Hooked on Grawlix

Language possesses power to convey personal thoughts and feelings. Authors keen on rendering reality have a choice to include profanity or invent some type of alternative swear. An option not considered in writing is grawlix. Predominantly seen in comics, grawlix modifies a profane word into a series of symbols, “@#$!” These symbols do not portray the precise content of the message, depending on the number of symbols used there may be more than the amount of letters, yet the relational, or emotion, of the word is transmitted.

The popularity and periodicity of grawlix in comics raises the question why it is not seen in other forms of literature. Perhaps grawlix is absent because it does not adapt into mediums other than comics or dialogue in novels is utilized differently. Truthfully, comics have long been viewed as childish and goofy whereas prose is esteemed as a mature and creativity stringent medium. Thus, comic creators are not bashful when including a dialogue bubble containing, “Hey you piece of %#@&!” while most novelists feel inclined to admit the swear.

The aspiration that drives a young adult fiction author to create a set of alternative profanities to extend readability to a wide audience is the same goal of a comic creator at Marvel or DC who utilizes grawlix to interchange harsh words to obtain the desired rating of a book. Displays of auxiliary profanities are made with the objective to not affront readers. A great deal of teens and children read Spider-Man or Batman and if their parents see swears in the dialogue bubbles, funding for purchase would discontinue. Therefore, grawlix placates readers while expressing negative emotional dialogue.

The visual element of comics, conducive to feature grawlix, is absent from prose, which depicts exclusively through text. Comics are a complete experience; readers probe artwork and analyze script. Comic creators experiment with scratch and sniff odors and others include reading playlists, a group of songs that enhances the reading experience. Contemplating the nontraditional format that comics are, it is apparent why something like grawlix has found a home in the medium. There are no implicit rubrics governing comics as there are in prose. Authors experiment with certain methods in their prose, yet nothing compares to the expanse of freedom comic creators enjoy. Grawlix is one of many creative formulas comic creators employ to develop a unique visual experience for their readers.

Being created for comics may constrain the use of grawlix strictly to comics. The ability to convey messages with symbols sanctions writers to establish a serious tone without including harsh swears. This welcomes creators to tell stories with profanity, yet use symbols for younger readers to enjoy the story without offense. A successful form of substitution in the comic vehicle, grawlix needs be considered a valid option in prose for authors who wish to maintain a younger audience while including dialogue for mature readers.

Explicit Content and LDS Authors

DISCOVERING EXPLICIT CONTENT

The high moral standard of the Church of Jesus Christ of Latter-day Saints encourages members to avoid the evil with which the world is being consumed. How then do authors, who explore reality using fictitious characters and societies, portray evil in their work? Certain LDS authors choose not to use explicit content, however, other LDS authors include such things as foul language, sexual scenes, and violence to advance the plot and further character development. Examination into the reasons why these two parties exist illuminates the impact that religious beliefs have on their work. An aspect of this discussion takes into account the fact that the audience for most LDS authors is made up primarily of LDS readers who share the same religious convictions. Decisions are made about what content is written and what is left out because members of the Church of Jesus Christ of Latter-day Saints believe, “If there is anything virtuous, lovely, or of good report or praiseworthy, we seek after these things” (Smith).  This standard indicates how church members flock to the good in life and the inverse is that members flee from all things that denote explicit themes or content. Another element is the goal that dedicated authors wish to portray the truth. Truth based on current trends, values held by society, and also truth stemming from the author’s thoughts and feelings. Authors’ writing reflect that perception and can be offensive or enhance the verisimilitude for the reader. Therefore, an exploration into these aspects reveals that some authors focus more on their target audience and holding to their religious convictions, while others focus on the verisimilitude of the experience for the reader. 

