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Publisher's Note PUBLISHER’S NOTE Graphic novels have spawned a body of literary criti- the graphic novel landscape. It contains works that are FLVPVLQFHWKHLUHPHUJHQFHDVDVSHFL¿FFDWHJRU\LQWKH self-published or are from independent houses. The SXEOLVKLQJ¿HOGDWWDLQLQJDOHYHORIUHVSHFWDQGSHUPD- entries in this encyclopedic set also cover a wide range nence in academia previously held by their counterparts RISHULRGVDQGWUHQGVLQWKHPHGLXPIURPWKHLQÀXHQ- in prose. Salem Press’s Critical Survey of Graphic tial early twentieth-century woodcuts—“novels in Novels series aims to collect the preeminent graphic pictures”—of Frans Masereel to the alternative comics novels and core comics series that form today’s canon revolution of the 1980’s, spearheaded by such works for academic coursework and library collection devel- as Love and Rockets by the Hernandez brothers; from RSPHQWR൵HULQJFOHDUFRQFLVHDQGDFFHVVLEOHDQDO\VLV WKHDQWKURSRPRUSKLFKLVWRULFDO¿FWLRQRIMaus, which of not only the historic and current landscape of the in- attempted to humanize the full weight of the Holo- terdisciplinary medium and its consumption, but the caust, to the unglamorous autobiographical American wide range of genres, themes, devices, and techniques Splendor series and its celebration of the mundane; that the graphic novel medium encompasses. and from Robert Crumb’s faithful and scholarly illus- The combination of visual images and text, the em- trative interpretation of the Book of Genesis, to the phasis of art over written description, the coupling of tongue-in-cheek subversiveness of the genre mashup mature themes with the comic form—these elements Zombies vs. Robots. appeal to the graphic novel enthusiast but remain a In writing these essays, contributors worked from source of reluctance to other readers. Designed for both original sources, providing new criticism and content popular and scholarly arenas and collections, the series aimed at deconstructing both centuries-old themes and SURYLGHVXQLTXHLQVLJKWDQGDQDO\VLVLQWRWKHPRVWLQÀX- concepts as well as nontraditional genres and styles, and ential and widely read graphic novels with an emphasis portraying the graphic novel as literature. To that end, on establishing the medium as an important academic essays look beyond the popular-culture aspects of the discipline. We hope researchers and the common reader medium to show the wide range of literary devices and alike will gain a deeper understanding of these works, overarching themes and styles used to convey beliefs as the literary nature is presented in critical format by DQGFRQÀLFWV)XUWKHUPRUHFULWLFDODWWHQWLRQZDVSDLGWR OHDGLQJZULWHUVLQWKH¿HOGRIVWXG\ panel selection and relevancy, and a particular work’s Independents & Underground Classics is the second LQÀXHQFHRQWKHFUHDWRUV¶FDUHHUVRWKHUJUDSKLFQRYHOV title of the Critical Survey of Graphic Novels series, in or literature as a whole. conjunction with Heroes and Superheroes; Manga; and 7KHJUDSKLFQRYHOV¿HOGLVGH¿QHGE\WUHPHQGRXV History, Theme, and Technique. This title collects more complexity; to that end, many important works and cre- than two hundred graphic novels, the majority of which ators have been omitted. Lastly, while the series has an were published since the emergence of the underground international scope, attention has been focused on trans- comics—or comix—movement of the 1960’s. The cur- ODWHGZRUNVWKDWKDYHEHHQLQÀXHQWLDOLQWKHGHYHORS- rent volume provides detailed analyses of the major PHQWRIDVSHFL¿FJUDSKLFQRYHOWUDGLWLRQ ZRUNV WKDW KDYH GH¿QHG WKH LQGHSHQGHQW DQG XQGHU- ground graphic novel movement as it has developed 25*$1,=$7,21$1')250$7 over more than half a century, and stories have been The essays in Independents & Underground Classics compiled and dissected to provide viewpoints that are appear alphabetically and are approximately 3 to 4 easily missed during initial readings. pages in length. Each essay is heavily formatted and begins with full ready-reference top matter that in- 6&23($1'&29(5$*( cludes the primary author or authors; illustrators and This three-volume set covers over 215 well-regarded RWKHUDUWLVWVZKRFRQWULEXWHGWRWKHZRUNDQGWKH¿UVW works of the independent and underground genre, serial and book publication. This is followed by the summarizing plots and analyzing the works in terms main text, which is divided into “Publication History,” of their literary integrity and overall contribution to “Plot,” “Volumes,” “Characters,” “Artistic Style,” xi PUBLISHER’S NOTE Critical Survey of Graphic Novels “Themes,” and “Impact.” A list of adaptations of the major thematic point is a chronicle of the author’s per- JUDSKLFQRYHOLQWR¿OPDQGWHOHYLVLRQDUHDOVRQRWHG sonal development, or a projection of it, and how this and a user-friendly bibliography completes the essay. may resonate with