DOCSLIB.ORG

Comics in the Classroom

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Comics in the Classroom Comics in the Classroom Genre Age Rating Title Author Year Publisher Price Additional Information Art MS Reinventing Comics: How Imagination ... Scott McCloud 2000 Perennial $19.95 SC; "...and Technology Are Revolutionizing an Art Form" Art/ Art History MS Understanding Comics Scott McCloud 1999 HarperCollins $22.95 SC Art/Nonfiction Teen Comics and Sequential Art Will Eisner 1994 Poorhouse Press $22.99 SC Autobiography Teen Our Cancer Year (American Splendor series) Harvey Pekar, et al. 1994 Four Walls Eight $17.95 SC Windows Autobiography Teen Persepolis : The Story of a Childhood Marjane Satrapi 2003 Pantheon $11.95 SC; HC 17.95 Autobiography Teen Persepolis Vol.2: Story of a Return Marjane Satrapi 2004 Pantheon $17.95 HC Autobiography Teen To Afghanistan and Back: A Graphic TravelogueTed Rall 2002 Nantier Beall $9.95 SC Minoustchine Biography Teen Complete Maus: A Survivor's Tale: My Father Art Spiegelman 1996 Pantheon $35.00 HC Bleeds History/Here My Troubles Began [M] Biography/ Slice of Teen Romance without Tears John Benson, ed. 2003 Fantagraphic Books $22.95 SC Life Fiction/ Current Teen 9-11: Emergency Relief Jeff Mason, ed. 2002 Alternative Comics $14.95 SC Events Fiction/ Drama Teen Tale of One Bad Rat Bryan Talbot 1995 Dark Horse $14.95 SC Folklore All Peter and the Wolf Miguelanxo Prado 2003 Nantier Beall $15.95 SC Minoustchine Thursday, April 14, 2005 Key: [M] – for mature teens Format: SC – soft cover HC – hard cover Digest – short soft cover, thickness varies Genre Age Rating Title Author Year Publisher Price Additional Information Folklore/ Short Gr.4+ Little Lit: Folklore & Fairytale Funnies Art Spiegelman, et 2000 HarperCollins $19.95 HC Tale Collection al. Historical Fiction Gr.4+ Age of Reptiles: Tribal Warfare Ricardo Delgado 1996 Dark Horse $14.95 SC Historical Fiction Gr.4+ Days Like This J. Torres 2003 Oni Press $8.95 SC Historical Fiction MS Dropsie Avenue: The Neighborhood Will Eisner 2000 DC $14.95 SC Historical Fiction Teen Barefoot Gen: A Cartoon Story of Hiroshima (v.1-Keiji Nakazawa 2003 Last Gasp $14.95 Digest 4) Historical Fiction Teen Berlin: Book One: City of Stones Jason Lutes 2001 Drawn & Quarterly $19.95 SC Historical Fiction Teen Jew in Communist Prague [M] (v.1-3) Vittorio Giardino 1998 Nantier Beall $11.95 SC; vols. 1&2 available Minoustchine Historical Fiction Teen Last Day in Vietnam: A Memory Will Eisner 2000 Dark Horse $10.95 SC Historical Fiction Teen Yossel: April 19, 1943 Joe Kubert 2003 ibooks $24.95 HC Historical Fiction/ MS Age of Bronze : A Thousand Ships Eric Shanower 2001 Image $19.95 SC Mythology Historical Fiction/ MS Age of Bronze Vol. 2: Sacrifice Eric Shanower 2004 Image $29.95 HC Mythology History MS Cartoon History of the Universe : From the BigLarry Gonick 1997 Main Street Books $21.95 SC Bang To Alexander the Great History MS Cartoon History of the Universe II: From the Larry Gonick 1994 Main Street Books $21.95 SC Springtime of China to the Fall of Rome Thursday, April 14, 2005 Key: [M] – for mature teens Format: SC – soft cover HC – hard cover Digest – short soft cover, thickness varies Genre Age Rating Title Author Year Publisher Price Additional Information Literary Adaptation All Moby Dick Will Eisner 2003 Nantier Beall $15.95 HC Minoustchine Literary Adaptation Gr.4+ Fairy Tales by Oscar Wilde (v.1-4) Oscar Wilde and P. 1992 Nantier Beall $8.95 SC; HC 15.95, v.3(15.95), 4(7.95) Craig Russell Minoustchine Literary