Issues:

Volume 10, Number 2 (2019)

• What You See Is What You Get: Visualizing Hypocrisy in Umezu Kazuo’s Manga Cat-Eyed Boy by Jon Holt
• >“must we all remain helpless?”: Superman vs. the Nuclear Threat in the Late Cold War by Rui Lopes
• Historical Avant-Garde: How Marcia Williams Recreates Shakespeare’s Theater in the Comics Medium by Russell McConnell
• Global Attention in Reading Comics: Eye-movement Indications of Interplay between Narrative Content and Layout by Kai Mikkonen and Olli Philippe Lautenbacher
• Beyond Words: The Visual Demands of Joe Sacco’s Safe Area Goražde by Nicholas Wirtz
• >“Only the Winner is Allowed to Live”: The Concept of Cannibalism in Attack on Titan by Asuka Yamazaki
• >Editorial Note for Book Reviews by Anastasia Ulanowicz
• Review of The Evolution of the Costumed Avenger: The 4,000 Year History of the Superhero by Jaquelin Elliott
• Review of The 10 Cent War: Comic Books, Propaganda, and World War II by Megan Fowler
• Review of Palookaville: Seth and the Art of Graphic Autobiography by Chase Machado
• Review of Chris Ware: Conversations by Christopher Smith

Volume 10, Number 1 (2018)

• 100 Years of Blossoming: A Generic History of Comics in Turkey by Ali Benice
• The Creation of the Comic Strip as an Audiovisual Stage in the New York Journal 1896-1900 by Eike Exner
• Readerly Transference: Psychoanalysis Via Comics in Alison Bechdel's Are You My Mother? by Audrey Farley
• "It's Sad, But Not Crazy"—Memory as Construction/Performance in Graphic Memoirs by Jennifer Daniels Klug
• Comics and Narratological Perspective: (Witnessing) Bias in Direct Experience by Rachel Kunert-Graf
• Bodies in Saga by Daniel Pinti
• Scarred Dragon—Historical Trauma Narratives in the Graphic Novels of Li Kunwu and Gene Luen Yang by Nicolas Schillinger
• Framing Super-Vision: Panoptic Vision and Controlling Frames in Alan Moore and Dave Gibbons' Watchmen by Matthew Schmalzer
• Feelings in the Gutter: Opportunities for Emotional Engagement in Comics by Will Simpson
• Review of Articulating the Action Figure: Essays on Toys and Their Messages by Kevin Cooley
• Review of Panel to the Screen: Style, American Film, and Comic Books During the Blockbuster Era by Christopher Lopez
• Review of Captain Marvel and the Art of Nostalgia by Danielle Reid


• Editorial Note for New Creative Reviews
• Review of E.X.O.: The Legend of Wale Williams Part Two by Fiona Farnsworth
• Review of Drawing the Line: Indian Women Fight Back! by Kodi Maier
• Review of Chernobyl: The Zone by Anastasia Ulanowicz

Volume 9, Number 3 (2018)

• "Submission is Faith in the Strength of Others": Synthesizing Male and Female Aspects of War in Azzarello and Chiang's Wonder Woman by Houman Sadri
• "How Can 'Is' Be Wrong": Queer Reading Strategies and Identification in Fun Home by Robert Hutton
• Burke in the Gutter: Dramatistic Criticism of Comics by A. Cheree Carlson
• Winter Soldiers and Sunshine Patriots: World War II and the Cold War in Captain America by Kathleen McClancy
• Between Movement and Reading: Reconceptualizing the Dynamic Picture Plane in Modernist Comics and Painting by Paul Atkinson
• Comics, Materiality, and the Limits of Media Combinations by Kieron Brown
• "You are Een the House of Sanjak!": Terry and the Pirates, the First Lesbian Character in U.S. Comics, and the Roots of Wonder Woman by Michelle Ann Abate
• Review of Sovereignty and Superheroes by Victoria Addis
• Review of Postcolonial Comics: Texts, Events, Identities by Eric Berlatsky
• Review of Comics: A Global History, 1968 to the Present by Catherine Corder
• Review of Transmedial Narratology and Contemporary Media Culture by Fiona Farnsworth
• Review of Superwomen: Gender, Power, and Representation by Carlos Acosta Ponce
• Review of Debating Truth: The Barcelona Disputation of 1263, A Graphic History by Danielle Reid
• Review of Humans and Paragons by Tom E. Simmons

Volume 9, Number 2 (2017)

• Mixing Visual Media in Comics by Nancy Pedri
• Biographies of Famous Painters in Comics: What Becomes of the Paintings? by Thierry Groensteen
• Mixed Visual Media from the Standpoint of the Reader/Spectator by Pascal Lefèvre
• Don't Pray for Paris: Drawing in Post-Charlie Hebdo Graphic Novels by Bart Beaty
• Drawing Photo Novels by Jan Baetens
• Photography and the Layering of Perspective in Graphic Memoir by Nancy Pedri
• Seeing the Sensation: Sketch-Journaling and the Embodiment of Mental Illness in Autographics by Irene Velentzas
• Scrapbooking Caravaggio's Medusa, Reconfiguring Blake: What It Is, One! Hundred! Demons! and Lynda Barry's Feminist Intervention in the (Male) Artistic Canon by Olga Michael
• 80-'89: Comics' Greatest Decade by Ho Che Anderson
• Review of The Comics of Joe Sacco by Charles Acheson
• Review of The Blacker the Ink by Eric Berlatsky
• Review of Transforming Anthony Trollope by Catherine Corder
• Review of Twelve-Cent Archie by Christopher Haynes
• Review of The New Mutants by Ashley Manchester
• Review of The Comic Book Film Adaptation by Erica McCrystal
• Review of Beyond Bombshells by Molly Scanlon

