Girls And Their Comics

This book discusses the overall history of the comic book, paying special attention to girls' comics, showing how such works relate to a female point of view. While examining the concept of visual literacy, Jacqueline Danziger-Russell asserts that comics are an excellent space in which the marginalized voices of girls may be expressed. This volume also includes a chapter on manga (Japanese comics), which explores the genesis of girls' comics in Japan and their popularity with girls in the United States. Including interviews with librarians, comic creators, and girls who read comics and manga, Girls and Their Comics is an excellent examination of the growing interest in comic books among young females.

Winner of the 2019 Broken Frontier Award for Best Book on Comics Today fans still remember and love the British girls’ comic Misty for its bold visuals and narrative complexities. Yet its unique history has drawn little critical attention. Bridging this scholarly gap, Julia Round presents a comprehensive cultural history and detailed discussion of the comic, preserving both the inception and development of this important publication as well as its stories. Misty ran for 101 issues as a stand-alone publication between 1978 and 1980 and then four more years as part of Tammy. It was a hugely successful anthology comic containing one-shot and serialized stories of supernatural horror and fantasy aimed at girls and young women and featuring work by writers and artists who dominated British comics such as Pat Mills, Malcolm Shaw, and John Armstrong, as well as celebrated European artists. To this day, Misty remains notable for its daring and sophisticated stories, strong female characters, innovative page layouts, and big visuals. In the first book on this topic, Round closely analyzes Misty’s content, including its creation and production, its cultural and historical context, key influences, and the comic itself. Largely based on Round’s own archival research, the study also draws on interviews with many of the key creators involved in this comic, including Pat Mills, Wilf Prigmore, and its art editorial team Jack Cunningham and Ted Andrews, who have never previously spoken about their work. Richly illustrated with previously unpublished photos, scripts, and letters, this book uses Misty as a lens to explore the use of Gothic themes and symbols in girls’ comics and other media. It surveys existing work on childhood and Gothic and offers a working definition of Gothic for Girls, a subgenre which challenges and instructs readers in a number of ways.

From Betty and Veronica to Slutburger and Art Babe, "Girls to Grrrlz" gives chronological commentary (with attitude) on the authors, artists, trends, and sassy, brassy characters featured in comic books for the last half century. 180 illustrations, 150 in color.

Class is in session! Welcome to DC Super Hero High! It was the night before finals and the student body is hard at work... and nothing is going right! Wonder Woman, Supergirl, Harley Quinn, Batgirl and their friends are learning to become heroes, but no one knew the trials that awaited them. In the first original graphic novel from the DC Super Hero Girls line, meet the students of Superhero High School as they find out that fun, friendship and hard work are all parts of growing up! The DC Super Hero Girls is an exciting new universe of Super Heroic storytelling that helps build character and confidence, and empowers girls to discover their true potential. Developed for girls aged 6-12, DC Super Hero Girls features DC Comics' most powerful and diverse line-up of female characters as relatable teens, playing out across multiple entertainment content platforms and product categories to create an immersive world. Icons including Wonder Woman, Supergirl, Batgirl, Harley Quinn, Bumble Bee, Poison Ivy, Katana and many more make their unprecedented teenaged introduction, as each character has her own storyline that explores what teen life is like as a Super Hero.

Diana Prince is the best. Usually. But these days, she's coming in second...in history class, in gymnastics, in the race to feed Sir Isaac, the classroom newt. She could double down on training, but when her foe is getting a boost from a mystical mask, will that be enough? No, she will have to rely on her friends to help her combat this newly dangerous menace! Along the way, they'll discover why so many classmates, family members, and super-villains have gone missing. And why there are so many Cheetahs in the mix! DC Super Hero Girls: Ghosting introduces Tatsu Yamashiro, a.k.a. Katana, to the beloved DC Super Hero Girls series. This story is perfect for ages 6-10 and a great entry point into the DC Universe and graphic novels.

Growing Up With Girl Power considers how real girls who grew up with girl power interpreted its messages about empowerment, girlhood, strength, femininity, race, and more, and suggests that for young girls, commercialized girl power had real strengths and limitations - sometimes in fascinating, unexpected ways.

For several generations, comics were regarded as a boys’ club—created by, for, and about men and boys. In the twenty-first century, however, comics have seen a rise of female creators, characters, and readers. While this sudden presence of women and girls in comics is being regarded as new and noteworthy, the observation is not true for the genre’s entire history. Throughout the first half of the twentieth century, the medium was enjoyed equally by both sexes, and girls were the protagonists of some of the earliest, most successful, and most influential comics. In Funny Girls: Guffaws, Guts, and Gender in Classic American Comics, Michelle Ann Abate examines the important but long-overlooked cadre of young female protagonists in US comics during the first half of the twentieth century. She treats characters ranging from Little Orphan Annie and Nancy to Little Lulu, Little Audrey of the Harvey Girls, and Li’l Tomboy—a group that collectively forms a tradition of Funny Girls in American comics. Abate demonstrates the massive popularity these Funny Girls enjoyed, revealing their unexplored narrative richness, aesthetic complexity, and critical possibility. Much of the humor in these comics arose from questioning gender roles, challenging social manners, and defying the status quo. Further, they embodied powerful points of collection about both the construction and intersection of race, class, gender, and age, as well as popular perceptions about children, representations of girlhood, and changing attitudes regarding youth. Finally, but just as importantly, these strips shed light on another major phenomenon within comics: branding, licensing, and merchandising. Collectively, these comics did far more than provide amusement—they were serious agents for cultural commentary and sociopolitical change.