1001 comics you must read be­fore you die

Comics are a gi­gan­tic, ever-chang­ing medium

comics art for tate

hicksville by dy­lan hor­rocks

Good books if you want to get into comics

Comics have quite a long his­tory

topffer Swiss au­thor and teacher Rodolphe Töpffer can be re­garded as the first European comic artist. He was the first to com­bine text and il­lus­tra­tion and to di­vide a story into mul­ti­ple pan­els. Fear­ing for his rep­u­ta­tion, Töpffer never pub­lished his work. He did, how­ever, send a draft to Goethe who saw the po­ten­tial of this new kind of sto­ry­telling.

science Comics in 1930′s America were mass-pro­duced, printed on cheap stock and fea­tured mostly male power fan­tasies (Superheroes) and slap­stick hu­mor.

After the sec­ond World War, comics in­creas­ingly fea­tured hor­ror, crime, ro­mance sto­ries, aimed at a more ma­ture au­di­ence. They of­ten con­tained graphic vi­o­lence, which led to in­cresingly loud criti­sism. Psy­chi­a­trist Fredric Wertham fa­mously linked read­ing comics to crime in his book Seduction of the Innocent (1954). (His find­ings later turned out to be mostly made-up)

Comics were an easy thing to point the fin­ger at when it came to prob­lems with young peo­ple. Af­ter pub­lic court hear­ings against comics the gov­ern­ment threat­ened to cen­sor comics. Publishers even­tu­ally es­tab­lished Comics Code (1954) to pre­vent that. The code con­tained rules on what could and could not be done in comics, such as:

Full Code

American comics caused a huge pub­lic out­cry when they were first in­tro­duced in Britain. The National Teachers’ Union and the Archbishop of Canterbury pushed the gov­ern­ment to cre­ate the Children and Young Persons (Harmful Publications) Act (1955), which banned vi­o­lence in comics.

In the mid-1960s peo­ple started col­lect­ing, and thereby val­i­dat­ing comic books.

Why Make a Graphic Novel

get­ting be­yond the first ten min­utes

Ways to get into the in­dus­try

22 panels Wally Woods: 22 pan­els that al­ways work

Comics seem to keep get­ting stuck in the same ten min­utes - Art Spiegelman

Art Spiegelman: Breakdowns (1977)

Unlike other medi­ums, comics give one per­son full cre­ative con­trol. This al­lows for much more ex­per­i­men­tal stuff to hap­pen.

Ilya: Room for Love

os­car zarate: the park fred­erik pe­ters

Seth: George Sprott

seth bar­ber­shop fake story

comics al­low you to flick through dif­fer­ent frag­ments of time, place in many di­rec­tions you look back and forth across the page doc­u­ment lit­er­acy, not just one panel at a time al­lows you to build a net­work of ideas

betsy and me, jack cole in­te­grte nar­ra­tion and di­a­logue

jimmy cor­ri­gan by chris ware naughty pete by charles for­bell

howard fer­gu­son, the news­boy le­gion

Dash Shaw: Bottomless Belly Button

OCEAN SOUNDS Not afraid of show­ing and telling as op­posed to show don’t tell”

Repeats char­ac­ters mul­ti­ple times in the same frame. Gianni De Luca & Hamlet: Thinking Outside The Box

miller Frank Miller and Lynn Varley: Elektra Lives Again

lit­tle nemo in slum­ber­land by win­sor mc­Cay

polyp David Mazzucchelli: Asterios Polyp (2009)

676 ap­pari­tions of killofer by killofer

posy sim­monds opp­pos­ing im­ages with extedned pas­sages of text

Distinctive draw­ing styles for dif­fer­ent char­ac­ters

dif­fer­ent ty­pog­ra­phy, dif­fer­ent baloon shapes

david hughes

Hendrik Dorgathen: Spacedog

Manga tech­niques

A figure is swimming, seen from below the water's surface. Around and below them, a swarm of large fish swims toward the viewer. Daisuke Igarashi: Children of the Sea

[…] Combination of iconic char­ac­ters with un­usu­ally re­al­is­tic back­grounds […] al­lows read­ers to mask them­selves in a char­ac­ter and safely en­ter a sen­su­ally stim­u­lat­ing world’.

Scott McCloud on Tintin


What do you think the fu­ture of comics might look like?

Where are you draw­ing th line be­tween comics and graphic nov­els, and do you think we need the dis­tinc­tion at all?

It’s mar­ket­ing, but al­lowed comics to get into unis mu­se­ums and shit we dont re­ally need it