Volume 9, Number 1 (2017)

• The Allegorical X-Men: Emblems, Comics, and the Allegorical Potential of Text/Image Hybrid Genres by Sarah Briest
• Maxime Miranda in Minimis: Swarm Consciousness in Miyazaki's Nausicaä of the Valley of the Wind by Adnan Mahmutovic and Denise Nunes
• Sex Magic, Kabbalah, and Feminist Imagination in Alan Moore's Promethea by Aaron Ricker
• Comics and Trauma: A Postmortem and a New Inquiry by Christopher Pizzino
• Networking Multivalence Trauma through Holonymic Representation in David B.'s Epileptic by Charles Acheson
• Asterix's Journey to Find Oil: Environmental Traumics by Donna Axel and Roberta Spivak
• Textual Recall: The Art of Braiding in 'La casa del sol naciente' and El arte de volar by Janis Breckenridge and Jenna Stanley
• "I had not dared to remember": Trauma and Historical Memory in Recent Spanish Comics by Sarah Harris
• Representing Unrepresentability: Manu Larcenet's La Ligne de Front and the Quest to Document the 'Spirit' of War by Birte Wege
• Review of The World of Shaft by Leila Estes
• Review of Miyazaki's Animism Abroad: The Reception of Japanese Religious Themes by American and German Audiences by Michael Hale
• Review of The Superhero Costume: Identity and Disguise in Fact and Fiction by Christopher Maverick
• Review of Bending Steel: Modernity and the American Superhero by Liam Nolan
• Review of The Dark Night Returns: The Contemporary Resurgence of Crime Comics by Derek Parker Royal

Volume 8, Number 4 (2016)

• The Rhetorical Invention of Comics: A Selection of Rodolphe Töpffer's Late Reflections on Composing Image-Text Narratives by Sergio C. Figueiredo
• Chris Ware's Building Stories as Deleuzian Fabulation, or How and Why to Read Comics Affectively by Vincent Haddad
• Pictures at a Remove: Seth's Drawn Photographs by Daniel Marrone
• Review of Representing Multiculturalism in Comics and Graphic Novels by Dominic Davies
• Review of William Schoell's The Horror Comics by Jaquelin Elliott
• Review of Seth: Conversations by Catherine Kasper
• Review of American Comic Book Chronicles: The 1970s by Derek Parker Royal
• Review of Graphic Details by Stephen Tabachnick

Volume 8, Number 3 (2016)

• God A Stinks – Synesthesia in the Maya Afterlife by Amy Giroux
• A conversation with Canadian illustrator, animation designer and comic book artist/writer Paul Rivoche by Jeffery Klaehn
• Trauma, Memory, and Imagination in Paul Hornschemeier's Mother, Come Home by Mitchell C. Lilly
• Ambulatory Identities: Montijo's Revision of Chicano/a Hybridity in Pablo's Inferno by Jorge Santos
• Review of The French Comics Theory Reader by Eric L. Berlatsky
• Review of Ed vs. Yummy Fur:
  Or, What Happens When a Serial Comic Becomes a Graphic Novel by Christopher M. Cox
• Review of Gothic in Comics and Graphic Novels by Jaquelin Elliott
• Review of Soul of the Dark Knight: Batman as Mythic Figure in Comics and Film by Megan Fowler
• Review of The Visual Language of Comics:
  Introduction to the Structure and Cognition of Sequential Images by A. David Lewis
• Review of Considering Watchmen: Poetics, Property, Politics by Mitch Murray

Volume 8, Number 2 (2015)

Grant Morrison

• Which Side are You On? The Worlds of Grant Morrison by Francesco-Alessio Ursini, Adnan Mahmutovic and Frank Bramlett
• Roundtable Transcript by Francesco-Alessio Ursini, Adnan Mahmutovic, and Frank Bramlett (Issue Editors), Kate Roddy, Keith Scott, Darragh Greene, Nick Galante, Tommi Kakko, David Coughlan, and Roy Cook
• Roundtable Video
• Morrison, Magic, and Visualizing the Word:
  Text as Image in Vimanarama by Roy T. Cook
• A Rubble of Fragments:
  Disintegration into Panels in Grant Morrison's Comics by Clare Pitkethly
• No Guru, No Method, No Teacher:
  "Grant Morrison" and GrantMorrison^TM by Keith Scott
• "Here Comes Tomorrow":
  The Ethics of Utopianism in Grant Morrison's New X-Men by Darragh Greene
• Eternal Superteens and Mutant Spermatozoa:
  Grant Morrison and the Comic as Porneau by Kate Roddy
• World of My Own:
  Joe the Barbarian and the Cathartic Power of Fantasy by Nick Galante
• Ecce Animot
  Or, The Animal Man That Therefore I Am by Adnan Mahmutovic, David Coughlan, and Stephen Blake Ervin
• Making and Breaking the Superhero Quotidian:
  How All-Star Superman Embodies and Revises the Everyday by Frank Bramlett
• "The Image Rules the World":
  Focalization, Hallucinations and Metalepsis in The Invisibles by Tommi Kakko and Mervi Miettinen
• Language and Thought in The Invisibles by Francesco-Alessio Ursini
• Book Review of The Superhero Reader by Eric L. Berlatsky
• Book Review: The Ages of the Avengers: Essays on the Earth's Mightiest Heroes in Changing Times by Peter Han
• Review of Comics and Narration by Melissa Loucks
• Review of Southeast Asian Cartoon Art: Histories, Trends and Problems by Jeremy Stoll

