Understanding Comics Review/Paper

Well, this week I finished my MLIS classes at San Jose State iSchool and realized I have not finished a book in a few weeks. So, for this week’s blog, I found this old paper about Scott McCloud’s Understanding Comics. I really enjoyed reading this book and found the information helpful when reading graphic novels/comics. I had not read many, except the funnies in newspapers, before taking a class last semester. So, here is my paper explaining what I learned from the book. Hope you find it interesting.

Scott McCloud’s Understanding Comics

            Scott McCloud (1993) explains his understanding of comics and the ‘invisible art’ they represent in his book Understanding Comics: The Invisible Art. Readers are introduced to the basic ideas necessary to understand comics not only as a genre or style but as an art form. McCloud (1993) also discusses what makes comics unique and how readers participate in the art. Comics provide readers with the ability to immerse themselves in art and artists can express their message in a new way.

            Comics demand active participation from the readers and make them feel that they are part of the action. They use icons to describe what is taking place, these icons represent many elements both visible and invisible. Comics are more than the sum of their parts making them unique from all other forms of art or literature. McCloud (1994) states that “[i]cons demand our participation to make them work. There is no life [in an icon] …except that which [readers] give to it” (59). The life of comics comes not only from the creators but from the reads and their imaginations.

            This giving of life is seen by what takes place not only in the images and words but in the blank space between panels. McCloud (1994) explains that the magic happens in this blank space between panels known as the gutters. The gutters bring the reader into an active role while reading the comics. The reader must supply what takes place between frames to make a complete story. The example offered by McCloud (1994) is two panels one of two men, one with an ax the other scared. The second panel shows the city skyline and the sound “EEYAA!!” leaving the interpretation of what just conspired to the reader (66). Readers infer that there was a murder in the small space between the panels, completing the story in the gutter. Comics rely on readers’ participation to make an exciting story.

            Comics also depend on readers to participate voluntarily in the process of closure. This closure allows comics to show the movement of time and space. McCloud (1994) explains it this way “[c]omics panels fracture both time and space, offering a jagged staccato rhythm of unconnected moments. But closure allows us to connect these moments and mentally construct a continuous, unified reality” (67). Closure enables readers to create full scenes from what they are being offered. This important aspect of participation from readers allows comics to flow along a given path and tell a marvelous action packed story which moves the readers to not only see the visible but also the invisible elements of life.

Closure does not only take place between the panels but also within them. Readers have the ability to complete an image in their minds, especially of everyday items, things, or events.  When artists chose to only draw a small section of an image in a panel the readers must interpret what is taking place and infer what will happen from it. The mind will not only add additional visual elements but will use memory to add in sounds and smells conveyed by the panels.

            This drawing in of the other senses helps comics to create a more real and lifelike world. This world draws readers into it through participation recalling memories, smells, sounds, etc. Comics have methods to represent sound, smell, and emotion. Each method draws readers more into the story allowing for viewer participation, whether voluntary or involuntary. When reading comics, the icons and lines show what is taking place, even if in the real world it would be unseen. McCloud (1994) states that comics are the “[d]ance of the seen and the unseen” (92). The invisible is made visible through the use of lines and icons, images, and words. This dance takes place on the page with readers participating with artists and writers the entire time.

            The first of many things made visible by comics is the passage of time. The movement of time does not only take place through the comics but in individual panels. Time is expressed when the readers move their eyes along individual panels and know that certain events take place first. While all characters’ words exist simultaneously on the page, they are not each talking over each other and readers intrinsically know this. A basic understanding of how conversations work allows readers to understand that each word bubble is a single moment in time. The use of word bubbles indicates a flow of time across specific panels with the reader dictating when the “now” is.

            Word bubbles are not the only method of showing times passage nor is sound. Time is also shown in the gutters, just like actions. Creators can extend the seen with the addition of more panels along with expanding the space of between the panels. A third way is with the expansion of the panel itself to include more time. Each of these devices allows for the readers to understand that more time is taking place between the panels or actions depicted in them. However, the length of time is still determined by the readers and the images being shown with give some indication as to the length but most often readers infer based on their own everyday experiences (McCloud, 1994, 100-101).

            Besides time comics show readers emotion and invoke emotion from the readers. This revelation of the invisible is seen through the art, use of lines and icons, within the panels. Readers again are to participate in the story and feel along with the characters of the comics. The images used in a specific panel can show emotions and when linked to others this effect is heightened. Like time emotion also takes place in the space between the panels through closure supplied by the readers creating it from their own experiences. Each reader may experience different emotions from the panel just as different viewers of a painting will see it in different ways. Colors are used in comics as well to show emotion alongside lines which dictate the invisible emotions to make readers feel them. Along with icons and color backgrounds also provide a strong sense of emotion in comics. These changes in background cause readers to attribute the “feelings not to themselves but to the characters they identify with” (McCloud, 1994, 132). The identifying with a character and ascribing of emotions allows creators to show internal turmoil in a scene without distorting characters and/or affecting the plot of the story.

            Comics also create a world where smell and sound are both visible by lines and icons. These images represent the smells and sounds which readers know and can add. Readers know what simple wavy lines (a common icon) emanating off a pipe or pile of garbage indicates, also knowing that while the pipe does emit visible smoke the same lines when seen over garbage do not indicate smoke but smell emanating from the trash (McCloud, 1994, 128). Creators show the invisible with the art they use to tell their stories by combining art and words to create a new kind of art/literature.

            Comics have become an art of their own, they are not like their predecessors and have a future not tied to traditional art. While comics are often seen as unworthy to be called literature or art they can be both and yet neither. Comics share a common past with pictorial language, going back centuries to early pictographs and hieroglyphs. They both use icons to share stories, these icons are easily recognizable to readers who interpret them.  Just as hieroglyphics were a language comics also are a language (McCloud, 1994). McCloud (1994) explains that comics have vocabulary and grammar. The vocabulary is icons which provide the words for comics. The grammar of comics is supplied by the panels because they hold together all the icons. The panels help readers understand what is happening and how to follow the story. Without the panels, the icons would be a jumble and fall apart causing confusion.

Conditioning of readers on how to read comics also contributes to how comics are understood. Readers know where to start and end on each page, carrying the story from start to finish. This conditioning allows comics to provide a sense of flow and storytelling. Though McCloud (1994) notes that because we are so used to reading in a particular fashion that “…a mischievous cartoonist can play any number of tricks on us” (105). These tricks can add a sense of fun to the comics or allow for readers to take a different path to the end than expected. A change in how viewer participation is perceived can allow for more methods of storytelling and add new elements to the art of comics(McCloud, 1994, 106).

