John A. Lent
- Published in print:
- 2015
- Published Online:
- January 2016
- ISBN:
- 9781628461589
- eISBN:
- 9781626740853
- Item type:
- book
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781628461589.001.0001
- Subject:
- Literature, Comics Studies
Asian Comics is the first book that covers the comics (comic books and magazines, humor/cartoon magazines, newspaper strips, graphic novels, and gag panels) of the continent − 16 countries in all. ...
More
Asian Comics is the first book that covers the comics (comic books and magazines, humor/cartoon magazines, newspaper strips, graphic novels, and gag panels) of the continent − 16 countries in all. Broken into parts on East, Southeast, and South Asia, the book carefully surveys the history and contemporary status of comics, both from artistic and industrial perspectives and including main stream and alternative forms and points out trends, issues, and problems cartoonists face. Decades-long (more than 30 years) research was carried out through interviews with more than 400 comics-related individuals during about 60 trips to Asia for that purpose, observation in their studios/offices and homes, participation with cartoonists in many festivals, symposia, workshops, and lectures, and primary scrutiny of archives, government and other data. Interviewees included the fathers and an occasional mother of Asian comic art and the cream of the crop and some young cartoonists. The result is a structured blend of factual data, views of comics people, and fascinating anecdotes about how cartoonists broke in, their working habits and styles, and their contributions. Also interesting is the first chapter discussing the predecessors of contemporary Asian comic art in the form of paintings, sculptures, scrolls, and puppet drama that displayed caricature, wit and playfulness, satire, and sequential narrative. The book is enhanced by many illustrations and supported by a full bibliography and endnotes.Less
Asian Comics is the first book that covers the comics (comic books and magazines, humor/cartoon magazines, newspaper strips, graphic novels, and gag panels) of the continent − 16 countries in all. Broken into parts on East, Southeast, and South Asia, the book carefully surveys the history and contemporary status of comics, both from artistic and industrial perspectives and including main stream and alternative forms and points out trends, issues, and problems cartoonists face. Decades-long (more than 30 years) research was carried out through interviews with more than 400 comics-related individuals during about 60 trips to Asia for that purpose, observation in their studios/offices and homes, participation with cartoonists in many festivals, symposia, workshops, and lectures, and primary scrutiny of archives, government and other data. Interviewees included the fathers and an occasional mother of Asian comic art and the cream of the crop and some young cartoonists. The result is a structured blend of factual data, views of comics people, and fascinating anecdotes about how cartoonists broke in, their working habits and styles, and their contributions. Also interesting is the first chapter discussing the predecessors of contemporary Asian comic art in the form of paintings, sculptures, scrolls, and puppet drama that displayed caricature, wit and playfulness, satire, and sequential narrative. The book is enhanced by many illustrations and supported by a full bibliography and endnotes.
Elisabeth El Refaie
- Published in print:
- 2012
- Published Online:
- March 2014
- ISBN:
- 9781617036132
- eISBN:
- 9781621036180
- Item type:
- book
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781617036132.001.0001
- Subject:
- Literature, Comics Studies
Over the last forty years the comic book has become an increasingly popular way of telling personal stories of considerable complexity and depth. This book offers an assessment of the key ...
