In the Gutter, Between the Panels: The Art of Comics

Honors Core IV

Spring 2001

Tuesday / Thursday 10:50-12:05

McAllister 303

Instructor: Noel Murray

Office Hours: By Appointment

E-mail: bear@conwaycorp.net

Description: Why is a single drawing considered art, but two drawings in sequence considered an amusing novelty? This course will attempt to understand the purpose and nature of all art by examining the history and special quality of comics -- an often marginalized synthesis of several more respected artforms. We'll be looking at newspaper strips, comic books, and graphic novels, with special emphasis given to the “underground” artists who have used an outsider medium to present deeply personal or even downright scandalous impressions of the world in which we live. From the rawest pulps to the most rarefied literature, comic art has the potential to encompass any theme or story that burns to be expressed. We'll be looking at the artists who use the medium to its fullest and the artists who coast on craftsmanship -- and we'll be learning how to tell the difference.

Objectives:

+ To survey the history of the comics medium and to understand how an artform develops

+ To discuss the relevant issues that affect all artists – free expression, censorship, commerce

+ To observe how social history is revealed through popular art

+ To investigate whether genre strictures or corporate patronage limits artistic expression

Texts:

Scott McCloud, Understanding Comics

Scott McCloud, Reinventing Comics

Alan Moore & Brian Bolland, Batman: The Killing Joke

Seth, It’s A Good Life If You Don’t Weaken

Will Eisner, New York: The Big City

Packets of comics to be distributed at class time

A Few Notes On The Reading:

+ In this class, we will be reading a large quantity and a large variety of comics material, and though comics generally take less time to read than plain text, allow yourself time to examine the artwork (however insufficiently reproduced) and understand how the drawings advance the story -- a simple reading of the text is not enough to fully appreciate a piece

of comic art.

+ The amount of comics in the reading packets may seem at first overwhelming;

but don’t get anxious about keeping up. Aside from the ideas in McCloud’s books, you will neither be explicitly tested nor called on in class to discuss something that you may not have had time to read. Although the class discussion will be more lively (and your participation more relevant) if you have read everything, I’ll understand if it takes a

little time to catch up. Try to have read at least half of what’s in each packet before class time, so that you’ll be able to contribute.

+ Similarly, unless expressly directed by me, don’t feel compelled to read any comics story that you either dislike intensely or find unbearably offensive. If you feel you just can’t bring yourself to read something, see me, and we’ll work out an alternative. Anyone who is in this class expecting to read nothing but Superman and Charlie Brown, please

reconsider your choice. We will be reading light fare at times, but many of the art we will be looking at in this class is patently adult, with profanity, nudity, and graphic sex and/or violence.

Requirements:

+ Class Participation.

You will be expected to attend class regularly, and to contribute to the discussions, even if it’s just to express a simple opinion about the material we are covering that day. You may be called on for comment if the conversation lags or if I feel we need to hear your voice; if you have no comment or if you haven’t read the material, please be honest – unless your reticence is habitual, you will not be penalized for neutrality (or ignorance). If you have to miss a class, please contact me to receive your reading packet for the next class. I have no explicit grade reduction policy for missed classes, but clearly, if you are not here, you cannot participate, and your grade will suffer accordingly. Please be responsible.

+ Listserv.

At the end of each class, I will offer a topic for further discussion. You will be expected to post a short (but no less than 300 word) response to the topic before the next class commences. Your post will be read by everybody in the class, so please be respectful and use proper grammar. Anybody in the discussion group is welcome to respond to your comments, and you are welcome to respond to theirs. I encourage a lively debate out-of-class. I will be reading all of the posts, but will not be writing responses; however, I hope that the written discussion will influence and become part of our face-to-face discussions. If you fail to post on-time or if I feel you are not giving sufficient thought to your postings, I will give you fair warning and a chance to improve before your grade suffers. (See separate page of notes for further Listserv instruction).

+ Projects.

There are 7 easy-to-accomplish projects assigned throughout the semester, which are either detailed or hinted at in the syllabus. Some involve an artistic effort, but be assured that you will be graded on the effort alone, not the art.

+ Paper.

There will be one short (1200-1600 word paper due by May 1st. A selection of topics for the paper will be available after the class of April 12th. If anyone needs to start early on the paper, let me know and I can provide you with a topic selection earlier in the month (but not before April 1st).

+ Exam.

The final exam -- a choice of short essay topics -- will be Tuesday, May 8th at 11 AM.

CLASS SCHEDULE / READING SCHEDULE

TUESDAY, JANUARY 9TH -- INTRODUCTION

Theme: What is this class all about?

