by Glen Downey, Comics in Education, www.comicsineducation.com I had the great fortune of having my kids--who absolutely adore Stan Lee--get their picture taken with the legend when he made an appearance at the 2012 Fan Expo in Toronto. It's nearly two years later and they still haven't stopped smiling. Imagine my delight, then, in discovering the Stan Lee Excelsior Award, a prize given to one of eight graphic novels each year as selected by the real experts on comics and graphic novels: teenagers! Here's the description of the award from the website: The Stan Lee Excelsior Award is the only nationwide book award for graphic novels and manga - where kids aged 11-16 choose the winner by rating each book as they read it! You'll be pleased to know that the organizer of this award is Paul Register, the librarian at the Ecclesfield School in Sheffield, England. Ecclesfield specializes in visual and performing arts and I can't help but think that it shares a kindred spirit with my own institution, The York School in Toronto. As noted in the award description, Stan the Man himself has endorsed the award, and it's such a great way to help foster and promote the idea that a school--an academic institution--sees comics and graphic novels as worthy of study, appreciation, and recognition. So hats off to Paul Register and the Ecclesfield school for the Stan Lee Excelsior Award. Excelsior!
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Q. What Do You Get When Graphic Travel Narrative Meets Visual Brainstorming? A. Tokyo on FootÂ
4/3/2014
by Glen Downey, Comics in Education, www.comicsineducation.com This is how an artist should travel...If you haven't read Florent Chavouet's Tokyo on Foot, then you've been missing out on a uniquely rewarding experience. Imagine you're an artist with a gift for sharing your own unique perspective on things, and you find yourself in Tokyo with time on your hands and art materials at your disposal. If you're Chavouet, you end up drawing Tokyo. But not the stereotypical, Western view of Tokyo as a city of bright lights, Buddhist temples and Karaoke bars.... Instead, imagine that you draw the real Tokyo. By recording what he sees, from the profound to the mundane, Chavouet does what so many great graphic travel writers do. As with my post the other day on Guy Delisle, Chavouet presents us with an honest, insightful look at the sights and sounds of the place he is visiting, perhaps without even realizing at the time what a profound effect these sights and sounds--and his recording of them--will have on his development as an artist. You see, it's precisely because Chavouet records everything (i.e. that he doesn't make a judgment or shape Tokyo into merely what he wants or expects it to be) that he is so successful in Tokyo on Foot. This is precisely the idea we should encourage with our students when they are trying to put their ideas down onto paper in front of them. Tell them that you want to see what they are thinking...really see it. They might just end up giving you something like this. Thank you, Florent Chavouet. Why Teach Comics?
4/2/2014
by Glen Downey, Comics in Education, www.comicsineducation.com Just in case you didn't have reason enough already... In a lecture called "Fostering Inquiry One Comic Book at a Time" that I delivered at the 2014 Reading for the Love of It Conference, I discussed the importance of teaching visual narrative in the K-12 classroom. What I talked about, though, was actually inspired by a pair of articles I wrote for the Sequart Organization at the start of 2013. Here's what I said in "Changing Attitudes to Comics in the Classroom:" In 2010, I assigned a rather curious task to a group of twenty-two graduate students at the Ontario Institute for Studies in Education (OISE) while teaching a course called New Literacies: Making Multiple Meanings. The students included K-12 educators with a range of experiences and backgrounds, as well as those working in education in a non-teaching capacity. The purpose of the activity was to determine what they saw as the basic skills needed to access “new literacies.” Pairs of students were assigned a given literacy, and then came up with a thoughtful analysis of the skills that would be needed for someone to possess, for example, information literacy or health literacy. The following week, just as one might do in a middle school classroom, I had the students fill up a blackboard with the skills they came up with for their given literacy. Then we simply circled the skills that appeared over and over again. The following five were repeated multiple times:
Given that 21st-century students in our K-12 classrooms spend a considerable amount of time immersed in a visual culture outside the classroom, it seems absurd to avoid teaching visual narrative to academic students as they develop the above-mentioned skills. Having students navigate through different genres and across different platforms of learning as they critically think about and make connections between poetry, novels, short fiction, visual narrative, epistolary writing, discussion boards, blogs, and hypertext fiction seems like a no-brainer. Are students’ self-awareness and metacognition really better served by avoiding comics and graphic novels in the academic English classroom? Isn’t visual narrative an ideal starting point in exploring with students both the traditional “print” genres of the novel, short