The fourth volume in the immensely popular Field Guide series, The Rose Metal Press Field Guide to Graphic Literature gives readers unprecedented insight into the techniques of 28 of today's most innovative creators of poetry comics, graphic narratives, and image-text hybrids. With original craft essays, corresponding exercises, and full-color examples of their work, each contributor offers reflection and instruction informed by their own methods and processes. From mark-making and page composition to deeper renderings of place, character, and voice, this much-needed guide to the field illuminates and demystifies the process of creating image+text work. Editors Kelcey Ervick and Tom Hart also provide a historical introduction that links today's graphic literature to visual storytelling of the past and helpful pedagogical resources to round out the volume. This is a book for writers who want to make graphic narratives and literary collage, illustrators and comics artists exploring new approaches to storytelling, teachers encouraging their students to work with image and text, and anyone curious about what one contributor calls comics magic.

FEATURING ESSAYS AND GRAPHIC LITERATURE WORK FROM: Justine Mara Andersen, Oliver Baez Bendorf, Leonie Brialey, Thi Bui, Sharon Lee De La Cruz, David Dodd Lee, Arwen Donahue, Trinidad Escobar, Naoko Fujimoto, Marnie Galloway, Lauren Haldeman, Tom Hart, Mira Jacob, Keith Knight, Aidan Koch, Matt Madden, Mita Mahato, Deborah A. Miranda, Josh Neufeld, Dustin Parsons, Zeke Peña, Nick Francis Potter, Kristen Radtke, Scott Roberts, Alexander Rothman, Eleni Sikelianos, Bianca Stone, and Lawrence Sutin

Celebrate America's zaniest and most subversive magazine in 26 essays and comix from all-star contributors, including Roz Chast, Jonathan Lethem, and Grady Hendrix.

Before SNL and the wise-guy sarcasm of Letterman and Colbert, before The Simpsons and online memes, there was . . .  MAD.

A mainstay of countless American childhoods, MAD magazine exploded onto the scene in the 1950s and gleefully thumbed its nose at all the postwar pieties. MAD became the zaniest, most subversive satire magazine ever to be sold on America's newsstands, anticipating the spirit of underground comix and 'zines and influencing humor writing in movies, television, and the internet to this day.

Edited by David Mikics, The MAD Files celebrates the magazine's impact and the legacy of the Usual Gang of Idiots who transformed puerile punchlines and merciless mockery into an art form. 26 essays and comics present a varied, perceptive, and often very funny account of MAD's significance, ranging from the cultural to the aesthetic to the personal.

• Art Spiegelman reflects on how he couldn't learn much about America from my refugee immigrant parents--but I learned all about it from MAD

• Roz Chast remembers how the magazine was love at first sight. . . . It was one of my first inklings that there were other people out there who found the world as ridiculous as I did.

• David Hajdu and Grady Hendrix zero in on MAD's hilarious movie spoofs

• Liel Leibovitz delves into the Jewishness behind the magazine's humor

• and Rachel Shteir amplifies the often unsung contributions of MAD's women artists.

Several essays are admiring profiles of the individual creators that made MAD what it was: Mort Drucker, Harvey Kurtzman, Al Jaffee, Antonio Prohias, and Will Elder. For longtime fans and new readers alike, The MAD Files is an indispensable guide to America's greatest satire magazine.

Learn how to create manga from Hirohiko Araki--creator of Jojo's Bizarre Adventure and a master of the medium!

Hirohiko Araki is the author of one of the longest-running and most beloved manga of all time, the epic fan favorite JoJo's Bizarre Adventure. According to him, manga is the ultimate synthesis of all forms of art, and in this book he reveals the secrets behind how to make the magic happen using concrete examples from his own work. Read all about his golden ratio for drawing, the character histories he draws up for each of the characters he creates, his methodology for storytelling inspired by the great Ernest Hemingway, and many more aspects of manga creation in this how-to guide penned by an industry legend.

