Paper on Graphic Novels

Well, I seem to be having trouble finishing a book, plus I’ve been quite busy since summer started. I have tried to read about 2 books a month but have not completed that many reviews. I started working the Summer Reading program at my local library and have been reading many children’s books for it but have not yet reviewed one, though I should try…maybe.

Better late than never, expesially since I challenged my self to post every two weeks. Here is a paper titled “Graphic Novels: Hinds and O’Connor” which I wrote for my Emerging Trends in Literature for Children and Young Adults class at San Jose State University where I completed my MLIS degree in December.  And if you are interested in other posts about Graphic Novels check out my other posts in my Grpahic Novels tab.

The following text is my paper:

Graphic Novels: Hinds and O’Connor

            Graphic novels are relatively new to the world of young adult (YA) literature, though they are based in the realm of comics, with the term originating in 1978 with Will Eisner (Chance, 2014). According to Hintz and Tribunella (2013) graphic novels are on the boundary between children’s and adult literature, and sometimes it can be difficult to place them in either category. However, while most graphic novels are written for adults, there are some authors who write specifically for YAs. An important aspect of graphic novels is the way they combine illustrations and words to tell a grander story than either can alone.  Some graphic novels have both an author and an illustrator, while others, such as The Olympians by George O’Connor, have only one author/illustrator. Two such author/illustrators are Gareth Hinds and George O’Connor.

Gareth Hinds

            Gareth Hinds grew up in a small town in Vermont where he often drew as a child. Hinds began developing his career as an illustrator in elementary school. Hinds states that he “…used to make these thirty-page Star Trek stories with markers on scrap paper, with wallpaper samples for covers” (Candlewick Press, 2015). These homemade comic books would become the launching point for a successful career in graphic novels. His love for visual storytelling continued during his high school years where he drew illustrations for the newspaper, co-edited an illustrated literary magazine, and painted a mural in one of the hallways (Hinds, n.d.).

Hinds received degrees from Parsons the New School of Design and Rochester Institute of Technology.  Hinds began his career in digital media designing and illustrating computer games. His first graphic novel was Bearskin based on an obscure Brothers Grimm tale. Following this debut, he began to retell classic stories from Shakespeare plays, Beowulf¸ and The Odyssey.

George O’Connor

            George O’Connor found his passion for visual arts and comics as a child. In an interview with Dawna Buchanan (2014), O’Connor recounts a story of some of his earliest attempts at graphic stories. He shares how when he was young he would take sheets of oak tag and draw images like comic strips around the edges. In the same interview, he mentions how he “…always wanted to use [his] art to tell stories” (Buchanan, 2014, 116). In fourth grade he was introduced to the Greek myths and became entranced by them, enjoying to read as much as he could about them. He notes that his favorite book during middle school was D’Aulaires Book of Greek Myths (Keller, 2010). This passion for the Greek myths paired with a love of comic books would lead to his graphic novel series called Olympians.

O’Connor received his formal education from Pratt Institute, though much of his style came from on the job work he was doing. O’Connor began his illustrating career with a picture book entitled Kapow! which became a New York Times bestseller. His first graphic novel was an adaption of Journey into Mohawk Country, detailing the journal of a Dutchman traveling from Albany New York to Iroquois country to establish trade routes. He has followed this work by Ball Peen Hammer and his Olympians series (Wikipedia, 2016).

Two Artists, Similar Styles

            Both Hinds and O’Connor note how their styles have evolved since they began working in graphic arts. Hinds, in his article “Paint and Pixels,” explains how he is flexible with both technique and media when creating his artwork. O’Connor makes a similar comment in an interview with Mike Rhode (2011) where he explains that it is difficult to select one type or style because he changes from project to project. In regards to O’Connor’s preferred media, he discusses how he uses both traditional drawing items paired with a computer and digital media (Rhode, 2011).

Different Project, Different Style

            One look at the works of Gareth Hinds proves what he claims is true about his projects, each one has its own style and feel. Where Beowulf is full of colors, albeit muted, his The Merchant of Venice is done completely in black and white drawings. Hinds (2007) notes that because each work he adapts and illustrates have their own feel “…it seems wrong to use the same technique to illustrate them” (70). His desire to show the ambiance of the original work shows through and helps readers see encounter and understand works better than just reading them. When explaining his preferred technique Hinds (2007) states that he prefers traditional means, such as paint and brush or pen and ink, to digital but because of time and space constraints often works with a blend of the two mediums.

