Graphic Arts Research Project - Drawing God by leah.dougherty@hotmail.co.uk Dougherty

DRAWING GOD LEAH DOUGHERTY

DRAWING GOD:

RELIGION & SEQUENTIAL ART LEAH DOUGHERTY

CONTENTS 1

Introduction

History of Religion & Sequential Art

Birth of the Graphic Novel William Blake The Graphic Novel Will Eisner

Illustrated Bibles Robert Crumbâ&#x20AC;&#x2122;s Genisis The Wolverton Bible The Gospel According to Chester Brown

27 28 30

Personal Endeavours Politics & Religion Maus Persepolis God & Love

Graven Images Who Watches the Watchmen? Thy Kingdome Come

57 59

Conclusion

Appendix Bibliography Interviews

18 20 21

41 41 44 48

INTRODUCTION

Introduction

n recent years the popularity of comic books, or perhaps more notably the ‘graphic novel’, has increased. The comic book genre is no longer exclusive to the typical comic book fans. Recent blockbuster films such as Batman Begins, V for Vendetta, Watchmen and 300 have gained them a whole new mainstream following. Comic books themselves have evolved; they are no longer restrained to the stories of grown men flying round in spandex. The birth of the graphic novel has moved the comic book onto a much deeper, sometimes emotional form of storytelling. I’m not a comic book reader of the likes of The Amazing Spider-Man or Batman (I used to collect the Beano and Dandy). However, the graphic novel is a form of literature that really appeals to me. The first graphic novel I read was Watchmen by Alan Moore (2007); it enthralled me just as a conventional novel should. Since then I’ve read many graphic novels and each one has kept me captivated to the last page. There are many different styles and themes tackled in graphic novels, just like there are many different genres of literature. One topic that seems to keep reoccurring is religion. This is a subject featured as a theme in many graphic novels. Whether it is stories of personal experiences, corruption, justice, good versus evil or illustrated Bibles. It is a subject (regardless of religious beliefs), that can affect one’s life. This is something I’d like to explore. It can be argued that whilst comic books may have grown in following, perhaps religion has decreased. In this ever more questioning and educated society, some people are challenging the concept of organised religion. But what happens when the two paths cross? Has this form of storytelling had any effect on religion, and why are so many comic books steeped in religious undertones?

HISTORY OF RELIGION & SEQUENTIAL ART

History of Religion & Sequential Art

Below: Fig. 1 - Stained glass window depicting The Massacre of the Innocents.

t is undeniable that the Bible and other religious texts hold some of the most amazing stories ever told. They are full of tales of temptation, rebirth, and amazing gods and creatures. Whether you believe them to be fact or fiction is another issue. Since the dawn of man, before the written language, drawings have been used by humans to communicate with each other. It is a universal language that has spanned the centuries. An obvious example of this is cave paintings dating back to prehistoric times. Then there are the ancient Egyptian hieroglyphics which used coding and repeated symbols as a form of written language. Illustrations accompanying text or sequential art have always been an effective way of telling a story and the religious world is no exception. If you go into a church you will often find beautiful stained glass windows. These windows often depict images from the Bible, or of saints. They’re not just there to look pretty. Stained glass windows have been appearing in churches or cathedrals as far back as the middle ages. In those days, it would not be unusual for people who attended church to be illiterate. The ‘illustrated’ windows were a way to tell the stories so people could understand and are sometimes referred to as ‘The Poor Man’s Bible’ for this reason. As a child (brought up as a Catholic) I would attend church every Sunday and go to ‘little church’ as I knew it by. I was always fascinated by the images of the stained glass windows. The bench we sat on was next to the image of Joseph and a pregnant Mary fleeing on a donkey. In the background was a scene of terror as King Herod ordered all the baby boys in Nazareth to be killed (Fig. 1). I would sit there studying this image each week.

Left: Fig. 2 - Spread from Noahâ&#x20AC;&#x2122;s Ark book by Fran Thatcher

I also found the stories from the Bible very gripping, and the illustrations that accompanied them were even more exciting. The stories of the Old Testament really grabbed my attention. I remember a set of books I owned called My Bible Story Library. The books included charming little illustrations by Fran Thatcher (1992). My favourite by far was the Noahâ&#x20AC;&#x2122;s Ark book, following my obsession with animals. The illustrations were very colourful and light-hearted to appeal to children (Fig. 2). The text may not unite with the image, but books for children serve a different purpose. The text has to be clear and easy to read hence the rather dull Time New Roman font, this was kept to a minimal. The illustrations really are the main focus of each page. This is to help the child read, the illustrations put the words into context. The child can therefore make a connection between the text and image and understand what they are reading.

Right: Fig. 3 - View of the ceiling in The Sistine Chapel. Together, the various blocks of illustrations look almost like a comic book.

Fresco paintings are also an effective means to depict religious stories. In Italy they are very prominent. The Scrovegni Chapel in Veneto contains the work of Giotto di Bondone. The artwork depicts the life of Jesus and his Mother Mary. Other famous work depicting religion includes the ceiling within The Sistine Chapel. The walls again depict the life of Jesus as well as Moses and features work by renowned painters such as, Botticelli, Ghirlandaio, Perugino, Pinturicchio, Signorelli and Cosimo Rosselli. The amazing ceiling fresco illustrates scenes from Genesis painted by Michelangelo (Fig. 3). But perhaps the most referred to and famous painting is The Last Supper by Leonardo Da Vinci. Recently I visited Venice and was amazed by the grandeur of the when looking up at these paintings I was reverted back to my childhood, examining them like I did the stained glass windows. Many artists have created sequential art work based on religion. Itâ&#x20AC;&#x2122;s interesting to see how different artists tackle the subject. As discussed earlier, illustrated Bible stories are usually aimed at young children. However, I have come across more and more illustrated books, based on religion, which have adults in mind.

BIRTH OF THE GRAPHIC NOVEL

Right: Fig 4. Page from William Blake’s The Marriage of Heaven and Hell

William Blake

illiam Blake (1757-1827) is an excellent example of how text and image can really work together harmoniously. In some ways you could liken his work to an early graphic novel. His book The Marriage of Heaven and Hell (1794) acts as his own interpretation of the Bible. In this book Blake explores the themes of good and evil and compares it to Heaven and Hell. He states that in order to live a good life they must coincide hence the use of the word ‘marriage’ in the title. ‘Good is the passive that obeys reason. Evil is the active springing from energy. Good is Heaven. Evil is Hell.’– William Blake The plates of illustrations in this book have been described as ‘illuminated illustrations’. These pieces are not dissimilar to the illuminated manuscripts of religious texts. However, Blake’s interpretations are much more understated than the grandeur of the intricate, gold plated designs of the illustrated manuscripts. His work has a beautifully delicate hand drawn quality. The book describes Blake’s visit to Hell like that of Dante’s Divine Comedy (1321), or Milton’s Paradise Lost (1667). The illustrations themselves mostly feature swirls of fire as a metaphor for the wrath of God. During his visit, Blake goes to a printing house in Hell. There he sees the method in which knowledge is passed from generation to generation. He learns that by using the printing method of etching it will help to ‘cleanse to doors of perception’. Consequently, etching was used to produce this book. At the time, this book was quite revolutionary as it challenged people’s perceptions of the Bible as well as their perceptions of Heaven and Hell.

The Graphic Novel

he Term ‘graphic novel’, is one that has split many people’s opinions. Some people see the expression simply as a marketing scheme to sell more expensive comic books. Many artists have tried to avoid using the term, adapting their own interpretations such as: ‘Illustories’, ‘Picto-Fiction’, ‘Picture Novella’. The fact of the matter is all these words are a way to get away from the stigma that is also associated with the phrase ‘comic book’. Whereas the comic book appeals more to a younger audience, authors of graphic novels are aiming their books at a more mature audience. They want to be taken more seriously. In my opinion, Jeff Smith (1960 - Present), creator of graphic novel Bone (1991), perfectly summed up these points in an interview with Rogers for Newsarama: ‘Graphic novel... I don’t like that name. It’s trying too hard. It is a comic book. But there is a difference. And the difference is, a graphic novel is a novel in the sense that there is a beginning, middle and an end.’