Comics are an art of the invisible showing readers the world in a different light (McCloud, 1994). They show readers what is possible and what is unseen by revealing it through the use of images, icons, and lines. These image and icons are aided by the addition of words and sometimes colors to create a wonderful world where anything is possible. However, comics are not only created by the artists and writers but by the readers themselves when they use closure to fill in the blanks left by the creators. Every time closure takes place, in a panel or between them, readers are drawn into the world which they are helping to create by adding in the missing information from their own imagination. Comics is a welcoming form of art because it “…welcomes any writer or artist to step into its world…” (McCloud, 1994, 197). Artists are welcomed in to begin creating a world all their own. A second aspect of this welcome is extended to all who read and enjoy comics creating a unique partnership. This partnership is between those creating comics and those reading them to create “…something out of nothing, time and time again” (McCloud, 1994, 205). Every time a comic is read a new adventure starts for the one reading it aided by the images, icons, and words placed on the page by an artist and/or writer. Therefore, comics are truly an art form in which “…what you get is what you give” [McCloud, 1994, 137). Comics have something for all who want to read or create them providing expression in an art form uniquely their own.

Reference

Goodreads.com. (2017). Understanding comics: The invisible art (The comic books #1). Retrieved from https://www.goodreads.com/book/show/102920.Understanding_Comics?ac=1&from_search=true

McCloud, S. (1994). Understanding comics: The invisible art. New York: Harper Collins.

            

Fairest of All: A Tale of the Wicked Queen [Villians] Review

Kindle Screenshot

After having read The Beast Within I saw that Serena Valentino had written other books about the Disney Villains. However, having read the other book and enjoyed it I found this book, about the Wicked Queen, to fall flat. I was constantly annoyed at the fact that she was simply called Queen, even before marrying the king (only ever called King). I would have enjoyed seeing more names given to the characters, even if not necessarily Disney canon.

Summary [Spoilers]

Fairest of All tells the story of how the Wicked Queen became well wicked. She begins as a humble peasant with a father who hates her but makes beautiful mirrors which plays a key role in the whole book. The King falls in love with her and after her father’s death marries her. As long as he is alive, yes, he dies, the Queen and Snow live happily together but after his death she discovers magic. This is where the plot turns strange, three of the King’s cousins come to the funeral and turn out to be witches with similarities to the three fates. They also star in Valentino’s The Beast Within. These three witches return a mirror to the queen which she had broken and things get depressingly dark. Which had been made by the Queen’s father and was enchanted by the witches to hold his spirit, the Slave in the movie. The book now aligns with the movie and attempts explains why the Queen knows magic and now hates Snow for her beauty and love. The book quickly follows the story, skipping many parts from the movie, to see how she finds herself going insane and meets her demise. Valentino then provides a brief epilogue of Snow’s happiness with a twist.

Review

Valentino’s style is stale and leaves many questions for the reader. I found myself wondering why she chose to leave out names for the Queen and King but name other characters. Also, while she often borrows dialogue from the movie other elements of the story do not directly follow Disney’s original storyline. One major plot point which was changed is the appearance of the Prince (also unnamed) earlier than the song at the well. He even saves Snow then spends time with her, while these would make his searching for her seem less strange to a modern audience it follows neither the movie or original Fairytale plots. The story is played out and after Snow has grown up adds very little new information for the readers causing the book to become boring. I almost stopped reading the book more than once, knowing the end did not make this book easier to read. One interesting piece was a story the Queen tells Snow. This tale seems remarkably similar to that of Sleeping Beauty, which is alluded to often in the text as a woman who can turn into a dragon (Maleficent). I would not suggest this book unless you are looking for a quick read. The book flows well but I did not find it interesting or entertaining. I have more questions now than before reading it but thought it could be interesting after reading Valentino’s take on the Beast’s story. I’m not certain I will read the other books in this series either.

Reference

Valentino, S. (2009). Fairest of all: A tale of the Wicked Queen [Kindle edition]. New York: Disney Press.

The Beast Within: A Tale of Beauty's Prince (Villains) [Summary/Review]

A unique view from inside the mind of the Prince from Disney’s Beauty and the Beast. I have to start by saying I will be comparing this with the original animated Disney version, I have not seen the newest movie. While intriguing and an easy read this book raises many questions. Serena Valentino begins with the Prince being grown and having a best friend who is the character typical viewed as the villain Gaston. This twist and choice of adding the Beast to the Villains series of books raise questions for me.

In this version of the Beast’s tale, he is in love with a young woman named Circe and they are to be married. However, things go terribly wrong for him when his “friend,” Gaston, mentions that she is a farmer’s daughter. The story from the opening scene of the 1991 movie is then mentioned though with different intent. Instead of it simply being a fairy the book explains that Circe is not only a woman but a powerful fairy. This leads to her vindictive curse on the Prince who must find love.

I did enjoy seeing the Beast’s perspective on many of the events in the classic (1991) film, though he still lacked a name. Yes, I have heard it’s Adam but the name is never mentioned in the book, by either his friends or betrothed. The prince does eventually find one who loves him, before Belle, but he does not love her or see her beyond a way to break the curse. The story is intriguing but since I was expecting to find out more about the Prince himself not just his time as the Beast, seems like a missed opportunity.

Finding the Beast to be the villain of this book seems odd because in the original he becomes the anti-hero though still having horrible choices he does come out good in the end. I had never considered this nor am I convinced that he was the monster, especially considering the time he lived; he simply followed custom men of his status did not marry for love and especially not peasants. Learning to love is easily seen in this one reads of his transformation from his first sight of Belle, at a ball before he is cursed, to when Belle finally declares she loves him in the end.

Overall, I enjoyed the book and would encourage Disney fans to read it, just know it has interesting twists. Also, don’t try doing the math from the movie, especially since in the song “Be Our Guest” it's stated they were cursed for 10 years because then things just get weird with this story. Take it as it is a fun read and enjoy!

References

Amazon. (2017). Beast Within, The: A Tale of Beauty's Prince (Villains) Kindle Edition [Image]. Retrieved from https://smile.amazon.com/Beast-Within-Beautys-Prince-Villains-ebook/dp/B00LOYVGL8/ref=sr_1_1?ie=UTF8&qid=1510466440&sr=8-1&keywords=beast+within+book

Maverick, J. (2016). Beauty and the Beast (1991) scene: ‘The curse’/opening sequence [YouTube video]. Retrieved from https://www.youtube.com/watch?v=7fEbW568CZo

Valentino, S. (2014). The beast within: A tale of Beauty’s prince [Kindle version]. Glendale, CA: Disney Enterprises.

Rhett & Link's Book of Mythicality: Review

Screenshot from Kindle Fire

Yes, I enjoy watching Rhett and Link. I stumbled upon them one day while on YouTube and was excited to watch. I enjoy watching their daily talk show Good Mythical Morning. When they announced their book, well I went and bought it, pre-order to get the exciting prize pack.

Also a few months ago I wrote a brief review about their Booklet of Mythicality: the preview for this book!

Rhett & Link’s book is a fun-filled adventure on the journey to mythicality. They define mythicality as “the quality or state of being that embodies a synergistic coalescence of curiosity, creativity, and tomfoolery (sometimes referred to as curiostomfoolity), ideally experienced in the context of friendship and intended to bring goodwill to the universe” (McLaughlin and Neal, 2017, 68). Rhett & Link are two internetainers (yes they enjoy making up words, it’s part of mythicality for them). The two have been friends since first grade and still enjoy being together! #friendgoals

Now that we know what mythicality is let me tell you about this book, it is packed with crazy stories, games, and even mythical merit badges! Each chapter details a different aspect of mythicality. I will not detail each section in this review but let me tell you there are great! (If you couldn’t tell from all the !!!!!). I thoroughly enjoyed reading this book in my very small amount of spare time, like you know last month I didn’t rea much and this book took me almost a month to read.

