- What Kind of Studies Is Comics Studies?
- Why There Is No “Language of Comics”
- What Else Is a Comic? Between Bayeux and <i>Beano</i>
- Reading Spaces: The Politics of Page Layout
- The Cartoon on the Comics Page: A Phenomenology
- Bakhtinian Laughter and Recent Political Editorial Cartoons
- Radical Graphics: Australian Second-Phase Comics
- Columbia and the Editorial Cartoon
- Efficacy of Social Commentary through Cartooning
- Forgetting at the Intersection of Comics and the Multimodal Novel: James Sie’s <i>Still Life Las Vegas</i>
- Irony, Ethics, and Lyric Narrative in Miriam Engelberg’s <i>Cancer Made Me a Shallower Person</i>
- The Replacements: Ethnicity, Gender, and Legacy Heroes in Marvel Comics
- Hammer in Hand: Feminist Community Building in Jason Aaron’s <i>Thor</i>
- Children in Comics: Between Education and Entertainment, Conformity and Agency
- Auto/biographics and Graphic Histories Made for the Classroom: <i>Logicomix</i> and <i>Abina and the Important Men</i>
- Candy and Drugs for Dinner: <i>Rat Queens</i>, Genre, and Our Aesthetic Categories
- <i>My Favorite Thing Is Monsters</i>: The Socially Engaged Graphic Novel as a Platform for Intersectional Feminism
- Paper or Plastic? Mapping the Transmedial Intersections of Comics and Action Figures
- Transformative Architectures in Postcolonial Hong Kong Comics
- Adaptation and Racial Representation in Dell/Gold Key TV Tie-ins
- Non-Compliants, Brimpers, and She-Romps: <i>Bitch Planet, Sex Criminals</i>, and Their Publics
- Literary Adaptations in Comics and Graphic Novels
- Comics Studies in America: The Making of a Field of Scholarship?
- Next Issue: Anticipation and Promise in Comics Studies
- Comics Studies as Interdiscipline
- Drawing, Redrawing, and Undrawing
Abstract and Keywords
This chapter links the seemingly disparate but deeply interconnected discourses and practices of contemporary media production, genre, aesthetics, and comics. It offers these arguments through a case study of the popular fantasy comic book Rat Queens and in the process demonstrates the critical utility to comics studies of reading genre, aesthetics, and industry together. The chapter reads Rat Queens through Sianne Ngai’s conception of the zany, cute, and interesting, showing how each of these categories is part of the aesthetic logic of the series, while also showing how each performs or critiques the series’ (superficial) investment in gender politics and the fantasy genre.
Department of English, Michigan State University
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