Comics in the Classrooms
aka
Graphic Novels in the Trenches
by
Shirley A. McGowan
Submitted to
Gail de Vos
School of Library and Information Studies
Final Essay
In partial fulfillment of the requirements of
LIS 518 Fall 2006
Department of Elementary Education
The University of Alberta
Edmonton, Alberta
December 6, 2006
“The problem is (and always has been): comics is a MEDIUM that is
mistaken for a GENRE." - Neil Gaiman (Random House/Pantheon, 2006)
An explosion of comic books and graphic novels has hit the market! They have
captured the attention of students and librarians, and are making their way into
mainstream school libraries. How can schools capitalize on this current interest?
The purpose of this project is to begin to plan to bring comic books and graphic
novels into curriculum in an intentional way, and provide sample assignments or
approaches that could be used by teachers toward this end. After an overview of the
nature of curriculum change and thoughts on the multiple literacies of comic books and
graphic novels (hereafter simply referred to together as GNs), are some ideas on entry
points of GNs into curriculum. Following that are numerous lesson plans and ideas which
could be used at the High School level or lower, rubrics which could be used in assessing
students creating their own GNs, and two lists of GNs which I believe would be good
choices in a high school library setting.
Overview:
It has been my observation over the past thirty odd years of teaching, that public
schools lag behind leading edge technology and innovation by several years. This is not
necessarily a bad thing and there may be several advantages:
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much money is saved by not chasing after each new fad;
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business and industry have an opportunity to pilot/test the changes to see how
they will actually be used and fit into the world of work beyond high school,
leaving schools a narrower and more manageable focus on what to teach students;
Comics and Graphic Novels in the Classroom--S. McGowan December 2006
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lead teachers implement and refine curriculum at smaller test sites, then mentor
others; and
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teachers have an opportunity to acquire training and expertise in a gradual way.
In essence, the school system motors along like a fine ocean cruiser, rather than a jetburst speed boat.
Implementing GNs into the school library and curriculum seems to be proceeding
in the same way. A short search of Proquest Educational Database reveals numerous
articles supporting the infusion of GNs into the school library and reading programs,
particularly for use in “hooking” reluctant readers. The visual aspects of GNs first capture
the interest of readers, then the duality of text and graphics working in harmony give
greater clues and assistance to readers than straight text alone, leading to a more
successful navigation of a book. Vocabulary and prose are supported by the visual
element, so even more difficult vocabulary can be tackled effectively. GNs often have a
higher lexile language set than students realize, yet students can understand the book.
And successful understanding of GNs goes far beyond comprehending text.
Tabitha Simmons maintains that graphic novel readers have learned to
understand print, but can also decode facial and body expressions, the
symbolic meanings of certain images and postures, metaphors and similes,
and other social and literary nuances teenagers are mastering as they move
from childhood to maturity (Bucher & Manning, 2004, ¶ 9).
In fact, to “read” GNs may be to expand beyond the study of straight text.
To read and interpret graphic novels, students have to pay attention to the
usual literary elements of character, plot, and dialogue, and they also have
to consider visual elements such as color, shading, panel layout,
perspective, and even the lettering style (Schwarz, 2006, ¶ 7).
Cultural understanding also occurs.
Comics and Graphic Novels in the Classroom--S. McGowan December 2006
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Parallel connections between artistic literacy and culture have been made
most notably by Wilson (Wilson, 1997; Wilson, Hurwitz, & Wilson, 1987;
Wilson & Wilson, 1977, 1979), who demonstrated that children discover
meaningful dimensions of their worlds when they can explore them
through creative arts, including comic books (Bitz, 2002, Why comic
books? ¶ 2).
In addition to reading GNs, arts and literacy connections are formed when children create
their own comic books. That connection was highlighted in an article by Morrison,
Bryan, and Chilcoat (2002), and the focus on the artistic process is upheld by the past
decade of arts-education research (see Fiske, 1999) (Morrison & Chilcoat, 2002).
Expanding into Curriculum
From my experience with people familiar with GNs, I believe we agree that GNs
in the schools are a good thing. Not every GN is suitable for school use of course, rather
certain carefully selected choices. "We are starting," he (Crawford, as cited in Galley,
2004) said, "to categorize what is art and what is trash." Today’s students are exposed to
a variety of media and messages including pop-ups on the internet, global media
connections, new technologies, and ultimately new ways of communicating and
literacies. Perhaps GNs are a part of this new literacy.
In the pages to follow, I should like to explore how GNs can go beyond enhancing
and enriching a reading program or capturing reluctant readers, to be intentionally
implemented into school curriculum. My particular area of interest is in the
underachievers in the Senior High school. The top academic achievers have their
programs so mandated with “must teach” curriculum that it is there more difficult to
initiate innovation. Therefore initial introduction into curriculum might be more
successful with the non-academic students as well as in the arts. Both fiction and nonfiction have multiple curriculum entry points by book genre / content / subject / topic or
Comics and Graphic Novels in the Classroom--S. McGowan December 2006
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what the GN itself is about--whether art, sociology, philosophy, sciences, social studies,
language arts, history, biography, etc. In addition, there are numerous other GN
curriculum entry points. In alphabetical order, some might include:
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anticipating plot
art aesthetics
art composition
bilingual studies
biography
character development
computer animation
cultural studies/people/countries
curiosity, creativity, imagination
decoding
developing clarity
dialogue
diversity
drawing/life-drawing/cartooning
editing
emotions
English Language Arts
film studies
graphic novels
heroes
history of comics
iconography
identity
information literacy
interpreting
legends and fairy tales
literary terms
media literacy
multiculturalism
multiple literacies
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multiple perspectives
page navigation
persuasion
plot development/analysis
politics
popular literature
prediction
presenting
reading strategies
representing
reviewing
role of women
scripting
sequencing
shaping a story
skepticism
stereotypes
story composition
storyboarding
symbolism
technical expertise
technical skills
themes
theory
viewpoint
visual analysis
visual literacy
visual storytelling
vocabulary improvement
world history
GNs could also be ideal tools to use for cooperative teaching as their very nature
would seem to lend themselves to inter-disciplinary purposes. For example a high school
English Department studying Persepolis by Marjane Satrapi (2003) might be studying
how graphic art and text combine to tell a story or show perspective or persuade, and the
Comics and Graphic Novels in the Classroom--S. McGowan December 2006
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class might make cross-curricular connections with the Social Studies Department
looking at the history of Iran and the Middle East, while working co-operatively with the
Art department studying either the art of the graphic novel or the cultural art of the
Middle East, while working co-operatively with the Foods Department to study Middle
East cuisine or how Canadian food choices have been impacted by immigration, while
working cooperatively with the music department to study cultural music, while working
co-operatively with a religious studies class looking at the impact of beliefs on a populace
or how societal change can come about through a change in leadership, etc. The list could
go on. Can you see how the GN could be a very valuable resource worthy of
consideration?