My Completion Photo!

They write in a single voice for the narration with each interjecting stories and it feels like a conversation with the two of them, each telling parts of the same story or different ones about each aspect of mythicality. The twenty chapters are full of images and exciting ideas, the writing style is fun and well mythical. Rhett & Link’s style shows thorugh, those familiar with them will understand and if you don’t know them well you should check them out on YouTube. My favorite chapters (if I had to choose) would be chapter two “Get Lost” and “Stop and Celebrate.” One of my college roommates and I got lost, for real one time, and called it an adventure. I still take these “adventures” with my sister every now and again, it makes it a lot less scary and more fun! I enjoyed reading the “Stop and Celebrate” chapter because this is something I have difficulty with. Rhett & Link state “[i]t’s easy to get caught up in your responsibilities…” (3300). Their reminder “…that it’s perfectly OK—even recommended—to take time to reflect on personal achievement” is just what I needed as I finish my MLIS degree. I rarely took time out when I finished High School, BA, Credential or got my first job…Well maybe I will try something, even if it is simply an ice cream from our local burger joint.

To see all of the crazy antics in this book and to learn about mythicality yourself check out Rhett & Link! Use the Good Mythical Morning link or search Rhett & Link on YouTube.

References

McLaughlin, R. & Neal, L. (2017). Rhett & Link’s book of mythicality [Kindle edition]. New York: Penguin Random House. 

YA Trends: Retellings and Quirky & Moving

So, the past two weeks have been busy. I have not finished a new book in about a month because of my school work. I am working on my final portfolio and collecting materials for it. Along the way I came across this paper about Trends in YA (Young Adult) Literature. Below is the body of this paper about the books in two trends from 2016. The trends are Retellings, fairy tales told for the modern audience, and quirky & moving. The trends are from an article by Lisa Parkin (2014). Hope you enjoy!

Introduction

            Lisa Parkin (2014) discusses four trends for young adult books in the year 2015. These trends include “Retellings” and “Quirky and Moving.” Each trend is defined by specific books, this paper will discuss two from each trend.

 Retellings

Stories in the retelling trend reimagine fairy tales for a modern audience. Retellings have existed for many years with the most famous being the stories by the Grimm Brothers and Disney (Hintz and Tribunella, 2013). Two examples of retellings are Cinder by Marissa Meyer and Court of Thorns and Roses by Sarah J. Maas.

        Cinder   

Cinder, the first installment of the Lunar Chronicles, introduces Cinder a teenage cyborg living in a futuristic world. Meyer’s retelling of the traditional Cinderella story is engaging and empowering. While the story is recognizable it is well masked by a dystopian world where technology abounds.

            The opening line of the book begins by stating “the screw through Cinder’s ankle had rusted, the engraved cross marks worn to a mangled circle” (Meyer, 2012, 3). The introduction signals to readers of the uniqueness of Cinder and distinguishes her from Cinderella.  Cinder does not work as a maid but as a mechanic becoming famous throughout the city for her work. As a cyborg and mechanic, Cinder challenges the many stereotypes presented in traditional fairy tales, complementing the feminist revisions discussed by Hintz and Tribunella (2013).

Cinder’s family fits the traditional view of a fairy tale family with a wicked stepmother and two stepsisters. Her stepmother is cruel and hates that she became the guardian of a cyborg even though Cinder is the one who earns the family’s money. One day while working she meets Prince Kai, who is seeking the best mechanic to fix his robot. Unlike in a traditional fairy tale, Cinder meets the prince not as a romantic interest but as a mechanic to help fix a problem.

Cinder is taken to be a test subject to help rid the world of a terrible disease, which her youngest stepsister has contracted. While at the clinic Cinder learns that she may be the only one able to save the Prince, Eastern Commonwealth and the world from the evil Queen Levana of Luna. When Cinder finally realizes this is true she rushes to save Kai from Levana but instead of the happy ending, Kai finds out she is a cyborg. After her failure at the Cinder runs away, but instead of losing a shoe she loses her too small foot. The unhappy ending is just the beginning of the tale as Meyer ends her first installment of the Lunar Chronicles.

Meyer has fashioned a world where elements of the traditional tale are recognizable, with homage paid to the Chinese roots of the Cinderella tale. Cinderella is no longer a slave waiting for her prince to come (as in the Disney version) or a powerless girl (as in other versions) but has become empowered to possibly save the world. She is gutsy and daring, taking risks to save the Prince.

Court of Thorns and Roses

In this retelling of the story of beauty and the beast, Sarah Maas empowers a young huntress, Feyre, allowing her to save two realms. Feyre is the youngest daughter of a fallen merchant lord.

Feyre earns the family’s meager income by hunting while her sisters and father sit at home.  Similar to traditional fairy tales the family lives in poverty, a reality in the time when the story is set.

Feyre on one of her hunting expeditions has ventured further from home to find a kill. She spots a deer but is not alone, a giant wolf has also spotted the prey. Choosing to kill the wolf, believed to be a fairy, changes her life forever. Feyre never questions magic knowing the wolf could be a fairy and acting normally and logically as she decides to kill him demonstrating the “immersive fantasy” theory of Mendlesohn (Hintz and Tribunella, 2013). 

The same night her life is changed forever with the appearance of a large beast at her home. When he demands her come with him or die, citing an old Treaty, Feyre chooses to go. This journey causes many changes and begins the story of beauty and the beast. At the fairy’s court Feyre learns that the terrible beast is actually a handsome fairy lord or High Fae.  She also discovers that the wolf was no beast but one of his men transformed to search out some kind of cure for a sickness harming the land. Maas has created a tale where the girl is not brought to protect her father or family but to help save the world she was trying to destroy because of hatred.

After months in Tamlin’s court Feyre begins to change, losing her hatred and gaining affection for him. The romance of many old fairy tales is referenced here, though with a modern style. In the end, Tamlin begins to fall for Feyre, choosing selflessly to send her home instead of allowing her to face the true evil in the land. Feyre cannot stand being away and returns to save Tamlin and the rest of Prythian with her sacrifice. Unlike other modern tales the couple receives a fairy tale ending because of the gratitude of the other fairy lords who each gives Feyre a bit of magic transforming her into a High Fae.

Maas has incorporated many different motifs from the original version and various other retellings. In older versions, the beauty is the youngest of three who goes to live with a beast for life to save her father. Another tale, the Polar Bear King, has a girl being taken by a great bear and she must learn to love him before he can become a man again. Maas’ story leaves questions as to who is truly beauty in the tale, Feyre kills someone out of spite and receives a transformation, similar to the beast in the fairy tale but Tamlin has the power to transform into a terrible beast outwardly and must be saved from a curse. This retelling empowers the beauty with the power to overcome the evil which has ruined the land and taken love away.