Adaptation MS Graphic Classics - Edgar Allan Poe Edgar Allan Poe 2001 Eureka Productions $9.95 SC and J.B. Bonivert, Literary Adaptation MS Graphic Classics - H.P. Lovecraft H.P. Lovecraft and 2002 Eureka Productions $9.95 SC Matt Howarth et al. Literary Adaptation MS Hobbit: An Illustrated Edition of the Fantasy J.R.R. Tolkien and 2001 Del Ray Books $15.95 SC Classic [abridged] David Wenzel, et al. Literary Adaptation Teen Dr. Jekyll & Mr. Hyde [M] Lorenzo Mattoti 2002 Comics Lit $15.95 HC; SC on order and Jerry Kramsky Literary Adaptation Teen Give It Up! And Other Stories by Franz Kafka Franz Kafka and 1995 Nantier Beall $15.95 SC Peter Kuper Minoustchine Literary Criticism/ Teen Fagin the Jew Will Eisner 2003 Random House $15.95 SC Historical Fiction Nonfiction Teen Fallout Jim Ottaviani, et al. 2001 G.T. Labs $19.95 SC Nonfiction Teen Palestine [M] Joe Sacco 2001 Fantagraphics $24.95 SC Nonfiction/ Teen Fixer, the Joe Sacco 2003 Drawn and $24.95 SC Biography Quarterly Political Fiction Teen Eagle: The Making of an Asian-American Kaiji Kawaguchi 2000 Viz LLC $19.95 Digest President (v.1-5) Political Fiction Teen V for Vendetta Alan Moore and 1995 DC $19.95 SC David Lloyd Thursday, April 14, 2005 Key: [M] – for mature teens Format: SC – soft cover HC – hard cover Digest – short soft cover, thickness varies Genre Age Rating Title Author Year Publisher Price Additional Information Science/ Anthology MS Dignifying Science: Stories About Women Jim Ottaviani, et al. 2003 G.T. Labs $16.95 SC Scientists Science/ Anthology MS Two-Fisted Science: Stories About Scientists Jim Ottaviani, et al. 2001 G.T. Labs $14.95 SC Thursday, April 14, 2005 Key: [M] – for mature teens Format: SC – soft cover HC – hard cover Digest – short soft cover, thickness varies.
Load more

Recommended publications
  • Complexity in the Comic and Graphic Novel Medium: Inquiry Through Bestselling Batman Stories
    Complexity in the Comic and Graphic Novel Medium: Inquiry Through Bestselling Batman Stories PAUL A. CRUTCHER DAPTATIONS OF GRAPHIC NOVELS AND COMICS FOR MAJOR MOTION pictures, TV programs, and video games in just the last five Ayears are certainly compelling, and include the X-Men, Wol- verine, Hulk, Punisher, Iron Man, Spiderman, Batman, Superman, Watchmen, 300, 30 Days of Night, Wanted, The Surrogates, Kick-Ass, The Losers, Scott Pilgrim vs. the World, and more. Nevertheless, how many of the people consuming those products would visit a comic book shop, understand comics and graphic novels as sophisticated, see them as valid and significant for serious criticism and scholarship, or prefer or appreciate the medium over these film, TV, and game adaptations? Similarly, in what ways is the medium complex according to its ad- vocates, and in what ways do we see that complexity in Batman graphic novels? Recent and seminal work done to validate the comics and graphic novel medium includes Rocco Versaci’s This Book Contains Graphic Language, Scott McCloud’s Understanding Comics, and Douglas Wolk’s Reading Comics. Arguments from these and other scholars and writers suggest that significant graphic novels about the Batman, one of the most popular and iconic characters ever produced—including Frank Miller, Klaus Janson, and Lynn Varley’s Dark Knight Returns, Grant Morrison and Dave McKean’s Arkham Asylum, and Alan Moore and Brian Bolland’s Killing Joke—can provide unique complexity not found in prose-based novels and traditional films. The Journal of Popular Culture, Vol. 44, No. 1, 2011 r 2011, Wiley Periodicals, Inc.