fiction, poetry, and non-fiction, and the world of writing that hypertext and the web has opened up for all of us? If the skills that my students identified are crucial ones for access to the range of 21st-century literacies our students need, and if studying visual narrative helps foster these skills, we would be remiss if we kept comics and graphic novels out of our classrooms. Interestingly enough, the five skills listed above are ones that a certainly category of individuals has developed better than any other, and studying these individuals gives students insight into how to develop the skills themselves. What category would that be you might ask? Comic book superheroes. by Glen Downey, Comics in Education, www.comicsineducation.com We don't just want to hear from you. We want others to hear from you as well!Having met so many of you already in such a short space of time, and having learned about what you're doing in the fields of comics and education, we thought we'd make you an offer you just couldn't refuse. If you happen to be doing work you'd like to share with visitors to our site, have insights about recent developments in the use of visual narrative in the classroom, or just feel strongly about the importance of comics in education, we'd be interested in having you write a guest blog for us. We're open to lots of creative and insightful ideas, and would love to feature the work of those who have a particular passion for these disciplines. Perhaps you have great ideas about using the works of a particular graphic novelist in your classroom. Maybe your students have drawn and written comics that really showcase the power of teaching them the visual. Perhaps you've read a comic or graphic novel in the past year that you feel has been undervalued in terms of its pedagogical utility. Whatever it is, we want to hear from you. Not only that, but we want others to as well. So send us a quick note by using our Contact Form. You can either send it to the one that goes to Comics in Education or the one that goes directly to me. You might want to do both, because I've set the electronic forms to thank you as though from a couple of familiar Marvel characters. Seriously, it's kind of adorable. by Glen Downey, Comics in Education, www.comicsineducation.com We're Blushing for Goodness Sake...We wanted to take a moment to thank you once again for your support of this site. We have only been in operation for a very short time, but we've already made connections with some wonderful educators out there. Receiving 50,000 visits in little more than two weeks is very flattering, but here at Comics in Education we'd like to think it has to do with one basic idea.
We want to foster and develop a love and appreciation for visual narrative in the K-12 classroom. We want educators--all educators--to see that comics and graphic novels represent a genre worthy of study, that they have a tradition, and that they can open up a young person's mind to different ways of seeing and interpreting the world around them. They can encourage a reluctant reader to read. They can encourage a second language learner to acquire a new understanding of the language they are learning. And they can help students to make connections among a wide variety of texts, whether literary, artistic, or cultural. So many of you out there are doing wonderful things in comics and in education. We can't wait to see what you do next! Comics in Education 2.0
3/28/2014
by Glen Downey, Comics in Education, www.comicsineducation.com A Quick Timeout to Show You A Few Updates to the Site!We hope you've been enjoying Comics in Education and wanted to let you know about a few changes we've made. The landing page has switched to our blog since so many of you are visiting it. The home page, though, has seen a radical makeover and now features ten very handy buttons to take you to places you want to go! It will also feature news and other important updates, so be sure to check back regularly. As we make changes and updates we'll keep you posted. If there are any changes we can make so your experience on the site is more enjoyable, just let us know through a contact form! by Glen Downey, Comics in Education, www.comicsineducation.com A Great List for TeachersIf you're interested in comics, graphic novels, and visual narrative in general, and are equally as interested in their implications for classroom teaching, you should certainly consider following as many of the accounts below as you can. These are folks whose tweets frequently focus on the comics industry, comics in K-12 education, or academic scholarship related to comics. A great strategy for those new to Twitter--like educators wanting to learn more about individuals and organizations involved in either comics and education or the wider comics industry--is to follow the people that the folks above are following. After all, they must have a pretty good reason to be doing so! Great Resources for Comics Scholarship
3/27/2014
by Glen Downey, Comics in Education, www.comicsineducation.com What's Out There...There is considerably more scholarship in the area of visual narrative than most educators or, indeed, most outside the areas of comics publishing and production are aware. Here is a starting point for your investigations. If you find others that you think should be represented here, just let me know and we can add them to the Scholarship tab under Graphica.