Beginning with the premise that GNs have a definite place in curriculum, the
question then becomes - How? How can GNs be incorporated into the classroom? What
assignments / exercises / projects / activities could be used to integrate this studentfriendly medium into curriculum? What follows in Part A to F are some sample
curriculum ideas--among other things. The same cross-curricular nature of GNs
sometimes makes these divisions arbitrary. This is not a comprehensive list by any
means, but a small taste. Even if a teacher were to never use any of these “assignments” it
is hoped that they could be a source of inspiration, a springboard to imagination, which
could be used to match existing resources with particular classrooms for particular
purposes. With effort and enthusiasm, teachers have few limits.
To the best of my knowledge, permission is granted from all sources listed to use,
change or adapt these ideas at the discretion of the user for educational purposes, with
acknowledgement to the source.
Comics and Graphic Novels in the Classroom--S. McGowan December 2006
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PART A:
Things Which Could Help Before Bringing GNs
to the Classroom:
PART B:
Lesson Plans on the Web
PART C:
Ideas for the English Classroom
PART D:
Projects
PART E:
Assessment for Creating a GN--Rubrics
PART F:
Recommended Lists of Quality GNs at the High School
Level, many with Curriculum Connections
Comics and Graphic Novels in the Classroom--S. McGowan December 2006
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PART A
Things Which Could Help Before Bringing GNs to the Classroom:
(Please forgive me if you know these things.)
Helpful information to Design a GN Webquest - Ralph Vasquez at San Diego State
University (SDSU) provides information to put together your own Webquest around the
topic of investigating other forms of literature with the topic “Do Graphic Novels
Belong in The Classroom?”
http://eprentice.sdsu.edu/F034/rvasquez/teacher_wip.html
Analysis of GNs in the classroom - simple rationale for using GNs in the classroom
http://eprentice.sdsu.edu/F034/rvasquez/analysis.htm (Linked from SDSU)
Comic Books & Graphic Novels: Internet Resources--University of Buffalo
http://ublib.buffalo.edu/libraries/asl/guides/comics.html Extensive annotated lists for:
• Internet Portals and Guides
• Online News and Previews
• Commentary and Reviews
• Recommended for Libraries
• Bibliographies
• Comic Book History
• Collection Development Tools
• Comic Shop Locators
• Other Reference Sources
• Resources for Teachers
• Comic Book Libraries and Museums
• Women and Minorities
• Manga
• Comic Book Movies and TV Shows
• Organizations
• Discussion Lists and News Groups
• How to Create Comics
Comics and Graphic Novels in the Classroom--S. McGowan December 2006
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The SECRET ORIGIN OF GOOD READERS 2006 PDF at http://www.nightflight.com/secretorigin/SOGR05.pdf (Linked in “Data Investigation” from SDSU)
Free 71-page pdf download--loads of GN information, ideas, lists, lesson plans, etc.
Pgs. 3 to 26 - Background information,
resources, sources, recommended lists
Pgs. 27 to 71 - Comic Book Activities
including:
• Comic book literacy
• Symbolism
• Discrete skills work
• Comic book alphabets
• Comic book dictionaries
• Colloquial language
• Prediction
• Sequencing
• Dictation
• Literary genres
• Literary devices
• Evaluating the use of literary
techniques
• Character analysis
• Analysis of vocabulary
• Analyzing and creating character
names
• Identify and analyze themes
• Critique
• Writing letters to the editor
• Venn diagrams
• Graphing
• Fractions
• Measurement
• Five senses
• Comic book story starters
• Creating stories with familiar
characters
• Analyze layout of images on page
• Impact of visuals
• Use of media in comic books
• Lettering styles
• Creating comic books
• Comic book autobiography
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Historical comic books
Mythmaking
Myth comparison
Social issues in comic books-explicit and implicit
Cultural critique across titles and
time
Analyze political assumptions
Analyze role of women and
minorities
Who is the enemy
Portrayal of science and scientific
principles
Critique of advertising
Analysis of humor vis a vis visual
images
Sustained silent reading
Display materials
Page 39 - More in-depth “Sample
Lesson Plans” including:
p. 39 - Graphing with Comic Books
p. 40 - Comic Books and the Five
Senses
p. 42 to 53 - Comic Book Story
Starters I, II & III
p. 54 - Rhyming with the Ghouly
Boys
p. 58 - Images & Words: Responding
to Art in Writing
p. 61 - Book Study - Supernatural
Law Issue #31
p. 67 - Mini-lesson Sampler - The
Scrapyard Detectives #2 - Patriot
Dreams
p. 69 - Tag Team comics - creating a
4 - 6 panel/one page comic
Comics and Graphic Novels in the Classroom--S. McGowan December 2006
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Grammarman - http://www.grammarmancomic.com/comicsgman.html
Four You-Tube animated videos (with audio) on four different aspects of grammar (Teasers
only--elementary / junior / senior--click on bottom left-hand bottom to start)
Episode 1: Syntax
Episode 2: Punctuation Street
Episode 3: Accuracy & correction
Episode 4: Smashing Careless Mistakes
When developing GN lesson plans, why not JAZZ UP text assignments with a little
pizzaz! Most schools use Microsoft Word so it is easy to drop in some ready-to-use clip art,
or change some text styles or sizes, or use WordArt to make a heading more interesting.
MS Word → (Insert this little arrow by going to Insert → Symbol → Insert → Close)
Create this “Grahic Novel” title by Insert → Picture → WordArt → click & Close
Change the title’s color, position & size by a Right Click on the WordArt → Format
WordArt → play with the colors → Center → Pull from the corner to enlarge
Add a picture with Insert → Picture → Clip Art → Search for picture →
double-click. Then right click on picture and “Format Picture” → Layout → Layout →
Tight → Right → OK, then resize the picture by dragging from a corner, or move it
around with the arrow keys.
Comics and Graphic Novels in the Classroom--S. McGowan December 2006
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PART B
Lesson Plans on the Web
National Art Education Association: Curriculum & Lesson Plans
http://www.naea-reston.org/research_curriculum.html
This site is dedicated to Art, NOT GNs. However there are numerous further links to art
education websites which apply regarding the artistry of GNs.
