Out of all of the visual storytelling media
that are out there – film, animation, television
– comics is really the only one that is
not time-bound.
That’s what I call permanent.
Which means, you know, when you’re watching
a movie or when you’re watching an animated
television series, the rate of information
flow is actually determined by the creator
of the content.
It’s not determined by the viewer.
You know, you could slow it down, you can
go slow-mo but it’s not the same experience.
Comics on the other hand, with comics the
rate of information flow is firmly in the
control of the reader.
And for certain students and certain kinds
of information, that aspect of comics, that
control makes for a very powerful educational
tool.
In an Algebra II class that I taught whenever
I was absent I would create these comics lessons
for my students.
And that was some of the feedback that I got
from them is that, you know, with these comics
lessons it was visual, unlike their math textbooks.
But then on top of that the students themselves
could control how quickly or slowly they read
through that lecture.
Unlike when I was lecturing in person, right?
When I’m lecturing in person I decide how
fast or slow I speak.
But when they’re reading it in the form
of a comic, if they didn’t understand a
passage within that comic they could reread
it as quickly or as slowly as they needed
to.
In the past I think parents and teachers had
almost a hierarchy of reading.
They saw picture books as almost the lower
form of reading than pure prose novels.
And comic books, which is my area of expertise,
were either left out of the equation altogether
or they were seen as like this middle point,
this stepping stone between picture books
and prose books.
And if you were a good enough student you
wouldn’t need that stepping stone.
Things are changing now and I think more and
more parents and teachers are realizing that
pictures can be a very sophisticated way of
communicating information.
Just as sophisticated as text.
Back in the olden days, if you look at comics
often the picture was there to basically present
what the words were already conveying.
So you would have a caption that says “Superman
punches Lex Luthor.”
And then in the picture it would just show
you Superman punching Lex Luthor, right?
And I think that contributed to this idea
that comics were meant for the “mentally
deficient.”
If you weren’t smart enough to get the meaning
of those words then you could at least read
the picture.
Nowadays though I think if you look at the
top comic book writers, the top comic book
creators, the relationship between the words
and the pictures is much more complex.
Often they will pass narrative responsibility
back and forth; so in certain parts of a comic
or graphic novel the words will convey what
the most important information is in that
story, and then in the next passage it would
get passed to the pictures.
And in the hands of a skilled creator each
of those forms, each of those forms of communication,
the picture and the words, will be leveraged
for what they’re best at.
There are other comics where the words and
the pictures are actually contradicting each
other.
They might even be telling two different stories,
describing two different realities, and they
ask you as the reader to decide which one
is true.
I really think that to engage today’s audience
– today’s audience has grown up on stories.
Every single one of us has probably consumed
thousands and thousands and thousands of stories
within our lifetime.
In order to engage in audiences sophisticated
as that, you need to have a sophisticated
dynamic between words and pictures.