Will Eisner

ill Eisner (1917-2005) is a highly influential figure in the comic book world. He is also responsible for creating The Spirit (which was released as a film in 2008). Perhaps more notably, he established the graphic novel as a form of literature. Eisner certainly did not invent the idea of using text and image to tell a story. He was however the first person to use the phrase ‘graphic novel’. After years writing The Spirit, he grew tired of the restrictions of the comic strip and set out to explore stories and characters in a more ground-breaking manner. In 1978 Eisner released A Contract With God. It was on the front cover of this book that the term ‘Graphic Novel’ was first used. You can immediately notice the difference in this book compared to a conventional comic book. The text is not confined to panels. Like Blake’s The Marriage of Heaven and Hell, the text and illustrations work together as one image. The book consists of several short stories set in 1930’s America. It follows the lives of people living in the tenement blocks of the Bronx. The title story is partially autobiographical and focuses on a Jewish man, Frimme Hersh, angry with God after his adopted daughter dies; claims God broke their contract. The title of the story is illustrated on a stone, symbolising the story of Moses, the Ten Commandments (fig. 5). This perfectly sets up the premise of the story to follow and the themes within. The first four pages are set outside during a downfall of rain and follows Hersh to his tenement home. We learn so much about this character within this first scene. From his stance, the reader learns that this character in not happy. He is hunched over with head down; we only see his face when

Above: Fig. 5 - Title page from A Contract With God by Will Eisner.

we realise the cause of his sadness. The rain is also representative of Hersh’s emotion of depression which is emphasised by the text, ‘Only the tears of ten thousand weeping angels could cause such a deluge’ (Fig.6). This is a metaphor for the enormity of his sadness. Even the design of the type in this frame supports the climate, an example of how Eisner perfectly marries the illustration and text together. The language is full of religious references so with his emotions, we understand the character is a religious man: ‘The tenement at no.55 Dropsie Avenue seemed ready to rise and float away on the swirling tide. ‘Like the ark of Noah...it seemed to Frimme Hersh’. When Hersh arrives home, he can no longer contain his emotions. We first find out about his background, how he grew up as on orphan in Russia, then chosen by the elders to go to America. On his way to America, Hersh questioned the Rebbe (Yiddish word derived from the Hebrew word Rabbi) he was travelling with. He asks if God is just, and if God would know if he was good. The Rebbe rather passively answered, ‘why not? Does it not say that God is all-knowing!?’ With this Hersh decides to make a contract with God. When he arrives in New York, he sticks to the terms of his contract with God and devotes his life to helping others. One day he finds a baby girl abandoned on his doorstep. He sees this as part of his contract, a test perhaps... he raises the child as his own daughter. Obviously, when he is told his daughter suddenly dies, Hersh’s world comes tumbling down. He sees this as God breaking their contract; everything he once believed in seems meaningless. Angrily, he argues with God in a great scene where God’s wrath is represented as thunder and lightning (Fig. 7 & 8).

Left: Fig. 6 - Page from A Contract With God depicting Eisner’s use of religious language. Overleaf: Fig. 7 & 8 Double page showing the argument between Hersh and God.

THE ILLUSTRATED BIBLE

Robert Crumb’s Genesis Below: Fig. 9 - First page from Crumb’s Genesis. Example of his depiction of God. Right: Fig. 10 - One of the more explicit pages from Crumb’s Version of Genesis. This is the story of Lot and his daughters. They decide to get their father drunk and sleep with him in order to carry on the family lineage. Crumb includes descriptions of each chapter at the back of the book. For this chapter he says: ‘This is not so shocking in the context of matrilineal descent’ he goes on to say, ‘Later on in the Torah, under the laws of Moses, such incestuous behaviour was forbidden’.

As mentioned earlier, there are many books produced to illustrate the stories from the Bible. These are mostly aimed at children and do not really follow the full story from the Bible. So how do adult versions compare, and what is the purpose of these books? One book released in October 2009 is The Book of Genesis Illustrated by Robert Crumb (1943 - Present) in which he illustrates the original text. As a fan of Crumb and knowing he is far from religious, I was interested to learn he had created this book. Crumb is an American cartoonist and is known for his distinctive style of drawing and as prolific figure of the ‘Underground Comix’ era in the 1970’s. It would therefore be natural to think that his version would be a satirical depiction of the Bible. In an interview with Francoise Mouly in 2009 (Art editor for The New Yorker) Crumb talked about why he decided to do a literal illustration of the Book of Genesis. He attempted a humorous take on the story of Adam and Eve, but decided none of his ideas really worked. In the interview he states: ‘The original text itself is so strange and interesting that just doing a straight illustration of it was strong enough.’ Graphic novels can reach a larger audience who ordinarily might not think twice about reading Bible stories. During the interview, Francoise Mouly says she is someone who has never read the Bible before but has since been able to thanks to Robert Crumb, which is interesting because his version uses the exact wording from the Bible. Only the illustrations are Crumb’s interpretations, but people are reading it because they are already fans of Crumb, or graphic novels. This proves the effectiveness of sequential art and why this form of literature is just as good as conventional literature.

The Wolverton Bible

Above: Fig. 11 - Exaple of one of Wolverton’s ‘grotesque’ drawing style. Left: Fig. 12 - One of the more ‘shocking’ illustrations from The Wolverton Bible. This particular image depicts part of Revelations.

Another book of illustrated Bible stories is The Wolverton Bible (2008) by Basil Wolverton (1909 – 1978). Robert Crumb actually said in an interview that one of his influences for his interpretation of the Bible was Wolverton’s work. Basil Wolverton was also an American cartoonist. His work was humorous and sometimes quite grotesque(Fig. 11). He is known for his wacky characters featured in such magazines as Powerhouse Pepper and MAD. In contrast to Crumb, Wolverton was an Evangelical Christian. His book, which was also released in 2009, is a collection of illustrations which Wolverton produced for The Worldwide Church of God. It features stories from The Old Testament and The Book of Revelations. He felt that this was his best and most important body of work: ‘I prefer to be best remembered for The Story of Man. I feel that the [sacred] kind of work I’ve been doing in recent years is of greater value to others’. Basil Wolverton’s depictions of the Bible (like most of his work) are quite shocking to look at (Fig. 12). He did not want to create a book aimed purely for children as he thought most children’s Bibles at the time filtered the stories in order to be ‘non-frightening’. In the introduction to The Wolverton Bible, Basil Wolverton’s son Monte Wolveton writes: ‘He wanted to come across as a straight forward account, with edgy, challenging illustrations. He hoped his product would be read by secular types as well as religious’.

This, like Crumb’s, this book follows the idea of using the medium of the comic book to reach a larger audience. When these illustrations were originally released in 1972, there were many complaints about the horror featured in his version of the Bible. However, Wolverton stood by his belief that The Old Testament needed to be depicted for ‘what it was’. An interesting note about Wolverton’s work is that he has not illustrated any of The New Testament. According to Monte Wolverton, this is because Herbert W. Armstrong (1892 – 1982, founder of The Worldwide Church of God) advised him not to illustrated The New Testament as he believed to picture Jesus in any form would go against The Second Commandment. The Second Commandment states: ‘You shall not make for yourself a graven image, or any likeness of anything that is in heaven above, or that is in the earth beneath, or that is in the water under the earth; you shall not bow down to them or serve them; for I The Lord your God am a jealous God, visiting the iniquity of the fathers upon the children to the third and the fourth generation of those who hate Me, but showing steadfast love to thousands of those who love Me and keep My Commandments’. (Exodus 20:4-6 RSV) Violation of this commandment has two forms: worship of false Gods by means of religious statues or pictures as well as the worship of the ‘True God’ by means of religious statues or pictures. Wolverton’s version of the creation story does not include any imagery or representation of God whereas Robert Crumb’s book does (Fig. 10). This again would be in violation of The Second Commandment. Crumb has said the idea for his image of God came to him in a dream. ‘He has a white beard but he actually ended up looking more like my father. He has a very masculine face like my father’.

The illustrations from each book do contain similarities. Both use a lot of line work and detail. However Wolverton’s illustrations are cleaner and clearer compared to Crumb’s. The Wolverton Bible contains large, almost full page illustrations (Fig. 14) which could actually be shown to children. Whereas Crumb’s Genesis is quite crude, containing some erotic scenes and certainly has an adult audience in mind (Fig. 9 & 13).

Overleaf: Fig. 13 - Page from Robert Crumb’s The Book of Genesis Illustrated. Fig. 14 - Page from The Wolverton Bible by Basil Wolverton.

