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Art Block 5 |

ART 2016 -2017

BLOCK 5: My surroundings and me - Comic
Miss Lays Class
EDUCATIONAL OBJECTIVE Document the relationships with the surroundings and reflect about them to create
a comic that portrays cultural values
-Reflect about its personal values of love, freedom, social responsibility and
SKILL WITH PERFOMANCE
expresses them in written form. -Create different comics based on their personal
CRITERIA
experience. -Recognize the elements of a comic in the creation of one.

CONTENT
WEEK

WEEK TITLE

CONTENT

WEEK 1 (Nov.21-25)

EXPLORE

History of a comic
Elements of a comic

WEEK 2 (Nov.28- Dec

2)

KNOW

WEEK 3 (Dec.5-9)

APPRECIATE

WEEK 4 (Dic.12-16)

CREATE

WEEK 5 (Dic 19-23)

CREATE

Review and Quiz 2p2q

GRADING SYSTEM
HOMEWORKS

Print One page of a comic

that you like
(2pts)
Due date: Dec 4th

Flipbook
My 7 strengths as a
SuperHeroe
(5 pts)
Due date: Dec 12th

My Comic
(3pts)
Due date: Nov 28th

INDIVIDUAL
PARTICIPATION

Vocabulary
(4pts)

Graphic organizer 1
(3pts)

Graphic organizer 2
(3pts)

GROUP
PARTICIPATION

Survival activity
Bring Tape and Newspaper
(5pts)
In Week 2

Content of magazine
worksheet must be
completed
(5 pts)

QUIZ

In Week 2 (5 pts)

In Week 3 (5 pts)

TEST

Magazine
(10 PTS)

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EXPLORE
HISTORY OF COMIC
Source:http://www.randomhistory.com/1-50/033comic.html

At its simplest, a comic book is a series of words and pictures that are presented in a sequential manner
to form a narrative that may or may not be humorous (McCloud 1993). Originating in the United States in
the late 1800s, the comic book contains everyday language, slang, and idiom, as well as color and a
sophisticated interplay between text and imageall serving a therapeutic, explanatory, and commercial
purpose in American culture. Traditionally occupying the fringes of pop culture, the comic book is
actually a valuable historical text that comments on how young people and adults alike identify with
cultural and political issues. As such, a comic book is much more than just a series of words and
pictures with marginal cultural importance. Indeed, given its complex cultural and commercial role, a
definition of comic book raises an amalgam of theoretical debates about sequence, narrative, image,
text, genre, and art as well as its relation to other genres, such as childrens literature (Meskin 2007). At
the very least, comic books can be seen as a result of pressures by artists and consumers as well as by
the historical forces acting on both groups. Much more than just a form of entertainment for kids, comic
books are a serious and sophisticated art form that both feeds off of and creates cultural formulas and
historical constructs.
Since the 1960s the comic book industry has been dominated by the two major publishers of superhero
booksMarvel and Detective Comics (DC). DCs official name for almost 50 years was National
Periodical Publication; Marvel was known as Timely Comics from 1939 to about 1950, and then as Atlas
Comics for much of the 1950s. Many comic book fans often use the concept of ages to distinguish
periods of comic book history that share concerns, storytelling techniques, marketing strategies, styles of
art and writing, and approach to genre conventions (Coogan 2006). These ages can roughly be
distinguished as the Golden (1938-1956), Silver (1956-1971), Bronze (1971-1980), Iron (1980-1987),
and Modern (1987-present).

Comic Book Precursors

The thematic elements of the genre can arguably be traced back to ancient Greek mythological gods
and superheroes. For example, the modern comic book hero Flash explicitly draws on the iconography
of the Greek god Hermes with his winged helmet and boots. Samsons weakness in the Old Testament,
a haircut, echoes the vulnerabilities that afflict modern heroes, such as Supermans kryptonite. Other
ancient heroes such as Zeus, Gilgamesh, Thor, Beowulf, and Jason and the Argonauts all contain
conventions that are seen in modern-day comic book heroes, such as the sidekick (sometimes
homoerotically charged), sexual temptation, and teaming up with others, as in the Justice League. More
modern archetypes include Friedrich Nietzsches bermensch and Tarzan, the pulp bermensch
(Coogan 2006).

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The format of the modern day comic book perhaps can be traced to ancient narrative sequences of cave
paintings, but more likely to the medieval broadsheet, which was a narrative strip carved into
woodcuttings (Hayman and Pratt 2005). Broadsheet authors would often create cartoonish narratives of
public executions and caricatures of public figures. As the printing press allowed mass circulation of the
broadsheets, they were often gathered into collections, or what could be considered a prototype of the
modern magazine or newspaper and, by extension, the comic book. Some scholars have even gone so
far as to claim that the Bayeux Tapestry, which traces in a graphic pictorial narrative the events leading

up to the Battle of Hastings in 1066, is an early form of the comic strip (Meskin 2007).
The first real comic strip is usually acknowledge to be Richard Felton Outcaults The Yellow Kid, which

debuted in 1895 in Joseph Pulitzers The New York World and served as a marketing tool to boost sales
of the newspaper. Yellow Kid was also notable in that his was the first comic strip to use balloons as a

place for the characters dialog. When publishers realized that comic strips, such as Outcaults, could be
used to broaden the appeal of their newspapers, comic features such as Buster Brown, Foxy Grandpa,

