262 263 To Be Continued...: they do on iconographic contexts and their impact on reader affect. In mapping out this latter concept, it would be useful to discuss McCloud's understanding Serialization and Its Discontent of closure in comics as well as Groensteen's understanding of spatio-topical in the Recent Comics of Gilbert Hernandez operations, that is, comics' emphasis on both the paneled figures as self­ contained iconic units, as well as their situated coordinates within and among Derek Parker Royal the comic pages. Such readings shed light on the direction of Hernandez's recent comics and his increasing reliance on non-serialized narrative. It is notable that Hernandez's apparent abandonment of the episodic Palomar Between 1989 and 1993, Gilbert Hernandez's epic Poison River was slories -- based on the mythical Central American community that gained him serialized in the first volume of the comic book Love & Rockets (#29-40), the widespread recognition -- has coincided with more experimental novelistic groundbreaking alternative comic book created by Gilbert and his brothers lexts that de-emphasize linemity but privilege larger iconographic frameworks. Jaime and Mario. Eventually published as a single volume in 1994, Poison Indeed, this shift in his narrative strategy illustrates the limitations of periodic River did not lend itself well to serialization. With its non-linear plotting, its storytelling, at least as a vehicle for what has become known as "literary" or lack of narrative transitions, its temporal experimentation, its expansive cast "alternative" comics, and its links to genre expectations within graphic narrative. of characters, and its constant shifts between realism and the fantastic, the Charles Hatfield, to date the most astute scholar on comic book story confused many of its readers and even helped to drive down sales of the serialization, discusses the three kinds of effects that serialization can have comic book. In interviews, Hernandez has commented on the fact that the on comic books and their resultant collection into graphic novel fonn: that it serial fonn worked against the ambitions of Poison River and his evolving influences the episodic structure of the narrative, that it can give shape and style of storytelling.! It is equally worth noting that as Hernandez's graphic continuity (e.g., through repetition of theme and structure of discourse) to narrati ve began to reach novelistic proportions, its reliance on episodic long-fornl works, and that it allows the author to potentially shape his or her packaging highlighted some of the limitations of the medium, including narrative through reader reaction. 4 Hatfield's analysis can help shed light on distinctions between the "comic book" and the "graphic novel."2 the nature of Hernandez's comics, especially those that have appeared in Given all of these issues, all of which playa part in the conception and serialized form. For example, the episodic structure, as well as the narrative consumption of graphic narrative, it would be useful to explore the ways in trajectory, of such graphic novels (or previously serialized works that now which a reliance on, as well as the resistance to, comic book serialization has appear in "graphic novel" form) as Birdland, Love and Rockets X, and Speak helped to detennine the form of Gilbert Hernandez's more recent texts. In of the Devil can certainly be seen as a function of their initial serialization. addressing this dilemma, it would be particularly telling to focus on several rhis essay, however, is not only concerned with the effects that serialization recent serialized works -- specifically, "Julio's Day" and "Me for the Unknown" has on the work of Gilbert Hernandez, but the converse as well: how the lack (both of which were serialized in the second volume of Love & Rockets) as ofserialization, its benefits as well as its liabilities, help detennine the shape of well as Grip: The Strange World ofMen (2002) and Speak ofthe Devil (2007­ his recent long-form works that have not been previously serialized. 2008), two stand-alone mini-series published by DC's Vertigo imprint and In looking at the sequential contexts surrounding Hernandez's most Dark Horse, respectively -- and compare them with two graphic novels never recent comics, there are several central questions that will inform my analysis. previously serialized, Sloth (2006) and Chance in Hell (2007)3 A reading or I\mong those are the following: What does serialization provide for or do to these texts in light of certain comics formalists, such as Scott McCloud ancl the reader, and how might these features differ from any benefits, or liabilities, Thien)' Groensteen, demonstrates that Hernandez's narrative style is largely obtained from the longer more novelistic works? Conversely, what do self­ detemlined by the sequential contexts ofhis storytelling. For example, realistic (;ontained graphic novels give to readers that is conspicuously absent from and more linear narratives such as "Julio's Day" and Speak of the Devil arc serialized comics? These questions are necessary when speculating on the not only better suited to serialization (at least when compared to original :luthor, in this case Gilbert Hernandez, and his role in the packaging of his graphic novels), but may cven benefit from the episodic fonnat with its comic art. In this regard, additional questions would include, What authorial emphasis on suspense and character motivation. Perhaps even more notable b(;nefits might spring from comic book serialization? and How might original are Hernandez's "holistic" works. Highly experimental graphic narratives such gl'aphic novels play to the author's narrative strengths? Such inquiries help as Sloth and Chance in Hell, with their privileging of narrative anachronics reveal the interplay between these two vectors -- the reader's reception and and fantastic subject matters, rely less on chronological sequencing than the author's manipulation -- and what it might tell us about Hernandez's recent IJOCA, Spring 2009 IJOCA, Spring 2009 264 265 choice to take up the graphic novel form. individual panels, the entire page layout (the mise-en-page), or among visual In addressing these questions, it may first be useful to summarize somc pagc systems, either backwards or forwards, and do so as quickly or as slowly ofthe basic differences between these two graphic narrative fonns, at least as as they would like. Film (at least the kind consumed in theaters) cannot afford practiced by Hernandez. His serializcd works tend to be, at least relatively audiences that kind ofluxury. And this emphasis on reader-centcred acquisition speaking, more realistic or "natural" narratives, are episodic in nature, rely becomes even more evident when applied to the analysis and appreciation of primarily on event-driven actions, and are disjointed or fragmented due to a complete graphic novel-- as opposed to serialized works -- where the reader multiple competing storylines. By contrast, his graphic novels employ a more can manipulate his or her access to all or even parts of the narrative. dreamlike or "unnatural" narrative mode, contain slowly evolving or durable It may be useful here, by way of illustration, to highlight an example of storylines, privilege visual contexts over action-driven meaning, and are plotted narrative control as applied to a novelistic tex.t. Although not falhng under my in a non-linear manner. Other significant differences between the two forn1s particular definition of"graphic novel" (sec note 2), it is worth noting that the reflect the narrative compact between the author and the reader. Serialized serialized Poison River, when first coJlectcd in 1994, does indeed read as a works such as "Me for the Unknown" and Grip: The Strange World ofMen graphic novel. In fact, Poison River is a more cohesive and understandable rely heavily on suspense to engage its readers -- where each installment ends naJTative when collected into novcl form, and not just because all of the with a visual and/or verbal cliffuanger that both frustrates and titillates its pieces are fit together. In the completed Poison River, Hernandez includes 16 audience -- while original novelistic works such as Sloth are holistic in nature, different full-page illustrations betwcen the 17 different chapters (or serialized allowing the reader to take in the whole scope of the narrative and providing installments) that never appcarcd in the original Love and Rockets comics. a more immediate sense ofclosw-e. For this reason, graphic novels may demand Each new illustration bears the name ofone ofthe story's significant characters, more from readers, requiring that they take in the text's full narrative range and along with pictures of that individual at different stages of life, and each negotiate its visual system, and to do this (or have the option ofdoing this) all 'iuggests that the chapter to follow will focus (at lcast in part) on that figure. at once and not in parceled out, and perhaps more easily digestible, segments Such intersectional pieces give Poiso/7 River more structural unity and make spread out over monthly intervals. What is more, Hernandez's longer and it more than the sum of its serialized parts -- in othcr words, they make Poison autonomous narratives more fully reveal the experimental side ofhis art where River more like a novel. And having a complctcd, organized, and more montage (at times disharmonious) becomes highly significant and the structurally coherent text in hand, the reader is better able to makc sense of placement of images allows him to draw out or extend time, or at least the oison River's fragmented storylines and almost unmanageable cast. Just by appearance of temporal manipulation. 5 l1ipping back and forth between the pages of the book -- which is something This distinction between serial-based and novelistic comics also reveals that 12 individual issues of a comic book, spread out over thrcc years, might a difference in narrative control.