DEFINING EXPLICIT CONTENT

            For this paper, the term explicit content refers specifically to foul language. Inclusion of this content in media causes members of the LDS faith to avoid certain music, movies, and books. Therefore, readers must wonder why some LDS writers include explicit content in their work. To illustrate, science fiction writer, Orson Scott Card (see figure one), portrays a futuristic military school filled with the best and brightest children the world has to offer. The children in Ender’s Game use language that would be common in modern adult military institutions. In a mocking tone a boy exclaims, “Shit talking, shit talking, shit talking!” (Card 75). Contrasting with another LDS writer, James Dashner, writer of juvenile fiction such as, The Maze Runner, which introduces the reader to a post apocalyptic world where a group of teenage boys is trapped inside a deadly maze. Dashner, preferring to invent replacement swear words, does not use today's common profanities, rather, his characters express their negativity using words like “shuck face,” “shank,” or “clunk” (Fogarty). These examples demonstrate the difference in the mindset that exists among authors. Authors have the option to include profanities or to make up alternatives. They can also mention that a sexual act occurred or show the act happen. Explicit content upsets some readers, yet does not bother others. Understanding what explicit content is and how it is used helps readers to understand the reasons behind the choices that authors make.

Figure 1. Photograph of author Orson Scott Card. Author page Amazon.com.

To comprehend this topic better an idea from Orson Scott Card displays the reasons why explicit content is used. Card presented three ways that evil is included in fiction while speaking to an audience at BYU Provo: 1) evil depicted in fiction, 2) evil advocated in fiction, and 3) evil enacted by fiction. The separation of the ways that evil exists in fiction creates different categories for explicit content to fall into. Is profanity simply being depicted? Is it being said in an appropriate setting by an appropriate character? These are situations in which evil is depicted by fiction. For evil to be advocated in fiction a story must encourage such behavior in our personal lives. The enactment of evil by fiction is when the evil leaves the pages and is emulated through people’s behavior in real life. Explicit content can be used in the proper manner. There is a way to depict evil without advocating or enacting that same evil. Card declares that evil is necessary in fiction, “Evil is more entertaining than unrelenting goodness because any depiction of life without evil is a lie.” Card is expressing that the verisimilitude that evil brings to fiction is what makes fiction realistic. Evil exists in our reality and to form a realistic reading experience there needs to be elements of that evil on the page. The author has the duty to skillfully choose how to present that evil to the reader.

EXPANDING PERSONAL VIEWS

Personally, I am fine with explicit content in my novels if it serves the purpose of enhancing the verisimilitude of the work. If the author is going to engage in shock value or to be derogative I will shut the novel and return it to the library. I connected deeply with Ender’s Game because I was surrounded by foul language at the age of 6, the age of Ender, and even more when I was the age of Dashner’s characters. Not having teenagers swear did not seem real to me. I agree with Jack Harrell, Ph.D. at BYU-Idaho, who said in an essay, “I believe we need to be more honest about the sins and shortcomings among us.” I am aware that sin and evil is part of what goes on in real life. My reading is not for escapism, I read to vicariously experience a part or time of the world. The more real the experience is, the better. A genuine reading experience is always preferred and one way authors develop that through the use of language.

            A second reason why I accept explicit content in novels is because reading is a personal experience. The book and I connect on a personal level and no one around knows what is going on in the pages. In the end I am able to censor what the author is telling and ultimately close the book if the content does not sit well with me. When facing explicit content in movies or music however, the experience becomes more social. Blasting music or watching a movie broadcasts that content for everyone in the room to experience. That then takes into account the feelings and thoughts of everyone else exposed. Could this offend them? Are they uncomfortable? That is the stream of consciousness that occurs when expletives are found in a movie or music being experienced in a group. No longer do I have the power to silently cast the word or scene aside, no, now the whole room is privy to what is taking place. The privacy of the event allows for the reader to skip over the scene or abandon the read. Therefore, while reading a book it is easier to manage the explicit content than when it occurs in a movie or in music.

