Cartoonist Lynda Barry Shows You How to Draw Batman in Her UW-Madison Course, “Making Comics”

How do you draw Bat­man?

Don’t say you don’t, or that you can’t. Accord­ing to car­toon­ist and edu­ca­tor Lyn­da Bar­ry, we’re all capa­ble of get­ting Bat­man down on paper in one form or anoth­er.

He may not resem­ble Adam West or Michael Keaton or any­thing artists Frank Miller or Neal Adams might ren­der, but so what?

You have the abil­i­ty to cre­ate a rec­og­niz­able Bat­man because Batman’s basic shape is uni­ver­sal­ly agreed upon, much like that of a car or a cat. Whether you know it or not, you have inter­nal­ized that basic shape. This alone con­fers a degree of pro­fi­cien­cy.

As proof of that, Bar­ry would ask you to draw him in 15 sec­onds. A time con­straint of that order has no room for fret­ting and self doubt. Only fren­zied scrib­bling.

It also lev­els the play­ing field a bit. At 15 sec­onds, a novice’s Bat­man can hold his own against that of a skilled draftsper­son.

Try it. Did you get pointy ears? A cape? A mask of some sort? Legs?

I’ll bet you did.

Barry Batman 1

Once you’ve proved to your­self that you can draw Bat­man, you’re ready to tack­le a more com­plex assign­ment: per­haps a four pan­el strip in which Bat­man throws up and screams.

This is prob­a­bly a lot eas­i­er than draw­ing him scal­ing the side of a build­ing or bat­tling the Jok­er. Why? Per­son­al expe­ri­ence. Any­body who’s ever lost his or her lunch can draw on the cel­lu­lar mem­o­ry of that event.

Fold a piece of paper into quar­ters and give it a whirl.

Then reward your­self with the video up top, a col­lec­tion of stu­dent-cre­at­ed work from the Mak­ing Comics class Bar­ry taught last fall at the great Uni­ver­si­ty of Wis­con­sin.

You may notice that many of the Bat­men there­in sport big, round heads. Like the 15-sec­ond rule, this is the influ­ence of Ivan Brunet­ti, author of Car­toon­ing: Phi­los­o­phy and Prac­tice, a book Bar­ry ref­er­ences in both her class­es and the recent­ly pub­lished Syl­labus: Notes from an Acci­den­tal Pro­fes­sor.

With everyone’s Bat­man rock­ing a Char­lie Brown-sized nog­gin and sim­ple rub­ber hose style limbs, there’s less temp­ta­tion to get bogged down in com­par­isons.

Okay, so maybe some peo­ple are bet­ter than oth­ers when it comes to draw­ing toi­lets. No big­gie. Keep at it. We improve through prac­tice, and you can’t prac­tice if you don’t start.

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Once you’ve drawn Bat­man throw­ing up and scream­ing, there’s no end to the pos­si­bil­i­ties. Bar­ry has an even big­ger col­lec­tion of stu­dent work (sec­ond video above), in which you’ll find the Caped Cru­sad­er doing laun­dry, using a lap­top, call­ing in sick to work, read­ing Under­stand­ing Comics, eat­ing Saltines… all the stuff one would expect giv­en that part of the orig­i­nal assign­ment was to envi­sion one­self as Bat­man.

More of Lyn­da Barry’s Bat­man-relat­ed draw­ing phi­los­o­phy from Syl­labus can be found above and down below:

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Barry Batman 4

Barry Batman 5

No mat­ter what any­one tells you (see below), there’s no right way to draw Bat­man!

How-to-Draw-Batman-Step-by-Step

Relat­ed Con­tent: 

Lyn­da Barry’s Won­der­ful­ly Illus­trat­ed Syl­labus & Home­work Assign­ments from Her UW-Madi­son Class, “The Unthink­able Mind”

Lyn­da Bar­ry, Car­toon­ist Turned Pro­fes­sor, Gives Her Old Fash­ioned Take on the Future of Edu­ca­tion

Car­toon­ist Lyn­da Bar­ry Reveals the Best Way to Mem­o­rize Poet­ry

Ayun Hal­l­i­day is an author, illus­tra­tor, and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine. Fol­low her @AyunHalliday

