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Marvel Comics in the 1970s explores a forgotten chapter in the story of the rise of comics as an art form. Bridging Marvel's dizzying innovations and the birth of the underground comics scene in the 1960s and the rise of the prestige graphic novel and postmodern superheroics in the 1980s, Eliot Borenstein reveals a generation of comic book writers whose work at Marvel in the 1970s established their own authorial voice within the strictures of corporate comics. Through a diverse cast of heroes (and the occasional antihero)-Black Panther, Shang-Chi, Deathlok, Dracula, Killraven, Man-Thing, and Howard the Duck-writers such as Steve Gerber, Doug Moench, and Don McGregor made unprecedented strides in exploring their characters' inner lives. Visually, dynamic action was still essential, but the real excitement was taking place inside their heroes' heads. Marvel Comics in the 1970s highlights the brilliant and sometimes gloriously imperfect creations that laid the groundwork for the medium's later artistic achievements and the broader acceptance of comic books in the cultural landscape today.

Institutions around the world are fighting to improve science communication all the time. From calls for journal papers to be simplified to encouraging scientists to take more of an active role through community engagement, there is an impetus to demystify and improve public understanding and engagement with science. Technology has greatly helped expand the range of learning styles that a lecturer can call on to reach people in new ways. Social media outlets like Twitter, Facebook, Instagram, and Tumblr have expanded the reach of science communication within and across scientific disciplines and to the lay public. Here, with all the videos, interactive quizzes, and instant feedback it can be easy to overlook one of the simplest methods for communicating complex ideas: comics.

In this paper, I will argue for key role played by the global culture of comics, of which the French publication Charlie Hebdo is but one small part, in the development and aftermath of the Paris terrorist attacks of 2015. I begin by exploring and elucidating this culture of comics that exists across France and other comic book producing nations and its associations with youthful rebellion, anarchy, and, more recently, misrecognized privilege and bigotry. A sociological perspective on the cultural history and practice of comics publishing through the twentieth and twenty-first centuries adds important context to the Je Suis Charlie movement and its place in the public discourse—while also further problematizing it.

The installation of the Franco dictatorship sparked an inadvertent boom in the production of comics. While many cartoonists hailing from Barcelona's rich satirical tradition went into exile or clandestine publication, still more turned to the children's comics market that had become firmly rooted in the Catalan capital since the 1920s. Until the 1950s, comics remained relatively free from censorial intervention, and the development of characters such as La Familia Ulises, Carpanta and Dona Urraca offered cartoonists an outlet for covert critique. However, in 1952, the Junta Asesora de la Prensa Infantil was established to police children's publications for 'inappropriate' content, marking a turning point in the history of Spain's comics genre. This article discusses the implications of specific legislation for editors, artists and their comic strip characters, focusing on the publications Pulgarcito, TBO and DDT. Keywords: censorship, DDT, Francoist dictatorship, Junta Asesora de la Prensa Infantil, Pulgarcito, Spanish comics, TBO, tebeo

The comics anthologies Ally Sloper and Escape magazine began publication in the 1970s and 1980s. They inherited a complex national situation, one in which locally produced comics always had to compete with foreign imports, primarily superhero comics from the United States. Each of these pioneering anthologies sought to create a space for small press and independent English comics and a wider sense of the history and potential of the medium, but in doing so, they had to negotiate a history and market shaped by the consumption of comics from the United States. Placing the anthologies within this larger situation, this article interprets the work of these various editors in terms of the national and cosmopolitan strategies they deployed as they sought to further develop English comics.

The fortieth version of the FIBD was jam-packed with the usual array of events: workshops, debates, talks, concerts, projections, meetings and of course exhibits, and it was not without controversy once the prizes were announced. Because of unhappiness last year over the selection of Jean-Claude Denis as winner of the Grand Prix, festival organizers changed the voting procedure. [...]an exhibit that got a lot of positive press was the Flemish show La Boîte à Gand, curated by Brecht Evens and featuring himself and Brecht Vandenbroucke, Hannelore van Dijck, Sarah Yu Zeebroek and Lotte Van de Walle. In addition to the usual tents filling the empty squares and parking lots (mainstream publishers on the Place du Champ-de-Mars, independent and alternative publishers at the Place New York and the Para-BD at the Place des Halles), there were two smaller tents in the city centre: the 'Spécial Corée' [Special Korea] tent on the Place Saint-Martial (featuring expositions, animations, meetings with authors, autograph sessions and projections), and the 'Espace Polar-SNCF' [Whodunit Space-SNCF (the National French Railway Company)] on the Place Marengo. Not having an iPhone that works in France, I was not able to try it myself, but it was advertised as offering the hour-by-hour program, ticket purchasing and transportation information, excerpts from the albums in the official competition, and live Tweets, photos, and about a half dozen virtual exhibits each day with commentary by Mouchart; it also had a geo-location function as bug-ridden as the iPhone 5 map app, if one is to believe the many negative online reviews.