More
Over the last forty years the comic book has become an increasingly popular way of telling personal stories of considerable complexity and depth. This book offers an assessment of the key conventions, formal properties, and narrative patterns of this genre. It considers eighty-five works of North American and European provenance, works that cover a broad range of subject matters and employ many different artistic styles. Drawing on concepts from several disciplinary fields—including semiotics, literary and narrative theory, art history, and psychology—the book shows that the traditions and formal features of comics provide new possibilities for autobiographical storytelling. For example, the requirement to produce multiple drawn versions of one’s self necessarily involves an intense engagement with physical aspects of identity, as well as with the cultural models that underpin body image. The comics medium also offers memoirists unique ways of representing their experience of time, their memories of past events, and their hopes and dreams for the future. Furthermore, autobiographical comics creators are able to draw on the close association in contemporary Western culture between seeing and believing in order to persuade readers of the authentic nature of their stories.Less
Over the last forty years the comic book has become an increasingly popular way of telling personal stories of considerable complexity and depth. This book offers an assessment of the key conventions, formal properties, and narrative patterns of this genre. It considers eighty-five works of North American and European provenance, works that cover a broad range of subject matters and employ many different artistic styles. Drawing on concepts from several disciplinary fields—including semiotics, literary and narrative theory, art history, and psychology—the book shows that the traditions and formal features of comics provide new possibilities for autobiographical storytelling. For example, the requirement to produce multiple drawn versions of one’s self necessarily involves an intense engagement with physical aspects of identity, as well as with the cultural models that underpin body image. The comics medium also offers memoirists unique ways of representing their experience of time, their memories of past events, and their hopes and dreams for the future. Furthermore, autobiographical comics creators are able to draw on the close association in contemporary Western culture between seeing and believing in order to persuade readers of the authentic nature of their stories.
Aldo J. Regalado
- Published in print:
- 2015
- Published Online:
- January 2017
- ISBN:
- 9781628462210
- eISBN:
- 9781626746183
- Item type:
- book
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781628462210.001.0001
- Subject:
- Literature, Comics Studies
This book examines the historical origins and cultural significance of Superman and his fellow American crusaders. It asserts that the superhero seems a direct response to modernity, often fighting ...
More
This book examines the historical origins and cultural significance of Superman and his fellow American crusaders. It asserts that the superhero seems a direct response to modernity, often fighting the interrelated processes of industrialization, urbanization, immigration, and capitalism that transformed the United States from the early nineteenth century to the present. Reeling from the destabilizing forces, Americans turned to heroic fiction as a means of explaining national and personal identities to themselves and to the world. In so doing, they created characters and stories that sometimes affirmed, but other times subverted conventional notions of race, class, gender, and nationalism. The cultural conversation articulated through the nation's early heroic fiction eventually led to a new heroic type—the brightly clad, super-powered, pro-social action heroes that first appeared in American comic books starting in the late 1930s. Although indelibly shaped by the Great Depression and World War II sensibilities of the second-generation immigrants most responsible for their creation, comic book superheroes remain a mainstay of American popular culture. Tracing superhero fiction all the way back to the nineteenth century, the book firmly bases analysis of dime novels, pulp fiction, and comics in historical, biographical, and reader response sources. It explores the roles played by creators, producers, and consumers in crafting superhero fiction, ultimately concluding that these narratives are essential for understanding vital trajectories in American culture.Less
This book examines the historical origins and cultural significance of Superman and his fellow American crusaders. It asserts that the superhero seems a direct response to modernity, often fighting the interrelated processes of industrialization, urbanization, immigration, and capitalism that transformed the United States from the early nineteenth century to the present. Reeling from the destabilizing forces, Americans turned to heroic fiction as a means of explaining national and personal identities to themselves and to the world. In so doing, they created characters and stories that sometimes affirmed, but other times subverted conventional notions of race, class, gender, and nationalism. The cultural conversation articulated through the nation's early heroic fiction eventually led to a new heroic type—the brightly clad, super-powered, pro-social action heroes that first appeared in American comic books starting in the late 1930s. Although indelibly shaped by the Great Depression and World War II sensibilities of the second-generation immigrants most responsible for their creation, comic book superheroes remain a mainstay of American popular culture. Tracing superhero fiction all the way back to the nineteenth century, the book firmly bases analysis of dime novels, pulp fiction, and comics in historical, biographical, and reader response sources. It explores the roles played by creators, producers, and consumers in crafting superhero fiction, ultimately concluding that these narratives are essential for understanding vital trajectories in American culture.
Mark McLelland, Kazumi Nagaike, Katsuhiko Suganuma, and James Welker (eds)
- Published in print:
- 2015
- Published Online:
- January 2016
- ISBN:
- 9781628461190
- eISBN:
- 9781626740662
- Item type:
- book
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781628461190.001.0001
- Subject:
- Literature, Comics Studies
Boys Love (or simply BL) has emerged as a mainstream genre in manga, anime, and games for girls and young women. This genre was first developed in Japan in the early 1970s by a group of female ...