Download Pink Floyd’s 1975 Comic Book Program for The Dark Side of the Moon Tour

Pink Floyd Comic 1
For all their seri­ous brood­ing and bit­ing digs at the estab­lish­ment, the mem­bers of Pink Floyd were not above hav­ing a lit­tle fun with their image. Take this 1975 com­ic book, cre­at­ed by their record cov­er design­er Storm Thorgerson’s com­pa­ny Hipg­no­sis for the Dark Side of the Moon tour. A “Super, All-Action Offi­cial Music Pro­gramme for Boys and Girls,” the 15-page oddity—pitched, writes Dan­ger­ous Minds, “some­where halfway between ‘pro­fes­sion­al pro­mo­tion­al item’ and ‘schoolboy’s note­book scribbling’”—includes sev­er­al short com­ic sto­ries: Roger (“Rog”) Waters is an “ace goal-scor­er” for the “Grantch­ester Rovers” foot­ball club. Floyd drum­mer Nick Mason becomes “Cap­tain Mason, R.N.,” a “coura­geous and smart” WWII naval hero, and David Gilmour gets cast as stunt cyclist “Dave Der­ring.” The juici­est part goes to key­boardist Richard Wright, whose sala­cious exploits as high roller “Rich Right” com­plete the pro­to-Heavy Met­al vibe of the whole thing.

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Per­haps most fun is a sil­ly ques­tion­naire called “Life Lines” that asks each band mem­ber about such triv­ia as age, weight, height, “philo­soph­i­cal beliefs,” “sex­u­al pro­cliv­i­ties,” “polit­i­cal lean­ings,” and “musi­cal hates.” Most of the answers are of the flip­pant, smar­tass vari­ety, but I think they’re all sin­cere when they name their favorite movies: Beyond the Val­ley of the Dolls, The Sev­enth Seal, Cool Hand Luke, and El Topo. I’ll let you fig­ure out who chose which one. (Click the image above, then click again, to enlarge.) The penul­ti­mate page includes the lyrics to three new songs the band was work­ing on at the time and play­ing live dur­ing the Dark Side of the Moon Tour: “Shine on You Crazy Dia­mond,” and two unre­leased tracks, “Rav­ing and Drool­ing” and “Got­ta Be Crazy”—which lat­er turned into “Sheep” and “Dogs,” respec­tive­ly, on the Ani­mals album.

Pink Floyd Comic 3

The com­ic takes the goofi­ness of Beat­le­ma­nia-like merch to a much far­ther out place—somewhere “beyond the 3rd Bar­do.” One mem­ber of the Inter­na­tion­al Roger Waters Fan­club, who kept his pro­gram com­ic book for decades after see­ing the Dark Side show in San Fran­cis­co, writes “I was so wast­ed on acid at the show, I don’t know how I held on to any­thing.” Hipg­no­sis, and Floyd, sure­ly knew their audi­ence. You can down­load the whole thing here, in high res­o­lu­tion images. See much more Pink Floyd tour mem­o­ra­bil­ia at the fan­site Pinfloydz.com.

via Dan­ger­ous Minds

Relat­ed Con­tent:

Watch Doc­u­men­taries on the Mak­ing of Pink Floyd’s Dark Side of the Moon and Wish You Were Here

Pink Floyd Plays With Their Brand New Singer & Gui­tarist David Gilmour on French TV (1968)

Dark Side of the Rain­bow: Pink Floyd Meets The Wiz­ard of Oz in One of the Ear­li­est Mash-Ups

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

In Animated Cartoon, Alison Bechdel Sees Her Life Go From Pulitizer Prize Winning Comic to Broadway Musical

No one is sur­prised when authors mine their per­son­al expe­ri­ences. If they’re lucky enough to strike gold, oth­er min­ers may be brought on to bring the sto­ries to the sil­ver screen. Here’s where things get tricky (if lucra­tive). No one wants to see his or her impor­tant life details get­ting roy­al­ly botched, espe­cial­ly when the results are blown up 70 feet across.

Car­toon­ist Ali­son Bechdel’s path to let­ting oth­ers take the reins as her sto­ry is immor­tal­ized in front of a live audi­ence is not the usu­al mod­el. The fam­i­ly his­to­ry she shared in the Pulitzer Prize-win­ning Fun Home: A Fam­i­ly Tragi­com­ic has been turned into a Broad­way musi­cal.

