Monday, July 28 2014
The best creators will find ways to make the best use of whatever medium they are working in.
Monday, July 7 2014
Marvel owns characters and its profits come from comics sales, film tickets, lunch boxes, etc. As such, character identification fluctuates easily between media.
Tuesday, May 6 2014
The only thing that can be done with film better than comics is spectacle. Thinking otherwise betrays a lack of respect for comics, and a pretentiousness about film.
Friday, April 18 2014
Complications or confusion aside, the hacking of comiXology demonstrates a disconcerting vulnerability in digital comics.
Wednesday, February 26 2014
A lot of comics may be seen as cheap, but so what? That also makes them fun.
Monday, January 6 2014
Comics is an ideal medium for showing memory, time and mind, as having "physical dimensions".
Monday, December 2 2013
While Marvel's Agents of S.H.I.E.L.D. may stem directly from The Avengers film franchise, like those movies, the show also has comics in its DNA.
Monday, November 11 2013
I can't think of another gathering of academics, practitioners, and fans that places comics alongside not just other pop media, but also science, math, and technology.
Monday, September 30 2013
Once one has committed to a narrative, it can be hard to let go, even if creative teams have changed, or ideas are running out.
Thursday, August 15 2013
Drawing her recipes for Relish, Lucy Knisley almost literally shows cooking to be more art than science.
Sunday, July 14 2013
In Marvel's comics, narrative closure is always deferred, every ending a new beginning. Iron Man 3, with its now world weary characters and aging actors, draws attention to how live action is different from comics.
Monday, March 25 2013
'Poaching' and 'copying' goes on in the making, reading, and interpreting of all forms of art and expression. The manner in which comics seem to invite connections to other media is what makes them vital artifacts of pop culture.
Sunday, February 24 2013
Comics give writers and artists a unique kind of freedom to make and remake places for their stories.
Tuesday, January 22 2013
If the digital ereader has made anything clear, it's that the physicality of the book is, for most practical purposes, incidental, an accident of time and place. Building Stories, by contrast, is deliberately material in a way that most books are not.
Wednesday, November 28 2012
Be they in analog or digital form, the struggle between art and commerce in comics presses on.
Monday, November 12 2012
James Stokoe's approach to visualizing how Godzilla's "EEYAEEEARRGH" sounds is one of those things that you didn't know you wanted to see until you see it.
Tuesday, October 16 2012
Clint Barton, while extraordinarily skilled in respect to his weapon of choice, is still human in the same sense that the characters he mingles with, or the readers of Hawkeye, are human. He has not had 'great power' thrust on him by accident, nature or social position.
Monday, September 3 2012
In my review of last year's convention I made the case for Marvel and DC to be in attendance. After attending this year's convention, I think a case could also be made for the major publishers to stay away.
Monday, July 30 2012
Whatever the social and political issues Brian Wood and Ricardo Burchielli, and their occasional collaborators, chose to examine through the DMZ series, those examinations were always grounded in and refracted through New York.
Monday, May 28 2012
Superhero comics have become eminently exploitable resources for filmmakers seeking images, characters, and concepts that can be matched to the scale of the theater screen.
Monday, April 23 2012
Movies like The Avengers are better thought of as character adaptations than adaptations of specific books. When seen that way, we recognize the characters as transmedia creations.
Tuesday, March 27 2012
Many comics stores have adapted in the same way that many comics conventions have: by developing new aspects of their business in related, but still distinct, areas of pop culture and fandom including comics-related merchandise, role-playing games, and genre entertainment.
Tuesday, February 14 2012
Digital publishing and distribution not only changes the nature of reading for readers/consumers, it also has implications for another important aspect of American comics culture: sharing.
Wednesday, January 11 2012
There are thorny creative and artistic questions to be addressed in the development of comics for e-reading; we'll have to get beyond models that see the digital as little more than an adaptation of the analog.
Wednesday, November 30 2011
Comics writers and artists are turning to Kickstarter both to fund specific projects and to buy themselves time to create.
Tuesday, October 18 2011
There is goodwill to be spent and good faith conversations to be had about the place of women and female characters in the DC and Marvel universes, and an event like Geek Girl Con is an ideal place for that kind of dialogue.
Monday, September 5 2011
While there are prose books that use pictures for illustrative purposes, only in comics are stories actively told through both written words and drawn pictures.
Tuesday, July 5 2011
Marvel producers are attempting to create a film analog to the Marvel Universe that knits together the publisher's mainline titles. Will moviegoing audiences keep coming back for the next story, and the next?
