#comicsteaching

Super-American, one of the early patriotic superheroes we might look at in my Fall course on Captain America and Nationalism. #comicsteaching

What If? #44 (Marvel, 1984)

"What if?" indeed... From What If? #44 (Marvel, 1984), one of the Cap comics I will likely include in my Captain America and Nationalism course this Fall. #comicsteaching

And a few months ago, my students read that piece via your efforts! #comicsteaching bsky.app/profile/gipp...

a man in a superhero costume stands in front of a wall that has a sign that says new york Alt: a man in a superhero costume stands in front of a wall that has a sign that says New York

I welcome all visitors/auditors, as long as they are prepared to be part of the class. I will be doing weekly recaps as I often do for my upper-level comics courses, using #comicsteaching. 😎

a man in a superhero costume is standing in a hallway next to a chair . Alt: a man in a superhero costume is standing in a hallway next to a chair .

… As a writing-focused class, we will also focus on the mechanics of long-form writing and how to best develop and deploy arguments in and around comics and media.” #comicsteaching

Critical project examples. #comicsteaching bsky.app/profile/did:...

Student comic, parodying romance comics, which concludes "They went on to make a multitude of alien-human babies, which disappointed Jenny's mother very much." 👽

And another student fully captured the tone and norms of romance comics, in which a new love interest is revealed to be an alien posing as a handsome suitor: "They went on to make a multitude of alien-human babies, which disappointed Jenny's mother very much." 👽 #comicsteaching

One student made their video essay public (not a requirement). #comicsteaching
www.youtube.com/watch?v=fQvi...

Student collage on nuclear anxiety and propaganda, along with Fantastic Four comics

Student zine page: "Invisible Girl"

Student conference presentation on the Inhumans

Student comics cover for The Watchdogs, "Ombudsmen of Today!"

And, students submitted great creative projects, ranging from collages (the FF and nuclear anxiety/propaganda), to zines (FF bodies), to conference presentations (adapting the Inhumans), to comics (The Watchdogs, "The Ombudsmen of Today!"). #comicsteaching

Cover, Kirby's Gods: Old and New (student comics collection)

Table of contents, Kirby's Gods: Old and New (student comics collection)

Example introduction, Kirby's Gods: Old and New (student comics collection)

Example introduction, Kirby's Gods: Old and New (student comics collection)

A handful of students curated comics collections (as full digital files with covers, prefatory prose, comics selections). One incredible submission, from one of my graduate students, emulated the structure and tone of the recent Penguin Classics Marvel collections. #comicsteaching

ENGL 368: Superheroes and Trauma Syllabus Credits: 3 Hours Meeting Time: Tuesdays and Thursdays | 10:00-11:30am Location: Davenport Hall | Room 336 Instructor: Office: English Building | Room 584 Email: Office Hours: Mondays, Wednesdays, & Fridays | 1:00-3:30pm Course Overview In this course, we will be exploring what it means for superheroes to engage in activities beyond human capacity and delve into how these activities display various psychological experiences for these heroes. The course will primarily focus on comics such as Captain America, The Fantastic Four, and The Hulk alongside many other comics and span various experiences including the wartime hero, family dynamics, and development. The course will also look at different historical and social lenses, such as World War II and the Space Race alongside race and gender, considering how these intersections are unified or differentiated in the experience of trauma within the superhero genre. Learning Objectives • Analyze the artistic choices, narrative beats, and critical themes presented in the comic book format. • Describe visual patterns using learned vocabulary, considering how these visual patterns serve to develop plot points and interpretations. • Discuss historical contexts, social issues, and personal perspectives surrounding ongoing and shifting themes within comic books. • Evaluate the implications of presenting trauma in a visual and narrative mode by developing written skills and practicing critical thinking techniques. • Create written and visual analyses that reflect the course objectives and themes explored throughout the semester. Textbooks