In-class Reading: “I Guess,” by Chris Ware (6 pages)

Between-class Reading: “The History of Superhero Comic Books,” by Jamie Coville (8 pages); Excerpt from The Adventures of Kavalier & Klay, by Michael Chabon (5 pages); Introduction to The Comic Book Heroes, by Jules Feiffer (22 pages); “The Killer,” by Will Eisner (7 pages); “The Embezzler,” by Will Eisner (7 pages); “Mad Journey,” by Al Williamson (7 pages)

THURSDAY, JANUARY 11TH -- EARLY HISTORY

Theme: Does the development of a medium affect the way the medium is used?

In-class Reading: Samples of RF Oucault, Windsor McKay, George Herriman; “What If Superman Ended the War?,” by Jerry Siegel & Joe Shuster (2 pages)

Between-class Reading: Understanding Comics, by Scott McCloud, chapters 1 through 4 (115 pages); “Icons,” by Peter Bagge (4 pages); “A Night on the Town,” by Dave Sim (7 pages); “The Reversible Man,” by Alan Moore & Mike White (4 pages)

TUESDAY, JANUARY 16TH -- UNDERSTANDING COMICS, PART ONE

Themes: Do we read comics all the time and not realize it?; What special properties do comics have?

In-class Reading: “Under the Desert Stars,” by Paul Chadwick (8 pages); “The Grey Embrace,” by Paul Chadwick (8 pages); “A Billion Conscious Acts,” by Paul Chadwick (6 pages)

Between-class Reading: Understanding Comics, by Scott McCloud, chapters 5 through 9 (98 pages); “Here,” by Richard McGuire (6 pages); Excerpt from The Adventures of Kavalier & Klay, by Michael Chabon (2 pages)

THURSDAY, JANUARY 18TH -- UNDERSTANDING COMICS, PART TWO

Theme: How can the limitations of the medium be turned to advantages?

In-class Reading: “Class Antagonism,” by Harvey Pekar & Gerry Shamray (1 page); “A Ride Home,” by Harvey Pekar & Susan Cavey (5 pages)

Between-class Reading: Samples of “Clifford,” by Jules Feiffer (10 pages); Samples of “Peanuts,” by Charles Schultz (6 pages); Samples of “Pogo,” by Walt Kelly (4 pages); “Diamond Mine,” by Carl Barks (9 pages); Samples of “Sick Sick Sick,” by Jules Feiffer (6 pages); “Good Ol’ Gregor Brown,” by R. Sikoryak (2 pages); “Good Grief,” by Seth (1 page)

TUESDAY, JANUARY 23RD -- POST-WAR COMIC STRIPS

Theme: How did the Baby Boom and nuclear anxiety affect the comics page?

Between-class Reading: “The First Batman,” by Bill Finger & Sheldon Moldoff (10 pages); “The Origin of the Superman-Batman Team,” by Bill Finger & Dick Sprang (12 pages); “Superman and Batman’s Greatest Foes,” by Bill Finger & Dick Sprang (12 pages); “Bat-Mite Meets Bat-Girl,” by Bill Finger & Sheldon Moldoff (9 pages); “Clark Kent’s College Days,” by Otto Binder & Al Plastino (10 pages); “The Romance of Super Baby & Super Lois,” by Leo Dorfman & Kurt Schaffenberger (8 pages)

THURSDAY, JANUARY 25TH -- THE SILVER AGE

Theme: How did TV and teen culture shape the superhero?

PROJECT A: Ongoing -- collect comic strips or graphic art from newspapers

and magazines that strikes you as interesting from an aesthetic (or merely

entertaining perspective). Bring them in to me as you find them.

Between-class Reading: “The Death Of Superman,” by Jerry Siegel & Curt Swan (24 pages); “The Amazing Story Of Superman-Red and Superman-Blue,” by Leo Dorfman & Curt Swan (27 pages); “The Living Brain,” by Stan Lee & Steve Ditko (17 pages); “Spider Man Goes Mad,” by Stan Lee & Steve Ditko (20 pages); “If This Be My Destiny,” by Stan Lee & Steve Ditko (20 pages); “The Flash - Fact Or Fiction,” by Cary Bates & Ross Andru (22 pages)

TUESDAY, JANUARY 30TH -- THE MARVEL AGE

Themes: How does business competition shape art?; Can art be created on an assembly line?

Between-class Reading: “Two Lives,” by Will Eisner (7 pages); “Ten Minutes,” by Will Eisner (7 pages); “Gerhard Schnobble,” by Will Eisner (7 pages); “The Story of Rat-Tat,” by Will Eisner (7 pages); “Kill!” by Harvey Kurtzman (6 pages); “Undercover,” by Wally Wood (7 pages); “Master Race,” by Bernie Krigstein (8 pages); “If Death Be My Destiny,” by Jim Steranko (11 pages)

THURSDAY, FEBRUARY 1ST -- THE INNOVATORS

Theme: Is craft the same as art?