    [Show full text]
  • Copyright 2013 Shawn Patrick Gilmore
    Copyright 2013 Shawn Patrick Gilmore THE INVENTION OF THE GRAPHIC NOVEL: UNDERGROUND COMIX AND CORPORATE AESTHETICS BY SHAWN PATRICK GILMORE DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in English in the Graduate College of the University of Illinois at Urbana-Champaign, 2013 Urbana, Illinois Doctoral Committee: Professor Michael Rothberg, Chair Professor Cary Nelson Associate Professor James Hansen Associate Professor Stephanie Foote ii Abstract This dissertation explores what I term the invention of the graphic novel, or more specifically, the process by which stories told in comics (or graphic narratives) form became longer, more complex, concerned with deeper themes and symbolism, and formally more coherent, ultimately requiring a new publication format, which came to be known as the graphic novel. This format was invented in fits and starts throughout the twentieth century, and I argue throughout this dissertation that only by examining the nuances of the publishing history of twentieth-century comics can we fully understand the process by which the graphic novel emerged. In particular, I show that previous studies of the history of comics tend to focus on one of two broad genealogies: 1) corporate, commercially-oriented, typically superhero-focused comic books, produced by teams of artists; 2) individually-produced, counter-cultural, typically autobiographical underground comix and their subsequent progeny. In this dissertation, I bring these two genealogies together, demonstrating that we can only truly understand the evolution of comics toward the graphic novel format by considering the movement of artists between these two camps and the works that they produced along the way.
    [Show full text]
  • Graphic Novels for Children and Teens
    J/YA Graphic Novel Titles The 9/11 Report: A Graphic Adaptation Sid Jacobson Hill & Wang Gr. 9+ Age of Bronze, Volume 1: A Thousand Ships Eric Shanower Image Comics Gr. 9+ The Amazing “True” Story of a Teenage Single Mom Katherine Arnoldi Hyperion Gr. 9+ American Born Chinese Gene Yang First Second Gr. 7+ American Splendor Harvey Pekar Vertigo Gr. 10+ Amy Unbounded: Belondweg Blossoming Rachel Hartman Pug House Press Gr. 3+ The Arrival Shaun Tan A.A. Levine Gr. 6+ Astonishing X-Men Joss Whedon Marvel Gr. 9+ Astro City: Life in the Big City Kurt Busiek DC Comics Gr. 10+ Babymouse Holm, Jennifer Random House Children’s Gr. 1-5 Baby-Sitter’s Club Graphix (nos. 1-4) Ann M. Martin & Raina Telgemeier Scholastic Gr. 3-7 Barefoot Gen, Volume 1: A Cartoon Story of Hiroshima Keiji Nakazawa Last Gasp Gr. 9+ Beowulf (graphic adaptation of epic poem) Gareth Hinds Candlewick Press Gr. 7+ Berlin: City of Stones Berlin: City of Smoke Jason Lutes Drawn & Quarterly Gr. 9+ Blankets Craig Thompson Top Shelf Gr. 10+ Bluesman (vols. 1, 2, & 3) Rob Vollmar NBM Publishing Gr. 10+ Bone Jeff Smith Cartoon Books Gr. 3+ Breaking Up: a Fashion High graphic novel Aimee Friedman Graphix Gr. 5+ Buffy the Vampire Slayer (Season 8) Joss Whedon Dark Horse Gr. 7+ Castle Waiting Linda Medley Fantagraphics Gr. 5+ Chiggers Hope Larson Aladdin Mix Gr. 5-9 Cirque du Freak: the Manga Darren Shan Yen Press Gr. 7+ City of Light, City of Dark: A Comic Book Novel Avi Orchard Books Gr.
