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.