Comics is amedium used to express ideas with images, often combined with text or other visual information. It typically takes the form of a sequence ofpanels of images. Textual devices such asspeech balloons,captions, andonomatopoeia can indicate dialogue, narration, sound effects, or other information. There is no consensus among theorists and historians on a definition ofcomics; some emphasize the combination of images and text, some sequentiality or other image relations, and others historical aspects such as mass reproduction or the use of recurring characters.Cartooning and other forms ofillustration are the most common means of image-making in comics.Photo comics is a form that uses photographic images. Common forms includecomic strips,editorial andgag cartoons, andcomic books. Since the late 20th century, bound volumes such asgraphic novels,comic albums, andtankōbon have become increasingly common, along withwebcomics as well as scientific/medical comics.[1]
Thehistory of comics has followed different paths in different cultures. Scholars have posited a pre-history as far back as theLascaux cave paintings. By the mid-20th century, comics flourished, particularly in theUnited States, western Europe (especiallyFrance and Belgium), andJapan. The history ofEuropean comics is often traced toRodolphe Töpffer's cartoon strips of the 1830s, whileWilhelm Busch and hisMax and Moritz also had a global impact from 1865 on,[2][3][4][5] and became popular following the success in the 1930s of strips and books such asThe Adventures of Tintin.American comics emerged as amass medium in the early 20th century with the advent of newspaper comic strips; magazine-stylecomic books followed in the 1930s, and thesuperhero genre became prominent afterSuperman appeared in 1938.Histories of Japanese comics and cartooning (manga) propose origins as early as the 12th century. Japanese comics are generally held separate from the evolution of Euro-American comics, and Western comic art probably originated in 17th-century Italy.[6] Modern Japanese comic strips emerged in the early 20th century, and the output of comic magazines and books rapidly expanded in the post-World War II era (1945)– with the popularity of cartoonists such asOsamu Tezuka. Comics has had alowbrow reputation for much of their history, but towards the end of the 20th century, they began to find greater acceptance with the public and academics.
The English termcomics is used as asingular noun when it refers to the medium itself (e.g. "Comics is a visual art form."), but becomes plural when referring to works collectively (e.g. "Comics are popular reading material.").
The comics may be further adapted to animations (anime), dramas, TV shows, movies.
The European, American, and Japanese comics traditions have followed different paths.[7] Europeans have seen their tradition as beginning with the SwissRodolphe Töpffer from as early as 1827 and Americans have seen the origin of theirs inRichard F. Outcault's 1890s newspaper stripThe Yellow Kid, though many Americans have come to recognize Töpffer's precedence.Wilhelm Busch directly influencedRudolph Dirks and hisKatzenjammer Kids.[8][9][10][11][12] Japan has a long history of satirical cartoons and comics leading up to the World War II era. Theukiyo-e artistHokusai popularized the Japanese term for comics and cartooning,manga, in the early 19th century.[13] In the 1930sHarry "A" Chesler started a comics studio, which eventually at its height employed 40 artists working for 50 different publishers who helped make the comics medium flourish in "the Golden Age of Comics" after World War II.[14] In the post-war era modern Japanese comics began to flourish whenOsamu Tezuka produced a prolific body of work.[15] Towards the close of the 20th century, these three traditions converged in a trend towards book-length comics: thecomic album in Europe, thetankōbon[a] in Japan, and thegraphic novel in the English-speaking countries.[7]
"An angry snarl between friendly relations" - Satirical print on the politics around theCaroline Affair (1840–1841)
At the house of the writing pig.
The Upside Downs of Little Lady Lovekins and Old Man Muffaroo, comics by Gustave Verbeek containingreversible figures andambigram sentences (March 1904).
