Eastern Illinois University The Keep Honors Theses Student Theses & Publications 2012 Comics for Children? Elizabeth Surbeck Eastern Illinois University Follow this and additional works at: http://thekeep.eiu.edu/honors Part of the Graphic Design Commons, and the Modern Literature Commons Recommended Citation Surbeck, Elizabeth, "Comics for Children?" (2012). Honors Theses. 12. http://thekeep.eiu.edu/honors/12 This Article is brought to you for free and open access by the Student Theses & Publications at The Keep. It has been accepted for inclusion in Honors Theses by an authorized administrator of The Keep. For more information, please contact [email protected]. Eastern Illinois University The Keep 2012 Awards for Excellence in Student Research & 2012 Awards for Excellence in Student Research Creative Activity - Documents and Creativity 4-11-2012 Comics for Children? Elizabeth Surbeck Eastern Illinois University Follow this and additional works at: http://thekeep.eiu.edu/lib_awards_2012_docs Part of the Graphic Design Commons, and the Modern Literature Commons Recommended Citation Surbeck, Elizabeth, "Comics for Children?" (2012). 2012 Awards for Excellence in Student Research & Creative Activity - Documents. Paper 1. http://thekeep.eiu.edu/lib_awards_2012_docs/1 This Article is brought to you for free and open access by the 2012 Awards for Excellence in Student Research and Creativity at The Keep. It has been accepted for inclusion in 2012 Awards for Excellence in Student Research & Creative Activity - Documents by an authorized administrator of The Keep. For more information, please contact [email protected]. Surbcck1 Elizabeth Surbeck/Comics for Children? Works Cited Arnold,Andrew D. "From Ming to Kim." Time. Time, 23 Se-pt.2005. Web. 13 Dec. 2011. <hUp:l/www.time.com/time/artslarticle/0.8599.1108801.00.btml#ix:zzI ZCI3aWdMS>. Thisreview ofGuy Delisle'swork ootes, as a secorJd.-uyrource, the use o(tig.ht in P)i(mgyang. It was briefly U..t;:eful in explaining how tone can be communicatedthrough very simple aesthetic components. B, David. L 'ascensionDu HowMal. Paris:!'Association, 201 1. Print. This French graphicnovel was a primarysource that was used,IJ.IIlong st other things, to dcmonstralt:how churnclc:.rs mighthold heroic positions in a storybecause oftbeir child·lilce statuS.Lruer, J poinred out certain artistic techniquesthat David B utilized like abstractlines todemonstrate mental activity. His influence as u grnphicnovel creatorwas :,ignificaot lOexplain lvtwjane Sutrapi'sown artisticS[yle in her graphic noveJs. Bellcfroid, Thieny. "Interview de David B.: L'Ascen:,ion du Htrut Mal."BD l'aradisio.N. p., 2000.Web. 13 Dec. 20 II. <http://www.bdparadisio.comiintervw/davidblintdavid.htrn>. Bellefroid's interviewwith David B was a useful secondarysource toexplain David 8's process or n:mc:mbering or not being uble (()n::membc:r hil:i childhood \vilhhil) ramily. Wherehe couldn't usc his rocmot}'. be usedbis imagination and thtatis what he states plainly to Bellefroid. Bender,Hy. The Sandman Companion.New York:Vcrtigo/DC Comics, 1999. Print. This companion to the Sandmandseries, as a secondarysouroc, was hugely useful to w1derstandGaiman' s ''lorkshop--like process of creatingcomic booksand JX>ssibJc.his Surbeck 2 influencesused to create The SandmanSeries. 1 usodthis sourcet o commenton componentsthat made upcharacters the ofD rerun and Oelirium. De-li!;le,Cruy. 1-'J-vmgyang. Paris:L'Association, 2002. l'rlnt. This 'f'renchCanadian ra g phic novel was a primarysource that I usedspocitically for demonstratingbow gra_phic novels and canconvey tone visually andalso how theJack of color canbe used to highlightccrtaio perspectives.conveying tone thatway as well. Eiso�:r.Will. GraphicStorytelling and Visual Narrative.Tamarac. FL: Poorhouse- Press, 1996. Print This was an instrumental secondary textdid that a lot to influence thepapcr�s thesis.lt \\'35\I;Titten as a theoretical {>ieeeon thenature ofgraphic storytellingand the clementsin volved in that process.Eisner gives important evidence in the introduction that grnpbicnarrntives appeal to our mos< ba'ictypes of reception becausewe n aturally develop to respond to visual communication first. Gairnau.N eil. Writer. JJriefLives. Ink by Vince Lockeand Dick Giordano. C'.oJoringby Daniel VoZZJJ.Lettered by Todd Klein.Covers and d esignby D•vc McKeon.Foreword by Neil Gaiman.Afterword by PelerStr...,b. New Yorlt:Vertigo-DC Comics, 1994. Print.Vol. 7 of The Sandmau Series.ThisBritish graphic no,·cl was usedas a primarysou.rcc for makingu estbetic pOint');about The .fotandman Series becausethe textwas brokenup ir)tO multiple storiel:'thut rocuses un key main charactersin the series. With everys hortstory, the roosLsi£,nificant a esthetic motifsfor certaincharacters were