Winner, Charles Hatfield Book Prize, Comic Studies Society, 2020 A CHOICE Outstanding Academic Title, 2019 The history of America's civil rights movement is marked by narratives that we hear retold again and again. This has relegated many key figures and turning points to the margins, but graphic novels and graphic memoirs present an opportunity to push against the consensus and create a more complete history. Graphic Memories of the Civil Rights Movement showcases five vivid examples of this: Ho Che Anderson's King (2005), which complicates the standard biography of Martin Luther King Jr.; Congressman John Lewis's three-volume memoir, March (2013-2016); Darkroom (2012), by Lila Quintero Weaver, in which the author recalls her Argentinian father's participation in the movement and her childhood as an immigrant in the South; the bestseller The Silence of Our Friends, by Mark Long, Jim Demonakos, and Nate Powell (2012), set in Houston's Third Ward in 1967; and Howard Cruse's Stuck Rubber Baby (1995), whose protagonist is a closeted gay man involved in the movement. In choosing these five works, Jorge Santos also explores how this medium allows readers to participate in collective memory making, and what the books reveal about the process by which history is (re)told, (re)produced, and (re)narrativized. Concluding the work is Santos's interview with Ho Che Anderson.

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."

With this latest book in the SCAD Creative Essentials series from the esteemed Savannah College of Art and Design, comics writer and instructor Mark Kneece gives aspiring comic book writers the essential tools they need to write scripts for sequential art with confidence and success. He provides a practical set of guidelines favoured by many comic book publishers and uses a unique trial and error approach to show would-be scribes the potential pitfalls they might encounter when seeking a career in comics writing. The Art of Comic Book Writing strips away the mysteries of this popular artform and provides real-world advice and easy-to-follow examples for those looking to write for the comics medium.

Established how-to-draw author and artist J.C. Amberlyn's guide to drawing adorable Japanese-style characters and their chibi sidekicks in all the popular manga genres - shojo; shounen; magical girls; fantasy; mecha; school life; and horror. Bring your imagination to life. In her second manga book, best-selling author J.C. Amberlyn focuses on favorite manga archetype characters, with a fun and lively how-to-draw book aimed at beginners. Every genre of manga has its typical characters - plucky hero and heroine; school boys and girls; funny friend/sidekick; serious warrior; young innocent; bishounen; genki girls; chibis; chibi animals; cat girls/cat boys; magical girls; adorable animals; strong/scary animals; gothic characters; fantasy characters - and they are all here along with the step-by-step drawing instructions needed to give even beginners the direction they need to create the favorite characters they can't get enough of. A final chapter on backgrounds, scenery, and the environment will further give readers the information they need to pull everything together and create their own manga characters and the worlds they live in. Includes 23 step-by-step demonstrations and exercises. J.C. Amberlyn takes you through everything you need to know to create your favorite manga characters from Japanese comics or design your own. Includes in-depth instruction on character types, drawing the head and face, expressions, bodies and gestures, settings, scenes and samples.

Rebirth of the English Comic Strip: A Kaleidoscope, 1847-1870 enters deep into an era of comic history that has been entirely neglected. This buried cache of mid-Victorian graphic humor is marvelously rich in pictorial narratives of all kinds. Author David Kunzle calls this period a ""rebirth"" because of the preceding long hiatus in use of the new genre, since the Great Age of Caricature (c.1780-c.1820) when the comic strip was practiced as a sideline. Suddenly in 1847, a new, post-Toepffer comic strip sparks to life in Britain,, mostly in periodicals, and especially in Punch, where all the best artists of the period participated, if only sporadically: Richard Doyle, John Tenniel, John Leech, Charles Keene, and George Du Maurier. Until now, this aspect of the extensive oeuvre of the well-known masters of the new journal cartoon in Punch has been almost completely ignored. Exceptionally, George Cruikshank revived just once, in The Bottle, independently, the whole serious, contrasting Hogarthian picture story. Numerous comic strips and picture stories appeared in periodicals other than Punch by artists who were likewise largely ignored. Like the Punch luminaries, they adopt in semirealistic style sociopolitical subject matter easily accessible to their (lower-)middle-class readership. The topics covered in and out of Punch by these strips and graphic novels range from French enemies King Louis-Philippe and Emperor Napoleon III to farcical treatment of major historical events: the Bayeux tapestry (1848), the Great Exhibition of 1851, and the Franco-Prussian War 1870. Artists explore a great variety of social types, occupations, and situations such as the emigrant, the tourist, fox hunting and Indian big game hunting, dueling, the forlorn lover, the student, the artist, the toothache, the burglar, the paramilitary volunteer, Darwinian animal metamorphoses, and even nightmares. In Rebirth of the English Comic Strip, Kunzle analyzes these much neglected works down to the precocious modernist and absurdist scribbles of Marie Duval, Europe's first female professional cartoonist.