Winner of the 2022 Eisner Award for Best Comics-Related Book

A New York Times Book Review Editor's Choice

The first-ever full reckoning with Marvel Comics' interconnected, half-million-page story, a revelatory guide to the epic of epics--and to the past sixty years of American culture--from a beloved authority on the subject who read all 27,000+ Marvel superhero comics and lived to tell the tale

Thorough, fascinating, and joyfully executed, All of the Marvels is essential reading for fans and scholars alike. --G. Willow Wilson (Ms. Marvel)

A revelation, a tour both electrifying in its weird charisma and replenishing in its loving specificity . . . a testament, and a tribute. --Jonathan Lethem

Brilliant, eccentric, moving and wholly wonderful. . . . Wolk proves to be the perfect guide for this type of adventure: nimble, learned, funny and sincere. . . . All of the Marvels is magnificently marvelous. Wolk's work will invite many more alliterative superlatives. It deserves them all. --Junot Díaz, New York Times Book Review

The superhero comic books that Marvel Comics has published since 1961are the longest continuous, self-contained work of fiction ever created. Thousands of writers and artists have contributed to it. Everyone recognizes its protagonists. Eighteen of the hundred highest-grossing movies of all time are based on parts of it. And Douglas Wolk has read the whole thing.

Wolk sees both into the ever-expanding story and through it, as a prism through which to view the landscape of American culture. In his hands, the mammoth Marvel narrative becomes a fun-house-mirror history of the past sixty years--a boisterous, tragicomic, magnificently filigreed epic about power and ethics, set in a world transformed by wonders.

A huge treat for Marvel fans, this book is also a revelation for readers who don't know Doctor Strange from Doctor Doom. Here, truly, are all of the marvels.

How superhero narratives in the margins of the mainstream tell innovative, feminist stories.

It's no secret that superhero comics and their related media perpetuate a model of a straight, white, male hero at the expense of representing women and other minorities, but other narratives exist. Searching for Feminist Superheroes recognizes that female-led superhero comics, with diverse casts of characters and inclusive storytelling, exist on the margins of the mainstream superhero genre. But rather than focusing on these stories as marginalized, Sam Langsdale's work on heroes such as Spider-Woman, America Chavez, and Ironheart locates the margins as a site of innovation and productivity, which have enabled the creation of feminist superhero texts.

Employing feminist and intersectional philosophies in an analysis of these comics, Langsdale suggests that feminist superheroes have the potential to contribute to a social imagination that is crucial in working toward a more just world. At a time when US popular culture continues to manifest as a battleground between oppressive and progressive social norms, Searching for Feminist Superheroes demonstrates that a fight for a better world is worthwhile.

Explores the history of Batgirl from her groundbreaking comics debut to her disappointing live-action appearances and beyond in an appealing, comprehensive, and enjoyable tour of Batgirl's many iterations. (Booklist)
For over sixty years, every woman who took on the mantle of Batgirl has been a powerful, independent heroine, each belying the sidekick status the name implies and connecting with a unique subset of marginalized fans. Betty Kane, the original Bat-Girl, was a hero for young girls at a time when the genre was leaving them behind. Barbara Gordon embodied the values of the women's liberation movement and became a powerful figure in disability representation. Cassandra Cain was a woman of color in the traditionally monochromatic DC Comics universe. Stephanie Brown was a perpetual outsider, a voice for those who never belonged but kept trying regardless.
Batgirl and Beyond: The Dynamic History of the Heroines of Gotham City explores the evolving role of the Batgirls across the turbulent history of the superhero industry, as well as the importance of their fans, who pushed the genre forward to become more diverse and inclusive. Tim Hanley traces how each Batgirl dealt with a litany of mistreatment from a publisher who didn't understand their distinct appeal and didn't care to learn. From erasure to benchings to grievous injury and even death, the Batgirls have been subject to the genre's worst excesses--and they have not fared much better on television or in movies. However, Batgirl always comes back stronger and more resilient, and has remained a staple in the DC universe for decades. A must-read for fans new and old, Batgirl and Beyond is a tribute to an iconic character and a call to action for media to better embrace and represent female heroes.

The book has a rambunctious humor that complements its polemical spirit . . . As Disney has evolved from an animation studio into a corporate behemoth--with theme parks, a cruise line, and content streaming around the world--How to Read Donald Duck and its charge of cultural imperialism rings all the truer--The New Yorker

First published in 1971, How to Read Donald Duck shocked readers by revealing how capitalist ideology operates in our most beloved cartoons. Having survived bonfires, impounding and being dumped into the ocean by the Chilean army, this controversial book is once again back on our shelves.

Written and published during the blossoming of Salvador Allende's revolutionary socialism in Chile, the book examines how Disney products reflect capitalist ideology, and are active agents working in this ideology's favor. Focusing on the hapless mice and ducks of Disney, curiously parentless, marginalized and always short of cash, Ariel Dorfman and Armand Mattelart expose how these characters established hegemonic ideas about capital, race, gender and the relationship between developed countries and the Third World.