Quirky & Moving

            A second trend discussed by Parkin (2014) for 2015 is “Quirky and Moving,” these stories often contain “quirky characters, outlandish situations and serious topics…” (para. 15). The authors use realism to establish plausible, though sometimes outrageous, situations. These books often discuss subjects once viewed as taboo in literature (Hintz and Tribunella, 2013; Chance, 2014).

            Mosquitoland: A Novel

            In David Arnold’s Mosquitoland, the reader is introduced to an eclectic group of characters each with their own quirks and goals. The main character Mary Iris Malone, or Mim, is on a journey

to find her mother. Mim describes herself as “a collection of oddities, a circus of neurons and electrons…It sounds strange because it is, and it is, because I am strange” (Arnold, 41).

            Mim’s adventure is littered with dark events and tales told both in the form of a letter, to her yet unborn sister, and first-person narrative. Most of her tale, while showing a quirky side, would fall into the “Dark Modern Realistic Fiction” category established by Chance (2014).

The old woman is traveling alone with a box to meet her nephew and his boyfriend. An accident shows the darker side of realism with the death of Arlene, adding a sad element of reality to Mim’s story. Another dark element involves Poncho Man, he corners Mim in the bathroom and attempts to rape her. The attack fails because of one of Mim’s many self-proclaimed oddities, a displaced epiglottis. The discussions of these taboo subjects easily demonstrate the ideals presented by new realism and teens desire to read “fiction that spoke9s) to their immediate experiences” (Chance, 2014, 321).

The last two characters add a bit of light to the otherwise dreary trek. The handsome stranger turns out to be a college junior named Beck on a photography expedition. Mim finds him attractive and admits to caring for him, prompting him to leave in the end. The final character is Walter an autistic boy Mim encounters under and overpass. He reminds her of a friend from her past, and Mim decides to help him.

Mim’s story ends sadly with her finding her mother in a rehab facility. She must then reconcile with her stepmother and father. The story is relatable to teenagers whose parents have divorced or even those who still have both parents because of the use of realistic events. These events allow Arnold’s story to fit into the quirky and moving category presented by Parkin because Mim gets herself into some interesting situations.

No Parking at the End Times: We are not Okay

A second example of the “Quirky and Moving” trend is Bryan Bliss’ No Parking at the End Times. Bliss tells the story of twins Aaron and Abigail, whose family has moved to California after their parents fall prey to the teachings of an eccentric religious teacher, Brother John. Their father lost his job and most of their money because he chose to believe that the end was near and Christ would come back on a specific date. When the Lord does not return the family is left devastated and

stranded in San Francisco.

Similar to Mosquitoland this book covers darker topics often found in modern realism. The topics covered fall into Chance’s (2014) category of “Street Violence, Drug Abuse and Homelessness” (71). Arnold presents the ways in which the twins handle their family’s situation each in their own way. Aaron by internalizing and withdrawing from the family and Abigail by trying to get their parents to see what is happening to them, both are realistic views of teens coping mechanisms.

Abigail is having trouble accepting the reality that her parents are truly not thinking about anything besides Brother John and his prophecies. Aaron, however, has decided that his parents do not care what happens to them and wishes to run away, after all, he sneaks out most nights and they do not even notice. Abigail tells how she has begun to miss home, using a series of flashbacks to recall happier times. Abigail sneaks out one night to find him but cannot and must return to their van. When she does find out she is not happy but accepts it because her brother is finally talking with her again. The following day everything seems to go well, except their parents still do not notice them.

A few days later both of them run away, Aaron first then Abigail because she feels left behind. When Abigail finds her brother, he is running out of the church with stolen money. They chose to split up to find one of their friends and buy tickets to go home. Aaron is beaten up while they are apart. The darkness of street violence is noted by the words of the paramedics who come to help Aaron, they call him a ‘street kid’ and do not seem to care (Bliss, 2015, 259). Abigail rushes to find her parents, creating a sense of hope that they will be rescued from the streets. Once she finds them it takes a few moments to convince them to go, especially her father who believes Brother John. However, the story ends on a happy note with the family in Aaron’s hospital room together knowing he will recover.

Bliss’ coverage of realistic events through strange situations places this book in the trend of “quirky and moving.” The book is moving because it shows the hardships faced by teens when their parents make poor decisions, which many can relate to. The realism in the book allows readers to relate to the characters and demonstrates the profound impact of this trend.

Conclusion

            Young adult books follow trends which change based on what teens want to read but they also shape what teens are reading. Retellings present fairy tales to a new audience, often with a modern twist as seen in Cinder. Court of Thorns and Roses presents an empowered heroine who saves the day instead of waiting for her prince. The books in the Quirky and Moving category display the darker side of teen fiction presenting real life situation that teen readers can relate to. Mosquitoland displays the effects of divorce on teens and how they can cope through their own means of escape. No Parking at the End Times discusses the various challenges faced by teens whose parents seem to forget them when making decisions. Each of the books provides a different aspect of the trend they represent and shape the story of teen literature.

References

Amazon. (2017). A court of thorns and roses Kindle editon [Image]. Retrieved from https://www.amazon.com/dp/B00OZP5VRS/ref=dp-kindle-redirect?_encoding=UTF8&btkr=1

Arnold, D. (2015). Mosquitoland: A novel. New York: Viking.

Bliss, B. (2015). No parking at the end times: We are not okay. New York: Greenwillow Books.

Chance, R. (2014). Young adult literature in action: A librarian’s guide (2nd Ed.). Santa Barbara, CA: Libraries Unlimited.

Goodreads. (2017a). Cinder (The lunar chronicles #1)[Image]. Retrieved from https://www.goodreads.com/book/show/36381037-cinder

Goodreads. (2017b). Mosquitoland by David Arnold [Image]. Retrived from https://www.goodreads.com/book/show/18718848-mosquitoland

Goodreads. (2017c). No parking at the end times [Image]. Retrived from https://www.goodreads.com/book/show/22403036-no-parking-at-the-end-times

Hintz, C., and Tribunella, E. L. (2013). Reading children’s literature: A critical introduction. Boston: Bedford/St. Martin’s.

Maas, S. J. (2015). Court of thorns and roses. [Kindle Edition]. New York: Blumsbury.

Meyer, Marissa. (2012). Cinder. New York: Feiwel and Friends.