More
Boys Love (or simply BL) has emerged as a mainstream genre in manga, anime, and games for girls and young women. This genre was first developed in Japan in the early 1970s by a group of female artists. By the late 1970s, many amateur women fans were getting involved and creating and self-publishing homoerotic parodies of established male manga characters and popular media figures. The popularity of these encouraged a surge in the number of commercial titles. Today, a wide range of products, produced both by professionals and amateurs, is rapidly gaining a global audience. This book provides an overview of the BL phenomenon in Japan, its history and various subgenres and introduces translations of some key Japanese scholarship not otherwise available. The book looks at a range of literary, artistic, and other cultural products that celebrate the beauty of adolescent boys and young men. In Japan, depiction of the “beautiful boy” has long been a romantic and sexualized trope for both sexes and commands a high degree of cultural visibility today across a range of genres from pop music to animation. Drawing from diverse disciplinary homes, the chapters unite in their attention to historical context, analytical precision, and close readings of diverse boys love texts.Less
Boys Love (or simply BL) has emerged as a mainstream genre in manga, anime, and games for girls and young women. This genre was first developed in Japan in the early 1970s by a group of female artists. By the late 1970s, many amateur women fans were getting involved and creating and self-publishing homoerotic parodies of established male manga characters and popular media figures. The popularity of these encouraged a surge in the number of commercial titles. Today, a wide range of products, produced both by professionals and amateurs, is rapidly gaining a global audience. This book provides an overview of the BL phenomenon in Japan, its history and various subgenres and introduces translations of some key Japanese scholarship not otherwise available. The book looks at a range of literary, artistic, and other cultural products that celebrate the beauty of adolescent boys and young men. In Japan, depiction of the “beautiful boy” has long been a romantic and sexualized trope for both sexes and commands a high degree of cultural visibility today across a range of genres from pop music to animation. Drawing from diverse disciplinary homes, the chapters unite in their attention to historical context, analytical precision, and close readings of diverse boys love texts.
Liam Burke
- Published in print:
- 2015
- Published Online:
- May 2016
- ISBN:
- 9781628462036
- eISBN:
- 9781626745193
- Item type:
- book
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781628462036.001.0001
- Subject:
- Literature, Comics Studies
In the summer of 2000 X-Men surpassed all box office expectations and ushered in an era of unprecedented production of comic book film adaptations. This trend, now in its second decade, has blossomed ...
More
In the summer of 2000 X-Men surpassed all box office expectations and ushered in an era of unprecedented production of comic book film adaptations. This trend, now in its second decade, has blossomed into Hollywood's leading genre. From superheroes to Spartan warriors, The Comic Book Film Adaptation offers the first dedicated study to examine how comic books moved from the fringes of popular culture to the center of mainstream film production. Through in-depth analysis, industry interviews, and audience research, this book charts the cause-and-effect of this influential trend. It considers the cultural traumas, business demands, and digital possibilities that Hollywood faced at the dawn of the twenty-first century. The industry managed to meet these challenges by exploiting comics and their existing audiences. However, studios were caught off-guard when these comic book fans, empowered by digital media, began to influence the success of adaptations. Nonetheless, filmmakers soon developed strategies to take advantage of this intense fanbase, while codifying the trend into a more lucrative genre, the comic book movie, which appealed to an even wider audience. Central to this vibrant trend is a comic aesthetic in which filmmakers utilize digital filmmaking technologies to engage with the language and conventions of comics like never before. The Comic Book Film Adaptation explores this unique moment in which cinema is stimulated, challenged, and enriched by the once-dismissed medium of comics.Less
In the summer of 2000 X-Men surpassed all box office expectations and ushered in an era of unprecedented production of comic book film adaptations. This trend, now in its second decade, has blossomed into Hollywood's leading genre. From superheroes to Spartan warriors, The Comic Book Film Adaptation offers the first dedicated study to examine how comic books moved from the fringes of popular culture to the center of mainstream film production. Through in-depth analysis, industry interviews, and audience research, this book charts the cause-and-effect of this influential trend. It considers the cultural traumas, business demands, and digital possibilities that Hollywood faced at the dawn of the twenty-first century. The industry managed to meet these challenges by exploiting comics and their existing audiences. However, studios were caught off-guard when these comic book fans, empowered by digital media, began to influence the success of adaptations. Nonetheless, filmmakers soon developed strategies to take advantage of this intense fanbase, while codifying the trend into a more lucrative genre, the comic book movie, which appealed to an even wider audience. Central to this vibrant trend is a comic aesthetic in which filmmakers utilize digital filmmaking technologies to engage with the language and conventions of comics like never before. The Comic Book Film Adaptation explores this unique moment in which cinema is stimulated, challenged, and enriched by the once-dismissed medium of comics.