Volume 8, Number 1 (2015)

General Issue with "Monsters in the Margins" Forum

• A Note from the Editors by Terry Harpold and Anastasia Ulanowicz
• Constructing Guy Delisle's Shenzhen and Deng Xiaoping's Shenzhen:
  Graphic Novel and Urban Space by Michelle E. Bloom
• Invisible Spaces for the "Impossible" State:
  National Identity and the Production of Space in Joe Sacco's Palestine by Cristina Delgado-García
• The Epistemology of the Phone Booth:
  The Superheroic Identity and Queer Theory in Batwoman: Elegy by Andréa Gilroy
• Introduction to the "Monsters in the Margins" Forum by Katherine Shaeffer and Spencer Chalifour
• From Humbaba to the Wild Things:
  The Monster Archetype That is Forever With Us by John Cech
• Guest Artist Illustration: Monster Picnic by Jonathan Case
• Two Lunatics:
  Sanity and Insanity in The Killing Joke by Eric Doise
• Obama Zombies and Rhetorical (Dis)Identifications in an Era of Dog Whistle Politics and Political Polarization by Laurie Gries
• Erotic Grotesque Redemption:
  Transgressive Sexuality and the Search for Salvation in Katsuya Terada's The Monkey King Volume 1 by Caleb Simmons
• Chick Tracts, Monstrosity, and Pornography by Anastasia Ulanowicz
• Review of Redrawing French Empire in Comics by Anne Cirella-Urrutia
• Review of Black Comics: Politics of Race and Representation by Francesca Lyn
• Review of Jose Alaniz's Death, Disability, and the Superhero: The Silver Age and Beyond by Ashley Manchester
• Playing at the Margins:
  A Review of Transnational Perspectives on Graphic Narratives by Kate Polak
• Review of Comics and Language: Reimagining Critical Discourse on the Form by Molly J. Scanlon

Volume 7, Number 4 (2014)

A Comic of Her Own: Women Writing, Reading and Embodying through Comics

Edited by Jeffrey A. Brown and Melissa Loucks

• A Comic of Her Own: Women Writing, Reading and Embodying through Comics by Jeffrey A. Brown and Melissa Loucks
• Does 21st Century Feminist Fiction Challenge or Uphold Conventional Notions of the Family? A Critique of A Mercy and Fun Home by Monalesia Earle
• Evolving Sub-Texts in the Visual Exploitation of the Female Form: Good Girl and Bad Girl Comic Art Pre- and Post-Second Wave Feminism by Christopher J. Hayton
• Re-booting Barbara Gordon: Oracle, Batgirl, and Feminist Disability Theories by Carolyn Cocca
• Bound and Dreaming: Female Empowerment through Sado-Masochistic Fantasy in Guido Crepax's Valentina by Cara Takakjian
• Zombies vs. Superheroes: Resurrecting Gender Formulas in The Walking Dead and The Fantastic Four by Chris Gavaler
• "How Can I Refuse You, Mother Box?!" Abjection and Objectification of Motherhood in Jack Kirby's Fourth World by Annamarie O'Brien
• Making Serious Subjects Lighter: Trauma in the Adolescent Autographic by Michael Kersulov
• Review of Jeet Heer's In Love with Art: Françoise Mouly's Adventures in Comics with Art Spiegelman by Charles Acheson
• Review of Comics and the Senses: A Multisensory Approach to Comics and Graphic Novels by Brian Bates
• Review of The Lost Art of Ah Pook Is Here: Images From The Graphic Novel by Sergio Figueiredo
• Review of From Comic Strips to Graphic Novels: Contributions to the Theory and History of Graphic Narrative by Orion Ussner Kidder
• Review of Animating the Unconscious: Desire, Sexuality and Animation by Robin Alex McDonald

Volume 7, Number 3 (2014)