The Gospel According to Chester Brown Both these books focus on the Old Testament of the Bible, but what of the New Testament? Chester Brown (1960 - Present) a Canadian cartoonist is one person that has attempted the task. In 1987, Brown started including his adaptation of the Gospel of Mark in his comic book Yummy Fur and has also went on to depict the Gospel of Matthew. He began by producing literal illustrations, but began to develop it into more of his own ideas and viewpoints. He even included work based on the controversial and disputed Secret Gospel of Mark. The interesting thing about this work is that Chester Brown was brought up as a strict Christian Baptist. As he has grown up, and throughout his life, he has fluctuated between belief and non-belief. He used his adaptations of the Gospel as a voyage of discovery into his true beliefs. A number of writers/artists have used the genre of graphic novels to explore their religious beliefs. They have opened their hearts and bared their souls onto the page producing some insightful and moving stories.

Left: Fig. 15 - Page from Chester Brown’s Yummy Fur Issue #10 depicting Mark (8:229:13) The Transfiguration. The illustrations of Mark are quite straight and contain a lot of text from the Bible. Below: Fig. 16 - Page from Chester Brown’s Yummy Fur Issue #16 depicting Matthew (2:14-2:23) King Herod orders all the baby boys in Nazareth to be killed. These illustrations based on Matthew are very much Brown’s interpretations. They are a lot more graphic and violent, as can be seen in the third frame where he illustrates soldiers killing babies. Perhaps this is to emphasise some of the shocking events that occur in the Bible.

PERSONAL ENDEAVOURS

Politics & Religion

olitics and religion are two subjects that often go hand in hand. Many wars have been fought over the centuries when the two have collided. It is a subject matter that has been tackled in several graphic novels. They are often autobiographical following the protagonist’s experiences.

Maus

ne of these graphic novels includes Maus (Part 1. 1986, Part 2. 1992) by Art Spiegelman (1948 - Present). It is set in Nazi Germany and follows Spiegleman’s family during the holocaust. It is written from his father’s perspective, based on true events. One of the most interesting features in this book is Spiegleman’s fantastic use of characterisation. Rather than drawing human subjects, he depicts the Jews as mice, Germans as cats and Americans as dogs. During the war, part of Hitler’s ‘justification’ for killing the Jews was because they killed Jesus and Hitler was a Christian. The Nazi’s hated Jews and regarded them as vermin, therefore Spiegleman chose to use this term literally. But, he did choose to use mice rather than rats which one might argue a more appropriate symbol of the connotation ‘vermin’. This is to depict the ridiculousness of the Nazi views. Although they saw the Jews as vermin, they were strong willed and resilient against the hardships bestowed upon them. The use of cats for the German soldiers’ depicts their cruel and sly nature. A cat will bring its owner a dead mouse as a gift, reminiscent of the horrors of the holocaust. Spiegelman draws the cats with harsh features and sharp fangs, an unwelcome image. The Americans (or Dogs) are seen as the

Left: Fig. 17 - Page from Maus showing Jews as mice and Nazis as cats. Above: Fig. 18 - Illustration from Maus in which the pathway has been shaped as the swastika symbol which is associated with the Nazis. The swastika was originally a religious symbol used within Hinduism. It represented sacred fire and fruitfulness. It also represents of Hinduism is about every part/direction of your life. An interesting contradiction to its use in this image where there is seemingly no direction. It was also used frequently on old Christian monuments in Rome (see Taylor)

Below: Fig. 19 - Illustration of a concentration camp. Jews were sent here to be executed. Right: Fig. 20 - Page from Maus showing how the Nazis made examples of the Jews by leaving them to hang in the street.

saviours, man’s best friend. This pet hierarchy (Dog chases the cat, cat chases the mouse) is a concept that has been used many times before and can been seen in the childhood favourite Tom & Jerry. Spiegleman states that he used ‘Hitler’s pejorative attitudes against themselves’ depicting animals ‘allowed me to approach otherwise unsayable things’. It allows the story of what happened during WWII to stay alive, a simple idea which has made a tricky subject more bearable to read. This shows that comic books or graphic novels can be used to produce serious art and convey a serious message. The freedom of the visual image allows the author to put across a subliminal meaning, which one couldn’t get away with in literal language.

Persepolis

Below: Fig. 21 - Marjane in her teens arguing with revolutionary officials. Right: Fig. 22 - Image of Marjane as a child showing how she was torn between her very modern parents, and her very traditional religion.

nother Graphic novel that tackles the subject of politics and religion is Persepolis (2000) by Majane Satrapi (1969 - Present). The book is autobiographical and is set in Iran during and after the Islamic revolution. It’s a moving story about how Marjane becomes more aware of her political surroundings and the danger she faced not only as a child, but a woman in an Islamic Republic. It was also made into an animated movie in 2007. One of the main subjects in this book is the veil. After the Islamic Revolution, women were forced to wear a veil. It is part of the Islamic religion to wear a veil, but these women had no choice - it became a battle for woman’s rights and freedom. It makes Marjane question her own beliefs as deep down she was very religious, but did not like wearing a veil (Fig. 22). To her, it was a loss of identity as the veil made all women look the same. This was part of the Islamic Republic, woman did not have equal rights and where suppressed. Before the Revolution, women were becoming more and more educated, going to university and some even working within Parliament. This all changed in 1967 when the Family Protection Law was repealed. Like many people at the time, Marjane’s parents campaigned against the Shah and fought for the Islamic Revolution, until it happened. The fact that woman had to wear a veil so that a man would not be tempted by them angered Marjane and she illustrates this within the book as she tells revolutionary officials, ‘DON’T LOOK AT MY ASS!’ (Fig.21).

In this book, Marjaneâ&#x20AC;&#x2122;s drawing style is quite simple. All the illustrations are black and white and there is not much detail, no shadows, shading or cross hatching is used. The illustrations almost look like woodcuts. This style works with the story very well and represents the main themes within the book. Black.............................White Veil..............................No Veil Control..............................Freedom Life..............................Death

Below: Fig. 23 - Women protesting for and against the veil. Right: Fig 24 - The horrors of the Islamic revolution, Marjane’s parents talk about an event where people where locked inside a cinema as it burned down.

In her teenage years she moves to Vienna, where she becomes influenced by western culture. She discovers boys, drinking and ultimately drugs. She eventually becomes depressed and decides to move back to Iran, putting the veil back on. However, home life is as bad if not worse. She is no longer accepted by her old friends and feels rejected. In an interview for the Guardian newspaper, Simon Hattenstone (2008) asks Marjane if she is now religious. She replies: ‘Religion is a very personal affair. It’s between someone and what he considers the god, or the supreme spirit or whatever, and it’s very good while it remains personal. The second it becomes public, it’s no good. And that’s why I don’t make it public either’. Both these books are so powerful and moving because they come from personal experiences. They also highlight the dangers of religion and what can happen when extremists go too far. ‘I am against fundamentalism. I am not against any religion, Islam, Judaism, Christianity etc. It is the use of an ideology to kill people that I am against’ – Margane Satrapi

Right: Fig. 25 - An incident during Thompson’s childhood where is parents found a picture he drew of a naked woman. They talk to him about it and say, ‘God gave you a talent and we don’t want you to use it for the Devil’. They go on to say that by drawing this he has made Jesus sad because he has sinned. Here Thompson is illustrating how he feared losing the love of God/ Jesus. He thought it meant loosing entry into Heaven. He was torn between his love of God and his love of drawing.

