A New Year’s Eve cold and a truckload of graphic novel reading has kept me quiet lately. Well, it’s kept me from blogging and talking with a normal voice around the house at least.
A good deal of the things I’ve been reading have been as a Cybils Graphic Novel finalist judge and I really cannot talk about those books because them’s the rules. I have been keeping a sort of “diary of a judge” post running as I go so that on the 15th of February I can let the world know what was going on during the process. Not me giving away secrets about the other judges or gossip like that (like I’m clued in enough for gossip) but the process of how I came to the decisions I made. Or am making at the time. It’s weird to talk about the future in the past tense when it’s happening in the moment.
But to be fair, I have been reading a lot of other things as well, I just haven’t had a chance to write or review them. Which means that down the road there’s going to be a flood of catching up I’m going to have to do. That said, there are still some general things I can say about all the reading I’ve been doing lately. Hopefully it won’t sound too vague.
One thing I’d like to see less of are graphic novels about characters with powers or who fight crime. If there’s one thing that makes the graphic novel novel is how it differentiates itself from comic books. It’s just too easy to use the inherent action of superhero comics to give a story a false sense of plot and character development. Far too often the main character’s growth is patently shallow, and if you removed the action sequences (which more often than not have little to do with any inner character growth at all) what you have left is a laughable pamphlet that reads like a 1950s sitcom plot synopsis. “When the Beaver attempts to tackle a problem on his own he quickly discovers there is strength in numbers.”
What are monsters? What do they stand for? Aside from scaring us, or our hero, there has to be a reason they are there. Either they represent a surrogate for a tangible fear or they express a larger concept or idea. If they are merely obstacles to drive a plot or provide a character something to defeat, if they aren’t organic to the story, what’s the point? And if they are symbolic of the main character’s struggle, is it perhaps too much to ask that they be incorporated into the story in a way that they aren’t so heavy-handed, leaden, or obvious?
Fight scenes. They make for good action scenes, especially in a visual medium like graphic novels, but can’t we do something more creative in conveying struggles? A battle of wits, a battle of logic, I’d even take a bake-off as a climax provided it was chemistry that ruled the day. Honestly, sometimes when I’m reading a graphic novel and a fight scene is ramping up I feel as if I’m watching a Chuck Norris movie… which is fine if I’m reading a Chuck Norris graphic novel. Sadly, I haven’t come across a Chuck Norris graphic novel yet.
Finally, I understand – honestly, I do – that a writer or artist can only tell the stories that drive them. But there’s a line between the universal story told personally and what is so personal that reads like therapy. I acknowledge that there can be some great literature and art from pain and grief, that deep emotions can be mined to stunning effect, but no one wants to feel as if they’re going through grief counseling and psychoanalysis as a bystander. Maybe that’s just me.
So aside from my weekly Poetry Friday posts and the occasional check-in I hope to be back to the Grimmoire and delve into some new territory here in the coming weeks.
For you regulars, I thank you for your patience, and or you occasionals, for your kind attentions.