The Cambridge History of the Graphic Novel Edited by Jan Baetens , Hugo Frey , Stephen E

Home , Abie the Agent, A Contract with God, Gilbert Hernandez, Ice Haven, Joyce Brabner, Marc Hempel

Cambridge University Press 978-1-107-17141-1 — The Cambridge History of the Graphic Novel Edited by Jan Baetens , Hugo Frey , Stephen E. Tabachnick Index More Information

659

Index

(À Suivre) see also Adèle Blanc-Sec (Tardi); Corto anime, Japanese Maltese (Pratt) adaptations of Tezuka’s works, 597 – 598 comics as literature, 252 – 253 , 266 – 267 Akira (Otomo), 331 – 332 , 546 , 598 retelling of genre i ction, 251 – 252 , 253 Astro Boy (Tezuka), 324 , 326 , 333 The World of Edena cycle (Moebius), domestication of, 333 264 – 266 foreignization strategies and, 331 – 333 (L’)Association, 69 subtitles and foreignization, 326 Abdelrazaq, Leila transculturation of texts, 326 Baddawi, 416 – 417 arabesque romanticism, 26 – 27 , 30 , 32 Abel, Robert W., 372 Archie, 103 , 305 , 357 – 358 , 469 Abirached, Zeina art brut, 136 , 140 – 141 A Game for Swallows: to Die, to Leave, to Atwood, Margaret, 492 Return, 415 – 416 author–artist teams Abouet, Marguerite complete author remit of graphic Aya de Yopugon, 601 novels, 54 Adams, Jef , 398 , 400 creative output, 11 Adèle Blanc-Sec (Tardi) Moore and Gibbons, 226 – 227 narrative structure, 260 – 261 negative capability, 201 noir tradition in, 258 rise in, 219 otherness in, 258 – 260 on Sandman (Gaiman), 345 – 346 urban environment of, 258 – 260 Töpf er’s embodiment of, 32 – 33 and World War I, 261 – 262 authorship adult comic strips see also Barbarella (Forest); auterist model, 219 Grove Press of comix, 159 – 160 debates over, 133 – 134 creative expression and underground in France, 134 – 135 , 263 comics, 156 – 157 , 158 , 161 – 162 , 269 , 304 inl uence of Barbarella on, 135 – 136 Daniel Clowes’ author–reader relationship, scholarship on, 6 – 7 366 – 368 Adult Comics (Sabin), 5 , 6 , 380 Eisner’s portrait of the artist at work, Aldama, F. L., 468 199 – 200 Aldridge, Alan, 126 and the Marvel method, 117 Alexie, Sherman Neil Gaiman’s writing strategies, 342 – 344 The Absolutely True Diary of a Part-Time traditional editorial controls and, 156 – 158 Indian, 568 – 569 , 570 autobiographical graphic novels see also alternative comics A Contract with God: A Graphic Novel creators of color and, 305 (Eisner); Maus (Spiegelman) emergence of, 276 , 428 “Thrilling Adventure Stories (I Guess)” and third-wave feminism, 276 – 279 (Ware), 510 – 511

659

© in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-17141-1 — The Cambridge History of the Graphic Novel Edited by Jan Baetens , Hugo Frey , Stephen E. Tabachnick Index More Information

660

Index

autobiographical graphic novels (cont.) Barbarella 2 (Forest), 124 , 126 , 131 – 132 autographics, 206 Barounis, Cynthia, 279 Binky Brown Meets the Holy Virgin Mary Barry, Lynda (Green), 160 – 161 , 162 and the alternative comics movement, confessional, 160 – 161 303 , 305 by creators of color, 311 – 312 as feminist author, 280 – 281 early form in travel notes, 35 – 36 One! Hundred! Demons!, 281 , 311 Eisner, Will, 192 , 193 published by Drawn and Quarterly, 437 “Goldie” (Kominsky-Crumb), 271 – 272 Barthes, Roland, 82 , 400 Jewish graphic novels, 447 Bartier, Pierre overview of, 9 The Adventures of Jodelle, 124 , 125 performativity in, 208 – 209 Bartley, Aryn, 399 Persepolis (Satrapi), 408 Batman and portrayals of communities, 9 – 10 Arkham Asylum, 1 3 published by Drawn and Quarterly, 433 Batman (i lm), 546 – 547 self- i guration of the autobiographer’s Batman Begins (i lm), 547 own self, 215 – 216 Batman: Death by Design, 13 , 14f1.2 self- representation, feminist comics Batman: The Dark Knight Returns (Miller), creators, 277 – 279 5 , 39 , 107 , 326 – 327 , 378 , 462 , 492 – 493 , serial memoirs, 207 – 208 499 , 547 underground comics (comix), 160 – 163 , 165 Batman: The Killing Joke (Moore), 224 , 500 – Wimmen’s Comix, 162 , 290 – 291 501 , 549 , 551 Azzarello, Brian Batman: Year One (Miller), 462 – 463 , 503 , 547 100 Bullets, 466 superhero identity and, 114 Beat literature Baetens, Jan, 53 , 54 , 55 , 56 , 96 , 102 – 103 , 172 , 305 , and the graphic narrative, 136 382 , 410 , 564 , 575 , 577 reimagination of vintage popular culture, Bagge, Peter see also Hate (Bagge) 128 – 130 , 136 career, 242 Beaton, Kate, 431 , 434 political views, 246 Beatty, Terry style of, 243 , 247 Ms. Tree, 460 – 461 Bakhtin, Mikhail, 27 – 28 Beaty, Bart, 94 , 172 – 173 , 203 – 205 , 207 , 379 , 406 , Ball, David M., 559 550 – 551 bande dessinée Beaurichard, David (David B.), 406 , 407 , 596 Asterix the Gaul and Tintin , 372 – 373 Bechdel, Alison and the French tradition, 595 – 596 Are You My Mother? 530.40, 298 as hybrid genre, 407 – 408 Dykes to Watch Out For, 278 , 287 , 296 , 299 imports to the United States, 376 Fun Home: A Family Tragi-Comic , 2 7 8– 2 7 9, literary aspects of, 409 286 – 287 , 296 – 299 Marjane Satrapi and, 405 , 406 Bendis, Brian Michael parallels with manga, 599 Alias, 4 9 5– 4 9 6 use of black and white, 410 crime genre work, 464 Barbarella (Forest) see also Forest, Jean-Claude Bennett, Tamryn, 527 , 539 – 540 Evergreen Review readers’ feedback on, 133 Benson, John, 173 – 174 , 374 i lm adaptation, 127 Berger, Karen, 345 , 348 Forest’s cultural inl uences and, 126 – 128 Beronä, David A., 62 – 63 , 64 inl uence on American adult comics Beyer, Mark, 236 strips, 135 Bilal, Enki, 5 , 550 publication in the Evergreen Review, 124 , Bochoráková- Dittrichová, Helena, 64 125 – 126 Bodé, Vaughn, 161 , 162 publication of in the United States, 130 – 131 , Boilet, Frédéric, 324 – 325 1 3 6– 1 3 7 Bollard, Brian, 342 reception in France, 134 – 135 Boudissa, Magali, 581 , 582

