand; one name for the brush, another for the pen; one for the mainstream and the other for the underground. Nicolas Labarre challenges those dichotomies, especially in the later phases of Moebius's career, unveiling the complex evolution of this understudied but influential artist.

This accessible, up-to-date textbook covers the history of comics as it developed in the US in all of its forms: political cartoons and newspaper comic strips, comic books, graphic novels, minicomics, and webcomics. Over the course of its six chapters, this introductory textbook addresses the artistic, cultural, social, economic, and technological impacts and innovations that comics have had in American history. Readers will be immersed in the history of American comics—from its origins in 18th-century political cartoons and late 19th-century newspaper strips to the rise of the wildly popular comic book, the radical, grassroots collectives that grew out of the underground comix movement of the 1960s and 1970s, all the way through contemporary longform graphic novels, the vibrant self-publishing scene, and groundbreaking webcomics. The Routledge Introduction to American Comics guides students, researchers, archivists, and even fans of the medium through a contemporary history of comics, attending to how a diverse range of creators and researchers have advanced the art form in key ways since its inception as a foundational art of American popular culture. In this way, it is uniquely suited to readers engaged in the study of comics, as well as those interested in the creation of comics and graphic narratives.

Learn how Captain America's timeless ethical code is just as relevant in the twenty-first century as it was during the 1940s Captain America, or simply “Cap,” provides an example of the virtues that define personal excellence, as well as the ideals and principles upon which the United States of America was founded. In The Virtues of Captain America, philosopher and long-time comics fan Mark D. White shows us that this fictional superhero's “old-fashioned” moral code is exactly what we need today to restore kindness and respect in our personal and civic lives. Presenting Captain America's personal morality within a virtue ethics framework, the book opens with an introduction to basic concepts in moral and political philosophy and addresses issues surrounding the use of fictional characters as role models. The following chapters examine Captain America in detail, exploring the individual virtues that Cap exemplifies, the qualities that describe his moral character, his particular brand of patriotism, his ongoing battle with fascism, his personal vision of the “American Dream,” his moral integrity and sense of honor, and much more. Now in its second edition, The Virtues of Captain America is updated to include all the new developments in Captain America's saga, including new examples from the last ten years of Captain America's appearances in Marvel Comics. New coverage of the recent “Secret Empire” storyline, in which Captain America was brainwashed by the fascist organization Hydra, features new sections examining the nature of fascism and how Captain America's character and virtues were affected by the change. This edition also offers new material on Sam Wilson—formerly Captain America's partner the Falcon who recently became Captain America himself—and how his interpretation of the role compares to Steve Rogers'. Showing how we can be better people if we pay attention to the choices made by the Sentinel of Liberty, The Virtues of Captain America: Examines the moral and political philosophy behind 80 years of Captain America comics and movies in a light-hearted, often humorous tone Demonstrates that the core principles and judgment exhibited by Captain America in the 1940s remain relevant in the twenty-first century Describes the basic themes of Captain America's ethics, such as courage, humility, perseverance, honesty, and loyalty Illustrates how Captain America stands for the basic ideals of America, not its politics or government Requiring no background in philosophy or familiarity with the source material, the second edition of The Virtues of Captain America: Modern-Day Lessons on Character from a World War II Superhero remains a must-read for everyone wanting to make ethical decisions in complex real-world situations and tackle the personal and political issues of today with integrity and respect.

Dive into the world of manga and discover 50 of the most influential and essential series and standalone titles—from Boys Run the Riot to Chainsaw Man to Sailor Moon—with this must-have guide for manga fans by Crunchyroll senior editor Briana Lawrence. With profiles on 50 unforgettable series and ground-breaking single volume stories written by an expert in the anime and manga field, The Essential Manga Guide provides a comprehensive, behind-the-scenes look into the history and growing legacy of manga. Both casual fans and serious otaku alike will discover an entertaining and personal look at the impact of these outstanding manga titles and their authors, as well as great recommendations of what to read next. From classic series to contemporary favorites, this guide includes: Berserk, Bleach, Fruits Basket, Haikyu!!, Inuyasha, Jujutsu Kaisen, Kuroko's Basketball, My Lesbian Experience With Loneliness, Naruto, One Piece, Paradise Kiss, Revolutionary Girl Utena, Sailor Moon, The Way of the House Husband, Tokyo Babylon, Uzumaki, Wotakoi: Love is Hard for Otaku, What Did You Eat Yesterday, Yu Yu Hakusho, and many more.