Illustrated humour periodicals were popular in 19th-century Britain, the earliest of which was the short-livedThe Glasgow Looking Glass in 1825.[21] The most popular wasPunch,[22] which popularized the termcartoon for its humorous caricatures.[23] On occasion the cartoons in these magazines appeared in sequences;[22] the characterAlly Sloper featured in the earliest serialized comic strip when the character began to feature in its own weekly magazine in 1884.[24]
American comics developed out of such magazines asPuck,Judge, andLife. The success of illustrated humour supplements in theNew York World and later theNew York American, particularly Outcault'sThe Yellow Kid, led to the development of newspaper comic strips. EarlySunday strips were full-page[25] and often in colour. Between 1896 and 1901 cartoonists experimented with sequentiality, movement, and speech balloons.[26] An example isGustave Verbeek, who wrote his comic series "The UpsideDowns of Old Man Muffaroo and Little Lady Lovekins" between 1903 and 1905. These comics were made in such a way that one could read the 6-panel comic, flip the book and keep reading. He made 64 such comics in total. In 2012, a remake of a selection of the comics was made by Marcus Ivarsson in the book 'In Uppåner med Lilla Lisen & Gamle Muppen'. (ISBN978-91-7089-524-1)
Shorter, black-and-white daily strips began to appear early in the 20th century, and became established in newspapers after the success in 1907 ofBud Fisher'sMutt and Jeff.[27] In Britain, theAmalgamated Press established a popular style of a sequence of images with text beneath them, includingIllustrated Chips andComic Cuts.[28] Humour strips predominated at first, and in the 1920s and 1930s strips with continuing stories in genres such as adventure and drama also became popular.[27]
Thin periodicals calledcomic books appeared in the 1930s, at first reprinting newspaper comic strips; by the end of the decade, original content began to dominate.[29] The success in 1938 ofAction Comics and its lead heroSuperman marked the beginning of theGolden Age of Comic Books, in which thesuperhero genre was prominent.[30] In the UK and theCommonwealth, theDC Thomson-createdDandy (1937) andBeano (1938) became successful humor-based titles, with a combined circulation of over 2 million copies by the 1950s. Their characters, including "Dennis the Menace", "Desperate Dan" and "The Bash Street Kids" have been read by generations of British children.[31] The comics originally experimented with superheroes and action stories before settling on humorous strips featuring a mix of the Amalgamated Press and US comic book styles.[32]
The popularity of superhero comic books declined in the years following World War II,[33] while comic book sales continued to increase as other genres proliferated, such asromance,westerns,crime,horror, and humour.[34] Following a sales peak in the early 1950s, the content of comic books (particularly crime and horror) was subjected to scrutiny from parent groups and government agencies, which culminated inSenate hearings that led to the establishment of theComics Code Authority self-censoring body.[35] The Code has been blamed for stunting the growth of American comics and maintaining its low status in American society for much of the remainder of the century.[36] Superheroes re-established themselves as the most prominent comic book genre by the early 1960s.[37]Underground comix challenged the Code and readers with adult, countercultural content in the late 1960s and early 1970s.[38] The underground gave birth to thealternative comics movement in the 1980s and its mature, often experimental content in non-superhero genres.[39]
Comics in the US has had alowbrow reputation stemming from its roots inmass culture; cultural elites sometimes saw popular culture as threatening culture and society. In the latter half of the 20th century, popular culture won greater acceptance, and the lines between high and low culture began to blur. Comics nevertheless continued to be stigmatized, as the medium was seen as entertainment for children and illiterates.[40]
Thegraphic novel—book-length comics—began to gain attention afterWill Eisner popularized the term with his bookA Contract with God (1978).[41] The term became widely known with the public after the commercial success ofMaus,Watchmen, andThe Dark Knight Returns in the mid-1980s.[42] In the 21st century graphic novels became established in mainstream bookstores[43] and libraries[44] and webcomics became common.[45]
The francophone SwissRodolphe Töpffer produced comic strips beginning in 1827,[17] and published theories behind the form.[46]Wilhelm Busch first published hisMax and Moritz in 1865.[47] Cartoons appeared widely in newspapers and magazines from the 19th century.[48] The success ofZig et Puce in 1925 popularized the use of speech balloons in European comics, after which Franco-Belgian comics began to dominate.[49]The Adventures of Tintin, with its signatureclear line style,[50] was first serialized in newspaper comics supplements beginning in 1929,[51] and became an icon of Franco-Belgian comics.[52]