Combining Traditional with Digital

            Unlike Hinds, O’Connor is a self-proclaimed “combo man” meaning that he likes to use both digital means and computers to create his art. He will outline his art in pen and ink then finish it using digital software (Rhode, 2011). O’Connor’s graphic novel illustrations are different from his illustrations for novels, such as Mission: Spy Force Revealed by Deborah Abella. O’Connor’s graphic novels, specifically his Olympian series, are laid out and drawn in a comic book style to draw in the audience to the stories. One of the major influences on O’Connor’s style were superhero comics, this love for superheroes can be seen in the way he illustrates and presents the Greek gods in his graphic novels. O’Connor states that he saw a connection between the Greek gods and heroes of myth and superheroes beginning in fourth grade (Keller, 2010).

Appeal: Graphic Novels

            Graphic novels appeal to many different readers and age levels. According to Chance (2014) graphic novels do not just appeal to teens who are reluctant readers but will appeal to many different teens. She states “…graphic novels appeal to a generation of readers who are immersed in media, interactive web activities, and nonstop visual stimulation” (34). The graphic novel adaptions of both Hinds and O’Connor present classic stories and heroes for a whole new generation in a way that they can understand.

            Hinds’ adaptions of Shakespeare’s plays and other classic works open them up for the current generation to better visualize and understand them. He uses modern translations of works such as Beowulf and The Odyssey. His works use illustrations to demonstrate nuances in the text which, without a vivid imagination, would be hard to see. Hinds allows readers to live in the world of the play or work for the duration of the graphic novel. The novels allow the reader to feel the emotions of the characters and understand the subjects presented better through the use of color, style, and medium.

            O’Connor’s Olympians series comes at a time when the Greek myths are becoming popular again. With his vivid colors and unique style reluctant readers can learn about the myths in a fun and entertaining way. His illustrations help readers see the world of the Greeks unlike other books about the myths without images. In an interview he thanks “…Rick Riordan for helping push Greek mythology into the spotlight again” (Keller, 2010). This nod to the trend of the re-envisioning of classic Greek myths shows the appeal seen in the series produced by O’Connor. His other works also appeal to teens because of the use of color and the simple style.  

The works of both Hinds and O’Connor are accessible and easily read in a short amount of time. Their styles of illustration may be different and their techniques varied but the use of color and images aid the readers in understanding the text. Hinds heavy brush strokes in Beowulf but elegant lines in other works show a variety of styles even within one artist’s body of work yet both appeal to their intended audience. The comic style presented by O’Connor engages the reader and reminds them of the heroics shown in superhero comics yet in a longer more detailed work.

Thematic Trends

            The works presented by both authors fit into a theme and a trend in YA literature. Many of Hinds’ works fit into the 2016 trend of “Classic Lit Change-Ups” presented by Lisa Parkin’s (2015) in her article about coming trends in YA literature. His adaptions of classic Shakespeare plays, like Romeo and Juliet, presented with multiracial characters, and The Merchant of Venice, presented in monotone black and white. Other works of Hinds which fit into this trend are Beowulf, The Odyssey, and Bearskin: A Grimm Tale.

            O’Connor, as mentioned above, presents colorful retellings of classic Greek myths. His Olympians books can also be placed into Parkin’s (2015) “Classic Lit Change-Ups” category because of the legends behind the tales. These are the works which O’Connor is most known for though he has illustrated other works. Another of his works, Journey into Mohawk Country, corresponds to the rise seen in non-fiction literature because it is based on the real-life journal of an explorer (Allender, 2012). 

Gareth Hinds Annotated Bibliography

Hinds, G. (1998). Bearskin: A Grimm Tale. Thecomic.Com. The retelling of an obscure Brothers Grimm fairytale beautifully illustrated in black and white ink drawings. Hinds creates the dark mood of this tale with the use of heavy dark lines illustrating the treasury of the deal struck. Bearskin recounts the story of a homeless soldier who strikes a deal with the Devil for untold riches if only he can live seven years in the skin of a bear he has killed.

Hinds, G. (2007). Beowulf. Cambridge, MA: Candlewick Press. A vividly illustrated adaption of one of the oldest epic poems still existent Hinds Beowulf draws the reader in and holds them until the end. The story of Beowulf unfolds in skillfully drawn images which complement the text. Readers will feel the tension in the air as Beowulf battles monsters to free the Danes halls from terror. The novel ends with Beowulf taking his final stand to defend his country from the Worm and a eulogy to this great legend.