The texts listed below are required for the class. Additional reading materials will be provided by the instructor. The required physical readings are: • Captain America by Jack Kirby et al. (Penguin Classics, 2022) • Fantastic Four by Stan Lee & Jack Kirby (Penguin Classics, 2023) • X-Men by Stan Lee & Jack Kirby (Penguin Classics, 2023) • Hand of Fire by Charles Hatfield (2012) All online and secondary readings will be available on Canvas. Learning Resources Course Materials • Canvas • CDisplayEx • Textbooks (listed above) • Secondary Readings (provided on Canvas) Supplementary Readings • “Amazing Fantasies: Trauma, Affect, and Superheroes” by Philip Sandifer (English Language Notes, 2008) • “Captain America and World War II: Drawn Together” by Arie Kaplan (2019) • “Captain America: The Search for Belonging” by Parker T. Shaw and Tonya R. Hammer (2016) • “Closure, trauma and the graphical imagination” by Angus Nurse (Law and Humanities, 2023) • “Comics and Trauma: A Postmortem and a New Inquiry” by Christopher Pizzino (2021) • “Excessive Embodiment and Monstrous Containment in Stan Lee and Jack Kirby’s The Fantastic Four” by Anna F. Peppard (2022) • How to Study Comics & Graphic Novels: A Graphic Introduction to Comic Studies by Enrique Del Rey Cabero, Michael Goodrum & Josean Morlesin Mellado • Selections from The Trauma Graphic Novel by Andrés Romero-Jódar (Routledge Research in Cultural and Media Studies, 2017) Study Tips • Split up longer readings into multiple days to avoid burning out. • Annotate key points to have a clear idea of what you want your discussions and points to be centered on. • Keep a journal or notebook where you can jot down anything that stands out to you in the comics you read. This will save you time on your discussions and written analysis assignments.

• For papers, write multiple drafts to refine your ideas. It may also be helpful to read each paragraph and come up with a single sentence to summarize what you discussed. This can help you edit anything that does not match your claim or thesis. • For questions, try to attend office hours or send an email to clarify any assignment questions or content inquiries. Assignments 10% Discussion Board Posts (~14 posts): You will write a weekly discussion post for 14 out of the 16-week class period. You may write about the visual style, broader themes, or sociohistorical contexts that stood out to you from the readings for that week. Include a panel that resonates with you and explain how it connects to your discussion. 10% Class Participation: You will participate in small group discussions combined with large group debriefs of the content being addressed in class lectures and readings. Participation includes active listening and/or engaging in discussions with peers. This section is also open to accommodation. 20% Comic Page (2 pages): During the course, you will create two comic pages commenting or responding to a specific theme (e.g., technology, mental health, romance, etc.) that is brought up in relation to trauma and the superhero genre. The page should include elements of a comic, such as panels, layouts, and inking. These assignments will be graded on effort over artistic ability. Both digital and physical copies are acceptable. 20% Mini Papers (3 papers): You will write 3 papers 4-5 pages total that combines a secondary reading to a close reading of one of the comics explored in class. These papers should consider the narrative beats, themes, and continuities/changes surrounding traumatic experiences within the superhero genre. Consider how these elements reframe discussions of traumatic experiences and are supported or rejected by critical articles.

Grading The assignment breakdown for this class is located below: Assignment Weight Due Date Discussion Posts (14/16) 10% 12/04/2025 Class Participation 10% 12/12/2025 Comic Page #1 10% 09/16/2025 Comic Page #2 10% 10/17/2025 Mini Paper #1 ~7% 10/07/2025 Mini Paper #2 ~7% 11/07/2025 Mini Paper #3 ~7% 11/21/2025 Final Paper 40% 12/12/2025 The grading breakdown for this class is located below: 99-100% - A+ 87-89% – B + 77-79% - C+ 67-69% - D+ >60% - F 94-98% - A 83-86% – B 73-76% - C 63-66% - D 90-93% - A- 80-82% - B- 70-72% - C- 60-62% - D- Weekly Schedule Week 1 – Syllabus Day & Setting the Stage • August 26th | Syllabus Day o Read for class:  ENGL 368 Syllabus o In-class review of syllabus o Assigned: Readings for August 28th • August 28th | Setting the Stage o Read for class:  How to Study Comics & Graphic Novels: A Graphic Introduction to Comic Studies by Enrique Del Rey Cabero, Michael Goodrum & Josean Morlesin Mellado [Canvas]  “Street Code” by Jack Kirby from Argosy [Canvas]  “Introduction” from Hatfield’s Hand of Fire [Book] o Presentation of key features of comics and graphic novels, small group annotation of a panel, and large group discussion of Jack Kirby’s background and how this may have influenced his comics. o Assigned: Readings for September 2nd Week 2 – World War II Trauma & the Symbolic Hero • September 2nd | World War II Trauma

