A Question of Legitimacy: GRAPHIC NOVEL READING AS "REAL" READING

Author(s): Robin A. Moeller

Source: Journal of Adolescent & Adult Literacy , May/June 2016, Vol. 59, No. 6
(May/June 2016), pp. 709-717
Published by: International Literacy Association and Wiley

Stable URL: https://www.jstor.org/stable/44011333

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 A Question of Legitimacy
GRAPHIC NOVEL READING AS "REAL" READING

Robin A. Moeller

This article describes how a group of sixth graders reflected on their

graphic novel reading experience and their thoughts on the
educational worth of graphic novel reading in school.

notion that teachers' individual perceptions of the

from school stakeholders when I wish to
As from .engage a researcher, school them stakehol
.engage them ders about I about
schools. Other researchers of graphic novels in edu-
cation (e.g., Downey, 2009; Lapp, Wolsey, Fisher, &
Frey, 201 1; Schwartz & Rubinstein-Avila, 2006) have
also acknowledged that the notion of using this for- value to the use of graphic novels in the classroom,
mat in the classroom is often met with skepticism by even though very few teachers actually used them.
adult stakeholders in the education community. One
of the most profound statements that I encountered
came from a high school student I had interviewed
about graphic novels: "These [graphic novels] aren't
real reading." This phrase has stuck with me since
that interview and has made me wonder, Is graphic
novel reading "real" reading?
There are many factors that work to make a
concept real or legitimate. In the context of liter-
acy, Joaquin (2010)
noted that individual
students and where
they fit into the social
stratum of their peers
help legitimize (or
Robin A. Moeller is an assistant
not) certain literary
practices. Related tomoellerra@appstate.edu.
Joaquin's claim is the
social capital given to graphic novels help them de-
termine whether this is a real or legitimate format.
often graphic encounter
graphic when novel resinovel
stance I wish useuse
in to in Lapp et al. (2011) approached the question of le-
gitimacy from the perspective of teachers. They
found that their population of elementary school
teachers expressed an interest in and attributed
Although they did not directly ask the teachers, the
authors suggested the reasons for this discrepancy
might lie with the teachers' lack of access to graphic
novels or the teachers' own discomfort in using
graphic novels in instruction.
We understand from this literature that teachers
often struggle with the notion of graphic novels as le-
gitimate educational materials; what is missing from
this discussion is the perspective of actual students.
The purpose of this study was to better understand
whether adolescents conceive of graphic novels as a
legitimate source of reading and information in an
educational context. This study has significance for
understanding reading practices in broader popula-
tions, such as how individuals relate with multimodal
professor of library science at
Appalachian State University, texts in a variety of settings, how individuals under-
Boone, NC, USA; e-mail
stand "text," and the functionality assigned to certain
formats. 709

Journal of Adolescents Adult Literacy 59(6) May/June 2016 doi:10.1002/jaal.501 ©2015 International Literacy Association (pp. 709-717)