Now that would be a nail biter, espe­cial­ly if the non-fic­tion­al source mate­r­i­al includes a graph­i­cal­ly awk­ward first sex­u­al encounter and your clos­et­ed father’s sui­cide.

In the ani­mat­ed com­ic above, Bechdel recounts the sur­re­al expe­ri­ence of see­ing her most per­son­al expe­ri­ences musi­cal­ized dur­ing Fun Home’s recent Off-Broad­way run at the Pub­lic The­ater.

In the wrong hands, it could have been an excru­ci­at­ing evening, but Fun Home, the musi­cal, has had excel­lent pedi­gree from the get go.

It’s also worth not­ing that this show pass­es the infa­mous Bechdel Test (below) both onstage and off, with a book and lyrics by Lisa Kron and music by Jea­nine Tesori.

Pre­views begin next month in New York City.

bechdel-rule

Relat­ed Con­tent:

Car­toon­ist Kate Beat­on Plays on Lit­er­ary Clas­sics — The Great Gats­by, Julius Cae­sar & More

Lyn­da Bar­ry, Car­toon­ist Turned Pro­fes­sor, Gives Her Old Fash­ioned Take on the Future of Edu­ca­tion

Under­ground Car­toon­ist R. Crumb Intro­duces Us to His Rol­lick­ing Album Cov­er Designs

Ayun Hal­l­i­day is an author, home­school­er, and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine. Fol­low her @AyunHalliday

Kubrick’s 2001: A Space Odyssey Gets Turned Into “The Weirdest Sci-Fi Comic Ever Made” by Jack Kirby

Kirby 2001 covers

Sure, we all enjoyed the adap­ta­tion of 2001: A Space Odyssey pre­sent­ed on the Howard John­son’s chil­dren’s menu from 1968 that we fea­tured last May. But would you believe that, when you swap out the name Howard John­son for that of Jack Kir­by, you get a work of high­er artis­tic mer­it? In his long career, the wide­ly respect­ed com­ic book artist, writer, and edi­tor put in time on both the DC and Mar­vel sides of the fence. 1976’s 2001: A Space Odyssey com­ic book, a meet­ing of Kir­by’s mind with those of Stan­ley Kubrick and Arthur C. Clarke, marked his return to Mar­vel after spend­ing the ear­ly 70s at DC.

Kubrick­o­nia, which calls the com­mis­sion “a match made in bizarro world heav­en,” describes the prod­uct: “The adap­ta­tion was writ­ten & pen­ciled by Kir­by with ink­ing duties car­ried out by Frank Gia­coia. The almost 2 times larg­er than the reg­u­lar com­ic-book for­mat suit­ed Kir­by’s out­landish pop style, but this was a great tal­ent mere­ly going through the motions.” The Sequart Orga­ni­za­tion’s Julian Dar­ius calls it “sure­ly one of the strangest sci-fi fran­chise comics ever pub­lished,” a stuffy mar­riage between Kir­by’s “bom­bas­tic,” “action-ori­ent­ed,” “in-your-face” art and the style of Kubrick­’s film, one “all about the sub­tle. No one ever accused Kir­by of being sub­tle. Indeed, his almost com­plete lack of sub­tle­ty is part of his charm, but it’s not a charm one could pos­si­bly imag­ine fit­ting 2001.”

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At The Dis­solve, Noel Mur­ray includes an exam­i­na­tion of Kir­by’s 2001 in the site’s “Adven­tures in Licens­ing” col­umn. Kir­by’s descrip­tion of Kubrick­’s immor­tal mil­len­nia-span­ning match cut, which the arti­cle quotes as an open­er, tells you every­thing you need to know:

As the surge of ela­tion sweeps through him, Moon­watch­er shouts in vic­to­ry and throws his weapon at the sky!! High­er and high­er, it sails — aimed at the infi­nite where the count­less stars wait for the com­ing of man… And, man comes to space!! Across the ago­niz­ing ages he fol­lows the des­tiny bequeathed to him by the mono­lith.