In-class Reading: Samples of Jack Kirby, Joe Kubert, Carmine Infantino, Gil Kane, and Neil Adams

PROJECT B: Write 300-word description of a picture that I will give you at the end of class. Description is due by the start of class on February 8th.

Between-class Reading: Reinventing Comics, by Scott McCloud, pages 1-55; “Burning Brightly,” by Paul Chadwick (8 pages); “The Truth,” by Dan Clowes (1 page); “Art School Confidential,” by Dan Clowes (4 pages)

TUESDAY, FEBRUARY 6TH -- REINVENTING COMICS, PART ONE

Themes: How have different creators approached the medium of comics; Is art a sham?

Between-class Reading: “Life Among the Constipated,” by R. Crumb (1 page); “Stoned,” by R. Crumb (4 pages); “Those Cute Little Bearzie Wearzies,” by R. Crumb (1 page); “Automatic Transmission,” by Willy Murphy (1 page); “Teddy Beariana,” by Kim Deitch (2 pages); “Anthropomorphism,” by Kim Deitch (3 pages); “TV and Me,” by Km Deitch (6 pages); “Maus,” by Art Spiegelman (3 pages); “A Day At The Circuits,” by Art Spiegelman (1 page)

THURSDAY, FEBRUARY 8TH -- THE UNDERGROUNDS

Themes: What is satire?; What does free expression mean?

Between-class Reading: “How I Quit Record Collecting” by Harvey Pekar & R. Crumb (6 pages); “Let’s Talk Sense About This Here Modern America,” by R. Crumb (5 pages); “Where Has It Gone, All The Beautiful Music Of Our Grandparents?” by R. Crumb (5 pages)

TUESDAY, FEBRUARY 13TH -- CRUMB, PART ONE

In-class Viewing: Crumb, Directed by Terry Zwigoff

Between-class reading: Weirdo #11 cover, by R. Crumb; Samples of Sketchbooks by R. Crumb (10 pages); Interview with Terry Zwigoff by Noel Murray (2 pages)

THURSDAY, FEBRUARY 15TH -- CRUMB, PART TWO

In-class Viewing: Crumb, Directed by Terry Zwigoff

In-class Reading: “When The Jews Take Over America,” by R. Crumb (6 pages)

PROJECT C: Design a comics page based on a short story I will give you. Arrange the panels and ink in the figures on a sheet of white typing paper. Stick figures are okay; no dialogue is required. Page is due by the start of class on February 22nd.

Between-class Reading: Reinventing Comics, by Scott McCloud, pages 56-125; “Comic Shop Clerks of North America,” by Drew Friedman (1 page), “Busted,” by Joyce Farmer (5 pages)

TUESDAY, FEBRUARY 20TH -- REINVENTING COMICS, PART TWO

Themes: What are creators’ rights?; Is there such a thing as freedom of speech?

Between-class Reading: “I Am Curious (Black),” by Robert Kanigher & Werner Roth (14 pages); “Common Sense,” by Harvey Pekar & Val Mayerik (7 pages); “An American In Palomar,” by Gilbert Hernandez (23 pages); “Sometimes I Get So Mad,” by Howard Cruse (2 pages); “Jerry Mack,” by Howard Cruse (5 pages); “I Always Cry At Movies,” by Howard Cruse (2 pages); “Gay Cruising,” by Maurice Vellekoop (3 pages); “The 8 Pillars of Gay Culture,” by Maurice Vellekoop (4 pages)

THURSDAY, FEBRUARY 22ND -- “MINORITY” VISIONS

Theme: What can art tell us about people unlike ourselves?

PROJECT D: Go into any store that sells comics -- chain bookstore or comic book store, here or in Little Rock or in your home town -- and buy any one comic that you find interesting from a scan of the cover and a perusal of the contents. It can be as cheap or as pricey as you like, as small or as large as you like. Genre is unessential; find something that you think looks good. Bring your purchase to me by the start of class on March 1st.

DO NOT LOSE THE COMIC! We will be using it again for Project E.

Between-class Reading: “The Most Obvious Question,” by Lynda Barry (10 pages); “Bitchy Bitch In School,” by Roberta Gregory (11 pages); “Babs’ Diary,” by Peter Bagge (4 pages)

TUESDAY, FEBRUARY 27TH -- WOMEN

Theme: Is it fair to categorize art by the type of person who creates it?