National Association of Comics Art Educators (NACAE) (Permission to copy and distribute
their work for non-commercial purposes at http://www.teachingcomics.org/copy.php)
Hints for Teachers from a “designing a GN” perspective http://teachingcomics.org/vweb/bulletin/bb/viewtopic.php?t=53 and from fellow teachers http://teachingcomics.org/vweb/bulletin/bb/viewtopic.php?t=74
Binding your Self-Made Comics Books http://tobycraig.livejournal.com/29223.html
Lesson Plans which are ready to go at http://www.teachingcomics.org/exercises.php
includes ranking by grade level to college level. All exercises which I checked were done in
straight text and seem geared toward higher academic students. Exercises include:
Visual Storytelling
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As Easy as Changing the Film (9 - College)
Closure Exercise (9 - College)
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Design vs. Drawing (7 - College)
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Images Playing off Words (8 - College)
The Wrong Planet: Timing, Closure, and Editing (6 - College)
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Basic Storytelling... Lights, Camera, Action! (9 - College)
Definition of Comics (6 - College)
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Editing (7 - College)
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Show Time Passing (6 - College)
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Technique Exercises
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Describing the Complex World (8 - College)
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Intro to Inking (6 - College)
Expressive Lettering and Balloons (5 - College)
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Intro to Lettering (5 - College)
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Communication & Theme
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Autobiography: Do and Don't (9 - College)
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Comics and Poetry (7 - College)
Scenes as Building Blocks (8 - College)
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The Irony of Humor (8 - College)
Comic Strip:Character/Place/Situation (8 - College)
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Iconographic Language in Comics (6 - College)
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Silent Gag Cartoon Exercise (8 - College)
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Think Before You Ink (7 - College)
Comics and Graphic Novels in the Classroom--S. McGowan December 2006
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Characters & Caricatures
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20 Questions for Characters (7 - College)
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Form and Chaos (10 - College)
Character Exploration Initial Writing Exercise (7 - College)
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Intro to Caricature (9 - College)
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These aren’t lesson plans, but Larry Gonick has been writing cartoon guides to various
subjects for a very long time:
“Larry Gonick Curriculum Vitae (that means resume in French)
Books
The Cartoon History of the Universe III, W.W. Norton, New York, 2002.
The Cartoon Guide to Sex (with Christine Devault), HarperCollins, New York, 1999.
The Cartoon Guide to the Environment (with Alice Outwater), HarperCollins, New York,
1996.
The Cartoon History of the Universe II, New York, Doubleday, 1994.
The Cartoon Guide to Statistics (with Woollcott Smith), HarperCollins, New York, 1993.
The Cartoon Guide to (non)Communication, HarperCollins, New York, 1993.
The Cartoon Guide to Physics (with Art Huffman), HarperCollins, New York, 1991.
The Cartoon History of the United States, HarperCollins, New York, 1991.
The Cartoon History of the Universe,Volumes 1-7, Doubleday, New York, 1990.
The Cartoon Guide to the Computer, HarperCollins, New York, 1983.
The Cartoon Guide to Genetics (with Mark Wheelis), HarperCollins, New York, 1981.
Blood From A Stone, A Cartoon Guide to Tax Reform (with Steve Atlas), New York Public
Interest Research Group, New York, 1972”
(Larry Gonick: History, Science & Nonsense http://www.larrygonick.com/html/cv/cv.html)
Comics and Graphic Novels in the Classroom--S. McGowan December 2006
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PART C
Ideas for the English Classroom
Teach both narrative and dialogue writing--“duplicate a short story and blot out the
dialogue on the last five pages, then have the students read the story and write their own
ending” (Weiner, 2004, p. 114).
“To encourage narrative description, teachers could copy part of a story, eliminate the
illustrations but include the dialogue for the last several pages, and ask students to describe
the characters' actions” (Weiner, 2004, p. 114).
Visual and Verbal Persuasion - These questions are designed for Addicted to War
(probably for adult classrooms) by Joel Andreas which “offers a good place to begin to
analyze visual along with verbal persuasion. Students should ask
• who the target audience for Addicted to War is and who is not the audience.
• How were the photographs chosen?
• How do the cartoon figures affect the reader, especially the satirical figures?
• How were the facts chosen and connected?
• What is the effect of the list of antiwar organizations at the end of the book?
• How does the lettering affect the reader?
Other graphic novels take on current events, versions of historical events, even other media.
Today's young people need the knowledge and skills to deal with persuasion in an age of
images” (Schwarz, 2006, ¶ 10).
Maus: A Survivor’s Tale Lesson Plans (Linked from SDSF toYahoo Geocities)
http://www.geocities.com/tyler_cronk/main.html
This webpage/unit was developed by Travis Maher-Watson, Krista MacDonald, Noella
Donovan & Tyler Cronk. All images are courtesy of Maus: A Survivor's Tale, and were
scanned by the webpage designers. All other information may be used in classrooms
without the express written consent of the creators.
Castle Waiting--Chapters 1 - 7 Lesson Plans: one page for each chapter including
vocabulary and questions. (Linked from SDSU to Diamond Bookshelf )
http://bookshelf.diamondcomics.com/lessonplans/default.htm
Unit written by Allyson A.W. Lyga, Media Specialist – Cranberry Station Elementary
School, Westminster, MD (aalyga@k12.carr.org)
Comics and Graphic Novels in the Classroom--S. McGowan December 2006
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Superman: Birthright - Lesson Plan
Using Superman to Analyze Relationships Among American
Literature, History, and Culture
Comic books can be used as the main source material in a comparative lesson about
American history and the role of popular culture as it relates to two different eras.
High School, Middle School
The student will be able to describe the development of American literature in the
20th century, contrast periods in American literature, differentiate among archetypal
characters in American literature, and determine the impact of the times on the
literature that is produced.
Depending on class length. One 90 minute class or two 45 minute classes.
Superman Archives, Superman: Birthright
Golden Age, origin, archetype
Throughout history, literature and art have been the soul of the American experience.
While documentation and record keeping tell the timeline of history, it is literature that
tells its story. One such literary form is uniquely American and has mirrored history as
much as any other art form: the comic book. We will demonstrate the evolution of the
American experience through the depiction of one of America’s most iconic fictional
characters: Superman.
Draw a table on the blackboard or overhead projector. Label one side “1939” and the
other “2003.” Instruct the students to copy the table and have them form small groups
to brainstorm by listing aspects unique to each year. You may need to guide some
groups by giving them subjects to list like “technology,” “events,” etc.
After the students finish their initial brainstorming session, as a class, have students
share their responses as you write them down on the large table on the
blackboard/overhead.
Comics and Graphic Novels in the Classroom--S. McGowan December 2006
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To further illustrate the difference in time periods, assign two sections from Superman
Archives — which reprints classic Superman stories from 1939 to 1940 — and
Superman: Birthright — a modern retelling of Superman’s origins published in 2003.
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What are the biggest differences you noticed when reading the
Superman stories from each time period?