Krazy Kat, Katzenjammer Kids, Popeye, and Mutt and Jeff became standard. Most all of the strips in
the first decades of the twentieth century were purposefully humorous and became known as the

comics or the funnies. The first comic books furthered this trend with titles like Famous Funnies,

Funnies on Parade, and The Funnies. The first comic books were actually packaged reprints of popular
newspaper comic strips. But as the comic book industry expanded throughout the 1930s, it developed a
cultural and economic identity very different from newspaper syndicates (Eisner 1985).
In terms of distribution, audience, narrative style, and thematic content, comic books were more the
direct descendants of the pulp magazine. Dubbed pulp magazine because they were printed on the
cheapest possible paper for inexpensive mass distribution, these publications had a commercial history
as old as newspaper comic stripsolder if you consider pulp magazines can be traced to their Civil
War-era antecedents, the dime novels. Unlike the comics, pulp magazines catered to the tastes outside
the mainstream and featured action, adventure, fantasy, and suspense. In 1933, Harry Wildenberg and
Max C. Gaines (future creator of MAD magazine) folded a traditional tabloid-size comic, Funnies on

Parade, in half to create the first four-color, saddle-stitched newsprint comic that would become the

format of modern comic books. Working with Eastern Color and Dell Publishing, Wildenberg and Gaines
successfully sold this new format at newsstands, leading to the creation of the newsstand as the main
distributor of comic books until the 1990s.

1930-1950: Golden Age

Comic books blossomed into a distinct entertainment industry after 1938 when Jerome Siegal and
Joseph Shuster created Superman, the initiator of the superhero genre that would remain the
cornerstone of the comic book industry. When DC comics introduced Batman in 1939, it eventually
pushed out the crime and detective stories from DCs title. The popularity of the superhero in the
1930s led to the creation of other characters such as Wonder Woman, Captain America, The Flash, and
the Green Lantern. Marvel comics introduced enduring characters such as the Human Torch and

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Captain America (Coogan 2006). In terms of style and technique, Will Eisners work on his masked
detective series The Spirit adapted many film techniques to comic books and developed much of the

storytelling grammar still used in comic books today. For example, unlike the short daily strips and fixed
perspective of juvenile comics, Eisners cinematic storytelling unfolded stories over several pages,
using a montage of light and sound, dynamic framing, and vibrant colors.
World War II was a boon for the comic book, perhaps because it promoted two prevailing ideological
visions of the time: New Deal-style social reform and WWII patriotism. The DC superhero comics tacitly
stressed a common interest in public welfare and strong federal government. Marvel comics took up the
cause of WWII patriotism in its creation of Captain America, showing Captain America punching Hitler in
the face. In fact, the primary narrative convention of the Golden Age is the defense of the normal. But
after WWII, the impetus driving the Golden Age fizzled, and the cancellation of Captain Marvel and
Plastic Man (with the similar lighthearted approach to super heroics) effectively ended the Golden Age
(Coogan 2006).

1956-1971: The Silver Age

After WWII, comic books lost readers and publishers alike due to lack of purpose, competition from
television, as well as Senate investigations into the cultural influence of the comic book industry,
particularly the influence of popular horror comic books. Perhaps most damaging to the comic book
industry was Dr. Fredric Werthams book The Seduction of the Innocent which accused some comic
books of corrupting the youth and inciting them to violence. In response to Werthams attacks, comic

book companies created the Comics Code Authority as a way to self-police the industry and win back
readers (McCloud 1993).
By the start of the 1960s, the industry showed further signs of recovery. Like the Golden Age, the Silver
Age began with superhero comic books acting to convey the prevailing social ideology. But when that no
longer appealed to audiences, the Silver Age comic book moved away from explicitly ideological texts.
The superhero genre which had been used to build consensus and morale during WWII was now
questioning Americas role as the worlds superpower, due largely in part to the publics perception of the
Vietnam War. Marvel comics further revolutionized the superhero by creating characters who had some
kind of weakness or defect, such as the Hulk and Spiderman. They were persecuted and misunderstood
outsiders and spoke directly to public disorientation. In response to DCs Justice League of America,
Marvel created the Fantastic Four. While these narratives still featured contests between good evil,
those concepts are slightly complicated with the introduction of virtuous villains and reluctant, selfish, or
bickering heroes. The end of the Silver Age can be marked by Steve Rogers abandonment of the
Captain America identity as a reaction to the Secret Empire, a story line that was a fictionalized
depiction of Watergate (Coogan 2006).

