Book with primarily comics contents
A
graphic novel
is a long-form work of
sequential art
. The term
graphic novel
is often applied broadly, including fiction, non-fiction, and
anthologized
work, though this practice is highly contested by comics scholars and industry professionals. It is, at least in the United States, typically distinct from the term
comic book
, which is generally used for comics
periodicals
and
trade paperbacks
.
[1]
[2]
Fan historian
Richard Kyle coined the term
graphic novel
in an
essay
in the November 1964 issue of the comics
fanzine
Capa-Alpha
.
[3]
[4]
The term gained popularity in the comics community after the publication of
Will Eisner
's
A Contract with God
(1978) and the start of the
Marvel Graphic Novel
line
(1982) and became familiar to the public in the late 1980s after the commercial successes of the first volume of
Art Spiegelman
's
Maus
in 1986, the collected editions of
Frank Miller
's
The Dark Knight Returns
in 1986 and
Alan Moore
and
Dave Gibbons
'
Watchmen
in 1987. The
Book Industry Study Group
began using
graphic novel
as a category in book stores in 2001.
[5]
Definition
[
edit
]
The term is not strictly defined, though
Merriam-Webster
's dictionary definition is "a fictional story that is presented in comic-strip format and published as a
book
".
[6]
Collections of
comic books
that do not form a continuous story,
anthologies
or collections of loosely related pieces, and even
non-fiction
are stocked by
libraries
and
bookstores
as graphic novels (similar to the manner in which dramatic stories are included in "comic" books).
[
citation needed
]
The term is also sometimes used to distinguish between works created as standalone stories, in contrast to collections or compilations of a
story arc
from a comic book series published in book form.
[7]
[8]
[9]
In continental Europe, both original book-length stories such as
The Ballad of the Salty Sea
(1967) by
Hugo Pratt
or
La rivolta dei racchi
(1967) by
Guido Buzzelli
,
[
citation needed
]
[10]
and collections of
comics
have been commonly published in hardcover volumes, often called
albums
, since the end of the 19th century (including such later
Franco-Belgian comics
series as
The Adventures of Tintin
in the 1930s).
History
[
edit
]
As the exact definition of the graphic novel is debated, the origins of the form are open to interpretation.
The Adventures of Obadiah Oldbuck
is the oldest recognized American example of comics used to this end.
[11]
It originated as the 1828 publication
Histoire de Mr. Vieux Bois
by Swiss caricaturist
Rodolphe Topffer
, and was first published in English translation in 1841 by London's Tilt & Bogue, which used an 1833 Paris pirate edition.
[12]
The first American edition was published in 1842 by Wilson & Company in New York City using the original printing plates from the 1841 edition. Another early predecessor is
Journey to the Gold Diggins by Jeremiah Saddlebags
by brothers J. A. D. and D. F. Read, inspired by
The Adventures of Obadiah Oldbuck
.
[12]
In 1894,
Caran d'Ache
broached the idea of a "drawn novel" in a letter to the newspaper
Le Figaro
and started work on a 360-page wordless book (which was never published).
[13]
In the United States, there is a long tradition of reissuing previously published comic strips in book form. In 1897, the Hearst Syndicate published such a collection of
The Yellow Kid
by Richard Outcault and it quickly became a best seller.
[14]
1920s to 1960s
[
edit
]
The 1920s saw a revival of the
medieval
woodcut
tradition, with Belgian
Frans Masereel
cited as "the undisputed king" of this revival.
[15]
His works include
Passionate Journey
(1919).
[16]
American
Lynd Ward
also worked in this tradition, publishing
Gods' Man
, in 1929 and going on to publish more during the 1930s.
[17]
[18]
[
better source needed
]
Other prototypical examples from this period include American
Milt Gross
's
He Done Her Wrong
(1930), a wordless comic published as a hardcover book, and
Une semaine de bonte
(1934), a novel in sequential images composed of collage by the surrealist painter
Max Ernst
. Similarly,
Charlotte Salomon
's
Life? or Theater?
(composed 1941?43) combines images, narrative, and captions.
[
citation needed
]
The 1940s saw the launching of
Classics Illustrated
, a
comic-book
series that primarily adapted notable,
public domain
novels into standalone comic books for young readers.