A devastating indictment of a media giant, a document of twentieth-century political upheaval, and a reminder of the dark undercurrent of pop culture, How to Read Donald Duck is once again available, together with a new introduction by Ariel Dorfman in which he writes.

It is that joy in liberation, that alegria, that spirit of resistance, that I wish to share with America, as the book that Pinochet's soldiers could not liquidate or Disney's lawyers stop from entering the United States finally finds its way to its new home, deep into the land that invented Donald Duck and Donald Trump. Is the same country that gave me such a warm welcome as a child, and perhaps may now equally greet with open arms this critique of oppression and it certainty that we don't have to leave the world as it was when we first encountered it.

NATIONAL JEWISH BOOK AWARD WINNER - Visually and emotionally rich, MetaMaus is as groundbreaking as the masterpiece whose creation it reveals.

In the pages of MetaMaus, Art Spiegelman re-enters the Pulitzer prize-winning Maus, the modern classic that has altered how we see literature, comics, and the Holocaust ever since it was first published twenty-five years ago.

He probes the questions that Maus most often evokes--Why the Holocaust? Why mice? Why comics?--and gives us a new and essential work about the creative process.

Compelling and intimate, MetaMaus is poised to become a classic in its own right.

Since the original TASCHEN edition of Manga Design, Japan's comic phenomenon has produced yet more captivating characters and a whole host of hot new talents. This revised and updated edition delivers the lowdown on the latest and the greatest makers and shapers of the manga scene. Through an A-Z directory, we discover the superstars--both human and fictional--of what is now a vast global industry, inspiring advertisers, filmmakers, creative professionals, millions of avid fans, not to mention an entire cosplay lifestyle, in which manga devotees in elaborate costume meet to celebrate the existence of their characters at huge conventions from Los Angeles to Leipzig. From classic maestros--like Osamu Tezuka (creator of Astro Boy) and Katsuhiro Otomo (creator of Akira)--to newcomers such as Hajime Isayama, each entry includes biographical and bibliographical information, descriptions of main characters, and, of course, plenty of examples of the artist's finest manga spreads and covers.

Shaolin Brew: Race, Comics, and the Evolution of the Superhero looks at how the comic book industry developed from a white perspective and how minority characters were and are viewed through a stereotypical white gaze. Further, the book explores how voices of color have launched a shift in the industry, taking nonwhite characters who were originally viewed through a white lens and situating them outside the framework of whiteness. The financial success of Blaxploitation and Kung Fu films in the early 1970s led to major comics publishers creating, for the first time, Black and Asian superhero characters who headlined their own comics. The introduction of Black and Asian main characters, who previously only served as guest stars or sidekicks, launched a new kind of engagement between comics companies and minority characters and readers. However, scripted as they were by white writers, these characters were mired in stereotypes.

Author Troy D. Smith focuses on Asian, Black, and Latinx representation in the comic industry and how it has evolved over the years. Smith explores topics that include Orientalism, whitewashing, Black respectability politics, the model minority myth, and political controversies facing fandoms. In particular, Smith examines how fans take the superheroes they grew up with--such as Luke Cage, Black Lightning, and Shang Chi--and turn them into the characters they wished they had as children. Shaolin Brew delves into the efforts of fans of color who urged creators to make these characters more realistic. This refining process increased as more writers and artists of color broke into the industry, bringing their own perspectives to the characters. As many of these characters transitioned from page to screen, a new generation of writers, artists, and readers have cooperated to evolve one-dimensional stereotypes into multifaceted, dynamic heroes.

Everything that you need to know about reading, making, and understanding comics can be found in a single Nancy strip by Ernie Bushmiller from August 8, 1959. Paul Karasik and Mark Newgarden's groundbreaking work How to Read Nancy ingeniously isolates the separate building blocks of the language of comics through the deconstruction of a single strip. No other book on comics has taken such a simple yet methodical approach to laying bare how the comics medium really works. No other book of any kind has taken a single work by any artist and minutely (and entertainingly) pulled it apart like this. How to Read Nancy is a completely new approach towards deep-reading art. In addition, How to Read Nancy is a thoroughly researched history of how comics are made, from their creation at the drawing board to their ultimate destination at the bookstore. Textbook, art book, monogram, dissection, How to Read Nancy is a game changer in understanding how the simplest drawings grab us and never leave. Perfect for students, academics, scholars, and casual fans.

