The Journal of the Comics Studies Society


The Journal of the Comics Studies Society

  • Volume 2 Issue 1
    Stacks Image 51

    Walt Kelly’s Bridgeport
    Brian Cremins

    “If She Be Worthy”: The Illusion of Change in American Superhero Comics
    Zak Roman and Ryan Lizardi

    Rhyming Events: Contested Narratives and “Cli-Fi” in Richard McGuire’s Here
    Philip Smith

    All There Is: Drawings, Diagrams, and Short Essays on Kevin Huizenga’s Ganges: The River at Night
    Andrew White

    From the Classroom
    Comics Skool USA: Selections
    Kevin Huizenga

    From the Archives
    The Petty-Dunn Center for Social Cartooning at Syracuse University
    David L. Prince

    From the Field
    The Way We Get By: Cara Bean

    Book Reviews

    The Comics of Hergé: When the Lines Are Not So Clear. Edited by Joe Sutliff Sanders.
    Reviewed by Lukas Etter

    Captain Marvel and the Art of Nostalgia. By Brian Cremins.
    Reviewed by Keith McCleary

    Panel to the Screen: Style, American Film, and Comic Books During the Blockbuster Era. By Drew Morton.
    Reviewed by Lars Stoltzfus-Brown
  • Volume 1 Issue 3
    Stacks Image 42
    Overwhelmed by a Cloak of Darkness: Steve Ditko’s Dark Karma and Cosmic inner space
    Zack Kruse

    “Good Times are Ahead. Or Behind. Because They Sure Aren’t Here”: Garfield and Negative Space
    Michelle Ann Abate

    Cut-Up and Redrawn: Reading Charles Burns’s Swipe Files
    Benoît Crucifix

    Nobody’s Home: Neil Gaiman’s The Graveyard Book and Its Visual Adaptations
    Alison Halsall

    Asexuality and Its Discontents: Making the ‘Invisible Orientation’ Visible in Comics
    Nicholas E. Miller

    From the Archives
    The Edwina Dumm Collection

    Book Reviews

    What Happens When Nothing Happens: Boredom and Everyday Life in Contemporary Comics. By Greice Schneider.
    Reviewed by Margaret C. Flinn

    “How Come Boys Get to Keep Their Noses?”: Women and Jewish American Identity in Contemporary Graphic Memoirs. By Tahneer Oksman.
    Reviewed by Margaret Galvan

    Reading Lessons in Seeing: Mirrors, Masks, and Mazes in the Autobiographical Graphic Novel. By Michael A. Chaney.
    Reviewed by Brian Cremins
  • Volume 1 Issue 2
    Stacks Image 21
    Gilded Age Cartoons: Artistic Antecedents and Descendants
    Julia diLiberti

    After you, my dear fake Frenchmen: Frederick Burr Opper’s
    Alphonse and Gaston—and Leon!
    Mark McKinney

    “The Man Called Lucas”: Luke Cage, Mass Incarceration, and the Stigma of Black Criminality
    Tracy L. Bealer

    “No time to rest, vent or mourn”: Medical Intern Narratives and Graphic Medicine
    Sathyaraj Venkatesan & Anu Mary Peter

    Teaching Hypercomics: Comics as Information Organization in Digital Pegagogy
    Damian Duffy

    On Comicity
    Colin Beineke

    Book Reviews

    The Greatest Comic Book of All Time: Symbolic Capital and the Field of American Comic Books. By Bart Beaty and Benjamin Woo.
    Reviewed by
    Ben Saunders

    Arresting Development: Comics at the Boundaries of Literature. By Christopher Pizzino.
    Reviewed by Louie Dean Valencia-García

    Disaster Drawn: Visual Witness, Comics, and Documentary Form. By Hillary L. Chute.
    Reviewed by
    Robyn Warhol.
  • Volume 1 Issue 1
    Stacks Image 11

    Walt Kelly’s Pogo and the Politics of De/Re-racialization in Midcentury Comics
    Kerry Soper

    A Contract with God, The First Kingdom, and the ‘Graphic Novel’: The Will Eisner / Jack Katz Letters
    Andrew J. Kunka

    The Political is Personal: Dual Domesticity in
    Dykes to Watch Out For
    Susan Kirtley

    Roundtable: Comics and Methodology
    Blair Davis, Bart Beaty, Scott Bukatman, Henry Jenkins, Benjamin Woo

    From the Archives
    Before the Underground: Jay Lynch, Art Spiegelman, Skip Williamson and the Fanzine Culture of the Early 1960s

    From the Field
    Comics Professionals on Comics Studies

    Book Reviews
    The New Mutants: Superheroes and the Radical Imagination of American Comics. By Ramzi Fawaz.
    Reviewed by
    Marc Singer

    Michael Tisserand, Krazy: George Herriman, A Life in Black and White.
    Reviewed by Christopher Jeansonne
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