God & Love

lankets by Craig Thompson (1975- Present), is another book that revolves around personal experience. The book was published in 2003 and is about Thompsons his first love, his relationship with religion and how they both coincide. Craig Thompson grew up in Wisconsin with his parents and younger brother. His parents were evangelical Christians. Growing up seemed like a difficult experience for Thompson, he is isolated by his religion. He was bullied at school and constantly felt like he didn’t belong. A lot of his childhood is spent trying to escape the real world which he hated; he thought there must be something better to come. At one point as a child he learns about Heaven and decides that’s where we wants to be, ‘an eternal world that would wash away my temporary misery’. In his teen years, Thompson realises that in his quest for escapism, he had neglected his religion. He quotes the Bible: ‘A profusion of dreams and a profusion of worlds are futile. Therefore fear God, Ecclesiastes 5:7’. The book contains a lot of references and quotes from the Bible due to the fact he read and studied the Bible for most of his youth. During this book, his whole life is spent in fear of religion, and of sin. He burns all his childhood drawings in what he describes as ‘an offering before God’. Each year for a week during Christmas break, Thompson was sent to stay at a Baptist Church camp. Even here he was rejected, until eventually he meets a girl named Raina. She becomes his first love. Raina is also a Christian, but not as strict as Thompson. He goes to stay with her for two weeks for what Thompson describes as becoming a profound moment in his life. Usually isolated from social situations, Thompson

becomes almost consumed by her. This conflicts with his religious beliefs and he therefore becomes torn. He illustrates Raina as a goddess or angel like figure (Fig.26). He looks up to her, almost worshiping her. In How to Read a Church (2003), Richard Taylor describes angels as, ‘mystical beings that act as instruments of God’. One of the ways they act as an instrument of God is as ‘givers of moral strength’. In the context of Blankets, Raina definitely gives Thompson strength. When he is around her he feels more confident, she is literally his angel. Thompson decides he wants to leave home and go to art school. When he attends church, people warn him not to go and instead attend a Christian college. They say that Art College is sinful and he would be subjected to too much temptation. He leaves anyway and like in Majane Satrapi’s Persepolis, Thompson feels free from his religious restrictions and discovers the real world. Thompson talks about how he had lost faith in religion. He uses metaphorical imagery relating to the story of the three pigs (Fig.27). His belief in religion ‘comes crashing down so easily’ he describes accompanied by a big, dark, overpowering, figure – the big bad wolf of crushing faith. Also, throughout the book the scenes are covered in snow and seem to play a big part in the story. Near the end of the book when he is questioning his religion and decides to cut his ties with Raina, the snow melts away.

Leftt: Fig. 26 - Image of Raina as an angel figure. Overleaf: Fig. 27 Thompson’s loss of faith. He talks about how he found parts of the bible contradictory.

At the very end when Thompson has grown up, he returns home for Christmas. It begins to snow again and he recalls his relationship with Raina. He goes outside and walks through the snow with the end note, ‘How satisfying it is to leave a mark on a blank surface. To make a map of my movement. No matter how temporary’. Like his footprints in the snow, Raina made an impression in his life. Although snow my melt away, he has let his memories live on within the pages of the book (Fig. 28). Mapping his movement thought life – a personal voyage of coming of age. The illustrations in this book really are quite beautiful. It is all in black and white but his use of brush strokes makes the artwork quite expressive. You get the feeling Thompson has really bared his soul into this book; it is a very honest story about his life. That’s what makes it so good to read and quite endearing.

Left: Fig. 28 - One of the final pages in the book. I love the simplicity of this image. Thompson making marks in the snow whilst simultaneously making a mark on paper.

GRAVEN IMAGES

Graven Images

cannot talk about graphic novels and not mention the humble comic book and its world is no stranger to the use of religion. In some ways you could liken the comic book culture as a religion in itself. Fans follow their chosen heroes like Gods, the comic books are read like scriptures and they travel to comic book conventions like pilgrimages. When you look closely, some of the most famous comic book heroes have religious connotations. Superman can be likened to a Messiah figure, sent from another planet to protect earth. He lives among us but is not human and holds powers the likes of a God. Batman can be seen as a representation of Gods justice. He stands for good against evil. He adorns almost horn like features which creates a devilish appearance. He is good, but a dark character, born out of the darkness, fuelled by his parentâ&#x20AC;&#x2122;s death....a vengeful God. Spiderman has an air of atonement and has the famous tagline: â&#x20AC;&#x2DC;With great power comes great responsibilityâ&#x20AC;&#x2122;. He becomes a hero by accident after the death of his uncle, which he inadvertently causes. Therefore to reconcile his guilt, he decides to fight against evil. This can be likened to the story of Adam and Eve, original sin. After Adam is tempted into eating the forbidden fruit, they are forced to live in penance.

Who Watches the Watchmen?

atchmen (1986) is laden with religious connotations. The main premise of the story is to explore what would happen if super heroes existed in the real world. The characters are all vigilante heroes; none of them have super powers. They were all part of a group of crime fighters named, The Watchmen, but are now mostly retired. The book is written by Alan Moore (1953 – Present) and illustrated by Dave Gibbons (1949 – Present). The artwork in this book is quite traditional to the typical comic book style. The characters are realistic in terms of proportion, but are still in a carton manner. The illustrations are coloured quite brightly in contrast to the themes within the story. However, the interesting thing about the artwork in this book is that Gibbons has included subtle imagery that may go unnoticed on the first read. Things like the famous smiley face image can be found hidden in various scenes. In an interview with Vincent Eno and El Csawza for Strange Things Are Happening magazine (vol. 1, no. 2, May/June 1988) Moore talks about how he wrote this book to challenge the already deep rooted ideologies of the comic book: ‘We tried to set up four or five radically opposing ways of seeing the world and let the readers figure it out for themselves; let them make a moral decision for once in their miserable lives!’

One of these viewpoints comes from the character Dr Manhattan. He is the only one who has actual ‘super’ powers. Like many super heroes before him, Manhattan is the result of a nuclear accident. Once named Dr. Jonathan Osterman, he was reborn as Dr Manhattan and is treated as a God like figure (Fig. 29). Within Watchmen, sub texts appear at the end of each chapter. The end of chapter four includes the introduction to Dr. Manhattan: Super-Powers and the Superpowers by Professor Milton Glass. In this text Glass talks about the danger of Dr Manhattan. While referring to Dr Manhattan, Glass goes on to say, ‘God is born and he is American’. It is then that this story reaches a whole new depth, no longer is this just an exploration into how super heroes would fair in the real world, but perhaps a much more chilling question: what if God lived among us? The whole underlying message of this book is about God and organised religion. The way Dr Manhattan is illustrated is interesting. Firstly, he is blue, this could represent peace and tranquillity - an all knowing figure. He has no hair or really any distinctive facial features. He is almost like the Adam and Eve story in reverse. He starts life as human, with human emotions. After his accident (which causes him to transform into Dr Manhattan) he becomes more and more detached from the man he used to be and his link to humanity. Because of this, he decides to stop wearing clothing as he evolves past all human emotion (including shame). Dr. Manhattan later loses his faith in humanity and sees their lives as ‘brief and mundane’. He exiles himself to Mars at a time the world needs him most to save them.

Left: Fig. 29 - Image of Dr. Manhattan being elevated as a god-like figure. This takes place just after the accident. One could draw comparisons to The Transfiguration of Jesus, in which Jesus begins to glow brightly.

Below: Fig. 30 - Ozymandias catching a bullet shot at him from point blank range. This is a moment where it could be debated that he has powers beyond human comprehension. Right - Fig. 31 - Images of the massacre aftermath of Ozymandias’s ‘peace’ plan. These images bare comparisons to Wolverton’s illustrations of The Book of Revelations.

Ozymandias acts as the stories antagonist, although I use the term loosely. The characters main strength is his mind. He is extremely clever, described as the smartest man on earth, and even rivals the mind of Dr Manhattan. He begins to realise the danger the world is in due to the rise of nuclear weapons. He says it will be but a matter of time before an ‘accidental apocalypse’ occurs. Therefore, he devises a plan to save mankind and ultimately create world peace. In his own words he reveals his plot ‘to frighten governments into co-operation’ and, ‘convince them that earth faced imminent attack by beings from another world’. However, the result of this would kill half of New York City, thousands would die. Obviously as the other characters in the story are told this they think it’s madness, but it is too late to stop his plan. Ozymandias had already released the device that would wipe out the city. The subsequent chapter begins with several full page illustrations of the bloody massacre (Fig. 31). No text is included, which creates an almost eerie and overwhelming feeling of terror. Later the characters realise that Ozymandias plan has worked. He has played God with people’s lives and says, ‘I have saved Earth from Hell. Next, I’ll help her towards Utopia’. With this he is met with some hostility, but as he points out, if they expose him for what he has done, they will ‘undo the peace millions died for’. All the characters realise there is nothing they can do, they must stay quiet. All that is, except one.

Below: Fig. 32-34 - (l-r) Batman prays and swears to avenge his parents death. Hellboy holding rosary beads. He always carries them as a symbol of his Catholic faith. Cover from a five part Daredevil series. The title ‘Decalogue’ is a traditional term for The Ten Commandments. Each issue of the series is related to one of the commandments. Right: Fig. 35 - The moment in which Ozymandias realises his plan has worked and the world is at peace. Rorshach is the only one who keeps his faith in the end.