    [Show full text]
  • List of American Comics Creators 1 List of American Comics Creators
    List of American comics creators 1 List of American comics creators This is a list of American comics creators. Although comics have different formats, this list covers creators of comic books, graphic novels and comic strips, along with early innovators. The list presents authors with the United States as their country of origin, although they may have published or now be resident in other countries. For other countries, see List of comic creators. Comic strip creators • Adams, Scott, creator of Dilbert • Ahern, Gene, creator of Our Boarding House, Room and Board, The Squirrel Cage and The Nut Bros. • Andres, Charles, creator of CPU Wars • Berndt, Walter, creator of Smitty • Bishop, Wally, creator of Muggs and Skeeter • Byrnes, Gene, creator of Reg'lar Fellers • Caniff, Milton, creator of Terry and the Pirates and Steve Canyon • Capp, Al, creator of Li'l Abner • Crane, Roy, creator of Captain Easy and Wash Tubbs • Crespo, Jaime, creator of Life on the Edge of Hell • Davis, Jim, creator of Garfield • Defries, Graham Francis, co-creator of Queens Counsel • Fagan, Kevin, creator of Drabble • Falk, Lee, creator of The Phantom and Mandrake the Magician • Fincher, Charles, creator of The Illustrated Daily Scribble and Thadeus & Weez • Griffith, Bill, creator of Zippy • Groening, Matt, creator of Life in Hell • Guindon, Dick, creator of The Carp Chronicles and Guindon • Guisewite, Cathy, creator of Cathy • Hagy, Jessica, creator of Indexed • Hamlin, V. T., creator of Alley Oop • Herriman, George, creator of Krazy Kat • Hess, Sol, creator with
    [Show full text]
  • An Exploration of Comics and Architecture in Post-War Germany and the United States
    An Exploration of Comics and Architecture in Post-War Germany and the United States A DISSERTATION SUBMITTED TO THE FACULTY OF THE UNIVERSITY OF MINNESOTA BY Ryan G. O’Neill IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Dr. Rembert Hueser, Adviser October 2016 © Ryan Gene O’Neill 2016 Table of Contents List of Figures……………………………………………………………………………………...……….i Prologue……………………………………………………………………………………….....…1 Introduction………………………………………………………………………………………...8 Chapter 1: The Comic Laboratory…………………………………………………...…………………………………….31 Chapter 2: Comics and Visible Time…………………………………………………………………………...…………………..52 Chapter 3: Comic Cities and Comic Empires………………………………...……………………………...……..…………………….80 Chapter 4: In the Shadow of No Archive…………………………………………………………………………..…….…………114 Epilogue: The Painting that Ate Paris………………………………………………………………………………...…………….139 Works Cited…..……………………………………………………………………………..……152 i Figures Prologue Figure 1: Kaczynski, Tom (w)(a). “Skyway Sleepless.” Twin Cities Noir: The Expanded Edition. Ed. Julie Schaper, Steven Horwitz. New York: Akashic Books, 2013. Print. Figure 2: Kaczynski, Tom (w)(a). “Skyway Sleepless.” Twin Cities Noir: The Expanded Edition. Ed. Julie Schaper, Steven Horwitz. New York: Akashic Books, 2013. Print. Figure 3: Image of Vitra Feuerwehrhaus Uncredited. https://www.vitra.com/de-de/campus/architecture/architecture-fire-station Figure 4: Kaczynski, Tom (w)(a). “Skyway Sleepless.” Twin Cities Noir: The Expanded Edition. Ed. Julie Schaper, Steven Horwitz. New York: Akashic Books, 2013. Print. Introduction Figure 1: Goscinny, René (w), Alberto Uderzo (i). Die Trabantenstadt. trans. Gudrun Penndorf. Stuttgart: Ehapa Verlag GmbH, 1974. Pp.28-29. Print. Figure 2: Forum at Pompeii, Vitruvius Vitrubius. The Ten Books on Architecture. trans. Morris Hicky Morgan, Ph.D., LL.D. Illustrations under the direction of Herbert Langford Warren, A.M. pp. 132. Print. Figure 3: Töpffer, Rodolphe.