Hannah Miodrag
- Published in print:
- 2013
- Published Online:
- March 2014
- ISBN:
- 9781617038044
- eISBN:
- 9781621039556
- Item type:
- book
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781617038044.001.0001
- Subject:
- Literature, Comics Studies
It has become an axiom in comic studies that “comics is a language, not a genre.” But what exactly does that mean, and how is discourse on the form both aided and hindered by thinking of it in ...
More
It has become an axiom in comic studies that “comics is a language, not a genre.” But what exactly does that mean, and how is discourse on the form both aided and hindered by thinking of it in linguistic terms? This book challenges many of the key assumptions about the “grammar” and formal characteristics of comics, and offers a more nuanced, theoretical framework that it argues will better serve the field by offering a consistent means for communicating critical theory in the scholarship. Through engaging close readings and an accessible use of theory, it exposes the problems embedded in the ways critics have used ideas of language, literature, structuralism, and semiotics, and sets out a theoretically sound way of understanding how comics communicate. The book argues against the critical tendency to flatten the distinctions between language and images, and to discuss literature purely in terms of story content. It closely examines the original critical theories that such arguments purport to draw on and shows how they in fact point away from the conclusions they are commonly used to prove. The book improves the use the field makes of existing scholarly disciplines, furthers the ongoing sophistication of the field, provides analyses of a range of different texts, and takes an interdisciplinary approach. It will appeal to the general comics reader and will prove crucial for specialized scholars in the fields of comics, literature, cultural studies, art history, and visual studies.Less
It has become an axiom in comic studies that “comics is a language, not a genre.” But what exactly does that mean, and how is discourse on the form both aided and hindered by thinking of it in linguistic terms? This book challenges many of the key assumptions about the “grammar” and formal characteristics of comics, and offers a more nuanced, theoretical framework that it argues will better serve the field by offering a consistent means for communicating critical theory in the scholarship. Through engaging close readings and an accessible use of theory, it exposes the problems embedded in the ways critics have used ideas of language, literature, structuralism, and semiotics, and sets out a theoretically sound way of understanding how comics communicate. The book argues against the critical tendency to flatten the distinctions between language and images, and to discuss literature purely in terms of story content. It closely examines the original critical theories that such arguments purport to draw on and shows how they in fact point away from the conclusions they are commonly used to prove. The book improves the use the field makes of existing scholarly disciplines, furthers the ongoing sophistication of the field, provides analyses of a range of different texts, and takes an interdisciplinary approach. It will appeal to the general comics reader and will prove crucial for specialized scholars in the fields of comics, literature, cultural studies, art history, and visual studies.
Thierry Groensteen
- Published in print:
- 2013
- Published Online:
- March 2014
- ISBN:
- 9781617037702
- eISBN:
- 9781621039396
- Item type:
- book
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781617037702.001.0001
- Subject:
- Literature, Comics Studies
This book is the follow-up to The System of Comics, in which the author, a French-language comics theorist, set out to investigate how the medium functions, introducing the principle of iconic ...