The character Rorschach is like an atheist figure in this story. He wears a black and white mask with a Rorschach pattern. It’s as if he only sees things in black and white. Evil is bad therefore it must go punished. When he finds out Ozymandias plans, he is the only character that totally disagrees with the idea. He thinks the plan to kill millions of people in order to create world peace is totally immoral. He abandons the other ‘heroes’ to expose Ozymandias. As he leaves he quite profoundly says, ‘No, not even in the face of Armageddon. Never compromise’ (Fig. 35). He is the only character who stays true to what he believes in and subsequently dies for it. Moore describes Rorschach as extremely right-wing. It seems common in the comic book world that characters with a Christian background (particularly Roman Catholic) are often very dark vengeful character. Batman, Hellboy and Daredevil are but a few examples. All of which are also drawn with devilish features (Fig. 32-34).

Below: Fig. 36 - Example of Rob Liefeld’s ‘Chromium Age’ super hero. The figure is totally out of proportion and has oversized, bulging muscles. This is why Mark Waid decided to depict the characters in Kingdom Come in their traditional form, rather than imitate the current trend at the time. Right: Fig. 37 - The old generation of heroes descending from the heavens like an army of angels. As mentioned earlier, angels act as instruments of God. In this case as ‘punishers of wrong-doers’ (see Taylor 2003)

Thy Kingdom Come

similar story to Watchmen arose several years later as Kingdom Come. It is a short, one off comic book series which was published in 1996 by DC comics and written by Alex Ross (1970 - Present). The artwork in this book was painted using gouache by Mark Waid (1962 - Present). They are really ambitious for a comic book and quite photorealistic in compared to more typical comic book styles. It definitely creates a feel that this book wants to be taken seriously. This may be due to the fact that this comic book series was really created as a protest. In Our Gods wear spandex (2007) Christopher Knowles discuses how during the nineties, the superhero industry was effectively brought to its knees. This era is known as the ‘Chromium Age’ and Knowles suggests the main blame for it was money. Books like Watchmen had generated a lot of money in sales, as well as a big mainstream following. Comic books were becoming ever more popular and with that came greed. New breeds of super heroes where born and the controversial comic book artist Rob Liefeld (1967 - Present) was at the forefront. His characters were often very garish with oversized muscles, and mostly just very badly drawn (Fig. 36). Enter Kingdom Come. The main premise of the story is that the old generation of superheroes (Superman, Batman, Wonder Woman and many more) were retired. They have been replaced with new violent and menacing heroes, similar to Liefeld’s creations. Lead by Superman, the old justice league reassembles to fight against the new power hungry superheroes. Superman’s nemesis, Lex Luther tries to stop Superman by assembling his own team (lead by a brainwashed Captain Marvel) to fight them. This results in an epic battle to the death between the two groups of superheroes.

Right: Fig. 38 - Spectre seeking the help of Noman McCay in his church.

Similarly to Watchmen, Kingdom Come is full of religious metaphors and apocalyptic ideas. The title itself bares reference to the Lord’s Prayer: ‘Our Father who art in Heaven, Hallowed be they name, Thy Kingdom Come, Thy will be done’. In some ways you could draw comparisons to the whole of the Lord’s Prayer and this story. The protagonist of this story is actually a minister, Norman McCay. Kingdom Come begins with McCay’s close friend Wesley Dodds (aka. ex superhero Sandman) on his death bed. Dodd has visions of an upcoming apocalypse, and when he eventually dies these visions are passed onto McCay. He is then visited by the Spectre (Fig. 38). This superhero is an agent of God’s wrath. In This story he enlists the help of McCay to judge the good from the bad as well as help him determine who is responsible for the upcoming apocalypse. This again has parallels to the Lord’s Prayer: ‘He will come again to judge the living and the dead’.

When a war breaks out between the superheroes, the United Nations decide drastic measures must be taken in order to save humanity. They decide to release a nuclear war head that will wipe out all super beings, heroes and villains alike. During the superhero war, Superman and Captain Marvel are pitted against each other. During this battle Superman manages to make Captain Marvel turn back into his alter ego, Billy Batson. At this point, Superman offers Batson an ultimatum: Stop Superman and allow the bomb wipe out the metahumans, or allow Superman to stop the bomb therefore letting the superheroes war destroy the world. Superman says Batson must decide their fate as he is the only one who is part of both sides. Billy Batson - a human and Captain Marvel super being. Batson changes back into Captain Marvel and decides on a third option. He flies up to meet the warhead and sets it off before it hits earth with his lightening power (Fig. 39). This kills Marvel in the process; he sacrificed himself to save both humanity and the super beings. This clearly draws comparisons to Jesus Christ. He was born as a man but is also part of the Holy Trinity (God the Father, Son and Holy Spirit). Therefore his persona, like Billy Batson/Captain Marvel, is twofold. Moreover, Marvel dies to save humanity just as Jesus did. Some of the metahumans are also killed by the bomb as they are too close to the explosion. The image depicting the destruction of the bomb is very apocalyptic (Fig 40). It definitely draws parallels to the Book of Revelations and the Lordâ&#x20AC;&#x2122;s Prayer. Spectre simply points proclaiming, â&#x20AC;&#x2DC;Judgmentâ&#x20AC;&#x2122;. His job is complete, judgment has been passed.

Overleaf: Fig. 39 - The moment Captain Marvel sacrifices himself to save humanity and the metahumans. Fig. 40 - The aftermath of the explosion - judgment.

CONCLUSION

Conclusion

t the beginning of this study, I posed some questions in order to make this exploration into religion within graphic novels more substantial. Although I have my own opinions on this subject, I wanted to find out other peoples thoughts in order to answer the questions as extensively as possible. I composed a questionnaire in order to present the points to a variety of people. I felt it was important to keep this study as balanced as possible, so I chose people from different backgrounds (for example religious/non-religious). I approached some people that I knew could help and whose opinions would be valuable to the study: a friend who has an extensive knowledge of graphic novels and is an atheist, a Catholic Priest, two Catholic school teachers, (one an R.E. Co-ordinator, and the other a Literacy Co-ordinator). In addition, I sent out questionnaires to a number of comic book stores, of whom I had no idea of the religious backgrounds. I was very pleased to receive a range of responses, in terms of backgrounds and opinions. I felt equipped to be able to use this evidence to support my study. I stated in the introduction that graphic novels were becoming ever more popular. This was confirmed in the findings from the questionnaires. The comic book stores suggested a number of possible reasons from this, but mainly put it down to mainstream media. Jared of OK Comics said, ‘Graphic novels dominate sales for us’ and Andrew of Gosh Comics stated, ‘works of a political or dramatic nature often do well outside of the traditional comic book shop’. This suggests that the growth of comic book popularity could be down to the more complex stories that the graphic novels have to offer. I also stated in my introduction that there had been a decline in church attendance. Again, this was confirmed by

the interviewees. Fr. Conor felt there could be many reasons from this, one being that there is less need for God when you are ‘comfortable’. Often people turn to God in times of need or stress. Interestingly, I felt parallels could be drawn from ‘superheroes’ who are also only called upon in times of crisis within stories. Once these statements had been confirmed, I was in a strong position to consider the question: What happens when the comic book world and the religious world collide? I asked all participants what they felt about stories from the Bible being retold in a comic book fashion. I was surprised to find that the majority of people shared the same views. ‘Caution’, was the key word used. Most people felt that there is no issue with illustrating the Bible in a graphic way, as long as it was treated respectfully. Some people reflected that it could make the stories more accessible to a wider audience. Both teachers highlighted that the language in the Bible can sometimes be difficult to understand. The abundance of figurative language (such as metaphors) can be difficult to grasp. Therefore an illustrated version of Bible stories could support learning. I also asked the participants if they thought a comic book version could demoralise the message of the Bible. Again, most of the responses felt that it would not demoralise the message, so long as it was presented in the right way. The reader needs to be aware that these books are an artist’s interpretation of the original text. However, Andrew of Gosh Comics raised the point that it is just another ‘retelling of the Bible. Unless the work is set out to be subversive, why would it demoralise?’ The Bible has been re-mastered and updated many times over the decades, so why not utilise this sequential from of storytelling? If the reader is free to choose what he/she reads, then surely artistic licence should allow artists the freedom to create.