1971-1980: The Bronze Age

The Bronze Age is characterized by a shift from social issues to an emphasis on form and stylistic
details. Comic books no longer looked through form to the ideals, values, and conflicts of society but

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began to look at the form itself. Motivated by persistent criticism that comic book art was not great art,
comic book artists began to experiment with color and page display. While the new emphasis on art won
critical acclaim, the industry experienced a marked decline in sales. This was due in large part to archaic
distribution practices. Comic books were still largely carried by traditional newsstands, but these
traditional comic book venues were rapidly being replaced by chain stores. In an attempt to revise its
marketing structure, the comic book industry formed the Academy of Comic-Book Arts (ACBA) and later
the Comic Guild in hopes of achieving, as Stan Lee (the creator of Spiderman) states, for comic books
what Academy Awards do for motion picture (Coogan 2006). These associations also hoped to gain the
respect from the American public that comic books industries had in France and Japan while at the
same time providing comic book writers with more benefits and job security.
While comic book sales continued to decline, DC and Marvel turned to licensing out their characters to
television for revenue. DC enjoyed profits from Saturday cartoons such as Superfriends and Batman as
well as the Wonder Woman series. The Superman movie starring Christopher Reeve also provided DC
with revenue. Marvel licensed the Incredible Hulk series starring Bill Bixby and authorized the animated

Fantastic Four series. Marvel also bought the rights to print Star Wars comic books (Coogan 2006).
1980-1987: The Iron Age

The Iron Age extends the Bronze Ages emphasis on form and embellishes it to the point where form
itself becomes the substance or content of the work. Indeed, in a sophisticated interplay of
postmodern intertextuality and self-reflexiveness, many comic book heroes, such as Frank Millers

Daredevil, began to question their own heroism and often seemed to have a tenuous grasp on their own
sanity. In fact, heroes seemed to be the subject of comic book stories rather than the means to tell a
story. Soon the Iron Age hero began focused on his own mortality. In fact, the Iron Age witnessed the
death of numerous superheroes, including Captain Marvel, Batman (at least figuratively), and

Watchmens anti-hero Rorschach. Superman himself died in Louis Lanes arms in 1992. And in a move
that completely wiped out all stories pre-1986, DC rewrote the history of its universe in Crisis on Infinite

Earths (Hayman and Pratt 2005). Perhaps most emblematic of the death of the superhero is the Iron

Ages self-proclaimed greatest success: Spawn, a corpse. During the Iron Age, the comic book genre
turned on itself and nearly dismantled its own genre conventions.
While comic book heroes may have been experiencing their own existential crises, comic book
publishers earned greater profits than ever before by raising the cost of comic books, distributing them to
specialized comic book retail outlets rather than newsstands on nonreturnable basis, and targeting the
loyal fan base over causal mainstream readers. The increased influence of this specialized market on
the production and distribution of comic books indicated the extent to which comic books had become, in
large part, the niche of a slightly estranged subculture (Coogan 2006).

1987-Present: Modern Age

By the end of the 1980s, the comic book industry seemed interested in reconstructing the genre that
nearly deconstructed itself by emphasizing continuity from the Golden and Silver ages and

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reconstructing the mission convention that broke down in the Iron Age. Perhaps most importantly, the
comic book industry began marketing new issues of comic books, such as Spiderman and X-Men, as
future collector items. In fact, during the 1990s comics became top collector items, only less popular
than stamps and coins. Even though comic books in 1990s had a smaller audience than in previous
eras, this audience was willing to buy more and pay more.
In a major symbolic event for the American Comic Book Industry, Marvel became the first comic book
publisher to be listed on the New York Stock Exchange in 1991. Within just six months, an issue of
Marvels X-Men sold a record 8.2 million copies. Marvel had grown into a multimedia entertainment
company, and currently the superhero is the golden boy of Hollywood. X-Men (2000) earned $150

million at the box office, andSpiderman, Daredevil, The Hulk and The Incredibles also pulled in hefty

revenues (Coogan 2006). Advanced computer-generated imagery make superhero fights and powers
look as fantastic and seamless as they do on the comic page. Clearly, comic books have once again
emerged as a major force in a corporate-driven commercial culture.

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KNOW
ELEMENTS OF COMIC BOOK

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APPRECIATE

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CREATE

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CRITERIA FOR WORKS

Work: Flipbook My 7 strengths as a SuperHeroe (5 pts)
1pt On time
1pt Has the cover page with (name of student, subject, topic)
1pt Neat Presentation
2pts Has the strengh, the picture and an example of how the student shows the strength.

Work: My Comic (3pts)

1pt Colorful
1pt Creativity
1pt story line catch the attention of the reader
Work: Vocabulary (4pts)
1pt Neat Presentation
3pts Having all the vocabulary given with pictures
Work: Graphic organizers (3pts)
2pt Completing correctly
1pt Neat Presentation
Work: Survival activity. (5pts)
1pt Bringing material
2pts Reflection about the activity 1 page all members must write
1pt Organization
1pt Discipline
Work: Magazine Worsheet (5pts)
2pts: All the elements requested are there
1pt: all the team members collaborated

***The criteria for the FINAL MAGAZINE Will be given by the teacher later in the class.