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Graphic narratives around the world have found lhemselves today beirlg read by certain types of readers. Literature scholars focus on elements such as character and plot structure, occupying their minds with what makes literature great and what some graphic nurratives share with that great literature. With a similar attitude, art historians focus on style, composition, and other artistic elements in graphic narratives that connect them to the art history timeline that goes back to cave paintings. Another type of audience exists, one that does not consider what graphic narratives are and whether they belong to an existing formal area of study. This type of audience is the reader who naturally reads any graphic narrative like a child. Appropriately, graphic narratives have been intentionally designed for the child-like reader. It makes sense then that this sort of audience can accurately extract the essence of this form of expression. Both comics readers and comics artists understand that graphic narratives do nol exclusively belong to either art or literature and that they are meant to be focused on the child and all the forms in which the child appears.


This paper was a recipient of the 2012 Booth Library Awards for Excellence in Student Research and Creative Activity, Undergraduate level.

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