    [Show full text]
  • Sandman, Aesthetics and Canonisation Today I Want To
    Sandman, Aesthetics and Canonisation Today I want to examine the ways in which Neil Gaiman’s Sandman has used narrative, format and aesthetic to move ever closer to the notion of the literary text. Particularly going to consider how it exploits the author function and enacts the struggle for cultural worth that comics seem consistently engaged in. Sandman is an epic series rewriting a golden-age superhero into an immortal deity. It is best remembered for its mythological content and literary references, and these elements have allowed it to claim its place as a canonised graphic novel (despite not actually being a singular GN but a maxi-series across multiple trade paperbacks!). Neil Gaiman’s authorship and authority dominate the text and epitomise Michel Foucault’s author function. But Sandman also draws heavily on mixed media and artistic variation and these aspects are less often discussed. Far from supporting a singular author function, Sandman’s visual style is multiple and varied. But despite this, in paratexts the artistic contributions are frequently subsumed into Gaiman’s authorship. However, a closer reading demonstrates that in fact this artistic variety destabilises clear-cut authorship and enacts the particular status struggles of comics as a collaborative medium struggling against the graphic novel branding. SLIDE: literary pix Sandman was launched in 1989 and became the flagship title for DC’s new Vertigo imprint. Vertigo’s publications contributed heavily to the mainstream cultural revaluation of comics as graphic novels, and critics such as Candace West have argued that Sandman in particular was instrumental here due to the attention the series received from mainstream media such as Rolling Stone magazine.
    [Show full text]
  • UNDERSTANDING COMICS SCOTT Mccloud
    UNDERSTANDING COMICS SCOTT McCLOUD What do you know about comics? Scott McCloud can take you on a journey of discovery with this wonderful book.. To use the author’s own words: ‘This is a sort of comic book about COMICS’ ‘Although there is some history in it… it’s more an examination of the ART-FORM of comics, what it’s capable of, how it works. You know, how do we DEFINE comics, what are the BASIC ELEMENTS of comics, how does the mind PROCESS the language of comics – that sort of thing. I have a chapter on CLOSURE – all about what happens BETWEEN the panels, there’s one on how TIME flows through comics, another on the interaction of WORDS and PICTURES and STORYTELLING. I even put together a new COMPREHENSIVE THEORY of the CREATIVE PROCESS and its implications for comics and for ART IN GENERAL’ Contents: Chapter 1 - SETTING THE RECORD STRAIGHT Chapter 2 - THE VOCABULARY OF COMICS Chapter 3 - BLOOD IN THE GUTTER Chapter 4 - TIME FRAMES Chapter 5 - LIVING IN LINE Chapter 6 - SHOW AND TELL Chapter 7 - THE SIX STEPS Chapter 8 - A WORD ABOUT COLOUR Chapter 9 - PUTTING IT ALL TOGETHER “In one lucid, well-designed chapter after another, he guides us through the elements of comics style, and … how words combine with pictures to work their singular magic. When the 215 page journey is finally over, most readers will find it difficult to look at comics in quite the same way ever again.” ---GARY TRUDEAU NEW YORK TIMES BOOK REVIEW “If you’ve ever felt bad about wasting your life reading comics, then check out Scott McCloud’s classic book immediately.