660

661

Index

Bourdieu, Pierre, 430 , 431 narrative style, 353 , 359 Bousi eld, Neil, 68 new comic format and, 356 Brabner, Joyce, 274 satire of, 16 Brienza, Casey, 324 Collins, Gail, 276 Britton, David, 239 – 242 Collins, Jim, 562 Brooke- Rose, Christine, 477 Collins, Max Allan Brubaker, Ed Ms. Tree, 460 – 461 Criminal, 4 6 9– 4 7 0 Comics Code Authority Sleeper, 468 – 469 Code- exempt magazines, 157 Brunner, Edward, 534 , 535 – 536 crime comics and, 458 – 459 Buhle, Paul, 179 , 181 , 382 impact on the comic industry, 94 – 95 , 155 , Bukatman, Scott, 583 156 – 157 Burns, Charles, 5 , 11 , 149 , 151 , 509 and Mad’s magazine format, 101 Busiek, Kurt Marvel during, 107 Astro City, 504 and the superhero genre, 503 Butler, Jack The Comics Journal, 5 , 178 – 179 , 184 , 374 – 375 , Jujitsu for Christ, 558 , 564 – 565 , 566 378 – 379 comics see also Golden Age of comic strips ; Campbell, Eddie wordless comics on A Contract with God: A Graphic Novel American mainstream (1960s), 155 , 156 – 157 (Eisner), 191 l oppies, 337 , 338 – 339 From Hell, 230 , 232 , 471 graphic novel as specii c form of, 1 Campbell, Stuart historical relationship with the graphic These Memories Won’t Last, 581 – 582 novel, 1 , 2 , 21 – 22 Canif , Milton Hollywood reinvention of, 5 stereotypical depictions in, 50 invention of the comic strip, 22 – 23 Terry and the Pirates, 4 1, 4 7, 5 1– 5 2, 5 3, 5 4, kidnap- orphan narratives and, 147 – 149 127 , 559 mainstream (1980s) , 4 – 5 , 7 , 355 Cantor, Jay new narrative modes for Great Neck, 565 – 567 superheroes, 13 – 14 Krazy Kat: A Novel in Five Panels, 561 – 562 nineteenth- century image-making, 22 Caran d’Ache (Emmanuel Poiré), 62 overlap of content with graphic caricature, 25 novels, 13 – 15 cartoon novels, 65 – 67 people of color in, 303 Castellucci, Cecil speculator markets for, 344 , 349 – 351 , 462 The Year of the Beasts, 567 as subversive (1950s), 94 – 95 Chabon, Michael traditional form of, 363 – 364 The Amazing Adventures of Kavalier & Clay, Comics Studies 563 – 564 , 567 academic conferences, 379 – 380 Cham (Charles Amédée de Noé), 23 , 25 , 28 , 34 on academic curricula, 380 Chaney, Michael, 210 academic journals, 380 Charlie Hebdo, 3 , 420 , 591 comics archives, 376 Chase, Alisia Grace, 280 and The Comics Journal, 378 – 379 Chaykin, Howard, 135 early scholarship, 371 – 372 Chudolinska, Marta, 68 focus on literary graphic novels, 382 Chute, Hilary, 92 , 102 , 176 , 271 , 272 , 277 , 278 , formalization of, 376 280 , 390 , 396 , 397 , 528 – 529 scholarship 1960s/70s, 373 , 375 – 376 Clowes, Daniel see also Ghost World (Clowes) scholarship on graphic novels, 6 – 7 , author– reader relationship, 366 – 368 376 – 377 , 526 Eightball, 354 – 355 A Contract with God: A Graphic Novel (Eisner) Ice Haven, 367 “Cookalein,” 196 – 197 inl uence of J. D. Salinger, 356 – 357 Eddie character, 195 Lloyd Llewellyn, 355 ethnic tensions in, 200 – 201 , 444 – 445

661

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Index

A Contract with God: A Graphic Novel crime genre (Eisner) (cont.) 100 Bullets (Azzarello and Risso), 466 explicit material of, 197 and adult audiences, 459 Frimme Hersh character, 194 – 196 Brian Michael Bendis’ work, 464 front stoop imagery, 195 – 196 and comics, 457 – 458 , 462 , 466 Gil Kane on, 175 and the Comics Code, 458 – 459 impact of, 191 Criminal (Brubaker and Phillips), 469 – 470 lighting in, 197 – 198 Detectives Inc. series (McGregor), 460 literary material, 196 genre crossovers, 470 rain imagery, 194 Gilbert Hernandez’s graphic novels, reader- viewer role, 198 467 – 468 the super character, 195 graphic- novel imprints, 465 and the term “graphic novel,” 2 , 182 – 183 , historical narration, 471 – 472 191 , 377 , 380 It Rhymes with Lust, 459 Cooke, Darwyn Ms. Tree (Collins and Beatty), 460 – 461 Parker series, 471 Parker series (Cooke), 471 Corben, Richard Sin City (Miller), 327 , 463 – 464 , 546 , 547 , 552 Bloodstar, 167 , 377 Sleeper (Brubaker and Phillips), 468 – 469 and Crepax aesthetics, 135 true crime adaptations, 471 Cornog, Martha, 421 Vertigo imprint, 466 – 467 Cortez, Jaime The Waste Land (Rowson), 533 – 537 Sexile/ Sexilio, 300 – 301 Crumb, Robert Corto Maltese (Pratt) see also Pratt, Hugo Aline and Bob’s Dirty Laundry Comics, 162 Corto’s ethnicity, 255 – 256 and American Splendor, 163 depictions of history, 256 autobiographical work, 161 – 162 ideology in, 256 – 257 Fritz the Cat, 161 – 162 , 545 magical realism, 256 Genesis, 451 Couch, Christopher, 323 “Let’s Talk Sense About this Here Modern Coulthart, John, 239 – 242 America”, 164 Crane, Roy New Journalism work, 163 – 164 Wash Tubs, 5 1– 5 2 on critics of his portrayals of women, 269 Crane, Tristan and the pre-Code comics, 94 – 95 How Loathsome, 299 – 300 Weirdo, 5 , 242 creators of color Yum Book, 161 in the alternative comics scene, 305 Zap Comix, 155 , 159 biography, 312 – 313 Crumb, Sandy, 291 coming- of- age genre, 310 – 311 Cruse, Howard demand for from publishers, Gay Comix, 2 9 4– 2 9 5 307 – 308 Stuck Rubber Baby, 2 8 7, 2 9 5– 2 9 7, 2 9 9 emergence of, 303 – 304 i ction, 314 – 315 Daitch, Susan historical i ction, 313 – 314 The Colorist, 562 – 563 historical narration, 308 – 309 Damrosch, David, 595 Love and Rockets (Los Bros Hernandez), Darger, Henry 236 , 305 – 307 and Chris Ware, 151 – 152 mashups, 315 – 316 concerns over personality of, 143 – 144 memoirs and autobiography, 311 – 312 contemporary comic-strip inl uences, 146 – sociopolitical works, 309 – 310 147 , 150 , 152 – 153 in the superhero genre, 506 cultural context of, 145 twenty- i rst century, 307 graphic work of, 139 , 140 – 141 and underground comix, 303 – 304 The History of My Life, 140 , 150 – 151 Western genre, 310 inl uence of kidnap-orphan narratives, Crepax, Guido, 135 1 4 5– 1 4 6, 1 4 7– 1 4 9

662

663

Index

inl uence of Little Annie Rooney, 1 4 8– 1 4 9 in Drawn and Quarterly, 432 , 433 in Raw (Mouly and Spiegelman), 149 – 151 Lève ton jambe, mon poisson est mort! 433 written works, 139 – 140 Drawn and Quarterly David B. (David Beaurichard), 406 , 407 , 596 Americanization of authors list, 434 – 435 Davis, Alan, 221 , 222 – 223 autobiographical graphic novels, 433 Davis, Jack, 98 – 99 , 102 children’s books, 438 , 439 Davis, Rocío G., 408 , 412 early years, 427 – 428 , 432 DC Animated Movies, 548 – 549 local cultural production, 432 – 434 DC Comics see also Batman ; Watchmen manga works, 436 – 437 (Moore and Gibbons) petits livres range, 438 – 439 during the 1980s, 5 prestige investment in authors, 431 licensing of material, 183 – 184 promotion of graphic novels, 307 , 428 , narrative inconsistency, 109 430 – 431 , 436 , 439 – 440 recruitment of Alan Moore, 224 – 225 within the publishing i eld, 428 – 430 Vertigo imprint, 466 – 467 reissue of older comics, 437 – 438 De Haven, Tom translation of international works, 435 – 437 It’s Superman, 560 drawn novels Debord, Guy, 229 and the adaptation industry, 78 , 81 Deitch, Kim, 5 , 161 , 510 and the concept of graphic novels, 78 – 79 Delisle, Guy content of, 84 – 85 Jerusalem, 592 – 594 , 596 dei nition of, 81 Deutsch, Barry drawing techniques, 82 – 83 Hereville: How Mirka Got Her Sword drawings from photographs, 82 (Deutsch), 453 – 454 features of, 81 – 84 Dickens, Charles, 343 – 344 in the female magazine market, 87 – 89 digital culture see also e- graphic novels i lmic inl uences, 83 and production processes, 576 overview of, 76 – 77 Chris Ware’s work in, 575 – 576 in relation to graphic novels, 89 – 90 comics industry resistance to, 574 – 575 Souls in Chains, 8 4– 8 5 comics typologies, 583 text–image hierarchy in, 81 – 82 digital subscription models, 578 – 579 Drooker, Eric economic hegemony of distributors, 580 Howl: A Graphic Novel, 537 – 539 nostalgic cartoonists and, 574 Druillet, Philippe, 126 online serialization and, 577 Dunbar, Paul Laurence paper form interactivity in graphic novels, “Sympathy,” 529 – 531 5 7 5– 5 7 6 Dunst, Alexander, 397 practices and digital formats, 579 – 580 scanlations, 579 EC (Entertaining Comics) see also Kurtzman, direct- market comics shops Harvey; Mad and the crime genre, 458 – 461 Kurtzman’s career at, 96 Excalibur publishing and, 183 – 184 New Trend publications, 93 , 94 and the graphic novel, 350 – 351 Panic, 101 overview of, 337 war comics, 96 – 97 , 100 , 104 sales of manga, 351 Eco, Umberto and the speculator market, 351 The Myth of Superman, 108 , 109 , 375 , 559 Ditko, Steve The Mysterious Flame of Queen Loana, 564 The Amazing Spider- Man, 115 – 117 Eggers, Dave Dong, Lan, 193 , 199 McSweeney’s Quarterly, 11 , 518 , 520 Doré, Gustave, 22 , 23 , 25 – 26 , 34 , 371 “Touch Sensitive” iPad app, 518 , 576 Dorkin, Evan e- graphic novels Milk and Cheese, 236 Here (McGuire), 587 – 588 Doucet, Julie interactive performances of the reader, Dirty Plotte, 428 , 429f26.1 580 – 583