EXAMINING AUTHORS’ OPINIONS

Analyzing LDS authors’ thoughts provide understanding as to why they include or avoid explicit content. Each author is unique and personal beliefs about this topic vary. Gerald Lund, LDS author of The Work and the Glory, quotes Arthur Henry King, speaking about LDS authors, when talking to Mormon Artist, “They need not write especially on Mormon subjects, though the treatment will be inescapably Mormon if they are true Mormons” (qtd. in Du Plessis). What King means is that LDS authors have the freedom to explore many ideas but the way they handle them will be as an LDS member. Thus, authors devoted to their faith keep explicit content separate from their writing. Brandon Sanderson, author of the Mistborn series, said in an interview with Nathan Morris, “My values shape who I am and what I determine to be important.” As a practicing LDS, Sanderson’s beliefs govern the person he is and what he does. His writing is not preachy nor does he present explicit content to his readers. His faith motivates him to portray the good in the world. Similarly, Tracy Hickman, author of Sojourner Tales and several Dragonlance novels, told Michael Young, “The gospel is my life; I write my life; ergo, my writing is a reflection of my faith.” Hickman stands by her faith as she writes and her writing reflects that faith. Faith is a compelling force, which enters their writing. Orson Scott Card is quoted by Michael Collings, speaking on the influence of religion in his works, “I present Mormon theology most eloquently when I do not speak about it at all… Expressions of faith, unconsciously placed within a story, are the most powerful messages an author can give” (Collings 44). Card is reflecting that, though religious topics are not discussed directly, they are powerful and come from the author’s testimony.  The positive influence that religion has on authors is an indication of how it then affects their decision of what to write. These authors’ faith runs into their writing, not by preaching, rather through how they shape their content.

Discussion of the idea to use alternative expletives leads back to James Dashner and overlaps with Brandon Sanderson. The use of alternate expletives is a way to include the same tone without harsh swear words. Dashner gives reasoning behind his choice in an interview with blogger, Mignon Fogarty. Dashner explains, “I didn’t want them running around saying, ‘Oh, gee darn golly, here comes a Griever!’ I also didn’t want to limit the schools and libraries that would be carrying the books.” Dashner’s reasons for his word choice explain why alternatives are so prevalent is his books. The need to have some curse word is due to the situation of his characters. Yet, keeping his target audience in mind required him to come up with different words that still convey the feeling to the reader.

Another LDS author who enlists the use of alternate expletives is Brandon Sanderson. His reasons, “I feel that curses in-world help with the sense of immersion. Some readers also preferred it because of their dislike of our-world cursing.” Sanderson feels that readers immerse more into the reading experience when the language of the fictitious world is consistent. Therefore, not only does Sanderson avoid unwanted expletives, he is also able to craft a better reading experience and keeps his readers involved in the fictitious world. Had he not used alternate expletives the reader may be less immersed when an expletive is used. Both authors have created alternate expletives in attempt to satisfy their target audience, allowing the dialogue to have a serious tone yet allow for young readers to still enjoy. Although the authors do not list religious reasons for creating alternatives, as shown before, religion influences them. Therefore, the use of alternate expletives is a way to produce negative dialogue and still appeal to a target audience.

CONSIDERING OPPOSING VIEWS

Regarding what authors have stated about their beliefs, the opposition states that not including expletives weakens the verisimilitude of a work. Reality emulated through fiction includes profanity in dialogue. Hard to find is a sailor who does not have a filthy mouth. If one is written speaking like a saint, realism is destroyed. One blogger for Millenial Star, Jettboy, writes about the quality of works that portray a false reality, “There is nothing scandalous or sensationalistic in the writing. It’s clean, dependable, and predictable. Any serious reader automatically finds it stifling and boring. The protagonist doesn’t have any real conflict to overcome.” To engage a reader, a work must represent a reality that is true. Clean or innocent writing does not keep the reader involved. This is a negative effect of writing without verisimilitude. Furthermore, an article published in New York Times discusses why Mormon authors tend to write for young adults. Mark Oppenheimer states, “Mormons can thus save their morals and their book sales too.” Oppenheimer points out that by avoiding explicit content LDS authors reach their target audience, which is mainly LDS. Thus, opposition addresses the fact that writing without explicit content detracts from the realistic experiences readers demand from authors. Excluding that content also satisfies the audience that appreciates the clean works that some LDS authors produce.

