Home
- Welcome
- Visualizing Camelot: An Introduction
- Visualizing Camelot in Everyday Life
- Visualizing Camelot at the Movies
- Visualizing Camelot in Popular Culture
- Visualizing Camelot: Major Authors
- Illustrated Malory Editions
- Ashendene Press Malory and "The Barge to Avalon"
- Retellings of Malory
- Illustrated Tennyson Editions
- Tennyson's Influence on Popular Art and Culture
- Tennyson, Watts, and the Strength of Ten
- Art Based on Malory and Tennyson
- Illustrating Mark Twain's A Connecticut Yankee in King Arthur's Court
- Reworking Twain's Connecticut Yankee
- T. H. White
- Sir Gawain and the Green Knight
- Children's Books
- Visualizing Camelot: Iconic Images
- Lancelot Speed
- Aubrey Beardsley
- Fritz Eichenberg
- Women Illustrators
- Curators' Acknowledgments
- Credits
- Events and Programming
- Related Resources, Programming, and Exhibits
Comic Books
Over the years, almost all the major comic book characters—Spider-Man, Spider-Woman, Superman, Superboy, Batman, Iron Man, Swamp Thing, Demon, The Mighty Avengers, Dr. Strange, the Fantastic Four—have had Arthurian adventures. So have some even more unlikely ones, including Uncle Scrooge, the Little People, the Three Stooges, and Pinky and the Brain.
In turn, various Arthurian characters, from Modred (Modred the Mystic) and Parsifal (Star*Reach) to Guinevere (Lady Pendragon) and the ever-popular Merlin (Merlin, Merlin Realm in 3-D), have been featured in their own comics or comic series, with the Arthurian world itself figuring prominently in Arthur, King of Britain and Camelot Eternal. Some comics, like Lancelot and Guinevere, Indiana Jones and the Last Crusade, and King Arthur and the Knights of Justice, are based on films or television shows; others, like the bawdy and erotic adventures of King Arthur (in the X-rated comics Arthur Sex, King Arthur Uncensored, and Camelot Uncensored), are entirely original. And still others—like Mike Barr and Brian Bolland’s Camelot 3000 (1982-1985), in which Arthur and his knights return in the year 3000 to save Britain from invasion from outer space, and Matt Wagner’s Mage (1984), in which an ordinary man drawn into magical struggles between good and evil turns out to be a reborn Arthur—offer particularly innovative handlings of the Arthurian theme.
Displayed are a variety of Arthurian-themed comics, including Sir Lancelot, the futuristic Camelot 3000, the female-oriented Lady Pendragon, and the time-traveling What If? (“What If Iron Man Was Trapped in the Time of King Arthur?”), which shows the influence of Mark Twain’s Connecticut Yankee.