Although the terms comic
book and graphic novel are sometimes used interchangeably, a comic, at about
the length of a picture book, tends to be shorter than a graphic novel. Both
are uniquely made up of images and text in a way that evokes a quality of film.
Drawing on children’s existing knowledge of this medium, children can become
creators of their own comics and graphic novels and thereby enhance understanding of paper-based
multimodal texts (UKLA, 2005). With intuitive programmes such as Comic
Life and even PowerPoint, children can record their own experiences or a
narrative in a new and relevant way. Their value for reading and writing
development is acknowledged in the Primary National Strategy for literacy
(DfES, 2006).
Reflecting a growing
positive sentiment, the graphic novel has emerged as a rising segment of book
publishing as librarians and educators embrace their potential for motivating
children to read (Scholastic, 2007). Reports demonstrate soaring circulation figures,
most notably amongst boys who are traditionally difficult to engage (Sainsbury
& Clarkson, 2008; Krensky, 2008). At the same time, examples with rich,
complex plots and narrative structures can satisfy and challenge more advanced
readers (Scholastic, 2007). For instance, the teachers’ pack containing graphic
novel representations of A Midsummer Night’s Dream (Kossuth, 2011) offers
great flexibility through varying text content. They claim to be ‘Making
Shakespeare accessible for students and teachers’ and this, as well as other
examples of his plays are arguably ideal for the genre, as they were never
intended to be read without images. Images are therefore viewed as a valuable
opportunity to make meaning, rather than as something which demines the text in
line with today’s image dominated society (Jacobs, 2007; Mackey & McClay, 2000).
Looking
at whether comics and graphic novels in fact undermine the values of the
classroom, it is important to consider where notable reservations stem from.
Those in a position to provide children with appropriate texts, such as
teachers and parents may associate the term “graphic novel” with content that
is not suitable for young readers (Scholastic, 2007). Of course teachers must
take care to ensure suitability of content for both comics and graphic novels,
yet should also acknowledge their potential to portray a range of topics
suitable for cross-curricular learning. It is they who are the best judge of
whether a text’s inclusion of violence or challenging themes are appropriate
for their individual class (Stafford, 2009).
Others
fail to recognise that graphic novels in particular can help children to move
on with their reading, but instead believe that they undercut “real reading”.
In contrast, Gaiman (1999) believes that rather than inferior literature, they
have intellectual value in the classroom. The notion that graphic novels are
too simplistic to be regarded as serious reading is outdated as they demand the
decoding and comprehension of diverse literary devises including narrative
structures and symbolism (Scholastic, 2007). The critical skills
involved are similar to that used for traditional texts but also encourages
children to interpret meaning behind facial and bodily expressions and the pictures’
composition and viewpoint. An effective strategy to promote inference, as
observed on placement with the comic The Bash Street Kids is to remove the dialogue from a page
and ask children to decipher what characters could be saying (Stafford, 2007).
For struggling or unconfident readers, graphic novels such as The Savage (Almond,
2009) act as a stepping stone, bridging the gap between comics and novels. The
illustrations provide contextual clues to the written narrative that could
otherwise appear daunting.
The
layout of both mediums may also be difficult for early readers to decipher, yet
this can be overcome with explicit teaching of their conventions. This
relates to my practice, on which several children omitted the speech bubbles in
texts suggesting an unfamiliarity with the concept. Initial discussions on
comics should introduce children to their characteristics and install them as a
credible form of literature in their minds (Stafford, 2009). The non-fiction
graphic novel Water Goes Round: The Water Cycle (Kootz, 2011) acknowledges this
by telling its reader how to navigate the pictures before proceeding.
Once children and adults become familiar with the layout, they are better
equipped to make meaning from them. In conclusion, providing young people of all
abilities with diverse reading materials, including graphic novels and comics,
can help them become lifelong readers.
Useful Resources for creating
comics online:
·
http://www.makebeliefscomix.com/
·
http://marvelkids.marvel.com/games/play/75/create_your_own_comic
·
http://www.garfield.com/fungames/comiccreator.html
References
Almond, D. (2009) The Savage
Walker Books
DfES (2006) Primary National Strategy London: DfES
Gaiman, N.
(1999) in Bender, H. The Sandman Companion (New York: Vertigo Books,
1999), 4.
Jacobs, D. (2007). More than words: Comics
as a means of teaching multiple literacies. English Journal, 96(3), 19-25.
Kossuth, K. (2011) A Midsummer Night's Dream Teaching Resource Pack Towcester: Classical Comics
Kootz, R. (2011) Water Goes Round: The
Water Cycle Minnesota: Capstone Press
Krensky, S. (2008) Comic Book
Century: The History of American Comic Books Minneapolis: Twenty-First
Century Books
Mackey,
M., & McClay, J. (2000). Graphic routes to electronic literacy: Polysemy
and picture books. Changing English, 7(2), 191-201.
QCA/UKLA (2005) More than
words 2: Creating Stories on page and screen. London: QCA pp19-23:
Sainsbury, M. and Clarkson, R. (2008) Attitudes to Reading at Ages
Nine and Eleven: Full Report. Slough: NFER.
Scholastic (2007) Using
Graphic Novels with Children and Teens: A Guide for Teachers and Librarians http://www.scholastic.com/teachers/lesson-plan/using-graphic-novels-children-and-teens-guide-teachers-and-librarians
Accessed 28-01-14
Stafford, T (2009) ‘Teaching
Comics’ in Duncan, D. (2009) Teaching Children’s Literature: Making stories
work in the classroom Abingdon:Routledge
Thomson & Co. Ltd. (2003) The Bash Street Kids