Citizen 13660
, an illustrated, novel length retelling of
Japanese internment during World War II
, was published in 1946. In 1947,
Fawcett Comics
published
Comics Novel
#1: "Anarcho, Dictator of Death", a 52-page comic dedicated to one story.
[19]
In 1950,
St. John Publications
produced the
digest-sized
, adult-oriented "picture novel"
It Rhymes with Lust
, a
film noir
-influenced slice of steeltown life starring a scheming, manipulative redhead named Rust. Touted as "an original full-length novel" on its cover, the 128-page digest by
pseudonymous
writer "Drake Waller" (
Arnold Drake
and
Leslie Waller
), penciler
Matt Baker
and inker
Ray Osrin
proved successful enough to lead to an unrelated second picture novel,
The Case of the Winking Buddha
by
pulp novelist
Manning Lee Stokes
and illustrator Charles Raab.
[20]
[21]
In the same year,
Gold Medal Books
released
Mansion of Evil
by Joseph Millard.
[22]
Presaging Will Eisner's multiple-story graphic novel
A Contract with God
(1978), cartoonist
Harvey Kurtzman
wrote and drew the four-story mass-market paperback
Harvey Kurtzman's Jungle Book
(
Ballantine Books
#338K), published in 1959.
[23]
By the late 1960s, American comic book creators were becoming more adventurous with the form.
Gil Kane
and
Archie Goodwin
self-published a 40-page,
magazine
-format comics novel,
His Name Is... Savage
(Adventure House Press) in 1968?the same year
Marvel Comics
published two issues of
The Spectacular Spider-Man
in a similar format. Columnist and comic-book writer
Steven Grant
also argues that
Stan Lee
and
Steve Ditko
's
Doctor Strange
story in
Strange Tales
#130?146, although published serially from 1965 to 1966, is "the first American graphic novel".
[24]
Similarly, critic Jason Sacks referred to the 13-issue "Panther's Rage"?comics' first-known titled, self-contained, multi-issue story arc?that ran from 1973 to 1975 in the
Black Panther
series in Marvel's
Jungle Action
as "Marvel's first graphic novel".
[25]
Meanwhile, in continental Europe, the tradition of collecting serials of popular strips such as
The Adventures of Tintin
or
Asterix
led to long-form narratives published initially as serials.
[
citation needed
]
In January 1968,
Vida del Che
was published in Argentina, a graphic novel written by
Hector German Oesterheld
and drawn by
Alberto Breccia
. The book told the story of
Che Guevara
in comics form, but the military dictatorship confiscated the books and destroyed them. It was later re-released in corrected versions.
By 1969, the author
John Updike
, who had entertained ideas of becoming a cartoonist in his youth, addressed the Bristol Literary Society, on "
the death of the novel
". Updike offered examples of new areas of exploration for novelists, declaring he saw "no intrinsic reason why a doubly talented artist might not arise and create a comic strip novel masterpiece".
[26]
Modern era
[
edit
]
Gil Kane and Archie Goodwin's
Blackmark
(1971), a
science fiction
/
sword-and-sorcery
paperback published by
Bantam Books
, did not use the term originally; the back-cover blurb of the 30th-anniversary edition (
ISBN
978-1-56097-456-7
) calls it, retroactively, the first American graphic novel. The
Academy of Comic Book Arts
presented Kane with a special 1971
Shazam Award
for what it called "his paperback comics novel". Whatever the nomenclature,
Blackmark
is a 119-page story of comic-book art, with captions and
word balloons
, published in a traditional book format.
European creators were also experimenting with the longer narrative in comics form. In the United Kingdom,
Raymond Briggs
was producing works such as
Father Christmas
(1972) and
The Snowman
(1978), which he himself described as being from the "bottomless abyss of strip cartooning", although they, along with such other Briggs works as the more mature
When the Wind Blows
(1982), have been re-marketed as graphic novels in the wake of the term's popularity. Briggs noted, however, that he did not like that term too much.
[27]
First self-proclaimed graphic novels: 1976?1978
[
edit
]
In 1976, the term "graphic novel" appeared in print to describe three separate works.
