Sequart Content Tagged:
Magazine content related to Scott McCloud
[A quick word of caution. What follows is an analysis of some of the literary antecedents for The Sculptor. As such, spoilers abound. Don’t say I didn’t warn ya!] If you read last week’s column,… [more]
In the midst of this very Postmodern setting, The Sculptor winds up echoing some very old legends with roots tracing back through 19th century Germany, 16th century England, and 1st century Rome. [more]
Line Work (Pencils / Brushwork) One of the first things I look at when opening up a comic is the style that’s being used. Is it more lifelike (realistic) or cartoonish (iconic)? Scott McCloud discusses… [more]
What’s the difference between a comic book and a novel? The answer seems pretty obvious, doesn’t it? Yet, it still confounds me to no end that someone will take the time to write a review… [more]
I took the last “left” to Clarksville because, contrary to popular belief, there is no train. Driving up the Interstate from Nashville, I wondered idly how many other people had been disappointed to learn that… [more]
In 1985, decades after his first comic book, Will Eisner wrote Comics and Sequential Art, his treatise about how comic books work. The first of three books (Graphic Storytelling and Visual Narrative and Expressive Anatomy… [more]
In comics studies, there is a great interest in defining what exactly constitutes a comic. Scott McCloud famously begins his Understanding Comics by trying to define exactly what we can and what we cannot consider… [more]
Scott McCloud’s The New Adventures of Abraham Lincoln reads as if it had been pieced together by a team of expert comic-book historians from a great mass of often incomplete and even contradictory notes, sketches,… [more]
Guests Kevin Thurman and David Balan discuss the future of the comics form, and the implications of digital comics.
It’s an exciting time to work in the field of comics today, even for those us—the comics critics and scholars—who possess far less artistic ability to create captivating images or weave spellbinding tales.
Scott McCloud’s The Right Number is a compact, experimental web-comic. It is also one of the most successful web-comics ever produced. This is primarily due to it questioning something that most creators take for granted… [more]
This is a piece that explores the idea of textualization in super-hero comics and how these stories are constructed. More than that, it is an introduction to exploring purpose — why are super-heroes so engaging… [more]
So, comics as an art form! A truly legitimate art form, unique and self-actualized, with debacles and triumphs all its own. Not the bastard child of film and literature, and not just for kids, male adolescents, or… [more]
Know thy enemy. It is a long-standing idiom and one that is well-practiced by mainstream comics, most specifically the super-hero genre.
Comics have a bit of an identity crisis: our culture cannot decide what they really are, leaving them to pay the price both financially and legally.
Let’s face it: business has not been good in the comic industry during the last decade or so. However, despite this, there has been a swelling of diversification amongst genres, creators, and publishers, and maybe… [more]
It is easier to see how comics are related to their readers when the many different terms are understood. Defining comics is the first step. Several industry professionals offer their opinions of what the word… [more]
The following video consists of a lecture I delivered on 5 January 2006 at Glen Carbon Centennial Library in Glen Carbon, Illinois. The total runtime is 46 minutes.
The medium variously known as comic books, graphic novels, bandes-dessinés, manga, manga, sequential art, and sequart has been defined as the juxtaposition of text and image on the static page. Once can here recall Words… [more]