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From Hogarth to Hellboy: the transformation of the visual reader ...
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This survey discusses some examples: closely integrated text-image integration; reinforcing, even redundant explanatory notes; repeated characters across a meta-frame; multiple strips and styles in the same work; distinctive drawing styles, balloon shapes and fonts; other solutions to balloon design and integration; the use of extended text; photography in comics and as comics; and experiments on and off the page.
V for Value: From comic book to graphic novel This paper will examine how issues of cultural value are bound up with the material formats of comics and their reception.
Comic strips, comic books, and graphic novels suggest differing models for narrative form, but they also imply different categories of cultural valuation.
Rather than propose yet another reading of Moore and Lloyd’s text, I want to track the significance of V for Vendetta in terms of the shifting status of value associated with its multifarious physical forms: from serialised story in the eighties British anthology comic Warrior, to serial comic book published by DC, to the collected graphic novel edition and beyond.
The paper then concludes by extending its consideration to the reappearance of Cain and Abel in DC comics in the 1990s and the continued use made of embedded stories and disrupted diegetic boundaries by DC Vertigo titles such as Sandman (Gaiman/various, 1989-96) and The Unwritten (Carey/Gross, 2009-15).