This book offers a critical examination of children's and YA comics. The anthology is divided into five sections, structure and narration; transmedia; pedagogy; gender and sexuality; and identity, that reflect crucial issues and recurring topics in comics scholarship during the twenty-first century.

Bringing digital humanities methods to the study of comics, this monograph traces the emergence of the graphic novel at the intersection of popular and literary culture. Based on a representative corpus of over 250 graphic novels from the United States, Canada, and Great Britain, it shows how the genre has built on the visual style of comics while adopting selected features of the contemporary novel. This argument positions the graphic novel as a crucial case study for our understanding of twenty-first-century culture.

Could you use a superhero to teach reading, writing, critical thinking, and problem solving? While seeking the answer, secondary language arts teacher Maureen Bakis discovered a powerful pedagogy that teaches those skills and more. The amazingly successful results prompted her to write this practical guide that shows middle and high school teachers how to incorporate graphic novels into their classrooms. This comprehensive resource includes teaching and learning models, text-specific detailed lesson units, and examples of student work.

The term "graphic novel" was first coined in 1964, but it wouldn't be broadly used until the 1980s, when graphic novels such as Watchmen and Maus achieved commercial success and critical acclaim. What happened in the intervening years, after the graphic novel was conceptualized yet before it was widely recognized? Dreaming the Graphic Novel examines how notions of the graphic novel began to coalesce in the 1970s, a time of great change for American comics, with declining sales of mainstream periodicals, the arrival of specialty comics stores, and (at least initially) a thriving underground comix scene. Surveying the eclectic array of long comics narratives that emerged from this fertile period, Paul Williams investigates many texts that have fallen out of graphic novel history. As he demonstrates, the question of what makes a text a 'graphic novel' was the subject of fierce debate among fans, creators, and publishers, inspiring arguments about the literariness of comics that are still taking place among scholars today.

This introduction to studying comics and graphic novels is a structured guide to a popular topic. It deploys new cognitive methods of textual analysis and features activities and exercises throughout. Deploys novel cognitive approaches to analyze the importance of psychological and physical aspects of reader experience. Carefully structured to build a sequenced, rounded introduction to the subject. Includes study activities, writing exercises, and essay topics throughout. Dedicated chapters cover popular sub-genres such as autobiography and literary adaptation.

International contributors address two questions: Which philosophical insights, concepts, and tools can shed light on the graphic novel? And how can the graphic novel cast light on the concerns of philosophy? Each contributor ponders a well-known graphic novel to illuminate ways in which philosophy can untangle particular combinations of image and written word for deeper understanding.

Distinguishing the graphic novel from other types of comic books has presented problems due to the fuzziness of category boundaries. Against the backdrop of prototype theory, the author establishes the graphic novel as a genre whose core feature is complexity, which again is defined by seven gradable subcategories: 1) multilayered plot and narration, 2) multireferential use of color, 3) complex text-image relation, 4) meaning-enhancing panel design and layout, 5) structural performativity, 6) references to texts/media, and 7) self-referential and metafictional devices.

This essay collection examines the theory and history of graphic narrative as one of the most interesting and versatile forms of storytelling in contemporary media culture. Its contributions test the applicability of narratological concepts to graphic narrative, examine aspects of graphic narrative beyond the 'single work', consider the development of particular narrative strategies within individual genres, and trace the forms and functions of graphic narrative across cultures.

Will's older brother, Shawn, has been shot. Dead. Will feels a sadness so great, he can't explain it. But in his neighborhood, there are THE RULES: No. 1: Crying. Don't. No matter what. No. 2: Snitching Don't. No matter what. No. 3: Revenge Do. No matter what. But bullets miss. You can get the wrong guy. And there's always someone else who knows to follow the rules...

Sue just wants to spend the summer reading and making comics at sleepaway camp with her friends, but instead she gets stuck going to Honduras to visit relatives with her parents and two sisters. They live way out in the country, which means no texting, no cable, and no Internet! The trip takes a turn for the worse when Sue's mother announces that they'll be having a surprise quinceañera for Sue, which is the last thing she wants. She can't imagine wearing a big, floofy, colorful dress! What is Sue going to do? And how will she survive all this "quality" time with her rambunctious family? A funny and heartfelt coming-of-age story about navigating the expectations of family and cultural tradition.

A riveting graphic novel adaptation of the award-winning nonfiction book, Bomb--the fascinating and frightening true story of the creation behind the most destructive force that birthed the arms race and the Cold War. This is the story of the plotting, the risk-taking, the deceit, and genius that created the world's most formidable weapon. This is the story of the atomic bomb.

Fresh from his triumphs in the Trojan War, Odysseus, King of Ithaca, wants nothing more than to return home to his family. Instead, he offends the sea god, Poseidon, who dooms him to years of shipwreck and wandering. Battling man-eating monsters, violent storms, and the supernatural seductions of sirens and sorceresses, Odysseus will need all his strength and cunning--and a little help from Mount Olympus--to make his way home and seize his kingdom from the schemers who seek to wed his queen and usurp his throne. Award-winning graphic artist Gareth Hinds masterfully reinterprets a story of heroism, adventure, and high action that has been told and retold for more than 2,500 years--though never quite like this.

Wash Day Diaries tells the story of four best friends--Kim, Tanisha, Davene, and Cookie--through five connected short story comics that follow these young women through the ups and downs of their daily lives in the Bronx. The book takes its title from the wash day experience shared by Black women everywhere of setting aside all plans and responsibilities for a full day of washing, conditioning, and nourishing their hair. Each short story uses hair routines as a window into these four characters' everyday lives and how they care for each other. A love letter to the beauty and endurance of Black women, their friendships, and their hair.

In the spring 2003, kids, parents, teachers, librarians--whole communities--discovered and fell in love with Jeanne DuPrau's story about a doomed city, and the two children who found a way out. Now experience Jeanne DuPrau's vision anew as artist Niklas Asker faithfully brings to life the glare of the lamps, the dinginess of the streets, and the brilliance of the first sunrise.

More than 35 years after its release, Kindred continues to draw in new readers with its deep exploration of the violence and loss of humanity caused by slavery in the United States, and its complex and lasting impact on the present day. Adapted by celebrated academics and comics artists Damian Duffy and John Jennings, this graphic novel powerfully renders Butler's mysterious and moving story, which spans racial and gender divides in the antebellum South through the 20th century. Winner of the 2018 Eisner Award for Best Adaptation from Another Medium.

After guards find a book in his cell containing the pencilled name of a suspected gang member, Rodrigo Santiago is "validated" for gang affiliation and sent to indefinite solitary confinement in the Pelican Bay State Prison Secure Housing Unit, or SHU. Life in the SHU is monotonous, isolating, and enraging. Rodrigo struggles to maintain a connection to his daughter, Luz, through letters that are his only happiness. As Luz grows up, though, she presses Rodrigo for more insight into his daily life. Willing to give her anything she asks, but finding himself at a loss for words, Rodrigo makes a mistake that threatens to destroy the trust between them. Meanwhile a bold, state-wide hunger strike in California prisons gathers force. Activists and prisoner families organize on the outside. Finding herself increasingly politicized over this issue, Luz fears she can never help her dad. Rodrigo fears he's lost his daughter forever. On opposite sides of the prison walls, they fight to end the torture of endless isolation.