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90 pages 3 hours read

Scott McCloud

Understanding Comics: The Invisible Art

Nonfiction | Graphic Novel/Book | Adult | Published in 1993

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Essay Topics

1.

Understanding Comics is a comic book that is somewhat difficult to understand as it concerns the theoretical principles of comics. It is essentially antithetical to comics, which are almost universally perceived as simplistic and intellectually undemanding. Why did McCloud create a comic book that is as difficult to grasp as some textbooks?

2.

McCloud repeatedly says comics are undervalued as they have an inherent power that most readers do not grasp. What does he mean by this? Is this power unrealized, in the way some cultures do not understand they can get hydroelectric power from a flowing river? Or, is this power already present and in play but not recognized via the way some are manipulated on social media?

3.

When discussing the differences between American and Japanese comics, McCloud points out that Japanese artists often picture many different aspects of a given setting and as such, use more panels than American artists do. He attributes this to Japanese society’s tendency to be less hectic than that of America. What do American comics reveal about American society? What might foreign readers assume about American culture in reading American comics?

4.

Being icons, comic images are often used to denote invisible concepts, this being the basis for language. McCloud asserts that all written languages start this way. In this case, can comics be considered a universal language? (For example, can comic images be understood even when related text is written in an unfamiliar language?)

5.

McCloud makes a compelling case for written languages losing some of their power, their ability to communicate, due to abstraction. This loss can be regained via images and words coming together. With that said, is it possible to convey nuance in comics? What can comics teach about life that the written word alone cannot?

6.

In Chapter 7, McCloud reflects on the ephemeral nature of great artists and how they often do not know the trajectory of their work. Yet, they seem to know when their work is finished—as embodied by the idea of a “muse,” something that guides them. What is the underlying source of this muse? Does every creative have one?

7.

Different types of media are effective at communicating in specific ways. Music is used in television shows and movies to make scenes particularly dramatic, romantic, or frightening; fine art is used to convey a sense of importance. What are the unique strengths of comics as a medium? What allows them to convey meaning?

8.

Comics are often seen as being for children and the uneducated. Is it possible that comics are undervalued because they are an easier means of communication than other media? Why do people assume that comics in their simplicity cannot convey important ideas?

9.

McCloud ends his book with a plea for more people to become involved in comics—as readers, critics, and especially creators. In reality, most adults abandon attempts at drawing after primary school. How can non-artists reintroduce themselves to creating comics? Would journaling be a solid first step?

10.

McCloud claims that comics have unexplored potential, but never explains what this potential is. On the other hand, Understanding Comics expresses well-developed arguments that are more characteristic of a textbook than the comic book it is. Does the book itself act as proof of McCloud’s talk of potential? Would this message hold up as well in a digital medium?

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