I got multiple great course proposals (a couple from education majors), but one that really stood out was an elaborate proposal for a "Superheroes and Trauma" course. #comicsteaching

"narratives that render Africa as technologically and culturally deficient” (627). Kirby’s Wakanda insists that Africa is not a site of lack but of surplus: scientific, political, and symbolic. Yet Kirby’s Wakanda is also shaped by the limits of a white American imagination operating within Cold War liberalism. Posada notes that early Black Panther comics “celebrate Black sovereignty and African futurity” while remaining “tethered to Western heroic frameworks that privilege monarchy, militarized order, and benevolent authority” (630). Wakanda resists colonial domination, but its resistance is visualized through the grammar of empire: monumental architecture, centralized rule, and overwhelming force—forms of power legible, and often reassuring, to a predominantly white readership trained to equate order with legitimacy. This tension is visible in Black Panther #1 (1977), pages 2 and 3, where T’Challa bursts into the scene in a full-page splash. Kirby exaggerates musculature and momentum, equating Black power with mythic masculinity and physical dominance. The shattered environment "

"“Africa” as powerful while flattening distinct cultures into a single mythic aesthetic that reads as legible fantasy for Western spectators. This flattening aligns with the comic’s broader strategy: cultural depth is implied, but interpretive access is withheld. Wakandan apparel “authenticates” sovereignty while keeping it distant. As Posada notes, early narratives often render African culture as “impressive and unknowable, designed to be admired rather than engaged on its own terms” (632). Clothing becomes part of a politics of distance: Wakanda is affirmed as non-Western, yet visually mediated to maintain outsider control of meaning. Coogler’s film reorients this logic by treating costuming as an assertion of cultural authorship rather than exotic display. The challenge-day ritual (00:20:22–00:27:53) introduces Wakanda’s tribes through distinct textiles, palettes, hairstyles, and adornment. Each group’s dress signals lineage and political position; Wakanda appears internally plural rather than monolithic. The Dora Milaje are especially significant: their red garments combine ceremonial symbolism with tactical design, "

Topic criticism is harder to share, but a great example is this student paper, "Imagining Freedom, Managing Power: Wakanda and the Limits of Afrofuturism." #comicsteaching

Comics of Kirby and Lee critical project overview: Topic criticism: Stake out a firm claim about how some elements of the work(s) at hand appear and why the work is concerned with the issues it presents, along with what cultural or social meaning attaches to them (likely with historical or political context). To do this, you will need to employ a clear and direct thesis and your claim should be critical, meaning you must support it with specific evidence (analysis), engaged with other arguments about these works (criticism). Course proposal: Propose a course similar to ours and involving some of the comics we've read this semester, but with a different focus: superheroes of the 1960s, romance and sex in comics, origins and later iterations of characters, commercial vs. underground comix, and so on. Your proposal should include a draft syllabus with an overview of the proposed course, key comics, any secondary works (theory, criticism), key assignments, and a draft schedule, at least broken down by weeks (though you can ignore course policies). Kirby and/or Lee comics collection: Create a digital comics collection, composed of selections from various points in the semester, organized by a theme, character, period, or other organizational logic of your choosing. Ideally, such a collection would contain 6-12 issues (which cannot just be a sequence from one title), which you would need to preface via an editorial essay at the front of the collection, smaller prefatory writing before each issue, and any closing material at the end of the collection. Creative criticism: Substantively engage with one or more of our major works via a creative project of your choice (comics, prose, video, audio, games, zines, anything is fair game).

Comics of Kirby and Lee: Critical Project addendum. I allowed four big categories for the course: topic criticism, course proposal, comics collection, and creative criticism. Below are some of the exceptional submissions that came in. #comicsteaching

Students have critical projects due early next week, which I may highlight some pieces of, but for now, that wraps up my Fall 2025 Major Authors: the Comics of Jack Kirby and Stan Lee course, taught at the University of Illinois, Urbana-Champaign. Thanks for following along! #comicsteaching

We also discussed the shape of the course and how we narrate (and characterize) the lives of creators, particularly in a college Major Authors course. And, we watched this delightful clip from Bob Newharts show "Bob" from 1993). #comicsteaching youtu.be/Z32rTai1w3s

Tom King & Mitch Gerads, Mister Miracle #1 (2017)

Tom King & Mitch Gerads, Mister Miracle #1 (2017)