Chandler: Red Tide
by
Jim Steranko
, published in August 1976 under the
Fiction Illustrated
imprint and released in both regular 8.5 x 11" size, and a
digest size
designed to be sold on newsstands, used the term "graphic novel" in its introduction and "a
visual novel
" on its cover, predating by two years the usage of this term for
Will Eisner
's
A Contract with God
. It is therefore considered the first modern graphic novel to be done as an original work, and not collected from previously published segments.
Bloodstar
by
Richard Corben
(adapted from a story by
Robert E. Howard
), Morning Star Press, 1976, also a non-reprinted original presentation, used the term 'graphic novel' to categorize itself as well on its dust jacket and introduction.
George Metzger
's
Beyond Time and Again
, serialized in
underground comix
from 1967 to 1972,
[28]
was subtitled "A Graphic Novel" on the inside title page when collected as a 48-page, black-and-white, hardcover book published by Kyle & Wheary.
[
citation needed
]
The following year,
Terry Nantier
, who had spent his teenage years living in Paris, returned to the United States and formed
Flying Buttress Publications
, later to incorporate as
NBM Publishing
(
Nantier, Beall, Minoustchine
), and published
Racket Rumba
, a 50-page spoof of the
noir
-
detective
genre, written and drawn by the single-name French artist Loro. Nantier followed this with
Enki Bilal
's
The Call of the Stars
. The company marketed these works as "graphic albums".
[29]
The first six issues of writer-artist
Jack Katz
's 1974
Comics and Comix Co.
series
The First Kingdom
were collected as a
trade paperback
(
Pocket Books
, March 1978),
[30]
which described itself as "the first graphic novel". Issues of the comic had described themselves as "graphic prose", or simply as a novel.
[
citation needed
]
Similarly,
Sabre: Slow Fade of an Endangered Species
by writer
Don McGregor
and artist
Paul Gulacy
(
Eclipse Books
, August 1978) ? the first graphic novel sold in the newly created "
direct market
" of United States comic-book shops
[31]
? was called a "graphic album" by the author in interviews, though the publisher dubbed it a "comic novel" on its credits page. "Graphic album" was also the term used the following year by
Gene Day
for his hardcover short-story collection
Future Day
(
Flying Buttress Press
).
Another early graphic novel, though it carried no self-description, was
The Silver Surfer
(
Simon & Schuster/Fireside Books
, August 1978), by Marvel Comics'
Stan Lee
and
Jack Kirby
. Significantly, this was published by a traditional book publisher and distributed through bookstores, as was
cartoonist
Jules Feiffer
's
Tantrum
(
Alfred A. Knopf
, 1979)
[32]
described on its dust jacket as a "novel-in-pictures".
Adoption of the term
[
edit
]
Hyperbolic descriptions of longer
comic books
as "novels" appear on covers as early as the 1940s. Early issues of
DC Comics
'
All-Flash
, for example, described their contents as "novel-length stories" and "full-length four chapter novels".
[33]
In its earliest known citation, comic-book reviewer Richard Kyle used the term "graphic novel" in
Capa-Alpha
#2 (November 1964), a newsletter published by the Comic Amateur Press Alliance, and again in an article in
Bill Spicer
's magazine
Fantasy Illustrated
#5 (Spring 1966).
[34]
Kyle, inspired by European and East Asian graphic albums (especially Japanese
manga
), used the label to designate comics of an artistically "serious" sort.
[35]
Following this, Spicer, with Kyle's acknowledgment, edited and published a periodical titled
Graphic Story Magazine
in the fall of 1967.
[34]
The Sinister House of Secret Love
#2 (Jan. 1972), one of
DC Comics
' line of extra-length, 48-page comics, specifically used the phrase "a graphic novel of Gothic terror" on its cover.
[36]
The term "graphic novel" began to grow in popularity months after it appeared on the cover of the
trade paperback
edition (though not the
hardcover
edition) of
Will Eisner
's
A Contract with God
(October 1978). This collection of
short stories
was a mature, complex work focusing on the lives of ordinary people in the real world based on Eisner's own experiences.
[37]
One scholar used graphic novels to introduce the concept of graphiation, the theory that the entire personality of an artist is visible through his or her visual representation of a certain character, setting, event, or object in a novel, and can work as a means to examine and analyze drawing style.
[38]
Even though Eisner's
A Contract with God
was published in 1978 by a smaller company, Baronet Press, it took Eisner over a year to find a publishing house that would allow his work to reach the mass market.