How did the creative team on each book reflect the time period? (I.e.,
what aspects of technology, speech, character actions and motivations,
etc. were utilized?)
The Superman stories of the late 30s and early 40s were written just as
the world was descending into World War II. Similarly, Superman:
Birthright was written in a post-9/11 world that was also heading toward
a “War on Terror.” How do these events affect the stories?
It has been said that the story of Superman is the ultimate American
immigrant story. Considering his creators — Jerry Siegel and Joe
Shuster — where the children of immigrants, explain how Superman’s
story fits into that paradigm. Does the 2003 version of Superman hold
true to that idea? If so, how? If not, why not?
Even though the books are decades apart and are reflections of their
times, what aspects of the story remain timeless? Why do you think
some things changed while others stayed the same?
Why do you think the legend of Superman has endured over six
decades and continues to thrive today?
From Diamond Comics: Bookshelf Sample Lesson Plans
http://www.diamondcomics.com/bookshelf/sample_lesson_plans.htm
Comics and Graphic Novels in the Classroom--S. McGowan December 2006
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“Lesson Plan 1:
American Born Chinese by Gene Luen Yang and Derek Kirk Kim
Unit/Curricular Connections:
Cultural Diversity and awareness, tolerance, customs, fitting in,
Grade Level: Middle school Core (Base)
Objective(s): Students will be able:
a.
b.
c.
d.
List and explain ways that people deal with alternative cultural customs.
Explain why writers use literary devices such as burlesque, story blending,
Discuss the emotions that a student experiences when entering a new school.
Compare and contrast some of the issues that are addressed in American
Born Chinese and the video Surviving High School.
Direct Teaching:
Purchase multiple copies of this book so that students can have their
own copies or share a copy with a partner. Depending on the grade level, students
can take turns reading the pages so that a chapter has been read at the end of each
session.
Reflection Questions:
1. Compare and contrast some of the events and rituals in American Born Chinese
to some that you recognize from your own cultural background.
2. Jin Wang chases some of his “American Dream”: He mentions his interest in
Amelia (dating, marriage, and raising a family), he gets a perm, transforms into
Danny…How do you think these desires relate to the author?
3. Why do you think the author depicts some obviously racist events in his story
(From the snide comments of classmates to the use of the character “ChinKee.”)?
4. Why do you think the author weaves the tale of the Monkey King into the
storyline?
5. List some stereotypes that are brought into the spotlight by the author. Where do
you think these stereotypes originate and how are they perpetuated?
Have students research some other tales from foreign cultures and have them identify the
moral to each fable/story”
Permission is granted by the author to change or modify for education purposes.
(Lyga, 2006, http://www.graphicnovelguru.com/pubs/ABCLESSONPLANS.doc).
Comics and Graphic Novels in the Classroom--S. McGowan December 2006
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Using Graphic Novels in the Classroom, Sixteen-page pdf document. Includes Pgs. 10 &
11 below which are Discussion Questions for Bone by Jeff Smith (Scholastic Website)
http://www.scholastic.com/graphix/Scholastic_BoneDiscussion.pdf
Book Study: BONE #1: Out from Boneville
“What are some discussion questions for BONE #1: Out from Boneville?
1.
Have you ever been far from home without knowing how you would get back? What did it feel like? How did
you deal with the situation?
2.
When we first meet the Bone cousins, they are running from Boneville. But we don't really know why they
are leaving. How do we find out? Do we get the whole story?
3.
The Bone cousins are very devoted to each other. What is loyalty? Would you leave your town with your
cousins if you had to? Under what circumstances? Is there a limit to loyalty?
4.
Who is your favorite Bone Cousin? Why?
5.
How are the cousins alike? How are they different?
6. At the end of the book, what do you think will happen next?
What are some discussion questions for BONE #2: The Great Cow Race?
1.
What are Rat Creatures? What are they afraid of?
2.
Why does Lucius wager that Grandma Ben will win the cow race?
3.
Smiley Bone acts like he's stupid, but things always seem to go his way. How come?
4.
Thorn thinks she remembers living with dragons. At the end of The Great Cow Race, Grandma Ben tells
Lucius that the dragon is back. Is Thorn remembering something that really happened, or something that
she dreamed?
5.
Fone Bone is afraid of telling Thorn how much he likes her, so he tells her his feelings in a poem. Are there
advantages to telling your feelings on paper rather than face to face? Have you ever done that? Was it
successful?
6.
Grandma Ben tells Lucius that Thorn is "a good judge of character." What does that mean?
What are some creative writing activities using BONE?
1.
A critical moment in Out from Boneville is when Fone Bone first meets Thorn. Have students write the story
in their own words from that point forward. What do they think will happen? If Fone Bone hadn't met Thorn,
how would Fone Bone's experience have been different?
2.
Write the story from the moment Fone Bone discovers the Mystery Cow scam in The Great Cow Race. If
Fone Bone had exposed his cousins, how would the story have been different? Try writing the story the
way you think it would have been with that outcome.
3.
Make up a story about life in Boneville before the cousins were chased out, using the information provided
in Out from Boneville and The Great Cow Race, and perhaps adding your own inferences.
4.
Some writers describe every detail of an incident including everthing the characters are thinking and
feeling. Others provide a bare outline of what happened and let the reader make inferences and "fill in the
blanks." Discuss the pros and cons of these approaches. What impact does each approach have? Take the
moment when Fone Bone is so overcome with love for Thorn that he falls backward off his cow, referred to
above — an incident that Jeff Smith conveys without a single word. Have students narrate this incident in
words, using prose or poetry in a variety of styles, to convey the same feelings that Jeff Smith depicts
visually” (Crawford & Weiner, 2006).
Comics and Graphic Novels in the Classroom--S. McGowan December 2006
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PART D
Projects - writing, editing, producing, and presenting
Comic Creator Student Interactive--Students can build their own comic strips at Read
Write Think website in order to write a book report at Book Report Alternative: Comic
Strips and Cartoon Squares. A Comic Rubric is also available.
http://www.readwritethink.org/lessons/lesson_view.asp?id=195
The Comic Book Project - New York, 2002
733 volunteer students in Grades 5 - 8 in 33 after-school sites in urban New York were
engaged in an arts-based literacy project. Over a period of three months they wrote, edited,
produced and presented their own comic books depicting their urban lives. They could
choose to work co-operatively or independently. “The focus was on reading, writing, and
vocabulary skills, but the project went further. The children's work represents their lives as
urban youth-what they experience, how they view themselves, how they interact with peers,
and how they struggle with daily hardships” (Bitz, 2004, ¶ 5). Volunteers were recruited and
trained. Professional artists were brought in if needed.
