At the arrival of the twentieth century, cultural dynamics between \u201clow brow\u201d and high culture began to shift. Movements such as Dada turned artistic conventions on its head, challenging academic hierarchies that influenced how artwork would be culturally valued based on thematic and aesthetic elements. Pop Art would follow in Dada\u2019s footsteps, merging mass consumerism with traditional techniques\/mediums favored by fine art institutions. Pop artists\u2019 application of commercial art techniques, from silkscreen prints to billboard painting, onto traditional substrates\/materials created a striking cultural dissonance. Out of the members of Pop, Roy Lichtenstein exemplified this phenomenon via his appropriated comic-styled paintings, Whaam! and Crak!. Using canvas painting and lithography, Lichenstein repurposed comic strips into fine art artifacts that would be exhibited and highly collectible within the art market. The comic strips, both from stories by DC Comics and featuring stylized militant violence, are transformed from mass-printed entertainment to an artist\u2019s exploration on mixing the high with the low. The elevation of a \u201clowly\u201d cultural form into a \u201chighly\u201d one alerts to how an image\u2019s artistic context \u2013 whether in a comic book or gallery \u2013 influences it hierarchal placement within American visual culture. Through exploring Lichtenstein\u2019s Whaam! and Crak!, the designation between fine and \u201ckitsch\u201d within artistic discourse and its necessity may be questioned \u2013 and challenged.
Lichtenstein\u2019s comic paintings are emblematic of merging mass entertainment and fine art methods. Visually identical to mechanically printed graphic art, Lichtenstein\u2019s portfolio reflected an emerging understanding that \u201cconditions of mass media could be considered as a primary influence\u201d (Chin, 6) among traditional fine artists. Popular culture and its \u201ckitsch\u201d imagery were appealing to common consumers\u2019 aesthetic tastes, feared by high art enthusiasts as \u201cinsensible to the value of genuine culture” (Greenberg, “Avant Garde and Kitsch”). Kitsch art\/objects include \u201cchromeotypes, magazine covers, illustrations, ads, slick and pulp, comics\u201d (Ibid) \u2013 visual culture that could emphasize instantly gratifying consumption over high cultural values. Comic books, fitting under such categories, were viewed as disposable and juvenile compared to traditional art. Despite this, comic art had been recognized and appreciated by general audiences and included in pre-Pop exhibitions, such as the American Institute of Graphic Arts\u2019s The Comic Strip exhibition in 1942 (fig. 1).
![\"\"](\"https:\/\/i0.wp.com\/blogs.library.unt.edu\/comics\/wp-content\/uploads\/sites\/21\/2025\/10\/Young_Fig-1.jpeg?fit=580%2C317&ssl=1\")
Fig. 1 – Exhibition poster for AIGA’s The Comic Strip (1942), illustrated by Fred Cooper<\/em>
AIGA\u2019s exhibition, recognized as the \u201cfirst-known attempts to put comics in a scholarly art historical context\u201d, included comic strips alongside \u201cmuseum-quality examples of earlier narrative art as ancestors\u201d (Munson, 72). While comic books had support from artists and curators, it still retained a \u201clowly\u201d status as conservative groups deemed the medium \u201cas having a negative effect on children and literacy\u201d (Ibid, 75). Comic books were already the subject for artistic and academic appreciation, but were still at the bottom compared to institutional art. Lichtenstein\u2019s comic-styled artwork, though appropriated imagery, contributed to comic art\u2019s larger recognition from the public and art market as highly valuable cultural forms. The artist\u2019s \u201ctechnique of isolating, scaling up, and exhibiting in gallery environments single panels\u201d (Molotiu, 47) elevated the comic as an aesthetic object representative of culture rather than cheap entertainment. It is through Lichenstein\u2019s process that assists in blurring the lines between \u201chigh\u201d and \u201clow\u201d art, becoming interchangeable with one another.
