Comic Strips, comic books, graphic novels, Manga - the art of comics can take on many forms and styles of narrative. From single frame to full novels to the ever present Sunday Newspaper Strip, comics have been a part of American culture and the American psyche for decades. Comics have always served as a medium that reaches a considerably large audience – from the daily paper to specialized graphic novels (Spiggle 100-13). However they are continually debated in regards to value, education, and their place within the art world. A direct conclusion has yet to be reached that establishes comics’ role in the American landscape. However, this very well may be because comics are one of the only art forms that can cross so many borders. With elements of narrative storytelling, words, pictures, symbols, and icons comics tend to bridge the gap between literature and art. However, neither field welcomes comics with open arms.
Much research has been conducted examining comics’ relationship to art, which has been an integral part in developing a clear definition of the form itself. However, as the research tells us, this topic was hotly debated, and as bias continued to flourish, comics were seen has a “low” art form for many years; garnering protest within the educational and art fields (Schmitt 153-60). Only in recent years does this trend seem be reversing. Comics have also been not only criticized but admired for their role in language and reading development, as well as, their portrayal of social values and beliefs. It seems that the research is still entirely inconclusive with research presenting both sides of the argument without reaching a conclusion, but maybe this is the goal: to raise more questions and inspire further study. When society encounters a form of media that transcends various genres, it is forced to look at it with a critical eye. And this is rightfully so, for comics need to be studied to understand their full potential. Yet all the research being done covers the same topics with the same (in)conclusions.
Various articles have been written in publications from The Journal of Popular Culture to Education Week to TIME magazine in relation to comics place in this media-filled world from their qualifications as a true art form to their place within the educational system to their commentary on social issues of the day. Almost all research is quick to note the fast-growing nature of the comics industry, especially it’s ability to appeal to a mass audience across several mediums since it’s introduction into American pop culture in the early 1900’s, and this trend continues (Lieberman B1; Pawlowski 1; Spiggle 100-13).
Comics are a “window into certain aspects of American society,” (Berger 164-77) Therefore, the goal should not be to ban and devalue comics, but to understand and embrace their function has a media unto itself with the potential to not only reflect current values and beliefs, but educate technically as well as metaphorically.
Comics as Art
I think it is crucial to first recognize, or at least examine, comics’ role as a preeminent art form. Investigations conducted over the last 60 plus years continually bring up the argument of comics as art, however, none of this research ever gives us a clear answer. But is there every really a clear answer as to the true nature of art? However, in general research often notes the public perception of comics as a “low” art form (Dorrell, Curtis, and Rampal 223-32). Author Ronald Schmitt even notes comics have an “inconsequential and frivolous façade.” On the other hand, in his comprehensive and widely respected book Understanding Comics, Scott McCloud, derives from Will Eisner’s initial definition of comics as “sequential art,” a new, elaborative description that surely suggests comics are indeed art:
com-ics (kom’iks)n. plural in form, used with a singular verb. 1. Juxtaposed pictorial and other images in deliberate sequence, intended to convey information and/or to produce an aesthetic response in the viewer.
Additionally, although comics are usually seen as a 20th century medium, when examining art history various examples emerge suggesting otherwise. Several articles site the work of Rodolphe Topffer and William Hogarth, two artists form the mid 18th – 19th centuries. Both men worked extensively on narrative storytelling through pictures with Topffer even using the written word to enhance his drawings (McCloud; Brandl 26-8).
Since many scholars and researchers have labored over comics place within the art world, it seems strange to consider it anything but art. In addition, comics are a highly flexible medium, one that appeals to not only a mass audience, but a small subculture depending on genre of comic (Spiggle 100-13). Therefore, comics in all shapes and sizes can qualify as “high” art. In addition, any groundbreaking work of art was labeled as such because it was, well, groundbreaking. It built upon past traditions to create a new way of communicating ideas and representing ideas, beliefs, objects, ways of life, etc. (Schmitt 153-60; Berger 164-77). This is exactly what comics did. When comics first began to show up on the American radar during the early 20th Century, it was a groundbreaking new art form. In his book, The Aesthetics of Comics, David Carrier “recognizes comics as a legitimate form of expression,” (Brandl 26-8). Carrier writes, “The standards of comics include inventiveness, originality, and consistency. The best comics really are great artworks.” Andy Warhol is famously quoted as saying, “Making money is art, working is art, and good business is the best art,” (Art Quotes Book). With comics’ cross-market appeal garnering billions of dollars each year for not only the comic book industry, but for film, TV, and retail companies it seems comics are definitely their own unique brand of art (Lieberman B1).
