Search Results (122)

This paper investigates digital comics—particularly webcomics and webtoons—as emerging forms of cultural heritage, analyzing their exponential global influence alongside the limitations of traditional heritage frameworks in systematically preserving them. The UNESCO heritage model, rooted in concepts of physical fixity and authenticity, is shown as inadequate for born-digital works like comics, which derive meaning from technological infrastructure, dynamic platforms, and ongoing community interaction rather than static material forms. Drawing on heritage futures and digital materiality theories, the authors argue that digital comics exemplify "temporal authenticity," evolving through continual transformation and algorithmic curation. The paper details how platform recommendation systems and analytics directly shape which comics achieve cultural visibility and preservation, while community-driven initiatives—such as The Flashpoint Archive—demonstrate effective models for holistic, grassroots digital preservation beyond institutional reach. Ultimately, the study calls for new theoretical and practical approaches to heritage, recognizing digital comics as both cultural artifacts and dynamic, platform-specific vernacular expressions. Full article

As generative AI tools become increasingly embedded in education, their role in supporting student learning remains both promising and contested. These cross-continental multiple case studies explore how integrating AI into classroom-based creative projects can move students from intimidation to meaningful engagement, comprehension, and retention of course content. Drawing on data from four international university classrooms—in the USA, UK, Canada, and Australia—this mixed-methods study examines students’ experiences as they collaboratively created comic books using generative AI. Each instructor embedded the assignment within their own pedagogical context, enabling cross-institutional comparison of AI’s educational potential. Findings highlight a shared trajectory: students initially approached AI with uncertainty or overconfidence, but developed nuanced understandings of its capabilities through experimentation, reflection, and collaboration. The process of creating narrative-driven visual outputs required students to synthesize theoretical material, communicate effectively in teams, and creatively solve problems—fostering both cognitive and interpersonal learning. Students reported deeper comprehension of academic content and greater confidence using AI tools critically and ethically. This study concludes that when framed as a collaborative partner rather than a replacement for human thinking, AI can support deeper learning experiences. It also suggests that creative, team-based projects can demystify AI and build essential future-facing skills. Full article

In response to the increasing politicization and polarization of discourses around gender, sexuality, and the body, feminist theorists like Judith Butler call for feminism to strive toward flexibility and responsivity. This essay lays out some of the theoretical considerations that inform studies of graphic embodiment—or studies of embodiment in graphic narratives—both generally and within feminist studies, then examines several graphic texts by Tillie Walden and Élodie Durand that exemplify feminist theories of embodiment, with particular attention to the creative co-construction of embodied narratives. Full article

In recent years, many academics have addressed the issue of the intersection of the fields of Biblical studies and Cultural studies. Many academic works have emphasized the importance of the Bible in the building of cultural narratives and the need to reflect on those narratives through interpretation, placing biblical texts within originating cultural contexts. This article attempts to situate itself in that stream of work, exploring the graphic interpretation of the story of Ruth and Naomi in the graphic novel The Book of Ruth by Meredith Finch and Colin Dyer. It begins with an introduction to the characteristics of the graphic novel genre, highlighting how this medium has addressed religion and the Bible, including characters, narratives, and traditions. Subsequently, a comparative methodology is applied to examine the treatment of the biblical text in the graphic novel, contrasting the textual and graphic study conducted by Finch and Dyer. The aim is to demonstrate how the graphic novel serves as a contemporary mode of biblical text reception, creating a dialogue between the Bible and the current culture in which its texts are read. Full article