By contrast, the Priest added that a graphic representation of the Bible could, ‘literally de-moral-ise the message’. The deliberate break down of the word ‘demoralise’ is to emphasise the word ‘moral’. This demonstrates his strong view that comic book versions of the Bible can dangerously mislead. He continued: ‘How could you graphically represent a story from the Bible without focusing on the image? There is so much meaning and teaching within each story. It would be hard to illustrate everything - what are you going to show? More importantly, what do you leave out?’ I think this is an important point to consider. Although these books are a good way to reach a larger audience, I don’t think they should be people’s only insight into the Bible. Illustrating scenes from the Bible can leave little to the imagination. Being brought up as a Catholic, I thought I knew a lot about the stories from the Bible. However, I have been shocked by some of the imagery used in some of the illustrated Bibles. These are merely illustrations of events from the Bible, for example The Massacre of the Innocents (Fig. 10). This is a story where King Herod orders the baby boys of Nazareth to be killed. A child may not focus on the fact that innocent babies are being murdered, but rather rejoicing in the fact Jesus escaped safely. I feel sometimes the language used within the Bible may romanticise some of these events. When illustrated, these scenes of horror become a lot more exposed. This is an issue Craig Thompson highlights in Blankets (Fig. 27). It is ultimately why he turned away from religion. Liam McNeilis posed an interesting point when interviewed about superheroes being used in a religious context. He stated: ‘with the rise of New Atheism in mid 2000 due to books such as The God Delusion by Richard Dawkins, comics

may be viewed with new eyes in religious context’. Perhaps more comic book writers are ‘outing’ heroes’ religious backgrounds as a protest against Atheism. They are representing their religious beliefs through already established, popular comic book characters. One of the most surprising things I found with the interviews was the fact that the priest (Fr. Conor) was actually well informed on his knowledge of comic books. In his words when describing superheroes in a religious context, ‘there is more to life than what you see’. It really hammers the point, you can’t stereotypically judge people. I was equally (and pleasantly) surprised by how much respect the people who have no religious belief have for the subject. Despite the non-belief, the recognition for respect was consistent in the responses. Overall, my findings have shown that graphic novels can be a good way of telling stories from the Bible as long as they are treated with respect. As the teachers stated, many people learn in a visual way. Having a comic book version of Bible stories could be a good way to engage children or even adults with reading difficulties. All the ideas discussed within this study are open to interpretation. It’s up to the reader to ultimately decide for themselves the path they wish to take. Whether you choose to believe in a God, no God, or a guy in red and blue spandex, the point of the matter is religious texts hold some of the most gripping stories ever told. This is why so many graphic novels have been based on them or how people have reacted/ been affected by them. For me personally, I find religion to be a very private affair. Therefore I find it very interesting that so many artists have chosen to create graphic novels based on their religious experience. They are very intimate and honest, which is what

ultimately makes them so appealing. So whatâ&#x20AC;&#x2122;s in the future for graphic novels and how will religion be used within them in the future? Firstly, the stories and illustrations within them are products of their time. It can already be seen that as the medium of graphic novels have become more respected, the stories have become more daring...and why not? Several of the books I have read for this study have been some of the most moving, emotional, exciting and thought provoking I have ever read. It is evident that religion is an important theme within the comic book world, and itâ&#x20AC;&#x2122;s apparent that comic book heroes are devised with parallels to religious themes. After the events of 9/11, more and more comic books have had darker themes. Now there are graphic novels being created which depict a more apocalyptic world such as The Walking Dead and The Last Man. These are worlds where either God does not exist or has abandoned the human race. Much like Revelations (last book within the Bible), this is the final chapter.

BIBLIOGRAPHY

BOOKS Blake, W. (1994) A marriage of Heaven and Hell. Dover Crumb, R. (2009) The Book of Genesis Illustrate. Jonathan Cape Eisner, W. (2000) A Contract With God. DC Comics Garrett, G. (2008) Holy Superheroes!: Exploring the Sacred in Comics, Graphic Novels, and Films. Westminster John Knox Press Knowles, C. (2007) Our Gods Wear Spandex. Redwheel/Weiser Lewis, A.D & Hoffkraemer,C. (2010) Graven Images: Religion in Comic Books and Graphic Novels. Continuum Moore, A. (2007) Watchmen. Titian Books Satrapi, M.(2008) Persepolis. Vintage Spiegelman, A. (2003) The Complete Maus. Penguin Books Taylor, R. (2003) How to Read a Church a Guide to Images Symbols and Meanings in Churches and Cathedrals. Rider Books Thatcher, F (1992) Noahâ&#x20AC;&#x2122;s Ark. Oyster Books Thompson, C. (2003) Blankets. Topshelf Productions Waid, M (1997) Kingdom Come. DC Comics Wolverton, M. (2009) The Wolverton Bible. Fantagraphics Books

WEBSITES Blank, W. The Second Commandment [Online] Available at: http://www. keyway.ca/htm2003/20030319.htm , [Accessed 25 October 2011] CBR The Religious Affiliation of Comic Book Characters [Online] Available at: http://www.adherents.com/lit/comics/comic_book_religion.html , [Accessed: 15 December 2011] Eno, V. & El Csawza (2006) Alan Moore Interview, 1988 [Online] Available at: http://www.johncoulthart.com/feuilleton/2006/02/20/alan-mooreinterview-1988/ , [Accessed: 12 December 2011] Flood, A.(2009) Robert Crumb Set to Publish â&#x20AC;&#x2DC;Scandalousâ&#x20AC;&#x2122; Bible Satire [Online] Available at: http://www.guardian.co.uk/books/2009/mar/31/robertcrumb-book-genesis , [Accessed: 25 October 2011] Garner, D. (2011) After a Quarter-Century, an Author Looks Back at His Holocaust Comic [Online] Available at: http://www.nytimes.com/2011/10/13/ books/metamaus-by-art-spiegelman-review.html?_r=1 , [Accessed: 23 November 2011] Gheytanchi, E. (2000) Appendix: Chronology of Events Regarding Women in Iran Since the Revolution of 1979 [Online] Available at: http://findarticles. com/p/articles/mi_m2267/is_2_67/ai_63787338/ , [Accessed: 23 November 2011] Hattenstone, S. (2008) Confessions of Miss Mischief [Online] Available at: http://www.guardian.co.uk/film/2008/mar/29/biography , [Accessed: 23 November 2011] Hatfield, C. (2005) Craig Thompson [Online] Available at: http://archives. tcj.com/index.php?option=com_content&task=view&id=338&Itemid=48 , [Accessed: 18 December 2011] Jackson, J. (2011) Comics Are My Religion: Blankets [Online] Available at: http://comicattack.net/2011/01/camr-blankets/ , [Accessed: 30 September 2011] JVJ Publishing By Basil Wolverton [Online] Available at: http://www.bpib. com/illustrat/wolvertn.htm , [Accessed: 25 October 2011] 84

Mouly, F. (2009) R.Crumb in Conversation with Francoise Mouly [Online] Available at: http://fora.tv/2009/10/23/R_Crumb_in_Conversation_with_ Francoise_Mouly#fullprogram , [Accessed: 8 September 2011] Peterson, M. (2007) Retro Review: Kingdom Come [Online] Available at: http://www.majorspoilers.com/retro-review-kingdom-come , [Accessed: 7 December 2011] Rogers, V. (2008) Behind the Page [Online] Available at; http://www.webcitation.org/5s406drEH , [Accessed: 25 October 20011] Tong, N.S. (2010) Old Wine in New Wineskins: The Gospel According to Chester Brown [Online] Available at: http://hoodedutilitarian.com/2010/03/ old-wine-in-new-wineskins-the-gospel-according-to-chester-brown/, [Accessed: 23 November 2011] Tychinski,S. A Brief History of the Graphic Novel [Online] Available at: http://www.diamondbookshelf.com/public/default.asp?t=1&m=1&c=20& s=164&ai=64513&ssd= , [Accessed: 14 October 2011] Will Eisner.com Rise of the Graphic Novel [Online] Available at: http:// www.willeisner.com/biography/6-rise-of-the-graphic-novel.html , [Accessed: 03 October 2011]

INTERVIEWS

FR. CONOR

Catholic Priest - St. Matthews 1

What is your religious background? Catholic Priest

Do you or have you ever read comic books/graphic novels? Yes

a b

How often? Occasionally What are/were your favourite books? I occasionally read them on holidays (Justice League/ Justice Society)

Do you think there has been a decline in Church attendance in recent years? In recent decades, not necessarily in recent years. I think the decline has now levelled off.

Can you suggest any reasons for this? There are many potential reasons: -Change in peoples lifestyle (less need for God when ‘comfortable’) -Changes in society (less sense of community and more emphasis on material well being) -Changes in family (smaller for one, less children, less people at mass!)