Comics and Education
Similar to comics’ relationship with art, most research concludes that comics have not been taken seriously by the American public. With comics’ burst into popular culture during the early1900’s pounds of criticism and debate ensued. Calls came from educators and scholars alike to ban them from the classroom. Comics presented concerns for parents, teachers, and society as a whole – this new medium was something unlike anything that had been seen before. Many researchers maintained that reading comics was detrimental to “comprehension, imagination, and caused eyestrain,” (Dorrell, Curtis, and Rampal 223-32). One of the biggest crusaders against comics in school was psychiatrist Fredrick Wertham, who insisted that comics were, “death on reading,” (Dorrell, Curtis, and Rampal 223-32). Wertham’s research appears in many texts, and he authored the book Seduction of the Innocent on the subject, which claimed children with poor reading skills tended to be frequent readers of comic books (Dorrell, Curtis, ad Rampal 223-32). Scholars writing for the Journal of Popular Culture turned to Wertham’s conclusion to tighten their research on the negative attitudes facing comics. However, most articles are quick to note no direct correlation between the reading of comics and intelligence level. In addition, there have been findings that reading comics may even be beneficial in fostering reading skills in remedial students (Dorrell, Curtis, and Rampal 223-32). Other research suggests that a bias towards comics for their commentary on social values have led to negative opinion (Schmitt 153-60). In addition, this incorrect association with being a lower class medium has fostered negative feelings, when in fact comics are generally read by middle and upper class individuals (Berger 164-77). In addition, the comic reaches a significantly wide audience through it’s publication in newspaper, therefore, exposing itself to almost every demographic (Spiggle 100-13). Much of this research was conducted in the 1940-50’s, and therefore, can be viewed as outdated. However, it was highly influential in cultivating attitudes towards comics that are still held today. But times may be changing as recent research is suggesting otherwise. Scholars publishing in the 1990’s and 2000’s in publications such as Education Week have been quick to touch upon Wertham-esque claims, but almost all debunk his outlook. Various articles talk of comics’ positive role in education. An article in The Education Digest notes comics ability to help children read and think creatively, while encouraging language and vocabulary building (Zimmerman 55-7) A 1996 study found that 7th grade males who read comics frequently tended to read more books in general. This same article even states President Barack Obama “credit[s] comic books with awakening [his] own love of reading,” (Viadero 1-2). Comics also have the tendency to use atypical language for children books, which can aid in vocabulary building. Teachers are even beginning to incorporate comics into classroom curricula to assist English-language learners and struggling readers. Educators are also finding comics a valuable tool in addressing sensitive subject matter and fostering creativity in the arts (Viadero 1-2). This demonstrates comics continued role in addressing social issues. Berger even suggests that, “ordinary language is capable, most adequately, of dealing with profound and complex matters. If the comics are simple, it does not mean that the problems the deal with are necessarily so.”
Comics and Social Values
While comics have received protest in the educational field due to their supposed negative effects on reading skills, an underlying cause may be their inherent critique and portrayal of social issues of the times. Comics have served as commentary on current events; illustrating the general tones and sentiments of a culture, as well as, offering fantastical solutions to problems via superheroes fighting crime for the common good. Comics are able to reach both a mass and a specialized audience, which aids in their ability to relate to readers’ needs, concerns, and emotions (Spiggle 100-13). Most research touches on comics’ ability to convey cultural perspectives within their frames, but few delve deep within the subject matter. One researcher even suggests the motivation of Wertham’s entire campaign was the “horror of a society forced to look at its own sins,” (Schmitt 153-60). TIME magazine even points to the increasingly common identification we feel with comic book characters. Comics, like most art forms, provide a representation of life. Therefore, readers like to identify with the characters we are reading about. TIME’s writer, James Poniewozik, states “It’s not enough that superheroes fight our battles. We need them to suffer our heartbreaks, reflect our anxieties, embody our weaknesses.”