Lichtenstein\u2019s art within the Pop period achieves the same process as placing comic strips in art galleries \u2013 commercial imagery engaging with and elevated by institutional art conventions. This leads to one cultural form being dependent on the other, and in the Pop context the masses \u201cmay be pleased if their fare is borrowed from or by a culture of a higher status\u201d (Gans, 39). Lichtenstein\u2019s use of comic book imagery via his classical art training, strikingly mechanical without the artist\u2019s hand present, transforms its aesthetic context away from its lowly entertainment confines. Lichtenstein\u2019s art also reflects Pop Art\u2019s cultural cycle, reflections of popular culture inherently turning into its product. With Pop artists a la Andy Warhol, where the artist becomes a pop symbol akin to their commercialized subject matter, Lichtenstein\u2019s art gained such a status \u201cin terms of the way in which it used these materials\u201d (Crane, 67) from mass-printed comic strips. The artist\u2019s stylization, reminiscent of illustrative mid-century advertisements\/posters, displayed a consciousness in reflecting on imagery meant to sell rather than elicit a critical response. Lichtenstein\u2019s traditional material treatment with a consumer-heavy medium like comics reveals a tension in \u201cbringing together divergent strategies of authorship and identity from commercial culture and fine art practice\u201d(Lobel, 41). Whaam! (fig. 2) scales up a panel from issue 89 of DC Comics\u2019 All-American Men of War, originally illustrated by comic artist Irv Novick (fig. 3).
![\"\"](\"https:\/\/i0.wp.com\/blogs.library.unt.edu\/comics\/wp-content\/uploads\/sites\/21\/2025\/10\/Young_Fig-2.jpeg?fit=580%2C164&ssl=1\")
Fig. 2 – Whaam! (1963) by Roy Lichtenstein, diptych painting.<\/em>
![\"\"](\"https:\/\/i0.wp.com\/blogs.library.unt.edu\/comics\/wp-content\/uploads\/sites\/21\/2025\/10\/Young_Fig-3.jpeg?fit=580%2C163&ssl=1\")
Fig.3 – Panel from DC Comics’ All-American Men of War, no. 89 (1962), illustrated by Irv Novick.<\/em>
The comic was featured in an anthology of war-themed stories\/characters, with the story \u201cThe Star Jockey!\u201d as its original source. Lichtenstein\u2019s painting copies its source, an American fighter plane unleashing a missile onto an enemy plane with the pilot\u2019s dialogue confined to a saturated yellow speech bubble. The action culminates in a fiery explosion of red and yellow, punctuated with an onomatopoeic
\u2018WHAAM!\u2019 against sky blue. Whaam!\u2019s visuals are rendered like its mass-printed source, thick graphic lines enclosing objects and Ben-Day dot patterning. It is here through Lichtenstein\u2019s process that the comic panel is transformed aesthetic-wise, where the audience could perceive it \u201cliteralized in the temporal transformation that occurs when original art comic is used as gallery comics\u201d (Molotiu, 49). The \u201clow\u201d object now gains institutional recognition, as demonstrated in pre-Pop comic exhibitions, its aesthetic qualities given time to breath as opposed to being flipped to the next page. With the isolation of the panel from its original story, the subject matter also transforms \u2013 from a heroic display of American militant powers to aggressive violence\/conquest. The integration of high and low art alongside a cultural reflection of American exceptionalism in mass media places Whaam! as a product and perpetuator of popular culture.
![\"\"](\"https:\/\/i0.wp.com\/blogs.library.unt.edu\/comics\/wp-content\/uploads\/sites\/21\/2025\/10\/Young_Fig-4.jpeg?fit=580%2C203&ssl=1\")
Fig. 4 – Crak! (1963) by Roy Lichtenstein, lithograph.<\/em>Crak! (fig. 4) follows the same route as Whaam!, based on a panel (fig. 5) from issue 102 of Star Spangled War Stories, illustrated by Jack Abel.
