The term non-fiction graphic novel is not a misnomer because a misnomer is an inaccurate use of a term or phrase. In my opinion the term non-fiction graphic novel is a perfect term to fit books like Maus and Contract With God because you can have a real life story and portray it in a medium that does not rely solely on text. Paintings are much like this because they are not a picture capturing the image nor a non-fiction piece of writing about the topic, but instead portray what happened using paint, a canvas, and the artist's imagination. It is pretty easy for something to be non-fiction and a novel because all you have to do is take the non-fiction story and add a creative twist to the way you tell the audience. Assigning simplistic images to a non-fiction story does not all of the sudden make it fiction, but it instead creates a way for the audience to relate to the protagonist or even antagonist in a way that they might not have been able to before. For example, in Understanding Comics, McCloud says that we as humans have the need to assign an emotion to everything we come in contact with, but it has to be a simple enough object in order to do that, otherwise it becomes "other". We do not see the details in our own faces so in order to put ourselves in the other's place, we need a medium with less detail like a comic. The way Spiegelman uses comics to portray his story is revolutionary because he decides to use animals as the main persona instead of people because it is easier to digest the seriousness of the novel. In other forms such as a written novel, yes he could have still used animals as the characters, but we as people would transform them in our minds into too-similar-to-human characters and the story would not be as easily well disposed.
In Chapter 2 of Understanding Comics , McCloud talks about two key concepts I’d like to discuss: he identifies reality , language , and the picture plane as a representation of the pictorial vocabulary of comics, and he expresses a scale for iconic abstraction of comic art. As readers following the action in comics, we are guided by what objects and events cartoonists decide demand focus in each individual moment or panel. This focus via simplification of reality - referred to as abstraction - provides a rhythm of reading the visual representation of a sequence of events, controlling the timing of action and dialogue through spacing of panels and objects on a page. McCloud makes it clear that abstraction in comics is really just about the representation of ideas . Conceptually, we can perceive a specific drawn event, such as an explosion or a fight, without that event being pictured exactly or photorealistically. Rubble or glass flying midair can represent the impact of fights depi...
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