Chapter 5: Graphic Novels
Introduction
Graphica is an umbrella term often used to refer to graphic novels, comics, manga and other types of graphic text such as graphic memoirs (Kiefer & Tyson, 2014). Graphic novels as such are not considered a genre but rather a format. In fact, graphic novels are found across genre lines and range from realistic fiction stories about middle school, traditional literature stories about Greek gods, historical fiction stories about the Revolutionary War, to nonfiction topics in the field of science. It would be challenging to find a genre of literature that doesn’t include graphic novels. A trip to the local library or nearest bookstore provides a visual of the rise in popularity of graphic novels as more shelf space is dedicated to graphica overall. In fact, in 2021 Publisher’s Weekly reported a 123% rise since 2020 in YA graphic novel sales (Yung, 2021). Numbers speak for themselves. Graphic novels are a preferred format for children and adolescents and have a role in both motivating students to read as well as in classroom instruction.
Main Content
To differentiate graphic novels from other types of graphica, Jimenez et al., (2017) provides the following definition: “In our work, we prefer to think of a graphic novel as a static and sequential book-length narrative in which words (implied or explicit) and images work to support each other, bounded by page and panel, to tell a story impossible to convey using only one or the other” (p. 363). Therefore, graphic novels are a type of multimodal text combining print, images, and design, and requiring complex skills of the reader (Bemiss & Keel, 2021). There are specific benefits provided by the layers of graphic novels as the reader is provided with “multiple access points” to draw inferences, make connections, observe multiple perspectives, think critically and make meaning of the text (Jimenez et al., 2017, p. 363).
For an English learner or reluctant reader, the images provide support for making meaning (McClanahan & Nottingham, 2019). To gain visual literacy and the skills to navigate multimodal text, and also given the complexity of graphic novels, teachers need to teach students how to read this type of text and therefore need the knowledge themselves of how to approach it (McClanahan & Nottingham, 2019). The skills required to navigate graphic novels by teacher and student alike are essential (Jennings et al., 2014).gate graphic novels by teacher and student alike are essential (Jennings et al., 2014).
Prior to teaching the skills and strategies to guide students in reading graphic novels, it is important to understand how the modes of text interact (McClanahan & Nottingham, 2019). Jimenez and Meyer (2016) use the framework of semiotics in explaining how to navigate the multimodality of graphic novels. In a graphic novel, there are linguistic, visual, and spatial systems that convey the meaning in the text (Jimenez & Meyer, 2016). Meaning is derived from the printed words or the linguistic system, from the illustrations, or visual system, and from the spatial system including but not limited to the layout (Jimenez & Meyer, 2016). Therefore, the comprehension skills required by the graphic novel reader differ from that of text alone.
Jimenez and Meyer (2016) rely on Serafini’s four resource model when considering the role of the reader in deriving meaning from the semiotics present in the graphic novel: reader as navigator, interpreter, interrogator, and designer. The reader must navigate the print and visual aspects of the text and then interpret the semiotic systems to make meaning (Jimenez & Meyer, 2016). As interrogator, the reader considers power structures, the impact of their own bias, and representation by the author. Jimenez and Meyer’s study (2016) found this role less developed by their readers. When the reader is the designer, they decide how the text is read and the reading reflects the individual (Jimenez & Meyer, 2016). “Effective reading of graphic novels requires cognitively intensive activity in which the reader attends to and synthesizes linguistic, visual, and spatial resources to co-create the story” (Jimenez & Meyer, 2016, p. 438). The reader of the graphic novel must navigate both the structures of print text and visual design (Jimenez & Meyer, 2016).