Comics, recognized for their narrative engagement and visual appeal, have increasingly been used to support science education, yet their application in environmental awareness, particularly among primary school students, remains underexplored. This study investigates the effect of using comics as an educational tool on fourth-grade students’ awareness of wind energy, comparing it to traditional teaching methods. A quasi-experimental design was implemented, with 60 students divided into an experimental group (n = 30) and a control group (n = 30). The intervention lasted four weeks, with pre-test and post-test assessments using a six-statement Likert scale questionnaire. Descriptive statistics showed that the experimental group improved their awareness scores from a mean of 2.80 (SD = 0.50) to 4.30 (SD = 0.40), whereas the control group’s scores increased only marginally from 2.85 (SD = 0.55) to 3.00 (SD = 0.50). A mixed ANOVA revealed a significant interaction between teaching method and time (F(1, 116) = 26.88; p < 0.001; η² = 0.19), indicating a large effect. A repeated measures ANOVA confirmed that the improvement in awareness levels was significantly higher in the experimental group (F(1, 116) = 37.24; p < 0.001; η² = 0.24). Cohen’s d for the change in awareness scores in the experimental group was 1.52, indicating a very large effect. A repeated measures ANOVA confirmed that the improvement in awareness levels was significantly higher in the experimental group (F(1, 116) = 37.24; p < 0.001). These findings support the effectiveness of comics in enhancing environmental education, suggesting the integration of visual storytelling into curricula to improve student engagement and the comprehension of renewable energy concepts. Full article

Curiosity lies at the heart of the sixteenth-century miscellany books, which served as precursors to the essay genre. Among them, a truly exceptional piece stands out: La silva curiosa by Julián de Medrano, published in 1583. This work pushes the boundaries of curiosity to such an extent that it challenges its classification within the genre of miscellany owing to its unconventional and strange nature. Julián de Medrano, the author of this outlandish work, transforms himself into a character and protagonist, defining himself as an “extremely curious” individual. During his extensive travels, he curates a collection of “curious” epitaphs associated with often comical and peculiar deaths, spanning Latin, Spanish, Portuguese, French, Galician, and Italian. In addition to this, La silva curiosa includes an autobiographical narrative, a precursor to the Gothic genre, in which Medrano recounts unsettling encounters with black magic. This work offers a multifaceted exploration of curiosity, taking it to the extreme by narrating the author’s life experiences driven by a relentless pursuit of the curious, which is synonymous with the bizarre, extraordinary, marvelous, and unexpected. La silva curiosa emerges from a time marked by an almost nihilistic void, as the full force of the Baroque era has not yet arrived, and the ideals of humanism are fading away. It stands as a unique document that unveils an unexpected facet of the concept of curiosity within Spanish Renaissance culture. Full article

Low health literacy is a known contributing factor to poorer patient outcomes. Health information is often presented through materials written at high reading levels and thus may be an ineffective education tool for patients of diverse socioeconomic backgrounds, age ranges, and education levels. Graphic medicine (i.e., healthcare concepts presented through illustrations, such as comics or cartoons) may be a more equitable and efficacious format for many patients. The purpose of this review was to describe the efficacy and use of graphic medicine interventions regarding health outcomes, behavior changes, and engagement with health services. Nine databases were searched for studies that were randomized controlled trials in the English language, published before 4 December 2023. The searches identified 34 research articles that met the inclusion/exclusion criteria. This review revealed four key takeaways: (1) graphic medicine interventions are used globally; (2) graphic medicine interventions may be efficacious for a wide variety of health topics; (3) graphic medicine can be equitably delivered in many formats; and (4) graphic medicine can be applied broadly across the lifespan. The findings suggest that graphic medicine enhances patient engagement, empowers individuals with knowledge, and ultimately contributes to improved health outcomes across various populations; however, more effectiveness trials are needed. Additionally, an expanded definition of graphic medicine is presented. Full article

Seeking to examine cases of sacrificial love for another that is empathetic, unconditional, and morally redemptive, I focus on writer Jeff Lemire’s and artist Dustin Nguyen’s heralded comic series, Descender and Ascender (published by Image Comics starting in 2015 and 2018, respectively). In the first main subsection, I argue how illustrative fictional cases (some involving robots) can mirror inter-human ethical struggles in our own world and examine what I call the “The R2-D2 and Wall-E Syndrome”. Next, I look at some representative theoretical, literary, and biblical examples of sacrifice, especially regarding morally problematic theories about Jesus’ death on the cross, a classic Western example of sacrificial love. I then provide a brief context for why I chose Descender and Ascender and highlight some of the main themes and characters in the comics. In doing so, I draw from three main examples: the cyborg and mother Effie (Queen Between), the companion robot TIM-21, and the robot Driller (“a real killer”), where I gleam key traits of sacrificial love as empathetic, unconditional, and morally redemptive. I close with how to distinguish unholy and holy forms of sacrificial love and reflect on how the examples of sacrificial love in the comics ultimately complement my reading of Jesus’ sacrificial death on the cross while adding some stipulations to his oft-quoted saying: “No one has greater love than this, to lay down one’s life for one’s friends” (John 15:13). Full article

