In his new book, literary historian Alex Beringer demonstrates how the birth of the genre of printed comic long preceded the Sunday Funny Pages.

The groundbreaking team at Milestone Comics infused Static, Hardware and their other creations with Afrocentric dynamism, paving the way for T’Challa’s mainstream success.

Gaiman’s stories echo with narratives from the Western canon, taken from folktales and communal memory, displaced into something that feels fresh.

So you want to teach The Sandman? Or William Blake? Or Art Spiegelman’s Maus? A guide to using comics and graphic novels in the classroom.

Donning costumes in imitation and celebration of fictional characters has a long history that crosses genres, genders, and international boundaries.

A government-funded group called the Writers' War Board got writers and illustrators to portray the United States positively—and its enemies as evil.

Who needs black clothing to fight fascism when red, white, and blue will do quite nicely?

Double identity, present in both Marvel's Black Panther and in the critical race theory of double-consciousness, enables black American viewers to see their two identities played out on screen.

The setup of Archie Comics was straightforward, as was its protagonist. But the success of Riverdale speaks to the Archieverse's surprising fluidity.

In recent history comic art has crossed boundaries to enter other mediums. So why aren't art historians paying more attention?