Adapting the Graphic Novel Format for Undergraduate Level Textbooks
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ADAPTING THE GRAPHIC NOVEL FORMAT FOR UNDERGRADUATE LEVEL TEXTBOOKS DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Brian M. Kane, M.A. Graduate Program in Arts Administration, Education, and Policy The Ohio State University 2013 Dissertation Committee: Professor Candace Stout, Advisor Professor Clayton Funk Professor Shari Savage Professor Arthur Efland Copyright by Brian M. Kane 2013 i ABSTRACT This dissertation explores ways in which the graphic narrative (graphic novel) format for storytelling, known as sequential art, can be adapted for undergraduate-level introductory textbooks across disciplines. Currently, very few graphic textbooks exist, and many of them lack the academic rigor needed to give them credibility. My goal in this dissertation is to examine critically both the strengths and weaknesses of this art form and formulate a set of standards and procedures necessary for developing new graphic textbooks that are scholastically viable for use in college-level instruction across disciplines. To the ends of establishing these standards, I have developed a four-pronged information-gathering approach. First I read as much pre factum qualitative and quantitative data from books, articles, and Internet sources as possible in order to establish my base of inquiry. Second, I created a twelve-part dissertation blog (graphictextbooks.blogspot.com) where I was able to post my findings and establish my integrity for my research among potential interviewees. Third, I interviewed 16 professional graphic novel/graphic textbook publishers, editors, writers, artists, and scholars as well as college professors and librarians. Finally, I sent out an online survey consisting of a sample chapter of an existing graphic textbook to college professors and asked if the content of the source material was potentially effective for their own instruction in undergraduate teaching. For me, the interviews were the most enjoyable part of this process and yielded significant, actionable information from which I could ii draw practical conclusions. The results of the dissertation blog exceeded expectations in that the readership extended further than anticipated. Through the use of statistical analysis tools within Blogspot, I discovered the Graphic Textbooks blog has been viewed over 3,000 times to date since it first appeared on September 4, 2012. While 68% of these page views originated from the United States, it has also been accessed from 61 other countries, of which Germany and Russia comprise the largest readership (See Appendix C: Dissertation Blog Page Views by Country). Adapting undergraduate-level introductory textbooks in all disciplines has tremendous educational implications as we enter the digital eTextbook age. When placed on a digital platform, graphic narratives can not only simulate a classroom environment, but, because they are self-paced and utilize characters that engage the reader, can also replicate a one-on-one student/tutor dynamic as well. These understandings have implications for both introductory-level learning within a college or university setting and for distance learning where personable interaction is either limited or non-existent. Through my involvement in this research project, I have concluded that the true power of graphic narratives, of these unique multi-sensory scaffolding tools lies in their ability to help instructors motivate and educate their students. In terms of their positionality within art education, graphic narratives are malleable constructs that speak to many aspects of our discipline such as: visual culture, social media, narratology, visual learning, literacy development, design thinking, and the development of imaginative problem-solving skills. Graphic narratives can be as intimate as a memoir of a teenage girl living in Tehran (Persepolis); as inspiring as a biography of a boy growing up in poverty to become a sports star (21: The Story of Roberto Clemente); or as educational as a textbook iii (The Cartoon Introduction to Economics: Volume One: Microeconomics). Graphic narratives are a verbal/visual medium whose only limitations lie in the imaginations, creativity, and skill of their creators, and likewise in the willingness of the viewers/readers to actively engage in interpreting and making meaning from this iconographic art form. iv DEDICATION For my family, Kathy, Quin, and Ryan who have suffered through my insanity smiling… …and groaning. v ACKNOWLEDGMENTS I would like to thank my dissertation committee members: Professor Clayton Funk who understands me (at least I think he does), Professor Arthur Efland who inspires me, Professor Jared Gardner for his help