![\"\"](\"https:\/\/i0.wp.com\/blogs.library.unt.edu\/comics\/wp-content\/uploads\/sites\/21\/2025\/10\/Young_Fig-5.jpeg?fit=580%2C294&ssl=1\")
Fig. 5 – panel from Star Spangled War Stories, no. 102 (1962), illustrated by Jack Abel.<\/em>
The panel is from \u201cThe Town That Wouldn\u2019t Die!\u201d, a story of French villagers fighting against Nazis, featuring a woman firing a rifle while declaring allegiance to France. A rifle foregrounds the action as an onomatopoeic \u2018KRAK!\u2019 and \u2018CRAK!\u2019 are shown against gunpowder smoke. In Lichtenstein\u2019s lithograph, the beret-clad woman is isolated as if she were the sole shooter, the \u2018Crak!\u2019 amplifying the harsh gunshot. The action is accented through bold yellow and white areas of smoke encompassed by thick lines, along with dot patterning and action lettering akin to the original source. Lichtenstein again focuses on stylized militant violence, with the woman symbolizing fighting back against oppressive power structures. The woman in Crak! contradicts Lichtenstein\u2019s typical treatment of femininity punctuated with frivolous consumerism and emotional anguish, with the latter demonstrated in works like Crying Girl (fig. 6).
![\"\"](\"https:\/\/i0.wp.com\/blogs.library.unt.edu\/comics\/wp-content\/uploads\/sites\/21\/2025\/10\/Young_Fig-6.jpeg?fit=580%2C214&ssl=1\")
Fig. 6 – Crying Girl (1963) by Roy Lichtenstein, lithograph.<\/em>Crak! therefore \u201cprovisionally bridges the gap between two opposing experiences of visual perception\u201d (Lobel, 94) \u2013 analyzing how feminine archetypes are represented in the comic medium. Lichtenstein\u2019s lithograph, adapted from a story of political turmoil, also expands the artist\u2019s treatment of femininity within his work.
Placing a comic strip onto a canvas and placing it in a gallery could \u2013 and has \u2013 lead to discussion surrounding what visual aesthetics\/mediums are deserving of a \u201chigh\u201d status. Like Lichtenstein, Pop Art prompted a discourse surrounding the nature of art, criticized as shallow advertisements rather than humanist outlooks emphasized in movements a la Abstract Expressionism. Critics deemed popular culture and the \u201ckitsch\u201d imagery it birthed as inherently anti-academic, rooted in shifting societal standards\/gratification rather than loyalty to specific high culture values. Pop Art\u2019s topicality and mass culture commentary hinders its intellectual potential, dumbed down for easy consumption \u201cusing for raw materials the debased and academized simulacra of genuine culture\u201d (Greenberg, “Avant Garde and Kitsch”). Comic books could only be valued as entertainment for the masses who \u201cdid not win the leisure and comfort necessary for the enjoyment of [..] traditional culture\u201d(Ibid) rather than subjects for significant artistic scholarship. While works like Lichtenstein\u2019s could be viewed as juvenile due to their illustrative mark-making and artistic source, it is those works that behave as a cultural reflection to the increasing affluence afforded to those who exist outside of elite spaces. Lichtenstein\u2019s inclusion of comic book visuals therefore behaves as a statement piece in culture where the elite \u201cno longer possesses the power to dominate all aspects of art\u201d (Alloway, “The Arts and Mass Media”).
It is for this reason that Lichtenstein\u2019s Whaam! and Crak remain significant when discussing comic art in fine art spaces. Though appropriated and isolated from their original context, both artworks allow for an appreciation of a by-hand replication of mass-printing technologies and aesthetic scholarship for comic art. The comic strip could exist \u201clonger, much longer than the time it would take us to read it then flip the page\u201d and Lichtenstein\u2019s isolation of the panels draws \u201cattention to the non-logocentric dimension of the piece\u201d (Molotiu, 47). The transformations present in Lichtenstein\u2019s comic art bridge a cultural gap, prompting more interest in comics\u2019 visual language within high and popular culture. Though Lichtenstein was not the first and last artist to place a comic strip against a gallery wall, his acclaim opens a dialogue to how cultural and institutional placement influences how audiences perceive\/value certain art. Whaam! and Crak! are symbolic of such a phenomenon in the art world and consumerism popular culture at large.