More
This book is the follow-up to The System of Comics, in which the author, a 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. This analysis is now developed further, using examples from a very wide range of comics, including the work of American artists such as Chris Ware and Robert Crumb. The book tests out the theoretical framework by bringing it up against cases that challenge it, such as abstract comics, digital comics, and shōjo manga, and offers insightful reflections on these innovations. In addition, it includes chapters on three new areas. First, the book explores the role of the narrator, both verbal and visual, and the particular issues that arise out of narration in autobiographical comics. Second, it 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, the book 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.Less
This book is the follow-up to The System of Comics, in which the author, a 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. This analysis is now developed further, using examples from a very wide range of comics, including the work of American artists such as Chris Ware and Robert Crumb. The book tests out the theoretical framework by bringing it up against cases that challenge it, such as abstract comics, digital comics, and shōjo manga, and offers insightful reflections on these innovations. In addition, it includes chapters on three new areas. First, the book explores the role of the narrator, both verbal and visual, and the particular issues that arise out of narration in autobiographical comics. Second, it 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, the book 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.
Brannon Costello and Qiana J. Whitted (eds)
- Published in print:
- 2012
- Published Online:
- March 2014
- ISBN:
- 9781617030185
- eISBN:
- 9781621032212
- Item type:
- book
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781617030185.001.0001
- Subject:
- Literature, Comics Studies
This book offers a wide-ranging assessment of how life and culture in the United States South is represented in serial comics, graphic novels, newspaper comic strips, and webcomics. Diverting the ...
More
This book offers a wide-ranging assessment of how life and culture in the United States South is represented in serial comics, graphic novels, newspaper comic strips, and webcomics. Diverting the lens of comics studies from the skyscrapers of Superman’s Metropolis or Chris Ware’s Chicago to the swamps, back roads, small towns, and cities of the U.S. South, it critically examines the pulp genres associated with mainstream comic books alongside independent and alternative comics. Some chapters seek to discover what Captain America can reveal about southern regionalism and how slave narratives can help us reread Swamp Thing; others examine how creators such as Walt Kelly (Pogo), Howard Cruse (Stuck Rubber Baby), Kyle Baker (Nat Turner), and Josh Neufeld (A.D.: New Orleans after the Deluge) draw upon the unique formal properties of the comics to question and revise familiar narratives of race, class, and sexuality; and another considers how southern writer Randall Kenan adapted elements of the comics form to prose fiction. With essays from an interdisciplinary group of scholars, the book contributes to and also productively reorients the most significant and compelling conversations in both comics scholarship and southern studies.Less
This book offers a wide-ranging assessment of how life and culture in the United States South is represented in serial comics, graphic novels, newspaper comic strips, and webcomics. Diverting the lens of comics studies from the skyscrapers of Superman’s Metropolis or Chris Ware’s Chicago to the swamps, back roads, small towns, and cities of the U.S. South, it critically examines the pulp genres associated with mainstream comic books alongside independent and alternative comics. Some chapters seek to discover what Captain America can reveal about southern regionalism and how slave narratives can help us reread Swamp Thing; others examine how creators such as Walt Kelly (Pogo), Howard Cruse (Stuck Rubber Baby), Kyle Baker (Nat Turner), and Josh Neufeld (A.D.: New Orleans after the Deluge) draw upon the unique formal properties of the comics to question and revise familiar narratives of race, class, and sexuality; and another considers how southern writer Randall Kenan adapted elements of the comics form to prose fiction. With essays from an interdisciplinary group of scholars, the book contributes to and also productively reorients the most significant and compelling conversations in both comics scholarship and southern studies.
David M. Ball and Martha B. Kuhlman (eds)
- Published in print:
- 2010
- Published Online:
- March 2014
- ISBN:
- 9781604734423
- eISBN:
- 9781621032236
- Item type:
- book
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781604734423.001.0001
- Subject:
- Literature, Comics Studies
This book brings together contributions from established and emerging scholars about the comics of Chicago-based cartoonist Chris Ware (b. 1967). Both inside and outside academic circles, Ware’s work ...
