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With cartoonists that have been instrumental in defining the literary comics medium for the past twenty years and a willingness to experiment with formats and concepts, Drawn & Quarterly has become one of the most influential art and literary comics publishers in North America, if not the whole world. Back in 1989, Chris Oliveros humbly went in search of artists to contribute to his yet-to-be-published magazine anthology named Drawn & Quarterly. Armed with a honed aesthetic, he advertised in different venues and approached promising artists. As a result, Oliveros assembled the most esteemed and distinct coterie of cartoonists since the days of Art Spiegelman's RAW. Oliveros's visual acumen and astute production values coupled with the complete editorial and creative freedom offered to the cartoonists enabled D+Q to make an immediate mark in the world of comics. After several anthologies, comic book series and graphic novels, D+Q has established an elite and varied roster of cartoonists that includes Adrian Tomine, Seth, Chester Brown, Joe Matt, Julie Doucet, and James Sturm, who are considered to be some of the medium's best and are synonymous with Drawn & Quarterly. Big Questions, Or Else, Optic Nerve, Berlin and Atlas have joined Peepshow and Palooka-Ville as D+Q's current ongoing comic book series. Exquisitely designed sketchbooks by iconic luminaries R. Crumb and Chris Ware joined sketchbooks by Julie Doucet and Seth. Graphic novels include war comics-journalism from Joe Sacco, travelogues by Guy Delisle, a charming teenage memoir by Michel Rabagliatti and translations of European masters Igort, Baru, and Dupuy & Berberian. The original magazine anthology became a lavish, oversized, coffee table annual. D+Q has also engaged in ambitious reprint projects, including the work of Frank King, Tove Jansson (Moomin), and Yoshihiro Tatsumi. Book lovers, who appreciate exceptional quality in literature and design, laud D+Q for creating elegant objects that transcen

With cartoonists that have been instrumental in defining the literary comics medium for the past twenty years and a willingness to experiment with formats and concepts, Drawn & Quarterly has become one of the most influential art and literary comics publishers in North America, if not the whole world. Back in 1989, Chris Oliveros humbly went in search of artists to contribute to his yet-to-be-published magazine anthology named Drawn & Quarterly. Armed with a honed aesthetic, he advertised in different venues and approached promising artists. As a result, Oliveros assembled the most esteemed and distinct coterie of cartoonists since the days of Art Spiegelman's RAW. Oliveros's visual acumen and astute production values coupled with the complete editorial and creative freedom offered to the cartoonists enabled D+Q to make an immediate mark in the world of comics. After several anthologies, comic book series and graphic novels, D+Q has established an elite and varied roster of cartoonists that includes Adrian Tomine, Seth, Chester Brown, Joe Matt, Julie Doucet, and James Sturm, who are considered to be some of the medium's best and are synonymous with Drawn & Quarterly. Big Questions, Or Else, Optic Nerve, Berlin and Atlas have joined Peepshow and Palooka-Ville as D+Q's current ongoing comic book series. Exquisitely designed sketchbooks by iconic luminaries R. Crumb and Chris Ware joined sketchbooks by Julie Doucet and Seth. Graphic novels include war comics-journalism from Joe Sacco, travelogues by Guy Delisle, a charming teenage memoir by Michel Rabagliatti and translations of European masters Igort, Baru, and Dupuy & Berberian. The original magazine anthology became a lavish, oversized, coffee table annual. D+Q has also engaged in ambitious reprint projects, including the work of Frank King, Tove Jansson (Moomin), and Yoshihiro Tatsumi. Book lovers, who appreciate exceptional quality in literature and design, laud D+Q for creating elegant objects that transcen

Over the last twenty years or so comic books and video games have been adapted in to movies. Novels have been adapted into comic books. Many of these products have been licensed as toys. Indeed two Singaporeans are actively engaged in such adaptations: Sonny Liew is working on a comic book version of Jane Austin's novel Sense and Sensibility for Marvel Comics, and Eric Khoo is doing a film adaptation of Yoshihiro Tatsumi comic A Drifting Life. Increasing there are convergences between media forms and products. This conference held in conjunction with the Singapore Toys, Games and Comics Convention examines the issues involved in these developments from a scholarly perspective with a focus on Asia.

The Internet's Most Diverse Comics Webzine - formerly known as Silver Bullet Comics, featuring daily comic book news, comic reviews, comic information, and comic book opinions.

Don Jackson teaches "the art of sequential storytelling" as a constructivist pedagogical method to help students develop higher-order thinking skills. His "Cognitive Comics" approach grew from Jackson's original enterprise of developing interactive multi-media comics for promoting literacy in teaching English comprehension.

Website of comics connoisseur Robert (Bob) A. Buethe: From AllExperts: About Bob Buethe Expertise Can answer questions about American (and some European and Asian) comic strips, cartoonists, and comic books. Also well-versed on topics related to cartooning techniques, composition, and art supplies. Experience Forty years reading and collecting comic books. Over twenty years as an amateur cartoonist. Extensive library of cartoon- and comic-related reference books. Publications: Hogan's Alley magazine Mensa Bulletin Mphasis

Prof discusses a new course on Comics and Graphic Novels. Focus is on history and cultural background.