2001: A Space Odyssey in comics, which com­pris­es not just the over­sized book but ten month­ly issues that expand­ed upon the film — tak­ing it in, shall we say, a dif­fer­ent direc­tion than either Kubrick or Clarke might have envi­sioned — has, as you can see, inspired no small amount of dis­cus­sion among sci­ence fic­tion and com­ic book enthu­si­asts. Dar­ius wrote a whole book called The Weird­est Sci-Fi Com­ic Ever MadeAt Sci­FiDi­men­sons, Robert L. Bryant Jr. and Robert B. Cooke offer two more analy­ses of this unusu­al chap­ter in the his­to­ry of Amer­i­can sequen­tial art. What­ev­er its mer­its as read­ing mate­r­i­al, it shows us that genius plus genius does­n’t always pro­duce genius — but it nev­er fails to pro­duce some­thing fas­ci­nat­ing.

You can check out scans of the first issue of 2001: A Space Odyssey over on this web site.

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Relat­ed Con­tent:

Howard Johnson’s Presents a Children’s Menu Fea­tur­ing Kubrick’s 2001: A Space Odyssey (1968)

1966 Doc­u­men­tary Explores the Mak­ing of Kubrick’s 2001: A Space Odyssey (and Our High-Tech Future)

In 1968, Stan­ley Kubrick Makes Pre­dic­tions for 2001: Human­i­ty Will Con­quer Old Age, Watch 3D TV & Learn Ger­man in 20 Min­utes

Isaac Asi­mov Pre­dicts in 1964 What the World Will Look Like Today — in 2014

Arthur C. Clarke Pre­dicts the Future in 1964 … And Kind of Nails It

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture as well as the video series The City in Cin­e­ma and writes essays on cities, lan­guage, Asia, and men’s style. He’s at work on a book about Los Ange­les, A Los Ange­les Primer. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Read The Very First Comic Book: The Adventures of Obadiah Oldbuck (1837)

Obadiah Oldbuck

Com­ic books, as any enthu­si­ast of comics books won’t hes­i­tate to tell you, have a long and robust his­to­ry, one that extends far wider and deep­er than the 20th-cen­tu­ry caped mus­cle­men, carous­ing teenagers, and wise­crack­ing ani­mals so many asso­ciate with the medi­um. The schol­ar­ship on com­ic-book his­to­ry — still a rel­a­tive­ly young field, you under­stand — has more than once revised its con­clu­sions on exact­ly how far back its roots go, but as of now, the ear­li­est acknowl­edged com­ic book dates to 1837.

The Adven­tures of Oba­di­ah Old­buck, accord­ing to thecomicbooks.com’s page on ear­ly com­ic-book his­to­ry, “was done by Switzer­land’s Rudolphe Töpf­fer, who has been con­sid­ered in Europe (and start­ing to become here in Amer­i­ca) as the cre­ator of the pic­ture sto­ry. He cre­at­ed the com­ic strip in 1827,” going on to cre­ate com­ic books “that were extreme­ly suc­cess­ful and reprint­ed in many dif­fer­ent lan­guages; sev­er­al of them had Eng­lish ver­sions in Amer­i­ca in 1846. The books remained in print in Amer­i­ca until 1877.”

Also known as His­toire de M. Vieux BoisLes amours de Mr. Vieux Bois, or sim­ply Mon­sieur Vieuxbois, the orig­i­nal 1837 Adven­tures of Oba­di­ah Old­buck earned Töpf­fer the des­ig­na­tion of “the father of the mod­ern com­ic” from no less an author­i­ty on the mat­ter than Under­stand­ing Comics author Scott McCloud, who cites the series’ pio­neer­ing use of bor­dered pan­els and “the inter­de­pen­dent com­bi­na­tion of words and pic­tures.” You can see for your­self at the web site of Dart­mouth Col­lege’s Library.