Following the success ofLe Journal de Mickey (est. 1934),[53] dedicated comics magazines[54] likeSpirou (est. 1938) andTintin (1946–1993), and full-colour comic albums became the primary outlet for comics in the mid-20th century.[55] As in the US, at the time comics were seen as infantile and a threat to culture and literacy; commentators stated that "none bear up to the slightest serious analysis",[c] and that comics were "the sabotage of all art and all literature".[57][d]
In the 1960s, the termbandes dessinées ("drawn strips") came into wide use in French to denote the medium.[58] Cartoonists began creating comics for mature audiences,[59] and the term "Ninth Art"[e] was coined, as comics began to attract public and academic attention as an artform.[60] A group includingRené Goscinny andAlbert Uderzo founded the magazinePilote in 1959 to give artists greater freedom over their work. Goscinny and Uderzo'sThe Adventures of Asterix appeared in it[61] and went on to become the best-selling French-language comics series.[62] From 1960, the satirical and taboo-breakingHara-Kiri defied censorship laws in the countercultural spirit that led to theMay 1968 events.[63]
Frustration with censorship and editorial interference led to a group ofPilote cartoonists to found the adults-onlyL'Écho des savanes in 1972. Adult-oriented and experimental comics flourished in the 1970s, such as in the experimental science fiction ofMœbius and others inMétal hurlant, even mainstream publishers took to publishing prestige-formatadult comics.[64]
From the 1980s, mainstream sensibilities were reasserted and serialization became less common as the number of comics magazines decreased and many comics began to be published directly as albums.[65] Smaller publishers such asL'Association[66] that published longer works[67] in non-traditional formats[68] byauteur-istic creators also became common. Since the 1990s, mergers resulted in fewer large publishers, while smaller publishers proliferated. Sales overall continued to grow despite the trend towards a shrinking print market.[69]
Rakuten Kitazawa created the first modern Japanese comic strip. (Tagosaku to Mokube no Tōkyō Kenbutsu,[f] 1902)
Japanese comics and cartooning (manga),[g] have a history that has been seen as far back as the anthropomorphic characters in the 12th-to-13th-centuryChōjū-jinbutsu-giga, 17th-centurytoba-e andkibyōshi picture books,[73] andwoodblock prints such asukiyo-e which were popular between the 17th and 20th centuries. Thekibyōshi contained examples of sequential images, movement lines,[74] and sound effects.[75]
Illustrated magazines for Western expatriates introduced Western-style satirical cartoons to Japan in the late 19th century. New publications in both the Western and Japanese styles became popular, and at the end of the 1890s, American-style newspaper comics supplements began to appear in Japan,[76] as well as some American comic strips.[73] 1900 saw the debut of theJiji Manga in theJiji Shinpō newspaper—the first use of the word "manga" in its modern sense,[72] and where, in 1902,Rakuten Kitazawa began the first modern Japanese comic strip.[77] By the 1930s, comic strips were serialized in large-circulation monthly girls' and boys' magazine and collected into hardback volumes.[78]
The modern era of comics in Japan began after World War II, propelled by the success of the serialized comics of the prolificOsamu Tezuka[79] and the comic stripSazae-san.[80] Genres and audiences diversified over the following decades. Stories are usually first serialized in magazines which are often hundreds of pages thick and may contain over a dozen stories;[81] they are later compiled intankōbon-format books.[82] At the turn of the 20th and 21st centuries, nearly a quarter of all printed material in Japan was comics.[83] Translations became extremely popular in foreign markets—in some cases equaling or surpassing the sales of domestic comics.[84]
Manhwa ( 만화 ) refers to Korean comics and print cartoons, with the term often used internationally to designate comics originating in Korea. While manhwa shares cultural and linguistic roots with Japanesemanga and Chinesemanhua, it has developed a unique identity influenced by Korea’s historical, cultural, and artistic landscape. Modern manhwa has gained global popularity, partly due to the rise ofwebtoons—digitally formatted comics designed for scrolling on mobile devices. This success has contributed to adaptations into movies, dramas, and television series.
The concept of manhwa emerged under the influence of Japanese manga during the Japanese occupation of Korea in the early 20th century. Manga’s established presence in Japan during this period strongly shaped the foundational styles and formats of Korean comics. AsKorea transitioned into independence, manhwa evolved into a distinct medium, balancing the artistic influences of its neighbors with traditional Korean aesthetics and storytelling.
