While the art world is full of excellent artists, few have the comics savvy to construct the sort of complex narratives and image-text relationships that Sarah Lightman achieves in her memoir, The Book of Sarah.
The juxtaposition of the comics and their prose-only afterwards in Amplify are intriguing, but the result is a surprising undercurrent of mistrust in comics to represent history independently of traditional scholarly apparatus.
Alexandria Ocasio-Cortez comic New Party, Who Dis? - with its ninjas, spaceships, dancing, explosions, FDR, wrestling, and orange hair - names and satirizes the oppressive dog whistles that undermine marginalized peoples in America and in American politics.
Blurgits—the drawing of multiple limbs to suggest motion— is effective in Yann Kebbi's artwork for The Structure Is Rotten, Comrade, creating a world teetering on carefully crafted incoherence—which is well suited to Viken Berberian's script.
Frederick Luis Aldama's Eisner-winning history, Latinx Superheroes in Mainstream Comics, uncovers ways in which the mainstream American comic-book industry regularly shortchanges characters who represent marginalized peoples.