The Adventures Of Mr. Obadiah Oldbuck Essay

In Understanding Comics, McCloud defines comics as, “Juxtaposed pictorial and other images in deliberate sequence, intended to convey information and/or to produce an aesthetic response in the viewer” (McCloud, 1993, p. 9).

Rafe Khatchadorian from James Patterson’s book middle school: Just my rotten Luck is a character who I think that I connect most with. In this book, Rafe is an 8th grader who is amusing and has a great imagination. Rafe is a very creative child who draws how he is feeling or how he sees the world in his journal. In his journal, he draws a comic called “Loozer and Leo”. In the book, he gets the courage to share his drawing without anyone knowing he’s the artist who created it. Rafe comes up with a super-secret art project, in which he makes some amazing drawings and hangs them around his school when no one is looking. He uses the identity S.A.M (Secret Artist Man) so that no one knows who is drawing the incredible projects. When kids see it

Thomas Nast is the cartoonist of What's In a Name. He is a prominent cartoonist in the Gilded Age that made many cartoons such as The American River Ganges, The "Brains" and The Usual Irish Way of Doing Things. He became known as a cartoonist after making cartoons against Boss Tweed, the Tammany Hall leader. After cartooning against Boss Tweed, he played a key role in politics by influencing voters with cartoons and criticism against political candidates.

Indeed, in an era where news of all kinds is only a click away, it seems odd that the simple cartoon could once have been the most influential form of media in the nation. However, one must realize that the target audience of these cartoons were illiterate immigrants and the impoverished masses; before exposure to Nast’s cartoons, they had no way to know that their beloved Tweed was corrupting politics at all. In addition,these comics were published at a time when the United States had the highest newspaper circulation per capita in the world; everyone had access to these cartoons (Leepson 54). Therefore, Nast could use his illustrations to turn politics into a tangible, understandable topic for the American masses; in doing this, Nast paved the way for future illustrators and journalists, such as Homer Davenport, who went on to caricaturize corruption just as his predecessor had (Wang,

Why are comics not appreciated as much as the dry narratives of novels in the literary world? A comic is composed of symbols to express concepts shared by all people in their own social environment, and provide more tools than conventional art to truly show artistic intention.

At first, his pictures were only to be found in the wastebaskets of the offices. However, his creativity was soon recognized when sales went up when his comics were published. Thanks to this, his success rose much quicker after a slow start. He soon transferred to San Francisco Bulletin, and and then the New York Sun and New York Evening Mail, and was earning over $100,000 a year through his art.

William Boyd “Bill” Watterson was born on July 5, 1958 in Washington, D.C. When he was six his family moved to Chagrin Falls, Ohio, where he spent the remainder of his childhood. Watterson was a “quiet, obedient kid – almost Calvin’s opposite” (Watterson 21). He read many comics growing up, especially Pogo, Krazy Kat, and Peanuts. When he was eight, he drew his first cartoon. He continued to draw cartoons throughout his school years. He was so enthralled with Peanuts that when he was in the fourth grade, he sent a letter to Charles Schulz himself. To his surprise, Schulz responded, and this left a big impression on Watterson. He soon realized that he wanted to become a professional cartoonist. His parents were very supportive of this decision, and they encouraged him to further pursuit his artistic talents. He continued sketching and drawing comics all the way until he left home to attend Kenyon

A main literary element in Eisner’s Theory of Comics and Sequential Art is imagery. “‘Comics’ deal with two major communicating devices, words and images”

Charles Hatfield states in his essay, An Art of Tensions, that comics are marked as being “easy” to read, when in fact they are a complex means of communication. “Comic readers must call upon different reading strategies, or interpretive schema, than they would use in their reading of conventional written text.” Chris Ware is often noted as a cartoonist who elevates comics because of the number of literary awards his work has received. Ware got his start in the 1991 in RAW Magazine, continuing his work in his series Acme Novelty Library. One of his most notable comics is Jimmy Corrigan: the Smartest Kid on Earth. Readers learn to appreciate his comics on a higher level because they cannot rush through his work. It’s complexity is displayed through his use of text, diagrams, and pacing. Readers value Ware’s artistry because they have to work for understanding.

Goldberg was an accomplished cartoonist whose comics appeared in newspapers for more than sixty years (“Rube Goldberg,” 2016). He is mainly remembered

Sheldon Allan Silverstein was born in the frigid metroplex of Chicago, Illinois on September 25th, 1930. In 1950, when he was twenty years old, he enlisted in the United States Army, and served in Korea and Japan. After serving, he became a cartoonist for the “Stars And Stripes” magazine. Illustrating the magazine cause him to become more popular in the illustration field. He began drawing for magazines such as “Look And Sports,” but it wasn’t until he was illustrating for “Playboy” that he was a household name. Silverstein was fortunate enough to have his cartoons be in every issue of the magazine during its highpoint in popularity.

For centuries, man has struggled with the concepts of good and evil and have produced astounding works as a reflection of it. This is ideally the foundation of early fables and folklore dating back to ancient civilizations. Stories about famed heroes and the battle of good and evil woven into extravagant tales of danger, destiny, and triumph. These stories were often assimilated into individual societies, told from generation to generation until eventually finding themselves becoming an integral part of the culture. In 1938, a new era began to emerge known as the “golden age” of superheroes. Superman made his first appearance in action comics, forging a unique identity as the first comic book superhero in American culture and quickly

During post-war his art begins to take on humorous details, which can be seen in the “Puss -in- Boots” character, which he detailed in his diary on April 1946. "I just had an absurd and unpleasant dream in which somehow a Puss-in-Boots played a role that made me mighty ridiculous". He was recognized as an “Expressionist” artist, which can be seen in his use of brushstrokes and bold color choices. The Beginning was one of his most autobiographical paintings out the 10 allegorical triptych paintings he created during 1932-1950.

The history of comics dates all the way back to the early 1800’s when the second comic print was ongoing. (1807-58).When comics made their first made their first appearance; the comics were mostly political cartoons. Later on the comic art influenced a lot from Europe and America. On January 1st, 1849 engraver and cartoonist

about the role of comics and comics go long back to 1940’s and ever character has a different