Fully constructing the meaning of a graphic novel takes time, and the reader should devote time to reading both the words and images. If the reader doesn’t include all of the semiotic resources and solely reads the text, the experience as reader and their comprehension of the text will likely suffer (McClanahan & Nottingham, 2019). Without the necessary skills, the reader may feel frustrated and dismiss this format and disengage. McClanahan and Nottingham (2019) remind us that graphic novels present information through multiple modalities unlike the traditional print dominated text used in school. Readers then must have the skill to read both the text and the images and make connections between the two (McClanahan & Nottingham, 2019). In fact, “many students may need to be reintroduced to activating the visual coding process and reintegrating it with the verbal” (McClanahan & Nottingham, 2019, p. 40). McClanahan and Nottingham (2019) identify three major elements to teach students in order to fully comprehend graphic novels: visual literacy, graphic novel specific vocabulary, and how to synthesize the words and images. In a graphic novel, the author and illustrator speak to the reader through color, lines, point of view, size of panels, gutters, balloons and images (McClanahan & Nottingham, 2019). The dialogue is not through words alone, and the reader must work to interpret the graphic novel through all modalities.
If the reader navigates the graphic novel format, integrating image and text, the format provides an opportunity to engage with complex information and ideas. However, one of the criticisms of graphic novels is that meaning is conveyed through text and images, thus reducing both the number of words and rich vocabulary as compared to traditional prose. Instead of the use of descriptive language to describe the setting or set the mood, the graphic novel employs visuals, gutters, sounds and color (McLaughlin & Pilgrim, 2018). Therefore, there are multiple forms of language in graphic novels (Low & Jacobs, 2018).
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Evaluation Questions
- Can you find all the elements that make up graphic novels: panels, word balloons, sound effects, motion lines, narration, and background colors? If you take out any one of these, what do you lose? Can you still understand the story?
- How do you read a graphic novel? Do you look at the images and words together, panel by panel? Do you read all the text on the page and then go back and look at the pictures? Do you look at the pictures first and then go back and read the words? There’s no right way to read a graphic novel, and many readers go through them differently. Compare how you read an assigned graphic novel with how your neighbor does, and see if how you read it is different or the same.
- Graphic novels use both words and images. Pick a page or a sequence from a graphic novel and think through what you learn from just the words. Then think about what you learn from just the images. Are they telling you the same information, or are they giving you different information? How do they work together?
- Expressions and gestures are important to how we understand characters. Can you find an example of a particular expression or movement that you think shows a significant character trait?
- Many elements of graphic novels are similar to what you see in movies. A graphic novel creator can be the director in deciding what each panel and page shows. Think about the frame of each panel. What are you seeing? What are you not seeing? What about the camera angle? The distance from the subject of the panel? Are there any sound effects? Why did the creator make those choices?
- On top of being a director, graphic novel creators are also editors. The action in comics happens “in the gutters,” or in the spaces between each panel. Sometimes big things happen in the time it takes to turn the page. Looking through a graphic novel, can you find a specific sequence of panels or a page turn that you think is dramatic or exciting? Why do you think the creator chose that sequence of images or that page turn to emphasize that moment?
- The pace at which panels change, and how much time seems to pass, is carefully presented. Time, in how fast or slowly it seems to pass, is important in how panels change. Can you find a sequence where the pacing is slow, observing a character or scene? How about a sequence when everything speeds up?
- In prose works, details are given to the reader in the descriptions. In graphic novels, details are in the images in the background, character design, clothing, and objects. Take a look at this graphic novel and see if you can find five details in the way a person or object is drawn. What does each detail tell you about the characters? The place? The world?
Benefits
Graphic novels appeal to a wide audience. They can encourage a reluctant reader, engage an English learner, and challenge a proficient reader. It is important that readers are taught “how” to read a graphic novel in order to reap the benefits of the multiple layers of meaning found through the text and images.
Books
- Brockington, D. (2017). Catstronauts: Mission moon. Little, Brown Books for Young Readers.
- Clanton, B. (2016). Narwhal: Unicorn of the sea. Tundra Books.
- Monster, R. S. (2019). Minecraft (Vol. 1). Dark Horse Books.
- Pearson, L. (2010). Hildafolk. Nobrow.
- Langridge, R. (2014). Abigail and the snowman. KaBOOM!.
- North, R. (2012). Adventure time (Vol. 1). KaBOOM!.
- Kibuishi, K. (2008). The stonekeeper. Scholastic.
- Ostertag, M. K. (2017). The witch boy. Scholastic.
- Hatke, B. (2016). Mighty Jack. First Second.
- Hatke, B. (2011). Zita the space girl. First Second.
