Be Happy with what you have!

Hey guys! once again, back with another video blog hope you guy enjoy! :)

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Works Cited
Delisle, Guy, and Thomas Lundbo. Pyongyang. Aschehoug, 2008.
Sacco, Joe. Safe Area Gorazde the War in Eastern Bosnia 1992-95. Fantagraphics Books, 2017.

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The Two Faces of Anarchy in V for Vendetta

As someone who has only seen the movie version of V for Vendetta once many years ago and have never read the graphic novel, I wasn’t exactly sure how similar or different the movie version would be to the graphic novel. I was in for a surprise when I discovered just how vastly different, they are from each other. With that being said, they do have some similarities when strictly looking at the motives of the characters. Let’s dive into those motives and how the author and illustrator of V for Vendetta achieved getting these motives across to their readers. In Scott McCloud’s chapter of Understanding Comics “ Blood in the Gutter ” we are presented with different panel – to – panel transitions, and an introduction to the term “gutter” as being the white space between the panels which is where the audience of reader “takes two separate images and transforms them into a single idea” (McCloud, 66). After finishing reading V for Vendetta , several themes or ideas that were most prevalent...

Iconic Abstraction and the Vocabulary of Comics in Hellboy

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...

Sketching Reality in Art Spiegelman's Maus

It's no secret that novels often blur the line between reality and fiction. Whether influenced by an author's experiences or drawn from them wholesale, all forms of artwork will always carry a piece of their artist. This is no less true for graphic novels, a medium often stereotyped by traditional capes-and-crusaders-style storytelling. Whether or not this stigma is deserved is an argument for another day, but for now we will venture into a lesser-known genre not typically associated with the great literature classics: the non-fiction graphic novel. You may ask yourself if this is a misnomer. By their very definitions, non-fiction and novels are considered their own distinct categories. A novel, per tradition, is considered inherently fictitious, and regardless of whether or not you think fiction and non-fiction should be regarded on the same level, I will circle back around to my initial argument that art will always be influenced by the experiences of its author, and th...

ENG 4433: Topics in World Lit

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