More
This book brings together contributions from established and emerging scholars about the comics of Chicago-based cartoonist Chris Ware (b. 1967). Both inside and outside academic circles, Ware’s work is rapidly being distinguished as essential to the developing canon of the graphic novel. Winner of the 2001 Guardian First Book Prize for the genre-defining Jimmy Corrigan: The Smartest Kid on Earth, Ware has received numerous accolades from both the literary and comics establishment. This collection addresses the range of Ware’s work from his earliest drawings in the 1990s in The ACME Novelty Library and his acclaimed Jimmy Corrigan, to his most recent works-in-progress, “Building Stories” and “Rusty Brown.”Less
This book brings together contributions from established and emerging scholars about the comics of Chicago-based cartoonist Chris Ware (b. 1967). Both inside and outside academic circles, Ware’s work is rapidly being distinguished as essential to the developing canon of the graphic novel. Winner of the 2001 Guardian First Book Prize for the genre-defining Jimmy Corrigan: The Smartest Kid on Earth, Ware has received numerous accolades from both the literary and comics establishment. This collection addresses the range of Ware’s work from his earliest drawings in the 1990s in The ACME Novelty Library and his acclaimed Jimmy Corrigan, to his most recent works-in-progress, “Building Stories” and “Rusty Brown.”
Joe Sutliff Sanders (ed.)
- Published in print:
- 2016
- Published Online:
- January 2018
- ISBN:
- 9781496807267
- eISBN:
- 9781496807304
- Item type:
- book
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781496807267.001.0001
- Subject:
- Literature, Comics Studies
Hergé, the creator of Tintin, is one of the most important and influential figures in the history of comics. His style popularized what has become known as the “clear line” in cartooning, but these ...
More
Hergé, the creator of Tintin, is one of the most important and influential figures in the history of comics. His style popularized what has become known as the “clear line” in cartooning, but these thirteen scholars show how his life and art were actually very complicated.
The book includes analyses of Hergé’s aesthetic techniques, including studies of his efforts to comprehend and represent absence and the rhythm of mundanity between panels of action. Broad views of his career explain how Hergé navigated changing ideas of air travel, and narrow readings of his life and work during Nazi occupation explain how the changing demands of the occupied press transformed his understanding of what comics could do. Other chapters explore the fraught lines between high and low art. By reading the late masterpieces of the Tintin series, these comics scholars from around the world attempt to answer a question Hergé himself never could: where his own legacy would fall between high art and low art. The book also reexamines Hergé’s place in the history of cartooning, considering how the clear line style has been reinterpreted around the world, from contemporary Francophone writers to a widely praised Chinese-American cartoonist and on to Turkey, where Tintin has been reinvented into something more specifically meaningful to an audience Hergé probably never anticipated.
With authors from five continents drawing on a variety of critical methods, the chapters of The Comics of Hergé show how rich comics can become when the lines blur.Less
Hergé, the creator of Tintin, is one of the most important and influential figures in the history of comics. His style popularized what has become known as the “clear line” in cartooning, but these thirteen scholars show how his life and art were actually very complicated.
The book includes analyses of Hergé’s aesthetic techniques, including studies of his efforts to comprehend and represent absence and the rhythm of mundanity between panels of action. Broad views of his career explain how Hergé navigated changing ideas of air travel, and narrow readings of his life and work during Nazi occupation explain how the changing demands of the occupied press transformed his understanding of what comics could do. Other chapters explore the fraught lines between high and low art. By reading the late masterpieces of the Tintin series, these comics scholars from around the world attempt to answer a question Hergé himself never could: where his own legacy would fall between high art and low art. The book also reexamines Hergé’s place in the history of cartooning, considering how the clear line style has been reinterpreted around the world, from contemporary Francophone writers to a widely praised Chinese-American cartoonist and on to Turkey, where Tintin has been reinvented into something more specifically meaningful to an audience Hergé probably never anticipated.
With authors from five continents drawing on a variety of critical methods, the chapters of The Comics of Hergé show how rich comics can become when the lines blur.