Comic strips are generally short, multipanel comics that have, since the early 20th century, most commonly appeared in newspapers. In the US, daily strips have normally occupied a single tier, whileSunday strips have been given multiple tiers. Since the early 20th century, daily newspaper comic strips have typically been printed in black-and-white and Sunday comics have usually been printed in colour and have often occupied a full newspaper page.[85]
Specialized comics periodicals formats vary greatly in different cultures.Comic books, primarily an American format, are thin periodicals[86] usually published in colour.[87] European and Japanese comics are frequently serialized in magazines—monthly or weekly in Europe,[72] and usually black-and-white and weekly in Japan.[88] Japanese comics magazine typically run to hundreds of pages.[89]
A comparison of book formats for comics around the world. The left group is from Japan and shows thetankōbon and the smallerbunkobon formats. Those in the middle group ofFranco-Belgian comics are in the standardA4-sizecomic album format. The right group ofgraphic novels is from English-speaking countries, where there is no standard format.
Book-length comics take different forms in different cultures. Europeancomic albums are most commonly colour volumes printed atA4-size, a larger page size than used in many other cultures.[90][55] In English-speaking countries, thetrade paperback format originating from collected comic books have also been chosen for original material. Otherwise, bound volumes of comics are called graphic novels and are available in various formats. Despite incorporating the term "novel"—a term normally associated with fiction—"graphic novel" also refers to non-fiction and collections of short works.[91] Japanese comics are collected in volumes calledtankōbon following magazine serialization.[92]
Gag andeditorial cartoons usually consist of a single panel, often incorporating a caption or speech balloon. Definitions of comics which emphasize sequence usually exclude gag, editorial, and other single-panel cartoons; they can be included in definitions that emphasize the combination of word and image.[93] Gag cartoons first began to proliferate inbroadsheets published in Europe in the 18th and 19th centuries, and the term "cartoon"[h] was first used to describe them in 1843 in the British humour magazinePunch.[23]
Webcomics are comics that are available on the internet, first being published the 1980s. They are able to potentially reach large audiences, and new readers can often access archives of previous installments.[94] Webcomics can make use of aninfinite canvas, meaning they are not constrained by the size or dimensions of a printed comics page.[95]
Some considerstoryboards[96] andwordless novels to be comics.[97] Film studios, especially in animation, often use sequences of images as guides for film sequences. These storyboards are not intended as an end product and are rarely seen by the public.[96] Wordless novels are books which use sequences of captionless images to deliver a narrative.[98]
"Comics ... are sometimes four-legged and sometimes two-legged and sometimes fly and sometimes don't ... to employ a metaphor as mixed as the medium itself, defining comics entails cutting a Gordian-knotted enigma wrapped in a mystery ..."
Similar to the problems of defining literature and film,[99] no consensus has been reached on a definition of the comics medium,[100] and attempted definitions and descriptions have fallen prey to numerous exceptions.[101] Theorists such as Töpffer,[102]R. C. Harvey,Will Eisner,[103] David Carrier,[104] Alain Rey,[100] and Lawrence Grove emphasize the combination of text and images,[105] though there are prominent examples of pantomime comics throughout its history.[101] Other critics, such as Thierry Groensteen[105] and Scott McCloud, have emphasized the primacy of sequences of images.[106] Towards the close of the 20th century, different cultures' discoveries of each other's comics traditions, the rediscovery of forgotten early comics forms, and the rise of new forms made defining comics a more complicated task.[107]
European comics studies began with Töpffer's theories of his own work in the 1840s, which emphasized panel transitions and the visual–verbal combination. No further progress was made until the 1970s.[108] Pierre Fresnault-Deruelle then took asemiotics approach to the study of comics, analyzing text–image relations, page-level image relations, and image discontinuities, or what Scott McCloud later dubbed "closure".[109] In 1987, Henri Vanlier introduced the termmulticadre, or "multiframe", to refer to the comics page as a semantic unit.[110] By the 1990s, theorists such asBenoît Peeters andThierry Groensteen turned attention to artists'poïetic creative choices.[109]Thierry Smolderen and Harry Morgan have held relativistic views of the definition of comics, a medium that has taken various, equally valid forms over its history. Morgan sees comics as a subset of "les littératures dessinées" (or "drawn literatures").[107] French theory has come to give special attention to the page, in distinction from American theories such as McCloud's which focus on panel-to-panel transitions.[110] In the mid-2000s,Neil Cohn began analyzing how comics are understood using tools from cognitive science, extending beyond theory by using actual psychological and neuroscience experiments. This work has argued that sequential images and page layouts both use separate rule-bound "grammars" to be understood that extend beyond panel-to-panel transitions and categorical distinctions of types of layouts, and that the brain's comprehension of comics is similar to comprehending other domains, such as language and music.[111]