Interesting comment about whether or not superhero comics qualify as literature.

Table of Contents, Introduction, and excerpts from The Best American Comics Criticism 2010 (Fantagraphics). Whether you choose to call them "comics lit," "graphic novels," or just "thick comic books," book-length narratives told in words and pictures confidently elbowed their way into the cultural spotlight in the first decade of this new millennium - beginning with the simultaneous 2001 release of Chris Ware's Jimmy Corrigan: The Smartest Kid on Earth and Daniel Clowes' David Boring, and continuing on through ground-breaking and best-selling works such as Marjane Satrapi's Persepolis, Robert Crumb's Genesis, Alison Bechdel's Fun Home, and Joe Sacco's Palestine. This renaissance in turn brought forth a chorus of critical commentary that not only addressed these recent works, but also initiated a much-needed look back at the previous century's neglected and forgotten masterpieces. This chorus, as presented in The Best American Comics Criticism, comprises both criticism (Douglas Wolk on Frank Miller and Will Eisner, Robert C. Harvey on Fun Home, Donald Phelps on Steve Ditko and Phoebe Gloeckner) and history (David Hajdu on the 1950s comic-book burnings, Jeet Heer on Gasoline Alley, Ben Schwartz on Little Orphan Annie, Gerard Jones on the birth of the comic-book business), as well as revelatory peer-on-peer essays by novelists (Jonathan Franzen on Peanuts, John Updike on James Thurber) and cartoonists (Chris Ware on Rodolphe Töpffer, Clowes on Mad's Will Elder, and Seth on John Stanley).

Shows the process of making a comic - in this case, The Guild by Felicia Day (previously a web video series).

This is an amazing website! To see the theory of facial expression and emotion described by Scott McCloud (which inspired this project), see pp. 80-101 of Making Comics. Description: Grimace is a free Flash-based web component which displays emotions through facial expressions of a comic-like face. It is based on the idea that the face can serve as an accurate representative of emotional information, which is difficult to express verbally. The face is simple yet highly expressive and can represent subtle emotional changes through arbitrary blending of 6 basic emotions. The design is derived from the book Making Comics by Scott McCloud. Possible applications include experimental research settings and the augmentation of textual descriptions on websites with emotional information.

In the Gateway to Comics feature, Stephen Aryan focuses on reviewing/recapping a "gateway" trade or issue to a genre, series, or character. Meaning you will be able to pick it up without having read any other comic before, and with no prior knowledge of the characters. This is the golden rule. (A lot of these gateway picks will be first volumes of trades, but not always.) He tackles a range of genres, such as western, sci-fi, slice of life, horror, adventure, biography, comedy, history, and many more.

Interesting: changing the name from "manga" to "comics" to reflect the desired scope of submissions. "While this is the fourth time that this competition has been held, it is the first since its name was changed from the Morning International Manga Competition (M.I.M.C.) to the Morning International Comic Competition (M.I.C.C.). Throughout the previous three competitions, we found ourselves keenly noticing something. While in Japan the word "manga" (マンガ) encompasses many broad genres and is still home to innovation and freshness, the term "manga" abroad refers to works of fantasy that are drawn in a specific style, and further confined to a small genre. This time, we saw an immediate change resulting from the contest's revised name, as we received many submissions that could be classified as "seinen manga," the genre that our magazine Morning primarily publishes. Not only that, we also received many highly exciting works with stories and visual designs that we could not imagine ever seeing from creators within the Japanese industry. We value this quality, as seen by the prize-winning works."

Evolving database of comic books. Might be opensource. Registration required. Note the "Browse" criteria and search engine. Find out who's doing it?

Contains an interesting discussion of what happens when a comic is adapted into a movie. Specifically "300," in 2007.

Internet Movie Database for "300." Contains comments on the adaption of the comic/GN to the big screen.

The Graphic Classroom is a resource for teachers and librarians to help them stock high quality, educational-worthy, graphic novels and comics in their classroom or school library. I read and review every graphic novel or comic on this blog and give it a rating as to appropriateness for the classroom.

Todd Hignite's text for the Abrams' pretty The Art Of Jaime Hernandez is like the best testimonial ever written for a fancy tribute dinner, the kind of speechifying that makes you tear up a little bit in shared love for the subject of its adoration. One reads a lot of writing about cartoonists, but very little of it makes you want to shake the writer's hand, as is the case here. The love that many comics fans have for the work of Jaime Hernandez may be unique in comics because he's an artist that brings out that emotion in people that I would suggest are largely distrustful if not outright contemptuous of how frequently such feelings are expressed on behalf of so many other artists working in the medium. Jaime is a a comics artist people that find it hard to love artists love. Further, I think that people love Jaime for all the usual reasons one may love a comics artist, and then some folks love him a little more for all the reasons they love a great artist working any medium, and then a few folks love him that much more for being the avatar of a certain kind of relationship to comics, growing in seriousness of intent and human scope just as they were ready to read stories like that.

Index to the Holdings of the Michigan State University Libraries Comic Art Collection

Grand Comic Book Database

UPenn Call for Papers listing on "Comics, Graphic Narrative, and Sequential Art"