Comics and Post-Secondary Pedagogy

Edited by James Bucky Carter and Najwa Al-Tabaa

• TEACHING! POW! COMICS! BAM!: Pedagogical Approaches to Comics in Post-Secondary Classrooms by Najwa Al-Tabaa
• Comics Poetry: Praxis and Pedagogy by Tamryn Bennett and Guillermo Batiz
• Creating Graphic Nonfiction in the Postsecondary English Classroom to Develop Multimodal Literacies by Emily A. Wierszewski
• Webcomics, Multimodality, and Information Literacy by Dale Jacobs
• Library 1100: Information Literacy, Sequential Art, and Introduction to Library Research by Robert G. Weiner and Carrye Kay Syma
• Comics as a Design Ecosystem: A Case for Comics in Design Education by Erik A. Evensen
• Too Much Reading: Teaching Liberal Arts Comic Courses In A Studio College by Diana Green
• Toward a History of the Black Superhero: Review of Super Black: American Pop Culture and Black Superheroes by Ezra Claverie
• Review of Teaching Comics and Graphic Narratives: Essays on Theory, Strategy and Practice by Oriana Gatta
• Gosh! by Terry Harpold
• Review of Crossing Boundaries in Graphic Narrative by Will Moore
• Review of Studying Comics and Graphic Novels by Derek Parker Royal
• Comics Scholarship Joins Broader Discussions about Popular Culture, Region and Race: Review of Comics and the U.S. South by Kerry Soper
• Review of From Comic Strips to Graphic Novels by Jeff Thoss
• Michael Phillips's Vision of William Blake's The Marriage of Heaven and Hell: A Review Essay by Walton Wood

Volume 7, Number 2 (Fall 2013)

• Fascism and Mass Culture in Howard Chaykin's Blackhawk by Brannon Costello
• Breaking Quarantine: Image, Text, and Disease in Black Hole, Epileptic, and Our Cancer Year by Bruce Dadey
• Mourning and Melancholia in Alison Bechdel's Fun Home: A Family Tragicomic by Rachel Dean-Ruzicka
• George McManus and Irish America by Charles Fanning
• The Abyss Gazes Also: The Self-Referential Cynicism of Watchmen by Matthew Levy and Heather Mathews
• Review of Beautiful Fighting Girl by Kathryn Hemmann
• Review of Projections: Comics and the History of Twenty-First Century Storytelling by Aaron Kashtan
• Review of Bart Beaty's Comics Versus Art by Cameron Kunzelman
• Review of Unpopular Culture by Tim Lanzendörfer
• Review of Critical Survey of Graphic Novels: Independent and Underground Classics by John Rodzvilla
• Review of War, Politics, and Superheroes: Ethics and Propaganda in Comics and Film by James E. Siburt
• Review of Critical Approaches to Comics: Theories and Methods by Jeremy Stoll
• Subtle Coercion or Painfully Obvious Jokes? A Note on Fredrik Stomberg's Comic Art Propaganda: A Graphic History by Lia Yoka

Volume 7, Number 1 (Summer 2013)

The Worlds of the Hernandez Brothers

Edited by Derek Parker Royal and Christopher González

• The Worlds of the Hernandez Brothers by Derek Parker Royal
• Autoclastic Icons: Bloodletting and Burning in Gilbert Hernandez's Palomar by Christopher Pizzino
• Gilbert Hernandez as a Rhetor by F. Vance Neill
• Picturing the Transnational in Palomar:
  Gilbert Hernandez and the Comics of the Borderlands by Jennifer Glaser
• Comics as Remediation:
  Gilbert Hernandez's Human Diastrophism by Jesse Molesworth
• Mood, Mystery, and Demystification in Gilbert Hernandez's
  Twentieth-First-Century NeoNoir Stand-Alones by Frederick Luis Aldama
• Turf, Tags, and Territory:
  Spatiality in Jaime Hernandez's "Vida Loca: The Death of Speedy Ortiz" by Christopher González
• Review of Recent Books from Gilbert Hernandez by Derek Parker Royal
• Review of Love and Rockets New Stories, No 5 by James Bucky Carter
• Review of God and Science: Return of the Ti-Girls by Andrew J. Kunka
• Review of The Art of Jamie Hernandez by Patrick L. Hamilton
• The Hernandez Brothers: A Selected Bibliography by Derek Parker Royal

Volume 6, Number 3 (Winter 2013)

Shakespeare and Visual Rhetoric

• Editors' Introduction by Katherine Shaeffer and Richard Burt
• Visual Statements in Shakespearean Adaptations: Illustrating Romeo and Juliet for Children by Cara Byrne
• "To dignify some old costumed claptrap": Shakespearean Allusion and the Status of Text in the DC Comics of Grant Morrison by Brandon Christopher
• Shakespeare Manga: Early- or Post-modern? by Svenn-Arve Myklebost
• Interface Rhetoric in Shakespearean Comics: A Study of the Effect of Interface on the Construction of Shakespeare's Plays by F. Vance Neill
• The Tempest: Pastoral Romance or Colonial Critique? by Margaret Roper
• "These are not our Father's words!": Kill Shakespeare's Defense of the Meta-Text by Jason Tondro
• Review of The Metamorphoses of Tintin by Andréa Gilroy
• Review of Bradford W. Wright's Comic Book Nation by Jeremiah Massengale
• The Toils of a Clowes: A Review of Daniel Clowes: Conversations by Shauna Osborn
• Review of Dante's Divine Comedy by Seymour Chwast by Nicholas A. Theisen

Volume 6, Number 2 (Spring 2012)

