Start Comic book dating

Comic book dating

“The reason is if you look at the generation now in power in the entertainment industry, they grew up with comics as serious stuff,” he said.

The terse, short fictions of Adrian Tomine, which represent Californian alienation and New York anomie in clean-cut, perfectly contrasted black and white, have the deft ear for dialogue and situation of a Raymond Carver story.

Meanwhile, Rutu Modan, an Israeli author, writes and illustrates barbed fictions that perfectly capture the sheer weirdness of contemporary Israel, from the bombs to the bourgeoisie.

In Britain, Posy Simmonds’s dry and perfectly observed Gemma Bovery and Tamara Drewe (the former based on Flaubert, the latter on Hardy’s Far from the Madding Crowd) skewer middle-class infidelity and literary preoccupations with a stiletto wit belied by her charming watercolour illustrations.

The rise of public interest in comics is being reflected by increasingly adventurous decisions from mainstream publishers.

Like many relatively young disciplines, the format is still developing its own critical vocabulary.

How do you talk about the strange splitting-up of time, the possibilities for representing simultaneity or implying progression, that a panelled grid of related images suggests to a viewer?

Dan Franklin, the publishing director of Jonathan Cape, balances a list that includes big sellers such as Satrapi and commissions for newer writers such as Hannah Berry, whose noir-tinged debut Britten and Brülightly was signed to Cape the year after she graduated from Brighton Art College.