The definitive Comics Journal interviews with the cartoonists behind Zap Comix, featuring: Supreme 1960s counterculture/underground artist Robert Crumb on how acid unleashed a flood of Zap characters from his unconscious; Marxist brawler Spain Rodriguez on how he made the transition from the Road Vultures biker gang to the exclusive Zap cartoonists’ club; Yale alumnus Victor Moscoso and Christian surfer Rick Griffin on how their poster-art psychedelia formed the backdrop of the 1960s San Francisco music scene; Savage Id-choreographer S. Clay Wilson on how his dreams insist on being drawn; Painter and Juxtapoz-founder Robert Williams on how Zap #4 led to 150 news-dealer arrests; Fabulous, Furry, Freaky Gilbert Shelton on the importance of research; Church of the Subgenius founder Paul Mavrides on getting a contact high during the notorious Zap jam sessions; and much more. In these career-spanning interviews, the Zap contributors open up about how they came to create a seminal, living work of art.

Contributions by José Alaniz, Ian Blechschmidt, Paul Fisher Davies, Zanne Domoney-Lyttle, David Huxley, Lynn Marie Kutch, Julian Lawrence, Liliana Milkova, Stiliana Milkova, Kim A. Munson, Jason S. Polley, Paul Sheehan, Clarence Burton Sheffield Jr., and Daniel Worden From his work on underground comix like Zap and Weirdo, to his cultural prominence, R. Crumb is one of the most renowned comics artists in the medium’s history. His work, beginning in the 1960s, ranges provocatively and controversially over major moments, tensions, and ideas in the late twentieth and early twenty-first centuries, from the counterculture and the emergence of the modern environmentalist movement, to racial politics and sexual liberation. While Crumb’s early work refined the parodic, over-the-top, and sexually explicit styles we associate with underground comix, he also pioneered the comics memoir, through his own autobiographical and confessional comics, as well as in his collaborations. More recently, Crumb has turned to long-form, book-length works, such as his acclaimed Book of Genesis and Kafka. Over the long arc of his career, Crumb has shaped the conventions of underground and alternative comics, autobiographical comics, and the “graphic novel.” And, through his involvement in music, animation, and documentary film projects, Crumb is a widely recognized persona, an artist who has defined the vocation of the cartoonist in a widely influential way. The Comics of R. Crumb: Underground in the Art Museum is a groundbreaking collection on the work of a pioneer of underground comix and a fixture of comics culture. Ranging from art history and literary studies, to environmental studies and religious history, the essays included in this volume cast Crumb's work as formally sophisticated and complex in its representations of gender, sexuality, race, politics, and history, while also charting Crumb’s role in underground comix and the ways in which his work has circulated in the art museum.

The Comics Journal, which is renowned for its in-depth interviews, comics criticism, and thought-provoking editorials, features Gary Groth in frank and often hilarious discussion with the satirist and children’s book author Tomi Ungerer. Ungerer talks about the entire trajectory of his life and career: growing up in France during the Nazi occupation, creating controversial work, and being blacklisted by the American Library Association. This issue, the first in its new twice-a-year format, covers the “new mainstream” in American comics ― how the marketplace and overall perception of the medium has drastically shifted since the “graphic novel boom” of the early 2000s and massive hits like Persepolis, Fun Home, and Smile. It also includes sketchbook pages from French-born cartoonist Antoine Cossé’ an introduction to homoerotic gag cartoons out of the U.S. Navy; and Your Black Friend cartoonist Ben Passmore’s examination of comics and gentrification.

2020 Eisner Award for Best Academic/Scholarly Work Entertaining Comics Group (EC Comics) is perhaps best-known today for lurid horror comics like Tales from the Crypt and for a publication that long outlived the company’s other titles, Mad magazine. But during its heyday in the early 1950s, EC was also an early innovator in another genre of comics: the so-called “preachies,” socially conscious stories that boldly challenged the conservatism and conformity of Eisenhower-era America. EC Comics examines a selection of these works—sensationally-titled comics such as “Hate!,” “The Guilty!,” and “Judgment Day!”—and explores how they grappled with the civil rights struggle, antisemitism, and other forms of prejudice in America. Putting these socially aware stories into conversation with EC’s better-known horror stories, Qiana Whitted discovers surprising similarities between their narrative, aesthetic, and marketing strategies. She also recounts the controversy that these stories inspired and the central role they played in congressional hearings about offensive content in comics. The first serious critical study of EC’s social issues comics, this book will give readers a greater appreciation of their legacy. They not only served to inspire future comics creators, but also introduced a generation of young readers to provocative ideas and progressive ideals that pointed the way to a better America.