ImageNext: Visions Past and Future

• Editor's Introduction by Katherine Shaeffer
• Monitoring the Past: DC Comics' Crisis on Infinite Earths and the Narrativization of Comic Book History by Andrew J. Friedenthal
• The Military Vanguard for Desegregation: Civil Rights Era War Comics and Racial Integration by Christopher J. Hayton and David L. Albright
• The Parts That Got Left Out oF the Donald Duck Book, or: How Karl Marx Prevailed Over Carl Barks by David Kunzle
• Urban America in the Newspaper Comic Strips of the Nineteenth Century: Introducing the Yellow Kid by Christina Meyer
• Illustration: Greetings from Florida, the Sunshine State by John Porcellino
• Reading from Within the Panel by David Steiling
• Review of Arguing Comics: Literary Masters on a Popular Medium by Eric L. Berlatsky
• Review of The Best American Comics Criticism by Eric L. Berlatsky
• Review of Laurence Grove's Comics in French: The European Bande Dessinée in Context by Alice Claire Burrows
• Review of Suspended Animation: Children's Picture Books and the Fairy Tale of Modernity by Caroline Campbell
• Review of Selected BD Scholarship by Anne Cirella-Urrutia
• Review of The Dragon and the Dazzle by Martin de la Iglesia
• Review of Drawn and Dangerous: Italian Comics of the 1970s and 1980s by
• Review of Graven Images by Paul Petrovic
• Review of Do the Gods Wear Capes?: Spirituality, Fantasy, and Superheroes. by Greg Steirer

Volume 6, Number 1 (Fall 2011)

• Fidelity and Period Aesthetics in Comics Adaptation by Matthew Bolton
• The Violence Museum: Aesthetic Wounds from Popeye to We3 by Jonathan Gaboury
• Two Texts on "Comics" from China, ca. 1932: "In Defense of 'Comic Strips'" by Lu Xun and "Comic Strip Novels" by Mao Dun by Sean Macdonald
• When Photographs Aren't Quite Enough: Reflections on Photography and Cartooning in Le Photographe by Nancy Pedri
• Review of Charles M. Schulz's My Life With Charlie Brown by Eric L. Berlatsky
• Review of History and Politics in French-Language Comics and Graphic Novels by Anne Cirella-Urrutia
• Surveying the Field: Recent Scholarship on Superheroines by Megan Condis
• Review of Caped Crusaders 101: Composition through Comic Books by Michael Dean
• Book Art: a review of Art of McSweeney's by Zara Dinnen
• Review of Theodor SEUSS Geisel by Donald E. Pease by Rebekah Fitzsimmons
• Review of Drawing France: French Comics and the Republic by Andréa L. Gilroy
• Review of José Alaniz' Komiks: Comic Art in Russia by Alison Mandaville
• Review of Teaching Visual Literacy by Clinton L. Robison
• Review of Toni Johnson-Woods' MANGA by Caleb Simmons
• Review of Animators Unearthed: A Guide to the Best of Contemporary Animation by Walton Wood

Volume 5, Number 4 (Spring 2011)

Alan Moore and Adaptation

• Editors' Introduction: Alan Moore and Adaptation by Rex Krueger and Katherine Shaeffer
• "Her Guardiner": Alan Moore's Swamp Thing as the Green Man by Colin Beineke
• The Saga of the Swamp Thing: Feminism and Race on the Comic Book Stand by Megan A.Condis
• Interplay Amidst the Strangeness and the Charm: Under-language and the Attenuation of Meaning in the Film Adaptation of Watchmen by Vyshali Manivannan
• The Culturally Constituted Gaze: Fetishizing the Feminine from Alan Moore and Dave Gibbons's Watchmen to Zack Snyder's Watchmen by Paul Petrovic
• A Man of Steel (by any other name):
  Adaptation and Continuity in Alan Moore's "Superman" by Jack Teiwes
• Review of Annalisa Di Liddo's Alan Moore: Comics as Performance, Fiction as Scalpel by Eric L. Berlatsky
• Review of Mechademia 4: War/Time by Ellen Grabiner
• Comics OR Philosophy? A Review of Comics as Philosophy (2005) by Mervi Miettinen
• Review of Art Spiegelman: Conversations by Laura Perna
• Review of Of Comics and Men: A Cultural History of American Comic Books by Matthew Pustz
• Review of The Anime Machine by Caleb Simmons
• Review of Graphic Women: Life Narrative and Contemporary Comics by Anastasia Ulanowicz

Volume 5, Number 3 (Fall 2010)

Convergences: Comics, Culture and Globalization

• Editors' Introduction Introduction: Convergences: Comics Culture and Globalizatioon by Tania Darlington and Aaron Kashtan
• Imagining a Multiplicity of Visual Rhetorical Traditions: Comics Lessons from Rhetoric Histories by Franny Howes
• Mullahs to Donkeys: Cartooning in Azerbaijan by Alison Mandaville
• Native Noir: Genre and the Politics of Indigenous Representation in Recent American Comics by Derek Parker Royal
• "Surrounded by Stillness and Quiet": Translation, Transparency, and Genre in Jason's Jernvognen by Joel Simundich
• Alan Moore, "Secondary Literacy," and the Modernism of the Graphic Novel by Phillip E. Wegner
• Review of Time Frames: Japanese Cinema and the Unfolding of History by Andréa L. Gilroy
• "SPLAT! CRACK!": Review of Secret Identity: The Fetish Art of Superman's Co-Creator Joe Shuster by Terry Harpold
• Review of The Power of Comics by Rex Krueger
• Review of Isadora Duncan: A Graphic Biography by Philip Nel
• Review of Looking for Calvin and Hobbes by Laura Perna
• Review of Teaching the Graphic Novel by Sarah N. Petrovic
• Review of Walter Benjamin's Archive: Images, Texts, Signs by Anastasia Ulanowicz