Students “used an eight-page, paper-and-pencil template called the Manuscript
Starter, which was developed by the project development team at Teachers College and
Dark Horse Comics. The first page of the Manuscript Starter focused on planning the comic
book, and children addressed specific questions: Who are the characters, what do they look
like, how does the story progress, and what is the tone of the story? On each subsequent
page of the manuscript, children wrote three sentences to describe the sequence, and they
wrote the dialogue for each of the panels” (Writing the Manuscript para 1). Each panel was
required to contain some writing to build literacy skills, even if it was just an action word.
“Many comic book teams learned the hard way how important it is to plan, and instructors
were excited to make the explicit connection to writing an essay” (Bitz, 2004, Implications
for practice, ¶ 2).
To share finished GN work produced by students, Morrison & Chilcoat suggest
“Culminating activities give students opportunities to demonstrate their learning and to share
their creative work with others. Among the many possible alternatives, we suggest two: a
comic-book convention and a panel discussion.
“The convention is a social event that features displays of students' comic books. Students
design trade-show booths, each with a dramatic backdrop featuring a giant display of the
student's cover pages. Within these booths, students feature the original pages of their comic
books and summarize their content. In addition, students provide information on how their
comic book was designed, what kind of research was invested into its development, and how
the book relates to the assigned topic.
At a given time, approximately one third of the class members present their comic books in
this fashion, as the others view and discuss the various comic books with their creators.
Alternatively, others could be invited to attend this event, allowing all comic book creators
to present simultaneously.
Comics and Graphic Novels in the Classroom--S. McGowan December 2006
18
“A second activity might take the form of a panel discussion. Students are divided into
small panel discussion groups of four to six, within which they exhibit and discuss their
comic books. Behind each discussion area is a backdrop similar to the trade show booths.
The activity begins with students displaying their comic books and giving brief synopses.
Then they discuss the development, research, and motivation for their comic books. Finally,
they field questions about their experiences. The teacher may encourage students to develop
a set of questions they could ask panel members” (Morrison & Chilcoat, 2002, Culminating
activities).
The Comic Book Project - New York - 2002
Davidson outlines the steps for success in an extension of the previous project.
“In the summer of 2002, more than 50 students in New York City's Community School
District 26 took part in The Comic Book Project. The Project, founded by Dr. Michael Bitz
of Columbia University's Teachers College, teaches students how to write and design
comic books. The 2002 program was part of the summer Smoke Signals program, launched
by The Knowledge Project, which focused on tobacco awareness and smoking prevention”
(Davidson, 2003).
To write about social issues:
“WRITE AWAY
Identify an issue that is important to you, such as preventing drug use, working against
poverty, or protecting the environment. Next, create a superhero to fight for the issue and a
villain who is your superhero's opponent. Create background information for each of them.
Do they have special powers? How do they dress? What are they trying to accomplish?
Then, using the following steps, create a comic book that tells a story about an adventure
your characters have. Work alone or with a partner (perhaps one of you will be most
comfortable with the drawing responsibilities).
1. Think of a theme and plot and write a broad summary of it.
2. Describe the characters. Include their names, their personality traits, and things that
make them interesting or unusual. Get to know who they are and how they behave.
Draw sketches of the characters.
3. Describe the settings in which the action takes place.
4. Break down the plot into pages. Decide what will happen on each page.
5. Lay out each page: Decide how many panels will be on each page, what size and
shape each will be, and how they will be arranged.
6. Make sketches that show which characters appear in each panel, what they are
saying, and what is happening.
7. Make pencil drawings.
8. Ink the pencil drawings.
9. Add lettering, first in pencil and then in ink.
10. Color the inked drawings.
KABAM! You've just finished your own comic book” (Davidson, 2003).
Comics and Graphic Novels in the Classroom--S. McGowan December 2006
19
Similarly: Study a time in history and organize the information with a graphic organizer.
The student can be the main character in the GN, and tell the story from any character
perspective--adult/child/animal, etc. Clearly list certain elements of history which must be
included. Clearly list certain GN characteristics must be included--pictures, captions, text
boxes, panels, variety, color, gutters, etc.
Comics and Graphic Novels in the Classroom--S. McGowan December 2006
20
PART E: Assessment for Creating a GN
Once GNs are developed, they will need to be marked.
COMICS-BASED INSTRUCTIONAL UNIT – RUBRIC FOR FORM
Category
Panel Sizes &
Shots
Transitions &
Layout
Authored by Gene Yang (http://www.geneyang.com)
4
3
2
One or two
Consistent use of Some examples
panel size and/or of using panel
examples of
shots to
size and/or shots using panel size
emphasize the
to emphasize the and/or shots to
information
information
emphasize the
and/or emotional and/or emotional information
content of the
content of the
and/or emotional
work.
work.
content of the
work.
Most panel-toSome panel-toOne or two
panel transitions
panel transitions
examples of wellare well-planned
are well-planned
planned panelto-panel
and appropriate
and appropriate
to the information to the information transitions.
and/or emotions
Panel order and
and/or emotions
conveyed. Panel conveyed. Panel word balloon
order and word
order and word
order within
balloon order
panels are
balloon order
within panels are within panels are sometimes
always clear.
usually clear.
confusing.
1
Panel sizes and
the framing of
shots confuse,
rather than add
to, the story.
Most panel-topanel transitions
are random and
haphazard.
Panel order and
word balloon
order within
panels are
consistently
confusing.
Artwork
The artwork is
consistently
readable and
understandable.
Characters are
always
distinguishable
from one
another. The art
style closely
matches the tone
of the story.
The artwork is
usually readable
and
understandable.
Characters are
usually
distinguishable
from one
another. The art
style loosely
matches the tone
of the story.
The artwork is
sometimes
illegible. Two of
the characters
look the same.
The art style
neither adds to
nor takes away
from the tone of
the story.
The artwork is
illegible. Many of
the characters
look the same.
The art style
contradicts the
tone of the story.
Writing
No misspelled
words or
grammatical
errors.
Only one or two
misspelled words
or grammatical
errors.
A few misspelled
words or
grammatical
errors.
Many misspelled
words and/or
grammatical
errors.
Lettering
Lettering is neat
and legible.
Ample space is
always given to
the lettering in
word balloons
and captions.
Lettering is
adequate. Ample
space is usually
given to the
lettering in word
balloons and
captions.
Lettering is
Letter is illegible.
somewhat
Lettering is
messy. Some
consistently
examples of
crammed into
lettering
word balloons
crammed into
and captions.
word balloons
and captions.
Yang, G. (2003). Comics in Educationhttp://www.geneyang.com/comicsedu/resources/rubric.doc
Mr. Yang grants permission to use/doctor the rubric to your needs.
He suggests a second rubric be developed for Content.
