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.

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



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  1. Radio Ghosts by L. Nichols. The Comics Journal also has a great interview with Nichols.

    Radio Ghosts by L. Nichols. The Comics Journal also has a great interview with Nichols.

  2. "Rosalind “Roz” Chast was the first truly subversive New Yorker cartoonist. Her 1978 arrival during William Shawn’s editorship gave the magazine a stealthy punk sensibility. Younger, femaler, and a less orthodox draftsperson than her colleagues, Chast drew with a “ratty” cartoon style akin to Lynda Barry, Matt Groening, Gary Panter and other mainstays of the alternative press. Her first cartoon for the magazine, “Little Things,” was a miniature piece of surrealism championing the “chent,” “spak,” “kellat,” and other homely objects of everyday life."
  3. "It’s entirely possible that I’m exactly the wrong person to review comics porn."
  4. “Being Alone Is a Nice Thing for Me”: A Leslie Stein Interview
  5. "In the end, everyone talking about webcomics in 2003 was wrong. Experimenting with the vast visual and structural possibilities of the digital realm, as McCloud dreamed, has turned out to be less popular than doodling gags that readers can send around to their friends, or, barring that, stuff with furries."
  6. "Influenced by the rebellious political climate of postwar Japan which was brought on by “manga generation” student protest groups, these artists introduced a new style of illustration and visual art through the posters they created for angura theater troupes like Terayama Shuji’s Tenjo Sajiki and Kara Juro’s Situation Theater. These posters expressed the chaotic mood of the times with wild colors and bold, sometimes shocking, imagery. Many of the graphics created for angura drew from diverse artistic movements, mixing Edo-period iconography and Art Nouveau lettering with collaged photos and calligraphy. The result was a style that still feels as original and breathtaking today as it was back then."
  7. "the editorial decision to have Today’s Al Roker (Today’s Al Roker!) write this volume’s celebrity introduction in itself reinforces the link between Peanuts and middle-of-the-road culture, as do Roker’s own words. By finishing his intro with that standardized assessment, “you’re a good man, Charlie Brown,” Roker implicitly emphasizes a Peanuts production extrinsic to the strip itself – a surefire sign of a non-purist, laggard sensibility. And yet! These are all mere quibbles."
  8. "I feel that at some point all individual experience is human experience. You can take any experience and within that one experience say a lot about what it is to be human. Sometimes I’ll write what at first seems to be the same story I told years ago, but, because I’ve changed in the interim, the story takes on a different meaning. Memory is a very interesting thing. When you talk about facts, when you’re recounting things that happened to you, in a sense it’s just bullshit — as the years go by, memories are reduced to what’s significant to you emotionally. What’s important is how the experience changed you, not that it actually happened. Which makes me question my own recollections, because I know they are so mutable over time. That’s partly why I recoil at my work being called autobiographical, because that suggests that what I’m saying is true in a way that it could never be."