readers. Cross-references direct readers to related topics, and Impact FRYHUVWKHZRUN¶VLQÀXHQFHRQWKHFUHDWRUV¶ further reading suggestions accompany all articles. careers, publishing houses, the medium of graphic Publication History presents an overview of the novels itself, and literature in general. The section also ZRUN¶VRULJLQDQGSXEOLFDWLRQFKURQRORJ\6SHFL¿FDOO\ analyzes the impact of the creation of new characters or GDWHVRI¿UVWVHULDOSXEOLFDWLRQ¿UVWERRNSXEOLFDWLRQ series. Of focus is the critical reception of the work or DQG ¿UVW WUDQVODWLRQ LQWR (QJOLVK DUH SURYLGHG 0DQ\ series and whether it was atypical for its historical pe- JUDSKLFQRYHOVZHUH¿UVWVHULDOL]HGLQFRPLFERRNIRUP riod. often as a limited series, and were later collected or re- Bibliography lists secondary print sources for further published in book format, while other graphic novels study and examination, annotated to assist readers in were conceptualized as novelistic works. In addition, evaluating focus and usefulness. GHWDLOVDERXWWKHVLJQL¿FDQWDZDUGVDQGKRQRUVZRQE\ each work are listed. $33(1',;(6$1'27+(563(&,$/ Plot provides an in-depth synopsis of the main story )($785(6 progression and other story arcs. As an aid to students, Special features help to further distinguish this refer- this section focuses on the most critically important plot ence series from other works on graphic novels. This turns in the series or work and why these were impor- includes appendixes listing major graphic novel awards tant. and a general bibliography. These resources are compli- Where applicable, Volumes orients the reader or re- PHQWHGE\DWLPHOLQHGLVFXVVLQJVLJQL¿FDQWHYHQWVDQG searcher to the accepted reading order of the work. For LQÀXHQWLDOJUDSKLFQRYHOSUHGHFHVVRUVZKLFKVSDQVWKH series, it lists individual volumes or collections, often ancient world through the Middle Ages and the Renais- FRPSULVLQJGL൵HUHQWVWRU\DUFV7KH\HDUZKHQHDFKFRO- sance to the present. Another key feature of the essays in OHFWLRQZDVSXEOLVKHGLVSURYLGHG$OVRLGHQWL¿HGDUH this publication is a biographical sidebar on an author or the issues that were collected within a volume, a syn- LOOXVWUDWRUUHODWHGWRWKHZRUNSUR¿OHG$GGLWLRQDOO\WKH RSVLVRIWKHYROXPH¶VPDLQIRFXVDQGLWVVLJQL¿FDQFH three-volume set features over 250 pictures, including within the entire collection. full-page images and panels from the actual work. Four Characters presents detailed descriptions of major indexes round out the set, illustrating the breadth of the characters in the story, beginning with the main pro- reference work’s coverage: Works by Publisher, Works tagonists and antagonists. The section discusses phys- by Author, Works by Artist, and a subject index. LFDOGHVFULSWLRQFKDUDFWHUWUDLWVDQGVLJQL¿FDQWFKDU- acteristics, the character’s relationship with others, $&.12:/('*0(176 and the primary role a character plays in advancing Many hands went into the creation of this work, and the plot of the work or series. To aid readers, descrip- 6DOHP 3UHVV LV JUDWHIXO IRU WKH H൵RUW RI DOO LQYROYHG tions include “also known as” names and monikers. This includes the original contributors of these essays, Artistic Style provides analysis of the work’s visual whose names can be found at the end of each essay and content, especially as it relates to characterization, plot, in the “Contributors List” that follows the Introduction. and mood; analysis of the illustrative use of color Special mention must be paid to Lisa Schimmer, who versus black and white; discussion of any changes in played an invaluable role in shaping some of the refer- style as the story progresses; and the use of elements ence content. Finally, we are indebted to our editors, and devices such as dialogue, captions, panels, pen- Bart Beaty, Professor of English at the University of ciling, inking, and backgrounds. Calgary, and Stephen Weiner, Director of Maynard Themes LGHQWL¿HV WKH FHQWUDO WKHPHV LQ WKH ZRUN Public Library in Maynard, Massachusetts, for their ad- how they are expressed—for example, through plot or vice in selecting works and their writing contributions. layout—and how they relate to characterization and %RWKDUHSXEOLVKHGLQWKH¿HOGRIFRPLFVDQGJUDSKLF style. It also discusses, when applicable, whether a novels studies. Beaty is the author of Fredric Wertham xii Independents & Underground Classics PUBLISHER’S NOTE and the Critique of Mass Culture, Unpopular Culture: The Will Eisner Companion, and Using Graphic Novels Transforming the European Comic Book in the 1990s, in the Classroom7KHLUH൵RUWVLQPDNLQJWKLVUHVRXUFHD and David Cronenberg’s “A History of Violence.” comprehensive and indispensible tool for students, re- Weiner is the author or co-author of The 101 Best searchers, and general readers alike is gratefully ac- Graphic Novels, Faster Than a Speeding Bullet: The knowledged.
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