A separate opposing view is that an author needs to include truth in the work. Being true to reality and to one’s self are essential to provide a realistic experience. Religion is not the sum of a person; more defines a person than their belief in a higher being or an afterlife. John Updike, poet and author, said, “Since [the author’s] words enter into another’s brain in silence and intimacy, [the author] should be as honest and explicit as we are with ourselves” (Lerner). This exemplifies how being true to one’s self through writing is essential. If thoughts reflect themselves in writing, pages echo what flows through the mind. That sense of realism connects a reader to the author as the author’s tone and syntax are absorbed. Therefore, if an author lives devoted to the gospel the thoughts of that author would be pure and thus reflected in writing. On the other hand, the work of an author who is not devout would include more explicit content. Orson Scott Card speaks on the matter, “I am a two-headed animal…I couldn’t escape the Latter-day Saint view of good and evil if I tried… I have found it impossible to write well without dealing directly with evil, without portraying it in my work.” Card has lost jobs because he took a stand for his beliefs yet his fiction contains explicit content; truly a “two-headed animal.” He lives his beliefs but is not ignorant to the fact that evil exists in the world and is therefore reflected in his work. Authors walk a fine line between what is real and what their beliefs compel them to feel. An author who wants to be true to them self allows thoughts to flow organically to the page, whether influenced by religion or not. Authors acknowledge that religion has its place, yet the truth of reality must be honored.

EXAMINING IMPACT ON READERS

Readers of fiction drink in the words of authors for two purposes, to escape reality or to perpetuate a realistic experience. Should readers have to avoid the explicit content that is included in books? Perhaps a reader picks up a book with the goal to escape the dark and dank world that we live in only to find, splattered in the pages, vulgarity and sexual situations. That reader can as easily close the book as turn off a song with similar things represented. The reader always has a right to close the book and put it away. However, a reader who prefers to continue to experience reality, in a different time or place, appreciates the verisimilitude that explicit content adds because our world is explicit and vile at times. While interviewing Jack Harrell, he offered his thoughts on the realistic, “I want to have a vicarious experience.” This vicariousness comes from the realism that authors write into their books. Harrell gave an example of realism considering the concept of explicit content. He expressed, that to be realistic the right person has to say the right word and at times that word is explicit. A construction worker who bangs his thumb will likely say something vulgar. That makes the reading experience realistic. This sometimes causes confusion in readers because of a misinterpretation as to why that word is chosen. Card clarifies, “They do not know how to tell the difference between an evil book and a good book that depicts evil.” Card illustrates that readers, at times, are unsure of what is going on in novels. Readers’ response to evil can cause authors to cut all evil from future novels. This is the problem that occurs when writing does not engage the reader in a true experience. It is not real, mature readers disengage, parents lap up these clean books for their children and the cycle continues. Realism is an essential part of fiction that the correct use of language enhances. The vicarious experience that readers have is heightened when authors include these factors with skill and restraint.

Another impact explicit content has on readers is when explicit content is not used to enhance reality but rather as a shock to the reader. Reality, though often mundane, can still be startling at times. Authors misuse explicit content when hoping to shock the reader with what is going on. If a book is littered with profanities and sexual content a reader may be turned away if there is no reason for the excessive amount of explicit content. The excessiveness could be the author hoping to catch the reader off guard and use that as a story telling device to shock readers. Harrell commented on this point as well, stating, “Every story needs a moral, and if that moral is enhanced through using expletives in a work, that’s fine. But sometimes people use them too much and it comes across as derogative and offensive.” The excessive use of expletives takes away value from the story if not used to develop it. Harrell added, “Swears don’t make something art, they also don’t make something not art.” There is a time and place for profanities in literature. A careful author sculpts and crafts each line down to the choice of individual words. If the right word for a scene is a profanity then an author committed to telling the truth will use a swear. That is the decision that the author makes and one that religious beliefs influence.

CLOSING THE BOOK

Religious beliefs cause individuals to live standards of behavior. The Church of Jesus Christ of Latter-day Saints helps its member avoid the negative influence that much of the media has. As writers in the LDS faith grow more popular, it raises the question if explicit content, foul language and sexual situations, finds its way into their work. Personally, explicit content is acceptable when adding to the verisimilitude of the piece. Also, it is easy to close a book because of the nature of the personal experience that occurs while reading, though explicit content in music and movies is tricky because it can bother a group of people who experience it simultaneously. Many LDS authors stand firmly behind their beliefs and do not include explicit content in their work. If an expletive could be used, many authors invent a set of alternative expletives to not offend their target audience.

