Antonio+Javier

=** Introduction to "Geek Media" **= Throughout the semester, problems of practice have been addressed from classroom management, to curriculum planning. Through the semester's Problems of Practice forums, several entries note that maintaining students' interest levels can effectively go hand-in-hand with both classroom management and curriculum planning. Additionally, it has also been noted that addressing the interest of students can help in capturing their enthusiasm and participation. In the Language Arts classroom, there are certainly several opportunities to capture the attention of students, one of which is through the use of graphic novels.

Graphic Novels and Comic Books have long since had the stigma of being in the realm of "geekdom" - thus, "geek media". As trivial as comic books may have been in the past in terms of substance and content, it has also been wildly popular with younger generations, as graphic novel and comic book sales continue to rise over time. According to Kyle Macmillan, in 2001, graphic novel sales boasted a modest $75 million, and rose to $100 million the next year (Macmillan, 2004). Today, that number has grown exponentially. In 2010, Publishers Weekly reports a total of $635 million and reports an increase in revenue for 2011 so far (Macdonald, 2011).

To capitalize on the popularity of "geek media", instructors must first recognize the potential for the promotion of literacy through graphic novels. Additionally, instructors must dispel the age-old misconception that graphic novels can discourage reading. In fact, it is quite the opposite. Gretchen Schwartz suggests that reading graphic novels may require more complex cognitive skills than the reading of text alone (Schwartz, 2002).

=** Graphic Novels vs. Comic Books **= In order to fully understand the potential of graphic novels, one must first be able to distinguish the difference between a comic book and a graphic novel. Scott McCloud writes, “[Comics are] juxtaposed pictorial and other images in deliberate sequence, intended to convey information and/or to produce an aesthetic response in the viewer” (McCloud, 2000).

In a more tangible difference, comic books are generally published as quick reads, lasting no longer than a few dozen pages, and bound in a flimsy cover, traditionally packed in a plastic sleeve. Graphic novels on the other hand, are much thicker, paperback-bound and look and feel more like a well-bound magazine. It is also important to note that a graphic novel can be a collection of comic books bound into a single tell-all story. Marvel Comics has done this in works like the //Marvel Civil War// series, and DC Comics has done so as well in works like the //Blackest Night// series. However, not all comic books are compiled into graphic novels, and not all graphic novels are derived from comic books. That said, not all graphic novels will be appropriate to teach in a classroom.

In the same way that not all literature may be appropriate to teach in a classroom, the same obviously applies to graphic novels. Considering the age and of the students, there are countle
 * Appropriate Graphic Novels to Teach **

ss graphic novels that may or may not be appropriate both to the maturity level and literacy of the classroom. It may be appropriate to first prepare the students in academic discussion of their favorite graphic novels, because of course, there has to be some sort of academic take-away from everything they do in the classroom. From that point, students will be able to talk about whichever novel they would like to read. For instance, the //Marvel Civil War// series is a compelling series of comics that tore the superhero world of Marvel Comics into separate factions. Through a series of unfortunate events, the Captain America ended up dying to Iron Man’s hands, and finished off one of the most memorable events in Marvel Comics history. Without the proper direction, students may not catch on to the plot and theme within the story line – plots and themes involving a vague definition of good and evil, justification of each superhero faction, and several others. Considering the nature of the //Marvel Civil War// series, students can engage in dialogue justifying each superhero faction because each side has a recognizable character that the general public would otherwise consider a hero.

Aside from the compelling stories of Captain America and Iron Man, there are other graphic novels that offer alternative views of history, culture and human life in general. Schwarz notes, //“The Four Immigrants Manga// (Kiyama, 1999), for example, was recently discovered and translated into English. It describes the life of four Japanese immigrants in San Francisco, California, from 1904 to 1924” (Schwarz, 2002). She reports that the novel is based on the author’s real life, contributing insight on the life of Japanese immigrants. What sets the novel apart from a mere biography is that the images make the images much more visceral. Although readers can visualize for themselves a traditional reading of a biography, Kiyama is able to tell the same story alternatively through imagery of art. Rather than explain the wonderful use of art as imagery through words, the following link is a graphic novel explaining the use of graphic novels to convey messages instead of strictly using words:

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There are also several instances when the comic book world and traditional literature meet. One such instance was published in 1980 in an issue of The Uncanny X-Men. Writer Chris Claremont used a mutant named Nightcrawler to delve into his own version of Dante’s Inferno, assisted by the X-Men and Doctor Strange. Courtney Angermeier produced a video explaining the usefulness of graphics to supplement the text, referring to the X-Men comic book. Angermeier ends her video with a quote from Frey and Fisher stating, “Having begun with the idea that graphic novels are comic books at best and a waste of time at worst, we now realize the power they have for engaging students in authentic writing. These forms of popular culture provided a visual vocabulary of sorts for scaffolding writing techniques, particularly dialogue, tone and mood” (Fisher, 2010).
 * When Comics and Literature Meet **

The following is Angermeier’s video, which provides examples of graphic novels utilizing traditional literature for its story, and adds her own commentary on the use of graphic novels in the classroom.

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 * How to Properly Utilize Graphic Novels **

The wonderful nature of graphic novels is that they are just as rich and compelling as a good book. That said, the problem herein isn’t in what to do with graphic novels in the classroom, more so how to approach the teaching of graphic novels. As previously stated, graphic novels are a wonderful way to supplement texts such as Dante’s Inferno – supplementing it with //Nightcrawler’s Inferno//. Additionally, graphic novels are also wonderful stand-alone units in and of themselves.

