From Comic Strips To Graphic Novels

This essay collection examines the theory and history of graphic narrative as one of the most interesting and versatile forms of storytelling in contemporary media culture. Its contributions test the applicability of narratological concepts to graphic narrative, examine aspects of graphic narrative beyond the ‘single work’, consider the development of particular narrative strategies within individual genres, and trace the forms and functions of graphic narrative across cultures. Analyzing a wide range of texts, genres, and narrative strategies from both theoretical and historical perspectives, the international group of scholars gathered here offers state-of-the-art research on graphic narrative in the context of an increasingly postclassical and transmedial narratology. This is the revised second edition of From Comic Strips to Graphic Novels, which was originally published in the Narratologia series.

A funny graphic-novel series by Aaron Reynolds, New York Times bestselling author of Creepy Carrots! His grandpa invented fire. His dad invented the wheel. How will Caveboy Dave leave his mark? Dave Unga-Bunga has always been more scrawny than brawny. This is a major problem when your village expects you to become a meat-bringer. At age twelve, all young cave-people must stalk through the eerie mushroom forests for a prehistoric beast the village can feast on. But Dave would much rather invent stuff for a better life—like underwear to make loincloths less itchy and cutlery to make eating less filthy. Can Dave save his group by inventing the perfect defense against a bloodthirsty pokeyhorn? Or will he MEET HIS DOOM? First in a new series, More Scrawny Than Brawny delivers irresistible characters, big thrills, and even bigger laughs. "Imagine a prehistoric version of Wimpy Kid meets Captain Underpants." —Boys' Life

This essay collection examines the theory and history of graphic narrative as one of the most interesting and versatile forms of narrative beyond traditional literary texts. Analyzing a wide range of texts, genres, and narrative strategies from both theoretical and historical perspectives, its various contributors offer state-of-the-art research on graphic narrative in the context of an increasingly postclassical and transmedial narratology.

Meet Ace and Bub, the flying beaver brothers! Ace loves extreme sports and is always looking for a new adventure. Bub loves napping and, well, napping. But when penguins threaten to freeze Beaver Island for "resort and polar-style living," the brothers put their talents to work saving their tropical island paradise. Can they save Beaver Island from environmental destruction? And can they do it in time to still win the annual Beaver Island Surfing Competition?

Praised throughout the cartoon industry by such luminaries as Art Spiegelman, Matt Groening, and Will Eisner, this innovative comic book provides a detailed look at the history, meaning, and art of comics and cartooning.

In Film and Comic Books contributors analyze the problems of adapting one medium to another; the translation of comics aesthetics into film; audience expectations, reception, and reaction to comic book-based films; and the adaptation of films into comics. A wide range of comic/film adaptations are explored, including superheroes (Spider-Man), comic strips (Dick Tracy), realist and autobiographical comics (American Splendor, Ghost World), and photo-montage comics (Mexico's El Santo). Essayists discuss films beginning with the 1978 Superman. That success led filmmakers to adapt a multitude of comic books for the screen including Marvel's Uncanny X-Men, the Amazing Spider-Man, Blade, and the Incredible Hulk as well as alternative graphic novels such as From Hell, V for Vendetta, and Road to Perdition. Essayists also discuss recent works from Mexico, France, Germany, and Malaysia. Essays from Timothy P. Barnard, Michael Cohen, Rayna Denison, Martin Flanagan, Sophie Geoffroy-Menoux, Mel Gibson, Kerry Gough, Jonathan Gray, Craig Hight, Derek Johnson, Pascal Lef?vre, Paul M. Malone, Neil Rae, Aldo J. Regalado, Jan van der Putten, and David Wilt Ian Gordon is associate professor of history and convenor of American studies at the National University of Singapore. Mark Jancovich is professor of film and television studies at the University of East Anglia. Matthew P. McAllister is associate professor of film, video, and media studies at Pennsylvania State University.

Diploma Thesis from the year 2012 in the subject American Studies - Literature, grade: 1,7, Martin Luther University, language: English, abstract: Throughout the history of the modern graphic narrative in America, its format has extended from short newspaper comic strips to the substantially longer graphic novels of today. During this physical evolution, the stylistic features of the art form were gradually broadened, as well. Defining creators transcended the formal characteristics of the art form, hence, establishing and constantly enriching a variety of narrative tools. Simultaneously, the cultural acceptance of comics as an acknowledged form of expression has also undergone a major shift. Today, authorities and institutions of highbrow literature are increasingly starting to recognize recent ambitious comic books as sophisticated works. Within the last twenty years, even recognized literary institutions outside of the comic book field have honored exceptional creators for their outstanding achievements. Moreover, discussions on the art form have lead to steadily growing academic interest. Hence, the art form has slowly gained social respectability.The majority of critics mainly praised today's graphic novels for their social, political and cultural relevance. However, the graphic narrative has a long tradition in fulfilling this criterion of culturally appreciated literature. By advancing the medium's formal means of expression, the eradefining creators widened comics' potential to critically reflect upon contemporary issues, confront controversially discussed questions and challenge established norms and values. The following analysis tests this thesis by chronologically approaching several periods of comic history. This work follows Duncan and Smith's historical periodization, as they respect crucial changes in both form and function (22-24). Considering four historical stages of creative proliferation, this thesis regards comics' evolution from newspaper-boun

A guide to creating visual stories, from a single panel to a graphic novel, from a veteran in the field! Barbara Slate guides aspiring graphic storytellers through the same process she learned in her early days working for Marvel and DC Comics-a process she has simplified for the classes she teaches in schools, libraries, and colleges. Suitable for all ages from elementary school to senior citizens, it is presented in the form of a graphic novel itself. The book covers all the components and shows readers how to: Find their own drawing style regardless of ability; create memorable characters, compelling plots and subplots, and engaging dialog; lay out pages that grab the reader's eyes, and traverse the business.

This anthology hosts a collection of essays examining the role of comics as portals for historical and academic content, while keeping the approach on an international market versus the American one. Few resources currently exist showing the cross-disciplinary aspects of comics. Some of the chapters examine the use of Wonder Woman during World War II, the development and culture of French comics, and theories of Locke and Hobbs in regards to the state of nature and the bonds of community. More so, the continual use of comics for the retelling of classic tales and current events demonstrates that the genre has long passed the phase of for children’s eyes only. Additionally, this anthology also weaves graphic novels into the dialogue with comics.

The author of Ghost World presents an offbeat tour of the sleepy Midwestern town of Ice Haven and its unusual inhabitants, including Random Wilder, the narrator and would-be poet laureate of the town; his arch-rival Ida Wentz; the lovelorn Violet Van der Plazt and Vida Wentz; Mr. and Mrs. Ames, a detective team; and others. Mature.