Best known for her Eisner Award-winning graphic novels, Exit Wounds and The Property, Rutu Modan's richly colored compositions invite readers into complex Israeli society, opening up a world too often defined only by news headlines. Her strong female protagonists stick out in a comics scene still too dominated by men, as she combines a mystery novelist's plotting with a memoirist's insights into psychology and trauma. The Comics of Rutu Modan: War, Love, and Secrets conducts a close reading of her work and examines her role in creating a comics arts scene in Israel. Drawing upon archival research, Kevin Haworth traces the history of Israeli comics from its beginning as 1930s cheap children's stories, through the counterculture movement of the 1970s, to the burst of creativity that began in the 1990s and continues full force today. Based on new interviews with Modan (b. 1966) and other comics artists, Haworth indicates the key role of Actus Tragicus, the collective that changed Israeli comics forever and launched her career. Haworth shows how Modan's work grew from experimental mini-comics to critically acclaimed graphic novels, delving into the creative process behind Exit Wounds and The Property. He analyzes how the recurring themes of family secrets and absence weave through her stories, and how she adapts the famous clear line illustration style to her morally complex tales. Though still relatively young, Modan has produced a remarkably varied oeuvre. Identifying influences from the United States and Europe, Haworth illustrates how Modan's work is global in its appeal, even as it forms a core of the thriving Israeli cultural scene.

Ken Gill was one of the leading lights of the trade union movement in the 1970s and 1980s, becoming the first communist elected to the TUC General Council. However Ken was renowned in trade union circles not just for his politics and commitment to working people, but for his perceptive caricatures of fellow union leadersand politicians with whom he negotiated. This book offers a small segment of history as seen from the perspective of a leading trade unionist through the medium of caricature. The texts and anecdotes accompanying them are only intended as laconic complements.

American comics reflect the distinct sensibilities and experiences of the Jewish American men who played an outsized role in creating them, but what about the contributions of Jewish women? Focusing on the visionary work of seven contemporary female Jewish cartoonists, Tahneer Oksman draws a remarkable connection between innovations in modes of graphic storytelling and the unstable, contradictory, and ambiguous figurations of the Jewish self in the postmodern era. Oksman isolates the dynamic Jewishness that connects each frame in the autobiographical comics of Aline Kominsky Crumb, Vanessa Davis, Miss Lasko-Gross, Lauren Weinstein, Sarah Glidden, Miriam Libicki, and Liana Finck. Rooted in a conception of identity based as much on rebellion as identification and belonging, these artists' representations of Jewishness take shape in the spaces between how we see ourselves and how others see us. They experiment with different representations and affiliations without forgetting that identity ties the self to others. Stemming from Kominsky Crumb's iconic 1989 comic "Nose Job," in which her alter ego refuses to assimilate through cosmetic surgery, Oksman's study is an arresting exploration of invention in the face of the pressure to disappear.

The outrage sparked by the Danish cartoon affair the publication of images of the Prophet Muhammad in the European press was a sharp reminder of the potency of the cartoon in the modern media. It is one of the most popular and effective means of communication. By exaggerating and exasperating, cartoons by their very nature lack neutrality, and the cartoon is an important weapon in the Middle Eastern crisis. In response to the Danish cartoon affair, an Iranian newspaper announced a competition for cartoons about the Holocaust, even though it had nothing to do with Israel or the Jewish people. Antisemitic cartoons have long been rife in the Arab-Muslim media. The September 2001 Durban Conference against Racism, intended to denounce and combat racism in all its forms, also featured the distribution of antisemitic cartoons by an Arab organization, yet this elicited no reaction from Western NGOs at the conference. This event set the author on a trail that revealed thousands of such draw

Ten of Yellowstone National Park's most fascinating tales are presented in an appealing graphic novel format, perfect for kids ages 8-12.

Come sit by the campfire and listen as Tall Tale Tom brings to life some of park's wildest legends and myths!