Ram V & Evan Cagle, The New Gods #2 (2025)

Ram V & Evan Cagle, The New Gods #2 (2025)

We also considered how Kirby's work is being extended, particularly via the setup issues of @tomking.bsky.social & @mitchgerads.bsky.social's Mister Miracle and @therightram.bsky.social & Evan Cagle's current New Gods, which combine elements we have seen with newer comics aesthetics. #comicsteaching

Kirby as God in Fantastic Four #511 (2004)

Kirby in Kirby: Genesis #0 (2011)

Kirby's cosmic style in Gødland #1 (2005)

James Romberger, For Real #1 (2019)

We looked at the figure of Kirby across some interesting uses: as God (Fantastic Four #511), as source of cosmic heroes (Kirby: Genesis), as a style that can be emulated (Gødland), and as a mortal man (James Romberger, For Real #1). #comicsteaching

#comicsteaching bsky.app/profile/gipp...

Tuesday, Dec 9 Course Wrap-Up Tom Scioli & Joe Casey, Gødland #1 Download Gødland #1 (2005), Finale Download Finale (2013) [skim through] Kurt Busiek, Alex Ross et al., Kirby: Genesis Links to an external site. (2011-12), selections: Kirby: Genesis #0 Download Kirby: Genesis #0 (2011) Kirby: Genesis #1 Download Kirby: Genesis #1 (2011) Kirby: Genesis - Silver Star #1 Download Kirby: Genesis - Silver Star #1 (2011) [optional] Kirby: Genesis - Captain Victory #1 Download Kirby: Genesis - Captain Victory #1 (2011) [optional] Kirby: Genesis - Dragonsbane #1 Download Kirby: Genesis - Dragonsbane #1 (2012) [optional] Tom King & Mitch Gerads, Mister Miracle #1 Download Mister Miracle #1 + #2 Download #2 (2017) James Romberger, For Real #1 Download For Real #1 (2019) Tom Scioli, Jack Kirby's Starr Warriors Download Jack Kirby's Starr Warriors (2023) [skim through] Kirby, "Solar Legion" in Crash Comic Adventures #1 Download Crash Comic Adventures #1 (Tem[erson], May 1940) [for ref] Ram V & Evan Cagle, The New Gods #1 Download The New Gods #1 + #2 Download #2 (2025) The Art of the Fantastic Four (2025), excerpts

Comics of Kirby and Lee, Week 16: a relatively brief conclusion for the course ahead of finals, allowing us to think about the legacies of creators after their deaths. #comicsteaching

Just read a student paper on The Eternals (2021) that was more thoughtful about the film as an adaptation of Jack Kirby's work than nearly any criticism of it I have read/heard. #comicsteaching

student visual analysis of a page from Stan Lee & Jack Kirby's Silver Surfer: The Ultimate Cosmic Experience (1978)

My students are dope. 😎 A visual analysis of a page from Stan Lee & Jack Kirby's Silver Surfer: The Ultimate Cosmic Experience (1978), from a student who claimed at the beginning of the semester that they had "never really read any comics." #comicsteaching

And, of course, the loving tributes extend far beyond comics. #comicsteaching youtu.be/tcwGpQWFuiE

Alan Moore & Rick Veitch, 1963 #1 (1993)

Alan Moore & Rick Veitch, 1963 #6 (1993)

Alan Moore & Rick Veitch, Supreme: The Return #6 (2000)

Alan Moore & Rick Veitch, Supreme: The Return #6 (2000)

Next week, we will conclude the course with some of the comics legacy of Kirby and Lee, but in the 1990s Alan Moore and Rick Veitch were already doing so in 1963 and Supreme: The Return. #comicsteaching

Tom Scioli, Jack Kirby (2020)

Tom Scioli, Jack Kirby (2020)

Tom Scioli, I Am Stan (2023)

Tom Scioli, I Am Stan (2023)

We also compared how Tom Scioli's biographies narrate Kirby and Lee's late careers and deaths, which we will discuss again next week as we consider how we narrate the lives of major authors/creators. #comicsteaching

Meanwhile, lamentably, Lee got involved with a dodgy media enterprise, which produced various webseries (7th Portal), reality shows (Who Wants to be a Superhero?) and the only-in-2003 animated show, Stripperella. #comicsteaching youtu.be/07jZwcxNBGE?