demonstratedmore clearly. Gaiman, Neil, writer. Tlw.Kindly Ones. Art by MarkH empel. Coloringby Daniel Vozzo. Separatedby Android Jmag.,.,LeUcted by Todd Kleinand Kevin Nowlan. Covers and Surbeck3 dcsig)lby Dave McKClm. lntrod. by Frank McConnciJ.New York: V<-rtigo-DCComic., 1996. Print. Vol. 9 of theSandman Series. This Hritish graphic novel V.'nS used as a primurysource lbat demonstnlled characterlor devtloproent Delirium und Drerun.This was n clear poi1H in lhe series where Delirium dernonslnltesthe- full child-like Staleof her perspectiveon even very serious situations. Guiman. Neil, writer. The Wuke. Artb y Michael ZuiJ� Jon .1.Mulh, and CharlesVess. Leaered by Todd Klein. Col oring by Daniel Voxzo&Jon J. Muth. Separntedb y Digital Chameleon. Coversand desig)l by DaveMcKean. Title page by Michael ZulJi. New York.:Vertig<>-DC C.<>mies, 1997. Print Vol. I0 of The&1rulm<m &ries. Like Thel(jndly Ones,this Briti sh grapbjcnovel wao;·used as u pri.m.ary sourc.e to 1Urther explore the charac[er developmentof Deliriumand Dream as the story finishes itsclimax reaches and a conclusion. Hon. Cbrisline. "FiusbJorwardDemocracy: AmericanExeeptiooulism And Tho Atomic Bomb in "BarefootGen .." C:Omparntive LiteratureS tudies 4{>.1 (2009):125-155. Academic.Search Complete. Web. Mar. 2012. This secondarysource was tL'iedfor its academic analysis of BarefootGen in relationshipto the policitcal eventsthat surrounded its creation. I useda passagefrom this work for explaininghow worksBarefoot like Gen actas a ••witness:" which helps thereader's '•inner child" grasp better onto the story's message. "Jewish Mice.Bubblegum Cards, ComicsArt, and RawPossibilities." Comic.f Journa/ 65 Aug. (1 981): 99. Web. 13 Dec.201 1. This interview occurred about the time ofMau�'s publi�hing. As a secondarysource, it helpedme citewhere An Spe-igelman's arti�ic intlueoces came from. backing up the way h e conveys tooe Ln his works. Surbeck4 .loc-hunt·Maghsoudnia,Charb anou. "Marjanc Satrapi. PcrsCpolis. " Droit et Cultures. N.p., 18 May 2009. Web. I 3 Dec. 2011. <hnp://droitc:u.ltu.res.revues.org/741>.This: i nterview wit h Marjane Satrapi was usedas a secondarysource to givefurther of evidence how comics artists vic\\'theirown workas a hybrid medium.Here. Sa.trapi gives a solidquote that u.sesthe- \\10rd. hybrid. 10 desc-ribe her work. "L'iutervicw!:Marjaoc Satrapi ." BD Selection. N.p., 4 Jan. 2002.W eb. 13 Dec. 2011. ·•::J:tttp://www.bdselcccion.c:om/phpl'!rub=page _ dos&id _ dossier=-=51 >. 'l'hisintcrV'iew with Marjane Satrapi helpedback up aesthetic observationsabout S atrapi's work, c-iting her influence-��both artistic and cultural that she used to createPcrsepolis. Ma•umoto,T aiyo. Tekkonkinkreet. Complied by AndrewMcKeon. Edited by Elizabeth Kawru;akiJason and Thompson. TranslatedLillian by Olsen. Designed Martin. byAmy VIZMedia, LLC. 2007. Print. 1ltisJapanese graphic novel v.'lls used specifically for di�u.�<;ing theanimaJ stereotypesthat can be usedin graphic novels to efficei ntly convey information about characters.This work wasspecifically chosen for its number of cle31' cx11mplcs and bow unin:wl!� h:rootypc;;s c.:unbe usOO inu dHI<:rcnlnumber of ways. McCloud. Scott. UnderstandingComics: Tlu!InvisibleArt. New York: Harpe<Collins. 1994. Pciut. This secondary source, likeEisner's theoretical piecementioned previously, was an impc)rlanlsecondary source for lhe thesisrutd it,too, i s a \•..-ode foc-tL�ingon dtetheotetical aspects of graphic nnmaLivos.Using the word. "cbild-liko,"was primllri ly inspiredby l.he . quolcs takenfrom his work and placed in thopaper. Nnkawwo, Keiji. Darej()()t (ien:A Cart()()nStory of Hiroshima.Tran<lated by l'mject Gen. lntrod.by ArtSpiegelman. San Fron�isco:P rolong PressLtd., 2004. Print.Vol. 1 Surbeck 5 Bar�(ootGen. This Japanese·graphic novel by Keiji NnkUlilwa wus useda') fl primary text to give e:�amples of how grapbic novels canvi sually conveytone and perspective-.This text was also referencedin thebeginning oftbe paperto demonstrate the blunt styleof deli\lery thaL graphic novels use. Park, Ed."Shadowland: An animated accountof lile under the Kirnregime." The Village Voice. Village Voice L.LC, 16 Aug.2005. Web. 13 Dec. 2011. <http:l/www.villagevoice.com/2005..08-16/bookslshadowland!>. This review of Delisle's Pyongyangwas similaranother to review ofl'yon!()•ang(see Arnold) as >UJOther referenceto visual techni(wes1.0 convey tooe in graphicnovels. Sartrapi,Marjanc. Persepoli s. Milan:C ibouleue, 2009. Print. ThisJ're�ch graphic novel wa< used as uprir.uary text to explorea�pec:t� of the pape.r.These includedhow cbaraders can posses a chitd.. Jike perspectiveto behero ic figures, how comics artists draw fromv ttrious influencesto createthe clcaresL mt;;�a,ge lhey can attempt, lbe advantages or a black and