This collection brings together essays and excerpts by contributing writers on reading, discussing, and creating comics.

Through close readings of comics from a range of genres, this book uses the narratological concept of focalization to demonstrate how comics draw readers into characters' experiences.

In comic book format, presents the history of the Beatles through the narration of John Lennon.

One man's desperate trial to save his family's life from unstoppable suppernatural onslaught continues! With hordes of wolves, not to mention zombie werewolves, on their heels, Harrick and his family take sanctuary at Cragen's Keep. The respite is short lived though, as the malevolent force behind the maddness makes itself known! A beatifully illustrated new horror classic in the making!

Columns the author wrote for Comics Retailer magazine.

Despite the boom in scholarship in both Comics Studies and Memory Studies, the two fields rarely interact—especially with issues beyond the representation of traumatic and autobiographical memories in comics. With a focus on the roles played by styles and archives—in their physical and metaphorical manifestations—this edited volume offers an original intervention, highlighting several novel ways of thinking about comics and memory as comics memory. Bringing together scholars as well as cultural actors, the contributions combine studies on European and North American comics and offer a representative overview of the main comics genres and forms, including superheroes, Westerns, newspaper comics, diary comics, comics reportage and alternative comics. In considering the many manifestations of memory in comics as well as the functioning and influence of institutions, public and private practices, the book exemplifies new possibilities for understanding the complex entanglements of memory and comics.

"Comics and Cognition: Towards a Multimodal Cognitive Poetics develops an analytical approach to multimodal communication in comics through insights from embodied cognitive science, especially cognitive linguistics and visual psychology. It extends previous cognitive poetic frameworks to the study of multimodality in comics, providing a cohesive analytical framework that also connects comics to other literary and artistic interests. The approach highlights the embodiment of cognition, and how this structures knowledge in long term memory, and activates it through perception, mental simulation, and creative blending. These cognitive processes allow readers to make impressions, predictions, inferences, and eventually conclusions and interpretations about a text. Many of these processes of reader comprehension are unconscious, but emerge into a conscious experience of the multimodal text with a richly construed and nuanced texture. This book unpacks the dynamic interplay between the reader and the multimodal text throughout the processes of multimodal reading, including opportunities for interaction, interrogation, and improvisation of meaning derived from the reader's embodied and textual experiences, tackling crucial features of the comics form, and their impact on such issues as viewpoint, temporality, abstraction, metacommentary, and transmediation. The proposed multimodal cognitive poetics applies to narrative and art comics, in both print and digital media"--

THE ART OF COMICS The Art of Comics: A Philosophical Introduction is the first-ever collection of essays published in English devoted to the philosophical questions raised by the art of comics. The volume, which includes a preface by the renowned comics author Warren Ellis, contains ten cutting-edge essays on a range of philosophical topics raised by comics and graphic novels. These include the definition of comics, the nature of comics genres, the relationship between comics and other arts such as film and literature, the way words and pictures combine in comics, comics authorship, the “language” of comics, and the metaphysics of comics. The book also contains an in-depth introduction by the co-editors which provides an overview of both the book and its subject, as well as a brief history of comics and an overview of extant work on the philosophy of comics. In an area of growing philosophical interest, this volume constitutes a great leap forward in the development of this fast expanding field, and makes a major contribution to the philosophy of art.

Unlock the secrets to comic-writing success! "You have a story tell. It's your story... These are ways to help you get your story out, to help you become the writer inside of yourself." This is the book on writing you've been waiting for, a nuts-and-bolts guide to writing fiction for comics. While it is true that there is no set way to write a comic book script, no set format, no industry standard, it is equally true that someone learning to write comics needs structure. That's where Comics Experience© Guide to Writing Comics can help. Comics veteran Andy Schmidt offers sage advice and practical instruction for everything from writing realistic dialogue to communicating your ideas to other comics professionals. Inside you'll find: • 23 exercises to help you put fundamental writing principles into practice • Sample script formats, page-by-page outlines, scene-by-scene outlines and short pitches that show you exactly how to create these important components of the writing process • Diagrams and pages from published comics to illustrate key concepts • Tips on professional development, networking and navigating the comics industry These pages include all the tools you need to write great comics, but where do you begin? Begin with yourself. You have to know--not believe--know: You can do this, and this guide will help. Now, begin with Chapter 1...

As Christopher Nolan’s Batman films and releases from the Marvel Cinematic Universe have regularly topped the box office charts, fans and critics alike might assume that the “comic book movie” is a distinctly twenty-first-century form. Yet adaptations of comics have been an integral part of American cinema from its very inception, with comics characters regularly leaping from the page to the screen and cinematic icons spawning comics of their own. Movie Comics is the first book to study the long history of both comics-to-film and film-to-comics adaptations, covering everything from silent films starring Happy Hooligan to sound films and serials featuring Dick Tracy and Superman to comic books starring John Wayne, Gene Autry, Bob Hope, Abbott & Costello, Alan Ladd, and Dean Martin and Jerry Lewis. With a special focus on the Classical Hollywood era, Blair Davis investigates the factors that spurred this media convergence, as the film and comics industries joined forces to expand the reach of their various brands. While analyzing this production history, he also tracks the artistic coevolution of films and comics, considering the many formal elements that each medium adopted and adapted from the other. As it explores our abiding desire to experience the same characters and stories in multiple forms, Movie Comics gives readers a new appreciation for the unique qualities of the illustrated page and the cinematic moving image.