Stan Lee & Paul Ryan, Ravage 2099 #1 (Marvel 1992)

Stan Lee’s Just Imagine… Stan Lee with Jim Lee Creating Wonder Woman (2001)

Stan Lee’s Just Imagine… Stan Lee with Joe Kubert Creating Batman (2001)

Stan Lee’s Just Imagine… Stan Lee with John Buscema Creating Superman (2002)

Lee, moved to Chairman and the Chairman Emeritus of Marvel had mostly moved out of writing comics, though dipped back in for works like Ravage 2099 (imitating Image) and a highly publicized "Just Imagine..." series for DC, reminagining core DC characters with comics veterans. #comicsteaching

Jack Kirby & Janet Berliner, "Shadow of the Falcon" (published 1994) "KJ1an glanced at tl1e report 11e had been preparing, a capsule world a11alysis for tl,e head of the Falcon, and reread the last page l1e l1ad completed ... My assignment was not devised to be standard intelligence gathering. I was charged to assess the RSyche qf the world beast and to monitor his behavior. I can readily si,bstantiate tl1at man is closer to learning the truth aqout himself tJ,zan he has ever bee,1 before. He abs·orbs this truth at howling mon1entu1n. His institutions are a sham, his g,;·eed has created niechanisms of war which are vile and rapaci£US. The succession of ,,vars i11 this century have inc,·eased the pace of these e11i! mechanisms·. Man, the species·, trembles in fear, eve11 while the beas·t inside of him eyes the fore,r.;t .for its next savage round. He is a killing ani111al. Killing excites lzim."

Jack Kirby & Janet Berliner, "Shadow of the Falcon" (published 1994) "Dali] Khan could l1ave told Maret tl1e truth. However, Maret was a Christian, a breed which recognized only its own form of truth, a rigid form in which man surtnounted guilt to find divine absolution. St1cl1, to tJ1em, was the beginning and the end of it. They accepted nothing else. They lived and died in this sirnple box of lies, t1ever realizing that men are.ro.1 ilty of nothing but bei ng men. and that each man must bravely confront what had been written for him by the l1and of Allah. Poor, white devil, Dalil I<han tl1ought. The flagellation of war has left him clean, of guilt and in a state of near-insanity. He marches in his dreams toward tl1e I ight of his Man-God who waits with rewards locked in glorious 1nysteries. ''Take 11otl1in fro1n the white man exce t his tools and weapons." was Tegujai'~ .word. ''His a11guage 1s perverse, and bears 110 relation to his actions. When you act, you 1nust lead and the wl1ite man must fbllow. No matter what l1e does, it can be dealt with to your own adva11tage.''"

Jack Kirby, "The Conversion of Tgujai Batir" (published 1995) "The day of our reckoning is upon us, for the Wolf has spawned a Falcon army, selected the site for a tunnel, plucked the Feathers that will make the Falcon fly. He will kill me soon, for even I, who continue to love him like a brother, cannotfill the hole which opened up in him when he cried out and proclaimed his need. I have watched all the love and beauty draining from him, leaving nothing but the hunger. The jinn have seen it, too, and having the power to do so, they rushed again to fill the void, to reshape the man one more time to their own design. The brain of the Falcon rests and waits for the signal to be given. The worm that is the army is in readiness—the tunnel at the edge of completion. Soon the worm will curve its way through the tunnel and emerge to devour the white man 's world. Only one thing remains before the jinn's work is done. One more Feather must be sacrificed by the Falcon . . . one more, and the march can begin. . . ."

Janet Berliner [extending Jack Kirby], "Eye of the Falcon" (published 2008) "Hardy Jackman did not wait to be asked. He l~ Q!E! into formation with a natural snap, which they matched with a majesty they'd never known before. This was no longer a unit identifiable with any other, he thought with pride. These were polished, hair-trigger sharp foot soldiers, the future alive in their hearts. Sure, their uniforms were still courtesy of Uncle Sam, repaired and patched. But that did not matter a damn now that he knew the road that stretched before them did not end at the tunnel's mouth. They fought for the Falcon. And justice."