The cultural discourse of comic book art in museums \u2013 and popular culture\u2019s recognition as an artistic scholarship source \u2013 presents an argument for the increasing urbanization of fine art. Popular culture, from films to music, have received recent analysis within academic spaces for their reflections of societal archetypes\/themes. Comic books are no different, with increasing number of exhibitions both domestic and abroad continuing to expand the medium as a vessel for graphic narratives and sociopolitical reflection \u2013 a la Lichtenstein\u2019s technique of utilizing commercialized imagery to provide commentary on American consumerism. Comics progressing from cultural danger to cultural artifact reflects a necessary expansion in the fine arts, which can be hindered via which \u201cso many academic institutions are, to an important extent, self-perpetuating and resistant to change\u201d (Williams, 39). Expanding the cultural canon in museums allows for deeper appreciation for artists like Lichtenstein and other Pop artists, ones who recognized \u201ckitsch\u201d as potential for aesthetic radicalization without confining themselves to institutional standards. Mass media and \u201cart at all levels now come to us, seizes our attention for a few [\u2026] moments before being elbowed by something else\u201d (Mallon, “Highbrow, Middlebrow, Lowbrow”). Lichtenstein\u2019s comic art, a combination of traditional methods and mass-produced aesthetics, creates \u201cnew lines with the past, breaking or redrawing existing lines\u201d and culminates in \u201ca radical kind of contemporary change\u201d (Williams, 39).
Lichtenstein\u2019s Whaam! and Crak! are significant examples of fine art merging with mass art. The artist\u2019s treatment of stylized commercial imagery via traditional mediums opens the avenue for questioning hierarchies within visual culture, whether the space art is placed in or printed should determine its cultural value. The paintings provide a glimpse into the artist\u2019s multi-faceted process, one that merges meticulous mark-making with aesthetic qualities of mass-printed media. Lichtenstein\u2019s and the original comic\u2019s depiction of sociopolitical imagery also establishes the comic medium as a source for meaningful cultural discussions within mass media. With original comic book art becoming increasingly valuable within fan and art collector spaces, Whaam! and Crak! are both interesting artifacts of high culture embracing \u2013 albeit with contention \u2013 mass arts within its aesthetic and academic circle.
Jordan Young<\/strong> is an undergraduate Drawing and Painting student and an active member of the UNT Comic Book Club. When not making her own art and comics, Jordan likes to read and write about kitsch art and pop culture and how they shape the visual culture that surrounds us.
Bibliography<\/strong>
Alloway, Lawrence. \u201cThe Arts and Mass Media, Architectural Design 28, no. 2 (February 1958); 84-85.
A. Munson, Kim. \u201cThe Evolution of Comic Art Exhibitions, 1934-1951.\u201d In Comic Art in Museums, edited by Kim A. Munson. University Press of Mississippi, 2020.
Chin Daryl. \u201cFrom Popular Culture to Pop: The Arts in\/of Commerce: Mass Media and the New Imagery\u201d, Performing Arts Journal 13, no. 1 (January 1991); 5-20.
Crane, Diana. \u201cPopular Culture as Art: Pop Art as Transitional Style.\u201d In The Transformation of the Avant-Garde: The New York Art World, 1940-1985, University of Chicago Press, 1987; 64-83.
J. Gans, Herbert. \u201cThe Critique of Mass Culture.\u201d In Popular Culture and High Culture: An Analysis and Evaluation of Taste, 1999; 39.
Grand Comics Database. \u201cIssue: All-American Men of War #89.\u201d Accessed April 24 2025. https:\/\/www.comics.org\/issue\/16698\/
Grand Comics Database. \u201cIssue: Star Spangled War Stories #102.\u201d Accessed April 24 2025.
https:\/\/www.comics.org\/issue\/16867\/#132113
Greenberg, Clement. \u201cAvant-Garde and Kitsch,\u201d The Partisan Review 6, no. 5, 1939; 34-49.
Lobel, Michael. Image Duplicator: Roy Lichtenstein and the Emergence of Pop Art, Yale University Press, 2002.
Mallon, Thomas and Pankaj Mishra. \u201cHighbrow, Lowbrow, Middlebrow \u2013 Do These Kinds of Cultural Categories Mean Anything Anymore?\u201d New York Times, July 29 2014.
https:\/\/www.nytimes.com\/2014\/08\/03\/books\/review\/highbrow-lowbrow-middlebrow-do-these-kinds-of-cultural-categories-mean-anything-anymore.html
Molotiu, Andrei. \u201cComic Book and Comic Strip Art as Aesthetic Object.\u201d In Comic Art in Museums, edited by Kim A. Munson. University Press of Mississippi, 2020.