Historical narratives ofmanga tend to focus either on its recent, post-WWII history, or on attempts to demonstrate deep roots in the past, such as to theChōjū-jinbutsu-giga picture scroll of the 12th and 13th centuries, or the early 19th-centuryHokusai Manga.[112] The first historical overview of Japanese comics was Seiki Hosokibara'sNihon Manga-Shi[i] in 1924.[113] Early post-war Japanese criticism was mostly of a left-wing political nature until the 1986 publication of Tomofusa Kure'sModern Manga: The Complete Picture,[j] which de-emphasized politics in favour of formal aspects, such as structure and a "grammar" of comics. The field ofmanga studies increased rapidly, with numerous books on the subject appearing in the 1990s.[114] Formal theories ofmanga have focused on developing a "manga expression theory",[k] with emphasis on spatial relationships in the structure of images on the page, distinguishing the medium from film or literature, in which the flow of time is the basic organizing element.[115] Comics studies courses have proliferated at Japanese universities, and Japan Society for Studies in Cartoon and Comics(ja)[l] was established in 2001 to promote comics scholarship.[116] The publication ofFrederik L. Schodt'sManga! Manga! The World of Japanese Comics in 1983 led to the spread of use of the wordmanga outside Japan to mean "Japanese comics" or "Japanese-style comics".[117]
Will Eisner(left) andScott McCloud (right) have proposed influential and controversial definitions of comics.
Coulton Waugh attempted the first comprehensive history of American comics withThe Comics (1947).[118] Will Eisner'sComics and Sequential Art (1985) andScott McCloud'sUnderstanding Comics (1993) were early attempts in English to formalize the study of comics. David Carrier'sThe Aesthetics of Comics (2000) was the first full-length treatment of comics from a philosophical perspective.[119] Prominent American attempts at definitions of comics include Eisner's, McCloud's, and Harvey's. Eisner described what he called "sequential art" as "the arrangement of pictures or images and words to narrate a story or dramatize an idea";[120] Scott McCloud defined comics as "juxtaposed pictorial and other images in deliberate sequence, intended to convey information and/or to produce an aesthetic response in the viewer",[121] a strictly formal definition which detached comics from its historical and cultural trappings.[122] R. C. Harvey defined comics as "pictorial narratives or expositions in which words (often lettered into the picture area within speech balloons) usually contribute to the meaning of the pictures and vice versa".[123] Each definition has had its detractors. Harvey saw McCloud's definition as excluding single-panel cartoons,[124] and objected to McCloud's de-emphasizing verbal elements, insisting "the essential characteristic of comics is the incorporation of verbal content".[110] Aaron Meskin saw McCloud's theories as an artificial attempt to legitimize the place of comics in art history.[103]
Cross-cultural study of comics is complicated by the great difference in meaning and scope of the words for "comics" in different languages.[125] The French term for comics,bandes dessinées ("drawn strip") emphasizes the juxtaposition of drawn images as a defining factor,[126] which can imply the exclusion of even photographic comics.[127] The termmanga is used in Japanese to indicate all forms of comics, cartooning,[128] and caricature.[125]
The termcomics refers to the comics medium when used as anuncountable noun and thus takes the singular: "comicsis a medium" rather than "comicsare a medium". Whencomic appears as a countable noun it refers to instances of the medium, such as individual comic strips or comic books: "Tom's comicsare in the basement."[129]
Panels are individual images containing a segment of action,[130] often surrounded by a border.[131] Prime moments in a narrative are broken down into panels via a process called encapsulation.[132] The reader puts the pieces together via the process of closure by using background knowledge and an understanding of panel relations to combine panels mentally into events.[133] The size, shape, and arrangement of panels each affect the timing and pacing of the narrative.[134] The contents of a panel may be asynchronous, with events depicted in the same image not necessarily occurring at the same time.[135]
A caption (the yellow box) gives the narrator a voice. The characters' dialogue appears inspeech balloons. The tail of the balloon indicates the speaker.
