Dr. Anna Peppard re-examines a favorite scene from Excalibur #4 a decade after first reading it to consider how its meanings may have changed for her.
Guest writer, Alex Haddad examines three different comics exploring conspiracies to consider how they represent the hybridity of truth and fiction.
Considering how 1990’s The Flash on CBS was a pivotal development to the television superhero genre through fashion.
The third and final part of our round table on comics paratexts, looking at digital comics and representations of the digital in comics.
Part two of our round table on comics paratexts looks at ads, peritexts, and disruptive backmatter.
Part One in our three part roundtable on comics paratexts focuses on letter columns.
Guest writer Anna Peppard’s meditation on presence and absence of the Vision’s penis – and if it even matters.
Batman: White Knight demonstrates the limitation of the white imaginary regarding a post-police society by simply not being be able to envision one.
Laura Grafton and Andew Deman examine the intersection of Harley Quinn’s three central relationships, with the Joker, Poison Ivy, and her audience.
How the limitations of Jimmy Olsen’s transformations limn the dynamics of superhuman embodiment.
A guest post in the form of a preview of the forthcoming anthology, Unstable Masks: Whiteness and American Superhero Comics.
Guest contributor, Tiffany Babb, interviews cartoonist Melanie Gillman about their work and the importance of envisioning queer and trans histories.
Considering the role of Latinidad in Araña’s comics despite a decreasing representation of of its so-called “authentic” markers.
New and different, but not all-new and all-different, adaptation and change in superhero comics as narrative mutation.,
Part Four in a four-part scholarly round table examining the intersections of sound and comics.
Part Three in a four-part scholarly round table examining the intersections of sound and comics.
Part Two in a four-part scholarly round table examining the intersections of sound and comics.
Part One of a scholarly round table exploring the intersection of sound and comics.
Critiquing Thanos and the limits of deconstruction.
Comicsgaters are wrong because comics have always been political, but those politics weren’t always as great as they are sometimes made out to be by comics’ defenders.
Does the 2013 comic adaptation of Django Unchained’s inclusion of an unfilmed sequence provide insight into the figure of the black woman slave?