Williams, Raymond. \u201cThe Analysis of Culture.\u201d In Cultural Theory and Popular Culture: A Reader, edited by John Storey. University of Sunderland Press, 1994.<\/p>\n","protected":false},"excerpt":{"rendered":"By Jordan Young At the arrival of the twentieth century, cultural dynamics between \u201clow brow\u201d and high culture began to shift. Movements such as Dada turned artistic conventions on its head, challenging academic hierarchies that influenced how artwork would be culturally valued based on thematic and aesthetic elements. Pop Art would follow in Dada\u2019s footsteps,… Read more »<\/a>","protected":false},"author":67,"featured_media":916,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"[]","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[6,10],"tags":[19,11],"class_list":["post-910","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-closer","category-scholarship","tag-comics-studies","tag-scholarship"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/blogs.library.unt.edu\/comics\/wp-content\/uploads\/sites\/21\/2025\/10\/Young_Fig-6.jpeg?fit=250%2C176&ssl=1","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p9noXX-eG","jetpack-related-posts":[{"id":200,"url":"https:\/\/blogs.library.unt.edu\/comics\/2018\/04\/05\/comics-studies-at-the-popular-culture-association\/","url_meta":{"origin":910,"position":0},"title":"Comics Studies at the Popular Culture Association","author":"John","date":"April 5, 2018","format":false,"excerpt":"I recently had an opportunity to present on a comics panel at the 2018 Popular Culture Association National Conference, along with a colleague, Dr. Samantha Langsdale, from the UNT Department of Philosophy and Religion, and two fellow comics scholars from other institutions. For those who aren't familiar with it, the\u2026","rel":"","context":"In "Scholarship"","block_context":{"text":"Scholarship","link":"https:\/\/blogs.library.unt.edu\/comics\/category\/scholarship\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/blogs.library.unt.edu\/comics\/wp-content\/uploads\/sites\/21\/2018\/04\/pca-1.jpg?fit=700%2C525&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/blogs.library.unt.edu\/comics\/wp-content\/uploads\/sites\/21\/2018\/04\/pca-1.jpg?fit=700%2C525&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/blogs.library.unt.edu\/comics\/wp-content\/uploads\/sites\/21\/2018\/04\/pca-1.jpg?fit=700%2C525&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/blogs.library.unt.edu\/comics\/wp-content\/uploads\/sites\/21\/2018\/04\/pca-1.jpg?fit=700%2C525&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":29,"url":"https:\/\/blogs.library.unt.edu\/comics\/2017\/10\/20\/welcome\/","url_meta":{"origin":910,"position":1},"title":"Welcome to Comics Studies @UNT!","author":"John","date":"October 20, 2017","format":false,"excerpt":"Welcome to the brand new Comics Studies at UNT Blog! This blog is a project of the UNT Libraries, and will include contributors from across the Libraries' divisions, as well as from faculty, students, and others in the UNT community who share an interest in comics studies.","rel":"","context":"In "Comics in the library"","block_context":{"text":"Comics in the library","link":"https:\/\/blogs.library.unt.edu\/comics\/category\/libraries\/"},"img":{"alt_text":"Poster for \"Comics in the Library\" Exhibit, April-August, 2017","src":"https:\/\/i0.wp.com\/blogs.library.unt.edu\/comics\/wp-content\/uploads\/sites\/21\/2017\/12\/comics-in-the-library-poster-e1513015933238.jpg?fit=1200%2C675&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/blogs.library.unt.edu\/comics\/wp-content\/uploads\/sites\/21\/2017\/12\/comics-in-the-library-poster-e1513015933238.jpg?fit=1200%2C675&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/blogs.library.unt.edu\/comics\/wp-content\/uploads\/sites\/21\/2017\/12\/comics-in-the-library-poster-e1513015933238.jpg?fit=1200%2C675&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/blogs.library.unt.edu\/comics\/wp-content\/uploads\/sites\/21\/2017\/12\/comics-in-the-library-poster-e1513015933238.jpg?fit=1200%2C675&ssl=1&resize=700%2C400 