Comics and Graphic Novels in the Classroom--S. McGowan December 2006
21
Numerous Rubrics can be created and printed free online for project-based learning
activities at RubiStar http://rubistar.4teachers.org/index.php Scroll down to “Getting
Started”. Membership is required in order to save your rubric for later use.
A Comic Strip Rubric is also available when students make their own comics, at Read
Write Think Website http://www.readwritethink.org/lessons/lesson_view.asp?id=195
Below is a sample rubric, not from RubiStar, where students were asked to develop their
own GN for a social studies class:
Creating a Graphic Novel:
“Graphically Speaking of the New World Performance Assessment Rubric
What grade will you earn? Use this rubric as a guide to do your best work.
A * The graphic novel really looks like a comic book. * The story is told from the
perspective of a particular person living through this period. * It is creative and uses
an assortment of captions, text boxes, and dialogue to tell the complete story of the
colonization of America. * It includes a wide variety of frames throughout (not
standard ten frames per pages on every page). * It includes all of the required
information. * While the characterization and dialogue is fictional, the events
themselves are portrayed as historically accurate and well organized to convey
meaning. * A reader would understand this period of history quite well from reading
this work. * The graphic novel is attractive and neat. * It contains no obvious
spelling, punctuation, or grammatical errors.
B The graphic novel looks like a comic book. * It uses text boxes and dialogue to tell the
story of the colonization of America. * It includes a variety of frames throughout. *
Most of the required information is included. * Most of the events are historically
accurate and well organized to convey meaning. * A reader would understand this
period of history from reading this. * The graphic novel is neat and contains very
few errors in spelling, punctuation, and/or grammatical errors.
C * The graphic novel looks somewhat like a comic book. * It uses text boxes and dialogue
in traditional frames to tell the story of the colonization of America. * While most of
the required information is included, some of it is not historically accurate and not
well organized. * A reader would learn something from reading this. * While the
novel contains errors in spelling, punctuation, and or grammar, the errors do not
detract form the overall meaning.
D * The graphic novel resembles a series of unrelated cartoons instead of a comic book. *
Text boxes and dialogue were attempted to tell the story of the colonization of
America. * Some of the required information is included and some of it is
historically accurate and unorganized. * Frequent errors in spelling, punctuation
and/or grammar detracted from the overall meaning.
E * The graphic novel was not attempted/not turned in for assessment” (Clark, 2005, p. 20).
Comics and Graphic Novels in the Classroom--S. McGowan December 2006
22
PART F
Recommended List of Quality GNs at the High School Level many with
Curriculum Connections
for use in middle and secondary schools by GN advocates Katherine T. Bucher and M. Lee
Manning, “professors in the Department of Curriculum and Instruction at Old Dominion
University in Norfolk, Virginia. Dr. Manning also is a consulting editor for The Clearing
House. Material enclosed in [ ] are author-added.
“APPENDIX
Recommended Graphic Novels
“9-11: September 11, 2001 (Stones to remember, vol. 1). 2002. Milwaukie, OR: Dark Horse
Comics.
9-11: September 11, 2001 (Stories to remember, vol. 2). 2002. New York: DC Comics.
Arnoldi, K. 1998. Amazing "true" story of a teenage single mom. New York: Hyperion [rape
and pregnancy]
Bendis, B., and M. Bagley. 2002. Ultimate Spider-Man: Power and responsibility. New
York: Marvel Comics [series, leadership, identity]
Briggs, R. 1998. Ethel and Ernest. London: Jonathan Cape.
Claremont, C., and J. Byrne. 2003. The dark phoenix saga. New York: Marvel Enterprises.
Cooke, J. B., and J. Morrow, eds. 2000. Streetwise: Autobiographical stories by comic book
professionals. Raleigh, NC: TwoMorrows Publishing. [Gr. 10+, illustrated life
stories of Sergio Aragones, Paul Chadwick, Will Eisner, Jack Kirby, Joe Kubert, Art
Spiegelman, etc.]
Cruse, H. 1995. Stuck rubber baby. New York: Paradox.
Eisner, W. 1978. A contract with God. New York: DC Comics.
____. 2002. Sundiata: A legend of Africa. New York: NBM. [adapted classic]
____. 2003. Fagin the Jew. New York: Doubleday. (Oliver Twist--different perspective.)
Fujishima, K. 2003. Oh my goddess! Mystery child. Milwaukie, OR: Dark Horse Comics.
[Japanese manga]
Gaiman, N. 1993. The Sandman: A game of you. New York: DC Comics. [Sandman: ruler
of the dream world--horror, fantasy, history, mythology--uses William Shakespeare
as a character]
____. 1994. Death: The high cost of living. New York: DC Comics.
____. 1996. Black orchid. New York: DC Comics.
Giardino, V. 1997. A Jew in communist Prague, 1: Loss of innocence, New York: NBM.
Golden, C. 1999. Huffy the vampire slayer: Origin. Milwaukie, OR: Dark Horse Comics.
[young adults' love of mystery and horror appeal especially to girls]
Gonick, L. 1997. Cartoon history of the universe. New York: Broadway Books. [Gr. 9+,
funny, enlightening, multicultural, humanistic, both factual & trivial information]
Heuet, S. 2001. Remembrance of things past. New York: NBM. [adapted classic]
Hosler, J. 2000. Clan Apis. Columbus, OH: Active Synapse. [science--scientific details &
in-depth illustrations describing lifecycle & environment of honeybee]
____. 2003. The sandwalk adventures: An adventure in evolution told in five chapters.
Columbus, OH: Active Synapse. [Darwin's theory of natural selection]
Kiyama, H. F. 1999. The four immigrants manga. Berkeley, CA: Stone Bridge Press.
Comics and Graphic Novels in the Classroom--S. McGowan December 2006
23
Kubert, J. 1998. Fax from Sarajevo: A story of survival. Milwaukie, OR: Dark Horse
Comics. [Gr 10+, atrocities of war with this chronicle of one family's daily struggle
with the violence, destruction, and "ethnic cleansing" that took place in Sarajevo
during the Serbian invasion of Bosnia in the 1990s]
Kuper, P. 2003. The metamorphosis. New York: Crown. [adapted classic]
Laird, R. O., T. N. Laird, and E. Bey. 1997. Still I rise: A cartoon history of African
Americans. New York: Norton. [alternate points of view--documents the resiliency
of black Americans over centuries in a racist America]
McCraw, T. 1999. Legion of super-heroes: The beginning of tomorrow. New York: DC
Comics.
Miller, F. 2000-2001. Daredevil: Visionaries. New York: Marvel Comics.
Miller, F, and L. Varley. 1999. 300. Milwaukie, OR: Dark Horse Comics. [Gr 9+, historical
Battle of Thermopylae where 300 Spartans sacrifice themselves to hold off Persian
army]
Murray, D. 1987. 'Mam. New York: Marvel.