Hinds, G. (2008). The Merchant of Venice. Cambridge, MA: Candlewick Press. Hinds brilliantly merges Shakespeare’s famous verse with modern English in this adaption of The Merchant of Venice. Hinds presents the story in stunning black and white drawing with the text alongside. The classic characters are presented in a modern world where Bassano traps his friend, Antonio in a bargain with a moneylender all for the love of Portia. Can Antonio be saved by Portia?

Hinds, G. (2010). The Odyssey. Cambridge, MA: Candlewick Press. The classic story of Odysseus and his journey to return home to Ithaca is wonderfully illustrated and adapted in this retelling by Gareth Hinds. The vibrant colors of the painted images bring the world of ancient Greece to life for modern readers. Hinds has brought this classic epic poem to life with his adaption of image and text. Follow Odysseus on his journey home as he fights monsters and gods to return home to his beloved Penelope.

Hinds, G. (2013). Romeo and Juliet. Cambridge, MA: Candlewick Press. Another adaption of the Bard’s works by Gareth Hinds. In this adaption, readers are presented with a multiracial cast of one of the most well-known works of William Shakespeare. The story of Romeo and Juliet unfolds in the medieval setting with one exception the cast is multiracial. Readers of all ages will enjoy this colorful and multicultural retelling of the struggle between two young lovers and their families.

Hinds, G. (2016) Macbeth. Cambridge, MA: Candlewick Press. Macbeth explores the darker side of the Bard. In dark and foreboding imagery Hinds has once Macbeth for modern readers along with the creepy witches, ghosts, murder, and madness. This graphic novel allows readers to understand the play and engages reluctant readers. Macbeth tells the story of a man who is willing to do almost anything, even commit murder to receive the crown. Is the price too high to keep the crown, how many more will be murdered? again brought to life the world of Shakespeare. Adapting

George O’Connor Annotated Bibliography

O’Connor, G., Sycamor, H., and Van Dan Bogaert, H. M. (2006). Journey into Mohawk country. New York: First Second. The journal of Harmen Meyndertsz van den Bogaert about his journey to the country of the Mohawk Indians to establish trade. The journal details the adventures Bogaert encountered as a young Dutchman traveling in Indian territory. The text accompanied by the simple images drawn by O’Connor detail the hardships of the first explorers. O’Connor presents the journal in stunning illustrations detailing nuances in the text.  The artwork brings the journal to life for the modern generation providing them with a glimpse into an almost forgotten past.

O’Connor, G. (2010). Zeus: King of the gods. New York: First Second. The first in the Olympians series tells the story of the ruler of the Greek gods, Zeus. O’Connor presents Zeus as a superhero of ancient Greece. The book explores the myths surrounding Zeus and his rise to King of the gods. Follow Zeus as he grows from a boy to a man while having adventures romance and even some explosions.

O’Connor, G. (2011). Hera: The goddess and her glory. New York: First Second. Hera: The Goddess and Her Glory details the rise of Hera to the wife of Zeus and Queen of the gods. A second narrative is told of Heracles, the mortal son of Zeus and Alcmene. O’Connor has drawn upon the old myths to detail the life of this goddess. His comic book style entices readers to read to the last page. The book ends with a unique twist and forgotten myth about Hera, the Queen of the gods.

O’Connor, G. (2013) Poseidon: Earth Shaker. New York: First Second. The fifth installment in O’Connor’s Olympians series tells the thrilling story of Poseidon King of Poseidon: Earth Shaker shares the most famous feats of Poseidon and explains why he is called the earth shaker. the Seas. The story features the artwork and writing of O’Connor to tell the stories of Greek heroes who encountered Poseidon. Some of the stories include the founding of Athens, Odysseus and Polyphemus and Theseus and the Minotaur.

O’Connor, G. (2015) Ares: Bringer of war. New York: First Second. The seventh graphic novel in O’Connor’s Olympians series focuses on the God of War himself. It has been ten years since the Trojan War began and Ares is battling against Athena. Using his unique style for illustrating the myths O’Connor once again brings life to old stories retelling them for a new generation of readers. Who will win this epic clash of armies and what will be the toll paid by the armies they lead?

O’Connor, G. (2016).Apollo: The brilliant one. New York: First Second. The eights book in the Olympians series explores the life of Apollo one of the twins born to Zeus and a she-wolf. The Muses tell the story of Apollo’s journey through the world to fulfill his destiny and find rest. Can Apollo live up to the standards of his father and attain Olympus or will his temper get the best of him?

