Comics as a literary medium

The graphic novel is an oft-maligned form of literature. While it is true that novels would likely have
a larger impact on improving your language ability (primarily due to differences in the number of
words typical in each), comics offer an additional visual element which could be tapped on to greatly
aid in the storytelling process.

In Art Spiegelman’s Pullitzer-winning work Maus, for example, each race is represented by a
different animal, with symbolism laden in many of the choices used.

Jews are represented as mice, satirising how the
Nazis portrayed them as vermin. The Nazis are
represented by their natural predators, cats.
The Polish are portrayed as pigs, possibly since
they are often pictured as being rather
unfriendly to the Jews throughout the graphic
novel. A disguised Jew, travelling under the
pretence of being Polish, is depicted as a mouse
wearing a pig mask.

Resources

Maus, by Art Spiegelman

The Ambrosian Amphora, pages 36-61 of Arena. Fantasy. Vol. 0.

LT 2010
Writing
The writing process might be surprisingly
complicated, given that within the completed
product, the writer’s work is often only obvious in
the characters’ dialogue.
Depending on the work, this might sometimes be
the main contribution of the writer, but
oftentimes the writer has very specific ideas in
mind when it comes to even the composition of
specific panels in the comic. Unless the writer is
also working on the art, a detailed script will need
to be used to communicate this to the artists.
(Right): An example of a detailed script. This one
is for page 4 of The Ambrosian Amphora, which
will also be used in the following examples.
(Left): An example of a ‘scriptnail’,
which essentially plans out the
page-by-page distribution of the
story. Especially useful if you have a
fixed number of pages to work with.
Page 4 (right)
PANEL 1
Same view as previous page, only Hestia’s face is showing a
bitterness that she normally hides.
Hestia: (con’t) – and, I mean, it’s not like anyone’s really
stayed here in a while.
Ariadne: You’ve been busy with an empty inn?
PANEL 2
Hestia looks slightly abashed and defensive, as if Ariadne
has hit an uncomfortable topic.
Hestia: I mean, I have things to do here, you know. Like…
maintaining the hearth fire of Olympus and... stuff.
Ariadne: (carefully dusting off a chair, grimacing slightly)
Of course. That’s a consuming job.
PANEL 3
Close-up on Hestia looking upset and looking away.
Hestia: It—it is.
PANEL 4
Ariadne has moved to the door frame that leads back into
the main hall. She observes a small cobweb on the corner
of the door frame with a raised eyebrow. Hestia is behind
her, anxiously following.
Ariadne: Well, this place is filthy, crawling with germs, and
every part of the décor is an assault on good taste—
But true to your essence it has a strange homey-ness to it.
I suppose it will have to do.
PANEL 5
Ariadne walks towards the main door as Hestia peeks
round the door frame, practically frantic.
Hestia: Um, do for what exactly?
Ariadne: I’ll just go get my stuff. You’ll be glad to know I
didn’t bring many things.
Hestia: Stuff? Bring in your stuff? Why is your stuff being
brought in!? Ariadne!
PANEL 6
Ariadne stands by the main doors, glancing
backwards and looking slightly bored.
Ariadne: Well, let’s just say I’m going to be your first guest.
LT 2010
Drawing

(Clockwise from top-left)

1. Rough pencilling serving as the first step

in transferring the writer’s vision into
graphical form. Some pencillers add
much more detail into their work, but
traditionally the focus is more on the
layout of the scenes.

2. Inking has been done, with the pencil

work having been interpreted to
produce refined outlines. The speech
bubbles have also been inked, although
this is usually left for the letterer to do.

3. At this stage colours are typically added,

but in the case of a black-and-white
strip toning with shades of grey is done
instead. Aside from adding to the detail
of the images, colours/tones can help to
set the mood in certain scenes.

LT 2010
(Above): Final copy of the comic page, with amended toning and added lettering. Size, emphasis and
layout of the text can also be used as subtle cues to add to expression.

LT 2010