[39]
In its introduction, Eisner cited Lynd Ward's 1930s woodcuts as an inspiration.
[40]
The critical and commercial success of
A Contract with God
helped to establish the term "graphic novel" in common usage, and many sources have incorrectly credited Eisner with being the first to use it. These included the
Time
magazine website in 2003, which said in its correction: "Eisner acknowledges that the term 'graphic novel' had been coined prior to his book. But, he says, 'I had not known at the time that someone had used that term before'. Nor does he take credit for creating the first graphic book".
[41]
One of the earliest contemporaneous applications of the term post-Eisner came in 1979, when
Blackmark
's
sequel?published a year after
A Contract with God
though written and drawn in the early 1970s?was labeled a "graphic novel" on the cover of Marvel Comics' black-and-white comics magazine
Marvel Preview
#17 (Winter 1979), where
Blackmark: The Mind Demons
premiered: its 117-page contents remained intact, but its panel-layout reconfigured to fit 62 pages.
[
citation needed
]
Following this, Marvel from 1982 to 1988 published the
Marvel Graphic Novel
line of 10" × 7" trade paperbacks?although numbering them like comic books, from #1 (
Jim Starlin
's
The Death of Captain Marvel
) to #35 (
Dennis O'Neil
,
Mike Kaluta
, and
Russ Heath
's
Hitler's Astrologer
, starring the radio and
pulp fiction
character the
Shadow
, and released in hardcover). Marvel commissioned original graphic novels from such creators as
John Byrne
,
J. M. DeMatteis
,
Steve Gerber
, graphic-novel pioneer McGregor,
Frank Miller
,
Bill Sienkiewicz
,
Walt Simonson
,
Charles Vess
, and
Bernie Wrightson
. While most of these starred Marvel
superheroes
, others, such as
Rick Veitch
's
Heartburst
featured original SF/fantasy characters; others still, such as
John J. Muth
's
Dracula
, featured adaptations of literary stories or characters; and one,
Sam Glanzman
's
A Sailor's Story
, was a true-life,
World War II
naval
tale.
[42]
Cartoonist
Art Spiegelman
's
Pulitzer Prize
-winning
Maus
(1986), helped establish both the term and the concept of graphic novels in the minds of the mainstream public.
[43]
Two
DC Comics
book reprints of self-contained miniseries did likewise, though they were not originally published as graphic novels:
Batman: The Dark Knight Returns
(1986), a collection of Frank Miller's four-part comic-book series featuring an older Batman faced with the problems of a dystopian future; and
Watchmen
(1986-1987), a collection of
Alan Moore
and
Dave Gibbons
' 12-issue
limited series
in which Moore notes he "set out to explore, amongst other things, the dynamics of power in a post-Hiroshima world".
[44]
These works and others were reviewed in newspapers and magazines, leading to increased coverage.
[45]
Sales of graphic novels increased, with
Batman: The Dark Knight Returns
, for example, lasting 40 weeks on a UK best-seller list.
[46]
European adoption of the term
[
edit
]
Outside North America, Eisner's
A Contract with God
and Spiegelman's
Maus
led to the popularization of the expression "graphic novel" as well.
[47]
Until then, most European countries used neutral, descriptive terminology that referred to the form of the medium, not the contents or the publishing form. In Francophone Europe for example, the expression
bandes dessinees
? which literally translates as "drawn strips" ? is used, while the terms
stripverhaal
("strip story") and
tegneserie
("drawn series") are used by the Dutch/Flemish and Scandinavians respectively.
[48]
European
comics studies
scholars have observed that Americans originally used
graphic novel
for everything that deviated from their standard,
32-page comic book
format, meaning that all larger-sized, longer Franco-Belgian
comic albums
, regardless of their contents, fell under the heading.
[
citation needed
]
Writer-artist
Bryan Talbot
claims that the first collection of his
The Adventures of Luther Arkwright
, published by
Proutt
in 1982, was the first British graphic novel.
[49]
American comic critics have occasionally referred to European graphic novels as "Euro-comics",
[50]
and attempts were made in the late 1980s to cross-fertilize the American market with these works. American publishers
Catalan Communications
and
NBM Publishing
released translated titles, predominantly from the backlog catalogs of
Casterman
and
Les Humanoides Associes
.