Between-class Reading: None explicitly; consider starting on Reinventing Comics by Scott McCloud, pages 128-238, for discussion at the end of the course

THURSDAY, MARCH 1ST -- CATCHING UP

In-class Presentations: Results of Projects B & C

Between-class Reading: Samples of “Doonesbury,” by Garry Trudeau (6 pages); Samples of “Bloom County,” by Berke Breathed (4 pages); Samples of “Calvin & Hobbes,” by Bill Watterston (10 pages); Samples of “The Far Side,” by Gary Larson (10 pages); Samples of “Mutts,” by Patrick McDonnell (10 pages)

TUESDAY, MARCH 6TH -- THE MODERN COMIC STRIP

Themes: How has the comic strip changed from its origins to now?; What is the purpose of the modern comic strip? In-class Reading: Strips brought in by students

Between-class Reading: Samples of “Julius Knipl,” by Ben Katchor (10 pages); Samples of “Life In Hell,” by Matt Groening (10 pages); Samples of “Acme Novelty Library,” by Chris Ware (10 pages); Samples of “Jim’s Journal,” by Scott Dikkers (4 pages); Samples of “Ernie Pook’s Comeek,” by Lynda Barry (8 pages); “So Help Me,” by Mark Newgarden (2 pages)

THURSDAY, MARCH 8TH -- THE POST-MODERN COMIC STRIP

Themes: Why are these strips published in “alternative” papers?; What is their connection to traditional comics?

PROJECT E: Geek for a day. Details at the end of class on March 8th.

Between-class Reading: “Quick Trim,” by Howard Cruse (2 pages); “At The Mall,” by Rick Geary (2 pages); “The Grand Tour,” by Rick Geary (1 page); “Geniuses,” by Peter Bagge (1 page); “Game Show Hosts,” by Drew Friedman (1 page); “A Fan Letter,” by Gilbert Hernandez (3 pages); “A Date With Hopey,” by Jaime Hernandez (4 pages); “Jack Survives,” by Jack Moriarty (1 page); “The Future,” by Dan Clowes (5 pages)

TUESDAY, MARCH 13TH -- THE NEW UNDERGROUNDS, PART ONE

Theme: What do the new underground artists have in common with their predecessors?

In-class Reading: Samples of Maus, by Art Spiegelman

Between-class Reading: “Black Cherry,” by Michael Dougan (3 pages); “How I Loved The War,” by Joe Sacco (32 pages); “Contagious,” by Charles Burns (4 pages); “Gen Ecch,” by Evan Dorkin (8 pages); “Needledick,” by Dan Clowes (1 page); “Rock and Roll Refugee,” by Peter Bagge (9 pages); “Drop,” by Adrian Tomine (1 page)

THURSDAY, MARCH 15TH -- THE NEW UNDERGROUNDS, PART TWO

Theme: Does the age of the artist impact the age of their audience?

In-class Reading: Samples of “Cerebus,” by Dave Sim

PROJECT F: Choose any one comics story that you have read for this class before today, and give it to a friend or acquaintance who is not taking this class, for him or her to read. Pick something that you like, and make it fairly short, so that it’s not an imposition on your reader. When they finish the story, note their responses to the story, paying particular attention to what difficulties they had with the piece, and what they enjoyed about it. We’ll be sharing our experiences later in the semester.

Between-class Reading: “The Batman Nobody Knows,” by Frank Robbins & Dick Giordano (6 pages); “Must There Be A Superman?” by Elliot S! Maggin & Curt Swan (17 pages); “For The Man Who Has Everything” by Alan Moore & Dave Gibbons (40 pages); “The Secret Revealed,” by John Byrne (22 pages); “The Killing Joke,” by Alan Moore & Brian Bolland (32 pages); “Olympus,” by Alan Moore & John Totleben (34 pages)

TUESDAY, MARCH 20TH -- SPRING BREAK

THURSDAY, MARCH 22ND -- SPRING BREAK

TUESDAY, MARCH 27TH -- SUPERHEROES IN THE 70s AND 80s

Theme: Can superheroes be “relevant”?

In-class Reading: Samples of Walt Simonson, Frank Miller, and Bill Sienkiewicz

Between-class Reading: “Tales in the Sand,” by Neil Gaiman & Mike Dringenberg (24 pages); “Men Of Good Fortune,” by Neil Gaiman & Michael Zulli (24 pages); “A Tale Of Two Cities,” Neil Gaiman & Alec Stevens (15 pages); “In Dreams,” by Kurt Busiek & Brent Anderson (24 pages); “The Nearness Of You,” by Kurt Busiek & Brent Anderson (13 pages)

THURSDAY, MARCH 29TH -- SUPERHEROES IN THE 90s

Theme: Can superheroes be literature?