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 A Note About Graphic Novels
Graphic novels, comics, and manga are a format for
literary genres and works of nonfiction even though
they are often discussed as literary genres. Ripley
(2012) provided a rich description about how the
reader must engage with texts that combine both im-
ages and written word:
Readers of comics must not only peruse speech
bubbles, they must also decode images, creating
a rich interpretative in a textually deficient
medium. Students must dig deep for responsive
ideas and they must become comfortable
interpreting the visual/textual blend presented on
the comic's page, the twentieth century precur-
sor of twenty-first century mediums where visuals
are dominant, a medium that can be interpreted
and analyzed like any other text. (p. 99)
The term graphic novel is used in this article syn-
onymously with the terms comics and manga. In his
seminal work, Understanding Comics: The Invisible
Art , McCloud (1993) defined comics as "juxtaposed
pictorial and other images in deliberate sequence,
intended to convey information and/or produce an
aesthetic response in the viewer" (p. 9). Schwarz
(2006) described the graphic novel as "a longer and
more artful version of the comic book bound as a
'real' book [that] is increasingly popular, available,
and meaningful" (p. 58). Manga are the Japanese to student reading comprehension.
version of the graphic novel and are usually presented
co
reading; rather, graphic novel reading is a different
way of reading than traditional reading.
Theoretical Framework
The theoretical lens through which this research is
perceived is the new media theory that today's genera-
tion of students learn differently and, thus, need differ-
ent delivery mediums and settings for learning content
than those modes and settings educators used to teach
the parents and teachers of today's students (Rosen,
2010). New media theorists (e.g., Gee, 2014; Kress,
2003; Serafini, 2014) use the term multimodality to de-
scribe the way in which individuals make sense of text
through different modes, such as writing, signs, sym-
bols, and music. Kress described semiotic modes, those
that rely on a socially agreed-upon system of signs and
symbols, as being shaped by the medium in which
they appear, such as a graphic novel, newspaper, or
video, and reflect cultural histories and values. Serafini
named those texts that utilize multiple modes as "mul-
timodal ensembles" to describe the way in which indi-
vidual modes are combined to create "a composite or
cohesive whole" (p. 12). Unsworth (2014) described
multimodal reading as the act of interpreting the im-
age-language relationship of multimodal texts to make
meaning. He also described research that demonstrates
the challenging nature of multimodal texts as it relates
Researchers (Jewitt, 2008; Schwartz &

o in the original Japanese reading format of being read Rubinstein-Avila, 2006) have found that multimodal
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back to front, right to left. reading skills require the reader to engage with the
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legitimacy of graphic novels as
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study is an understanding of what is considered to be

710 educational materials." reading according to the grade level and content

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course of the students who participated in this study. Gaiman & Russell, 2008) of their traditional novels.
The state in which these sixth graders lived used the Finally, these books have been recommended for
Common Core State Standards, which suggest that adolescents in sixth grade for both reading level and
reading largely consists of reading texts of various interest (Chipman, 2009; Estes, 2002; Goldsmith,
genres. One particular Standard positions the text in 2007; Zvirin, 2002).
comparison to "listening to or viewing an audio, Throughout the school year, each student was
video, or live version of the text" (National Governors consistently grouped with at least one other student
Association Center for Best Practices & Council of who acted as his or her reading buddy, someone with
Chief State School Officers, 2010, p. 37). Although whom he or she would discuss the current reading
the Common Core document does not explicitly assignment as a means in which to encourage stu-
state that texts are to be considered traditional books, dents to process elements of a story and provide them
the juxtaposition of the term to other mediums in the with practice on concisely describing events. Upon
wording of this Standard suggests that that is the case. consultation, Mrs. Montgomery and I decided that
The texts of adolescents' everyday lives are more each group of reading buddies would read the same
complex than the traditional written word that educa- title and format for this project: Coraline in the tradi-
tion has privileged for too long. In this spirit, the fol- tional format (CT), Coraline in the graphic format
lowing were my research questions: (CG), Artemis Fowl in the traditional format (AT), or
Artemis Fowl in the graphic format (AG). Ultimately,
• How do middle school students compare their
each student read only one story in one format.
graphic novel reading with traditional novel
Once the students were given a specific book and
reading?
format, they were asked to read that book in three
• Do middle school students think graphic novel weeks' time. During that time, the students were
reading is a legitimate educational activity? given an activity and an assignment to help them
practice their reading comprehension. In my role as a
researcher, I was present during the activity and privy
Research Design to the assignment.
The design of this project used a qualitative approach The assignment that Mrs. Montgomery asked the
to data collection through the implementation of students to complete was to blog about which literary
focus group interviews and the use of field notes. elements they were noticing as they read: This was a
Field notes were taken from four observations I common assignment for students when they read a
conducted with each class, which lasted 75 minutes book for her class. For this particular reading, stu-
each. Mrs. Montgomery (pseudonym) taught in adents were also asked to use details from the text or
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suburban community in the Southeastern United pictures to support their thinking. For example, if a co
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States. She taught three classes of sixth-grade lan-student reading a graphic novel mentioned that the ~ču