Volume 5, Number 2 (Spring 2010)

Anime and Utopia

• Introduction: Anime's Coming Communities by Phillip E. Wegner
• Contested Utopias: Ghost in the Shell, Cognitive Mapping, and the Desire for Communism by Matthew Stoddard
• The City Ascends: Laputa: Castle in the Sky as Critical Ecotopia by Anthony Lioi
• "An Unfinished Project that was Also a Missed Opportunity": Utopia and Alternate History in Hayao Miyazaki's My Neighbor Totoro by Phillip E. Wegner
• Possessed by and of: Up against Seeing: Princess Mononoke by John Leavey
• Digital Love: A Review of Cinephilia in the Age of Digital Reproduction: Film, Pleasure and Digital Culture, Vol.1 by Megan Condis
• Review of Otaku: Japan's Database Animals by Tania Darlington
• Review of God of Comics: Osamu Tezuka and the Creation of Post-World War II Manga by Tof Eklund

Volume 5, Number 1 (Winter 2010)

• Graphic Whiteness and the Lessons of Chris Ware's Jimmy Corrigan by Juda Bennett and Cassandra Jackson
• Watchmen: The Graphic Novel as Trauma Fiction by Brandy Ball Blake
• The Confluence of Heroism, Sissyhood, and Camp in The Rawhide Kid: Slap Leather by Frank Bramlett
• "To the Stables, Robin": Regenerating the Frontier in Frank Miller's Batman: The Dark Knight Returns by Theo Finigan
• Breaking the Frame: Political Acts of Body in the Televised Dark Knight by DT Kofoed
• "Mosaic Thresholds": Manifesting the Collection and Production of Comics in the works of Chris Ware by Aaron Mauro
• The Beautiful Ambiguity of Blankets: Comics Representation and Religious Art by Benjamin Stevens
• "Now you will pay a dreadful penalty!": A Review of I Shall Destroy All the Civilized Planets! and You Shall Die by Your Own Evil Creation! by Fletcher Hanks by Terry Harpold

 

Volume 4, Number 3 (Summer 2009)

ImageSexT: Intersections of Sex, Gender, and Sexuality

• Editor's Introductionby Lyndsay Brown and Tof Eklund
• The Queering of Haruhi Fujioka: Cross-Dressing, Camp and Commoner Culture in Ouran High School Host Club by Tania Darlington
• I for Integrity: (Inter)Subjectivities and Sidekicks in Alan Moore's V for Vendetta and Frank Miller's Batman: The Dark Knight Returns by Jordana Greenblatt
• Our Minds in the Gutters: Sexuality, History, and Reader Responsibility in George O'Connor's Graphic Novel Journey into Mohawk Country by Melissa L. Mellon
• Spectral Memory, Sexuality and Inversion: An Arthrological Study of Alison Bechdel's Fun Home: A Family Tragicomic by Adrielle Mitchell
• "Gimme Gimme This, Gimme Gimme That": Confused Sexualities and Genres in Cooper and Mayerson's Horror Hospital Unplugged by James Newlin
• The Joy of Plex: Erotic Arthrology, Tromplographic Intercourse, and "Interspecies Romances" in Howard Chaykin's American Flagg! by Daniel F. Yezbick
• Review of Jim Ottoviani and Dylan Meconis' Wire Mothers: Harry Harlow and the Science of Love by Star Hoffman

 

Volume 4, Number 2 (Winter 2008)

• Gotham (K)Nights: Utopianism, American Mythology, and Frank Miller’s Bat(-topia) by Graham J. Murphy
• Abstraction, Trauma, and the Orphan in Brian Michael Bendis and David Mack's Daredevil: Wake Up by Rex Krueger
• Race, Space, and New Right Editorial Cartoons in the United States by Patrick Lynn Rivers
• Reading Peanuts: the Secular and the Sacred by Stephen J. Lind
• Review of Reading Network Fiction by David Ciccoricco by Hanli Geyser
• Spaniards and Queers and Comics: Oh My!" A Review of Queer Transitions in Contemporary Spanish Culture by Gema Perez-Sanchez by Ellen Gil-Gomez
• Review of Shake Girl by Katherine Shaeffer
• Review of Jessica Abel and Matt Madden's Drawing Words and Writing Pictures by Tof Eklund
• From the Margins of the Margin: Seeing Educational Comics by Joseph Witek
• On the difficulty of characterizing what educational comics are about by John Van Hook
• Educational Comics: A Family Tree by Sol Davidson

 

Volume 4, Number 1 (Summer 2008)