The decision between creating a realistic experience for readers and perpetuating their faith is a decision LDS authors come to. Authors who feel it is their duty to tell the truth need to realize that at times the best word suited for a situation is profane, that is the world we live in. Considering the reader’s point of view, they read to escape reality or to experience an aspect of reality they cannot. For those desiring escapism, alternative expletives are the go-to option. Yet, those readers desiring a perpetuated realistic experience understand that explicit content is part of that experience. Authors need to be careful that the use of explicit content does not go too far to offend or disengage a reader. If explicit content is not used with restraint and class, the experience becomes negative and offensive. Thus, the use of explicit content does have merit in literature. It enhances a realistic reading experience for those who seek it. Some LDS authors choose not to include it because their beliefs compel them not to, while others feel that explicit content is a part of life that fiction must reflect. Therefore, the reader is the final judge who closes the book if explicit content is too much or keeps reading if the reading experience is enhanced through skillful inclusion.

Works Cited

Card  Card, Orson Scott. “A Mormon Writer Looks at the Problem of Evil in Fiction” Nauvoo.com, 13 Mar. 1980. Web. 8 Oct. 2014.
Card, Orson Scott. Ender’s Game. New York: Tor, 1991. Print.
Collings, Michael. In the Image of God: Theme Characterization, and Landscape in the Fiction of Orson Scott Card. Westport CN: Greenwood, 1990. Print.
Du Plessis, Jacqueline. “Gerald Lund.” Mormon Artist, April 2011. Web. 8 Oct. 2014.
Fogarty, Mignon. “Ya Shank: The Made-Up Swear Words of ‘The Maze Runner’” Quick and Dirty Tips. 19 Sept. 2014. Web. 23 Oct. 2014.
Harrell, Jack. “Human Conflict and the Mormon Writer.” Jackharrell.net. Web. 9 Oct. 2014
---. Personal Interview. 22 Oct. 2014.
Jettboy. “Why I Don’t Read Mormon Fiction.” Millennial Star, 22 Feb. 2012. Web. 8 Oct. 2014.
Lerner, Betsey. The Forest for the Trees: An Editor’s Advice to Writers. Rev. Edition, New York: Riverhead, 2010. Print.
Morris, Nathan. “Brandon Sanderson.” Mormon Artist, March 2009. Web. 8 Oct. 2014.
Oppenheimer, Mark. “Mormons Offer Cautionary Lesson on Sunny Outlook vs. Literary Greatness.” The New York Times, 12 Nov. 2013. Web. 2 Oct. 2014.
Smith, Joseph. “Article of Faith 13.” Articles of Faith. Web. 28 Oct. 2014.
Young, Michael. “Tracy Hickman.” Interview. Mormon Artist, Dec. 2010. Web. 8 Oct. 2014.

Joe the Barbarian - A Graphic Novel to Interest Reluctant Readers

Within the discourse of English exists an on-going debate about how reluctant readers can become more motivated to utilize literature. One aspect of that debate is the idea of using graphic novels as a means to bridge the gap between uninterested readers and meaningful literature. However, with a market so vastly flooded with graphic novels, which are effective to help these readers? This paper will address that question by analyzing a graphic novel using the Hunsader instrument of literary criteria. Dr. Patricia Hunsader is an Assistant Professor in the College of Education at the University of South Florida and has published many studies concerning the qualities that graphic novels need to possess in order to be useful in aiding readers. Certain criteria that Hunsader describes that I will examine in this paper are: character and development, vivid and interesting writing style, presentation of ethical and cultural values, and appealing illustrations. I will demonstrate how the described criteria are found in Joe the Barbarian by Grant Morrison and Sean Murphy and make that book an ideal choice to motivate reluctant readers to explore more types of literature.