Disney’s Strange World (2022) explores the themes of “energy unconscious”, “intergenerational equity”, and “ecophobia”, focusing on the legacy parents leave to their children. The film centers on three generations of men, each representing different attitudes towards nature. Jaeger Clade, the grandfather, embodies colonialist values, viewing nature as a hostile force to be conquered. His son, Searcher, an intensive farmer, sees nature as a battleground between useful beings and pests, focusing on improving society through domestication. In contrast, Ethan, Searcher’s teenage son, adopts an ecocentric perspective. His worldview is expressed through the card game Primal Outpost, where he and his friends embrace symbiosis, interconnectedness, and the rejection of the man-nature divide. Ethan is the first to recognize that their ecosystem is a living organism reminiscent of the Gaia Hypothesis, advocating for a paradigm shift that the older generations fail to grasp. The article analyzes Strange World as a cli-fi allegory, urging humanity to choose between being parasitic destroyers or symbiotic contributors to ecological recovery. The film, while offering a simplified solution to climate change, presents a comic apocalyptic vision where youth-driven hope for change challenges older, ecophobic attitudes and offers a transformative, ecotopian message. Full article

Comics are widely loved by fans around the world as a form of visual art and cultural communication. With the development of digitalization, automated comic content detection and segmentation and comic coloring systems have become important research directions for digital archiving, automatic translation, and visual content analysis. This paper proposes a composite network composed of efficient content extraction and colorization, which includes a comic extraction module and a comic colorization module based on an improved Generative Adversarial Network. It solves the problem of single performance and poor effect that has been present in previous models. In various performance comparison experiments, our model shows an excellent and robust performance. Full article

Graphic memoir and feminist mothering theory are at the heart of my research-creation paper “Badass Mom Art: Motherhood Untold in My Kind of Crazy”, which brings feminist mothering theory into conversation with traumatic mothering stories. The research-creation comprises a series of sequential graphic stories from my 2023 memoir My Kind of Crazy and a drawing series, Mothering Myths: (Re)imaginings and (Re)visions. These narratives re-imagine trauma’s impact on my maternal generations and illustrate the feminist shift from the 20th century patriarchal institution of motherhood that creates mothers as powerless and oppressed to 21st century matricentric mothering that empowers mothers through agency, autonomy, authenticity, and authority. Through comic’s conventions of frames, gutters, and the ability to manipulate time, the stories—my grandmother’s, my mother’s, and mine—detail specific traumatic experiences that impact our abilities to mother; they also reveal my perspective on events according to my perceptions and beliefs as an adult creating our stories. These are real stories of mothers unfolding in images and words. The article foregrounds Western patriarchal mothering myths of the ideal mother and the generations of feminist activists and scholars, including Adrienne Rich and Andrea O’Reilly, who have worked to change how society perceives mothers. Feminist poet Adrienne Rich’s seminal text Of Woman Born (1986) differentiates between the idea of motherhood and the concept of mothering; she encourages mothers to be mother outlaws by mothering outside patriarchy’s institution of motherhood’s rules and prescriptions. O’Reilly first questioned why maternity was not understood as a subject position nor theorized as other subject positions regarding the meeting of gendered oppression and resistance in her 2016 text Feminism: Theory, Activism, and Practice. Rich’s and O’Reilly’s proposed mother-centered practice permeates and is key to my art and critical work. Full article