The //Marvel Civl War// series is a wonderful example of a set of graphic novels to use in an entire unit. The //Marvel Civil War// can replace texts such as //The Crucible//. In a unit where students are required to distinguish between good and evil in an otherwise vague representation of both sides, The //Marvel Civil War// provides an excellent setting, pitting superheroes against one another. Another graphic novel with excellent commentary on superhero life is Alan Moore’s //Watchmen.//

Moore’s //Watchmen// is a reflection on contemporary anxieties critiquing the superhero concept. In //Marvel Civil War//, conflict starts as the series does with superheroes accidentally killing innocent lives through the capture of various super villains. //Watchmen// takes the commentary a step further, by depicting struggling superheroes, who live in a world where the public has already grown tired of the collateral damage superheroes have caused over the years.

Besides //Watchmen// and //Marvel Civil War//, there are plenty other graphic novels to use for classroom discussion. Much of what graphic novels have to offer can be beneficial to such an environment for several reasons. First, classroom efficacy improves significantly when students believe they are experts of a particular subject. As Angermeier and Yang point out, students are already innately interested in comic books, and are more prone to investing themselves in the source material. Second, students become cognizant of difficult words by applying visual context. Students are able to see difficult verbs performed by the novel’s characters, describe difficult adjectives and visually see a description, and recognize difficult nouns without having to look it up.


 * Conclusion **

The takeaway from teaching graphic novels is quite simple – teaching and reading graphic novels have the potential to be a powerful tool due to its refreshing change of pace from traditional texts. Additionally, with the ever-growing popularity of graphic novels, students are more likely to participate in class, and build upon the efficacy they achieve. Lastly, graphic novels have the ability to visually teach students something traditional texts are not able to effectively. By being able to explicitly show readers context, students ultimately become more cognizant of difficult words without having to look it up in a dictionary, or asking an instructor.

Graphic novels certainly have a lot to offer, and with its popularity skyrocketing to record breaking numbers, now is the time to capitalize on its popularity. There is certainly a problem of practice in some teachers refusing to teach things of interest to students, and graphic novels can surely be one of them.

Fisher, D., Frey, N. “Graphic novels: Composing with sequential art in high school English and history.” N Engl Read Assoc J 45 no2. 2010. [] graphic-novels.pdf
 * Works Cited **

Macdonald, H. “ICv2 Report: Graphic Novel Sales Up Slightly in 2011.” Publishers Weekly. 21 Jul. 2011.

MacMillan, K. “Drawing attention: Nostalgia and new formats helping comic books expand audience”. Denver Post 19 Jan. 2004, final ed.: A1. LexisNexis Academic.

Lexis-Nexis. The University of North Carolina at Chapel Hill, Davis Lib. 28 Jan. 2004. .

McCloud, S. Reinventing Comics. New York: HarperCollins, 2000.

Schwarz, G.E. (2002, November). Graphic novels for multiple literacies. //Journal of Adolescent & Adult Literacy,// // 46 // (3). Available: [] 02_column/index.html

Yang, G. (2008, January). //Graphic Novels in the Classroom//. ProQuest Education Journals. []

Claremont, C. (1980). //King-Size Annual X-Men #4//. New York, NY: Marvel Comics Kiyama, H.F. (1999). // The four immigrants manga // (F. Schodt, Trans.). Berkeley, CA: Stone Bridge Press. Millar, M., McNiven, S., Vines, D., Hollowell, M. (2006-2007). //Marvel Civil War 1-7//. New York, NY: Marvel Comics
 * Graphic Novels Cited **

__//your citations are not actually APA - reference list would be integrated, and dates for one are in wrong spots//__ __//overall, a good discussion of graphic novels in the classroom//__ (approximately 5-10 key articles, research studies, or literature reviews in APA formatted reference list) || Research to support stance is synthesized as evidence for stance, and not merely reported; research represents the literature on focal issue || Research to support stance is mostly reported and summarized, and used as evidence for stance in a cursory way; may not be representative of literature on focal issue || Research is not adequate to support stance and/or is used to summarize readings, not as evidence/ support for stance ||  ||   ||
 * || 10 || 5 || 1 || Your Comments || Score ||
 * Stance on focal issue ||  || Stance reflects pedagogical approach for equity and access in ELA for all learners to construct content knowledge || Stance is unclear or reflects more traditional pedagogical approaches that maintain the status quo rather than promote construction of learning for all learners ||   ||   ||
 * Focal Issue ||  || Focal issue is summarized (with supporting citations) to explain its history in U.S. schooling & its importance to student academic success || Focal issue is touched upon (with some citations) – its history in U.S. schooling may be tangentially explained and/or its importance to student success may be cursorily explained or misunderstood ||   ||   ||
 * Research
 * Pedagogical Approach || Pedagogical approach in the classroom is discussed within the stance and support for stance reflecting engagement of students in meaningful learning || Pedagogical approach in the classroom is somewhat clear but may not support the stance, or may not reflect engagement of students in meaningful learning || Pedagogical approach in the classroom is tangential and unclear as to how it supports stance, and unclear as to how it supports engagement of students in meaningful learning ||  ||   ||

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