Criticism of the term
[
edit
]
Some in the comics community have objected to the term
graphic novel
on the grounds that it is unnecessary, or that its usage has been corrupted by commercial interests.
Watchmen
writer
Alan Moore
believes:
It's a marketing term... that I never had any sympathy with. The term 'comic' does just as well for me ... The problem is that 'graphic novel' just came to mean 'expensive comic book' and so what you'd get is people like DC Comics or Marvel Comics?because 'graphic novels' were getting some attention, they'd stick six issues of whatever worthless piece of crap they happened to be publishing lately under a glossy cover and call it
The
She-Hulk
Graphic Novel
..."
[51]
Glen Weldon, author and cultural critic, writes:
It's a perfect time to retire terms like "graphic novel" and "sequential art", which piggyback on the language of other, wholly separate mediums. What's more, both terms have their roots in the need to dissemble and justify, thus both exude a sense of desperation, a gnawing hunger to be accepted.
[52]
Author Daniel Raeburn wrote: "I snicker at the
neologism
first for its insecure pretension - the literary equivalent of calling a
garbage man
a 'sanitation engineer' - and second because a 'graphic novel' is in fact the very thing it is ashamed to admit: a comic book, rather than a comic pamphlet or comic magazine".
[53]
Writer
Neil Gaiman
, responding to a claim that he does not write comic books but graphic novels, said the commenter "meant it as a compliment, I suppose. But all of a sudden I felt like someone who'd been informed that she wasn't actually a hooker; that in fact she was a lady of the evening".
[54]
Responding to writer
Douglas Wolk
's quip that the difference between a graphic novel and a comic book is "the binding",
Bone
creator
Jeff Smith
said: "I kind of like that answer. Because 'graphic novel' ... I don't like that name. It's trying too hard. It is a comic book. But there is a difference. And the difference is, a graphic novel is a novel in the sense that there is a beginning, a middle and an end".
[55]
The Times
writer
Giles Coren
said: "To call them graphic novels is to presume that the novel is in some way 'higher' than the karmicbwurk (comic book), and that only by being thought of as a sort of novel can it be understood as an art form".
[56]
Some alternative cartoonists have coined their own terms for extended comics narratives. The cover of
Daniel Clowes
'
Ice Haven
(2001) refers to the book as "a comic-strip novel", with Clowes having noted that he "never saw anything wrong with the comic book".
[57]
The cover of
Craig Thompson
's
Blankets
calls it "an illustrated novel".
[58]
See also
[
edit
]
References
[
edit
]
- ^
Phoenix, Jack (2020).
Maximizing the Impact of Comics in Your Library: Graphic Novels, Manga, and More
. Santa Barbara, California. pp. 4?12.
ISBN
978-1-4408-6886-3
.
OCLC
1141029685
.
{{
cite book
}}
: CS1 maint: location missing publisher (
link
)
- ^
Kelley, Jason (November 16, 2020).
"What's The Difference Between Graphic Novels and Trade Paperbacks?"
.
How To Love Comics
. Retrieved
April 4,
2021
.
- ^
Schelly, Bill (2010).
Founders of Comic Fandom: Profiles of 90 Publishers, Dealers, Collectors, Writers, Artists and Other Luminaries of the 1950s and 1960s
. McFarland. p. 117.
ISBN
978-0-7864-5762-5
.
- ^
Madden, David; Bane, Charles; Flory, Sean M. (2006).
A Primer of the Novel: For Readers and Writers
. Scarecrow Press. p. 43.
ISBN
978-1-4616-5597-8
.
- ^
"BISAC Subject Headings List, Comics and Graphic Novels"
.
Book Industry Study Group
. Archived from
the original
on April 14, 2015
. Retrieved
July 9,
2015
.
- ^
"graphic novel"
.
Merriam-Webster
.
- ^
Gertler, Nat
;
Steve Lieber
(2004).
The Complete Idiot's Guide to Creating a Graphic Novel
.
Alpha Books
.
ISBN
978-1-59257-233-5
.
- ^
Kaplan, Arie
(2006).
Masters of the Comic Book Universe Revealed!
.
Chicago Review Press
.
ISBN
978-1-55652-633-6
.
- ^
Murray, Christopher.
"graphic novel | literature"
.
Encyclopedia Britannica
. Retrieved
June 22,
2017
.