This work dissects the origin and growth of superhero comic books, their major influences, and the creators behind them. It demonstrates how Batman, Wonder Woman, Captain America and many more stand as time capsules of their eras, rising and falling with societal changes, and reflecting an amalgam of influences. The book covers in detail the iconic superhero comic book creators and their unique contributions in their quest for realism, including Julius Schwartz and the science-fiction origins of superheroes; the collaborative design of the Marvel Universe by Jack Kirby, Stan Lee, and Steve Ditko; Jim Starlin's incorporation of the death of superheroes in comic books; John Byrne and the revitalization of superheroes in the modern age; and Alan Moore's deconstruction of superheroes.

How twenty-first-century Latin American comics transgress social, political, and cultural frontiers.

Given comics' ability to cross borders, Latin American creators have used the form to transgress the political, social, spatial, and cultural borders that shape the region. A groundbreaking and comprehensive study of twenty-first-century Latin American comics, Latin American Comics in the Twenty-First Century documents how these works move beyond national boundaries and explores new aspects of the form, its subjects, and its creators.

Latin American comics production is arguably more interconnected and more networked across national borders than ever before. Analyzing works from Argentina, Chile, Colombia, Mexico, Peru, and Uruguay, James Scorer organizes his study around forms of transgression, such as transnationalism, border crossings, transfeminisms, punk bodies, and encounters in the neoliberal city. Scorer examines the feminist comics collective Chicks on Comics; the DIY comics zine world; nonfiction and journalistic comics; contagion and zombie narratives; and more. Drawing from archives across the United States, Europe, and Latin America, Latin American Comics in the Twenty-First Century posits that these comics produce micronarratives of everyday life that speak to sites of social struggle shared across nation states.

A history of American Western genre comics and how they interacted with contemporaneous political and popular culture.

Redrawing the Western charts a history of the Western genre in American comics from the late 1800s through the 1970s and beyond. Encompassing the core years in which the genre was forged and prospered in a range of popular media, Grady engages with several key historical timeframes, from the origins of the Western in the nineteenth-century illustrated press; through fin de siècle anxieties with the closing of the frontier, and the centrality of cowboy adventure across the interwar, postwar, and high Cold War years; to the revisions of the genre in the wake of the Vietnam War and the Western's continued vitality in contemporary comics storytelling.

In its study of stories about vengeance, conquest, and justice on the contested frontier, Redrawing the Western highlights how the simplistic conflicts common in Western adventure comics could disguise highly political undercurrents, providing young readers with new ways to think about the contemporaneous social and political milieu. Besides tracing the history, forms, and politics of American Western comics in and around the twentieth century, William Grady offers an original reassessment of the important role of comics in the development of the Western genre, ranking them alongside popular fiction and film in the process.

Lost Literacies is the first full-length study of US comic strips from the period prior to the rise of Sunday newspaper comics. Where current histories assume that nineteenth-century US comics consisted solely of single-panel political cartoons or simple proto-comics, Lost Literacies introduces readers to an ambitious group of artists and editors who were intent on experimenting with the storytelling possibilities of the sequential strip, resulting in playful comics whose existence upends prevailing narratives about the evolution of comic strips. Over the course of the nineteenth century, figures such as artist Frank Bellew and editor T. W. Strong introduced sequential comic strips into humor magazines and precursors to graphic novels known as graphic albums. These early works reached audiences in the tens of thousands. Their influences ranged from Walt Whitman's poetry to Mark Twain's travel writings to the bawdy stage comedies of the Bowery Theatre. Most importantly, they featured new approaches to graphic storytelling that went far beyond the speech bubbles and panel grids familiar to us today. As readers of Lost Literacies will see, these little-known early US comic strips rival even the most innovative modern comics for their diversity and ambition.

In Graphic Medicine, comics artists and scholars of life writing, literature, and comics explore the lived experience of illness and disability through original texts, images, and the dynamic interplay between the two. The essays and autobiographical comics in this collection respond to the medical humanities' call for different perceptions and representations of illness and disability than those found in conventional medical discourse. The collection expands and troubles our understanding of the relationships between patients and doctors, nurses, social workers, caregivers, and family members, considering such encounters in terms of cultural context, language, gender, class, and ethnicity. By treating illness and disability as an experience of fundamentally changed living, rather than a separate narrative episode organized by treatment, recovery, and a return to normal life, Graphic Medicine asks what it means to give and receive care.