Parkin, L. (2014). 4 ya book trends to look for in 2015. HuffPost Books. Retrieved from http://www.huffingtonpost.com/lisa-parkin/4-ya-book-trends-to-look-_b_5999458.html

Anne with an E: A Late Review

Well, this has been a long week and I realized I have not read a new book since I last posted. A few months back I noted that I had watched the then ‘new’ Anne with an E on Netflix. I thought I would do a brief write up of the show, though I might miss some elements. [Link to the other post]

The new show is darker than the older one by the BBC. I enjoyed the old show more but this new reboot does more closely resemble reality. I found the season one cringy and almost too much to watch, it may have lost me for the assumed second season which is coming. Claire Fallon (2017) of Huffington Post shares in her review how the show seems to overemphasize elements for drama's sake, adding in new pieces that do not add to the story of the show. Fallon (2017) sees the show as a good “prestige drama” but not exactly a retelling of the classic Anne of Green Gabel's story told by Montgomery. Marissa Martinelle (2017) of the Slate explains that the show is not bad for the new additions by the writer but is bad because of how it discusses the grim elements and its lack of subtility presented by the source material. She states, “Instead, Anne With an E falters in presenting all of this without an ounce of subtlety, as if its own screenplay had been penned by its feverishly imaginative heroine, who idolizes the gothic and the macabre” (Martinelle, 2017). This new love for the gothic style does not suit the traditional view of Anne or the source material.

For fans of the original book I do not recommend this show, but if you enjoy darker Victorian material you may find a show which you enjoy. To describe this new feeling Fallon (2017) explains that the show is “[a] very good adaptation of Anne is buried within the Jane Eyre–esque Gothicism of ‘Anne with an E.’” The new adaptation beats the darkness over the head adding a disparaging color

Book

to the life of Anne and her triumphs, she is never allowed to win and even when she does it is overshadowed by some dark element of her past or future.  The story is haphazard and lacking in real texture or life it feels that modern elements have been imposed on the old story with Anne simply as the vehicle to show audiences today’s problems. As Martinelle (2017) says the show could be good but “…its lack of trust in the audience to understand why…aspects suit the story” will be a hindrance to it ever being accepted. Just know when you start this show it is not your typical lighthearted Anne tale but a darker grimmer version with less lighthearted moments and more of the reality of Victorian life.

References

Fallon, C. (2017). The relentlessly grim ‘Anne with an e’ reveals the limitations of today’s TV. Retrieved from http://www.huffingtonpost.com/entry/anne-with-an-e-netflix-review_us_5915defae4b0031e737d5510

Indie Bound. (2017). Anne of Green Gables (paperback) [Book image]. Retrieved from https://www.indiebound.org/book/9780553153279

Martinelle, M. (2017). Anne with an e: Netflix’s dark, gritty reboot of Anne of Green Gables has all the subtlety of a chalkboard smashed over your head. Retrieved from http://www.slate.com/articles/arts/television/2017/05/netflix_s_anne_with_an_e_reviewed.html

Netflix. (2017). Anne with an e. 

Netflix. (April 4, 2017). Anne: Official trailer [Netflix] [YouTube Video]. Retrieved from https://www.youtube.com/watch?v=S5qJXYNNINo

The Invisible Library [Review]

If you enjoy TNT's series The Librarians or steampunk this book is for you. (If you enjoyed The Invisible Library I would recommend checking out the series, it can be seen on Hulu). While there is not Flynn, Irene takes this place nicely and shows that a female librarian can do everything as well. I was excited to read this book, though not certain of what to expect. This is the first installment in Cogman’s The Invisible Library series featuring librarians who are spies, dragons, Fae, and much more. Cogman has included brilliant storytelling and adventure to make a book that I simply could not put down.

Cogman introduced readers to a group of librarian-spies who attempt to protect literature and preserve it, though not without difficulty and risk. The key character is Irene, a lower level librarian, who is sent out by her superior to retrieve a book from a world filled with chaos and Fae. However, unlike previous missions, she will not travel alone but with a trainee named Kai. Kai and Irene are thrown into a near impossible situation and uncertain of who to trust when their only contact turns up dead. Not only to they have to search for the book but worst of all Alberich is there, an evil former librarian who is also seeking the book for reasons of his own. Now they must decide what to do and who they can trust, can Irene even trust Kai, who is hiding secrets of his own.

The vibrant world created by Cogman uses elements of both Gothic and Steampunk tradition to envelop readers in the perilous story of the Library. Every page is filled with action or intrigue. This fantasy/sci-fi novel shows Cogman’s ability to pull readers into the world. Reading the book is like being there alongside the characters. One cannot help being drawn into this page turner, excitement awaits in the Library!

References

Cogman, G. (2015). The invisible library. New York: Tor.

Goodreads. (2017). The invisible library [Image]. Retrieved from https://www.goodreads.com/book/show/21416690-the-invisible-library

TNT. The librarians [TV series]. Retrieved from https://www.hulu.com/the-librarians 

High Druid of Shannara: Tanequil [Review]

The second chapter of Terry Brooks’ High Druid of Shannara trilogy Tanequil continues the journey of Pen, Khyber, Tagwen, and Cinnaminson to save the Ard Rhys, Grianne Ohmsford. They have traveled far to escape from the Druids who are searching for them and hope they can find the Tanequil to form a dark wand.

Interwoven with this adventure are the dangers faced by Pen’s parents, Grainne, and the elves on the battle front. Brooks tale is a wild fantasy adventure that takes the reader into a world that is well loved by many. However, this tale may disappoint because of the similar feel to the story line in The Elfstones of Shannara with the saving of the Ellcrys and the sacrifice made by Pen and Cinnaminson. [Spoiler Alert] The ending with Pen was a disappointment, so much time was spent trying to save Cinnaminson from the monster just to have her “die” was awful. Brooks used the similar trope of finding and losing a love in many of his other books in the series, such as Ahren losing his love on the voyage of the Jerel Shannara and the loss of the Ellcrys/Amberle. This finding of the dark want could have been handled differently with a new way of retrieving a necessary piece to save the world save the loss of a love.

The writing style is good, though with so many adventures it can confuse some. I did not feel as attached to the Elves fighting and did not want to see their story play out. The disjointed tale between the Druids, Federation, and Free Born continues over from the Voyage of the Jerle Shannara. This story seems simply to be a back drop in the first book in the High Druid trilogy suddenly takes precedence in this book. It simply could have been left out and the story would still have been good.

I would recommend this book but only if you have read others in the world of Shannara, it is not as good as the others. Start with The Sword of Shannara for a great book in the series, I might even suggest simply reading the first four books the Shannara books if you do not desire to read multiple series about similar themes/stories. 

References

Brooks, T. (2004). High druid of Shannara: Tanequil. New York: Del Rey.

Goodreads. (2017). Tanequil (high druid of Shannara #2). [Cover image]. Retrieved from https://www.goodreads.com/book/show/15552.Tanequil

Terry Brooks' High Druid of Shannara: Jarka Ruus Summary/Review

I recently found Terry Brooks’ Sword of Shannara series, as one who enjoys fantasy and magical adventures I was excited. I have now read many of his books and am starting the High Druid of Shannara trilogy beginning with the first book Jarka Ruus.

Jarka Ruus begins twenty years after the return from the Old World by the remaining crew of the Jerrle Shannara.

Voyage of the Jerele

In the previous adventure the descendant of the original bearer of the Sword of Shannara, Bek Ohmsford, must find a way to save the world and his sister Grainne now known as the Isle Witch. This adventure is faced with many perils, not including the fact that the Isle Witch wishes to kill Bek and his companions. [Spoiler] In the end the Druid Walker charges Grainne, who has been rescued from the clutches of the Morgawr (her captor/mentor) to take up the Druid cause.