    [Show full text]
  • Overthrowing Vengeance: the Role of Visual Elements in V for Vendetta
    Overthrowing Vengeance: The Role of Visual Elements in V for Vendetta Pedro Moreira University of Porto, Portugal Citation: Pedro Moreira, ”Overthrowing Vengeance: The Role of Visual Elements in V for Vendetta ”, Spaces of Utopia: An Electronic Journal , nr. 4, Spring 2007, pp. 106-112 <http://ler.letras.up.pt > ISSN 1646-4729. Introduction The emergence of the critical dystopia genre in the 1980s allowed for the appearance of a body of literature capable of both informing and prompting readers to action. The open-endness of these works, coupled with the sense of critique, becomes a key element in performing a catalyst function and maintaining hope within the text. V for Vendetta , by Alan Moore, with illustrations by David Lloyd, first published in serial form between 1982 and 1988 and, later, in 1990, as a graphic novel is one of such works. Appearing during the political climate of Margaret Thatcher’s conservative government, it became a cult classic amongst graphic novels readers and collectors. A film adaptation was released in 2006, from a screenplay by the Wachowski brothers, to different reactions from the graphic novel’s creators; Moore withdrew his support and denied any involvement in the adaptation while David Lloyd publicly confessed his admiration for the movie. I first became interested in the series due to its gritty realism, and the enigmatic, cultured figure of the protagonist. In fact, V for Vendetta ’s universe is quite distant from the comic book genre, which is dominated by God-like figures such as Superman or Spiderman. Also, the sheer scope of reference in the work, ranging from Blake and Shakespeare to the Rolling Stones and The Velvet Underground, added to my interest, making it the subject of this paper.
    [Show full text]
  • Press Release
    PRESS RELEASE FOR IMMEDIATE RELEASE Three River Studios Options Bryan Talbot’s Graphic Novel Series The Adventures of Luther Arkwright and Heart of Empire London, XX April 2021: Three River Studios today announces it has optioned the rights to develop, finance and produce a live action, returnable TV series based on Bryan Talbot’s ground-breaking and multi-award winning graphic novels: The Adventures of Luther Arkwright and its sequel Heart of Empire. Considered to be one of the most significant graphic novel series to come out of Britain, the stories from The Adventures of Luther Arkwright and Heart of Empire are rich in lore and legend, vast in the scope, and have an incredible breadth of complex characters. Written for a mature readership and born out of the anti-establishment wave of the 70s and 80s and in part as a protest at the rise of the far right, The Adventures of Luther Arkwright are a violent, raunchy combination of satire, science fiction and thrilling adventure into what has been described as the very first steampunk comic. The graphic novels weave an apocalyptic tale across a multiverse in which many alternate versions of history exist parallel to one another. With the ability to move between these ‘parallels’ by sheer force of will, Talbot’s hero, psychic secret agent Luther Arkwright, fights the malign influence of the Disruptors, a group who have manipulated humanity throughout history. He is aided by fellow agent Rose Wylde, a telepath who can communicate with her many alternative selves across the multiverse. The central plot of The Adventures of Luther Arkwright focuses on Arkwright’s battle with a fascist dictatorship in a parallel reality where Oliver Cromwell’s Puritans, secretly controlled by the Disruptors, never lost their grip on power.