663

664

Index

e-graphic novels (cont.) The Comics Journal, 5 , 178 – 179 , 184 , 374 – 375 , intermedial relationships with i lm, 378 – 379 583 – 584 Gif -Wif , 127 , 130 , 135 , 372 rhythm of reading, 584 , 585 Fawaz, Ramzi, 119 , 565 – 566 These Memories Won’t Last (Campbell), Feif er, Jules 581 – 582 and the advent of the graphic novel, 173 turbomedia form, 585 characteristics of, 176 and video games, 585 – 586 inl uences on, 176 Eisner Awards, 192 Passionella and Other Stories, 177 Eisner, Will see also A Contract with God: political themes, 176 – 178 A Graphic Novel (Eisner) Tantrum, 173 , 175 – 176 , 177 – 178 , 377 and the advent of the graphic novel, 175 Feldstein, Al, 92 , 93 , 96 , 97 , 101 artistic style of, 445 feminism autobiographical work, 192 , 193 Aline Kominsky-Crumb, 271 – 272 , 274 on depiction of Ebony White, 192 – 193 female comics creators (1960s and 70s), depictions of community, 193 – 194 2 7 1– 2 74 “The Dreamer” (Life, in Pictures), 198 – 200 feminist comics collectives, 273 – 274 as father of the graphic novel, 168 global feminism, 279 identii cation of graphic novels, 21 , 444 Joyce Brabner, 274 identii cation with ethnically links with underground comix, 271 marginalized, 193 Melinda Gebbie, 230 , 272 – 273 The Plot: The Secret Story of “ The Protocols misogyny of underground comix of the Elders of Zion,” 448 – 449 movements, 269 – 270 praise for Harvey Kurtzman, 104 – 105 post- feminism in Tank Girl, 552 – 553 The Spirit, 191 , 192 – 193 , 550 relationship with female comics creators, style of, 193 2 74– 2 7 5 themes in, 191 – 192 social movement of, 270 – 271 underground comix inl uence on, 193 third- wave feminism, 276 – 279 El Hamamsy, Walid, 422 Trina Robbins, 271 , 273 El Shafee, Magdy Wimmen’s Comix, 162 , 273 Metro: A Story of Cairo, 418 women’s rejection of the label, 280 Elder, Will, 99 , 101 , 102 , 103 i lm novels, 80 – 81 Eliot, T. S. i lms The Waste Land, 528 , 533 – 537 adaptation into comics books, 546 Ellis, Warren Akira, 331 – 332 , 546 , 598 Transmetropolitan, 478 – 483 , 489 – 490 American Splendor, 547 Ernst, Max Barbarella, 127 inl uence on Klimowski, 68 Batman, 546 – 547 Une Semaine de bonté, 66 Batman Begins, 547 Blondie series, 544 Fantagraphics see also Comics Journal Blue Is the Warmest Color, 553 – 554 Cyclops, 136 Catwoman, 552 manga works, 598 changes in plots and themes, 551 Peter Bagge’s work published by, 242 , 435 comics adaptations, 543 – 545 publication of ACME Novelty Library, 512 and the comics industry, 220 , 545 , 583 – 584 publication of Los Bros Hernandez, 307 , and the comics/graphic novel, 545 , 546 , 428 , 435 547 – 548 , 554 – 555 publication of Nightmare Alley Creep Show, 5 (Gresham), 465 The Diary of a Teenage Girl, 553 fanzines Elektra, 552 amateur press alliances (APAs), 373 – 374 Ella Cinders, 544 “An Examination of ‘Master Race’” i ctional narrative cinema, 79 – 80 (Spiegelman), 374 Flash Gordon, 5 , 544 – 545

664

665

Index

Fritz the Cat, 545 Gaiman, Neil see also Sandman (Gaiman) gender representation, 551 – 554 Black Orchid, 501 and the graphic novel, 543 , 549 – 550 and the British invasion, 342 The Gumps (Smith), 544 inl uence of Charles Dickens on, 343 – 344 Harold Teen, 544 Miracleman stories, 501 A History of Violence, 465 , 547 , 551 praise for Bone (Smith), 343 , 346 – 347 Indiana Jones titles, 5 on speculator markets for comics, 349 – 351 The Killing Joke, 549 , 551 on Will Eisner, 191 manga, 545 – 546 , 548 writing for both l oppy and trade formats, Marvel Cinematic Universe, 107 342 – 344 Persepolis, 413 – 414 Gaines, William M., 92 , 94 , 96 , 97 , 100 , 444 Popeye, 5 Galvan, Margaret, 274 Road to Perdition, 465 , 545 – 546 , 547 , 552 Garcia, Eric, 308 Sin City, 546 , 547 , 552 Garcia, Jerry, 531 Superman, 546 – 547 García, Santiago, 50 , 51 , 54 – 55 , 306 Tank Girl, 552 – 553 Gardner, Jared, 47 , 391 , 559 , 575 , 583 – 584 V for Vendetta, 547 Gaudreault, André and Philippe Marion, 584 When the Wind Blows, 546 Gebbie, Melinda, 230 , 272 – 273 Wonder Woman, 554 Ghost World (Clowes) X- Men series, 548 appearances of Clowes in, 364 – 366 Fisher, Bud Clowes’ art style and, 354 , 364 Mutt and Jef , 4 0– 4 1, 1 4 6– 1 4 7 as coming-of- age story, 358 – 361 Folman, Ari Enid’s search for authenticity, 362 – 363 Waltz with Bashir, 450 – 451 and idiosyncratic inauthenticity, 363 Forest, Jean-Claude see also Barbarella (Forest) as literary graphic novel, 354 American genre-i ction inl uences, 127 – 129 literary/ lowbrow inl uences in, 356 – 358 Gif -Wif , 127 political critique in, 361 – 362 nostalgia for American comics, 126 – 127 portrayal of teenage girls, 353 – 354 Forney, Ellen traditional form of, 363 – 364 The Absolutely True Diary of a Part-Time Gibbons, Dave see also Watchmen (Moore and Indian, 568 – 569 , 570 Gibbons) Foster, Harold and the British invasion, 342 Tarzan, 4 1, 5 0, 5 1– 5 2 “The Super Surfer,” 104 France see also (À Suivre); Barbarella (Forest); Ginsberg, Allen individual artists Howl, 528 , 537 – 539 (L’)Association, 407 Giordano, Vittorio adult comics strips in, 134 – 135 A Jew in Communist Prague, 447 – 448 award structures, 596 Gish, Nancy K., 535 Charlie Hebdo, 3 , 420 , 591 Glass, Ira, 518 – 519 digital comics theory, 583 Gleason, Lev Gif -Wif , 127 , 130 , 135 , 372 Crime Does Not Pay, 458 Métal Hurlant, 5 , 251 , 262 , 263 , 476 , 488 Glidden, Sarah Moebius’s science i ction, 263 , 476 How to Understand Israel in 60 Days or opposition to female magazines, 87 – 89 Less, 451 publishing, 596 – 597 global comics production, see also France ; reception of Barbarella (Forest), 134 – 135 manga ; Middle East science- i ction/fantasy comics, 263 African continent, 600 – 601 Freeman, Don Danish cartoon crisis, 591 – 594 career of, 176 diversity of, 599 Skitzy, 6 6– 6 7 Oceania, 602 – 605 Frey, Hugo, 53 , 54 , 55 , 56 , 96 , 102 – 103 , 172 , 305 , South America, 601 564 , 577 transnationalism of, 594 – 595 Frye, Northrop, 110 – 111 within world literature, 605

