Graphic Ladies!?

Graphic Ladies features the work of ladies who create and critique comics. We also tweet!

Reblog and share these posts to help raise the visibility of women in the comics industry.

Graphic Ladies is maintained by Erin Polgreen. Submit links and ideas here, or email graphicladies@gmail.com.

Special thanks to our sister site, Lady Journos, for helping make this happen.

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  1. "Hey, Wait… presents a varied collection of strategies which help express emptiness and lack of meaning; the metaphorical use of silences and visual minimalism are two of these, and will become frequent in the author’s repertory in the following books. Meaninglessness, though, can also be expressed by adopting an aesthetics of visual excess (since both lack and overload can be equally menacing to the production of meaning). In this specific page, this is done at a typographical level."
     
     
  2. "Suspension’s dual pull is important for Seth’s work encompasses this dialectic. It encourages contemplation by using his characters’ gaze to focus reflections on the past. His work also encourages interruption as his most poignant sequences are silent, breaking the narrative pattern and forcing the reader to fill in his or her own reading of a given scene."
    — Seth’s Suspension of Perception. Kathleen Dunley for The Comics Grid.
     
     
  3. "In the embrace with his father, Seagle is also embracing his own future, a future full of hope in which, at last, he has left behind his fear for the disease. It is an embrace with his own identity, accepting that part of himself. It is an embrace with the child he was, with that childhood with no place for happy endings. And it is also a reconciliation with the superhero and what it symbolizes. Because comics like Superman “remind us that we have hurdles, but as long as we keep jumping them,we’re in the race”"
     
     
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  5. "The Wrong Place, by Belgian Brecht Evens, recently got an award in Angoulême for audacity, and it is easy to see why. The first thing that calls attention, just by glancing at the book, are Even’s loose watercolors, distancing himself from the expected emphasis on the trace and contour that prevail in comics."