guage arts every other day and consented to let metone of a certain scene was mysterious, he or she was
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work with these classes as well. The 71 students, 40asked to describe what was read from the picture and en
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girls and 31 boys, who composed this populationthe text that led to this conclusion.
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read for this research project were Cordine and who had read the same title in a different format. For z
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Artemis Fowl , both of which were offered in the tradi- example, a student who had read CT would partner 'sz
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tional and graphic versions. I chose to use these books with a student who had read CG. The students would 5
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as the sample for this study for several reasons: First, together pick a scene, mark where that scene began o
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both traditional and graphic novel formats. Coraline that scene in a different format. Students were then 5)
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and Artemis Fowl were initially published as tradi- asked to write a written reflection on how the read- o
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novels. Second, I chose these specific titles because liked more and why. CD
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the original authors, Neil Gaiman (2002) of Coraline Finally, those students who read the graphic <

and Eoin Colfer (2001) of Artemis Fowl , both contrib- novel version of the books were asked to participate in
uted to the graphic versions (Colfer & Donkin, 2007; one focus group interview so they might describe 711

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 their feelings about the elements of the graphic nov-
els in more depth, thus creating a more complete pic-
ture of their reading experience. I interviewed 14
boys and 12 girls throughout the course of three focus
group interviews. Each interview consisted of the
same students from one class section; for example,
those students from Mrs. Montgomery's first section
who had read graphic novels composed one focus
group. Focus group interviews lasted no longer than
45 minutes, during which time I posed questions
about the students' graphic novel reading, but they
were able to broach ideas and topics that they wanted
to discuss as well.
I analyzed the data by first identifying codes that
emerged from the field observations and the focus
group interview transcripts, respectively. I then
worked back and forth between the two data sets and
the codes to better refine the coding system, all the
while developing a clearer understanding of what the
greater data set was revealing. The larger themes that
emerged from this analysis included student enjoy-
ment or frustration with graphic novels and the stu-
dents' perceived nature of educational materials.
Results
Field Observations
Throughout my observations of the students' interac-
tions with the texts, I noticed a wide variety of
responses about the students' readings. When choos-
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ing which book and format they would read, the
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have received their first choice because I did not have
unlimited copies of each title in each format.
At this late point in the school year, Mrs.
Montgomery knew enough about the students' read-
ing interests and abilities to take a great interest in
which book and format they chose to read. Throughout
the period in which the students were choosing their
books, she commented to me about what she thought
of individual students' choices. For example, she was
surprised and proud of one boy who chose to read a
traditional novel because she thought he would go the
"easy route" of reading a graphic novel. In reference
to a female student who had performed well in class
up until that point, Mrs. Montgomery commented
that she was very amazed that this student selected a
graphic novel because she was a "good reader." These
comments suggested that Mrs. Montgomery had pre-
determined in her mind which students were graphic
novel readers and which were traditional novel read-
ers, thus revealing her feelings about the legitimacy of
graphic novels as educational materials.
When students were given the assignment to cre-
ate blog postings about literary elements found in
their reading that they chose to discuss, they were to
give details that would help explain how they knew
what they knew about the element they were discuss-
ing. Among the entire population of participants, the
most discussed elements were foreshadowing, mood,
tone, and characterization. Students reading the
graphic novel format were encouraged to use both
textual and graphic elements to explain their thinking

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students were much more focused on trying to get the about their chosen element.
format they wanted to read rather than the title. I
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saw this in the excited way they talked about their prior assignments, I relied on Mrs. Montgomery to
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favored choices with their reading buddies and the share with me her thoughts on how well the graphic
hurried nature with which they would approach
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Mrs. Montgomery with their choices. The students' She shared that she could see that several of these
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emphasis on format choice may have reflected their
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readers were more passionate about these blog post-
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intense interest or served as a performative act, if they
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had wanted to represent themselves in a certain way
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ply from the length of the posts. With regard to how
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In the final activity that I observed, each student
712
performative act." partnered with another student who had read the