Jarka Ruus

Map of the World of Shannara
[Brooks, 2017 Endpapers]

Grainne has risen as the Ard Rhys of the new Druid order but not all is as good as it appears. She still has many enemies who she wronged while the Isle Witch. The dark path which those who hate her have chosen take them to an even darker place. A group led by Shadea plot to remove her from power and take over the order. The plan works and carries Grainne beyond the Forbidding (where evil is kept at bay, check out the other books in the world of Shannara to learn more). Hope seems lost except for one boy Penderrin (Pen), Grainne’s nephew. Grainne’s faithful servant Tagwen goes in search of her brother in hopes of saving her after all, Bek has magic too. When Bek is nowhere to be found, seeks Pen’s help. As they go they meet both friends and foes in their search to help Grainne. Each of the companions has their own strength and misgivings. The adventure is continued in the second book Tanequil following Pen and his companions to help Grainne.

Review

This book is for those who enjoy adventures and fantasy. I enjoyed the book because I had read the other books in the World of Shannara. I would recommend this book for those who like fantasy but only after reading at least The Voyage of the Jerle Shannara trilogy where Grainne and Bek are introduced. For a fuller understanding of the world began with Shannara then read The Heritage of Shannara followed by the Voyage and this book.  [for a full list of reading order suggestion check out Brooks’ website]. The writing style moves the reader into the world. Each character can stand on their own. While the book is made better by understanding the world it can stand alone if you want to read this story alone. Another interesting point is the Steampunk/modern elements present in this world through the airships alongside the Druid magic. Each story has been more exciting than the previous.

References

Brooks, T. (2003). High Druid of Shannara: Jarka Ruus. New York: Del Rey.

Brooks, T. (2017). Reading orders. Retrieved from http://terrybrooks.net/books/reading-orders/  

Goodreads. (2017). High Druid of Shannara: Jarka Ruus [Image]. Retrieved from 

Persepolis 2: The Story of a Return

In my graphic novels paper I provide a short annotation of Persepolis by Marjane Starapi. This first book tells of Marjane’s life in Iran before and during the war, ending with her parents sending her to Austria for school and safety. Persepolis 2 is about her life living in Austria for four years and her unlikely return to her homeland.

I did not enjoy the second book as much as the first, while the book is well written and illustrated, I simply could not relate to Marjane. Marjane shows how she felt as an outsider in either of her homes (Austria or Iran). The lessons she learned are important and the content true, as she remembers. Each story shared is different though all show the dark paths which she took on her journey to discover herself.

From a literary stand point, the book is decent, the graphics drawn in a rough black and white. The dialogue is real and shows the humanity of the characters, but many feel they lack depth. The book feels forced, perhaps because the author does not want to recall many of her trials and mistakes, or perhaps because the reader feels left out of the scenes. The novel made little use of the gutters or style to convey a story which compelled readers to interact with or feel sympathy for characters. While the first installment had caused me to learn and feel a part of the story this left me feeling the outsider (though this might have been purposeful because the author felt that way). The sad truths revealed show what can happen when freedoms are taken.

When saying I did not like the book I do not want to downplay it’s message. As a work of non-fiction, it is important to share her story but I would not call it one of the great works. This book will interest those who want to learn more about living in Iran or a Muslim nation, though I caution some of the material is suited only for older audiences.

Reference

Goodreads. (2017). Persepolis 2 [Image]. Retrieved from https://www.goodreads.com/book/show/9517.Persepolis_2?ac=1&from_search=true

NewYork Times. (2004). Satrapi slideshow [Page image]. Retrieved from http://www.nytimes.com/slideshow/2004/08/22/books/20040822_SATRAPI_SLIDESHOW_1.html 

Satrapi, M. (2004). Persepolis 2: The story of a return. New York: Pantheon.

A Court of Wings and Ruin (Review)

There are Spoilers if you have not read books 1&2.

This is the fourth book in Sarah J. Maas’ series A Court of Thorns and Roses, in this extension of the classic fairy tale style story Feyre has become the High Lady of the Night Court and unwitting savior of her new world. Maas uses the same style of writing for this book as the rest of the series with well-rounded and enchanting characters. This story rounds out the tale with the final battle looming and Feyre’s anger for Tamlin (her captor/suitor from the first book) and Hybern (a Fairy king who transformed her sisters through the deadly Cauldron).

This tale is not for the faint of heart or young, Maas shares many adult/mature themes (sex, death). The story is a fantasy with elements of romance and war. This book is good and you will not want to put it down, though I do recommend starting with the first book in the series to understand the dynamics of many of the characters. The world which Maas has created is wonderfully filled with colorful characters who each have their own personalities and ideals. What began as a fairytale retelling has become a delightful and enchanting world in its own right. Each story has added to the tale with the next being better than the last. Feyre is a determined woman in this book, instead of the lost girl she was when she entered Prythian with Tamlin. The determination and drive she shows, however, leads her down a dark path, almost costing them the war. She is now the High Lady alongside her mate/husband Rhys who is determined to protect her at all costs if she would but let him. He alongside their friends have decided they will win this war by joining forces with all the High Lords against Hybern, even those who do not trust him because of the deeds he did Under the Mountain and before (to protect his own).

Maas’ tale shares the hard choices which must be made and shows the forging of a new determined woman. This story is empowering for all who dare to read it. Again, I caution those who are faint of heart not to read this because some scenes are more graphic (specifically of war in this volume). Maas’ storytelling skills shine forth in her world she created to complement traditional fairy legends/myth. Each volume has been more developed than the last.

References

Goodreads. (2017). A court of wings and ruin [Image]. Retrieved from https://www.goodreads.com/book/show/23766634-a-court-of-wings-and-ruin?ac=1&from_search=true

Maas, S. J. (2017). A court of wings and ruin. New York: Bloomsbury.

Book(let) of Mythicality! Review/Intro

This post is a bit different and I should follow up with the complete book review later this year. The pictures are a bit out of focus because I took them, I’m not very good at taking photos of books, oh well. 

So, I recently won a copy of Rhett & Link’s Book(let) of Mythicality.😆 Thank you, Rhett & Link and Crown Publishing. This fun booklet includes one chapter of their upcoming Book of Mythicality (set for release October 10, 2017).

Rhett McLaughlin and Link Neal are the hosts of Good Mythical Morning on YouTube. I actually just recently began watching the show and when I saw that I could win a copy I entered, not expecting anything. To my surprise, I was notified that I won! I have come to enjoy the show and wanted to see about their book. I will say that I am excited about the complete Book of Mythicality and can’t wait for it to come out. The single chapter included in the Book(let) shares their experiences of learning to dance confidently.