by Glen Downey, Comics in Education, www.comicsineducation.com Activities Inspired by the Visual Can Yield Amazing ResultsThis one I just had to share with you. In the lead up to teaching Persepolis this year, I wanted to give my students as many opportunities as possible of working with the visual. If you read my blog post about the "Cave Art" activity, you'll recall that it required students to depict a day in their life, a challenging encounter, or their best moment on the planet, etc. as a cave art montage. In effect, the Cave Art activity is a kind of visual brainstorming about a moment in the student's own life. The above collage by Marwa is fantastic, looking like it sprang to life out of the Futurist movement in Western art. There's a very cool variation on this activity that I alluded to last time. It has the following steps:
What are some neat results?Perhaps the coolest thing about the activity is that regardless of whether they feel their collage does or does not represent them, the students are really only tasked with making a judgment and defending it. It's not a failure if it doesn't represent them nor is it an overwhelming success if it does. However, when I did this with my students this year there were some unexpected insights that resulted, one of which came from a student who suggested that although his collage didn't represent him, what did was the process he went through to put it together. These are the kinds of insights we want from our students. As a side note, I did my own collage to see what I would come up with. The result is below: As this site grows and develops, I guess you'll be the best judge as to whether or not this represents me. It's just crazy enough that it might... by Glen Downey, Comics in Education, www.comicsineducation.com Filmic language can be useful in terms of understanding and expressing the relative distance between the reader/viewer and a given subject in a graphic story (see Filmic Language, Part 1). However, it can also help us understand our angle of view with regards to the subject, which in itself can have an impact on how we perceive what we are seeing. Bird's-Eye ViewA bird's-eye view in a comic allows us to view the contents of a panel from overhead, helping us to do one of a number of different things, including seeing the context of a scene with greater clarity or giving us a clear sense of a character's predicament. When a graphic storyteller shows us a character from a bird's-eye view, they can seem smaller, weaker, or more insignificant than when shown from a different angle. They can look physically smaller and less imposing, and therefore more vulnerable. Bug's-Eye ViewIn this type of shot in a graphic story, the camera looks up at the subject from below. This can make the subject itself seem much larger, more imposing, or even more physically intimidating, especially as the bug's-eye shot moves closer to the actual subject and the angle gets closer to 90 degrees. Over-the-Shoulder ShotIn this shot, a character is typically shown in the immediate foreground of the panel with another character further away. The action of the panel is sometimes literally framed bythe head and shoulders of the character in the foreground, thus giving the shot its name. It is a commonly used shot in the exchange of dialogue since it gives the reader an opportunity to perceive the character (or object, scene, etc.) in the distance from the general point of view of the character in the foreground. POV ShotFor the POV shot, the viewer takes a small step forward from the over-the-shoulder shot to become, in effect, the character in the foreground. Comics and films from the horror genre use this shot frequently since it can develop great anxiety and anticipation in the reader/viewer. It can allow him or her to walk in the shoes of a killer or potential victim, seeing only what this character sees. Its use, however, is not limited to the horror genre, and a POV shot has wide applications in visual narrative. Shot / Reverse ShotThis is a common technique in graphic storytelling that has been inherited from classic Hollywood films that sought to de-emphasize transitions from one scene to the next . Often, a shot / reverse shot in a panel sequence involves a medium over-the-shouldershot of two characters in conversation followed by a panel in which the characters' positions are reversed. This allows for a fairly seamless conversation. by Glen Downey, Comics in Education, www.comicsineducation.com Once again, many many thanks...Comics in Education wanted to take moment once again to thank you for the crazy support you're giving to our new website. We've now officially reached 20,000 of you and couldn't be happier. As always, our mission is to nurture and develop a love of visual narrative in the K-12 classroom, and we can see how many of you want to do the very same thing. We wanted to take a moment to remind you about both the "Our Supporters" tab and the one for "Corporate Support." If you are an individual or business whose goals align with ours, we'd be happy to feature your icon, accompanied by a brief description