The importance of a great protagonist is one of the literary criteria within the Hunsader instrument needed for readers to identify and sympathize with the character throughout the story. Common characteristics between protagonist and reader help the reader stay involved with the story. Joseph Manson, the protagonist of the story, is a dynamic round character and presents the reader with a plethora of details that they can connect to as they read. Clare Snowball, who has done work in teenagers’ use of graphic novels, states, “they are willing to read when they find something they connect with” (2005). Joe is a thirteen-year-old boy suffering from Type 1 Diabetes, dealing with bullies at school, a complex family situation, and has a pet rat, Jack. These elements of Joe give young readers a wide aspect of things to identify with that may be happening in their lives. Along with his characteristics, Joe’s personality is one that will connect to readers. Joe experiences hallucinations that cause him to be taken to a land called Playtown, which is threatened by King Death. Near the end of the story when Joe was close to saving Playtown, he says, “I was almost there. Send me back. Have to save ‘em all.” Joe would not have said this at the beginning of the book but through his growth Joe exhibits a courage that was found in the struggle of saving Playtown. The development that Joe undergoes will inspire young readers as they face the trials of youth. Therefore, Joseph Manson is a great protagonist to attract young readers to Joe the Barbarian because of the aspects that contribute to his character draw the attention of young readers, giving them a character they can relate to and cheer on throughout the pages of the story.

The script of Grant Morrison’s Joe the Barbarian will interest young readers and aid them to explore more literature because the script consists of a unique and intriguing writing style, fulfilling a criterion of the Hunsader instrument. The script of a comic is essentially the same as a screenplay for a movie. It is what an artist interprets when they draw, and contains the dialogue that appears on the page. In the realm of comics Grant Morrison is known for writing bizarre and surreal stories and Tony Guerrero, editor in chief of comicvine.com, analyzes, “from the mind of Grant Morrison, you know things won’t be what they seem” (2011). Morrison’s abstract writing is an attracting characteristic of Joe the Barbarian. Too often in today’s literature, especially youth adult fiction, many stories are the same. Clare Snowball quotes some boys in the ninth grade who referred to their classroom readings as, “…boring… too difficult… too long…” (2005). Joe the Barbarian avoids these characteristics because it is quick paced, interesting, and engaging to readers. Morrison makes use of dialogue bubbles and avoids the use of narration boxes, which may confuse new readers of graphic novels. Dialogue reflects the voice of each character and the conflict of the story is clearly identified within the first chapter of the story, “Playtown burns from Teddy Bear Alley to Starbase Heights. This fairy tale is on a one-way trip to hell.” Before the first chapter ends, the reader will understand the dilemma the characters find themselves in. Snowball explains that a common problem that young readers have is that, “they didn’t get instant gratification from it” (2005). Snowball expresses that readers need to be instantly engrossed and involved in the book, otherwise they will not be interested in the book. Readers will understand what is going on in the book before the first chapter closes. Readers will have a substantial story that is unique and engaging to help them stay interested in the book. An effective graphic novel’s script will hook readers and keep them interested and Grant Morrison does this well in Joe the Barbarian because he lays out the story of the book early and builds the story through clear understandable dialogue.

Joe the Barbarian is an effective graphic novel for young readers because the plot of the book addresses ethical and cultural situations in order to fit within the Hunsader instrument. Throughout the plot, many struggles and conflicts arise which present the reader with the ethical and cultural situations needed for an effective graphic novel. It is not a book with a hero in tights punching out aliens. Stories involving heroes like that are not relatable to teenagers, rather it is about a boy, who without knowing, joins the struggle to save a world and by so doing ends up saving his house. While still fantastical in nature, the plot is more believable than if Joe was an alien from another world who comes to save Earth. The fact that Joe is a regular boy and solves his problems with the skills he possesses illustrates how this book is relatable to youth. This is seen in the early stages of the book inside of Joe’s family. His mother works to prevent the lose of their house, “I have no intention of losing my house, Mister Arthur.” Further in the story, Joe comments on his father’s death, ”His stupid buddy stepped on a stupid mine and my dad died and left us with no money." This real life struggle that exists inside of the pages of Joe the Barbarian is an example of the more realistic situations the book deals with. Professors Katherine T. Bucher and M. Lee Manning of the Department of Curriculum and Instruction at Old Dominion University expound on the themes and topics graphic novel plots address, “…graphic novels are more complex than the superheroes found in comic books and address many of the same issues and concerns found in more traditional types of literature” (2004). Their comment describes the plot elements that Joe the Barbarian contains. The ethical and cultural situations examined in Joe the Barbarian make it a great graphic novel to present to young readers because the plot is deeper than simple caped-hero comics.