665

666

Index

Gloeckner, Phoebe future trends in, 8 career, 277 – 278 historical periodization of, 2 – 3 The Diary of a Teenage Girl, 278 , 553 , 568 historical relationship with comics, 1 , 2 , 21 – 22 Goethe, Johan Wolfgang, 28 history of the medium of, 75 – 76 Golden Age of comics strips as new literary phenomena, 4 – 5 , 34 1890s– 1910s, 40 – 44 the “novel” within, 495 – 496 1910s– 1920s, 45 – 49 overlap of content with comics, 13 – 15 1930s– 1940s, 48 – 52 overview of, 322 – 323 adventure strips, 50 , 52 sales of, 350 – 351 Bringing up Father (McManus), 45 scholarship on, 6 – 7 , 526 competition from TV, 51 , 52 and serialized comics formats, 493 – 495 continuity strips (family series), 45 – 46 , 109 and technology, 8 contrasted with the graphic novel, 53 – 56 t e r m , 1 – 2 , 1 6– 1 7, 2 1, 1 7 1– 1 7 2 conventions of, 48 – 50 from underground comix, 1976, 166 – 168 era of, 39 and world literature, 8 Gasoline Alley (King), 45 , 47 – 49 , 514 Green, Justin The Gumps (Smith), 46 – 47 , 544 Binky Brown Meets the Holy Virgin Mary, interpretative reader practices, 46 – 47 160 – 161 , 162 Krazy Kat (Herriman), 39 , 42 – 44 , 144 – 145 , Green, Matthew, 221 561 – 562 Greene, Graham, 221 literary reprints of, 54 Gregory, Roberta Little Nemo in Slumberland (McCay), 41 – 42 Bitchy Bitch, 316 Mutt and Jef (Fisher), 40 – 41 , 146 – 147 Winging It, 286 , 291 – 292 as popular, non-literary entertainment, 51 Griepp, Milton, 351 production of, 46 , 54 Groensteen, Thierry, 23 , 62 , 581 , 582 seriality of, 39 – 40 Gross, Milt standardization of formats, 50 – 51 , 53 – 54 He Done Her Wrong, 65 , 443 – 447 Terry and the Pirates (Canif ), 41 , 47 , Groth, Gary, 171 – 172 , 374 – 375 , 378 – 379 51 – 52 , 53 , 54 Grove Press see also Barbarella (Forest) Walt & Skeezix ( Gasoline Alley adult comic strips, 125 – 126 reprint), 54 – 55 The Adventures of Jodelle (Bartier and women authors, 44 , 45 Peellaert), 124 , 125 Gonick, Larry The Adventures of Phoebe Zeit- Geist The Cartoon History of the Universe, 165 , 179 , (O’Donoghue and Springer), 124 , 125 , 181 – 182 1 3 3– 1 3 4 Goodwin, Archie Evergreen Review, 124 , 125 concept of the graphic novel, 182 – 183 , publication of Guido Crepax, 135 184 – 185 publishing philosophy, 124 , 125 – 126 , 136 Manhunter, 183 – 184 Goscinny, René Hajdu, David, 97 – 98 , 99 Asterix the Gaul, 372 , 596 Harvey, Robert, 46 , 47 , 51 , 379 Gould, Chester Hate (Bagge) Dick Tracy, 145 – 146 , 457 commercial punk, 246 Grandville, J. J. (Jean Ignace Isidore Gérard) as post-punk graphic novel, 248 – 249 artistic identity, 33 – 34 publications, 242 – 243 codes and puns in, 28 , 33 punk’s expressive negation, 247 word– image tensions, 24 , 33 , 34 skepticism over punk subcultures, 247 graphic novels, 34 as semi-autobiographical, 242 , 249 contemporary treatments of social- and the subcultural mores of punk, 243 – 246 political events, 3 Hati eld, Charles, 209 , 271 , 276 , 569 – 570 cultural recognition of, 382 – 383 Hayward, Jennifer Poole, 46 , 47 , 54 as distinct from comic books, 23 Heavy Metal, 5 , 377 , 545 emergence of, 228 , 286 – 287 , 376 – 378 Hebdige, Dick, 235 , 236

666

667

Index

Heer, Jeet, 282 relationship with the novel, 79 – 81 Hefner, Hugh, 102 text– image hierarchy in drawn novels, 81 – 82 Hempel, Marc, 348 visual language, 35 Hergé (George Remi) word– image tensions, 23 – 24 , 28 , 33 – 34 , Hergéan norm, 253 – 254 528 – 529 , 569 – 570 ligne claire, 45 , 252 , 263 , 450 , 594 , 596 In the Realms of the Unreal (Dager) Tintin series, 5 , 78 , 125 , 263 , 372 , 476 , 494 , and the alternative comic scene (1990s), 151 595 – 596 discovery of, 141 – 142 Hernandez, Gilbert, 236 , 305 – 307 , 467 – 468 imagery in, 142 – 143 Hernandez, Jaime, 171 – 172 , 236 , 304 , 305 – 307 narrative sequentiality, 149 – 150 Hernandez, Mario, 304 , 305 – 307 overview of, 140 , 141 Herriman, George as private, non-commercial work, 139 , 142 , Krazy Kat, 39 , 42 – 44 , 144 – 145 , 561 – 562 1 4 4– 1 4 5 Herschfeld, Harry independent publishers see also Drawn and Abie the Agent, 443 Quarterly; Fantagraphics historical narration (L’)Association, 407 from the African continent, 600 – 601 alternative formats and, 459 – 460 in Corto Maltese (Pratt), 256 boom in, 1990s, 462 creators of color, 308 – 309 and creators of color, 459 crime genre, 471 – 472 Isaacson, J., 237 Give Me Liberty! A Revised History of the Israeli graphic novels American Revolution (Richards and Exit Wounds (Modan), 449 – 450 Shelton), 103 , 165 , 179 – 180 , 181 – 182 How to Understand Israel in 60 Days or Less historical i ction by creators of color, 313 – 314 (Glidden), 451 historical narration by creators of color, “Jamilti” (Modan), 450 308 – 309 The Property (Modan), 600 historical novels, 256 Waltz with Bashir (Folman), 450 – 451 underground comics (comix), 165 – 166 , 179 – 180 , 181 – 182 Jacobs, Edgar P., 260 – 261 , 263 Underhanded History of the USA (O’Brien Jagoda, Patrick, 528 – 529 and Thorkelson), 178 – 179 , 181 Jameson, Fredric, 243 Hoberek, Andrew, 566 Jansson, Tove, 436 , 437 , 438 Hodapp, James, 398 Jason, 69 Hogarth, Burne Jaxon (Jack Jackson), 165 – 166 , 179 , 181 – 182 Tarzan series, 174 – 175 , 377 Jenkins, Henry, 120 Hogarth, William Jewish graphic novels see also A Contract with as caricaturist, 25 God: A Graphic Novel (Eisner); Maus literary imagery of, 27 (Spiegelman) literary satire of, 28 The Adventures of Rabbi Harvey Holland, Edward C., 399 (Sheinkin), 453 Holocaust scholarship autobiographical graphic novels, 445 – 447 on Jewish graphic novels, 447 Dangerous Woman: The Graphic Biography of and Maus (Spiegelman), 381 , 447 Emma Goldman (Rudahl), 449 Hoover, J. Edgar, 93 Eisner’s inl uence on, 444 – 445 Horrocks, Dylan expressions of faith, 451 – 454 Hicksville, 602 Hereville: How Mirka Got Her Sword (Deutsch), 453 – 454 images Holocaust subgenre, 447 illustration in novels, 33 , 34 , 79 Jew Gangster (Kubert), 445 mediation of words/ images in science A Jew in Communist Prague (Giordano), i ction, 479 – 483 447 – 448 punk’s Nazi and fascist imagery, Jew of New York (Katchor), 447 238 – 239 , 248 Life? or Theatre? A Song-Play (Salomon), 444

