With recent box office hits like the “Joker” and the time-tested saga of “The Avengers,” there is little to no debate that heroes make a seamless transition from story to screen—but why are comic books still dying?
There are many short answers to the question. They all revolve around the relentless stigma shrouding the practical elements of comic books and graphic novels which have decreased its popularity—it is a little nerdy, it is for little kids, and many think it is not real literature—all of which are just not true.
Many authors who write to make ends meet attribute their success to the household names of the art. Hemingway, Faulkner—you know the names, you probably had to read them in high school and deservingly so, but not all people connect with those literary styles.
New York Times editorialist Brent Staples, who was encouraged by his grade school teachers to read comics, wrote how the classics, the literature prescribed during school, are not the most important aspect of understanding the literary elements.
“Purists argue that children need to read the great books in the original,” Staples said. “But from a pedagogical standpoint, what matters most is that they engage whatever they read early and deeply enough to make reading, thinking and writing second nature. Whether it is ‘literature’ or ‘trash’ makes little difference.”
Melanie English, a columnist for Scholastic Parents, highlighted this same idea of engagement and stated children who are notorious for skimming through pages learn to control their pace.
“When reading comics, children slow down and look at the images and text to fully ingest what’s happening in the plot,” English said.
But the reasons for readership runs even deeper than that.
In an interview with the BBC, Mel Gibson, an expert on comic books at Northumbria University, documented the use of comics and graphic novels as a way for children to express situations which are difficult to communicate at a young age.
“[Comics and graphic novels] can be included in social work studies and pediatric nursing,” Gibson said. “Bryan Talbot’s ‘The Tale of One Bad Rat’ has been used by health professionals around the world dealing with people who have suffered childhood abuse. The victims might not want to or be able to talk about their situation, but through the story they can begin a discussion. That’s a valuable tool for a health worker to have in their arsenal.”
In a similar light, Daniel Donahoo, a columnist for Wired, wrote an article discussing how comic books aid in developing cognitive function within individuals who have learning disabilities.
In response to his article, a parent highlighted the success of this form of therapy.
“I don’t know whether you know much about autism, but in very general terms, lots of these kids are extremely visual learners and they are a bit blunted in their ability to recognize how others around them are feeling, and this is very helpful,” the parent said.
It is for these reasons alone we have to fight to keep the comic book industry alive. It jumpstarts engagement, transitions into a comfortable outlet of discussion for abused children and aids in enhancing cognitive function of those with learning disabilities.
Comic books and graphic novels are very similar to our favorite superheroes—there is a lot more underneath the mask than we think.
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