- Ullman, R. L. (2015). Epic zero: Tales of a not-so-super 6th grader. But That’s Another Story…Press.
- Thummler, B. (2018). Sheets. Oni Press.
- Winick, J. (2015). The boy who crashed to Earth. Random House Children’s Books.
- Stevenson, N., Ellis, G., Watters, S., & Allen, B. (2014). Lumberjanes: Up all night. BOOM! Studios.
- Yang, G. L. (2006). American born Chinese. First Second.
- Pilkey, D. (2016). Dog man. Graphix.
- Telgemeier, R., & Martin, A. M. (2006). Kristy’s great idea. Graphix.
- Tamaki, M., & Tamaki, J. (2014). This one summer. First Second.
- Tynion, J., IV., Sygh, R., & Baiamonte, W. (2017). The backstagers (Vol. 1). BOOM! Box.
- Bell, C. (2014). El deafo. Amulet Books.
Additional Information
Low and Jacobs (2018) recommend the use of literature circles to examine graphic novels, and in particular the role of “Text Maven” to examine the language in graphica (p. 328). This role would consider thought balloons, speech balloons, font, sounds, and any other text (Low & Jacobs, 2018). “The Text Maven discusses all linguistic elements and considers their role in contributing to the meaning of the graphic text” (Low & Jacobs, 2018, p. 328). For example, on page 39 in When Stars are Scattered, the panels incorporate narration, music, colors that indicate time of day, and speech bubbles to convey Omar’s decision to attend school and the feelings that accompany that difficult decision (Jamieson & Mohamed, 2020). Each sign conveys meaning to the reader.
Jimenez et al., (2017) recommend the use of anchor charts with student friendly definitions of terms, visual thinking strategies, and Readers Theatre as strategies to implement in the classroom. Transforming graphic novels into scripts for Readers Theatre would allow students to engage in an authentic writing experience and deepen their understanding of the text. Double-entry journals would be another effective tool when studying a graphic novel. Students could select one character and record events or quotes that stand out to them and reflect on how they feel reading it. BookSnaps would be another effective tool to allow the reader to connect with the text through a digital representation (Martin, 2016). Students could work in pairs or small groups to process chunks of text and practice annotation in an engaging manner. For example, if reading When Stars are Scattered, students could be assigned sections of the book to respond to through pictures and words.
Additional Resources
Author Interview: Learn More about CeCe Bell
References
Bemiss, E., & Keel, M. (2021). Meeting the needs of all students: Fostering the use of graphic novels among pre- and in-service teachers. Journal of Literacy Innovation, 6(1), 75-89.
Jiménez, L., Roberts, K., Brugar, K., Meyer, C., & Waito, K. (2017). Moving our can(n)ons: Toward an appreciation of multimodal texts in the classroom. The Reading Teacher, 71(3), 363–368. https://doi.org/10.1002/trtr.1630
Jimenez, L. M. & Meyer, C. K. (2016). First impressions matter: Navigating graphic novels utilizing linguistic, visual, and spatial cues. Journal of Literacy Research, 48(4), 423-447.
Kiefer, B. & Tyson, C. (2014). Charlotte Huck’s children’s literature: A brief guide (2nd ed.). McGraw-Hill.
Low, D. & Jacobs, K. (2018). Literature circle roles for discussing graphica in language arts classrooms. Language Arts, 95(4), 322-331.
Martin, T. (2016). BookSnaps: Snapping for learning. Tara Martin. https://www.tarammartin.com/booksnaps-snapping-for-learning/
McClanahan, B. J. & Nottingham, M. (2019). A suite of strategies for navigating graphic novels: A dual coding approach. The Reading Teacher, 73(1), 39-50.
McLaughlin, L., & Pilgrim, J. (2018). Graphic options: A comparison of stories and their graphic novel counterparts. Texas Association of Literacy Educators Yearbook, 5, 45-55.
Yung, S. (2021, August 5). 2021 SCBWI conference: Significant market transformation due to covid-19. Publishers Weekly. https://www.publishersweekly.com/pw/by-topic/ childrens/childrens-industry-news/article/87073-2021-scbwi-conference-significant-market-transformation-due-to-covid-19.html