and a link to your work in comics and/or education. As always, you can find both of these pages under the "About" tab on our website or just click the links above. This service is free of charge and lets the wider comics and education communities know of your support. If you are interested in additional services that Comics and Education can provide, like interviews, author visits, product reviews, or advertising, please contact us here for a brochure. Once again, thank you for your support of Comics in Education. We'll let you get back to all of the great work you're doing, and please come and see us any time you like! Sincerely, Comics in Education PS. Please feel free to comment on any of our blog postings, especially if there is a question you have or a suggestion for a future post. A feedback feature can be found at the bottom of our postings and we'd absolutely love to hear from you! by Glen Downey, Comics in Education, www.comicsineducation.com There are terms specific to comics which don't have corollaries in traditional print narratives and which may not have direct filmic equivalents. However, understanding these terms is central to understanding the genre. PanelA geometric shape that contains a scene from a visual narrative. It can occupy the whole or a part of a page. Panels are the organizational framework of comics--the moments of action--and the reader must stitch the sequence of panels together to derive meaning from the work. GutterThe gutters are the areas between panels that are sometimes referred to as the breaks or white space that separate the action of a visual narrative. Their importance cannot be underestimated though it is sometimes challenging to conceptualize this. It is in the gutters of a graphic story that the reader makes meaning of the transition from one panel to the next. They can represent the passage of time, a change of place, or no discernible movement at all. Narrative / Caption BoxThese boxes are often located at the corners of panels and provide narration to accompany the dialogue in a graphic story. These boxes are often at their most effective when they are characterized by narrative economy, quickly setting a scene, indicating a transition, or otherwise establishing the time, place, and/or circumstances that a reader must understand before making meaning of an individual panel or panel sequence. Dialogue Balloon / BubbleCharacters in a graphic novel or comic use dialogue balloons to talk to one another. Often these balloons are oblate (flattened) ellipses that allow typewritten dialogue to fit within them while avoiding an overabundance of white space. Whispers can sometimes be conveyed through dialogue balloons that are formed from dashed lines while dialogue "bubbles" that look like miniature clouds are almost always reserved for things that a character is thinking rather than saying aloud. Sound EffectsAnother characteristic of graphic stories that is unique to visual narrative is the use of onomatopoeic sound effects, typically written as highly stylized words across a page in a form that serves as an echo to the sense. Hence, an artist attempting to depict an explosion might use a thick, sans serif font to construct the word "BOOM!" across a panel. These sound effects provide an aural accompaniment to a narrative sequence or individual moment in a graphic story and help the reader more fully understand and process what is happening. Perhaps you were a comics fan when you were a kid and haven't read them in a while. Things have probably changed a bit since then. Or maybe you'd like to use them in the classroom with your students but feel like you don't have a great background in reading them. The following list should help get you started on the road to becoming an expert on the hottest and most exciting genre on the market! The Mysterious Underground Men (1948), by Osamu Tezuka
A Contract with God (1978), by Will Eisner
Maus (1986), by Art Spiegelman
The Dark Knight Returns (1986), by Frank Miller
Watchmen (1986), by Alan Moore and Dave Gibbons
Finder (1996-present), by Carla Speed McNeil
Transmetropolitan, Volume 1 (1997), by Warren Ellis and Darcik Robertson
Persepolis (2004), by Marjane Satrapi
Building Stories (2012), by Chris Ware
Boxers & Saints (2013), by Gene Luen Yang
Use Visual Note-Taking Strategies for Better Results!I know in the mathematics classroom that we're ever-more conscious about allowing students to find their way to the answers to problems. Gone, I hope, are the days of forcing students to take a single road along their journey through our mathematics curriculum. I was never big on taking that road myself. When asked to solve a math problem, I always wanted the solution to look cool for some reason. I think this had to do with my formative reading experiences being so tied to comics, detective fiction, adventure stories, and the manuals and gamebooks of fantasy role-playing games. I wanted the journey to be exciting! A few years back, I was teaching at a school that held a math contest for students and faculty. I found the questions really challenging, and that's with ten