This chapter entitled “Unleash a Signature Dance Move” includes ideas on how to be confident and show mythicality. I loved the way the chapter/Book(let) was put together visually with many full-color images and this full title chapter introduction. The chapter came with a "confidence" badge for when you complete it 😊

Chapter Title Page

Rhett and Link define Mythicality as “the quality or state of being that embodies a synergistic coalescence of curiosity creativity and tomfoolery…ideally experienced in the context of friendship…” (back cover, 2017). The welcome provided explains that this is simply one chapter in the larger book and if it’s any indication the full book will be mythical! This preview seems to indicate that the book will be great. The comedic elements of the stories fit the style Rhett & Link have in their show. The writing is fun and whimsical and is easy to read. Reading this one chapter makes it hard to wait for the full book to come out! I highly recommend getting the book when it is available.

Image of Inside the Book(let)

References

Martin, A. (2017). Images.

McLaughlin, R. & Neal, L. (2017). Rhett & Link’s book(let) of mythicality: A field guide to curiosity, creativity & tomfoolery. New York: Crown Archetype.

A look at Graphic Novels

I just completed a Graphic Novels course for my MLIS at San Jose State University's iSchool for which I read 10 graphic novels. For each novel, I wrote an annotation and decided to share this information here. Below I have included my entire paper. Feel free to read it if you like.


I summarize the following ten novels (not in order):

1. American Born Chinese by Gene Luen Yang
2. A Contract with God by Will Eisner
3. Maus by Art Spiegelman
4. Persepolis by Marjane Satrapi
5. March: Book One by John Lewis
6. Safe Area Gorazde by Joe Sacco
7. The Arrival by Shaun Tan
8. The Property by Rutu Modan
9. Ms. Marvel: No Normal by G. Willow Wilson
10. All-Star Superman Complete by Grant Morrison

The Arrival

From Goodreads

Tan, S. (2006). The arrival. New York: Arthur A. Levine Books.

Shaun Tan’s The Arrival is a brilliant wordless graphic novel sharing the tale of an immigrant in his new city after leaving his wife and daughter. Each panel shares the struggles of going to a new and strange world. The wordless nature brings attention to the fact that everyone speaks a different language, and yet they still can communicate. The communication takes place with drawings and gestures. Each new person which the immigrant meets has a unique story to tell of why they are in their new land. The story has strange animals and sights giving the world an unfamiliar feeling drawing readers into the story. Tan uses double-page spreads to tell his story, even having panels crossover both pages instead of the traditional single page spreads to tell his story. This book is a marvelous example of what a graphic novel can do using simple images. Tan’s book should be part of graphic novel canon and I would recommend the book to anyone interested in seeing the life of immigrants. This book is unique in that it is wordless but the fact that it is wordless adds to the beauty of the book and the story. Even without words readers are engaged and can understand what the characters are feeling. Tan’s book is a must read for anyone who enjoys graphic novels.

Maus

From Goodreads

 Spiegelman, A. (1986). Maus: A survivor’s tale: My father bleeds history. New York: Pantheon Books.

In Maus Spiegelman tells his father’s sad and moving story of surviving the Holocaust as a Polish Jew. Spiegelman uses animals to depict the characters in his narrative: Jews are mice (maus in German), Poles are pigs, and Germans are cats. This is fitting because just as cats hunt mice, the Germans were hunting the Jews. Maus is divided into six chapters, each telling one part of Vladeck (father) and Anja’s story. Each of these chapters has a skillfully drawn cover image with the title displayed. Maus shares not only Vladek’s story of how he and Anja survived WWII by hiding from the Gestapo but also the interactions of Vladeck and Arti (Spiegelman) while Spiegelman was recording the story for the book. The interjections share life as it is now, after the war, after Anja died, and after Art had grown and was living on his own. While the first narrative is heavy and dark, both in style and content, the second has elements of humor and levity. Spiegelman adds a third narrative into the story in Chapter 5 about his mother’s suicide and the effect it had on the family. These pages use dark backgrounds and more deliberate shading, also while the rest of the book uses animals to tell the story this inset uses people to share Anja’s story. Maus is a good read for those interested in learning about the effects of WWII from a Jewish perspective. Maus is a great addition to any graphic novel collection adding historic elements to the canon

Ms. Marvel: No Normal

From Goodreads

Wilson, G. W., and Alphona, A. (2015). Ms. Marvel: No normal. New York: Marvel.

            Ms. Marvel tells the story of Kamala, a Pakistani-American teen, trying to discover herself. Wilson’s writing is fast paced and exciting, pairing wonderfully with Alphona’s vibrant illustrations. Together they create a world where anything is possible if you believe; the way they create Kamala allows readers to understand and connect with her, making you believe everything that comes to pass. Kamala struggles with trying to be herself, which is difficult because she wishes to have her own way but must follow the strict religious and social boundaries established by her parents. Each section begins with a full-page image of Kamala as she masters her new-found powers.  Different sized panels tell the story, some panels are small insets within larger images, while other take up whole pages. The panels are arranged in a traditional manner, with some overlapping one another or covering the entire page width. Yellow text bubbles allow readers to view character’s thoughts and provide an internal narrative for the characters helping readers understand why they do something. Ms. Marvel is a well-written origin story with skillfully drawn images. Kamala like other heroes has a friend who she tells about her powers, but will not tell her family. Ms. Marvel provides a modern look at who can be a superhero by giving the graphic novel canon a new fresh image for female superheroes.

American Born Chinese

From Goodreads

 Yang, G. L. (2006). American born Chinese. New York: First Second Books.

            Yang’s beautifully illustrated volume tells the stories of Jin Wang, Danny, and the Monkey King. Jin is a young Chinese-American boy trying to fit in with his new classmates but is always reminded of being the outsider. While Danny is a teenage boy who has just begun to fit in at his new school (the third in three years), until his cousin, Chin-Kee, shows up. While Jin feels that he does not fit in Danny is embarrassed by his cousin and feels that everyone makes fun of him not because of who he is but who his cousin is. The final story is that of the Monkey King. Monkey desires to become a god, mastering all twelve aspects of Kung Fu to become immortal. In all three stories, the characters must learn the same lesson, to be themselves. Yang’s colorful illustrations accompany each story, all three stories are told in a similar style. The story of Chin-Kee has a unique feature, at the bottom of some panels Yang has placed the words “HA HA HA” or “CLAP” in bubble letters, this indicates to the readers the embarrassment Danny feels around his cousin. The words add a sense of uneasiness to the frames. Yang also uses slanted gutters which cut diagonally across the panels adding a sense of movement to the scenes not accomplished by traditional gutters. American Born Chinese is a fascinating read for anyone who feels out of place. The graphic novel belongs in the cannon and helps readers learn to be themselves.

March

From Goodreads

        Lewis, J., Aydin, A., and Powel, N. (2013). March: Book one.    Marietta, GA: Top Shelf Productions.

March: Book One is written by John Lewis and reflects on his work during the Civil Rights Movement. Lewis shares his experiences in a flashback tale with two boys and their mother on the day of President Obama’s inauguration. The first story Lewis shares is about how he grew up on a farm helping raise the chickens, in this story we see his compassion and humanity. The second story tells of how Lewis gained interest in helping African-Americans gain equality and justice. He tells of how his favorite uncle arranged for him to take a trip to the North for the summer, where he saw the difference in how African-Americans were treated there. The reader is shown how Lewis joined the movement and met Dr. Martin Luther King because of a desire to help desegregate a university near his home. While that did not happen John Lewis would become an integral part of the sit-in in Nashville as a member of The Nashville Student Movement. The black and white drawings bring a somber tone, showing the importance of what was taking place during the Civil Rights Movement. Each panel deliberately shows emotions of the characters in the story. The panels are unique with some having only two borders with others having no borders. These different shaped panels add to the story and show the passage of time or action. The novel belongs in the canon playing an important part in telling the history of the American Civil Rights Movement.