Super-Girls of the Future: Girlhood and Agency in Contemporary Superhero Comics investigates girl superheroes published by DC and Marvel Comics in the first two decades of the twenty-first century, asking who the new-and-improved super-girls are and what potentials they hold for imagining girls as agents of change, in the genre as well as its socio-cultural context. As super-girls have grown increasingly numerous and diverse since the turn of the millennium, they provide an opportunity for reconsidering representations of gender and power in the superhero genre. This book offers the term agentic embodiment as an analytical tool for critiquing the body politics of superhero comics, particularly concerning youth, femininity, whiteness, and violence. Grounded in comics studies and informed by feminist cultural studies, the book contributes a critical and hopeful perspective on the diversification of a genre often written off as irredeemably conservative and patriarchal.Super-Girls of the Future is a key title for students and scholars of comics studies, visual culture, US popular culture, and feminist criticism.

Destruction, Ethics, and Intergalactic Love: Exploring Y: The Last Man and Saga offers a creative and accessible exploration of the two comic book series, examining themes like nonviolence; issues of gender and war; heroes and moral failures; forgiveness and seeking justice; and the importance of diversity and religious pluralism.Through close interdisciplinary reading and personal narratives, the author delves into the complex worlds of Y and Saga in search of an ethics, meaning, and a path resonant with real-world struggles. Reading these works side by side, the analysis draws parallels and seeks common themes around the four central ideas of seeking and making meaning in a meaningless world; love and parenting through oppression and grief; peacefulness when surrounded by violence; and the perils and hopes of diversity and communion.This timely and thoughtful study will resonate with scholars and students of comic studies, media and cultural studies, philosophy, theology, literature, psychology, and popular culture studies.

This book examines the fictional female bodies of four stylistically distinct comics artists in the United States—Chris Ware, Emil Ferris, Ebony Flowers, and Tillie Walden—whose work has attracted significant attention. These bodies showcase how comics and its unique visual language can both critique and re-envision some of the most challenging social issues of our time.The characters analyzed in this book illustrate diverse techniques for projecting the complex humanity and'truth'of U.S. women's unruly bodies onto a two-dimensional page. All of the protagonists qualify as'outsider'in some way, whether by gender identity, sexuality, ability, religion, race, class, ethnicity, age, or a combination of these and other categories. These bodily expressions of outsider identity both resist traditional categorization and stereotypes, and sometimes harness and employ those stereotypes for the purposes of parody or social critique. The language of comics affords a unique opportunity for complex representation of these disparate women's bodies, especially when comics artists use the full range of tools at their disposal, such as style, materials, narrative direction, the space of the gutter, and the friction between word and image. This is an a timely and important intervention suitable for researchers and students in comics studies, gender studies, literature and queer studies.

Rebirth of the English Comic Strip: A Kaleidoscope, 1847–1870 enters deep into an era of comic history that has been entirely neglected. This buried cache of mid-Victorian graphic humor is marvelously rich in pictorial narratives of all kinds. Author David Kunzle calls this period a “rebirth” because of the preceding long hiatus in use of the new genre, since the Great Age of Caricature (c.1780–c.1820) when the comic strip was practiced as a sideline. Suddenly in 1847, a new, post-Töpffer comic strip sparks to life in Britain, mostly in periodicals, and especially in Punch, where all the best artists of the period participated, if only sporadically: Richard Doyle, John Tenniel, John Leech, Charles Keene, and George Du Maurier. Until now, this aspect of the extensive oeuvre of the well-known masters of the new journal cartoon in Punch has been almost completely ignored. Exceptionally, George Cruikshank revived just once in The Bottle, independently, the whole serious, contrasting Hogarthian picture story. Numerous comic strips and picture stories appeared in periodicals other than Punch by artists who were likewise largely ignored. Like the Punch luminaries, they adopt in semirealistic style sociopolitical subject matter easily accessible to their (lower-)middle-class readership. The topics covered in and out of Punch by these strips and graphic novels range from French enemies King Louis-Philippe and Emperor Napoleon III to farcical treatment of major historical events: the Bayeux tapestry (1848), the Great Exhibition of 1851, and the Franco-Prussian War in 1870. Artists explore a great variety of social types, occupations, and situations such as the emigrant, the tourist, fox hunting and Indian big game hunting, dueling, the forlorn lover, the student, the artist, the toothache, the burglar, the paramilitary volunteer, Darwinian animal metamorphoses, and even nightmares. In Rebirth of the English Comic Strip, Kunzle analyzes these much-neglected works down to the precocious modernist and absurdist scribbles of Marie Duval, Europe's first female professional cartoonist.

Este ensaio propõe a novela gráfica como um género literário, tendo como eixo estruturador a obra teórica de Rodolph Töpffer, e o seu conceito de literatura em estampas, um novo género escrito através de texto e imagem. Centrado nos géneros narrativos, dará especial destaque ao romance, cuja forma proteica permite assimilar novas formas romanescas, nomeadamente a novela gráfica. No universo da novela gráfica, a adaptação de obras literárias, para além de constituir uma prática corrente, definida pelos historiadores como uma das suas «tendências» mais marcantes do curso da história da banda desenhada portuguesa, é um fator decisivo para a constituição do género.