- ^
A complete edition was published in 1970 before being serialized in the French magazine
Charlie Mensuel
, as per
"Dino Buzzati 1965?1975"
(Italian website)
.
Associazione Guido Buzzelli
. 2004
. Retrieved
June 21,
2006
.
(
WebCitation archive
);
Domingos Isabelinho (Summer 2004).
"The Ghost of a Character: The Cage by Martin Vaughn-James"
.
Indy Magazine
. Archived from
the original
on August 18, 2010
. Retrieved
April 6,
2006
.
{{
cite web
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: CS1 maint: date and year (
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)
- ^
Coville, Jamie.
"The History of Comic Books: Introduction and 'The Platinum Age 1897?1938'
"
. TheComicBooks.com. Archived from
the original
on April 15, 2003.
. Originally published at defunct site
CollectorTimes.com
Archived
May 2, 2007, at the
Wayback Machine
- ^
a
b
Beerbohm, Robert (2008). "The Victorian Age Comic Strips and Books 1646-1900: Origins of Early American Comic Strips Before The Yellow Kid and 'The Platinum Age 1897?1938'
".
Overstreet Comic Book Price Guide #38
. pp. 337?338.
- ^
Groensteen, Thierry (June 2015).
"
"Maestro": chronique d'une decouverte / "Maestro": Chronicle of a Discovery"
. NeuviemArt 2.0.
Archived
from the original on July 9, 2015
. Retrieved
July 9,
2015
.
... le caricaturiste Emmanuel Poire, plus connu sous le pseudonyme de Caran d'Ache (1858-1909). Il s'exprimait ainsi dans une lettre adressee le 20 juillet 1894 a l'editeur du
Figaro
... L'ouvrage n'a jamais ete publie, Caran d'Ache l'ayant laisse inacheve pour une raison inconnue. Mais ... puisque ce sont pres d'une centaine de pages completes (format H 20,4 x 12,5 cm) qui figurent dans le lot propose au musee. / ... cartoonist Emmanuel Poire, better known under the pseudonym Caran d'Ache (1858-1909). He was speaking in a letter July 20, 1894, to the editor of
Le Figaro
... The book was never published, Caran d'Ache having left it unfinished for unknown reasons. But ... almost a hundred full pages (format 20.4 x H 12.5 cm) are contained in the lot proposed for the museum.
- ^
Tychinski, Stan (n.d.).
"A Brief History of the Graphic Novel"
.
Diamond Bookshelf
.
Diamond Comic Distributors
.
Archived
from the original on September 28, 2013
. Retrieved
December 14,
2015
.
- ^
Sabin, Roger (2005).
Adult Comics: An Introduction
. Routledge New Accents Library Collection. p. 291.
ISBN
978-0-415-29139-2
.
- ^
Reissued 1985 as
Passionate Journey: A Novel in 165 Woodcuts
ISBN
978-0-87286-174-9
- ^
"2020 Lynd Ward Prize for Graphic Novel of the Year"
(Press release). University Park, Pennsylvania: Pennsylvania Center For the Book, Pennsylvania State University Libraries. 2020.
Archived
from the original on November 1, 2020
. Retrieved
November 2,
2016
.
- ^
"Frans Masereel (1889-1972)"
. GraphicWitness.org.
Archived
from the original on October 5, 2020.
- ^
Comics Novel
#1
at the
dream SMP
.
- ^
Quattro, Ken (2006).
"Archer St. John & The Little Company That Could"
. Comicartville Library. Archived from
the original
on May 19, 2011.
- ^
It Rhymes With Lust
at the
Grand Comics Database
.
- ^
Mansion of Evil
at the
Grand Comics Database
.
- ^
Harvey Kurtzman's Jungle Book
#338 K
at the
Grand Comics Database
.
- ^
Grant, Steven
(December 28, 2005).
"Permanent Damage [column] #224"
.
Comic Book Resources
.
Archived
from the original on June 17, 2011
. Retrieved
March 20,
2007
.
- ^
Sacks, Jason.
"Panther's Rage: Marvel's First Graphic Novel"
. FanboyPlanet.com.
Archived
from the original on July 4, 2008.
[T]here were real character arcs in
Spider-Man
and the
Fantastic Four
[comics] over time. But ...
