In spite of pervasive opinions graphic novels are not the same thing as their original novels. There are many dissimilarity between the two such as the length of the texts, the freedom of imagination, and the diction. Admitting that both the graphic and genuine version of a novel is told in a different method, they both tell an identical story. In the resolution of both novels, the objective ultimately gets across in each of the novels granting that it’s told a dissimilar way.
What I have latterly noticed about graphic novels and their original texts is that their lengths have a significant difference. People who read graphic novels tend to read through the panels in an expeditious amount of time because there is not as much words to read.
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In graphic novels you don’t get as much freedom of imagination as you read. This is because they give a visual connected to the dialogue, in the point of view of the character. In this instance the imagination of the reader is limited. This is demonstrated in Frankenstein adapted by Lloyd S. Wagner inside the panels are illustrations presenting transitions which are moment to moment. In this case, it doesn’t really give the reader freedom to put him or herself in the story to actually experience and fathom the plot. On the contrary the original text of a novel gives the reader an appreciable amount of language which will advocate imagination. In Frankenstein written by author, Mary Shelley she writes “Everywhere I turn I see the same figure—her bloodless arms and relaxed form flung by the murderer on its bridal bier. Could I behold his and live?” On account of the original text containing more explanation and detail, the reader’s imagination can go …show more content…
Graphic novels predominantly comprise shorter words or phrases which makes it prone to having limited details and explanations in each caption box, sound bubble, thought bubble, and speech bubble. In Frankeinstein adapted by Marion Mousse in the panel in which he finds his wife lifeless on their bed in the sound bubble he emphasizes “ELIZABETH!” Following that in the next couple of panels there are no other words or captions. Most of the panels in this graphic novel were just illustrations without any caption or dialogue. This makes the story apparent to read. The reader will be able to get through the story quicker as this type of novel emphasizes more on the picture and is less prominent on the vocabulary part. In the original text its diction is more substantial, this is because since there are no panel boxes or images, the words on the pages are able to take up the whole page from top to bottom in explicit detail of what is happening in the novel. In Frankenstein written by English novelist, Mary Shelley, she writes her novel in precise detail with her extensive use of diction. In her text she writes “It came from the room in which Elizabeth had retired. As I heard it, the whole truth rushed into my mind, my arms dropped, the motion of every muscle and fibre was suspended; I could feel the blood trickling in my veins and tingling in the extremities
The ability to make the reader immersed in the story and the main character is the best thing to have when writing a piece. It helps the reader decide whether to keep reading or not. This ability is known as imagery. Imagery is writing with metaphors and the five sense, which creates a scene for the reader. Imagery is basically the way the author shows the reader what the main character or narrator is seeing. Janet Burroway, author of “Imaginative Writing”, which is a book about writing and the components of it, states that Image is, “An image is a word or series of words that evokes one or more of the five senses.” (Burroway, 15) Imagery is very important and good authors know how to use it to add more meaning and power to their literature.
“ The horizon was the color of milk. Cold and fresh. Poured out among the bodies” (Zusak 175). The device is used in the evidence of the quote by using descriptives words that create a mental image. The text gives the reader that opportunity to use their senses when reading the story. “Somehow, between the sadness and loss, Max Vandenburg, who was now a teenager with hard hands, blackened eyes, and a sore tooth, was also a little disappointed” (Zusak 188). This quote demonstrates how the author uses descriptive words to create a mental image which gives the text more of an appeal to the reader's sense such as vision. “She could see his face now, in the tired light. His mouth was open and his skin was the color of eggshells. Whisker coated his jaw and chin, and his ears were hard and flat. He had a small but misshapen nose” (Zusak 201). The quotes allows the reader to visualize what the characters facial features looked like through the use of descriptive words. Imagery helps bring the story to life and to make the text more exciting. The reader's senses can be used to determine the observations that the author is making about its characters. The literary device changes the text by letting the reader interact with the text by using their observation skills. The author is using imagery by creating images that engages the reader to know exactly what's going on in the story which allows them to
By creating a rhyming function, the shapes, sizes and sites across panels privilege a unique composition of the image compared to all other pages. Also, the dimensions of panel 1, 2 and 4 associated with a rhetorical layout which intends to conform to the movement and track of Lucy and random gamers on the street from left-hand page to right-hand page within the pre-existing framework of narrative (Peeters, 41-60). Concerning the speech balloon of one gamer outside the gutter across panel 1 and panel 2, the words function an addictive combination elaborate and amplify the image that the reader is not able to understand why they run away without the words, and vice versa (McCloud, 154). All panels in this page interact with each other and lead to the identical sequence – Lucy runs away for Pikachu, by following this coherent narrative, iconic solidarity as an approach to the hypothesizing linear reading method across all panels (Groensteen, 114). A similar page layout emphasizes the movement of the protagonists in Michael Straczynski’s Thor comic by creating dynamism
When one actually close-reads a small segment one realizes the large amount of information that can be said about just that segment. In this case it was only four pages from Fun Home, and each page seemed to have a life of its own. Page 14 touched upon the relationship between Bruce Bechdel and his family, while page fifteen gave insights into the father-daughter relationship. Then pages 16 and 17 dealt with hidden truths and the creation of false appearances. Then there were the the literary and graphical devices: the extensive use of line, the use of gray shading, stretched panels vs. compact panels, interdependent word-picture relationships, etc. the clear illustrations and relatively simple prose made the process a bit easier, but that opinion may have been different if the process involved close-reading the whole book.