This book explores how the heroes and villains of popular comic books—and the creators of these icons of our culture—reflect the American experience out of which they sprang, and how they have achieved relevance by adapting to, and perhaps influencing, the evolving American character. Multiple generations have thrilled to the exploits of the heroes and villains of American comic books. These imaginary characters permeate our culture—even Americans who have never read a comic book grasp what the most well-known examples represent. But these comic book characters, and their creators, do more than simply thrill: they make us consider who we are and who we aspire to be. Icons of the American Comic Book: From Captain America to Wonder Woman contains 100 entries that provide historical background, explore the impact of the comic-book character on American culture, and summarize what is iconic about the subject of the entry. Each entry also lists essential works, suggests further readings, and contains at least one sidebar that provides entertaining and often quirky insight not covered in the main entry. This two-volume work examines fascinating subjects, such as how the superhero concept embodied the essence of American culture in the 1930s; and the ways in which comic book icons have evolved to reflect changing circumstances, values, and attitudes regarding cultural diversity. The book's coverage extends beyond just characters, as it also includes entries devoted to creators, publishers, titles, and even comic book related phenomena that have had enduring significance.

This biography reveals the true story of Mad creator Harvey Kurtzman―the man who revolutionized humor in America; it features new interviews with his colleagues Hugh Hefner, Robert Crumb, and others. Harvey Kurtzman created Mad, and Mad revolutionized humor in America. Kurtzman was the original editor, artist, and sole writer of Mad, one of the greatest publishing successes of the 20th century. But how did Kurtzman invent Mad, and why did he leave it shortly after it burst, nova-like, onto the American scene? For this heavily researched biography, Bill Schelly conducted new interviews with Kurtzman’s colleagues, friends and family, including Hugh Hefner, R. Crumb, Jack Davis, and many others, and examined Kurtzman’s personal archives. The result is the true story of one the 20th century’s greatest humorists: Kurtzman's family life, the details of the FBI's investigation during the McCarthy Era, his legal battles with William M. Gaines (publisher of Mad), are all revealed for the first time. Rich with anecdotes, this book traces Kurtzman’s life from his Brooklyn beginnings to his post-Mad years, when his ceaseless creativity produced more innovations: new magazines, a graphic novel, and Little Annie Fanny inPlayboy.

This is a seminal study of the evolution and development of the American comic from the 1930s to the present day. The book is divided into three sections covering the history, an overview of the distribution and consumption of American comic books, and an account of the popularisation and legitimisation of the comic book form.

As properties of DC comics continue to sprout over the years, narratives that were once kept sacrosanct now spill over into one another, synergizing into one bona fide creative Universe. Intended for both professional pop culture researchers and general interest readers, this collection of essays covers DC Universe multimedia, including graphic novels, video games, movies and TV shows. Each essay is written by a recognized pop culture expert offering a distinct perspective on a wide variety of topics. Even though many of the entries address important social themes like gender and racism, the book is not limited to these topics. Also included are more lighthearted essays for full verisimilitude, including analyses of long forgotten or seemingly marginal aspects of the DC Extended Universe, as well as in-depth and original interpretations of the most beloved characters and their relationships to one another. Highly accessible and approachable, this work provides previously unavailable in-roads that create a richer comprehension of the ever-expanding DC Universe.

In this issue, Gary Groth interviews Roz Chast, the New Yorker humor cartoonist turned graphic memoirist (Can’t We Talk About Something More Pleasant?). TCJ #306 focuses on the intersections between comics and politics. It includes op-eds on the importance (and lack thereof) of modern political cartooning. Also featured is a meditation on the creator of the Dilbert newspaper comic strip, Scott Adams; a piece about Daisy Scott, the first African American woman political cartoonist; a gallery of underground cartoonist John Pound’s code-generated comics; portraits of mass shooting victims; a selection of Spider-Gwen artist Chris Vision’s sketchbook pages; and other essays and galleries.