667

668

Index

Jewish graphic novels (cont.) König, Ralf, 293 – 294 Mendel’s Daughter (Lemelman), 445 – 446 Kozol, Wendy, 391 , 398 The Metamorphosis (Kuper), 454 Kruper, Peter, 454 The Quitter (Pekar), 446 – 447 Kubert, Joe The Rabbi’s Cat (Sfar), 452 – 453 Jew Gangster, 445 Scroll of Esther (Waldman), 451 – 452 Yossel, April 19, 1943, 447 Two Cents Plain (Lemelman), 445 – 446 Kuhlman, Martha, 454 Yossel, April 19, 1943 (Kubert), 447 Kunzle, David, 23 , 375 – 376 , 594 Jewish themes Kuper, Peter and the comic form, 200 , 443 Franz Kaf ka The Metamorphosis, 454 Great Neck (Cantor), 565 – 567 The System, 67 The Amazing Adventures of Kavalier & Clay Kurtzman, Harvey see also Mad (Chabon), 563 – 564 , 567 on the advent of graphic novels, 7 Johnson, Monica, 277 career at EC, 96 Johnson, Nora educational work, 103 The World of Henry Orient, 357 Harvey Kurtzman’s Jungle Book, 4 , 102 – 103 Joyce, William, 237 , 239 , 240 Harvey Kurtzman’s Strange Adventures, 103 – 104 Kaf ka, Franz, 454 “Hey Look!”, 96 , 97 Kane, Bob, 193 Humbug, 102 , 103 Kane, Gil industry recognition of, 104 – 105 and the advent of the graphic novel, 173 , 174 inl uence on Art Spiegelman, 104 Blackmark, 174 , 183 , 376 – 377 Jewish origins, 448 His Name Is … Savage!, 175 , 182 “Little Annie Fanny,” 103 , 125 interviews of, 374 on Mad’s creation, 97 – 98 on A Contract with God: A Graphic Novel pay at EC, 97 , 102 , 104 – 105 (Eisner), 175 Trump, 102 Kashtan, Aaron, 576 war comics, 96 – 97 , 100 , 104 Katchor, Ben Kyle, Robert, 166 – 167 , 172 , 182 , 373 – 374 , 377 Jew of New York, 447 Katz, Jack Laaksonen, Touko The First Kingdom, 184 Kake, 288 Kerouac, Jack, 128 – 130 , 136 Labio, Catherine, 439 Kidd, Chip, 13 , 14f1.2 Lambert, Josh, 175 King, Frank Langer, Lawrence L., 370 Gasoline Alley, 4 5, 4 7– 4 9, 5 4– 5 5, 5 1 4 Lee, Stan Kinney, Jef depictions of split identities, 114 Diary of a Wimpy Kid series, 569 The Fantastic Four, 110 , 118 – 120 Kirby, Jack on l awed protagonists, 110 The Fantastic Four, 110 , 118 – 120 and Harvey Kurtzman, 96 , 104 inl uences, 52 ironic, self-rel exive writing, 115 , 117 – 118 Thor, 118 at Marvel, 155 and Will Eisner, 193 the Marvel method, 117 Kirby, Robert Spider- Man, 115 – 117 Curbside Boys, 290 Thor, 118 Klimowski, Andrzej, 68 Leetham, Jonathan Koike, Kazuo The Fortress of Solitude, 108 – 109 Lone Wolf and Cub, 327 – 329 , 545 Lemelman, Martin Kojima, Goseki Mendel’s Daughter, 445 – 446 Lone Wolf and Cub, 327 – 329 , 545 Two Cents Plain, 445 – 446 Koltun- Fromm, K., 200 Lemire, Jef Kominsky- Crumb, Aline, 160 – 161 , 162 , 164 , Black Hammer, 1 3 271 – 272 , 274 Letterist International, 229

668

669

Index

Leventhal, Robert S., 370 i lms, 545 – 546 , 548 Levitz, Paul, 194 , 196 , 197 foreignization of in Ronin (Miller), 327 , Lewen, Si 328 – 329 , 330 , 331 – 332 Parade, 67 foreignization strategies and, 331 – 332 LGBTQ comics see also Bechdel, Alison; global audiences for, 598 – 599 Cruse, Howard The Gundam Series, 333 – 334 bisexual erotic comics, 289 in direct-market shops, 351 female erotic comics, 289 industry, Japan, 321 – 322 , 597 gay gag strips, 289 – 290 inl uence on the graphic novel, 323 – 324 , 378 male erotic comics, 288 – 289 Lone Wolf and Cub, 327 – 329 , 545 overview of, 287 – 288 parallels with bande dessinée, 599 queer comics in Europe, 293 – 294 published by Drawn and Quarterly, 436 – 437 transgender sexuality in, 289 sales of, 351 LGBTQ graphic novels scanlations of, 579 creation of, 286 – 287 science i ction/fantasy, 476 emergence of, 286 strategic foreignization of in the Fun Home: A Family Tragi-Comic (Bechdel), readership, 329 278 – 279 , 286 – 287 , 296 – 299 subgenres of, 322 How Loathsome (Crane and Naifeh), translations of Barefoot Gen (Nakazawa), 299 – 300 165 , 294 , 330 , 331 , 598 Sexile/ Sexilio (Cortez), 300 – 301 women artists, 598 Stuck Rubber Baby (Cruse), 287 , 295 – 297 , 299 women’s market for, 378 trans- themed novels, 299 – 301 wordless graphic novels, 71 Lloyd, David Marion, Philippe, 584 V for Vendetta, 5 , 221 – 223 , 547 Marvel (Silver Age universe) Loman, Andrew, 381 The Amazing Spider- Man, 111 , 494 – 495 London, Bobby, 163 extended superhero storylines, Lopes, Paul, 117 , 275 , 383 497 – 498 , 559 Los Bros Hernandez The Fantastic Four, 110 , 118 – 120 Love and Rockets, 236 , 305 – 307 l awed characters in, 109 – 110 Losfeld, Eric, 125 , 126 , 134 and the graphic novel, 107 – 108 , 120 – 122 Lovecraft, H. P., 232 impact on later comics work, 120 – 122 inter- genre relationships, 118 MacGregor, John M., 141 , 147 , 152 literary value of, 112 – 113 Macy, Jon the Marvel method, 117 , 219 Teleny, 288 – 289 narrative consistency in Marvel superhero Mad see also Kurtzman, Harvey comics, 108 – 109 Alfred E. Neuman mascot, 92 , 101 novelistic elements of, 110 – 111 artwork, 98 – 99 ordinary self-superhero identity tensions, and the Comics Code, 101 113 – 117 format of, 92 – 93 and the reading experience, 111 – 112 genealogical connection with Maus , 104 realism in superhero mythology, 109 – 110 under Harvey Kurtzman, 93 – 94 realism– romance relationship in, 113 inl uence of, 92 , 93 – 95 Spider- Man, 110 , 113 , 114 – 117 origins of, 97 – 98 superheroes, 107 – 108 parody of popular culture, 93 , 99 – 100 superheroes in The Fortress of Solitude as pre-Code comic, 95 (Letham), 108 – 109 satirical remit, 444 Thor, 118 transformation into a magazine, 100 – 102 , 157 Marvel Cinematic Universe (MCU) Yiddish words in, 100 franchise system, 548 Mandaville, Alison, 567 narrative universe, 550 manga size of, 107 domestication of, 333 – 335 X- Men i lm franchise, 548

669

670

Index

Marvel Graphic Novel line, 498 – 499 Footnotes in Gaza (Sacco), 390 , 392 – 393 , 396 , Masereel, Frans, 59 – 60 , 62 – 63 , 176 , 371 , 397 , 401 443 , 594 A Game for Swallows: To Die, to Leave, to Matsumoto, Taiyo, 598 – 599 Return (Abirached), 415 – 416 Maus: A Survivor’s Tale (Spiegelman) see also graphic- narrative tradition, 422 , 599 – 600 Maus (Spiegelman) Iranian graphic narratives, 418 – 419 , 600 autobiographical element, 162 , 165 L’Arabe du futur: une jeunesse au Moyen CD- ROM edition, 8 Orient, 1978–1984 (Sattouf ), 420 – 421 criticism of, 446 – 447 Lebanese works, 415 – 417 foreignization strategies and, 330 – 331 Palestine (Sacco), 390 , 391 , 395 , 397 – 398 , 399 , genealogical connection with Mad , 104 400 – 401 Holocaust representation, 9 , 204 , 447 popular culture, 422 Holocaust scholarship and, 381 , 447 The Property (Modan), 600 impact on later comic work, 205 – 206 Sidi Bouazid Kids (Borg and Talamba), 419 initial serial form of, 4 – 5 , 39 , 378 Waltz with Bashir (Folman), 450 – 451 meta- referential feedback to, 207 – 208 Western markets/producers, 422 – 423 mouse avatars, 209 – 211 Millar, Mark in Raw, 5 , 330 Civil War, 5 0 1– 5 0 2 scholarship on, 382 , 447 Miller, Ann, 408 as seminal work, 203 – 205 , 370 Miller, Frank Maus II (Spiegelman), 370 , 380 – 381 artistic style of, 463 – 464 Mayer, Robert Batman: The Dark Knight Returns, 5 , 3 9, 1 0 7, Superfolks, 560 – 561 326 – 327 , 378 , 462 , 499 , 547 McCay, Winsor Batman: Year One, 462 – 463 , 503 , 547 Little Nemo, 32 on A Contract with God: A Graphic Novel Little Nemo in Slumberland, 4 1– 4 2 (Eisner), 191 McCloud, Scott, 191 , 282 , 379 , 409 – 410 , 451 , Daredevil, 5 , 4 6 2, 4 9 5, 4 9 8– 4 9 9 528 , 539 , 575 , 594 the Legend Group, 463 McGregor, Don Ronin, 326 – 329 , 330 , 331 – 332 Detectives Inc. series, 460 Sin City, 327 , 463 – 464 , 546 , 547 , 552 McGuire, Richard The Spirit, 550 Here, 587 – 588 Miller, Nancy K., 280 McGurl, Mark, 10 , 323 Mitchell, W.J.T., 92 , 526 McLuhan, Marshall, 92 , 478 Modan, Rutu McManus, George Exit Wounds, 449 – 450 , 600 Bringing Up Father, 45 “Jamilti,” 450 Meiers, S., 275 The Property, 600 Meltzer, Brad Moebius (Jean Giraud) Identity Crisis, 501 science i ction in French comics, 5 , 263 , 476 Meltzer, Richard, 238 The World of Edena cycle, 69 , 264 – 266 Menu, Jean-Christophe, 409 , 410 Molotiu, Andrei, 115 Métal Hurlant, 5 , 251 , 262 , 263 , 476 , 488 Moon, Michael, 143 , 145 – 146 , 147 MetaMaus (Spiegelman) Moorcock, Michael mouse I-con, 213 – 216 Elric of Melniboné, 241 self- i guration of the autobiographer’s Moore Howard, Rebecca M, 492 own self, 215 – 216 Moore, Alan see also Watchmen (Moore and Metzger, George Gibbons) Beyond Time and Again, 166 – 167 approach to writing, 219 – 220 Middle East see also Persepolis (Satrapi) use of appropriation, 230 – 232 Arab Spring, 419 author– artist relationship with Gibbons, Baddawi (Abdelrazaq), 416 – 417 226 – 227 Bye Babylon: Beirut (Ziadé), 415 – 417 Batman:The Killing Joke, 224 , 500 – 501 , Exit Wounds (Modan), 600 549 , 551