What do you think about graphic novels being used to tell stories from the Bible? Needs doing with caution if done at all.

Why do you think this is? God/ Jesus are nod ‘super-heroes’ or to be confused with them. Biblical interpretations always need to be well informed by other tradition and teaching authority of the church – graphic representations would be an interpretation.

Do you think it demoralises the message of the bible? It could, depends the interpretation. A focus on miracle scenes without teaching/message would quite literally de-moral-ise the message. For example, take John 6, the feeding of the 5000. How can this be represented graphically without just focusing on the visual. It’s easy to represent the visual but hard to represent the feeling of multitude.

What do you think about superheroes being used in religious context? Good in so far as the religious is a context in the world which can be overlooked as archaic in other media of popular culture. It shows there is more to life than what you see.

Why do you think more superheroes religious background are being revealed (e.g. The Thing – Jewish, Captain America - Protestant) Much as above and good as it suggests a source for their values and standards.

Do you think a comic book is a good way of telling stories from the bible? With appropriate oversight of the interpretation, could be used as an introduction to the scriptures, with direction beyond then to the source and tradition.¬

CHARLOTTE STANLEY Pimary School Teacher - St. Matthews (R.E. Co-ordinator)

What is your religious background? Catholic, R.E Coordinator St. Matthews RC Primary School

Do you or have you ever read comic books/graphic novels?

a b

How often? What are/were your favourite books? Not particularly. I read some comics as a child, but currently use them as a teacher e.g. Marcia Williams – Ancient Greece

Do you think there has been a decline in Church attendance in recent years? Yes – we see this through falling numbers in school, fewer and fewer children are going to Mass weekly.

Can you suggest any reasons for this? There are many potential reasons: As a teacher, I see families not attending church as their mothers/ fathers haven’t taken them. This has a knock on effect. Tradition has been broken and they can no longer see the relevance of attending Mass. Also busy working lives and lack of spare time has affected attendance.

What do you think about graphic novels being used to tell stories from the Bible? I think it’s a good idea – visual support helps children in their understanding. I can also see the benefits for people with reading difficulties.

Why do you think this is? Children will find them very interesting in school and find it easier to follow and understand a story with pictures. We use lots of visual literacy in class. For adults it can also be good as the use of language in the Bible can be hard to follow sometimes. Can be a good way to reach a larger audience. 91

Do you think it demoralises the message of the bible? It would depend how it’s illustrated. If it’s done in a tasteful way I don’t see it being a problem, but you have to be careful. If it’s too ‘cartoon like’ it could confuse the message of the Bible, making it seem like fantasy/mockery.

What do you think about superheroes being used in religious context? Don’t agree for instance that Jesus should be shown as a super-hero. Children may become confused by the message from the Bible. It could blur the concept of reality and become more like a fairytale. However, if it’s just using themes from the Bible then that’s fine. The Bible talks about how to live a good life, anyone can read and apply to their life.

Why do you think more superheroes religious background are being revealed (e.g. The Thing – Jewish, Captain America - Protestant) Could be a reflection of the views of the person writing the comic. They may want to bring their religious views to the forefront.

Do you think a comic book is a good way of telling stories from the bible? Yes especially for children with SEN (autism) who find it easier to relate to a story visually. But again needs to be treated in the right way in order not to send mixed messages.

ANGELA MURPHY Pimary School Teacher - St. Matthews (Literacy Co-ordinator)

What is your religious background? R.C. Christian

Do you or have you ever read comic books/graphic novels?

a b

How often? What are/were your favourite books? Comic books, Beano/Dandy etc. as a child. I use storyboards and encourage my pupils to draw simple story boards to express ideas for writing. Visual literacy supports writing. I have evidence of pupil’s storyboards in R.E books and writing books. I encourage pupils to do this to show their understanding. Their images then support independent writing.

Do you think there has been a decline in Church attendance in recent years? Yes, definitely.

Can you suggest any reasons for this? As people become more educated, they sometimes question/challenge core aspects of Church teaching. E.g. years ago people recited ‘Catechism’ rules like learning times tables by heart. Young people are more inclined to challenge rules/regulations in society, including rules/regulations of of organised Church. Some people may feel the church does not reflect life today – lost touch with life today (e.g. some rules relating to ‘sin’ and rules relating to marriage, contraception, sexuality etc.) Negative publicity doesn’t help – nobody reports on good priests, just bad ones. Sensationalism effects Church attendance.

What do you think about graphic novels being used to tell stories from the Bible? Any resources that support the teaching of Christ are positive, so long as they are represented in a dignified, respectful manner.

Why do you think this is? Some children and indeed adults are ‘visual’ learners. Some people experience difficulties with reading. The Bible is a complex collection of books, filled with ‘metaphors/symbolism’. Visual images can definitely support understanding.

Do you think it demoralises the message of the bible? No. However, the reader should be aware that this is the artist’s impression of the Bible story – it is not the actual words. Artists have that freedom to express their ideas/imagination freely and this will vary from exact details to sublime hidden meanings (e.g. abstract images). As long as the reader is supported in their understanding of the text and the images do not insult or sensationalise our understanding of key people.

What do you think about superheroes being used in religious context? Extra care is needed. If humour is added, the wrong message can be interpreted. Some faiths (e.g. Islam) prohibit any images to be interpreted of Allah – God, as nobody could possibly represent a visual image of the sacred God. This is why Mosques are filled with geometric patterns and designs as no images are allowed.

Why do you think more superheroes religious background are being revealed (e.g. The Thing – Jewish, Captain America - Protestant) I don’t think it is important to reveal. Comic heroes should appeal to a wider audience and not be used to promote allegiance to a particular faith.

Do you think a comic book is a good way of telling stories from the bible? Yes, definitely as long as the targeted audience is clear and no disrespectful images/speech are used. Once again, there seems to be a great deal of respect for other faiths (e.g. Islam, Hinduism ect.) but some people seem to be quite open and happy to skit/ridicule Christianity (Jesus).

WILL - TRAVELLING MAN Comic Book Store - Leeds

What is your religious background? C.O.E, but was educated Catholically

Do you or have you ever read comic books/graphic novels? Yes

a b

How often? Very What are/were your favourite books? Preacher, Beasts of burden, Dungeon Quest and Ultimates

Do you think greaphic novels/comics are growing in popularity? Absolutely, the amount of quality movies based around Comics books has been growing increasingly since X-men made alot of chas at the box office in 1999, so 13 yrs on, and you have the likes of Avengers, Dark Knights Rises, and amazing Spiderman on the horizon, its really never been cooler to be not cool.

What do you think about graphic novels being used to tell stories from the Bible?

Why do you think this is? A lot of people think of “Graphic novel”, as a term describing, the way a story is written, Like it adheres to some kind of narrative rules. Which i think is slightly mental, all it means is that its a different medium, like film, animation, theatre, prose. The europeans seem to have a more relaxed attitude to comics than the english speaking world, we see it as a separate ‘wierd’ sub culture, in france for instance its just another way of telling stories.

Do you think it demoralises the message of the bible? Not remotley, it makes it more accesable and can offer a new way to become familiar with characters that have been told in stories for centuries.

What do you think about superheroes being used in religious context?

Why do you think more superheroes religious background are being revealed (e.g. The Thing â&#x20AC;&#x201C; Jewish, Captain America - Protestant) Superheroes are meant to be real people who have been transformed somehow, iâ&#x20AC;&#x2122;m sure most heroes would stick to the religions that they had when normal, i cant see Daredevil changing from Catholocism to Scientology because he can hear a bit better.

Do you think comic books have changed in recent years? Comics themselves reflect the times they are written, if you go back even ten years, the comics written then seem dated.

ANDREW - GOSH COMICS Comic Book Store - London

What is your religious background? I come from a Presbyterian family, but I’m an atheist.

Do you or have you ever read comic books/graphic novels? Yes

a b

How often? Pretty much daily. What are/were your favourite books? I tend to follow creators, such as Alan Moore, Brandon Graham, Mike Mignola, Jim Woodring, Dan Clowes, Chris Ware and so on. I have a pretty diverse range of tastes, from superheroes to kitchen sink drama.

Do you think greaphic novels/comics are growing in popularity? In some ways, yes. Certainly they receive far more coverage now in the mainstream media, and works of a political or dramatic nature often do very well outside of the traditional comic shop audience.