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same title in a different format. The partners worked When asked why, they provided several answers, in-
together to pick a scene from both formats that they cluding that it was "easier to understand the message"
had both read, and then traded books to read that that the author was trying to convey, "you get to see
scene in the other format. The students were then what's actually happening and the actual emotions"
asked to write on a sticky note what they thought was the characters are experiencing, the story "comes
different and similar in the scene they read, com- alive," "it was more entertaining" to read than tradi-
pared with the scene as they had originally read it. tional novels, and the succinct way in which the story
With regard to differences, most of the students' com- is told with visuals and text.
ments related to how a character looked different in While one group was discussing how much they
the graphic novel compared with the way they had really enjoyed reading graphic novels, the subject of
imagined that character, and how there were more homework came up. One student noted, "No one
details or deeper conversation in the traditional novel ever fell behind once." Most of the other participants
than in the graphic novel. In terms of similarities, the in the focus group agreed. I asked, "Do some people
students' notes reflected that they felt the story was usually fall behind in their novel reading?" Several of
the same or that both formats contained the same the participants answered, "Yes!" One boy explained,
quotes or dialogue. "That's something I do!" Another said, "We use
Students were then asked to discuss their read- SparkNotes." Still another boy said,
ings of the chosen passage in both formats. This
In class every week or so, we have to have group
proved to be a near polarizing event, as passionate
talks [with their reading buddies] about our
conversations about "which format was better"
novels, and we don't really talk about them
erupted in each of the three classes. I often over- [many of the other participants in this group
heard graphic novel readers trying to persuade their added, "Yes!" at this point], but when they're
traditional-reading partners to recognize the power graphic, we actually do it. We actually want to
of the illustration of the particular scene that they talk about it because it's more enjoyable.
had been coreading. Traditional readers often ar-
gued that the illustrations disrupted the mental im- In each of the focus group interviews, the par-
age they had created in their own minds. Taking ticipants
a discussed how reading the graphic novel
different angle on this same point, one student saidmade blogging about the reading easier. This was
this about reading the graphic version for the firstbecause they could "go back to the picture instead
time: "Iťs good to see the right image that the au- of the text" to find the information they needed to
thor wants you to see instead of the one in your support their argument about the literary element
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asked if they liked reading the graphic novel they had a perspective of what the characters looked
chosen, the group gave an overwhelming "Yes!" like. 713

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 I asked the participants if, when they were as-
signed to read a graphic novel, they thought they
would enjoy it. Several students admitted that they
did not initially think they would like it, but once
they began reading it, they enjoyed it. One girl
explained,
We [she and her reading buddy] picked the
traditional, but we got our second choice, which
was the graphic novel, so we were, like, "Ugh,
we have to do this." But once we started reading
it, we noticed that it helped our blogs, and we
would read it quicker and understand it more,
like the setting.
Some participants were excited to read the graphic
novel. One boy said,
I used to read these books called Bone, and they
were similar to that book, and I really enjoy
those a lot. And I hated reading regular books, so
once I knew that we were actually going to be
allowed to read one as homework, I was happy.
Although this larger group of sixth-grade graphic
novel reading students described their graphic novel
reading experiences with enthusiasm, the same can-
because iťs not- you don't get a lot out of it. It won't
really help your reading." Another participant coun-
tered that using graphic novels with traditional books
might help students who have trouble reading com-
prehend the text better because they would have a
visual aid in the form of the graphic novel. One girl
said,
I think they [students] should read more
traditional but still a little bit of graphic because
when you get older, they probably won't let you
read graphic in college, so it would be giving you
a disservice if you do it a lot now.
I asked the participant, "Why do you think they
wouldn't let you read graphic in college?" She re-
plied, "Because you have to do essays on it and stuff,
and they're kind of preparing you for work, and you
wouldn't get to read a graphic novel when you're
working." Another participant added,
I also don't think they'd let you read them in
college because they'd probably think it'd be too
easy for you because you're in college and you
have more work to do, and that's probably less
work than they're [college students] dealing with
now.

not be said for their thoughts on the use of graphic

novels in school. With the exception of a small group
of male students who only wanted to read graphic
novels in school, most of the participants questioned
their educational validity. When asked, "Who reads
graphic novels?" one participant said, "Not adults,"
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One boy explained, "With graphic novels, yo
get much reading skill out of it because no
wants to write a huge vocabulary word in those
bubbles, conversation bubbles, so you would

