Skip to main content

How I Understand Comics.

Comics are understandable because our minds can fill in the missing movements between the segmented pictures we see. Comics use iconic figures, meaning representational images of things from reality. These images are simplified greatly but they are still recognizable and fully representational of an object we are familiar with. These representations can be as simple as a few curved lines making a bow, or as vast as a shaded and colored wall of the Grand Canyon. Recognizing these icons is vital to how comic books can imprint themselves onto us because without being able to simplify the picture, we couldn’t recognize something as simple as and abstract fork. If forced to become entirely lifelike comic books would also be more expensive to make and would therefore never be a viable business idea and would now probably be some sort of underground art movement that only New York and L. A. know about and depict social movements and genocide (think about it).

To understand comics is more difficult than watching television but less difficult then reading a book (McCloud’s implications, not mine). In a novel our imaginations create the characters and build them fully in our own or other peoples images, the sets are loosely based on scenery we’ve experienced or are familiar with. In a comic book, everything is created for us but we can still eject our own impressions on the story. The trick is that because we have a diagram of how the characters are different and the scenery is laid out in front of us it feels easy; our imaginations are working but it feels like a vacation.

Through a mix of realism and impressionism, comics stand on a line between photographs and shapes. The closer to being fully representational they come the more accessible they are (and cheaper to make). Comic book writers can exploit this by making vaguer and therefore more likable protagonists( like Tin Tin or Rorick in Y), causing the reader to unwillingly relate as much as they can by literally picturing themselves as the protagonist. This has been vital to the development of comic books, and is probably one of the keys to how popular they are.

Now, I personally understand comics, pretty much the same way. In fact after reading Scott McCloud’s thoughts on how and why this medium captures its audience, I have been questioning my favorite characters on not only comic books but television shows and novels. I love Michonne from “The Walking Dead” but am I imposing myself onto her image? And does Britney Snow only have career because any blonde girl can see bits of herself in Snow? Thank you McCloud for making me question al my opinions and pre-conceived judgments but I like to think the reason I relate to Michonne is a human conditional thing not necessarily because I see myself in her; I am not a zombie fighting ninja.

Comments

J Chambliss said…
Good analysis, keep it up.

Popular posts from this blog

Why blame comics for societal failure?

Why blame comics for societal failure? Society blamed comics for the societal failures because it was a fairly new industry, and as things seemed to go “wrong” they figured it must be comic books. When a child grew up during the war, his father was probably killing people and the military and his mother was probably making things in factories to help kill the opposition. The only things kids had to “babysit” them was comic books, and they read many different kinds. So when kids starting acting differently in this new generation the figured it must be the comic books. Society didn’t want to believe it may have been the internal and external scars war causes on the soldiers and their families. Also the fact that young unattended children are reading these comics may not be able to differentiate between fantasy and reality. When society fails it always needs a scapegoat then it was comic books next it was rock and roll. Society naturally resist change.

The 1950s are often portrayed as a period of social cohesion. Why is this misleading?

When we think of the 1950's, most people think of similar things such as "Leave it to Beaver", very conservative and cliched pop music, and high patriotism. Our view of that time is one of social conformity to conservative values, with a traditional nuclear family where the father worked and the mother stayed home, where a majority of people attended church, where crime was relatively low, where a majority of American citizens were extremely patriotic, and where entertainment media emphasized these same conservative values and were subjected to censorship if they did not conform. This is misleading because while these things were all true to a certain extent, the world was obviously not perfect and not everyone was conforming or upholding traditional values, even if it seemed like they were. The 1950's were actually a very tumultuous time period, with the end of World War II leaving Europe war torn and in debt, the outbreak of the Korean War and the clashes of opinion...

Were comics at the forefront of social transformation or lagging behind in the 1960’s?

Throughout the 60’s, comics were at the forefront of social transformation. Possibly the best example of this is through comics reflection of the public’s view of the Vietnam War. At the beginning of the war a majority of Americans fully supported the cause. The idea that communism, the most evil idea conceived, could spread first through South-East Asia and eventually to the US lead Americans to accept the need to occupy Vietnam. However as the war progressed it became more obvious that it was less to defend democracy and actually just a proxy war against Russia. As support for the war diminished, comics greatly altered their position on the war to question the causes of the war, and whether the US should actually be there. The comic Iron Man accurately represented this shift in support as he stopped dealing arms, and took a moral stand against their use. As well as Vietnam War culture, comics also accurately portrayed youth culture in the US throughout the 60’s. Comics suc...