Sunday, May 22 2011
Bounding from the pages of comic books onto the screens of films and TV, our superheroes unite formerly divided interests -- comics geeks vs. everyone else.
Tuesday, March 29 2011
Whether CBGB had a special poetry to it or was nothing more than a decent rock club is less interesting than the debate itself.
Monday, February 28 2011
Will motion comics become the digital equivalent of the film strip? Merely an interesting artifact of a particular period of media production? Or are they the crude beginnings of a new art form?
Thursday, January 20 2011
Regardless of format, what seems unlikely to change is the use of comics for serial storytelling. In the future, this may take place on the web, or in e-editions, it may not follow a monthly publishing schedule, but like television, comics is both historically associated with serials and well-suited to making and delivering these kinds of stories.
Tuesday, December 14 2010
Through some of the best comics of 2010, we look at how stories are told in comics, and how the medium benefits from being a subcultural or marginal form of narrative art.
Monday, November 15 2010
The original Supergirl and her readers would no doubt be scandalized by the current length of her skirt and exposed skin, not to mention her toned physique.
Monday, October 4 2010
The long-term serialization of comics means that different creators get a chance to work with characters and storyworlds originally written by others. On occasion, they're given license to run wild.
Sunday, August 29 2010
Why do comics readers care about the movies made from their favorite books?
Sunday, August 15 2010
There's always the risk that efforts like the “Women of Marvel” are token exercises, small measures taken in lieu of further reaching commitments to change in how women are regarded, as characters, as creators, and ultimately, as readers.
Sunday, July 25 2010
While leaving out details that we often associate with 'reality', the drawings of comics artists will often evoke a sense of place more effectively than the photos from which those images may be drawn.
Monday, June 7 2010
For both writers and artists working on adaptations of movies and TV shows, the challenge is to find a working space wherein one's own sensibilities can be effectively meshed with the look and feel of the original text and into a book that works for readers.
Wednesday, May 5 2010
One of the key differences between Stumptown and Comic-Con is that the bigger gathering is the fans' party, while the smaller event is the creators' shindig.
Tuesday, April 6 2010
Comics, that great corrupter and retarding influence on youth, evoke fear in librarians -- fear of the adults, that is, not the children.
Tuesday, March 9 2010
In comics not everyone can write nor draw (nor ink, color nor letter). So, there will always be 'great' works that cannot be attributed to a single talented contributor.
Tuesday, February 2 2010
My name is (insert name here) and I am a visual learner -- and other reasons why comics is a relevant subject for the college curriculum.
Wednesday, December 9 2009
Scott McCloud's text does not make any concessions to doubters. It gives people permission to start from the presumption that comics are 'real' art, as well as 'real' literature.
Thursday, November 19 2009
Supergirl's summer costume change -- which included concealing shorts under her skirt as she flew about, kicking butt -- reveals a lot about our changing superheroes.
Monday, October 12 2009
Reading a comic requires multiple forms of literacy and levels of interpretation. Every movement from word to image and back again so as to create a coherent, narrative whole engages the reader’s brain in distinct ways.
Thursday, September 17 2009
Not all comic book adaptations are created equal, especially not when comparing our own imaginings with what actually happens when books are moved from print to screen.
Tuesday, August 11 2009
With little pressure to conform to storytelling or visual norms, comics are rife with artists like Jason Shiga, who bends and splices genres, and whose aesthetic sense is readily identifiable as his own.
Wednesday, July 8 2009
We needn’t substitute our daily fears with the supernatural to understand what it means to adopt different identities for different purposes and to feel both tied to and apart from others, but in Barbara’s case, it helps.
Monday, June 1 2009
That “comics” persists in connoting “pulp” and “graphic novels” implies something “literary” is purely a matter of convention, and is not because those are the inherent meanings or implications of the terms.
Wednesday, May 13 2009
Airports and airplanes are extreme manifestations of a placeless McWorld, and Jihad is a backward-looking form of resistance to that placelessness, but we need not be limited by those choices.
Wednesday, March 25 2009
The interaction between cartoonist, language, and reader is unusually subtle and complex in Jessica Abel's La Perdida
Tuesday, February 24 2009
In our sobering economy, Breakfast After Noon is more relevant than ever, as it addresses the psychic and emotional toll of unemployment.
Wednesday, January 14 2009
Different media means different Hellboys. Mike Mignola's versus Guillermo del Toro's.
Monday, December 15 2008
What do the worlds contained within comics, within and between panels, tell us about the worlds in which we live out our lives?