Graphic Novels: An Overview and Debate

Thus far Lyrique Tragedy Reviews has been focused on reviews of books, events, and exhibits, but I’ve neglected some of the areas I am most passionate about: Comics and Graphic Novels. The one question I hear more than others regarding this topic is, “Aren’t Graphic Novels and comics the same thing?” Well, that’s a matter of perspective, whose definition you abide by, and which works you’re considering. I separate the two because they really aren’t the same thing at all, and though many Graphic Novels have been compilations of an entire serial series, some were never intended to be anything but Graphic Novels in that form. Others were released serially, but are, under most definitions, Graphic Novels. Graphic Novels released this way are reminiscent of those major works of antiquity that were released in magazines or newspapers a chapter at a time (I’m thinking of Anna Karenina specifically here).

For example, though Neil Gaiman’s Sandman collection was originally released in individual issues, they are most widely available today in the trade paperback format. Though the Sandman series was issued serially, the prevailing notions of what constitutes a Graphic Novel require this mature, intelligent series to be labeled as such. The division of those issues into trade paperbacks divided them into what could be considered complete novels in a larger series. Gaiman’s use of literary, historical, mythical, and pop cultural allusions elevates this series to something more than a traditional comic (but believe me, I have no qualms about the delicious story arcs that various “traditional” comics offer!) The major difference between a Traditional Comic series and a Graphic Novel (single or in series form) is that there is a definitive end to the over arching storyline. Superman, Spiderman, The Punisher, Iron Man, Green Lantern, X-Men (and their many incarnations, including the more recent Astonishing X-Men co-written by another favorite of mine—Joss Whedon) may have definitive story arcs, but they are designed to be continued beyond any particular arc. Gaiman, for example, set out in 1988 to do a 75 issue run from start to finish. That’s it. No more. No mas.

Most accepted definitions separate Graphic Novels from Traditional Comics by their content, plot, and length. Graphic Novels are typically viewed for a more mature audience (which, to me, seems to imply “educated,” though certainly there are those Graphic Novels who take “graphic” literally and slather the pages in blood, sex, violence, nudity, and foul language). The notion that Graphic Novels differ from Traditional Comics because they feature a plot that includes a beginning, middle, and end is likewise argumentative. Comics feature story arcs that constitute what can be condensed into novel form—I’m thinking primarily of the original “Phoenix Saga” (X-Men, 19776-77) and the “Dark Phoenix Saga” (X-Men, 1980), and that have been collected in “Graphic Novel” format. The new Dark Phoenix- Endsong and Dark Phoenix- Warsong were released in 2005 and 2006 respectively, but appeared in the Traditional Comic format, in serial issues. Some would argue that because of the decisive story line these later released story arcs could constitute a Graphic Novel—a fact that remains to be seen.

In some cases the term “literary” is invoked to describe the more complex, serious thought provoking messages, allusions, and story lines supposedly present in Graphic Novels. Length becomes a distinct issue as well. Superheroes and Comic book characters that are intended to live into perpetuity in one manifestation or another in series after series would be hard pressed to find themselves in a pure Graphic Novel. In 1992, Superman’s death rocked the world, and in a mere seven issues he was brought back to life. Most recently, Captain America died in March of 2007, and in October it was announced that Cap will return in January of 2008 (armed with a handgun this time). Comics count on the dedication of fans to await triumphant returns. It seems no serial comic can keep their main characters dead for long, so they bring them back in a bigger and better way. In 1988 Jason Todd* the Boy Wonder, was killed off. But they didn’t bring Robin back in his initial form. Instead, the vacuum was filled by Tim Drake’s training to become the third young man to wear the Robin costume next to Batman. For these reasons, most mainstream Traditional Comic heroes don’t appear in Graphic Novels for this very reason. The ambiguous timelines and RetCon mentality (There’s still argument going on about what really happened when Spiderman died and what happened when) allow writers to play with history and plotlines in ways that would make a linear reader insane. And yet, Frank Miller accomplished placing a well known Traditional Comic hero in the Graphic Novel form to outstanding acclaim with Batman: The Dark Knight Returns.

But the definition of “Graphic Novel” is spurious at best. It is ever changing, ever evolving, and ever under criticism. Some believe that the term is a marketing ploy to sell more comics, while others see the term as a way to differentiate certain works from what are perceived to be “childish” traditional comics. While I find some validity in both of those notions, the fact that comic books have been addressing political, global, and social issues from their inception cannot be ignored. Captain America and Superman both fought the Nazi’s, for example, and Captain America’s recent death was due to a sniper bullet while fighting the War on Terror. Neither can marketing collections of serial comics into a trade paperback be dismissed. If they cover a single story arc, appear as a trade paper back, and have a definite plot, it can be argued that it would fall under the category of Graphic Novel.

When push comes to shove in defining a work as a Graphic Novel, intent seems to be the key factor in whether or not something can be defined as such. I would tend to define serial comics that have been transformed into a trade paperback featuring Traditional Comic superheroes as “collections” or, perhaps, “anthologies” rather than Graphic Novels mainly because of their tendency to have those characters appear in other works continually. But it depends on if you’re looking at the definition from the perspective of a reader, a writer, or a publicist. Because of the success of Graphic Novels in the marketplace, every comic company has at one time or another tried to take their beloved heroes and fit them into that category for the sake of profit. Others may see it differently, as I do. Writers and fans seem to share at least a cursory notion of what constitutes a Graphic Novel, but ultimately, until a hard and fast definition is accepted into the industry, individuals will have to decide for themselves.

~Dawn Papuga

*Thank you to j.l. bell for the correction catches in this article, and for pointing out that it was Jason Todd, not Dick Grayson, who died in the '88 comic. Grayson lives on in his own right as Nightwing.