In The Expanding Art of Comics: Ten Modern Masterpieces, prominent scholar Thierry Groensteen offers a distinct perspective on important evolutions in comics since the 1960s through close readings of ten seminal works. He covers over half a century of comics production, sampling a single work from the sixties (Ballad of the Salt Sea by Hugo Pratt), seventies (The Airtight Garage of Jerry Cornelius by Moebius), eighties (Watchmen by Alan Moore and Dave Gibbons), and nineties (Epileptic by David B.). Then this remarkable critic, scholar, and author of The System of Comics and Comics and Narration delves into recent masterpieces, such as Building Stories by Chris Ware. Each of these books created an opening, achieved a breakthrough, offered a new narrative model, or took up an emerging tendency and perfected it. Groensteen recaptures the impact with which these works, each in its own way, broke with what had gone before. He regards comics as an expanding art, not only because groundbreaking works such as these are increasing in number, but also because it is an art that has only gradually become aware of its considerable potential and is unceasingly opening up new expressive terrain.

This book is the follow-up to Thierry Groensteen's ground-breaking "The System of Comics," in which the leading French-language comics theorist set out to investigate how the medium functions, introducing the principle of iconic solidarity, and showing the systems that underlie the articulation between panels at three levels: page layout, linear sequence, and nonsequential links woven through the comic book as a whole. He now develops that analysis further, using examples from a very wide range of comics, including the work of American artists such as Chris Ware and Robert Crumb. He tests out his theoretical framework by bringing it up against cases that challenge it, such as abstract comics, digital comics and shojo manga, and offers insightful reflections on these innovations.In addition, he includes lengthy chapters on three areas not covered in the first book. First, he explores the role of the narrator, both verbal and visual, and the particular issues that arise out of narration in autobiographical comics. Second, Groensteen tackles the question of rhythm in comics, and the skill demonstrated by virtuoso artists in intertwining different rhythms over and above the basic beat provided by the discontinuity of the panels. And third he resets the relationship of comics to contemporary art, conditioned by cultural history and aesthetic traditions but evolving recently as comics artists move onto avant-garde terrain.

This edition of Thierry Groensteen's "The System of Comics" makes available in English a groundbreaking work on comics by one of the medium's foremost scholars. In this book, originally published in France in 1999, Groensteen explains clearly the subtle, complex workings of the medium and its unique way of combining visual, verbal, spatial, and chronological expressions. The author explores the nineteenth-century pioneer Rodolphe Topffer, contemporary Japanese creators, George Herriman's Krazy Kat, and modern American autobiographical comics.

The System of Comics uses examples from a wide variety of countries including the United States, England, Japan, France, and Argentina. It describes and analyzes the properties and functions of speech and thought balloons, panels, strips, and pages to examine methodically and insightfully the medium's fundamental processes.

From this, Groensteen develops his own coherent, overarching theory of comics, a "system" that both builds on existing studies of the "word and image" paradigm and adds innovative approaches of his own. Examining both meaning and appreciation, the book provides a wealth of ideas that will challenge the way scholars approach the study of comics. By emphasizing not simply "storytelling techniques" but also the qualities of the printed page and the reader's engagement, the book's approach is broadly applicable to all forms of interpreting this evolving art.

Thierry Groensteen is a comics scholar and translator in Brussels, Belgium. He is the author of "La bande dessinee: Une litterature graphique" and "La construction de la cage," among other books. Bart Beaty is associate professor of communication and culture at the University of Calgary. Nick Nguyen is an archivist at Library and Archives Canada, in Ottawa, Ontario."

In The Expanding Art of Comics: Ten Modern Masterpieces, prominent scholar Thierry Groensteen offers a distinct perspective on important evolutions in comics since the 1960s through close readings of ten seminal works. He covers over half a century of comics production, sampling a single work from the sixties (Ballad of the Salt Sea by Hugo Pratt), seventies (The Airtight Garage of Jerry Cornelius by Moebius), eighties (Watchmen by Alan Moore and Dave Gibbons), and nineties (Epileptic by David B.). Then this remarkable critic, scholar, and author of The System of Comics and Comics and Narration delves into recent masterpieces, such as Building Stories by Chris Ware. Each of these books created an opening, achieved a breakthrough, offered a new narrative model, or took up an emerging tendency and perfected it. Groensteen recaptures the impact with which these works, each in its own way, broke with what had gone before. He regards comics as an expanding art, not only because groundbreaking works such as these are increasing in number, but also because it is an art that has only gradually become aware of its considerable potential and is unceasingly opening up new expressive terrain.

This book is the follow-up to Thierry Groensteen's groundbreaking The System of Comics, in which the leading French-language comics theorist set out to investigate how the medium functions, introducing the principle of iconic solidarity, and showing the systems that underlie the articulation between panels at three levels: page layout, linear sequence, and nonsequential links woven through the comic book as a whole. He now develops that analysis further, using examples from a very wide range of comics, including the work of American artists such as Chris Ware and Robert Crumb. He tests out his theoretical framework by bringing it up against cases that challenge it, such as abstract comics, digital comics and shojo manga, and offers insightful reflections on these innovations. In addition, he includes lengthy chapters on three areas not covered in the first book. First, he explores the role of the narrator, both verbal and visual, and the particular issues that arise out of narration in autobiographical comics. Second, Groensteen tackles the question of rhythm in comics, and the skill demonstrated by virtuoso artists in intertwining different rhythms over and above the basic beat provided by the discontinuity of the panels. And third he resets the relationship of comics to contemporary art, conditioned by cultural history and aesthetic traditions but evolving recently as comics artists move onto avant-garde terrain.