2x, https:\/\/i0.wp.com\/blogs.library.unt.edu\/comics\/wp-content\/uploads\/sites\/21\/2017\/12\/comics-in-the-library-poster-e1513015933238.jpg?fit=1200%2C675&ssl=1&resize=1050%2C600 3x"},"classes":[]},{"id":70,"url":"https:\/\/blogs.library.unt.edu\/comics\/2017\/12\/05\/resources\/","url_meta":{"origin":910,"position":2},"title":"Comics Studies Resources @UNT","author":"John","date":"December 5, 2017","format":false,"excerpt":"\u00a0 The UNT Libraries has a number of resources for folks interested in studying comics for research, coursework, collecting, or plain old pleasure reading.\u00a0 Below are a few places to get started. These aren't the only places you can find useful information, though, since every discipline may have its own\u2026","rel":"","context":"In "Comics in the library"","block_context":{"text":"Comics in the library","link":"https:\/\/blogs.library.unt.edu\/comics\/category\/libraries\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/blogs.library.unt.edu\/comics\/wp-content\/uploads\/sites\/21\/2017\/12\/comics-guide.jpg?fit=1191%2C715&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/blogs.library.unt.edu\/comics\/wp-content\/uploads\/sites\/21\/2017\/12\/comics-guide.jpg?fit=1191%2C715&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/blogs.library.unt.edu\/comics\/wp-content\/uploads\/sites\/21\/2017\/12\/comics-guide.jpg?fit=1191%2C715&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/blogs.library.unt.edu\/comics\/wp-content\/uploads\/sites\/21\/2017\/12\/comics-guide.jpg?fit=1191%2C715&ssl=1&resize=700%2C400 2x, https:\/\/i0.wp.com\/blogs.library.unt.edu\/comics\/wp-content\/uploads\/sites\/21\/2017\/12\/comics-guide.jpg?fit=1191%2C715&ssl=1&resize=1050%2C600 3x"},"classes":[]},{"id":790,"url":"https:\/\/blogs.library.unt.edu\/comics\/2023\/10\/20\/artists-talk-w-christopher-sperandio\/","url_meta":{"origin":910,"position":3},"title":"Artist’s Talk w\/Christopher Sperandio","author":"John","date":"October 20, 2023","format":false,"excerpt":"Please join us for an upcoming Artist\u2019s Talk: \u00a0 Christopher Sperandio, \u201cTeaching Comics Making: The Comic Art Teaching and Study Workshop\u201d \u00a0 Willis Library, 250H, Monday, November 13, 11 a.m.-12:30 p.m.\u00a0This talk is free and open to the public. Christopher Sperandio an associate professor at Rice University in Houston, will\u2026","rel":"","context":"In "Comics Events"","block_context":{"text":"Comics Events","link":"https:\/\/blogs.library.unt.edu\/comics\/category\/comics-events\/"},"img":{"alt_text":"Comic Art Teaching and Study Workshop logo. A black cat reading a yellow newspaper.","src":"https:\/\/i0.wp.com\/blogs.library.unt.edu\/comics\/wp-content\/uploads\/sites\/21\/2023\/10\/CATS.jpg?fit=783%2C767&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/blogs.library.unt.edu\/comics\/wp-content\/uploads\/sites\/21\/2023\/10\/CATS.jpg?fit=783%2C767&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/blogs.library.unt.edu\/comics\/wp-content\/uploads\/sites\/21\/2023\/10\/CATS.jpg?fit=783%2C767&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/blogs.library.unt.edu\/comics\/wp-content\/uploads\/sites\/21\/2023\/10\/CATS.jpg?fit=783%2C767&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":827,"url":"https:\/\/blogs.library.unt.edu\/comics\/2024\/08\/15\/whats-happening-with-comics-studies-at-unt\/","url_meta":{"origin":910,"position":4},"title":"What’s happening with Comics Studies at UNT?","author":"John","date":"August 15, 2024","format":false,"excerpt":"Welcome back, everyone, to the Fall 2024 semester and a new year of school, work, and Comics Studies at UNT! We've got lots of updates on our Comics Studies initiative and other comics-related events and activities happening at UNT. 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