Comics by Safdar Ahmed, John Miers, and Suzy Becker, and illustrated essays by Nancy K. Miller and Jared Gardner show how life writing about illness and disability in comics offers new ways of perceiving the temporality of caring and living. Crystal Yin Lie and Julia Watson demonstrate how use of the page through panels, collages, and borderless images can draw the reader, as a mute witness, into contact with the body as a site where intergenerational trauma is registered and expressed. Kiene Brillenburg Wurth examines how microscripts productively extend graphic medicine beyond comics to outsider art. JoAnn Purcell and Susan Squier display how comics artists respond to and reflect upon their caring relationship with those diagnosed with an intellectual disability. And Erin La Cour interrogates especially difficult representations of relationality and care.

During the past decade, graphic medicine comics have proliferated--an outpouring accelerated recently by the greatest health crisis in a century. Edited by Erin La Cour and Anna Poletti, Graphic Medicine helps us recognize that however unpleasant or complicated it may be, interacting with such stories offers fresh insights, suggests new forms of acceptance, and enhances our abilities to speak to others about the experience of illness and disability.

Growing Up in the Gutter offers new understandings of contemporary graphic coming-of-age narratives by looking at the genre's growth in stories by and for young BIPOC, LGBTQ+, and diasporic readers. Through a careful examination of the genre, Ricardo Quintana-Vallejo analyzes the complex identity formation of first- and subsequent-generation migrant protagonists in globalized rural and urban environments and dissects the implications that these diasporic formative processes have for a growing and popular genre.

While the most traditional iteration of the bildungsroman--the coming-of-age story--follows middle-class male heroes who forge their identities in a process of complex introspection, contemporary graphic coming-of-age narratives represent formative processes that fit into, resist, or even disregard narratives of socialization under capitalism, of citizenship, and of nationhood.

Quintana-Vallejo delves into several important themes: how the coming-of-age genre can be used to study adulthood, how displacement and international or global heritage are fundamental experiences, how multidiasporic approaches foreground lived experiences, and how queerness opens narratives of development to the study of adulthood as fundamentally diverse and nonconforming to social norms. Quintana-Vallejo shows how openness enables belonging among chosen families and, perhaps most importantly, freedom to disidentify. And, finally, how contemporary authors writing for the instruction of BIPOC children (and children otherwise affected by diaspora and displacement) use the didactic power of the coming-of-age genre, combined with the hybrid language of graphic narratives, to teach difficult topics in accessible ways.

Jews created the first comic book, the first graphic novel, the first comic book convention, the first comic book specialty store, and they helped create the underground comics (or Comix) movement of the late '60s and early '70s. Many of the creators of the most famous comic books, such as Superman, Spiderman, X-Men, and Batman, as well as the founders of MAD magazine, were Jewish. From Krakow to Krypton: Jews and Comic Books tells their stories and demonstrates how they brought a uniquely Jewish perspective to their work and to the comics industry as a whole. Over-sized and in full color, From Krakow to Krypton is filled with sidebars, cartoon bubbles, comic book graphics, original design sketches, and photographs. It is a visually stunning and exhilarating history.

While many genres offer the potential for theological reflection and exploration of religious issues, the nature of horror provides unique ways to wrestle with these questions. Since EC Comics of the 1950s, horror comics have performed theological work in ways that are sometimes obvious, sometimes subtle, but frequently surprising and provocative.

This collection brings together essays covering the history of horror comics, from the 1950s to the present, with a focus on their engagement with religious and theological issues. Essays explore topics such as the morality of EC Comics, cosmic indifference in the works of Junji Ito, the reincarnated demons of the web-comic The Devil is a Handsome Man, religion and racial horror in comic voodoo, and much more.

Alongside superheroes, supervillains, too, have become one of today's most popular and globally recognizable figures. However, it is not merely their popularity that marks their significance. Supervillains are also central to superhero storytelling to the extent that the superhero genre cannot survive without supervillains.

Bringing together different approaches and critical perspectives across disciplines, author Nao Tomabechi troubles overly hero-centered works in comics studies to reconsider the modern American myths of the superheroes. Considering the likes of Lex Luthor, the Joker, Catwoman, Harley Quinn, Loki, Venom, and more, Supervillians explores themes such as gender and sexuality, disability, and many forms of Otherness in relation to the notion of evil as it appears in the superhero genre. The book investigates how supervillains uphold and, at times, trouble dominant ideals expressed by the heroism of our superheroes.