Articles

“Alan Moore & Anarchist Praxis in Form: Bibliography, Remediation, & Aesthetic Form in V for Vendetta and Black Dossier.” Working Class Superheroes.  (Forthcoming)

“Gonzo Cyberpunk: Class and Technology in Warren Ellis/Darick Robertson’s Transmetropolitan.” Bad Signals. Gylphi Press: Canterbury, UK. (Forthcoming.)

“Everybody’s Here: Radical Reflexivity in the Metafiction of The Sandman.” The Comics Work of Neil Gaiman. Salem Press, 2016. 

“Self-Conscious Sexuality in Promethea.” Sexual Ideology in the Works of Alan Moore. McFarland and Co. Inc. Publishers. 177-188.

This paper is an elaboration of a small section of my dissertation in which I bring a queer/feminist sensibility into Moore and Williams’ Promethea, a highly erotic and self-referential work. The paper focuses on two  instances in which Promethea successfully dispels the male gaze using self-reflexivity while also perpetuating myths about lesbian and trans sexuality, respectively. Both of these things happen in a pair of subplots, both of which critique the artistic practice of projecting a male fantasy onto a female muse, and then a set of queer-themed subplots in which lesbian sexuality appears violent and promiscuous while trans sexuality leads unavoidably towards trauma and tragedy.

 

“Useful Play: Historicization in Alan Moore’s Supreme and Warren Ellis/John Cassaday’s Planetary.” Journal of the Fantastic in the Arts. 21.1 (2010). 77-98.

This paper is a revised section from my dissertation in which I alter Brian McHale’s assertion that narrative can still do useful work, despite alleged postmodern pronouncements to the contrary, and instead assert that self-reflexive comics can do useful play for us precisely because they are self-conscious of their own fanciful, child-like, and even silly nature. In the hands of these creators – Moore, Ellis/Cassaday – heroic characters from pulp fiction, action/adventure film, and most of all comic books can be, in McHale’s words, turned down so that they become toy entities, a process that neutralises their mythic content (in Barthes’ terms) by rendering them obvious.

 

“Show and Tell: Notes Towards a Theory of Metacomics.” The Internaional Journal of Comic Art. 10.1 (Spring 2008). 248-267.

My first publication is an attempt to create a general approach to self-reflexivity in comics. This paper forms the backbone of my dissertation both in terms of theoretical focus and subject matter. It places the modern/postmodern shift in parallel with two forms of self-reflexivity: the structural an the radical. I altered this formulation a great deal in my later work.

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