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Alas, con­tem­po­rary crit­ics — and to an extent Töpf­fer him­self, who con­sid­ered it a work tar­get­ed at chil­dren and “the low­er class­es” — could­n’t see the inno­va­tion in all this. They wrote off Oba­di­ah Old­buck’s har­row­ing yet strange­ly light­heart­ed pic­to­r­i­al sto­ries of failed courtship, duel­ing, attempt­ed sui­cide, rob­bery, drag, elope­ment, ghosts, stray bul­lets, attack dogs, dou­ble-cross­ing, and the threat of exe­cu­tion as mere tri­fles by an oth­er­wise capa­ble artist. So the next time any­one gets on your case about read­ing com­ic books, just tell ’em they said the same thing about Oba­di­ah Old­buck. Then send them this way so they can fig­ure out what you mean. You can read The Adven­tures of Oba­di­ah Old­buck in its total­i­ty here.

Oldbuck 3

Relat­ed Con­tent:

Down­load Over 22,000 Gold­en & Sil­ver Age Com­ic Books from the Com­ic Book Plus Archive

Down­load 15,000+ Free Gold­en Age Comics from the Dig­i­tal Com­ic Muse­um

The Reli­gious Affil­i­a­tion of Com­ic Book Heroes

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture as well as the video series The City in Cin­e­ma and writes essays on cities, lan­guage, Asia, and men’s style. He’s at work on a book about Los Ange­les, A Los Ange­les Primer. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Batman & Other Super Friends Sit for 17th Century Flemish Style Portraits

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Por­traits tak­en by Sacha Gold­berg­er at Super Flem­ish

Super­heroes, as you may have noticed, are seri­ous mon­ey­mak­ers these days. It start­ed when Tim Bur­ton res­cued Bat­man from Adam West’s campy clutch­es, pour­ing him into a butch black rub­ber suit that is of a piece with a lean­er, mean­er Bat­mo­bile. Pre­vi­ous­ly unthink­able dig­i­tal spe­cial effects quick­ly replaced all trace of Biff! Pow!! Wham­mo!!! Fran­chise oppor­tu­ni­ties abound­ed as the entire Jus­tice League went on the block.

Hav­ing looked at it from both sides now, I can only con­clude that something’s lost…

…but something’s gained in the por­traits of Sacha Gold­berg­er, a pho­tog­ra­ph­er who har­ness­es the pow­er of 17th  cen­tu­ry Flem­ish school por­trai­ture to restore, nay,  reveal these icons’ human­i­ty.

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The soft­er fab­rics and Ver­meer-wor­thy light­ing of his Super Flem­ish project give his pow­er­ful sub­jects room to breathe and reflect.

Same goes for us, the view­ers.

It’s much eas­i­er to dwell on the exis­ten­tial nature of these myth­ic beings when the White House isn’t explod­ing in the back­ground. There are times when tights need the bal­last that only a pair of pump­kin pants can pro­vide.

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Gold­berg­er — whose pre­vi­ous for­ays into both super­heroes and Flem­ish por­trai­ture fea­ture his ever-game granny — helps things along by cast­ing mod­els who close­ly resem­ble their cin­e­mat­ic coun­ter­parts. But it’s not just the bone struc­ture. All of his sit­ters dis­play a knack for look­ing thought­ful in a ruff. In the artist’s vision, they are “tired of hav­ing to save the world with­out respite, promised to a des­tiny of end­less immor­tal­i­ty, for­ev­er trapped in their char­ac­ter.”

Find more por­traits over at Super Flem­ish.

Relat­ed Con­tent:

Artist Nina Katchadouri­an Cre­ates Flem­ish Style Self-Por­traits in Air­plane Lava­to­ry

Por­traits of Vice Pres­i­dents with Octo­pus­es on Their Heads — the Ones You’ve Always Want­ed To See

Typed Por­traits of Lit­er­ary Leg­ends: Ker­ouac, Sara­m­a­go, Bukows­ki & More

The Genius of Albrecht Dür­er Revealed in Four Self-Por­traits

Ayun Hal­l­i­day is an author, home­school­er, and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine. Fol­low her @AyunHalliday

A Look Inside Charlie Hebdo, Their Creative Process & the Making of a Fateful Cartoon

A week ago, Char­lie Heb­do was any­thing but a house­hold name. On Wednes­day, after the appalling ter­ror­ist attacks in Paris, all of that changed.

We all now have Char­lie Heb­do on the tip of our tongues. We’ve seen sam­ples of their satir­i­cal car­toons. And we’ve read about the news out­lets too afraid to print them. But what do we still know about Char­lie Heb­do — about the actu­al car­toon­ists who made the news­pa­per tick, their satir­i­cal ambi­tions and their cre­ative process? Not very much.

