Understanding Comics

Scott McCloud’s educational graphic novel, “Understanding Comics”, explores not only the historical inception of the “comic” tradition, but also its legacy as a genre in literature. Defined as “juxtaposed pictorial and other images in deliberate sequence”, McCloud argues that comics (or sequential art) tell a story similar to those in books (pg. 9). Rather than relying strictly on words, comics incorporate pictorial images to enhance the action of the plot and its characters. The separation of frames and sequences creates an abstract visual timeline upon which the comic is read. Unlike traditional literature, comics also make use of the “icon”. McCloud defines the term as meaning “any image used to represent a person, place, thing, or idea” (pg. 27). Comics make use of a broad range of icons in their language. Symbolic icons, pictorial icons, and communication icons are among the many that contribute to the construction of a comic’s readable language (the “written” words and signs, not the accompanying graphic images). 

McCloud argues that often under-appreciated medium of comics is just like any other artistic medium. In Chapter 7 he describes the six steps of creation: 1) Idea/Purpose, 2) Form, 3) Idiom, 4) Structure, 5) Craft, and 6) Surface (pg. 170). This path begins with an impulse to arrange specific content (an idea) in a specific way (form), and ends with the stylistic execution of the creator’s composition. If the creative process is so similar to that of painting, drawing, filming, etc. - why does the term “comics” still remain a dirty, neglected word in contemporary culture? McCloud frequently laments on the comic’s inability to secure itself as a legitimate literary genre. He argues that, unfortunately, comic artists themselves reject the term - and that the disdain of “comics” is a self-perpetuating (and self-fulfilling) prophecy (pg. 18).  Until those who are actually involved in the field stand up to support it, their audience will continue to ignore it. 

I admired McCloud’s dedication to educating his readers about the comic’s history and its purpose in literary culture. His justification of the comic as a legitimate form of textual media was accomplished through his application of a comic’s “graphic theories” on other forms of art - renowned paintings, narrative tapestries, ancient wall art, and woodcut novels among the few. As an art history major myself, I found his knowledge and inclusion of artists like Wassily Kandinsky and Paul Klee fascinating. His ability to actually connect these groundbreaking artists to the comic genre through their similar artistic ideals was a comparison I would never have thought of.