"All lurid, unsavory, gruesome illustrations shall be eliminated." — Comics Code, 1954
Kevin Koczwara chats with Sammy Harkham about his grindhouse-inspired new graphic novel “Blood of the Virgin,” the burdens of balancing family life with art, and making meaning through storytelling while remaining unpredictable.
“Fleischer’s Animated News,” an animation industry comic from the 1930s, satirized working conditions similar to those motivating the Hollywood strikes today, as Paul Morton discusses.
Andrew Montiveo examines the impact of award-winning author Charles Johnson’sfearless political satire cartoons from the 1960s to the 2010s, finding themes that are as relevanttoday as ever.
DW McKinney explores a recent spate of graphic-medicine narratives that deal with mental health and other medical issues.
Lee Thomas takes a look at Lauren Haldeman’s experimental graphic novel “Team Photograph.”
Reimena Yee talks with M. L. Kejera about the intersection of carpets and comics in “The Carpet Merchant of Konstantiniyya: Volume II.”
Babi Oloko delves into Coco Picard’s evocative ruminations on authentic living and authentic dying in her resonant and original novel “The Healing Circle.”
Aubrey Gabel reflects on comics artist Julie Doucet's career and legacy.
In focusing her new work on the merger of past and present, Doucet shows the comic book medium to be as much about time as anything else.
The translator of several French graphic novels discusses the challenges involved in translating comics.
“Hakim’s Odyssey” is a three-part graphic novel that follows the painful real-life journey of a Syrian refugee fleeing his country’s civil war.
Kohta Hirano’s “Hellsing” is a work at once too delightfully absurd to be believed and too believ-able to be absurd.
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