The Comics Work of Neil Gaiman

• Introduction Philip Sandifer and Tof Eklund
• Fairy and Faerie: Uses of the Victorian in Neil Gaiman's and Charles Vess's Stardust Meredith Collins
• Through Every Mirror in the World: Lacan's Mirror Stage as Mutual Reference in the Works of Neil Gaiman and Tori Amos S. Alexander Reed
• Incomensurable Ontologies and the Return of the Witness in Neil Gaiman's 1602 James R. Fleming
• Get Gaiman?: PolyMorpheus Perversity in Works by and about Neil Gaiman Clay Smith
• Phantom Towers: Crypto-towers Haunting Dave McKean's Cages and Mirrormask Matthew Feltman
• 'Being' Decentered in Sandman: History, Dreams, Gender, and the 'Prince of Metaphor and Allusion' Rodney Sharkey
• 'Tales Worked in Blood and Bone:' Words and Images as Scalpel and Suture in Graphic Narratives Jon Saklofske
• The Sandman as Neomedieval Text Zuleyha Cetiner-Oktem
• Review of Sandman Papers: An Exploration of the Sandman Mythology , ed. Joe Sanders Aaron Kashtan

 

Volume 3, Number 3 (Summer 2007)

Comics and Childhood

• Introduction, Cathlena Martin & Charles Hatfield
• Learning from the Sequence: The Use of Comics in Instruction Gorg Mallia
• Riddles of Engagement: Narrative Play in the Children's Media and Comic Art of George Carlson Daniel Yezbick
• The Many Sides of Hank: Modifications, Adjustments, and Adaptations of Mark Twain's A Connecticut Yankee in King Arthur's Court Cari Keebaugh
• Crossovers and Changeovers: Reading Lynn Johnston through Margaret Mahy Sam Hester
• When Real Things Happen to Imaginary Tigers Philip Sandifer
• Imagetext in The Curious Incident of the Dog in the Night-time James Bucky Carter
• Opening-Up Aesop's Fables: Heteroglossia in Slade & Toni Morrison and Pascal Lemaître's 'The Ant or the Grasshopper?' Veronique Bragard
• Baby-Boom Children and Harvey Comics After the Code: A Neighborhood of Little Girls and Boys Kathy Merlock Jackson and Mark D. Arnold
• ImageSexT: A Roundtable on Lost Girls Philip Sandifer, Moderator
  • Down the Rabbit Hole Kenneth Kidd
  • A Magical Realism of the Fuck Tof Eklund
  • A Review and a Response Charles Hatfield
  • History, Pornography, and Lost Girls Meredith Collins
• "Four Conceptions of the Page," from Case, planche, récit: lire la bande dessinée Benoît Peeters, translated by Jesse Cohn
• Translator's Commentary on Peeters, "Four Conceptions of the Page" Jesse Cohn
• Review of Aesthetic Approaches to Children's Literature: An Introduction, by Maria Nikolajeva Joseph Thomas
• Review of Moomin: The Complete Tove Jansson Comic Strip. Vol. 1 Philip Nel
• Review of The Mysterious Flame of Queen Loana Thomas Stewart

 

Volume 3, Number 2 (Winter 2007)

"William Blake and Visual Culture"

• Introduction Roger Whitson
• Minute Particulars and Quantum Atoms: The Invisible, the Indivisible, and the Visualizable in William Blake and in Niels Bohr Arkady Plotnitsky
• Wordsworth Illustrates Blake ("All light is mute amid the gloom") Nelson Hilton
• William Blake and the Novel Space of Revolution Ron Broglio
• Blake's Lines: Seven Digressions Through Time and Space Esther Leslie
• Panelling Parallax: The Fearful Symmetry of Alan Moore and William Blake Roger Whitson
• Re-Visioning William Blake's The Four Zoas Donald Ault
• William Blake: On the Infinite Plane Matthew Ritchie
• Engraving the Void and Sketching Parallel Worlds: An Interview with Bryan Talbot Roger Whitson interviews Bryan Talbot
• Tygers of Wrath John Coulthart
• Mr. Blake's Company Joel Priddy

 

Volume 3, Number 1 (Summer 2006)

• Reading the Illustrations of Jules Verne's Voyages extraordinaires: The Example of Le Superbe Orénoque by Terry Harpold
• The Exotic Other Scripted: Identity and Metamorphosis in David Mack's Kabuki by Jim Casey and Stefan Hall
• Desire without closure in Jaime Hernandez' Love and Rockets by Esther Saxey
• Architectural Grounding in Miller's Elektra: Temporality and Spatiality in the Graphic Novel by Renée Tobe
• Imagining Terrorists before Sept. 11: Marvel's GI Joe Comic Books, 1982-1994 by Christopher Norlund
• Yorick, Don't Be A Hero: Productive Motion in Y: the Last Man by Lyndsay Brown
• Review of Drawn to Extremes: The Use and Abuse of Editorial Cartoons by Chris Lamb by Michael Mayne
• Review of Action Chicks: New Images of Tough Women in Popular Culture ed. Sherrie A. Inness by Ione Damasco
• Review of The Gospel According to Superheroes: Religion and Popular Culture ed. B.J. Oropeza by James Fleming
• Review of Fredric Wertham and the Critique of Mass Culture by Bart Beaty by Tof Eklund
• Review of Black Superheroes, Milestone Comics, and Their Fans by Jeffrey A. Brown by Lelac Almagor
• Review of Lost Girls by Alan Moore and Melinda Gebbie by Philip Sandifer
• Notes on Contributors

