Comic books have arrived! "Comic Books and Graphic Novels" presents a survey of the Anglo-American comic book canon and of the major graphic novels in circulation in the United States today. Its governing question is simple: by what terms can we discuss comic books as literary art? In pursuit of that question it develops a theory of literary reading and time itself. Visit us at www.facebook.com/UCBComics or bit.ly/project10-4 to see some student-created comics from 2013!
The comic book pamphlet developed as an independent literary form in the 1930s and early 1940s and has been a favorite of adolescent enthusiasts and cult devotees ever since. Recently, it has entered into a process of transformation, moving from a species
of pulp fiction on the margins of children’s literature to an autonomous genre, one Will Eisner labeled the graphic novel. This transformation has been noted in such literary venues as the New York Times and the New Yorker, as well as in an increasing
number of university classrooms and bookstore shelves.
“Comic Books and Graphic Novels” presents a survey of the history of American comics and a review of major graphic novels circulating in the U. S. today. It is focused on three main points. First, it argues that as comics develop in concert with, and participate in literary culture, they should be considered literature. Second, it reasons that such a designation forces us to redefine our concept of literature itself. Finally, it explores this transformative literary world by arguing that comics have much to teach us about ourselves.
Get started by enrolling in an upcoming session, then print out the official course playset and get started!
Comic Books and Graphic Novels
Professor William Kuskin
University of Colorado Boulder
This is the final schedule. A final syllabus will be available when the course opens.
WEEK ONE: WELCOME TO THE COURSE(RA)
Video 1: Welcome to the CourseVideo 2: The Syllabus (Overview)
Video 3: The Syllabus (Logistics)
Video 4: What is a Comic?
Video 5: Teaching Comics (w/Barry Barrows)
Video 6: Collecting (w/Jim Vacca)
WEEK TWO: TERMS AND CONDITIONS
Lecture 1a: Reading the Grid
Lecture 1b: Two Comics Masters
Lecture 2a: The Golden Age
Lecture 2b: Golden Age Master
Lecture 2c: Gender in the Golden Age
Lecture 3a: The Virulent Art
Lecture 3b: The Possibilities of Change
WEEK THREE: CRASH AND REBIRTH
Lecture 4a: Big Brother Steps In
Lecture 4b: The Comics Code Authority
Video 7: Fredric Wertham and the Atomic Age (w/Jim Vacca)
Lecture 5a: The Silver Ages Rises
Lecture 5b: Silver Age Master
Lecture 6a: Underground Comix
Lecture 6b: Black and White
Video 8: Comics Economics (w/Wayne Winsett)
WEEK FOUR: PATERNITY AND CREATIVITY
Lecture 7a: The Death of the Father
Lecture 7b: The Birth of the Children
8: Art Spiegelman’s Maus
a: An American Artist
b: How to Read a
Book 9: Alison Bechdel’s Fun Home
a: Finding Yourself in a Book
b: What Defines Art
WEEK FIVE: GENRE
Lecture 10: Frank Miller’s Dark Knight Returns
a: Innovation and Originality
b: The Rules of Genre
c: Who is The Batman?
Lecture 11: Warren Ellis and John Cassady's Planetary
a: The Possibilities of Genre
b: The Limits of the Page
Lecture 12: Neil Gaiman, Bill Willingham, Brian K. Vaughan, Fiona Stables, and the Vernacular Canon of Fantasy
WEEK SIX: MEDIA
Lecture 13: Alan Moore and Dave Gibbons’ Watchmen
a: The Media
b: The Poetics of the Page
Lecture 14: Joe Sacco’s Palestine
a: Faces Tell Stories
b: Dead Ends
Lecture 15: Mark Millar and Bryan Hitch’s The Ultimates
a: War Machine
b: Star Power
WEEK SEVEN: CONCLUSION
Lecture 16: Chris Ware's Jimmy Corrigan and Building Stories
a: The Aesthetics of Loneliness
b: The Book of Honesty
Lecture 17: Comics Energy
Video 8: The Community of Comics (w/Chris Angel)
No background reading in
comics is required. Comics are for
In the spirit of a free course, I do not
require you to buy books for this course. The lectures and assignments
are all designed to be self-contained. Beyond the size of the class, this is the chief difference between the
MOOC and the versions of the course I teach at the University of
I do encourage you to apply what you learn in the lectures to the comics you own, buy off the shelf of your local comic store, or borrow from your local library. Reading as many comics as you can, as slowly and as carefully as you can, regardless of which ones, will make you a more sophisticated reader.
If you are driven to buy some of the books, I would first suggest that you buy the following three:
1. Art Spiegelman's Maus (especially volume one)
2. Frank Miller's The Dark Knight Returns
3. Alan Moore and Dave Gibbons's Watchmen
If you still have some money burning a hole in your pocket, I would recommend these, in this order:
1. Alison Bechdel's Fun Home
2. Chris Ware's Building Stories
3. and finally, Kelly Sue Deconnick, Emma Rios, and Jordie Bellaire's Pretty Deadly.
The remaining books are:
1. Neil Gaiman, et al., Sandman, Volume 3: "Dream Country."
2. Bill Willingham, et al., Fables, Volume 1: "Legends in Exile."
3. Brian K. Vaughan and Fiona Stables, Saga, Vol 1.
4. Joe Sacco, Palestine.
5. Mark Millar and Bryan Hitch, The Ultimates I & II.
class will consist of lecture videos and powerpoints, each between 10 and 25
minutes in length. There will also be two close
reading papers, graded through peer-review, a comic shop project, and a comic
Is this class offered as Signature Track?
Yes, it is!
What resources will I need for this class?
For this course, all you need is an internet connection and the time to view the videos, write the essays, and enjoy some marvelous works of art. You do not need to purchase the comics, as the lectures and assignments are self-contained; of course, you might enjoy reading and owning the comics.
Is this course suitable for children?
Comics are written by adults and are about themes that adults think about. This course deals with these mature, often passionate and painful, themes. It is not for children.
But aren’t comics really for illiterates?
Comics are a vibrant art form that spans every aspect of the humanities: literature and creative writing, art and design, world history, and studies of society, gender, race, and class. If you haven’t read comics, or just haven’t read them in a long time, you are in for a profound experience.
Who would win in a fight, Superman or Dr. Manhattan?
This course isn’t really about questions like this, so much as big questions of art, history, and the human urge to create. If you would like to know the answer to this question, draw your own comic!
Why should I bother with the essays?
Every writer can improve. Writing essays will develop your writing skills and help you articulate your imagination.
What are three cool things I'll learn from this class?
You will learn a mode of reading that will allow you to appreciate comics in a new depth. You will learn an effective mode of writing that will allow you to express your thinking clearly. Most importantly, you will also learn the power of the imagination as a force for change: Art is Generative, so there is always hope.