670

671

Index

Big Numbers, 228 – 229 Middle Eastern graphic narrative tradition, Bojef ries Saga, 221 422 , 599 – 600 and the British invasion, 342 narrative closure and comic-based i ction, on comic-i lm distinctions, 220 559 – 563 From Hell, 230 , 232 , 471 narrative consistency in Marvel superhero genre in the early works, 220 – 221 comics, 108 – 109 and H. P. Lovecraft, 232 the narrative universe in MCU, 550 The League of Extraordinary Gentlemen, nineteenth- century experimentation 231 – 232 in, 25 – 27 on Lord Horror, 239 romance, 110 – 111 Lost Girls, 230 – 231 , 232 , 272 Saga series (Vaughn and Staples), 486 – 487 Marvelmen, 221 , 222 – 223 , 225 in science i ction/fantasy, 476 Miracleman stories, 501 and sequential art, 173 as postmodernist writer, 228 , 231 Sterne’s inl uence on, 30 – 32 use of psychogeography, 229 – 230 in the superhero genre, 13 – 14 , 499 – 500 , 559 A Small Killing, 227 – 228 in Watchmen (Moore and Gibbons), 15 , 225 and the superhero genre, 224 – 225 , 560 – 561 Nazario, 293 “Swamp Things,” 5 , 13 , 224 Nazism see also Reverbstorm (Britton and and the term “graphic novel”, 220 Coulthart) V for Vendetta, 5 , 221 – 223 , 547 and Lord Horror, 239 – 240 “Whatever Happened to the Man of punk’s Nazi and fascist imagery, Tomorrow,” 224 238 – 239 , 248 Morice, Dave William Joyce’s broadcasts, 237 , 239 , 240 “The Adventures of Whitman,” 531 – 533 Nodier, Charles, 34 – 35 on translating poetry into comics, 527 novelization, 80 – 81 Motter, Dean novels The Sacred and the Profane, 183 The Absolutely True Diary of a Part- Mouly, Françoise see also Raw magazine Time Indian (Sherman and Forney), (Mouly and Spiegelman) 568 – 569 , 570 collaborations with Chris Ware, 518 – 519 The Colorist (Daitch), 562 – 563 as female comic creator, 281 – 282 comics storytelling in prose, 567 The Diary of a Teenage Girl (Gloeckner), 568 Naifeh, Ted Diary of a Wimpy Kid series (Kinney), 569 How Loathsome, 299 – 300 formal realism, 29 Nakazawa, Keiji genre of and visual storytelling, 24 – 25 Barefoot Gen, 165 , 294 , 330 , 331 , 598 Great Neck (Cantor), 565 – 567 narrative see also historical narration historical novels, 256 in Adèle Blanc-Sec (Tardi), 260 – 261 and the history of the comics as art anti- narrative of punk comic strips, form, 563 236 – 237 hybrid prose-cartoon diaries, 567 – 569 caricature, 25 Jujitsu for Christ, 564 – 565 , 566 in Chris Ware’s work, 517 – 518 , 520 – 523 juvenile readers and comics-inspired in comic strips, 39 – 40 , 45 – 46 , 559 novels, 568 – 570 in Daniel Clowes’ work, 353 , 359 The Amazing Adventures of Kavalier & Clay early experimentation in, 30 – 32 (Chabon), 563 – 564 , 567 e-graphic novels and the interactive Krazy Kat: A Novel in Five Panels (Cantor), performances of the reader, 580 – 583 561 – 562 in graphic novels, 495 – 496 narrative closure and comics- based i ction, inconsistent, DC Comics, 109 559 – 563 kidnap- orphan narratives, 147 – 149 novelistic elements in Marvel’s superhero literary structures for, 174 narratives, 110 – 111 Marvel’s narrative universe, 550 the postmodern novel and the graphic and the material form, 10 – 11 novel, 228 , 231

671

672

Index

novels (cont.) as feminist text, 279 , 280 , 414 prose i ction and the comics form, 558 – 559 i lm adaptation, 413 – 414 , 553 relationship with images, 79 – 81 as graphic novel, 406 – 407 revision to literary orthodoxies, 566 – 567 as hybrid genre, 407 – 408 superhero metaphors in, 563 – 566 international standing, 405 – 406 , 421 , 423 woodcut novels, 62 – 64 , 594 Marjie’s hybrid identities, 410 – 412 word– image tensions, 569 – 570 Persian aesthetics of, 409 – 411 The Year of the Beasts (Castellucci and picture– text interactions, 409 – 411 Powell), 567 postcolonialism of, 596 Nückel, Otto, 64 publication of, 596 representations of the Middle East, O’Donoghue, Michael 405 – 406 The Adventures of Phoebe Zeit- Geist, 124 , 125 , serial form of, 39 1 3 3– 1 3 4 translation of, 8 , 405 O’Neill, Kevin Pettibon, Raymond, 236 The League of Extraordinary Gentlemen, Phillips, Sean 231 – 232 Criminal, 4 6 9– 4 7 0 O’Brien, Jim Sleeper, 468 – 469 Underhanded History of the USA , 178 – 179 , 181 photo novels, 76 , 78 – 79 , 90 , 124 – 125 Oliveros, Chris see also Drawn and Quarterly Ping Zhu The Envelope Manufacturer, 426 – 427 Swan Lake, 7 1 as publisher-turned- cartoonist, 426 – 427 Piskor, Ed, 533 O’Neill, Rose poetry see also Eliot, T.S. Kewpies, 44 The Beats: A Graphic History (Pekar and Opper, Frederick Burr, 39 , 40 Piskor), 533 Orbán Katalin, 395 – 396 correlation with graphic novels, 526 – 529 Ormston, Dean Hip Hop Family Tree (Pekar and Piskor), 533 Black Hammer, 1 3 one- dimensional views of, 529 – 531 Orvell, Miles, 562 as re-visioned, 531 – 533 Otomo, Katsuhiro “Sympathy” (Dunbar), 529 – 531 Akira, 331 – 332 , 546 , 598 p o l y g r a p h y, 2 7– 2 8, 7 5 Ott, Thomas, 69 – 70 Pouncey, Edwin (Savage Pencil), 235 Oubrerie, Clément Powell, Nate Aya de Yopugon, 601 The Year of the Beasts, 567 Pratt, Hugo see also Corto Maltese (Pratt) Parket, John R., 527 , 540 i liation in, 255 Peanuts (Schulz), 52 , 155 , 375 , 494 , 510 style of, 257 Peellaert, Guy treatments of non-Western cultures, The Adventures of Jodelle, 124 , 125 2 5 4– 2 5 5 Peeters, Benoît Preiss, Byron, 377 , 459 The Leaning Girl, 1 1– 1 2 press coverage, mainstream, 381 Pekar, Harvey Prince, Michael J., 537 , 538 , 539 American Splendor, 163 , 274 , 446 , 547 , 550 Proby, P. J., 239 The Beats: A Graphic History, 533 production processes emergence of, 5 Marvel Method, 117 , 219 Hip Hop Family Tree, 533 traditional, 219 The Quitter, 446 – 447 of underground comix, 219 Perry, George and Alan Aldridge, 126 psychogeography, 229 Persepolis (Satrapi) publishing see also Drawn and Quarterly; as alternative bande dessinée, 406 – 407 , 409 Fantagraphics ; independent publishers artistic style of, 279 , 410 distribution networks, 11 as autobiographical work, 408 Excalibur Enterprises, 183 – 184 educational agenda, 408 – 409 in France, 596 – 597

