The little black-and-white cartoon figure of 'Tintin' first appeared in Belgium in 1929 in a Catholic newspaper where his creator, Herge, worked. Harry Thompson looks at the story of Herge, of 'Tintin' and his origins, and beyond to when President de Gaulle could call 'Tintin' 'his only rival'.

Contributions by Kenneth Baker, Jaqueline Berndt, Albert Boime, John Carlin, Benoit Crucifix, David Deitcher, Michael Dooley, Damian Duffy, M. C. Gaines, Paul Gravett, Diana Green, Karen Green, Doug Harvey, Charles Hatfield, M. Thomas Inge, Leslie Jones, Denis Kitchen, Jonah Kinigstein, John A. Lent, Dwayne McDuffie, Andrei Molotiu, Alvaro de Moya, Kim A. Munson, Cullen Murphy, Gary Panter, Trina Robbins, Antoine Sausverd, Rob Salkowitz, Art Spiegelman, Scott Timberg, Carol Tyler, Brian Walker, Alexi Worth, Joe Wos, and Craig Yoe Through essays and interviews, Kim A. Munson's anthology tells the story of the over-thirty-year history of the artists, art critics, collectors, curators, journalists, and academics who championed the serious study of comics, the trends and controversies that produced institutional interest in comics, and the wax and wane and then return of comic art in museums. Audiences have enjoyed displays of comic art in museums as early as 1930. In the mid-1960s, after a period when most representational and commercial art was shunned, comic art began a gradual return to art museums as curators responded to the appropriation of comics characters and iconography by such famous pop artists as Andy Warhol and Roy Lichtenstein. From the first-known exhibit to show comics in art historical context in 1942 to the evolution of manga exhibitions in Japan, this volume regards exhibitions both in the United States and internationally. With over eighty images and thoughtful essays by Denis Kitchen, Brian Walker, Andrei Molotiu, Paul Gravett, Art Spiegelman, Trina Robbins, and Charles Hatfield, among others, this anthology shows how exhibitions expanded the public dialogue about comic art and our expectation of "good art"-displaying how dedicated artists, collectors, fans, and curators advanced comics from a frequently censored low-art medium to a respected art form celebrated worldwide.

This is an outline of two hundred years of British caricature. It begins in the 1740s with a portrayal of Walpole's alleged bottom flagrantly exhibited at the centre of royal patronage. In the 1780s a 'Golden Age' of satire was dominated by coarse images of Fox, Pitt, George III, Lord North and Prince George. The mid-1800s witnessed an evolution in manners, which made the bawdy humour of 'The Golden Age' less popular. The first cartoons were far more sophisticated and restrained by Victorian propriety. The period also witnessed numerous examples of individuals menacing the world. In the early 1800s audiences witnessed Pitt and Napoleon carving-up the great globe itself. Their insatiable appetites appeared to menace the world. The notion of menacing the world was certainly a theme that applied to the 1900s. The rise of the dictators in the 1920s and 1930s saw the eventual collusion of Hitler and Stalin crush Poland in 1939. Perhaps the least menacing of the triumvirate of dictators was Mussolini, who on fearing exclusion from the spoils of war, declared war only when he thought it was safe to do so. Chosen for their impression and their attention to detail, these vignettes represent the satirists' view of those characters and/or events that forged opinions and shaped the outcome of British (and World) history.

A History of Women Cartoonists is the first book to offer a truly global survey and analysis of the great women cartoonists of the last decades - a welcome addition to the history of comics and cartoonists. It fill a huge hole and expands our understanding of art and women studies Mira Falardeau looks at the work of great women artists around the world and their experiences, mainly difficult, to reveal advice and positive encouragement for future cartoonists. She has collected illustrations and cartoons and artwork from many of the very best and important artists and illustrators. She asks serious questions about why there have been so few women cartoonists in the field of visual humour and if the digital age is opening more opportunities for female humorists.

Contributions by Joshua T. Anderson, Chad A. Barbour, Susan Bernardin, Mike Borkent, Jeremy M. Carnes, Philip Cass, Jordan Clapper, James J. Donahue, Dennin Ellis, Jessica Fontaine, Jonathan Ford, Lee Francis IV, Enrique Garcia, Javier Garcia Liendo, Brenna Clarke Gray, Brian Montes, Arij Ouweneel, Kevin Patrick, Candida Rifkind, Jessica Rutherford, and Jorge Santos Cultural works by and about Indigenous identities, histories, and experiences circulate far and wide. However, not all films, animation, television shows, and comic books lead to a nuanced understanding of Indigenous realities. Acclaimed comics scholar Frederick Luis Aldama shines light on how mainstream comics have clumsily distilled and reconstructed Indigenous identities and experiences. He and contributors emphasize how Indigenous comic artists are themselves clearing new visual-verbal narrative spaces for articulating more complex histories, cultures, experiences, and narratives of self. To that end, Aldama brings together scholarship that explores both the representation and misrepresentation of Indigenous subjects and experiences as well as research that analyzes and highlights the extraordinary work of Indigenous comic artists. Among others, the book examines Daniel Parada's Zotz, Puerto Rican comics Turey el Taino and La Borinquena, and Moonshot: The Indigenous Comics Collection. This volume's wide-armed embrace of comics by and about Indigenous peoples of the Americas and Australasia is a first step to understanding how the histories of colonial and imperial domination connect the violent wounds that still haunt across continents. Aldama and contributors resound this message: Indigeneity in comics is an important, powerful force within our visual-verbal narrative arts writ large.

Since his murder 50 years ago in Bolivia, Ernesto "Che" Guevara has become a universally known revolutionary icon and political figure whose image is among the most recognizable in the world. This dramatic and extensively researched book breathes new life into his story, portraying his struggle through the medium of the underground political comic - one of the most prominent countercultural art forms since the 1960s. Spain Rodriguez's powerful artwork illuminates Che's life and the experiences that shaped him, from his motorcycle journey through Latin America, his rise to prominence as a leader in Fidel Castro's revolutionary movement, his travels in Africa, his involvement in the insurgency that led to his death in Bolivia, and his extraordinary legacy.

The perfect book for any budding manga artist! Learn to draw manga from scratch, and get a crash course in creating your own characters, worlds and stories with the help of this guided sketchbook. Get started with easy step-by-step instructions for drawing manga facial features and bodies. Next, put your new-found drawing skills into practice, with guidance on developing a scene and planning your storyline. There's plenty of open space in each section to fill with your sketches, along with advice on the best materials to use, and expert tips on perfecting your technique throughout. In no time at all, you will gain the skills and confidence needed to start creating your very own manga.