Since the 2022 death of Mahsa Jina Amini in custody of the Guidance Patrol or morality police in Tehran, Iran, Persepolis by Marjane Satrapi can also function in the classroom as a comics touching point for human rights discourses around the world and in particular—though not exclusively—those that impact women. Kimberlé Crenshaw, who brought intersectionality to the forefront of cultural and political discourses in 1989, has used the phrase “say her name” to draw attention to the deaths of women and children, especially Black women and children, at the hands of law enforcement officers. Chants of “Say her name, Mahsa Amini”, rang among protesters outside Khalifa International Stadium in Qatar ahead of Iran’s first match of the World Cup 2022 against England. Now in 2025, cultural conversations around feminism and creativity as resistance can turn to the woman, life, freedom movement in Iran. Shervin Hajipour’s song “Baraye”, meaning “for” in Persian, which was inspired by tweets echoing protesters’ calls for change, became an anthem of the uprising and exists in comic art as well as song. The comics classroom can address the concerns and issues surrounding Amini’s death and the ongoing relevance of Persepolis as a coming-of-age text about living as a woman in Iran. In dialogue with the works of Sidonie Smith, Julia Watson, Hillary Chute, Sally Munt, and bell hooks, this piece addresses the pedagogy of human rights through comic art as crisis witnessing. With attention to comics material from two members of the Iranian diaspora, Shabnam Adiban and Farid Vahid, from the 2024 collection Woman, Life, Freedom, put together by Satrapi, this piece navigates potential Orientalism and Islamophobia in the Western classroom through engagement with intersectional feminism. Full article

Prevailing political and popular narratives often treat the issue of trans death as an inevitability and reduce complex stories of trans life to their endings. This paper investigates the transformative potential of creative forms of resistance—specifically a selection of Canadian poetry, personal essays, and comics—and how their artistic affordances engage with transfeminism as an approach to narratives of trans existence. Rooted in Canadian author Kai Cheng Thom’s reckoning with the shortcomings of trans-exclusionary feminist thought, and informed by Chinua Achebe’s conceptualization of re-storying, this article explores how I Hope We Choose Love and Falling Back in Love with Being Human by Kai Cheng Thom, Death Threat by Canadian creatives Vivek Shraya and Ness Lee, and comics from Assigned Male by trans activist and Canadian comic artist Sophie Labelle re-story “necessary” trans death to orient queer death spaces around a trans-for-trans (t4t) praxis of narrativization. Addressing the (inter)disciplinary possibilities of trans-inclusive feminism and comics studies, this article celebrates how these texts disavow and re-story the “Good” Trans Character, who dies to satisfy transmisogynistic ideologies, and theorizes the T4t Dead Trans Character, who dies to reclaim instances of trans death and recodify trans personhood as a site of hope, agency, and self-determination. In their re-storying, these texts recognize the transformative potential of trans existence and echo Thom in their urging of trans-inclusive feminism to renounce narratives of disposability and invest in the dignity of all human life. Full article

In Maggie Tokuda-Hall and Lisa Sterle’s graphic novel Squad, protagonist Becca and her new friends at Piedmont High are not human adolescents but a pack of werewolves who must kill to stay alive and select teenage boys—“the WORST ones” (70)—as their meal of choice. The power of the pack’s “monstrous” bodies is a dangerous privilege and responsibility that Squad suggests is often misused to victimize innocents. The book critiques individualistic Western/liberal feminism—an ideology also critiqued by contemporary feminist writers—that encourages women and girls to gain power for themselves and then use it to perpetuate hierarchies of domination. Through an analysis of the figure of the werewolf and fantasies of revenge, this article suggests that both Squad’s narrative and its comic images guide readers toward an understanding of how liberal feminist ideology impedes collective empowerment. This article ultimately argues that Squad can be wielded as a potential feminist consciousness-raising tool for teaching about the ethics of different feminist ideologies. Full article

The approach taken by Marvel and Hanna-Barbera to adapting Godzilla for a young American audience is a form of cultural appropriation. Cultural appropriation involves removing the subject from its cultural context. In this case, Marvel and Hanna-Barbera removed the character from its origin, where it emerged as a consequence of the atomic bomb. Gojira is first a scourge of Japan and later its savior against invasion from cosmic forces and nefarious kaiju. Godzilla is changed into what is ultimately a sanitized version of imperial inventory. The properties of the 1970s Godzilla, however, were not wholly negative. Indeed, they laid the foundation for an American rediscovery of the original Gojira film and its sequels, which have since been released in their original versions. This article will examine how Marvel Comics and Hanna-Barbera cartoons culturally appropriated Godzilla for American children, but how this also led to an appreciation of the Japanese films. Full article