- What Kind of Studies Is Comics Studies?
- Why There Is No “Language of Comics”
- In Box: Rethinking Text in the Digital Age
- What Else Is a Comic? Between Bayeux and <i>Beano</i>
- Reading Spaces: The Politics of Page Layout
- Comics as Art
- The Cartoon on the Comics Page: A Phenomenology
- All By Myself: Single-Panel Comics and the Question of Genre
- Drawing, Redrawing, and Undrawing
- Bakhtinian Laughter and Recent Political Editorial Cartoons
- Columbia and the Editorial Cartoon
- Efficacy of Social Commentary through Cartooning
- Radical Graphics: Australian Second-Phase Comics
- Self-Regulation and Self-Censorship: Comics Creators in Czechoslovakia and Communist Eastern Bloc
- This Is Who I Am: Hybridity and Materiality in Comics Memoir
- Auto/biographics and Graphic Histories Made for the Classroom: <i>Logicomix</i> and <i>Abina and the Important Men</i>
- Ambiguity in Parallel: Visualizing History in <i>Boxers</i> and <i>Saints</i>
- Irony, Ethics, and Lyric Narrative in Miriam Engelberg’s <i>Cancer Made Me a Shallower Person</i>
- Animals in Graphic Narrative
- Disco, Derby, and Drag: The Queer Politics of Marvel’s Dazzler
- The Replacements: Ethnicity, Gender, and Legacy Heroes in Marvel Comics
- Hammer in Hand: Feminist Community Building in Jason Aaron’s <i>Thor</i>
- When Feminism Went to Market: Issues in Feminist Anthology Comics of the 1980s and ’90s
- Children in Comics: Between Education and Entertainment, Conformity and Agency
- I’m Not a Kid; I’m a Shark!: Identity Fluidity in Noelle Stevenson’s Young-Adult Graphic Novels
- Forgetting at the Intersection of Comics and the Multimodal Novel: James Sie’s <i>Still Life Las Vegas</i>
- <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
- Candy and Drugs for Dinner: <i>Rat Queens</i>, Genre, and Our Aesthetic Categories
- 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
Abstract and Keywords
This chapter challenges the long-standing exclusion of single-panel comics from being seen as comics because they do not contain what is commonly regarded as a core feature of the genre: images arranged in a sequence. Accordingly, it offers not merely a defense of but what might even be called a manifesto for single-panel comics as comics. Titles belonging to this category have played an important role in the origins, evolution, and popularization of the genre in the United States. They have embodied some of the most successful and acclaimed works in the history of the medium. In many respects, sequential art as we know it would not be the same without comics that consist of only one panel. Accordingly, this chapter moves single-panel comics back into the genre where they belong. Single-panel comics are not simply comics; they are often examples of the medium at its most concentrated, controlled, and efficient.
Department of English, Ohio State University
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