undergraduate math courses under my belt! I managed to win the contest (which I think my colleagues found strange given that I taught in the English department), but the way I answered the questions had something to do with it: Here were my responses, and I apologize in advance for having no longer any clue what the questions were... Q1. Killer Geometry QuestionQ2. Fractals -- It was brutalQ3. Hypocycloid Question (I nearly died)Q4. I honestly don't even remember this one...I think when we allow our students to draw their math answers, write out their frustrations about their math answers, and use visual brainstorming techniques for their math answers, we're giving them opportunities to arrive at these answers in very useful ways. If you encourage visual brainstorming or having kids use doodling in their written responses to questions, send along some examples because we'd love to feature them at Comics in Education! "Graphic Poetry" Activity
3/21/2014
DescriptionStudents read, examine, and create graphic poems, and consider both the implications of using the visual in connection with poetry, and whether an artist or poet/artist can visually represent the intricacies of literal and figurative language. The hope is that students will recognize the beauty of graphic poetry and thereby develop a greater fondness for and appreciation of poetry proper. SkillsSelf Awareness, Metacognition, Critical Thinking, Navigation Skills, Making Connections PurposeBy the end of the activity, students should see that there is something to be gained and something to be lost in marrying a poem with its graphic illustration. What is gained is a visual context that the reader can use to help him or her understand what is actually happening in a poem. What is also gained is the recognition of what art can and cannot do with pictures in order to mimic or represent the figurative. What is lost, perhaps, is precisely what is lost when the curtain rises for the presentation of play and we see the gradual unfolding of the directorial decisions that will define how the performance in front of us will interpret the stage directions and dialogue of the playwright. Critical Thinking Questions
Self-Awareness and Metacognition Questions
Navigation Skills and Making Connections Questions
How Can Visual Narrative Foster Inquiry in This ActivityReading graphic poetry can help students to make sense of some of the complexities of the poems they examine, even if those complexities are what is literally “happening” in a given work. In my experience, though, a student is far more likely to want to bring their critical thinking and inquiry skills to bear on a poem that they believe they understand than one they don’t. As students move through the process of reading, analyzing, and creating graphic poetry, it is essential that teachers encourage students to develop an ongoing dialogue with the work they are studying.
"Wordless Narrative" Activity
3/21/2014
DescriptionStudents create a storyboard or visual narrative that does not contain text. The exercise has wide application, whether in having students block a scene from a work of drama, visually relate the progress of a character’s story from a work of fiction, or visually represent the story of a particular historical moment. The exercise is similar to Activity 3: Visual Note-Taking, but the student is not permitted to use words in order to communicate his or her ideas. SkillsCritical Thinking, Navigation Skills, Making Connections PurposeBy the end of the activity, students should perceive the challenges of communicating without words, translating the written or verbal into the visual, and developing a narrative that is comprehensible to their audience when said narrative must be interpreted in the absence of explanation. The aim of the exercise is to develop the student’s communication skills and transliteracy: the ability to demonstrate literacy across a range of platforms or mediums of expression by making meaningful connections between them. Critical Thinking Questions
Metacognition Questions
How Can Visual Narrative Foster Inquiry in this Activity?As in the previous activity, students will have a dizzying range of questions that they will have to ask themselves at the outset of the activity: “How do I represent this scene from a play or short story without needing pages and pages of illustration?” or “How can I best capture the most important features of a historical battle in a way that a person examining it can understand?” My inspiration for this activity comes from Hogarth’s “A Rake’s Progress,” which Scott McCloud in Understanding Comics cites, along with hieroglyphics, cave art, etc. as a forerunner to the comics of today. I’ve always been impressed by the fact that little or no text (other than the naming of the individual paintings), the audience has little difficulty perceiving what is happening to the rake. As our global village shrinks and our students are immersed even further into a principally visual culture, being able to communicate with the visual takes on an increasing importance. Thank You for Your Wonderful Support!