672

673

Index

of graphic novels, 378 , 382 Chris Ware’s author–reader literary publication of graphic novels, relationship, 518 1 , 1 1– 1 3 Daniel Clowes’ author–reader relationship, Oliveros’ promotion of graphic novels, 366 – 368 430 – 431 e- graphic novels and interactive periodical- to- trade model, 467 performances of the reader, 580 – 583 popular illustration, advent of, 33 , 34 interpretative practices for serial comic prestige investments, 431 strips, 46 – 47 sales of graphic novels, 350 – 351 narrative consistency in Marvel superhero sales of manga, 351 comics, 108 – 109 speculator markets for comics, 344 , 349 – 351 the new ’active’ reader, 32 , 35 University Press of Mississippi, 380 reactions to Marc Hempel’s artwork punk ( Sandman), 348 anti- narrative and the graphic novel, reader as animator, 584 – 585 236 – 237 readers’ letters to Neil Gaiman, 344 expressive negation of, 247 – 248 readers’ relationship with a novel, 484 – 485 Nazi and fascist imagery, 238 – 239 , 248 reader– viewer role in A Contract post- punk graphic novels, 238 (Eisner), 198 visual culture of, 235 reading experience in the Marvel visual style and graphic novel, 237 Silver Age universe, 111 – 112 punk comic strips reading practices and digital formats, 2000AD, 235 , 476 5 7 9– 5 8 0 anti- narrative style, 236 – 237 reading practices and paper form inter- in Great Britain, 235 – 236 activity, 575 – 576 Jimbo, 236 reading practices and Watchmen (Moore Love and Rockets, 236 and Gibbons), 225 in the United States, 236 reading practices for wordless graphic Viz, 235 – 236 novels, 60 – 61 , 72 Pynchon, Thomas (Vineland ), 237 relationship with a graphic novel, 485 rhythm of reading for e- graphic novels, Rabaté, Pascal 584 , 585 Fenêtres sur rue, 7 1– 7 2 speculator markets for comics, 344 , 349 – 351 Rageul, Anthony (Tony) strategic foreignization of anglophone Prise de tête, 585 – 586 manga, 329 Raw magazine (Mouly and Spiegelman) realism global contributors to, 305 in Chris Ware’s work, 517 Henry Darger’s work in, 149 – 151 formal realism, 29 impact of, 5 , 509 in Marvel superhero narratives, 108 – 110 , Mark Beyer’s work in, 236 1 1 3 Maus (Spiegelman) in, 5 , 330 in Peter Bagge’s work, 243 recognition of Mouly’s status as Reid, Calvin, 351 co-founder, 282 Reidelbach, Maria, 98 , 101 “Thrilling Adventure Stories (I Guess)” Resnais, Alain, 127 , 132 – 133 (Ware), 510 – 511 Reverbstorm (Britton and Coulthart) Raymond, Alexander Lord Horror, 237 , 239 – 240 Flash Gordon, 41 , 50 , 51 – 52 , 544 – 545 music/ lyric references, 241 readers Nazi and fascist imagery, 239 – 240 , 248 active readers and open-endedness, 529 as post-punk graphic novel, 241 – 242 , active reading in V for Vendetta (Moore and 248 – 249 Lloyd), 223 pulped modernism aesthetic, 240 – 241 adult audiences and new formats, 172 , 174 , William Joyce as anti-hero, 237 , 239 , 240 175 – 176 Reynolds, Richard, 492 – 493 book- length comics for adults, 1930s, 176 Rice Burroughs, Edgar, 128 – 129

673

674

Index

Richards, Ted Marc Hempel’s artwork, 348 Give Me Liberty! A Revised History of the serendipity and, 342 American Revolution, 103 , 165 , 179 – 180 , transition from l oppy to graphic novel, 181 – 182 337 – 342 , 344 , 345 – 346 Rifas, Leonard, 165 , 180 Satrapi, Marjane see also Persepolis (Satrapi) Risso, Eduardo as band dessinée author, 405 , 406 100 Bullets, 466 Chicken with Plums ( Poulet aux prunes), Rius (Eduardo del Rio), 181 412 – 413 Robbins, Trina, 271 , 273 , 275 – 276 , 277 , 290 – 291 Embroideries (Broderies), 412 Robertson, Darrick as feminist author, 279 , 280 Transmetropolitan, 478 – 483 , 489 – 490 i lm work, 413 Rodriguez, Manuel “Spain,” 161 , 163 , 303 international standing, 414 Rosenblatt, A. and A. A. Lunsford, 395 Sattouf, Riad Roth, Laurence, 193 , 196 , 200 , 201 L’Arabe du futur: une jeunesse au Moyen Rowson, Martin Orient 1978–1984 , 420 – 421 , 596 The Waste Land, 533 – 537 Savoy publishers, 237 , 239 Royal, Derek Parker, 200 , 201 , 310 , 394 Scherr, Rebecca, 397 – 398 Rudahl, Sharon Schuiten, François Dangerous Woman: The Graphic Biography of The Leaning Girl, 1 1– 1 2 Emma Goldman, 449 science i ction/fantasy see also Watchmen Rupiper- Taggart, Amy, 492 (Moore and Gibbons) 2000AD, 235 , 476 Saba, Arn, 173 and the graphic narrative, 476 Sabin, Roger, 5 , 6 , 235 , 238 – 239 , 273 – 274 , 380 , in Archie Goodwin’s classii cation of 3 8 1– 3 8 2 graphic novels, 182 – 183 Sacco, Joe cognitive estrangement, 488 artistic style of, 390 by creators of color, 314 – 315 autobiographical genre of, 389 dei nitions of, 476 – 477 Bumf, 390 , 394 – 395 , 399 – 400 female protagonists, 127 Days of Destruction, Days of Revolt, 394 Fiction, 128 at Drawn and Quarterly, 435 manga, 476 Footnotes in Gaza, 390 , 392 – 393 , 396 , 397 , 401 media developments in, 478 , 482 , framing techniques, 398 – 402 488 – 489 The Great War. July 1, 1916: The First Day of mediation in, 479 – 483 , 488 – 490 the Battle of the Somme, 72 , 394 , 401 – 402 Moebius (Jean Giraud), 263 , 476 Journalism, 393 – 394 , 399 , 400 practice of in France, 262 – 263 journalistic objectivity in, 395 – 396 re- mediation of reading, 485 – 487 , 489 Palestine, 390 , 391 , 395 , 397 – 398 , 399 , 400 – 401 Saga series (Vaughn and Staples), 483 – 487 , political aesthetic, 397 – 398 489 – 490 representations of trauma, 393 – 394 , Transmetropolitan (Ellis and Robertson), 396 – 397 478 – 483 , 489 – 490 Sacco graphic self, 391 – 395 The World of Edena cycle (Moebius), Safe Area Goražde, 392 , 397 , 401 264 – 266 and the term “graphic novel”, 389 – 390 Scooby Doo, 357 Salinger, J. D., 356 – 357 Scott, Randall, 376 Salomon, Charlotte Seaver, Richard, 124 , 125 , 131 – 133 Life? or Theatre? A Song-Play , 444 Sfar, Joann Sandman (Gaiman) see also Gaiman, Neil The Rabbi’s Cat, 452 – 453 , 596 artists and story arcs, 345 – 346 Shatz, Adam, 420 – 421 and the fantasy genre, 338 Shay, Maureen, 399 The Kindly Ones as graphic novel, 346 – 348 , Shearer, Harry, 93 – 94 350 – 351 Sheinkin, Steve launch of, 337 The Adventures of Rabbi Harvey, 453