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because she has to read regular [books]." I asked, "Do ditional version of the novel. Although the resu
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mostly opposed to the idea. One boy said that "kids comprehension assessment, most students in
08 should read traditional because iťs more informa- that they thought they did "OK," and nearly all
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tion." One girl said, "Probably most teachers wouldn't
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Discussion felt that teachers, college professors, and working
adults would not endorse serious readings of graphic
This study sought to answer the questions, How do
novels because they are not intellectually challeng-
middle school students compare their graphic novel
ing and are of the realm of kids' play. Joaquin (2010)
reading with traditional novel reading, and do they
noted how schools tend to perpetuate this impres-
think graphic novel reading is a legitimate educa-
sion: "A school's continuous privileging of print texts
tional activity? In answer to the first question, the
could lead some students to believe that interpreting
comments of the middle school students in the study
images, sounds, gestures, and other non-linguistic
suggested that they preferred graphic novel reading to
texts does not count as literate behavior" (p. 111). If,
traditional reading, which encouraged them to read
as a larger society, we want to encourage our adoles-
and engage more than they normally would. The en-
cents to become literate, knowledgeable creators and
joyment that these participants found in this literacy
innovators, we have to begin incorporating multi-
experience should be both respected and nurtured by
modal reading into our school curriculum or risk
educators. In spite of their enjoyment, the majority of
maintaining outdated paradigms that have prevented
these students did not find graphic novels to be wor-
many from successfully navigating and flourishing in
thy educational material. Students cited examplesour multimodal world.
from life or educational experiences they have yet to
Looking at this data set through the lens of gender
have, which suggests that what they consider to be
supports the stereotype that boys, more so than girls,
worthwhile reading material (or not) is informed by
enjoy and work better with graphic novels. In the fo-
parents, teachers, siblings, or other influential indi-
cus group interviews, male participants expressed
viduals in their lives.
more passion for graphic novel reading than the fe-
Although they found graphic novel reading to be
male participants did. This finding is supported by
fun, easy, and fast, the participants unwittingly ac-
research (Huestegge, Heim, Zettelmeyer, & Lange-
knowledged that these factors did not necessarily
Kuttner, 2012; Moeller, 201 1) that has suggested that
mean they read the text well. Indeed, many of the
boys prefer elements of visual reading. Research by
students confessed that they thought they did "OK"
Joaquin (2010) and Moeller also suggested that social
on the comprehension test and remembered which
aspects of reading work to make a certain reading le-
questions they missed because the questions askedgitimate
for or not. The fact that I left book choice open
details that were featured only in the images into the
all students, regardless of gender, may prove to
graphic novels, not the text. Essentially, the partici-
have been a limitation of this study. Social aspects
pants acknowledged that they did not read the pic- to gender may have influenced the results of
related
tures as closely as the text. Educators need towork. For example, one of the three focus groups
this
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lief that graphic novel reading is not a real-world
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reading, audiobooks, numeracy, and graphics. To
that end, it is vital that educators incorporate those
different modes of literacy into their day-to-day teach-
ing. As Botzakis (2009) noted, "When the definition
of legitimate text becomes limited, educators also
limit what students might be able to access that could
spark their interests and become the impetus for life-
long learning" (p. 58). This definition of legitimate
texts is one that has yet to be explored in depth by the
larger literacy community.
The conclusions of this research study prompt
further questions about the legitimacy of reading
multimodal texts in the school curriculum. One of
these questions focuses on the students' perspective of
graphic novels as a lowbrow format for literature:
How might students think of the legitimacy of graphic
novels after they completed a unit on carefully read-
ing and analyzing a graphic novel? As Gutierrez and
Beavis (2010) suggested, students may find reason,
upon a close and collective examination of the text, to
believe that graphic novel reading is a kind of real Huestegge, L., Heim, S., Zettelmeyer, E., & Lange-Kuttner, C.
reading. Additionally, the investigation of multimodal
Note
I would like to thank Mrs. Montgomery and her sixth-grade stu-
dents for their participation in this study.
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