Ottaviani, J. 2000. Dignifying science. Ann Arbor, MI: G. T. Labs. [Gr 8+, famous women
in science]
____. 2001. Fallout. Ann Arbor, ML G. T. Labs. [Gr 9+, scientific and social aspects of the
development of the atomic bomb]
____. 2001. Two-fisted science: Stories about scientists. Ann Arbor, MI: G. T. Labs [Gr 8+,
anthology of real scientists such as Newton, Einstein, and Galileo]
Rail, T. 2002. To Afghanistan and back: A graphic travelogue. New York: NBM Publishing.
[recounts his travels]
Robinson, J. 2000. Leave it to chance: Shaman's rain. New York: DC Comics. [female
protagonists]
Russell, P. C. 2002. The ring of Nibelung. Milwaukie, OR: Dark Horse Comics. [adapted
classic]
Sacco, J. 2002. Palestine. Seattle, WA: Fantagraphics Books. [Gr 10+, memoir--alternate
viewpoint--explores complex issues of life in the Palestinian territories/Middle East]
Sakai, S. 2000. Usagi Yojimbo: Grasscutter. Milwaukie, OR: Dark Horse Comics. [manga]
Sanderson, P. 2003. X-Men: The ultimate guide. New York: DK.
Shanower, E. 2001. A thousand ships. Orange, CA: Image Comics. [Gr 7+, Age of Bronze
Vol 1 won Eisner award (7 volumes), Trojan War]
Spiegelman, A. 1997. The complete Maus. New York: Pantheon. [Gr 7+, won Pulitzer Prize,
Holocaust: Jews depicted as mice, Poles as pigs, German Nazis as cats--study guide
Sr Hi at www.chfestival.org/resources/content/ComicBookLessonPlan.pdf, alternate
exercises at http://www.geocities.com/tyler_cronk/actpage.html, stereotypes]
Takahashi, R. 1996. Rumic theater. San Francisco: Viz Comics. [the popular female artist of
the Ramna series]
____. 1998. Rumic theater: One or double. San Francisco: Viz Comics.
Talbot, B. 1995. The tale of one bad rat. Milwaukie, OR: Dark Horse Comics. [for mature
readers--sexual abuse]
Tanaka, M. 2000. Con. New York: DC Comics. [wordless graphic novel]
Toriyama, A. 2002. Dragonball Z. San Francisco: Viz Comics. [manga]
Comics and Graphic Novels in the Classroom--S. McGowan December 2006
24
Wenzel, D. 2001. The hobbit: An illustrated edition of the fantasy classic. New York:
Ballantine Books [Gr 7+, adapted classic, note* Revised edition (2006) now
available]
Winnick, J. 2000. Pedro and me: friendship, loss, and what I learned. New York: Henry
Holt” [social issues, AIDS] (Bucher & Manning, 2004, Appendix).
GNs from Other Sources--many with Curriculum Connections
Compiled by S. McGowan
Anderson, H. King: A comics biography of Martin Luther King. Fantagraphics.
B. D. (born Pierre-François Beauchard). (2006). Epileptic. Pantheon. [literary memoir--lives
change abruptly when 11-year-old brother struck with epilepsy--honest and
horrifying portrait of disease, pain & fear for this family, originally published in
Paris in three volumes from 1996-1998]
Brown, C. (2003). Louis Riel. Drawn and Quarterly. [historical biography, lesson plan from
NACAE at http://teachingcomics.org/v-web/bulletin/bb/viewtopic.php?t=267 ]
Brown, C. (2002). Never liked you: A comic book. Montreal, QC: Drawn and Quarterly.
[literary GN--helplessness that teens experience entering adult society]
Clowes, D. (1998). Ghost world. Seattle: Fantagraphics. [literary GN--adolescent theme-alienation & shocking resolution--also a film--Fantagraphics often does more adult
work]
Christin, R. & Knigge, A. (ed.). (1990). Breakthrough. New York: Catalan Communications.
[27 European artists reflect on fall of Berlin Wall--not simple victory portrayed by
American media--diverse voices express complexity]
Crilley, M. Akiko. Random House. [leisure reading--series]
Dranger, J. (2000). Miss remarkable and her career. [woman's frustration in trying to
achieve everything, winner Swedish Illustrators' Award for Best Graphic Novel
2000]
Drooker, E. (2002). Flood! A novel in pictures. Portland: Dark Horse Comics. [wordless
surrealist literary GN--junkie laid off, has brief love affair, creates the book Flood!]
Gaiman, N. (1991). Sandman: Dream country. New York: DC Comics. [A Midsummer
Night's Dream--won a World Fantasy award for best short story, traces Shakespeare's
skills as a playwright back to bargain made with Lord of Dreams--comic-book script
without any illustrations--Caution: Gaiman’s work is generally more adult, link from
SDSU is http://www.stahl.bau.tu-bs.de/~hildeb/sandman/ by Hildebrandt for
Sandman]
Gonick, L. (1994). The Cartoon History of the Universe II. Doubleday. [history of China
and India up to the fall of Rome]
Gonick, L. (2005). A cartoon guide to chemistry. New York: HarperResource. [high school]
Gonick, L. (1991). A cartoon guide to genetics. Harper Perennial [Inheritance, DNA
structure, genes, chromosomes, cells, proteins, variation, sexual reproduction,
meiosis, segregation, assortment, probability, mitosis, mutation, biotechnology,
biodiversity, medical genetics, high school]
Gonick, L. (1991). A cartoon guide to physics. New York: Harper Collins. [high school]
Gonick, L. (1993). The cartoon guide to statistics. New York: HarperCollins. [high school]
Comics and Graphic Novels in the Classroom--S. McGowan December 2006
25
Jemas, B., Bendix, B., & Bagley, M. (2001). Ultimate spider-man: Power and
responsibility. New York: Marvel Comics. [origin of Spiderman, identity]
Kirby, J. (1998). Jack Kiarby’s new gods. New York: DC Comics. [raw heroic fantasy,
focusing on humorless tragic hero--reluctant readers]
Kudo, K. (1995). Mai, the psychic girl: Perfect “ Collection. San Francisco: Viz. [14-year
old must learn to use her psychic powers for higher purpose--reluctant readers]
Kiyama, H. (1999). The four immigrants manga. [memoir-lives of four Japanese immigrants
in San Francisco from 1904 to 1924, cultural and language difficulties, prejudice and
discrimination, historical events like Great Earthquake of 1906 & WWI, originally
published 1931, http://www.h-net.org/reviews/showrev.cgi?path=30497916264432]
Lutes, J. (1997). Jar of Fools. Montreal, QC: Drawn and Quarterly. [literary GN--tale of
Ernie, a capable magician who has lost his sense of purpose]
Medley, L. (2006). Castle Waiting. Fantagraphics. [fairy tale--graphic novel study lesson
plans Ch 1-7 (one page per chapter including vocabulary) at
http://bookshelf.diamondcomics.com/lessonplans/default.htm]
Pini, R. & Pini, W. (2003). Elfquest. New York: DC Comics. [manga, race of elves tries
searches for homeland--master conflict between half-animal and half-human sides-reluctant readers]
Robinson, J. (1998). Leave it to chance: Shaman’s rain. [mystery, safe & fun for school]
Ross & Dini. (1999). Superman: Peace on Earth. [world hunger]
Sacco, J. (2002). Safe Area Gora_de. Fantagraphics. [Gr 10+, memoir time spent in UN safe
area]
Smith, J. (1995). Bone: Out of Boneville. Columbis: Cartoon. [gender-crossing fantasy for
reluctant readers--for conservative libraries--series--Scholastic book study online at
http://www.scholastic.com/librarians/printables/downloads/graphicnovels.pdf]
Satrapi, M. (2006). Chicken with plums. Pantheon. [1958 Tehran--heartrending story of her
great-uncle, a celebrated Iranian musician who gave up his life for music and love].
