Getting
Graphic: Comics and Graphic Novels
When people first hear the word “comics” or “graphic
novels” they often think of superheroes and
the comic strips found in
newspapers. Superman and company certainly have their place in the history of
comics, but there is also a larger universe within this segment of fiction that
contains unlikely heroes, emotional storylines, and characters struggling with
complex social issues. Graphic novels and comics have “grown up.” It is
difficult to trace the exact moment when graphic novels and comics became more
adult oriented, and opinions vary depending upon with whom you speak, but Alan
Moore’s Watchmen hit the shelves in
the mid’ 80s and that is a moment that accelerated a change in the industry.
Timing is
everything and for Moore the release of Watchmen
in the mid ‘80s was a game changer for the industry. Marvel and DC comics,
while popular, had become boring and predictable. With Watchmen the public was introduced to an adult story that was
complex and detailed. The story focuses on the concept of “what if” superheroes
are real. This alone is a loaded concept because previously people took for
granted that superheroes were “real” in comics, but this story takes archetypes
we are comfortable with, like a police officer, and gives them superhero
“powers.” In addition, Moore places these characters in a turbulent world where
the heroes have to go into hiding, thus creating an anti-superhero world that
is a result of fear and oppression. The story spans decades and reveals that
these characters have been at the center of many major U.S. and world events. If
you haven’t read Watchmen, try it—you
will not be disappointed.
Since the release of Watchman, the graphic novel industry advanced and the fan base grew.
More diverse stories are told in graphic novel format. Marjane Satrapi’s Persepolis, released in the late 1990s, details Satrapi growing up in Iran
during the Islamic revolution. The book transcends cultures. Many of the same
angsts and issues adolescents struggle with during their formative years are
similar, such as searching for identity and seeking approval/confirmation from
parents as an individual. For Satrapi, being forced to wear the veil shows
cultural differences, but at the same time shows similarities because despite
the veil, Satrapi was a typical child growing up and seeking her identity. Aside
from the cultural differences in her upbringing, are the common aspects of
adolescence—rock music posters, struggling to understand death, independence,
and defiance.
Timing is
everything and for Moore the release of Watchmen
in the mid ‘80s was a game changer for the industry. Marvel and DC comics,
while popular, had become boring and predictable. With Watchmen the public was introduced to an adult story that was
complex and detailed. The story focuses on the concept of “what if” superheroes
are real. This alone is a loaded concept because previously people took for
granted that superheroes were “real” in comics, but this story takes archetypes
we are comfortable with, like a police officer, and gives them superhero
“powers.” In addition, Moore places these characters in a turbulent world where
the heroes have to go into hiding, thus creating an anti-superhero world that
is a result of fear and oppression. The story spans decades and reveals that
these characters have been at the center of many major U.S. and world events. If
you haven’t read Watchmen, try it—you
will not be disappointed.Since the release of Watchman, the graphic novel industry advanced and the fan base grew.
More diverse stories are told in graphic novel format. Marjane Satrapi’s Persepolis, released in the late 1990s, details Satrapi growing up in Iran
during the Islamic revolution. The book transcends cultures. Many of the same
angsts and issues adolescents struggle with during their formative years are
similar, such as searching for identity and seeking approval/confirmation from
parents as an individual. For Satrapi, being forced to wear the veil shows
cultural differences, but at the same time shows similarities because despite
the veil, Satrapi was a typical child growing up and seeking her identity. Aside
from the cultural differences in her upbringing, are the common aspects of
adolescence—rock music posters, struggling to understand death, independence,
and defiance.
Satrapi’s Persepolis also spent 31 weeks on the
New York Times Best Seller list. Topping
that, The Walking Dead Compendium by
Robert Kirkman, et al, spent 135 weeks on the list and Saga, Vol. 1 by Brian Vaughn and Fiona Staples spent 72 weeks on
the best seller list.
This month
we invite you to stop by our display and borrow a graphic novel or comic. You
may be surprised in what you find!
Jon
Hilbert, Aug. 2014
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