In addition, research done by Susan Spiggle suggests that as consumers, we share common values and these values drive content and sales of comics, both mainstream and underground. Consumers feel the need to relate. Her entire inquiry into comics is to “assess the efficacy of content analysis of comics as a technique for measuring social values.” Spiggle goes on to say, “The history, content, market, and production and distribution system of underground commix suggest their utility as an indicator of the values of a distinct sub-cultural group.” Spiggle remarks, “…comics do not so much mirror reality as reflect its idealization.” Furthermore, Berger suggests comics are worthy of study because they open a “window into certain aspects of American society.”
When comics first gained momentum the early 1900’s it was because they provided a diversion from the realities of World War I. These superheroes engaged in battle with villains were metaphors for the battle against communism. Comic books and their characters often embody myths and ideologies of the culture from which they are produced (Schmitt 153-60).
Again, in the 1970’s, comics dealt increasingly with social and political issues (Berger 164-77). It was around this time underground “comix” surfaced on college campus and independent press outlets where the artists could have the freedom necessary to present their views on the issue of the day (Spiggle 100-13) Today some of the more popular artists, such as Chris Ware, tend to write comics that have elements of the personal and private – glimpses into the everyday life of the mundane (See Jimmy Corrigan: The Smartest Kid on Earth). It seems every reader can find a comic book character with which they can connect. Even McCloud points out the act of “cartooning” initially derived from the fact that less realistic-looking characters were easier for readers to identify with. These “superheroes” show us how to manage day to day life within the structure of our collective core values. As Poniewozik remarks, “America likes its superheroes: human.”
Comics and Media Literacy
An area within comics’ research that is increasingly important today is the issue of media literacy. It is my belief that comics act as an exceptional aid in fostering visual literacy skills, as the key to understanding comics is the deciphering of various icons, symbols, and cartoons (McCloud). Berger notes, “Comics give opportunity for a fusion of art and language which allows ideas to be presented in images that are often emotionally gripping.”
Therefore, various articles start to tackle comics’ role in visual or media literacy, but few actually explore comics potential as a tool to teach visual literacy – essentially how to read images and decode meaning. Only Viadero’s article states instances of teachers using comics in lessons on visual literacy. She even provides a quote from a Maryland librarian who says, “As we become a more and more visual society, schools will recognize the usefulness of these novels.” Other research merely suggests the need for media literacy skills to read comics, or how the practice of reading comics can enhance visual literacy (Faust 195-202). For example, Faust states in Comics and How to Read Them, “…the key to understanding them does not lie in the words or pictures alone but in the relationships between them.” He later states, “…communication is the effect of neither the linguistic nor the pictorial field, but of the hybrid.” Essentially this is the key to any form of understanding media. So why have comics not been further explored as tools for this type of education? And how exactly would we teach these lessons? I’ve found that comics are great tools for giving history lessons. In comics, such as, Pyongyang: A Journey in North Korea by Guy Delisle, I was able to travel to a country I’ve never been to and in Louis Reil: A Comic Strip Biography by Chester Brown, I learned about a time in Canadian history I previously knew nothing about. With comics’ ability to educate on other subjects, how can we use comics to educate us on deciphering…comics? Spiggle notes that consumers, “infer values from themes and symbols of human communication,” which clarifies the importance of media literacy.
International Comics & Technology: an Area for Continuation
Very little of the publications I researched contained information with an international perspective on comics. McCloud points out comics’ deep roots in Japan and even discusses the developmental and stylistic differences between Japanese and American comics. In addition, Viadero’s article lightly touches upon Manga, a Japanese-style graphic novel. However, the insight ends here. All other research detailed the American tradition of comics. Little notice was given even to the portrayal of minorities in comics and/or their role in creating or reading comics. Therefore, I believe a key area for additional research would be in addressing international comics with a comparison of their acceptance and history within their own countries.