The short doc­u­men­tary above, filmed at Char­lie Heb­do in 2006 by Jerôme Lam­bert and Philippe Picard, helps fill in some of these blanks. The clip shows sev­er­al of the car­toon­ists and edi­tors mur­dered ear­li­er this week —  Jean Cabut (aka Cabu), Bernard Verl­hac (aka Tig­nous) and Georges Wolin­s­ki — mak­ing a fate­ful deci­sion: Would they put a satir­i­cal image of Muham­mad on the cov­er of their news­pa­per?

The Char­lie Heb­do car­toon­ists turned “provo­ca­tion and bad taste” (to use Lam­bert and Picard’s words) into a par­tic­u­lar­ly French form of polit­i­cal satire. As the French trans­la­tor Arthur Gold­ham­mer explained it ear­li­er this week, “There is an old Parisian tra­di­tion of cheeky humour that respects noth­ing and no one,” which goes back to the French Rev­o­lu­tion. “It’s an anar­chic pop­ulist form of obscen­i­ty that aims to cut down any­thing that would erect itself as ven­er­a­ble, sacred or pow­er­ful,” and it is direct­ed against “author­i­ty in gen­er­al, against hier­ar­chy and against the pre­sump­tion that any indi­vid­ual or group has exclu­sive pos­ses­sion of the truth.” That tra­di­tion will con­tin­ue next week when Char­lie Heb­do and its sur­viv­ing staff plan to pub­lish one mil­lion copies of their next edi­tion.

The video above, put online by The New York Times, is cou­pled with a short op-ed by Lam­bert and Picard. You can read it here.

Fol­low us on Face­book, Twit­ter and Google Plus and share intel­li­gent media with your friends. Or bet­ter yet, sign up for our dai­ly email and get a dai­ly dose of Open Cul­ture in your inbox.

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Bound by Law?: Free Comic Book Explains How Copyright Complicates Art

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Let’s say you’re a film­mak­er shoot­ing a doc­u­men­tary in New York City. You wan­der through Times Square, through muse­ums, through oth­er des­ti­na­tions, let­ting your cam­era roll along the way. Only lat­er do you won­der: Do I need to clear the copy­right on the Andy Warhol and Jack­son Pol­lock paint­ings that came into my cam­er­a’s field of view when I was shoot­ing at the MoMA? Or do I need to get clear­ance on a Miles Davis song that a busker, caught on film, hap­pened to be play­ing?

Those are the dif­fi­cult kinds of ques­tions that film­mak­ers face, and they get sort­ed out in a pret­ty unique com­ic book writ­ten by Kei­th Aoki, James Boyle and, Jen­nifer Jenk­ins. Spon­sored by Duke’s Cen­ter for the Study of the Pub­lic Domain, the com­ic is called Bound By Law? (Tales from the Pub­lic Domain). And it’s avail­able as a free PDF file (8mb — 16mb), in html for­mat, and also as a flash ani­ma­tion. There are also trans­la­tions in Por­tugueseFrench, and Ital­ian. And wait, there’s more: the com­ic comes with a Fore­word by Oscar-win­ning film­mak­er Davis Guggen­heim, and an Intro­duc­tion by Boing­Bo­ing blog­ger Cory Doc­torow, who calls Bound by Law? not just “a trea­tise on copy­right,” but also “a lov­ing trib­ute to the form of comics.”

Bound By Law? — which has been released under a Cre­ative Com­mons license — will be added to our col­lec­tion, 800 Free eBooks for iPad, Kin­dle & Oth­er Devices. Har­vard also has a MOOC on Copy­right — one of 260 MOOCS get­ting start­ed in Jan­u­ary 2015.

Relat­ed Con­tent:

Kandin­sky, Mon­dri­an, Munch & Flem­ing Entered Pub­lic Domain in 2015 — But Welles, Achebe, and “Pur­ple Peo­ple Eater” Didn’t

Down­load 15,000+ Free Gold­en Age Comics from the Dig­i­tal Com­ic Muse­um

Down­load Over 22,000 Gold­en & Sil­ver Age Com­ic Books from the Com­ic Book Plus Archive

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