Word: graphics
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Dates: during 2000-2009
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...last few years, graphic novels have become the acceptably trendy cousin of comic books. The film version of Daniel Clowes’ nastily funny suburban epic “Ghost World” charmed the beautiful people and was nominated for an Academy Award in 2000. Graphic novels have gradually eked out their own section in every Barnes and Noble, a corner that is filled to bursting with intrigued readers of every...
Last year, so-hip-it-hurts literary journal “McSweeney’s Quarterly Concern” (with Dave Eggers as editor) published an “all-comics issue” featuring graphic novel artists. The contents included contributors as diverse as bawdy comic legend R. Crumb, the understated Canadian Seth, and existentialist horror artists Charles Burns and Adrian Tomine. Chris Ware, fresh from the impressive critical success with “Jimmy Corrigan, Smartest Kid on Earth,” served as editor...
Rather, writers like Burns and Ware are prime examples of the major weakness of graphic novels: they are emotionally difficult and even hateful to readers. They demand you to be engaged, they demand you to look and absorb every sweat-inducing detail, and worst of all, they mock happy endings...
...Graphic novels have a long way to go before reaching the bestseller lists. Yet Art Spiegelman’s “Maus” series about the Holocaust, for instance, won a Pulitzer Prize. It is unlikely that the lack of widespread acceptance of graphic novels is due to inferior writing—indeed, it seems unlikely that readers of ludicrously popular “The Da Vinci Code” were drawn in by its prose or character development...
Schematic diagrams in “Jimmy Corrigan” present ideas that might otherwise be too complex to appear in graphic form, such as characters’ internal monologues or a tangled family tree. Entire panels are often devoid of dialogue, an unusual technique that reflects the isolation of urban life...