The images in Blutch's Mitchum are technically cartoons, but the style is idiosyncratic, sometimes warping into full abstraction.
The focus on Thanos single-handedly saves Avengers: Infinity War from becoming the overstuffed mess many feared and lends the film a relentless action pace more akin to Mad Max: Fury Road than a superhero blockbuster.
Bhogwan Singh performed with snakes for a beach sideshow in Los Angeles before he got his chance with Universal Studios to fix Rudolf Valentino's turban.
Ryan Coogler's Black Panther engages with deep and timely social, cultural, and psychological concepts, and completely taps into America's zeitgeist.
Fifty years ago Attica prisoners rose up for justice -- and were slaughtered. Graphic novel Big Black: Stand at Attica is a powerful story from a survivor's point of view.
As much as I admire Shintaro Kago's oddness as a writer, his artistic pen is even sharper (but not without problems) as evident in Dementia 21.
Taika Waititi's Thor: Ragnarok takes a refreshingly iconoclastic approach to Thor, throwing out the old, bringing in the new, and packaging the story in a colourful, gorgeously trashy aesthetic that perfectly captures the spirit of the comics.
In J&K, John Pham explores perspectives in the psychological sense. Like Picasso, he views things from more than one angle.
Many fantasy writers have incorporated the visual footprint of the Third Reich into their fictional worlds. Few, however, have done so as extensively as the creator of Attack on Titan, who revisited this terrible chapter of history not to find inspiration for a fearsome antagonist, but to excavate the divisive ideas that lay buried there.
#Coronavirus #COVID19 #Pandemic: Love in the Time of Coronavirus is a new and hopefully short-run PopMatters series of art and life and the art of living in these times of global health crisis.
Moa Romanova's "semi-auto-bio" graphic fiction, Goblin Girl, explores the dating world with a mysterious mix of art and influences.
David Jesus Vignolli's graphic novel, New World, chronicles Indigenous resistance to European monsters in gorgeous art and mythic undertones.
The powerful graphic novel Grass documents the atrocities against WWII "comfort women" through the recollections of a survivor. This is an incredibly powerful and urgent work that, frankly, should be read by the governments of all nations that must face, admit to, and begin real reparations for their country's atrocities.
Tsuge's narrator's mustache is no more convincing a disguise than Superman's Clark Kent glasses—which is the paradoxical point in The Man Without Talent.
For all the Charlie Browns in the world, Library of America has published The Peanuts Papers: Writers and Cartoonists on Charlie Brown, Snoopy & the Gang, and the Meaning of Life.
The title of Lisa Wool-Rim Sjöblom's graphic memoir, Palimpsest, is an excellent metaphor for adoption generally and especially the literally erased and rewritten documents that define many Korean adoptions. But it is also a visual metaphor.
Horizontal Collaboration, the superb French comic by Navie and Carole Maurel, reassesses the sexist biases of history.
In The Man Without Talent, Tadao Tsuge captures the element of fantasy reflected in the childish utopianism of free market capitalism and the committed entrepreneurs who are its happy-go-lucky evangelists.
In a society of things, social responsibility requires a recognition of the influence of commodities upon our most foundational spiritual experiences. Nickelodeon's animated series, Rocko's Modern Life, puts it simply.
If you can't take a class with Lynda Barry, Making Comics is the next best thing. But what kind of class is it?
Jaime Hernandez conveys an exuberance and vitality in his characters that make them easy to relate to and sympathize with. This is no less so in his latest graphic novel, Tonta.
Award-winning graphic artist Eleanor Davis likes to accent key moments in Hard Tomorrow through panel size. Big moments are literally bigger. Layout is a way of making meaning.
Gina Siciliano's I Know What I Am is a formidable work of comics scholarship, including 50 pages devoted to detailed notes and bibliographic sources about the fearless artist, Artemisia Gentileschi.
The differences between Sylvia Nickerson's realistically-depicted homeless and the blob-like privileged establishes Creation's central dichotomy and critique.
De Jongh constructs a jigsaw puzzle of personalities, life experiences, and national identities, where even contrasts ultimately reveal connections in her graphic memoir, Taxi!
Not all entries in Best American Comics 2019 will go down easily. Some might be undercooked. Some left too long on the fire. But the strongest will satisfy for a long time.
Like the title letters, the physical format of Michael DeForge's Stunt creates a kind of cage holding the main character inside rigid panels.
There are strong emotional stakes and likeable characters in Peyton Reed's Ant-Man, but they are all rooted in a, well, less than epic scale. This makes Ant-Man refreshing, an MCU palate cleanser.
Picking up where Chlorine Gardens left off, Keiler Roberts' graphic memoir, Rat Time, wanders artfully and unannounced into memories.