TheRise and Rise

of theGraphic Novel

~Comics as a literary form

Dylan Horrocks

Art Spiegelman

Rodolphe Töpffer, Histoire de M. Jabot (1833)

Rodolphe Töpffer, L’Histoire d’Albert (1845)

Georges Remi (Hérge), Tintin au Pays des Soviets, (1930)

R. F. Outcault (USA, 1863-1928), The Yellow Kid (1895-8)

Winsor McCay, Little Nemo in Slumberland (1905-1914)

John Mayes (cover art), Famous Funnies (1934)

Joe Shuster (cover), Action Comics, (1938)

Dr. FredericWertham

Seduction of the Innocent by Dr. Frederic Wertham (1954)

“The comics erode the most fundamental habits of humane, civilised living… and they erode them in the most vulnerable element of our society, our children…

“If we ban the comics we are reducing the chances of war and preventing the further perversion of the world’s children.”

Bill Pearsonletter to Landfall (March,

1955)

“There will be no attempt to give them serious consideration on aesthetic grounds, because they are simply not worth it.”

Margaret Dalziel‘The Comics in New Zealand,’ Landfall (March, 1955)

we read pictures

closure

Charles Schulz, Peanuts, 1950-2000

David B., Epileptic, 2005

Herge, Tintin (The Castafiore Emerald), 1963

Miwa Ueda, Peach Girl, 1998-2003

Drawing style = ‘voice’

Joe Kubert, Fax from Sarajevo, 1996

Joe Sacco, Safe Area Gorazde, 2000

John Porcellino, Perfect

Example, 2000

Jiro Taniguchi, The Man Who Walks, 1992

Scott McCloud, Understanding Comics: the Invisible Art, 1993

Katsuhiro Otomo, Akira, 1982-1990

Chester Brown, Louis Riel, 2003

Chris Ware, Quimby the Mouse, 1990-1, 2003

George Herriman, Krazy Kat (1913-1944)

Words + Pictures

Will Eisner, Comics & Sequential Art, 1985

Jim Woodring, Frank

John Byrne, Alpha Flight, 1980

Dave Sim & Gerhard, Cerebus, 1977-2004

René Goscinny & Albert Uderzo, Asterix the Legionary, 1966

Chris Ware, Jimmy Corrigan, the Smartest Kid on Earth, 2000.