674

675

Index

Shelton, Gilbert Sterne, Laurence Give Me Liberty! A Revised History of the The Life and Opinions of Tristam Shandy, American Revolution, 103 , 165 , 179 – 180 , Gentleman, 2 9– 3 0 181 – 182 non- linear narrative of, 29 – 30 , 32 Sienkiewicz, Bill, 498 – 499 A Sentimental Journey through France and Simonson, Walt Italy, 35 Manhunter, 183 – 184 Stewart, Dave Singer, Marc, 559 , 564 , 567 Black Hammer, 1 3 Smith, Jef superhero genre see also Batman ; Marvel Bone, 343 , 346 – 347 (Silver Age universe); Superman Smith, Philip, 210 , 217 treatments by Alan Moore, 224 – 225 Smith, Sidney alternate histories for, 503 – 504 The Gumps, 46 – 47 , 544 and the serialized comic format, 493 – 495 Smith, Sidonie, 208 – 209 artistic techniques in, 502 – 503 Smith, Zadie, 518 Astro City (Busiek), 504 Smolderen, Thierry, 75 Civil War (Millar), 501 – 502 Soliman, Mounira, 422 crossover with crime genre, 470 Speers, Meghan, 68 Daredevil (Miller), 5 , 462 , 495 , 498 – 499 Spicer, Bill, 172 Daredevil (Waid), 504 – 506 Spiegelman, Art see also Maus and the i lm industry, 543 (Spiegelman); Raw magazine (Mouly The Fortress of Solitude (Letham), 108 – 109 and Spiegelman) and the graphic novel, 13 , 107 – 108 , 120 – 122 , “An Examination of ‘Master Race’,” 374 492 – 493 , 496 , 506 autobiographical mode of discourse, 162 , hidden identities, 496 – 497 206 – 209 Identity Crisis (Meltzer), 501 Breakdowns: Portrait of the Artist as a Young Kingdom Come (Waid), 502 %@&*!, 48 , 206 – 207 , 208 , 519 lack of female or creators of color, 506 “Drawing Blood.” 592 Marvel Graphic Novel line, 498 – 499 as “Gummo Bubbleman,” 16 Marvel’s extended story lines, 497 – 498 as Harry Naybors, 16 Miracleman stories, 501 Harvey Kurtzman’s inl uence on, 104 morality of the hero/heroine, 501 – 502 “Holo- kitsch” term, 16 narrative techniques, 13 – 14 , 499 – 500 , 559 I- cons (visual avatars), 209 – 211 , 213 – 216 poor reputation of, 492 on Justin Green, 161 realism in Marvel’s superhero comics, meta- autobiography, 211 – 213 108 – 110 , 113 In the Shadow of No Towers, 205 – 206 , 207 , return to traditional portrayals of, 504 – 506 209 , 210 revisionism in, 499 – 501 , 503 on the graphic novel, 36 and serialized comics formats, 496 , 497 Springer, Frank Superfolks (Mayer), 560 – 561 The Adventures of Phoebe Zeit- Geist, 124 , 125 , superhero metaphors in novels, 563 – 566 1 3 3– 1 3 4 “Thrilling Adventure Stories (I Guess)” Staf ord, Richard T., 398 – 399 (Ware), 510 – 511 Stallman, David, 178 – 179 , 181 Watchmen (Moore and Gibbons), 224 – 225 , Stamant, Nicole, 207 – 208 , 215 227 , 492 – 493 , 499 – 500 Staples, Fiona Whitman/ Superman (Morice), 531 – 532 Saga series, 483 – 487 , 489 – 490 Superman Steacy, Ken early formats, 493 , 496 The Sacred and the Profane, 183 as i rst superhero, 493 Steirer, Gregory, 578 It’s Superman (De Haven), 560 Steranko, Jim Superman (i lm), 546 – 547 Chandler, 167 , 182 , 459 Walt Whitman as Superman (Morice), The Steranko History of Comics, 531 – 532 3 7 3 Suvin, Darko, 477

675

676

Index

Tabachnick, Stephen E., 528 , 533 Give Me Liberty! A Revised History of the Tan, Shaun American Revolution, 103 , 165 , 179 – 180 The Arrival, 602 – 605 historical narration, 165 – 166 , 179 – 180 , Tardi, Jacques, 596 – 608 181 – 182 Tatsumi, Yoshihiro, 436 inl uence on Will Eisner, 193 Taylor, Dave, 13 , 14f1.2 links with feminism, 271 Tezuka, Osamu as misogynistic environments, 269 – 270 anime adaptations, 597 – 598 New Journalism in, 163 – 164 Astro Boy ( Tetsuwan Atomu), 324 , 326 , people of color’s comics creations, 303 – 304 333 , 597 production processes, 219 inl uence of, 594 Radical America Komiks, 179 Thompson, Ethan, 93 , 101 Underhanded History of the USA (O’Brien Thorkelson, Nick and Thorkelson), 178 – 179 , 181 Underhanded History of the USA , 178 – 179 , 181 as white and male, 304 Thurber, James, 176 , 177 Wimmen’s Comix, 162 , 273 , 290 – 291 Tintin (Hergé), 5 , 78 , 125 , 263 , 372 , 476 , 494 , Ungerer, Tomi, 176 , 177 595 – 596 urban environments, 229 To l er, Alvin, 489 Tomine, Adrian Varon, Sara Optic Nerve, 574 Robot Dreams, 60 , 61f4.1 Tomsky, Terri, 396 silent work by, 70 Tooks, Lance, 529 – 531 Vaughn, Brian K. Töpf er, Rodolphe Saga series, 483 – 487 , 489 – 490 advice to Grandville, 33 – 34 Venuti, Laurence, 326 , 332 author– artist role, 32 – 33 Versluys, Kristiaan, 207 creation of new literary form, 22 – 23 , 28 , Viz, 235 – 236 32 – 33 , 75 , 370 – 371 , 594 importance of the drawn image, 27 Waid, Mark “literature in prints” expression, 28 Daredevil, 504 – 506 Sterne’s inl uence on, 30 – 31 Kingdom Come, 502 travel stories, 35 – 36 Waldman, Myron Vieux Bois, 30 – 31 , 371 Eve: A Pictorial Love Story, 66 word– image tensions, 24 , 28 Waldman’s, J. T. zigzag motifs, 29 – 30 Megillat Esther ( Scroll of Esther), 451 – 452 true comics, 164 Walker, G. A., 64 , 67 – 68 Trump, Donald, 3 Walker, T., 397 Tyler, Parker, 126 Wandtke, Terrence, 458 , 464 , 472 Ward, Lynd, 63 – 64 , 176 , 182 , 371 , 443 , 594 underground comics (comix) Ware, Chris and the alternative comic scene ACME Annual Report to Shareholders., (1990s), 276 5 1 3– 5 1 4 autobiographical works, 160 – 163 , 165 ACME Novelty Library, 512 , 513 – 514 , 520 Binky Brown Meets the Holy Virgin Mary Building Stories, 152 , 512 , 519 – 523 , 575 – 576 (Green), 160 – 161 , 162 collaborations with Dave Eggers, 518 contrasted with mainstream comics, collaborations with Ira Glass, 518 – 519 159 – 160 creativity of his works, 509 and creative expression, 156 – 157 , 158 , and Henry Darger, 151 – 152 161 – 162 , 269 , 304 Jimmy Corrigan: The Smartest Kid on Earth, educational agenda, 165 , 180 – 181 512 – 513 , 514 – 515 , 516 – 517 , 520 , 575 emergence of, 155 – 156 , 271 Lost Buildings, 519 female comics creators, 270 , 274 – 276 , multidisciplinary approach, 515 – 519 304 – 305 narrative strategies, 517 – 518 , 520 – 523 i rst three graphic novels, 1976, 166 – 168 The Ragtime Ephemeralist, 516

676

677

Index

on realism, 517 women see also feminism relationship with the reader, 518 authors during the Golden Age of comic representations on American culture, strips, 44 , 45 5 1 2– 5 1 5 autobiographical stories, Wimmen’s Rusty Brown, 515 Comix, 162 “The Last Saturday,” 576 as creators in the superhero genre, 506 “Thrilling Adventure Stories (I Guess)”, diversity of female comic creators, 282 – 283 5 1 0– 5 1 1 drawn novels in female magazines, 87 – 89 Walt & Skeezix ( Gasoline Alley female comics creators, 270 , 274 – 276 , reprint), 54 – 55 304 – 305 Warren, James, 157 female manga artists, 598 Watchmen (Moore and Gibbons) female- centric i lm adaptations, 551 – 554 characters in “The Super Surfer,” 104 as main characters in adult comics, 125 generative narrative of, 15 and the manga market, 378 Moore and Gibbons working practices on, silent work by, 70 226 – 227 woodcut novelists, 64 publication of, 4 – 5 , 378 Woo, Benjamin, 203 – 205 , 207 , 406 reading practices and, 225 Wood, Wallace (Wally), 98 – 99 , 157 , 158 recursive symbolism in the narrative, 225 woodcut novels, 59 – 60 , 62 – 64 , 67 – 68 , 176 , role of television, 477 , 478 371 , 594 as science i ction, 476 , 477 – 478 Woodring, Jim, 70 – 71 and the superhero genre, 224 – 225 , 227 , wordless comics 492 – 493 , 499 – 500 cartoon novels, 65 – 67 and the term “graphic novel,” 4 – 5 , 107 dual reward of, 64 Watt, Ian, 109 forms of, 59 – 60 Weber- Fève, Stacey, 408 intraiconic text, 60 – 62 Weiner, Stephen, 192 , 199 , 378 leporello formats, 60 , 71 – 72 Weirdo, 242 nineteenth century, 62 Wertham, Fredric overview of, 59 Seduction of the Innocent, 94 , 458 reading practices for, 60 – 61 , 72 White, David M., 372 sound ef ects in, 60 – 61 Whitlock, Gillian, 206 woodcut novels, 59 – 60 , 62 – 64 , 67 – 68 , Whitman, Walt, 531 – 533 176 , 371 Williams, Frederick, 534 , 535 – 536 wordless graphic novels, 68 – 71 , 443 – 447 Wings, Mary, 291 Witek, Joseph, 6 , 380 Ziadé, Lamia Wolk, Douglas, 350 , 501 Bye Babylon: Beirut, 415 – 417

677