                                                                      References

Allender, D. (2012). 10 trends in children’s books for 2013 [video]. Scholastic. Retrieved from https://www.youtube.com/watch?v=7mPsJ7qaS0g

Buchanan, D. L. (2006). Gloria Skurzynski (author) and George O'Connor (author and illustrator). (2006). Intervention in School & Clinic, 42(2), 114-117. Retrieved from http://libaccess.sjlibrary.org/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=a9h&AN=22798955&site=ehost-live

Candlewick Press. (2015). Bios: Gareth Hinds. Retrieved from http://www.candlewick.com/authill.asp?b=Author&m=bio&id=5283&pix=y

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

Hinds, G. (n.d.) GarethHinds.com. Retrieved from http://www.garethhinds.com/index.php

Hinds, G. (2014). Paint & Pixels. Horn Book Magazine, 90(2), 70-71. Retrieved from http://libaccess.sjlibrary.org/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=a9h&AN=94509041&site=ehost-live 

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

Keller, E. (2010). Interview: George O’Connor. School Library Journal. Retrieved from http://blogs.slj.com/goodcomicsforkids/2010/01/31/interview-george-oconnor/

Parkin, L. (2015). 5 exciting ya book trends for 2016. HuffPost Books. Retrieved from http://www.huffingtonpost.com/lisa-parkin/5-exciting-ya-book-trends-to-look-for-in-2016_b_8328078.html

Rhode. M. (2011). Meet a visiting cartoonist: A chat with George O’Connor. Washington City Paper. Retrieved from http://www.washingtoncitypaper.com/blogs/artsdesk/books/2011/09/23/meet-a-visiting-cartoonist-a-chat-with-george-oconnor/

Wikipedia. (2016). George O’Connor (comics). Retrieved from https://en.wikipedia.org/wiki/George_O%27Connor_(comics)

Additional References: All Images from Goodreads.com

Thoughts on Here by Richard McGuire

From Goodreads.

Here is a graphic novel using images to tell the story of a place through many eras and centuries. Each page is filled with a continuing story of one place in different times, the spot is shown as having a life of its own and remembers what happened there over the centuries. McGuire’s (2014) unique sense of time, place, and flow contribute the overall story being told by this graphic novel.

Image I took showing various years in McGuire's Here

While most comics/graphic novels use standard frames and/or panels to tell their story in a flowing often linear timeline, McGuire changes the feel and rhythm of the genre using the juxtaposition of images on the same space to tell a story about time. In Understanding Comics McCloud (1994) discusses the importance of panels, gutters, and white space to tell a story. He explains how “[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). The closure McCloud discusses is not truly offered in Here, I often found myself feeling lost and confused by the multiple time periods represented on a single page. Each page became a jumbled mess of life, leaving me (the reader) hoping for one complete image of each time period.

This graphic novel is illustrated in a soft style with different hues for each time period, from prehistoric to modern, and even the future. Each storyline is told over the course of the book, requiring the reader to keep that in mind. This book lends itself to multiple reads. When reading it the first time the book is overwhelming and does not read in any standard manner. As a reader, mostly of novels, this book was not really for me. I enjoyed the pictures but became confused and lost in the various storylines, just when I picked up one it would be set aside, only to be picked up later. I would defiantly recommend reading through once taking all in, then if you want going back and looking at each year to get the entire tale.

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. This is true in McGuire’s (2014) Here when readers see the past, present, and future meshed together to create on full-page panel explain a story of the unseen past (as seen on the page for the year 2213).

Image I took of  year 2213 from Here

The use of images to draw readers to a new time is well demonstrated in this book. Each page can bring a new beautiful adventure or continue the last moment in time, or even both at once!

Finally, I will end with this quote from McCloud (1994), explain how comics and graphic novels are an interactive art form. He states that comics are truly an art form in which “…what you get is what you give” (McCloud, 1994, 137). The McGuire’s book is an excellent example of this, at a first glance the book is a confusing mesh of stories and colors but when a reader takes the time to follow each tale the book is a delightful view of what changes take place in on spot over the course of centuries.

References

Goodreads.com. (2018). Here by Richard McGuire [Image]. Retrieved from https://www.goodreads.com/book/show/20587888-here?ac=1&from_search=true

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

McGuire, R. (2014) Here. New York: Pantheon Books.