As another aspect of the Hunsader instrument, the art style of Joe the Barbarian makes the book effective to motivate young readers because the art is unique and creates a visual appeal to the reader. A graphic novel is half story and half art; the strength of a graphic novel relies on both. Therefore, along with the writing, Joe the Barbarian features a captivating art style, which makes the book interesting for young readers. Nancy Frey and Douglas Fisher, teachers at Hoover High School, comment on the importance of great art, “…visual imagery [is] a means of telling a story” (2004). Frey and Fisher’s comment shows that a graphic novel needs great art along with plot to help tell the story. It is important to consider that art in comics consists of two main parts: the artist, or the person who draws the lines, and the colorist, the person who puts the color on the pages. Speaking of the artist, Sean Murphy, Greg McElhatton, a reviewer from comicbookresources.com, states, “Sean Murphy is turning out the best art of his career, everything is drawn perfectly” (2010). Clearly reviews of this nature are subjective, however the art really does live up to the praise. Characters as well as backgrounds are detailed and readers can spend time just admiring the art. Apart from the line work of Sean Murphy, another strength this book has is the colorist Dave Stewart. Stewart is quoted as being, “one of the top five colorists in the industry,” by McElhatton (2010). The reason color is so important in this story is to create contrast in the reality that Joe exists versus the hallucinations that are caused from Joe’s hypoglycemia. Stewart creates a separate and distinct feel for each world by employing a completely different color palette to distinguish the worlds. Below is a sample page displaying both the scenery of Joe’s bedroom and Playtown. Notice the differences in the two environments, color and art style. This is an example of the feeling as well as the visual appeal Stewart is able to create through the color choices in each environment.

Figure 1. Page from Joe the Barbarian #1. Grant Morrison and Sean Murphy.

Clare Snowball addresses the power of art stating, “it is the visual aspect of graphic novels that attracts reluctant readers” (2005). Therefore, as a requirement of the Hunsader instrument, the art, hand in hand with the plot, make Joe the Barbarian a great book to introduce young readers to the medium and have them be more enthusiastic about reading in general because the art by Sean Murphy and the colors by Dave Stewart create an appealing visual masterpiece.

            Based on the criteria for an effective graphic novel as stated in the Hunsader instrument, Joe the Barbarian should be considered as an effective graphic novel to encourage reluctant readers to be more engaged with literature. Joe is a great round and dynamic protagonist, the script written by Grant Morrison creates an engaging and interesting story, the plot of the book deals with cultural and ethical issues, and Sean Murphy and Dave Stewart present the artistic side of the story as appealing scenes to interest readers. These elements satisfy the Hunsader instrument and separate Joe the Barbarian from the rest of the graphic novels on the market. Thus, reluctant readers who read Joe the Barbarian will want to explore more literature and become more engaged in reading.

Works Cited

Guerrero, T. (2011). Spotlight: Grant Morrison's 'Joe the Barbarian' - The Deluxe Edition Hardcover. Comic Vine. Retrieved June 6, 2014, from 

McElhatton, G. (2010). Review: Joe the Barbarian #1. Comic Book Resources. Retrieved June 6, 2014, from http://www.comicbookresources.com/?page=user_review&id=1793

Bucher, Katherine T and Manning, M. Lee. (2004). Bringing Graphic Novels into a School’s Curriculum. The Clearing House, 67-72.

Cooper, Sandi, Nesmith, Suzanne, Schwarz, Gretchen. (2011). Exploring Graphic Novels for Elementary Science and Mathematics. School Library Research, 14, 1-17

Frey, Nancy and Fisher, Douglas. (2004). Using Graphic Novels, Anime, and the Internet in an Urban High School. The English Journal, 93(3), 19-25.

Snowball, Clare. (2009). Teenage Reluctant Readers and Graphic Novels. Internal Perspective, 43-45.