3/21/2014
We Salute You!Comics in Education wanted to take a moment to thank once again for all of the wonderful visitors to our website. We've now officially reached 10,000 of you and more are visiting the site every day. Our mission is to nurture and develop a love of visual narrative in the K-12 classroom, and we're delighted that so many of you out there are as well. In truth, we expected you would be, but you're doing such wonderful things! In addition to the "Our Supporters" tab we now have one for "Corporate Support." If you are a business or organization whose goals align with ours, we'd be happy to feature your icon, company description, and a link to your business. You can find both of these pages under the "About" tab on our website or just click the links above. This service is free of charge and lets the wider comics and education communities know of your support. If you are interested in additional services that Comics and Education can provide, like interviews, author visits, product reviews, or advertising, please contact us here for a brochure. Once again, thank you for your support of Comics in Education. We'll let you get back to all of the great work you're doing! Sincerely, Comics in Education Sometimes Note-Taking Isn't Just about What You Write...In a previous post I shared with you a student's Sir Ken Robinson / RSAnimate-inspired visual note-taking exercise comparing the spectre of death in A Streetcar Named Desire and Death of a Salesman. Here's what my student, Lucila, did with the theme of marriage... The minimalist nature of the notes themselves are part of the beauty and importance of this example. Note for instance how cleverly Lucila has shown Blanche literally drowning in a glass of whiskey, and then look more closely still to see what the whiskey is composed of. The text looks at Blanche's desire to escape the past, but it's run together and becomes very difficult to interpret--as though it is visually expressing slurred speech, a hazy memory, and a desire to forget. Blanche is colourful and so are the letters. Blanche tries to make sense of the past and fails just as the letters do. No doubt the student could have managed to articulate these things if asked to engage in a more traditional brainstorming exercise, but I doubt that it could have captured so forcefully, so expertly, so profoundly something that is at the heart of Williams' play. We could look at the visual note-taking that the student has done and at first glance we might think she has expressed very little. But how very wrong we would be! Comics in Education Says Thank You!
3/18/2014
You absolutely rock!Comics in Education would like to thank the thousands of visitors to its website in only its first week of operation. We wanted to let you know that we have a new page up on the site called "Our Supporters" under the "About" tab. If you are doing great work in the field of comics in education, want to celebrate visual narrative and the impact it has on popular culture, or hope to promote the great work you're doing in the comics industry, please consider sending us a message on Twitter or through our contacts page and we'll put a link to you and your work as a thank you for visiting our site! If it sounds like free advertising, well...I guess it is! Comics in Education wants earnestly to promote the use of visual narrative in the K-12 classroom, and for that we need an industry that is dynamic and receptive to the needs of all readers, from those who are young to those who are young at heart. Fortunately, we seem to have just that! Thanks everyone for all your support! Sincerely, Comics in Education Visual Narrative and YouTube, Part 3
3/17/2014
But the animation is just so entirely engaging in this video -- it provides so much to both the visual and auditory learner alike -- that it speaks volumes to teachers about our need to give students opportunities to put their thoughts down on paper in a way that makes sense to them. We can get them to organize their ideas to form a coherent comparative essay later, but for now it is so much better to allow them to express their understanding in a way that looks more like the thoughts themselves and less like some linear model that does not mimic how they think. This is the beauty, I think, of something like RSAnimate. It shows us a kind of visual note-taking that is rich, powerful, and inspiring--exactly what we want our lessons to be. I won't repeat my previous post by sharing Catherine's work with you, but I will show you my own. Inspired by the RSAnimate version of Sir Ken's talk many moons ago, I decided that my lesson plans needed to have something of the visual in them. So, I started creating lessons that would use a hybrid of comic book narration bubbles, a flow chart, and visual imagery. Throw in some colour and a pinch of Photoshop and you have an array of visual lesson plans that students will respond to. Every year at least one student asks me why I do this. Is it that I'm just such a comics fanatic that I have to do visual lesson plans in this way? Do I have hours of time to spend on these aesthetic touches?