Panther's Rage
is the first comic that was created from start to finish as a complete novel. Running in two years' issues of
Jungle Action
(#s 6 through 18),
Panther's Rage
is a 200-page novel....
- ^
Gravett, Paul
(2005).
Graphic Novels: Stories To Change Your Life
(1st ed.). Aurum Press Limited.
ISBN
978-1-84513-068-8
.
- ^
Nicholas, Wroe (December 18, 2004).
"Bloomin' Christmas"
.
The Guardian
. UK.
Archived
from the original on April 5, 2011.
- ^
Beyond Time and Again
at the
Grand Comics Database
.
- ^
"America's First Graphic Novel Publisher [sic]"
. New York City, New York:
NBM Publishing
. n.d.
Archived
from the original on January 6, 2010
. Retrieved
August 18,
2010
.
- ^
The First Kingdom
at the
Grand Comics Database
.
- ^
Gough, Bob (2001).
"Interview with Don McGregor"
. MileHighComics.com.
Archived
from the original on July 16, 2011
. Retrieved
September 13,
2011
.
- ^
Tallmer, Jerry (April 2005).
"The Three Lives of Jules Feiffer"
.
NYC Plus
. Vol. 1, no. 1. Archived from
the original
on March 20, 2005.
- ^
All-Flash
covers at the Grand Comics Database. See issues #2?10.
- ^
a
b
Per
Time
magazine letter
.
Time
(
WebCitation archive
) from comics historian and author
R. C. Harvey
in response to claims in Arnold, Andrew D.,
"The Graphic Novel Silver Anniversary"
(
WebCitation archive
),
Time
, November 14, 2003
- ^
Gravett,
Graphic Novels
, p. 3
- ^
Cover,
The Sinister House of Secret Love
#2
at the Grand Comics Database.
- ^
Comic Books, Tragic Stories: Will Eisner's American Jewish History
, Volume 30, Issue 2, AJS Review, 2006, p. 287
- ^
Baetens, Jan; Frey, Hugo (2015).
The Graphic Novel: An Introduction
. New York:
Cambridge University Press
. p. 137.
- ^
Comic Books, Tragic Stories: Will Eisner's American Jewish History
, Volume 30, Issue 2, AJS Review, 2006, p. 284
- ^
Dooley, Michael (January 11, 2005).
"The Spirit of Will Eisner"
.
American Institute of Graphic Arts
.
Archived
from the original on April 16, 2019
. Retrieved
April 16,
2019
.
- ^
Arnold, Andrew D. (November 21, 2003).
"A Graphic Literature Library ? Time.comix responds"
.
Time
. Archived from
the original
on November 25, 2003
. Retrieved
June 21,
2006
.
.
WebCitation archive
- ^
Marvel Graphic Novel: A Sailor's Story
at the Grand Comics Database.
- ^
Carleton, Sean (2014).
"Drawn to Change: Comics and Critical Consciousness"
.
Labour/Le Travail
.
73
: 154?155.
- ^
Moore letter
Cerebus
, no. 217 (April 1997). Aardvark Vanaheim.
- ^
Lanham, Fritz.
"From Pulp to Pulitzer"
,
Houston Chronicle
, August 29, 2004.
WebCitation archive
.
- ^
Campbell, Eddie
(2001).
Alec:How to be an Artist
(1st ed.). Eddie Campbell Comics. p. 96.
ISBN
978-0-9577896-3-0
.
- ^
Stripgeschiedenis [Comic Strip History]: 2000-2010 Graphic novels
at the
Lambiek Comiclopedia
(in Dutch): "In de jaren zeventig verschenen enkele strips die zichzelf aanprezen als 'graphic novel', onder hen bevond zich 'A Contract With God' van Eisner, een verzameling korte strips in een volwassen, literaire stijl. Vanaf die tijd wordt de term gebruikt om het verschil aan te geven tussen 'gewone' strips, bedoeld ter algemeen vermaak, en strips met een meer literaire pretentie". / "In the 1970s, several comics that billed themselves as 'graphic novels' appeared, including Eisner's 'A Contract With God', a collection of short comics in a mature, literary style. From that time on, the term has been used to indicate the difference between 'regular' comics, intended for general entertainment, and comics with a more literary pretension".
Archived
from the original on August 1, 2020.