Graphic novels are something that requires a lot of deliberate thought and dedication to create a novel that affects the reader in the way authors want them to. Everything within a graphic novel is conscious decision to enable the tones, story, characters, and messages to get through as best as they can. Due to this it is difficult to create an adaption based on someone else’s work, as you want to portray their messages and tones accurately, but also how the creator interoperates the original authors work. This is a problem I had in the creation of my mini graphic adaption of The Flying Troutmans by Miriam Toews. The Flying Troutmans is about a family going on a trip in America in search of the father of the kids Hattie is in charge of after
While reading through any piece of literature, understanding why the author chose the words they use is very important. Through different techniques the author will choose words that have an underlying meaning to them. While it is imperative that you read and understand the words straight from the page, it is equally as important to analyze and understand exactly what they mean. Using external sources to understand the setting and culture in which the author lived, as well as contextual clues in the reading is necessary to get a full understanding of any piece of literature. Specifically, this paper will be looking at Bram Stoker’s Dracula and Mary Shelly’s Frankenstein through different interpretations. Themes and symbolism are two of the most important aspects that authors use to convey deeper meaning, and is vital to the reader’s full understanding of the literature.
verses evil, the monster is meant to be evil but we as the reader feel
In Mary Shelley’s novel, Frankenstein, she exercises this movement by painting artistic and literary illustrations of how Victor, as well as the Monster lives through seasonal and surrounding areas. Shelley shows the complex emotional state found in Victor and the Monster.
The writer uses imagery, because he wants to let the readers into his mind. By describing the scene for the readers, makes the readers fell like they were there. Therefore, it gives us a better ability to emphasize with him.
Frankenstein is the story of an eccentric scientist whose masterful creation, a monster composed of sown together appendages of dead bodies, escapes and is now loose in the country. In Frankenstein, Mary Shelly’s diction enhances fear-provoking imagery in order to induce apprehension and suspense on the reader. Throughout this horrifying account, the reader is almost ‘told’ how to feel – generally a feeling of uneasiness or fright. The author’s diction makes the images throughout the story more vivid and dramatic, so dramatic that it can almost make you shudder.
When writing any sort of narrative, be it novel or poem, fiction or non-fiction, scholarly or frivolous, an author must take into account the most effective manner in which to effectively convey the message to their audience. Choosing the wrong form, or method of speaking to the reader, could lead to a drastic misunderstanding of the meaning within an author’s content, or what precisely the author wants to say (Baldick 69). Even though there are quite a bit fewer words in a graphic novel than in the average novel, an author can convey just as much content and meaning through their images as they could through 60,000 words. In order to do that though, their usage of form must be thoughtfully considered and controlled. Marjane Satrapi, author of the graphic memoir The Complete Persepolis, took great pains in the creation of her panels in order to reinforce and emphasize her narrative, much like a novelist utilizes punctuation and paragraph breaks. Through her portrayal of darkness and lightness, Satrapi demonstrates that literary content influences, and is primary to, the form.
stupid. He was unable to talk or read. The monster would just rome the world
From my past experiences, I have grown to prefer reading over writing. When I am reading, I can visualize the text in any way that I see fit. It is almost as if I am rewriting the novel using the illusions that I feel express the words in a passage. For example, in the current independent novel I am reading, it portrays a woman of high stature who is able to lure ...
Since the original novel Frankenstein by Mary Shelley, to the multiple movie adaptations, the monster is almost always predicted as the monster of the story. It may be his physical appearance, from his tall, broad frame, to the signature screws in his neck. It may also be his unnatural upbringing and interpreted evil characteristics. We have grown to fear the monster, which ultimately, has masked the true monster, Dr. Frankenstein. With each coming movie, the good side of the monster is brought to light, while the real monster shows his true colors.
Most people believe that graphic novels are just an art book with minimal text. They believe it is just for entertainment for kids or young adults. They think that graphic novels are just like comics. But to get to the point, graphic novels are just like all the other novels. They are a piece of literature that tells a story and pulls out the reader’s imagination, so that they feel that they are a part of the story or can even relate to the story. Graphic novels have changed and developed into such remarkable pieces of literature and should be accepted by all scholars to be placed in that category. According to John Ridley, “There are still some people out there who believe comic books are nothing more than, well, comic books. But the true cognoscenti know graphic novels are-at their best-an amazing blend of art, literature and the theater of the mind”.