[[Discover the adventure in American Indian creation stories

[[Explore the incredible legends told by Yellowstone's mountain men

[[Shiver as you read spooky stories of Yellowstone's ghosts

[[Feel the heat as myths about the Yellowstone wildfires of 1988 are scorched

Operating out of a tiny office on Madison Avenue in the early 1960s, a struggling company called Marvel Comics presented a cast of brightly costumed characters distinguished by smart banter and compellingly human flaws. Spider-Man, the Fantastic Four, Captain America, the Incredible Hulk, the Avengers, Iron Man, Thor, the X-Men, Daredevil - these superheroes quickly won children's hearts and sparked the imaginations of pop artists, public intellectuals, and campus radicals. Over the course of a half century, Marvel's epic universe would become the most elaborate fictional narrative in history and serve as a modern American mythology for millions of readers. Throughout this decades-long journey to becoming a multibillion-dollar enterprise, Marvel's identity has continually shifted, careening between scrappy underdog and corporate behemoth. As the company has weathered Wall Street machinations, Hollywood failures, and the collapse of the comic book market, its characters have been passed along among generations of editors, artists, and writers-also known as the celebrated Marvel Bullpen. Entrusted to carry on tradition, Marvel's contributors-impoverished child prodigies, hallucinating peaceniks, and mercenary careerists among them-struggled with commercial mandates, a fickle audience, and, over matters of credit and control, one another. For the first time, Marvel Comics reveals the outsized personalities behind the scenes, including Martin Goodman, the self-made publisher who forayed into comics after a get-rich-quick tip in 1939; Stan Lee, the energetic editor who would shepherd the company through thick and thin for decades; and Jack Kirby, the World War II veteran who'd co-created Captain America in 1940 and, twenty years later, developed with Lee the bulk of the company's marquee characters in a three-year frenzy of creativity that would be the grounds for future legal battles and endless debates. Drawing on more than one hundred original interviews with Marvel insiders then and now, Marvel Comics is a story of fertile imaginations, lifelong friendships, action-packed fistfights, reformed criminals, unlikely alliances, and third-act betrayals - a narrative of one of the most extraordinary, beloved, and beleaguered pop cultural entities in America's history.

What does every aspiring comic artist REALLY want to draw? Action, of course Learn how to render all aspects of adrenalin-filled movement, from jaw-dropping superhero antics to kick-ass fistfights.

• Techniques for drawing every dynamic action are explained, from body contact and flying through to fistfights, group rumbles and full-on battles
• Clever exercises show how to achieve convincing movement, from dynamic standing poses, to running, swinging, flying and fighting
• An Action File of comic character drawings in dynamic poses forms an invaluable resource for practice and reference

Here is a kaleidoscopic analysis of Jewish humor as seen through "Funnyman," a little-known super-heroic invention by the creators of "Superman." Included are complete comic-book stories and daily and Sunday newspaper panels from Jerry Siegel and Joe Shuster's creative fiasco.

Siegel and Shuster, two Jewish teenagers from Cleveland, sold the rights to their amazing and astonishingly lucrative comic book superhero to Detective Comics for $130 in 1938. Not only did they lose the ownership of the Superman character, they also agreed to write and illustrate it for ten years at ten dollars per page. Their contract with the DC publishers was soon heralded as the most foolish agreement in the history of American popular culture.

After toiling on workman's wages for a decade, Siegel and Shuster struggled to come up with a new superhero, one that would right their wrongs and prove that justice, fair-play, and zany craftsmanship was the true American way and would lead to ultimate victory. But when the naive duo launched their new comic character Funnyman in 1947, it failed miserably. All the turmoil and personal disasters in Siegel and Shuster's postwar life percolated into the comic strip.

This book tells the back story of the unsuccessful strip and Siegel and Shuster's ambition to have their funny Jewish superhero trump Superman.

Mel Gordon is the author of "Voluptuous Panic: The Erotic World of Weimar Berlin."

Thomas Andrae is the author of "Batman and Me."

After finding out she is to be forced into an marriage of convenience as soon as she graduates high school, Kokoro sees her life ending before her eyes at her father's wishes. And so in her final year of high school, she decides to indulge in her love of other women, and create an incredible sketchbook of lesbian romance to leave behind as her legacy. As she observes the young women of her town, she learns more about their desires, their struggles, and the unpredictable whims of love.