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(Colin Milburn, "Nanowarriors: Military Nanotechnology and Comic Books," Intertexts 9.1 (2005): 77-103. This article is posted at the University of California eScholarship Repository by permission of Texas Tech University Press.) In 2002, MIT's Institute for Soldier Nanotechnologies (ISN) appropriated copyrighted images from the comic book Radix in a grant proposal to the U.S. Army—a proposal that succeeded in securing $50 million for foundation of the Institute. While this case draws on questions of authorship and the local origins of words and images, it also vividly animates the nonlocal and nonlocalizable cultural narratives that enframe the field of soldier nanotechnology. Comic-book images of soldier nanotechnology may serve to inspire certain scientific projects as conceptual artwork, or even as design-ahead engineering diagrams, but they also bear in themselves traces of a long history of graphic narratives about superhuman techno-augmentation and military cyborgs. This article analyzes the intertextual webs of comic-book images and superhero narratives that entangle the research programs, the rhetoric, and the culture of military nanoscience.

Editorial for "Appropriating, Interpreting, and Transforming Comic Books," edited by Matthew Costello, special issue, Transformative Works and Cultures, no. 13 (2013).

This book offers a series of short, provocative essays about value and reputation in the world of American comic books. Inspired by Pierre Bourdieu's analyses of fields of cultural production, The Greatest Comic Book of All Time explores why works have the reputations that they do and what it might take to re-structure the comics world along different principles

Comic books are read on a regular basis by young and old, rich and poor, urban and rural Mexicans. Humor, adventure, police, fantastic and political comic books are but a few types of these popular publications found at newsstands on busy downtown street corners or laid out on sidewalks in quiet neighborhoods. Because of their immense popularity, their content merits serious attention. Harold Hinds and Charles Tatum study the images of women in four comic books—Kaliman, Lagrimas, risas y amor, La familia Burron and El Payo—and assess the degree to which these images conform to or deviate from traditional stereotypes of Mexican women. They find that in some cases these stereotypical images are not found: but in most, readers encounter submissive, passive and long‐suffering females dependent upon males for their self‐esteem; or at least woman as ideal fiancee‐spouse, as mistress‐sex‐object and as witch. Two women—Borola of La familia Burron and Lupe of El Payo—are more assertive and not cast in the same mold as most other comic book women.

Intro -- Table of Contents -- Preface -- Introduction -- Chapter One -- The Mohican Syndrome and Super "Wannabes": Ain't Nothin' Like the Real Thing -- Chapter Two -- Multiethnic Heroes: A Case of (Really!) Mistaken Identity -- Chapter Three -- The Indian as Sidekick: Falling Prey to More Villains' Traps by 10 a.m. Than Most People Do All Day -- Chapter Four -- The Indian's Sidekick: Where's That New "Temp" We Hired? -- Chapter Five -- Instant Shaman (Just Add Indian) -- Chapter Six -- Indigenous Trackers Union (ITU) -- Chapter Seven -- Sepia-Toned Prison: Indigenous Characters as Historical Artifacts -- Chapter Eight -- Modern-Day Native Heroes: Now with 25 Percent Fewer Feathers! -- Chapter Nine -- Indigenous Revision -- Chapter Ten -- Independent Voices: Native American Comic Books from Smaller Publishers -- Chapter Eleven -- The Video Game Crossover: Indigenous Comic Book Characters Comin' Straight Atcha! -- Chapter Twelve -- Native Warriors: Indigenous Representation in the Military -- Chapter Thirteen -- The Power of Indigenous Women: PIW in Action! -- Conclusion: Knowing Is Half the Battle -- Appendix A: Major Native American Comic Book Characters -- Appendix B: Literature Review and Resources -- Works Cited -- Index of Terms.

Editorial for "Appropriating, Interpreting, and Transforming Comic Books," edited by Matthew Costello, special issue, Transformative Works and Cultures, no. 13 (2013).