 

Volume 2, Number 2 (Winter 2006)

• Welcome by Stephanie Boluk
• Theological Compatibilism & Animation: Vessel of Wrath by Nathan Gilder
• Beyond the Balloon: Sound Effects and Background Text in Lynn Johnston's For Better or For Worse by Suzanne Covey
• Ecofeminist Themes in Paolo Eleuteri Serpieri's Morbus Gravis by Matthew Jones
• The Tides of History: Alan Moore's Historiographic Vision by Sean Carney
• Gothic Oedipus: subjectivity and Capitalism in Christopher Nolan's Batman Begins by Mark Fisher
• Review of Superman on the Couch: What Superheroes Really Tell Us about Ourselves and Our Society by James R. Fleming
• Review of Raeburn's Chris Ware by Emma Tinker
• "Old Comics and Current Technology Combine to Form New Hybrids", Review of 40 Years of The Amazing Spider-Man and 44 Years of Fantastic Four by James Bucky Carter
• "2005 Comic-Con Shines a Light on Eisner: A Look at Two Documentaries and a Tribute" Review of: 2005 International Comic-Con in San Diego by Vanessa Raney
• Notes on Contributors

 

Volume 2, Number 1 (Summer 2005)

• Welcome by Zach Whalen
• Memoriam for Bruce Hamilton by Donald Ault
• Paraliterary Immersion and the Puzzleform: An Essay in Social Restitution? by Alvaro Aleman
• Gendered Visions of Graphic Fiction: Adrian Tomine's Summer Blonde by Bianca Isaki
• Pound’s Poetry as IMAGE TEXT by James McDougall
• “I, too, was a Teenage Marvel Zombie.” Review of Editor Sean Howe's Give our Regards to the Atomsmashers!: Writers on Comics by Travis Fristoe
• Review of Geoff Klock's How to Read Superhero Comics and Why by James R. Fleming
• Review of: Charles Burns’ Black Hole by Vanessa Raney
• Notes on Contributors
  

Volume 1, Number 2 (Winter 2005)

• Preludium: Crumb, Barks, and Noomin: Re-Considering the Aesthetics of Underground Comics by Donald Ault.
• Memoriam for Will Eisner by Charles Hatfield.
• Still asking, "Are We Having Fun Yet?" by Bill Griffith.
• Wimmin and Comix by Diane Noomin.
• Comics on the Main Street of Culture by Eddie Campbell.
• London Khorographic by Julian Wolfreys.
• Alan Moore and the Graphic Novel: Confronting the Fourth Dimension by Bucky Carter and Mark Bernard.
• Webcomics: The Influence and Continuation of the Comix Revolution by Sean Fenty, Trena Houp, and Laurie Taylor.
• Review of Comic Strips and Consumer Culture, 1890-1945. By Ian Gordon. by Joshua Paddison.
• Review of Leaving Springfield: The Simpsons and the Possibility of Oppositional Culture. Ed. John Alberti. by Cathlena Martin.
• Review of Everything is Illuminated by Jonathan Safran Foer. by Sudha Shastri.
• Review of The Rubber Frame: Essays in Culture and Comics. Ed. D.B. Dowd and M. Todd Hignite. by Tof Eklund.
• Notes on Contributors

Volume 1 Number 1 (Spring 2004)

• Welcome by Donald Ault.
• Presentation by Will Eisner.
• Presentation by Daniel Clowes, Terry Zwigoff, and Isaac Cates.
• Q & A with Dan Clowes and Terry Zwigoff.
• Presentation by Joe Sacco.
• Presentation by Robert Williams.
• Presentation by Kim Deitch.
• The Presence of the Artist: Kim Deitch’s Boulevard of Broken Dreams vis-à-vis the Animated Cartoon by Charles Hatfield.
• Imagetext, or, Why Art Spiegelman Doesn't Draw Comics by Joseph Witek.
• Jewish Fathers and Sons in Spiegelman's Maus and Roth's Patrimony by Andrew Gordon.
• Racial Imagery, Racism, Individualism, and Underground Comix by Leonard Rifas.
• Compromised Divisions: Thresholds in Comic Books and Video Games by Laurie N. Taylor.
• David Boring: Loose Threads and Five Card Nancy by Isaac Cates.
• Imagetextuality: “Cutting Up” Again, Part III by Donald Ault.
• Notes on Contributors

Exhibits

Exhibit 1 (Fall 2004)

This is an online companion to an exhibit held by the University of Florida Library. The exhibit, "'Help Is On The Way!' Comic Books and Superheroes in Special Collections," features comics selected from the Baldwin Library of Historical Children's Literature. The focus is mainly on popular superheroes/comic books that appeared in DC comics published during the so-called "Silver Age" (roughly from the late 50s through the early 70s).

Our online collection features scans of images in this collection, including covers and page content, organized by title.