Comics, Comix & Graphic Novels: A History Of Comic Art [Paperback]

For many years, those interested in the history of the art of comics--from scholars to fans--had very few options. The available books were either filled with glaring errors or far too limited in their scope. Along comes Roger Sabin and his near-definitive history. The best thing about this book is that it begins with a strong foundation--that comics is a separate and unique artistic medium--and goes on to leave practically no stone unturned, from mainstream superheroes to underground work to Japanese manga to the new alternatives to the strong European tradition. There's even an entire chapter on comics by and aimed toward women, hopefully dispelling the myth that comics are just for boys. --This text refers to the Hardcover edition.

Arts journalist Sabine provides a British eye view of the origins of the comic strip and the comics industry with this heavily illustrated, comprehensive, brisk and lucidly written historical overview. Eschewing the usual antecedents (for example, the Bayeux Tapestry in Normandy), he starts with 17th-century English execution broadsheets (mass-produced woodcuts of public beheadings and the like) and the satirical engravings of Hogarth before locating the beginnings of the modern comic strip in such illustrated 19th-century British humor magazines as Punch. He is particularly enlightening when discussing the little-known, superbly illustrated Ally Sloper's Half Holiday from 1884, both a magazine and cartoon character that predate Richard Outcault's 1896 strip The Yellow Kid, usually credited with launching the modern American strip. Although there's much about British strips and publishers that will be new to American readers, Sabine does not slight U.S. comics, and his binational discussions of the industry's notoriously exploitative working conditions and women's comics is invaluable. This excellent treatment ends with a look at new alternative artists, the impact of Japanese comics (or manga) and animation (anime) and the current transformation of the comics market and comics distribution.
Copyright 1996 Reed Business Information, Inc. --This text refers to the Hardcover edition.

Comics, comix (adult-oriented comics focused on psychosocial or political issues), and graphic novels, hitherto discarded into the subcanonical gutter of "mere entertainment," have recently begun to acquire grudging respectability as "real" art and literature. Thus, any serious and thorough considerations of the subject are both recent and rare phenomena, and this work could therefore claim a place in most collections simply by virtue of its uniqueness. However, the astounding historical and tranglobal scope of this undertaking?from 12th-century Bayeux tapestry to current Japanese works?its generosity of visual example, and its consistently perceptive placement within both social and artistic contexts will make this the Jensen of its genre for years to come. Sabin (lecturer, Central St. Martin's College of Art) has created a work that will offer both giddy amusement to lay readers and serious value as textbook and reference source to scholars and librarians. For all collections.?Bill Piekarski, Southwestern Coll. Lib., Chula Vista, Cal.
Copyright 1997 Reed Business Information, Inc. --This text refers to the Hardcover edition.

According to Sabin, a recent revolution in comic books has broadened the scope of what had been a throwaway, juvenile medium to encompass complex work aimed at older audiences and concerned with many more subjects. That transformation prompted his exhaustive study. He does an admirable job with earlier eras, covering newspaper strips and funny animal, superhero, and other genres, but his heart is obviously in more recent developments. He reserves his greatest enthusiasm for '60s underground comix and their modern-day counterparts, "alternative" comics. Unlike most books on comics, his has a truly international scope, extending from such classics as Belgium's Tintin to the latest Japanese manga. Despite such recent lurches toward respectability as Maus, with its Pulitzer Prize, comics continue, Sabin concludes, to be marginalized. He argues that this is not necessarily bad, for it helps the medium maintain an edge that would be dulled by respectability. Well researched, intelligently organized, loaded with colorful art (much of it, unfortunately, reproduced illegibly small), this is an extremely useful overview for both fans and others. Gordon Flagg --This text refers to the Hardcover edition.

"'Here at last is an authoritative and beautifully produced history of this vigorous and versatile form, which covers as much of the whole field as a single book could.' Philip Pullman, The Guardian 'Isn't the only such book you'll find out there-just the best. Sabin is thorough and likes all the right people.' Newsweek 'A history of comics which frankly you won't be able to put down...full of entertaining insights...a complete delight.' Philip Hensher, Mail on Sunday 'As energetic as a jolt of double espresso - and as simultaneously appealing to both sophisticated and street sensibilities.' Reena Jana, Wired 'Beautifully produced, with colour pics throughout, and an intelligent text by one of the UK's real experts in (and lover's of) the field. Good idea then for that big xmas gift...Highly recommended.' Comics Forum"

For many years, those interested in the history of the art of comics--from scholars to fans--had very few options. The available books were either filled with glaring errors or far too limited in their scope. Along comes Roger Sabin and his near-definitive history. The best thing about this book is that it begins with a strong foundation--that comics is a separate and unique artistic medium--and goes on to leave practically no stone unturned, from mainstream superheroes to underground work to Japanese manga to the new alternatives to the strong European tradition. There's even an entire chapter on comics by and aimed toward women, hopefully dispelling the myth that comics are just for boys.

Roger Sabin is an arts journalist and lecturer at Central St Martin's College of Art, London. He has written about comics for numerous publications including the Guardian, Independent, The Sunday Times and New Statesman and Society and is also a frequent contributor to BBC radio. He is also the author of the highly acclaimed Adult Comics: An Introduction, 1993, and The Lasting of the Mohicans with Martin Barker, 1996. Author's Residence: London SW2