In-class Reading: Samples of Alex Ross and Rob Liefeld

PROJECT G: Scavenger Hunt. More details at the end of class on March 29th.

Between-class Reading: “Larceny, My Sweet,” by Kelly Puckett & Mark Parobeck (22 pages); “In The Spotlight,” by Kurt Busiek & Brent Anderson (24 pages); “Talking With Ted / Talking With Jack,” by James Robinson & Phil Jiminez / Lee Weeks; “How Things Work Out,” by Alan Moore & Rick Veitch;

TUESDAY, APRIL 3RD -- NOSTALGIA, PART ONE

Theme: Are there any new stories to tell?

Between-class Reading: “Byrdland’s Secret,” by Paul Chadwick (8 pages); “Generic Comics,” by Peter Bagge (3 pages); “I, Joey Heatherton,” by Drew Friedman (9 pages); Bring Me The Head Of Boba Fett,” by Evan Dorkin (10 pages); “Captain Rightful,” by Jay Stephens (24 pages)

THURSDAY, APRIL 5TH -- NOSTALGIA, PART TWO

Theme: How harmful is an addiction to juvenalia?

Between-class Reading: “Bizarro: Private Detective,” by Jerry Siegel & Curt Swan (13 pages); “Dead Dick,” by Art Spiegelman (1 page); “Frank’s Fish,” by Jim Woodring (3 pages); “Frank,” by Jim Woodring (4 pages); “I Strive For Realism,” by Paul Chadwick (12 pages); “Nature Boy,” by Dan Clowes (3 pages)

TUESDAY, APRIL 10TH -- ABSTRACTION

Themes: Is narrative a crutch?; Can dreams be stories?

In-class Reading: Samples of Gary Panter and Gilbert Hernandez

Between-Class Reading: “Caricature,” by Dan Clowes (15 pages); “Like A Weed, Joe,” by Dan Clowes (8 pages); “Lookout,” by Jaime Hernandez (4 pages); “Sleepwalk,” by Adrian Tomine (11 pages); “Echo Ave.,” by Adrian Tomine (5 pages); “Supermarket,” by Adrian Tomine (6 pages)

THURSDAY, APRIL 12TH -- NATURALISM

Theme: Can an artificial medium replicate reality?

In-class Reading: Samples of Jason Lutes, Howard Cruse, and Joe Kubert

PAPER ASSIGNMENT: Topics given at the end of class. Paper due at the start of class on May 1st.

Between-class Reading: “The Day Before The Be-In,” by Harvey Pekar & Greg Budgett / Gary Dumm (13 pages); “Awaking To The Terror Of A New Day,” by Harvey Pekar & Greg Budgett / Gary Dumm (9 pages); “Read This,” by Harvey Pekar & Greg Budgett / Gary Dumm (6 pages); “An Argument At Work,” by Harvey Pekar and Gerry Shamray (11 pages); “Where The Boys Are,” by Michael Dougan (6 pages); Samples of “Peep Show,” by Joe Matt (12 pages)

TUESDAY, APRIL 17TH -- AUTOBIOGRAPHY, PART ONE

Theme: Is everyday life interesting?

Between-class Reading: “Joe Matt,” by Seth (2 pages); “The Stroll,” by Dan Clowes (5 pages); “The Reject,” by Peter Bagge (8 pages); “Helder & “Showing Helder,” by Chester Brown (51 pages)

THURSDAY, APRIL 19TH -- AUTOBIOGRAPHY, PART TWO

Theme: How trustworthy is a memoir?

Between-class Reading: It’s A Good Life If You Don’t Weaken, by Seth (roughly half)

TUESDAY, APRIL 24TH -- IT’S A GOOD LIFE ...

Theme: Why are so many cartoonists stuck in the past?

Between-class Reading: It’s A Good Life If You Don’t Weaken, by Seth (the

remainder)

THURSDAY, APRIL 26TH -- ... IF YOU DON’T WEAKEN

Theme: Can we judge a man’s life as art?

Between-class Reading: Scan New York, by Will Eisner, and pick out interesting strips; Finish Reinventing Comics, by Scott McCloud

PAPER DUE AT THE START OF NEXT CLASS

TUESDAY, MAY 1ST -- WILL EISNER’S NEW YORK

Theme: How do we evaluate good and bad art?

Between-class Reading: Sample Scott McCloud’s on-line comics at his website

THURSDAY, MAY 3RD -- THE FUTURE

Themes: Is the comics medium dying?; What happens when a popular art is no longer popular?

FINAL EXAM