in shaping the narrative of my dissertation, Professor Shari Savage for “pinch hitting” for me, and Professor Candace Stout who championed this dissertation from the start. I would also like to thank Professor Christine Ballengee-Morris (my first Art Education teacher) for bringing me into this “family,” Professor Patricia L. Stuhr for seeing something in me that I did not see in myself, and my fellow students who have walked this path with me. Finally, I would like to thank my 16 interviewees for their time and patience. Stephen Bissette Graphic Narrative writer and illustrator best known for his work on Swamp Thing for DC Comics. Professor at the Center for Cartoon Studies in White River Junction, Vermont. Comic Book Rebels (1993). New York: D.I. Fine. Co-Author. Tyrant (1994-1996). Wilmington, VT: Spiderbaby Graphix. Author & Illustrator. Teen Angels & New Mutants (2011). Encino, CA: Black Coat Press. Author. Tom Brevoort Senior Vice President and Executive Editor, Marvel Entertainment (Marvel Comics). Kevin Cannon & Zander Cannon Graphic narrative writers and illustrators. The Stuff of Life: A Graphic Guide to Genetics and DNA (2008). New York: Hill and Wang. Illustrators. vi T-Minus: The Race to the Moon (2009). New York: Aladdin. Illustrators. Evolution: The Story of Life on Earth (2011). New York: Hill and Wang. Illustrators. Josh Elder Founder and President of Reading With Pictures, Chicago, IL, an educational non-profit dedicated to facilitating the use of comics in the classroom in order to promote literacy and the visual arts, and improve educational outcomes for all students. Jared Gardner, Ph.D. Professor of English and Film at The Ohio State University where he is also the Director of the Popular Culture Studies program. Jay Hosler, Ph.D. Professor of Biology, Juniata College Clan Apis (2000). Columbus, OH: Active Synapse. Author & Illustrator. The Sandwalk Adventures (2003). Columbus, OH: Active Synapse. Author & Illustrator. Optical Allusions (2008). Columbus, OH: Active Synapse. Author & Illustrator.* Suspended In Language: Niels Bohr's Life (2009) Ann Arbor, MI: G.T. Labs. Illustrator. Evolution: The Story of Life on Earth (2011). New York: Hill and Wang. Author. * The production and publication of Optical Allusions was made possible through a grant from the National Science Foundation. Dean H. Johnston, Ph.D. Professor of Chemistry, Otterbein University. Research and Teaching Interests: Synthetic inorganic chemistry, X-ray crystallography, Photophysical properties of metal cluster systems, Molecular symmetry, and Structural chemistry. Professor Johnston also serves as the Director of Undergraduate Research and Creative Work at Otterbein University. Wendy Johnston, Ph.D. Adjunct Associate Professor in the Department of Chemistry and the Department of Biology, Otterbein University. vii Caitlin A. McGurk At the time of the interview Miss. McGurk was the Visiting Curator for the Billy Ireland Cartoon Library & Museum at The Ohio State University. She is now that institution’s Engagement Coordinator. Jim Ottaviani Writer and publisher of comics and graphic novels about scientists. Masters in Nuclear Engineering, University of Michigan. Masters in Information and Library Science, University of Michigan. Librarian at the University of Michigan, and the Coordinator of Deep Blue the University’s personal research and intellectual property database. Fallout (2001). Ann Arbor, MI: G.T. Labs. Author. Suspended In Language: Niels Bohr's Life (2009) Ann Arbor, MI: G.T. Labs. Author. T-Minus: The Race to the Moon (2009). New York: Aladdin. Author. Feynman (2011). New York: First Second Books. Author. Primates: The Fearless Science of Jane Goodall, Dian Fossey, and Biruté Galdikas (2013). New York: First Second Books. Author. Stephen Saffel Senior Acquisitions Editor, Titan Books. Responsible for acquiring and editing original and tie-in fiction, illustrated books, comics and strip collections. Former Editor for Marvel Entertainment (Marvel Comics). Mark Schultz Graphic narrative writer and illustrator. The Stuff of Life: A Graphic Guide to Genetics and DNA (2008). New York: Hill and Wang. Author. James Steranko Graphic narrative writer and illustrator. Mr. Steranko is a legendary figure in the comic book industry, and in the 1960s- 1970s helped establish some of the visual iconography and techniques used by graphic narrative creators today. In 1976, Mr. Steranko created the “Visual Novel” Chandler, which is considered one of the first graphic novels. Chandler: Red Tide (1976). New York: Byron Preiss. viii Steranko: Graphic Narrative (1977). Winnipeg: The Winnipeg Art Gallery. Visual Storytelling: The Art and Technique (2002). New York: Watson-Guptill. Kim Thompson Vice President, Editor, and Co-Publisher at Fantagraphics