"No," I tell them. "I do this because learning is beautiful." Visual Narrative and YouTube, Part 2
3/17/2014
Chaney also gets into the whole idea of how we tend to process cartoonish representations of the human form in a different way than we would still photography. Photography suggests an image captured in the a past that no longer exists. We know that something in a photograph is not happening to the person "in the here and now" because the photo had to have been previously taken. However, Satrapi's cartooning shows us a character that we, as readers, are willing to believe is in "the present" of the narrative. This is such an insightful idea and one that can generate really excellent discussions with students. Chaney's talk and the ideas it raises also allow for a lot of cross-polination depending on the other writers your students are studying. For example, Margaret Atwood's poetry is filled with references to the problematic nature of photography: how photographs capture an instant in time, but don't tell us what happened to the subject in the time before or the time since the click of the camera's shutter. Think, for instance of "This is a Photograph of Me" or "Girl and Horse, 1928." Satrapi also focuses on photographs as a visual record, with a memorable full-page panel of her father taking photos of the violence, and other panels in which a character is looking at a photograph from the past and pointing out something about it. Chaney's talk, then, is a wonderful starting point for such discussions. Be sure to check it out! The Literary Features of Graphic Novels
3/15/2014
We want students in a junior or middle school classroom to begin to develop an understanding of what they read, how language works to make meaning, and how they can figure such things out. Graphic novels can therefore pose an additional level of challenge, because the visual and its impact on meaning must be worked out at the same time that the language is being examined. Even something as simple as this prototype I designed for the Graphic Poetry series is instructive (don't worry...I didn't illustrate any of the titles, and the series has won two awards). A student might be comfortable reading a short story and analyzing its setting—the time, place, and prevailing circumstances of the story—but how do they analyze the setting of the poem presented here as a visual narrative? They would have to talk about the colour of the half-page panel at the top, and how it seems to suggest that the events of the poem will take place in the early evening or at twilight. They would also need to talk about how the title of the poem, juxtaposed with the tree, implies that the reader is looking at the poison tree in the opening panel. And what is to be made of the fact that the tree is entirely black and blends in with the gutter between each of the panels and the page borders as well? Is the author/illustrator making a comment about how quickly and dangerously poison can spread? What are we to make of the close up of the male figure in the bottom left-hand panel and the eerie red background colour? He looks angry and the black words on the red background reinforce that, but his fixed gaze almost seems to peer right through the gutter and at the “friend” who is shot in a medium-long to long shot, presumably looking back at him, albeit tentatively. All of this is happening and we’ve only reached the end of the poem’s first line, at which point—if we were simply looking at the text of the poem—we wouldn’t normally have begun debating its meaning. It is crucial, then, when teaching graphica that we don’t just acquaint students with the terminology they might use to talk about how a shot is composed, but look carefully with them at the various features of the verbal and visual canvas before them. If you're looking for some of this terminology by the way, you can find it under Terms and Terminology on the Introduction tab.
Why Doing the Opposite is Attractive...
3/14/2014
At the 2014 Reading for the Love of It conference in Toronto, I mentioned an activity to participants that struck them as being a new idea in teaching the graphic novel. Here's what I said: "We should teach kids how the form and structure of a graphic novel is related to the form and structure of other genres they might read in a junior or middle school classroom. However, we need to go beyond just having students create a graphic story out of a chapter or scene from a traditional novel. Probably the coolest exercise you can do with a group of students is to have them turn the pages of a graphic novel into a traditional narrative. The advantage of this is that it forces students to think far more about traditional narrative and about how very complicated it can be for a writer to use only words to represent the simplest ideas or concepts." A number of participants remarked afterwards that they wanted to try this activity right away and inquired about good starting points in terms of choosing a graphic novel that would lend itself well to such an activity. I gave them some of my own suggestions (Persepolis, Watchmen, Maus, The Silence of Our Friends, Are You My Mother?), but for the benefit of those who might be taking a look at this post, I'd love comments from experienced comics educators who have either done this activity with their students or who have a suggestion about a great comic or graphic novel that would work well. Thanks in advance, and see you next time! Welcome to Comics in Education
3/13/2014
Welcome to Comics in Education, a new site devoted to advancing the use, understanding, and appreciation of comics and graphic novels in the K-12 classroom. Motivated by the insightful questions and great feedback I received from the 2014 Reading for the Love of It conference in Toronto, I was inspired to get this site up and going. Comics in Education is a work in progress, but things are progressing well and I hope to have it fully functional in short order. Because this site is for teachers, students, school administrators, curriculum specialists, educational publishers, library professionals, academics, and for folks within and outside of the comics industry, I welcome as much feedback and as many suggestions as you can send my way. Updates are coming soon to the "Classroom" tab, and there'll be a lot more on the website in the days ahead. Thanks for dropping by and check back again soon for the updates. |
Glen DowneyDr. Glen Downey is an award-winning children's author, educator, and academic from Oakville, Ontario. He works as a children's writer for Rubicon Publishing, a reviewer for PW Comics World, an editor for the Sequart Organization, and serves as the Chair of English and Drama at The York School in Toronto. If you've found this site useful and would like to donate to Comics in Education, we'd really appreciate the support!
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