A Contract with God
Eisner, W. (2006). A contract with God: A novel. New York: W.W. Norton.

From Goodreads

            In this graphic novel, Will Eisner tells four gritty real-to-life stories about living in the tenements of the Bronx. The first story is where the book receives its name, in this tale Frimme Hersh believes he has a contract with God entitling him to only receive good things. When he loses Rachel, his daughter, he breaks this contract and his life seemingly improves. However, in the end, only God benefits. The second story, “The Street Singer,” recounts a possible life of one of many men who sang in the alleys for money during the great depression. “The Supper” details the sad life and death of the building Super, Mr. Scuggs. Mr. Scuggs is feared and ultimately this (and his lust for women) leads to his suicide. The final section, “Cookalein,” tells the devastating stories of a family, a woman, and a man. The family has problems, notably, the father has a mistress. The woman, Goldie, seeks a husband only to be tricked and rapped, by the man, Benny. These sad tales show the reality of living in a tenement, like the one at 55 Dropsie Avenue. Eisner employs many different types of panels, often without borders or set gutters. The images and words run together to tell the flowing stories. The dark ink lines share the grim stories in a beautiful way. As what is considered the first graphic novel A Contract with God gives readers a glimpse into the beginnings of the medium.

All-Star Superman

From Goodreads

 Morrison, G., and Quitely, F. (2011). All-star Superman [Digital Edition]. New York: DC Comics. Retrieved from https://www.hoopladigital.com/play/11356792

            In All-Star Superman readers are introduced to the “human” side of Superman seeing his mortality. Morrison’s reimagined Superman is powerful and compassionate. The twelve-episode story tells how Superman is dying from solar poisoning. Lex Luthor is the cause of all the trouble for both Earth and Superman because he does not want to die for the crimes he committed. The story explores what a world without Superman would look like and how he might save himself. Each story adds to the life he led as Clark Kent and Superman. Quitely’s art is vibrant and action filled, enhancing the story told by Morrison. Each panel is skillfully drawn to engage the reader with the story. The first three stories each have small inset panels to begin the episode, while the remaining nine only have the full-page images. One unique panel set is in Episode 5 where the bottom middle panels open into the gutter creating a background. This overlap into the gutter creates a larger flow for the characters in the jail scene and readers feel as if they are part of the crowd. All-Star Superman is an exciting twelve-part adventure with Superman and those he meets. The story is well told and even those who do not know the origin story can relate to it, feeling attached to the characters. The art adds to this attachment allowing readers to use closure to fill in many gaps and enhance the story. This graphic novel provides the cannon with a delightful superhero adventure.

Persepolis

From Goodreads

 Satrapi, M. (2003). Persepolis: The story of a childhood. (M. Rippa and B. Ferris, Trans.) New York: Pantheon.

            This graphic memoir shares Satrapi’s story of growing up during the time of unrest in her homeland. The dark ink illustrations show the mood of the time, fear. Each panel is filled with suspense and secrecy. Satrapi relies on closure from the readers to keep the story moving and to fill in the more gruesome details. The text tells the story in both word bubbles and text boxes along the top and bottom of panels. Though only 153 pages long this book spans many years and difficulties for Satrapi, her family, and her friends. Each chapter opens memories of darker times starting with the Revolt and ending with Marji leaving for Austria alone. The graphic novel shares the poverty, fear, massacres, and danger facing the people of Iran during the change in power from the King to the Shah and finally the Islamic Republic. The author shares how the media would twist stories to try and gain the people's trust all while the government was killing their own people who disagreed with them. Persepolis tells an important part of history and helps those who are not familiar with the fight in Iran/Middle East better understand what the people are struggling with every day. This graphic novel also is relatable to many people, because Marji is a typical rebellious teenager, making her a familiar and accessible character. The sad truth of the story is seen in most chapters making the content difficult to read at times but important to understand. Persepolis is a well written and illustrated memoir which belongs in the cannon of great graphic novels.

The Property

From Goodreads

 Modan, R. (2013). The property. (J. Cohen, Trans.). New York: Drawn & Quarterly.

            The Property tells the story of a grandmother and granddaughter who return to Warsaw in search of their property. The vibrant colors of the illustrations dramatize the story from the perspective of both characters drawing readers into their lives. In Warsaw, Regina seeks out an old flame, from before the war, because of a secret they share which Mica does not know. Mica meets a young man who gives tours of the Jewish section of town and begins to fall for him, even though he is not Jewish. Intermixed with these two stories is the story of Yagodnik, a family friend, who is trying to take the property for Regina’s daughter (Tzilla). The story has been translated into English but indicates which language is being spoken with the font used for the words. Hebrew is shown with all caps, while Polish is italicized, and English is in mixed (standard) type, a fourth type of speech bubble has only squiggles representing when a character is hearing an unknown language. This feature allows the readers to understand the situation from a specific character’s perspective and makes them more relatable. One unique panel sequence is during Day 3 when Mica is speaking with a lawyer and Yagodnik is speaking with Tzilla. This three-page set of panels uses a burgundy background for Mica and a basketball setting for Tzilla to show the two separate conversations. The Property is a stunning example of a historical graphic novel and provides a unique perspective on Jews returning to Poland long after World War II.

Safe Area Gorazde

From Goodreads

Sacco, J. (2000). Safe area Gorazde: The war in eastern Bosnia 1992-95. Seattle, WA: Fantagraphics Books.

            Sacco recounts his time visiting Gorazde during the Bosnian war as a journalist and the friends he makes while there. The war isolated and nearly destroyed the city of Gorazde during the heat of the war. The sad stories of the citizens are recounted in somber tones and dark black ink. The illustrations and text tell a story of the horrors seen by the survivors of the firefights with the Serbs. Sacco uses different colored gutters to show the story from his perspective (white) or that of the survivors (black). The black gutters appear to represent the dark times they have seen. Another unique feature of the graphic novel is the mix of text boxes and word bubbles to tell the story. Textboxes show the narration provided by Sacco, while bubbles show the dialogue of characters in each frame. This sad story is important for all to understand so that there is not a repeat of this horrible war. The graphic novel shows the impact that the war had on the citizens of the country and city, even after there was peace declared. The men and women represented are uncertain of their future and hope for a better life. The novel should be in the canon, even though I did not enjoy it because it tells an important story and represents a unique style and perspective.

Credits: All cover images are from Goodreads.com posts, each annotation begins with an APA citation crediting the author(s) and/or illustrator(s).

UPDATE: This blog post was edited and reposted to include credits line and correct Satrapi's name. Reformatted to include book title headings.