Christian Gasser

Christian Gasser, born 1963, Swiss writer. He is a lecturer at the Lucerne University of Art & Design and an editor and co-publisher of the comic magazine STRAPAZIN.

Christian Gasser, born 1963, Swiss writer. He is a  lecturer at the Lucerne University of Art & Design and an  editor and co-publisher of the comic magazine STRAPAZIN.
(c) Christof Schuerpf

Biography

Christian Gasser, born 1963, Swiss writer. He is a  lecturer at the Lucerne University of Art & Design and an  editor and co-publisher of the comic magazine STRAPAZIN.

Blog Posts

ELit Book Tip: Ulli Lust: “How I Tried to Be a Good Person”

Ulli Lust, in her mid-twenties, an aspiring artist in Vienna, is in love with two men: Georg, the 20-year-old actor, with whom things have fizzled out in bed; and Kimata, the Nigerian refugee, with whom she flirts at a party and falls into a madly passionate affair.

Who’s afraid of the e-Comic?/ Wer hat Angst vor dem E-Comic?

The “ebook” has been the slow-burner for years at book fairs. At Comic Festivals, of course, events are organized about the e-Comic, although the approach is comparatively reserved and tentative. Facing up to the digital revolution – sooner or later this will also impact on the comic – is not happening as consistently as it should.

The angst of growth/ Die Angst vor dem Wachstum

Picture the scene: your job is in an area that will have experienced growth – and more, and more growth – for almost twenty years. Yet, by now your biggest worry is nothing more than this boom

Angoulême 2015 – Charlie Hebdo

The Angoulême International Comics Festival is the mecca of the comic scene. For the 42nd festival, illustrators, writers, publishers and journalists from around the world and over 200,000 comic fans gathered in the small town in south-west France. The comic world’s big festival was overshadowed this year by the Charlie Hebdo attack.

War in Comic-books/ Der Krieg im Comic. Part/ Teil 1: Jacques Tardi

There have always been war Comics. As elsewhere in popular culture, they satisfy the need both for heroic action and pacifist debate. As a result, they frequently suffer the same problems as the portrayal of war in films: even the best and most pacifist intentions are undermined by the power of the images, and distorted by the portrayals of camaraderie, spectacular deeds on the battlefield and kitschy representations of the front-line. All this involuntarily glorifies war.

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