- ^
Notable exceptions have become the German and Spanish speaking populaces who have adopted the US derived
comic
and
comic
respectively. The traditional Spanish term had previously been
tebeo
("strip"), today somewhat dated. The likewise German expression
Serienbilder
("serialized images") has, unlike its Spanish counterpart, become obsolete. The term "comic" is used in some other European countries as well, but often exclusively to refer to the standard
American comic book
format.
- ^
Mealoid, Padraig O.
"Interview with Bryan Talbot"
, BryanTalbot.com (Started 6th May 2009. Finished 21st September 2009).
- ^
Decker, Dwight R.; Jordan, Gil;
Thompson, Kim
(March 1989). "Another World of Comics & From Europe with Love: An Interview with Catalan's Outspoken Bernd Metz" & "Approaching Euro-Comics: A Comprehensive Guide to the Brave New World of European Graphic Albums".
Amazing Heroes
. No. 160.
Westlake Village, California
:
Fantagraphics Books
. pp. 18?52.
- ^
Kavanagh, Barry (October 17, 2000).
"The Alan Moore Interview: Northampton / Graphic novel"
. Blather.net. Archived from the original on February 26, 2014
. Retrieved
March 20,
2007
.
{{
cite web
}}
: CS1 maint: bot: original URL status unknown (
link
)
.
- ^
Weldon, Glen
(November 17, 2016).
"The Term 'Graphic Novel' Has Had A Good Run. We Don't Need It Anymore"
.
NPR
. Washington, D.C.
Archived
from the original on April 16, 2019
. Retrieved
April 16,
2019
.
- ^
Raeburn, Daniel.
Chris Ware
(Monographics Series),
Yale University
Press, 2004, p. 110.
ISBN
978-0-300-10291-8
.
- ^
Bender, Hy (1999).
The Sandman Companion
.
Vertigo
.
ISBN
978-1-56389-644-6
.
- ^
Smith in
Rogers, Vaneta (February 26, 2008).
"Behind the Page: Jeff Smith, Part Two"
.
Newsarama.com
. Archived from
the original
on August 18, 2010
. Retrieved
February 20,
2009
.
.
- ^
Coren, Giles (December 1, 2012).
"Not graphic and not novel"
.
The Spectator
. UK.
Archived
from the original on April 16, 2019.
- ^
Bushell, Laura (July 21, 2005).
"Daniel Clowes Interview: The Ghost World Creator Does It Again"
. BBC ? Collective.
Archived
from the original on May 14, 2011
. Retrieved
June 21,
2006
.
.
- ^
"Zilveren Dolfijn - Craig Thompson (oneshots): Blankets"
.
www.zilverendolfijn.nl
. Retrieved
April 24,
2024
.
Bibliography
[
edit
]
- Arnold, Andrew D.
"The Graphic Novel Silver Anniversary"
,
Time
, November 14, 2003
- Tychinski, Stan.
Brodart.com: "A Brief History of the Graphic Novel"
(n.d., 2004)
- Couch, Chris.
"The Publication and Formats of Comics, Graphic Novels, and Tankobon"
,
Image & Narrative
#1 (Dec. 2000)
- Graphic Novels: Everything You Need to Know
by Paul Gravett, Harper Design, New York, 2005.
ISBN
978-0-06082-4-259
- Understanding Comics
: The Invisible Art
by Scott McCloud
- The Victorian Age: Comic Strips and Books 1646?1900 Origins of Early American Comic Strips Before The Yellow Kid
, in
Overstreet Comic Book Price Guide
#38 2008 pages 330?366 by Robert Lee Beerbohm, Doug Wheeler, Richard Samuel West and Richard D. Olson, PhD
- Weiner, Stephen & Couch, Chris.
Faster than a speeding bullet: the rise of the graphic novel
,
NBM
, 2004.
ISBN
978-1-56163-368-5
- The System of Comics
by Thierry Groensteen, University Press of Mississippi, Jackson, 2007.
ISBN
978-1-60473-259-7
- Aldama, Frederick Luis; Gonzalez, Christopher (2016).
Graphic borders: Latino comic books past, present, and future
. Austin.
ISBN
978-1-4773-0914-8
.
OCLC
920966195
.
{{
cite book
}}
: CS1 maint: location missing publisher (
link
)
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