Posted by R.C. Harvey on February 8th, 2010 at 2:35 PM
Well, why not? We’ll turn to this subject from time to time because there’s more sex in the funnies these days than ever before, and that’s notable. Used to be, there was no sex in the comic strips; now, there’s…
Posted by Rich Kreiner on February 8th, 2010 at 1:00 PM
More comics collected at the Maine Comics Arts Festival held last year in Portland. Can I get a witness!
Posted by Noah Berlatsky on February 8th, 2010 at 11:04 AM
A report on a panel discussion which included Anne Elizabeth Moore, Nicole Hollander, and Dewayne Slightweight.
Posted by Dirk Deppey on February 8th, 2010 at 10:45 AM
International concern grows for missing Sri Lankan cartoonist ♦ Amazon/Macmillan grudge war finally ends ♦ more
Posted by Noah Berlatsky on February 8th, 2010 at 9:00 AM
Yohei Sakai; Vizkids; $7.99, 192 pp.; B&W, Softcover; ISBN: 978-1421532530
There should be more American comics like this.
Not that this is a great comic. Or a good comic. Or a comic that in any way makes you not want to seek out…
Posted by Rob Clough on February 8th, 2010 at 5:01 AM
Rob reviews the third volume of Ed Piskor’s hacker saga, WIZZYWIG: FUGITIVE (self-published).
Posted by Rob Clough on February 8th, 2010 at 12:01 AM
Rob unveils his list of the 50 best comics of 2009.
Posted by Noah Berlatsky on February 7th, 2010 at 6:58 AM
R. Fiore is wrong I tell you! Wrong! Wrong! Wrong!
Posted by Jared Gardner on February 7th, 2010 at 6:10 AM
Over at Guttergeek, this week’s installment of Sunday Funnies: more of Otto Soglow’s The Ambassador: http://www.tcj.com/guttergeek/?p=347
Posted by Rich Kreiner on February 6th, 2010 at 1:00 PM
Before Romanticism officially got the notion of individualized self-expression off the ground throughout the West, prior historical eras in various arts had their “period styles” in much the same way that geographical areas had their regional flavor. These were rough, if generally shared, notions about artistic creation that were relatively uniform among often anonymous aesthetic practitioners. These ages had common ideas that informed the way creators approached their artistic projects and that helped refine the qualities of the completed work. Think of the scores of unknown composers of medieval plainchants or the nameless painters of early chapel frescos throughout the Mediterranean.