    [Show full text]
  • Graphic Novel Titles
    Comics & Libraries : A No-Fear Graphic Novel Reader's Advisory Kentucky Department for Libraries and Archives February 2017 Beginning Readers Series Toon Books Phonics Comics My First Graphic Novel School Age Titles • Babymouse – Jennifer & Matthew Holm • Squish – Jennifer & Matthew Holm School Age Titles – TV • Disney Fairies • Adventure Time • My Little Pony • Power Rangers • Winx Club • Pokemon • Avatar, the Last Airbender • Ben 10 School Age Titles Smile Giants Beware Bone : Out from Boneville Big Nate Out Loud Amulet The Babysitters Club Bird Boy Aw Yeah Comics Phoebe and Her Unicorn A Wrinkle in Time School Age – Non-Fiction Jay-Z, Hip Hop Icon Thunder Rolling Down the Mountain The Donner Party The Secret Lives of Plants Bud : the 1st Dog to Cross the United States Zombies and Forces and Motion School Age – Science Titles Graphic Library series Science Comics Popular Adaptations The Lightning Thief – Rick Riordan The Red Pyramid – Rick Riordan The Recruit – Robert Muchamore The Nature of Wonder – Frank Beddor The Graveyard Book – Neil Gaiman Miss Peregrine’s Home for Peculiar Children – Ransom Riggs House of Night – P.C. Cast Vampire Academy – Richelle Mead Legend – Marie Lu Uglies – Scott Westerfeld Graphic Biographies Maus / Art Spiegelman Anne Frank : the Anne Frank House Authorized Graphic Biography Johnny Cash : I See a Darkness Peanut – Ayun Halliday and Paul Hope Persepolis / Marjane Satrapi Tomboy / Liz Prince My Friend Dahmer / Derf Backderf Yummy : The Last Days of a Southside Shorty
    [Show full text]
  • Slice-Of-Life the Daily Dramas of Life Are What Make a Great Story
    Recommended Reading List: Slice-of-Life The daily dramas of life are what make a great story. Whether it's normal people in extraordinary circumstances or extraordinary people trying to make it day to day, the slice- of-life genre is all about the interactions between characters and personal insights. If you've ever religiously watched Seinfeld, Party of Five, Dawson's Creek, or Friends, then www.sequentialtart.com these are the comics for you. Blue Monday Petra Etcetera by Chynna Clugston-Major by Adrian Kermode, Terry Wiley Oni Press (www.onipress.com) Gratuitous Bunny Comix (www.sleazecastle.co.uk) http://read.sequentialtart.com/?bluemonday You’ll enjoy this if you like: British kitchen sink movies, Eddie You'll enjoy this if you like: Pretty in Pink, Ant Music, Vespas In a cheery, beery, slightly surreal yet very down to earth Bleu Finnegan and her high school friends star in this story, British college students search for love, sex, com- tale of high school woe and struggle that's always good panionship, and the nearest pub. Petra is one such stu- for a laugh. Blue Monday will remind you of all the worst dent who seems to be heading for trouble. and best of high school. The Tale of One Bad Rat Box Office Poison by Bryan Talbot by Alex Robinson Dark Horse Comics (www.darkhorse.com) Top Shelf Comix (www.topshelfcomix.com) http://read.sequentialtart.com/?taleofonebadrat http://read.sequentialtart.com/?boxofficepoison You'll enjoy this if you like: Beatrix Potter You’ll enjoy this if you like: Friends, Will & Grace Helen runs away from home with her pet rat.
    [Show full text]
  • Alan Moore V for Vendetta
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Humanities Commons Early draft of essay eventually published in Sexual Ideology in the Works of Alan Moore Comer 1 “Body Politics: Unearthing an Embodied Ethics in V for Vendetta” Todd A. Comer In light of the oft-made allegation that superheroes are in many respects carbon copies of the fascist world that they were consciously or unconsciously intended to oppose, V for Vendetta may be Alan Moore’s most direct commentary on the superheroic body and its desires. Intimations of fascism, of course, are everywhere in Moore’s work. The German soldier who shatters Alice’s mirror in Lost Girls, William Gull’s bird-like transcendence in From Hell, Superman’s repression of the too-earthy Swamp Thing in “The Jungle Line,” Moriarty’s cavorite- fueled journey toward heaven (and death) in The League of Extraordinary Gentlemen—all speak to Moore’s critique of the superheroic tendency to marginalize the world and others. Moore and David Lloyd’s graphic novel is the most direct commentary on the superhero body if only because the body of the hero and villain are obnoxiously present, even as they strangely absent themselves. The novel appears to ground agency to an embodied totalitarian world in terms of (dis)embodiment. Agency is, of course, an issue of the body and its representation, but Moore and Lloyd get it wrong, at least on one overt level, by misunderstanding the ultimate goal of fascism and reproducing a notion of agency that merely reproduces on another level the (ontological) state that it presumes to counter.
    [Show full text]