Satrapi, M. (2004, 2005). Persepolis: The story of a childhood & Persepolis: The story of a
return. Pantheon. [literary memoir--girl growing up in Tehran & Israeli revolution,
translated from French]
Silverman, L. (ed.). (1995). Bringing home the sushi. [insights from within contemporary
Japan--9 short essays with manga examples--culture, trade issues, women in
business, effects of business expectations on family life]
Spiegelman, A. (2004). In the shadow of no towers. [9/11, history, terrorism, interview with
Spiegelman at http://www.npr.org/templates/story/story.php?storyId=3908199
“listen” 6 minutes]
Wenzel, D. (2006). The Hobbit. HarperCollins. [(Revised Edition) adaption]
Yang, G. (2006). American Born Chinese. [Gr 5-10, began as webcomic--nominated Young
People’s Literature Award 2006--Chinese-American child growing up in all-white
neighborhood/parallel story Chinese Fable Monkey King--possible lesson plan at
http://www.graphicnovelguru.com/lessonplans.htm]
** “There are also certain publishers or publisher imprints, such as the Fantagraphics
Publishing Company, Vertigo (an imprint of DC Comics), and Max (an imprint of Marvel
Comics), that produce graphic novels with more controversial themes or mature content”
(Gorman, 2002, p. 42).
Comics and Graphic Novels in the Classroom--S. McGowan December 2006
26
In Conclusion
As you can well imagine, this is just the tip of the iceberg of available resources
surrounding bringing comic books and graphic novels into high school curriculum. More
GNs are being written while others become unavailable. For all the curriculum ideas
presented, there are many more being developed and others waiting to be found. Hopefully
we will see some long-term stability in the GN medium as far as production and availability
are concerned. Often GNs are not available when ordered and are out of print when needed.
For the moment teachers will want to be flexible and adaptable to work with both the GNs
and the students who love them. There is a place for comics and graphic novels in the
classroom. Numerous curriculum connections do abound for educators.
The End
Comics and Graphic Novels in the Classroom--S. McGowan December 2006
27
References:
Bitz, M. (2004). The comic book project: Forging alternative pathways to literacy. Journal of Adolescent &
Adult Literacy, 47(7), 574-586. Retrieved December 1, 2006, from
http://proquest.umi.com.login.ezproxy.library.ualberta.ca/pqdweb?index=0&did=619137141&SrchM
ode=1&sid=2&Fmt=4&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1164999609&
clientId=12301
Bucher, T. & Manning, M. (2004). Bringing graphic novels into a school’s curriculum. The Clearing House,
78(2). Retrieved December 1, 2006, from
http://proquest.umi.com.login.ezproxy.library.ualberta.ca/pqdweb?index=4&did=761706061&SrchM
ode=1&sid=1&Fmt=4&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1165024799&
clientId=12301
Clark, T. (2005). Social studies: Graphically speaking of the new world. School Library Media Activities
Monthly, 21(10). Retrieved December 2, 2006, from
http://proquest.umi.com.login.ezproxy.library.ualberta.ca/pqdweb?index=1&did=843438771&SrchM
ode=1&sid=1&Fmt=4&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1165094778&
clientId=12301
Crawford, P. & Weiner S. (2006). Bone: Out of boneville. Retrieved November 23, 2006, from Scholastic.com
Web site: http://content.scholastic.com/browse/collateral.jsp?id=1399_type=Book_typeId=4080
Davidson, B. (2003). The comic book project. Writing, 26(3). Retrieved December 1, 2006, from
http://proquest.umi.com.login.ezproxy.library.ualberta.ca/pqdweb?index=2&did=471810571&SrchM
ode=1&sid=2&Fmt=4&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1165007237&
clientId=12301
Diamond Comics, (2006). Sample lesson plans. Retrieved November 24, 2006, from Diamond Bookshelf Web
site: http://www.diamondcomics.com/bookshelf/sample_lesson_plans.htm
Gaiman, N. (2006). Pantheon graphic novels: Behind the comics. Retrieved December 2, 2006, from Random
House Web site: http://www.randomhouse.com/pantheon/graphicnovels/behind/
Galley, M. (2004). Going ‘graphic’: Educators tiptoe into realm of comics. Education Week, 23(23), pg. 6.
Retrieved December 3, 2006, from
Comics and Graphic Novels in the Classroom--S. McGowan December 2006
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http://proquest.umi.com.login.ezproxy.library.ualberta.ca/pqdweb?index=18&did=547449571&Srch
Mode=1&sid=1&Fmt=4&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1165193737
&clientId=12301
Gorman, M. (2002). What teens want. School Library Journal 48(8). Retrieved December 2, 2006, from
http://proquest.umi.com.login.ezproxy.library.ualberta.ca/pqdweb?index=3&did=152042021&SrchM
ode=1&sid=1&Fmt=4&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1165094778&
clientId=12301
Lyga, A. (2006). Lesson plans. Retrieved December 3, 2006, from Graphic Novel Guru Web site:
http://www.graphicnovelguru.com/lessonplans.htm
Morrison, T., Bryan, G., & Chilcoat, G. (2002). Using student-generated comic books in the classroom.
Journal of Adolescent & Adult Literacy, 45, 758-767. Retrieved December 4, 2006 from
http://proquest.umi.com.login.ezproxy.library.ualberta.ca/pqdweb?index=0&did=118125827&SrchM
ode=1&sid=1&Fmt=4&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1165383002&
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