Text is frequently incorporated into comics viaspeech balloons, captions, and sound effects. Speech balloons indicate dialogue (or thought, in the case ofthought balloons), with tails pointing at their respective speakers.[136] Captions can give voice to a narrator, convey characters' dialogue or thoughts,[137] or indicate place or time.[138] Speech balloons themselves are strongly associated with comics, such that the addition of one to an image is sufficient to turn the image into comics.[139] Sound effects mimic non-vocal sounds textually usingonomatopoeia sound-words.[140]
Cartooning is most frequently used in making comics, traditionally using ink (especiallyIndia ink) withdip pens or ink brushes;[141] mixed media and digital technology have become common. Cartooning techniques such asmotion lines[142] and abstract symbols are often employed.[143]
While comics are often the work of a single creator, the labour of making them is frequently divided between a number of specialists. There may be separatewriters andartists, and artists may specialize in parts of the artwork such as characters or backgrounds, as is common in Japan.[144] Particularly in American superhero comic books,[145] the art may be divided between apenciller, who lays out the artwork in pencil;[146] aninker, who finishes the artwork in ink;[147] acolourist;[148] and aletterer, who adds the captions and speech balloons.[149]
The English-language termcomics derives from the humorous (or "comic") work which predominated in early American newspaper comic strips, but usage of the term has become standard for non-humorous works as well. The alternate spellingcomix – coined by theunderground comix movement – is sometimes used to address such ambiguities.[150] The term "comic book" has a similarly confusing history since they are most often not humorous and are periodicals, not regular books.[151] It is common in English to refer to the comics of different cultures by the terms used in their languages, such asmanga for Japanese comics, orbandes dessinées for French-languageFranco-Belgian comics.[152]
Many cultures have taken their word for comics from English, including Russian (комикс,komiks)[153] and German (Comic).[154] Similarly, the Chinese termmanhua[155] and the Koreanmanhwa[156] derive from theChinese characters with which the Japanese termmanga is written.[157]
^tankōbon (単行本, translation close to "independently appearing book")
^David Kunzle has compiled extensive collections of these and other proto-comics in hisThe Early Comic Strip (1973) andThe History of the Comic Strip (1990).[20]
^French:"... aucune ne supporte une analyse un peu serieuse." – Jacqueline & Raoul Dubois inLa Presse enfantine française (Midol, 1957)[56]
^French:"C'est le sabotage de tout art et de toute littérature." – Jean de Trignon inHistoires de la littérature enfantine de ma Mère l'Oye au Roi Babar (Hachette, 1950)[56]
^Tagosaku and Mokube Sightseeing in Tokyo (Japanese:田吾作と杢兵衛の東京見物,Hepburn:Tagosaku to Mokube no Tokyo Kenbutsu)
^"Manga" (Japanese:漫画) can beglossed in many ways, amongst them "whimsical pictures", "disreputable pictures",[70] "irresponsible pictures",[71] "derisory pictures", and "sketches made for or out of a sudden inspiration".[72]
^"cartoon": from the Italiancartone, meaning "card", which referred to the cardboard on which the cartoons were typically drawn.[23]
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Morita, Naoko (2010). "Cultural Recognition of Comics and Comics Studies: Comments on Thierry Groensteen's Keynote Lecture". In Berndt, Jaqueline (ed.).Comics worlds & the world of comics : towards scholarship on a global scale. Global Manga Studies. Vol. 1. International Manga Research Center,Kyoto Seika University. pp. 31–39.ISBN978-4-905187-03-5.
O'Nale, Robert (2010)."Manga". In Booker, M. Keith (ed.).Encyclopedia of Comic Books and Graphic Novels: [Two Volumes].ABC-CLIO. pp. 378–387.ISBN978-0-313-35747-3.
Thorne, Amy (2010). "Part Eight: Metacomic/Webcomics". In Weiner, Robert G. (ed.).Graphic Novels and Comics in Libraries and Archives: Essays on Readers, Research, History and Cataloging.McFarland & Company. pp. 209–212.ISBN978-0-7864-5693-2.
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