Furthermore, the research is almost completely devoid of mention to comics’ relation to new and developing technology or new media. Berger discusses comics’ proclivity for addressing the issue of new technology through plot, but I could not find any research that directly addressed comics’ role in a technology, new media-filled future. This is an area that I would be interested in exploring.
Conclusion
In addition to the lack of research touching upon international comics, further work clearly needs to be done to enhance understanding and acceptance of comics within media literacy education and its relationship with new technology. I believe comics are way to give voice to the voiceless, and I think it’s crucial to examine comics at every level and in every geographical setting to understand how readers across the globe interpret this unique art form. In addition, as a former art educator, I understand the extreme importance of media literacy today. A 1956 study on comics by Science Research Association found comics’ meaning lays just “below the surface and concealed from public view,” (Berger 164-77) Therefore, I hope to further research comics’ innate ability to aid in this field of study as a tool for learning and study. Comics amass a huge amount of revenue, and are the basis for other forms of media, such as TV and film (Pawlowski 1). They reach a mass audience across several mediums. Through their “cartoon” characters readers across the globe can identify with the narrative and become a part of the story, often a reflection on a current critical issue. They are direct product of our popular culture (Lieberman B1). So why have these highly influential art forms not been taken seriously for generations? And why are they being further studied to asses their potential as guides to understanding other forms of media? As Faust states, “In analyzing comics, one must take account the connection between entertainment and ideology, between formal composition and mythical content,” and this is what I hope to accomplish with any further research I may do. As Berger mentions, comics are an “important part of our socialization, by virtue of the simple face that millions of children – and adults – cannot continually be exposed to a form of communication without something happening.”
Works Cited
"Famous Art Quotes." Art Quotes Book. artQuotes book, Web. 16 Nov 2009.
Berger, Arthur. "Comics and Culture." Journal of Popular Culture. 5.1 (1971): 164-77. Print.
Brandl, Mark Staff. "Art, Philosophy and Comics." Art Book. 8.2 (2001): 26-8. Print.
Brown, Chester. Louis Reil: A Comic-Strip Biography. Quebec, Montreal: Drawn & Quarterly, 2003. Print.
Delisle, Guy. PYONGYANG: A Journey in North Korea. Quebec, Montreal: Drawn & Quarterly, 2007. Print.
Dorrell, Larry D, Dan B Curtis, and Kuldip R Rampal. "Book-worms Without Books? Students Reading Comic Books in the School House." Journal of Popular Culture. 29.2 (1995): 223-32. Print.
Faust, Wolfgang Max. "Comics and How to Read Them." Journal of Popular Culture. 5.1 (1971): 195-202. Print.
Lieberman, David. "Comic Boom!; Magazines Earn Megabucks Through TV, Film, Retail Sales." USA Today 25 Jul 2008: B1. Print.
McCloud, Scott. Understanding Comics: The Invisible Art. New York, NY: HarperCollins, 1993. Print.
Pawlowski, Warren. "One in 10 Adult Book Buyers Read Comic Books, Simba Study Reveals." Internet Wire (2009): 1. Web. 12 Nov 2009.
Poniewozik, James. "Superhero Nation." TIME 20 May 2002: 76-8. Print.
Schmitt, Ronald. "Deconstructive Comics." Journal of Popular Culture. 25.4 (1992): 153-60. Print.
Spiggle, Susan. "Measuring Social Values: A Content Analysis of Sunday Comics and Underground Comix." Journal of Consumer Research. 13. (1986): 100-13. Print.
Ware, Chris. Jimmy Corrigan, Smartest Kid on Earth. Pantheon Books, 2000. Print.
Viadero, Debra. "Scholars See Comics as No Laughing Matter." Education Week. 28.21 (2009): 1-2. Print.
Zimmerman, Bill. "Creating Comics Fosters Reading, Writing, and Creativity." Education Digest. 74.4 (2008): 55-7. Print.