Kirby had been writing a prose novel, "The Horde," which has appeared in three short-story excerpts, edited by Janet Berliner. We discussed how the (post-Dune) story frames the noble East vs. the fallen West and a Kirby theme: "Action was the bridge of communication here." #comicsteaching

Jack Kirby, Captain Victory and the Galactic Rangers #1 (Pacific, 1981)

Steve Gerber & Jack Kirby, Destroyer Duck #1 (Eclipse, 1982)

Roy Thomas, Walter Simonson, Jack Kirby's Secret City Saga #0 (Topps, 1993)

Jack Kirby, Phantom Force #1 (Image, 1993)

Kirby's last works are lesser affairs, mostly for the new 1980s/90s publishers: Pacific, Eclipse, Topps, Image. We discussed Kirby's new collaborators--Steve Gerber, Rot Thomas, Walt Simonson, the Image guys--the look of these titles, and the continuing satirization of Marvel. #comicsteaching

Before our Fall Break, we had covered Kirby and Lee's last big/coherent comics, including Kirby's adaptations and conclusions to his work on Silver Surfer and the Fourth World. #comicsteaching bsky.app/profile/gipp...

Tuesday, Dec 2 Kirby in the 1980s and 90s Captain Victory and the Galactic Rangers #1-13 + Special #1 (1981-84), selections: Captain Victory #1 Download Captain Victory #1 (1981) + #2 Download #2 (1982) Captain Victory #11 Download Captain Victory #11 + #12 Download #12 (1983) + #13 Download #13 (1984) Captain Victory Special Download Captain Victory Special (1983) Destroyer Duck #1-5 (1982-83), selections: Steve Gerber & Frank Brunner, Howard the Duck #1 Download Howard the Duck #1 (1976) [skim through] Destroyer Duck #1 Download Destroyer Duck #1 (1982) Destroyer Duck #2 Download #2 + #3 Download #3 (1983) Silver Star #1-6 (1983-84): #1 Download #1 + #2 Download #2 (1983) Super Powers (1984-86), selections Super Powers #1 Download Super Powers #1 (1984) [digital] Super Powers vol. 2 #1 Download Super Powers vol. 2 #1 (1985) Jack Kirby's Secret City Saga (1993): SCS(Deem)-02.jpg Secret City Saga #0 Download Secret City Saga #0 (1993) Bombast #1 Download Bombast #1 (1993) [optional] Nightglider #1 Download Nightglider #1 (1993) [optional] Captain Glory #1 Download Captain Glory #1 (1993) Satan's Six #1 Download Satan's Six #1 (1993) Phantom Force #0-9 (1993-94): #1 Download #1 (1993) “The Horde” prose excerpts (1994-95) "Shadow of the Falcon Download Shadow of the Falcon" (published 1994) "The Conversion of Tgujai Batir Download The Conversion of Tgujai Batir" (published 1995) "Eye of the Falcon Download Eye of the Falcon" (published 2008) John Morrow, "The Horde is Coming, and It Can't Be Stopped! Download The Horde is Coming, and It Can't Be Stopped!" (2001) Tom Scioli, Jack Kirby (2020), pages 172-191

Thursday, Dec 4 Tributes and Lee in the 1990s-2000s Stan Lee & Paul Ryan, Ravage 2099 #1 Download Ravage 2099 #1 (1992) Alan Moore & Rick Veitch: 1963 #1 Download 1963 #1 + #6 Download #6 (1993) Supreme: The Return #6 Download Supreme: The Return #6 (2000) Jack Kirby's Fourth World #1-20 (1997): #1 Download #1, #2 Download #2, #3 Download #3 + Gallery Download Gallery Stan Lee’s Just Imagine… Links to an external site. (2001-02), selections: Stan Lee with Jim Lee Creating Wonder Woman Download Stan Lee with Jim Lee Creating Wonder Woman (2001) Stan Lee with Joe Kubert Creating Batman Download Stan Lee with Joe Kubert Creating Batman (2001) Stan Lee with John Buscema Creating Superman Download Stan Lee with John Buscema Creating Superman (2002) Stan Lee media productions: The 7th Portal (webseries, 1999), Stripperella (Spike TV, 2003), Who Wants to Be a Superhero? (Sci-Fi, 2006-07) Tom Scioli, I am Stan (2023), pages 146-189 due: Visual Analysis #3 (Dec 5)

Optional Materials Roger Stern & John Byrne, Captain America #251 Download Captain America #251 (1980) [Steve Rogers as comics artist]

Comics of Kirby and Lee, Week 15 (after a week-long break): the final works for both creators and the rise of Kirby and Lee as cultural signifiers. #comicsteaching