Critical Essays On Graphic Novels

Critical Essays On Graphic Novels-89
Commonly circulated magazines, such as Game Informer or People, are rarely much more than a lot of pictures with captions or small articles written around them. The only difference I can clearly see is that magazines don't have the preconceived notions of being nerdy or geeky like comic books and graphic novels do.

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The primary difference between a graphic novel and comic book is the format of the story contained.

Those stories that follow a continuous plot for the duration of the book should be considered a graphic novel, whereas those that are written with multiple short stories between covers, such as Archie comics, should be considered more of comic books.

Chaney brings together a lively mix of scholars to examine the use of autobiography within graphic novels, including such critically acclaimed examples as Art Spiegelman’s Maus, David Beauchard’s Epileptic, Marjane Satrapi’s Persepolis, Alan Moore’s Watchmen, and Gene Yang’s American Born Chinese.

These essays, accompanied by visual examples, illuminate the new horizons that illustrated autobiographical narrative creates.

Many people associate colorful pages full of images with childishness, and therefore to be taken less seriously as a work of literature.

This is an interesting situation, however, because most people look at magazines on a fairly regular basis, either out of boredom or habit.

Most of us have walked past a set of graphic novels at the store or library and scoffed, wondering why they are with the rest of the books.

We see the colorful images that have a specific order to be viewed in order for them to make sense, and very few words, if any, in each little box.

I do realize this limits what the reader can do as far as imagining the events of the story for themselves, but some stories are written in ways that make it difficult to imagine the scenes without preexisting knowledge about the physical location of the scene.

Working with graphic novels can expand a reader's imagination by giving them another opportunity to think about how or why the author chose the wording or scene decoration he or she did.


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