What do you think about graphic novels being used to tell stories from the Bible? I have no issue with it. Plenty of good stories in the bible, and comics are as good a way to tell them as any other medium.

Why do you think this is? No more than any retelling does. Unless a work set out to be subversive, why would it?

Do you think it demoralises the message of the bible? Not remotley, it makes it more accesable and can offer a new way to become familiar with characters that have been told in stories for centuries.

What do you think about superheroes being used in religious context? Generally I think it’s a bit silly, mainly because it’s usually done in such a po-faced fashion that stands in contrast to the fact that it’s about super-powered people in tights. 97

Why do you think more superheroes religious background are being revealed (e.g. The Thing – Jewish, Captain America - Protestant) They’re American characters, and I think religion plays a much greater role in American public life. Also, as time has gone by writers have tried to add depth to the characters, who previously were little more that props for action stories. The reading audience of superhero comics has aged, and demand more complex characters to match their developing reading tastes.

Do you think a comic book is a good way of telling stories from the bible? I think they’re always changing.

JARED - OK COMICS Comic Book Store - Leeds

What is your religious background? I was educated at a Church of England school and went to church twice a week, so I know quite a lot of Bible stories. I wouldn’t say I was religious, but a try to do good things...

Do you or have you ever read comic books/graphic novels? Yes

a b

How often? Every day What are/were your favourite books? I read a pretty wide range of comics. I like a lot of Superheroic action adventure stuff, and everything from romance to crime.

Do you think greaphic novels/comics are growing in popularity? Yes. I see new people come into OK Comics every day. Their appeal is definitely on the rise.

What do you think about graphic novels being used to tell stories from the Bible?

Why do you think this is? I think telling Bible stories in any medium is tricky. The whole point of the Bible isn’t about Adam, Eve, Moses, Jesus, all those guys; it’s about telling stories that can inform an influence people in a positive way, to improve people’s lives. As long as people can relate to the stories, and think about their lives then the story is doing it’s job.

Do you think it demoralises the message of the bible? That depends on how the stories are retold. Obviously the Bible has been through many incarnations over the last two thousand years, spoken, written, translated etc, as long as the message stays pure the Bible will not be de-moralised. This poses questions about how the Bible has evolved over the years. Have the different translations and rewrites of the Bible changed the message? Is the Bible true? Not for me to answer.

100

What do you think about superheroes being used in religious context?

Why do you think more superheroes religious background are being revealed (e.g. The Thing â&#x20AC;&#x201C; Jewish, Captain America - Protestant) I have no problem with Superheroes being from a particular religious background. It seems pretty obvious to me that any writer or artist creating a new character would write about what they know. Many writers and artists who invented the major Marvel and DC were Jewish immigrants, so the stories often reflect their personal experiences.

Do you think comic books have changed in recent years? The way comics are bought and read over the years has changed over the years. Graphic Novels dominate sales for us, and digital comics are on the rise.

LIAM MCNEILIS

Comic Book Reader & Fan 1

What is your religious background? I am an atheist; I do not hold any religious beliefs however I was raised as a Roman Catholic.

Do you or have you ever read comic books/graphic novels? Yes

How often? When I was younger I would read new comic books each week, however now I only read trade paper-back editions (longer books which generally have around 6 issues in them)

What are/were your favourite books? I’m not really a fan of ‘superhero’ titles anymore, though I was when I was younger. Two of my favourite series are ‘Walking Dead’ by Robert Kirkman and ‘The Boys’ by Garth Ennis. I’m a big fan of Garth Ennis for his dark humour but I’m also a big fan of some of the stories of Allan Moore.

Do you think greaphic novels/comics are growing in popularity? I think that the rise of Superhero movies as a genre in Hollywood create a surge in the interest and popularity of super hero comic books. I think this lead to Hollywood producers also looking at non superhero graphic novels such as Sin City and Watchmen as a source of material which introduced new audiences to the stories. I think this probably has lead to graphic novels and comics becoming more popular. It would be interesting to see how sales of comics have gone up since 2000 when Bryan Singer’s X-men movie came out, though there were other movies before I would suggest that this was the starting point of the surge of Superhero movies that have lasted for the past ten years.

What do you think about graphic novels being used to tell stories from the Bible? It doesn’t surprise me that graphic novels are being used as a medium to tell religious stories from the bible. I think as a medium comic books are particularly attractive to younger readers especially those who aren’t comfortable reading text. I think for any religious organisations who have an agenda to promote their values, the use of comic books is a powerful tool. However I think the market for such graphic novels will always be limited, it wouldn’t surprise me if such graphic novels were being run at a loss or supplemented by religious groups.

101

102

Why do you think this is? Personally I don’t see the value in reading the bible as a comic book. I’m not interested enough to want to read a biblical comic books, and I would be wary of the potential for ‘creative interpretation’. For example simplifying passages from the bible to make them easier to understand could have the adverse effect of losing a meaning some would hold as an important religious message. For example Exodus where Moses askes God’s name, when God appeared as a burning bush. God’s answer ‘Yaweh’ or ‘I am that I am’ has been interpreted differently by different religions (http:// en.wikipedia.org/wiki/I_Am_that_I_Am) it would be difficult for comic book artists to include such an important piece without the footnotes of what this means.

Do you think it demoralises the message of the bible? I would be careful with the phase ‘the message of the bible’. I don’t think there is a singular overall message within the bible. Indeed I would argue that the message of the bible is different for each religion, church or reader and such interpretations can change over time. For example the Catholic Church has changed its belief system, and admitted it was wrong in the persecution of Galileo for finding evidence to support that the Earth was not the centre of the universe. I don’t know of any passages within the bible that specifically state that the Earth is the centre of the universe, the argument for heliocentrism came from Psalm 93:1, 96:10 which includes text stating ‘the world is firmly established, it cannot be moved’. It has since reinterpreted this passage, and found that it doesn’t conflict with Copernicus’ view that the Earth orbits the sun. However I would repeat my earlier point, that creative decisions in any recreation of the bible create a risk of losing meaning. I think the medium of comic books with the classic speech bubbles and thought bubbles is not suitable for repeating verses out of the bible directly. However I’m sure a creative artist could include images alongside verbatim verses from the bible.

What do you think about superheroes being used in religious context? I think there has always been the potential to view superheroes in religious context; Superman as a divine Messiah figure from the heavens, Spiderman as seeking atonement for his past wrong, and Batman as Divine Retribution. It’s possible that with the rise of New Atheism in mid 2000 (ie with books such as ‘The God Delusion’ by Richard Dawkins and ‘God in Not Great’ by Christopher Hitchens) that comics are being viewed with new eyes in religious context. However it’s also possible that they are reflecting the Politics and beliefs of their publishers, similar to how in the Silver Age most Marvel comics were strongly anti-Communist, now they are coming out as pro-religion.

Why do you think more superheroes religious background are being revealed (e.g. The Thing – Jewish, Captain America - Protestant) This may well be why Superheroes are ‘coming out’ with their beliefs, though I would emphasize this is a particularly ‘Marvel’ way of doing things. Marvel has always tried to base their stories in the real world, i.e. New York as oppose to Gotham. So it is more a reflection of Marvel’s decision to make their superheroes more realistic.

Do you think comic books have changed in recent years? I think that comic books have changed in recent years. I would of course expect comics to change as the same thing over time will start to bore audiences, and so to maintain sales I would expect comics to have to change. I also think that comic books reflect their times and go through periods, so in the late 80s things became very dark with the rise of anitheroes such as Punisher, Wolverine etc and the death of traditional superheroes notably the death of Superman, the Knightfall story arc which had Batman crippled. I think over the past ten years there have been two major factors that have influenced comic books. Firstly has been the rise of Superhero movies, this has forced the major publishers to have to deal with two distinct audiences. When a character such as Spiderman has a movie; Marvel then has two distinct audiences to cater for. There are the existing fans who have read about Spiderman for years and so Marvel has to cater for them with new stories and continuing the history of Spiderman. Secondly there is the new audience who recently discovered Spiderman from the movie, but wouldn’t fully understand the ongoing story and would benefit from a back to basic Spiderman stories. Marvel met this challenge by creating the ‘Ultimate’ universe, which was a reboot of existing characters such as Spiderman and the X-men and recreating their origins for the new millennium. The second big change has been the terrorist attacks of 9-11. Think the effects such an attack had on Superheroes was profound. 9-11 forced the real world into the safe world of comic books, publishers were forced to admit that however powerful their characters ultimately they are just make believe and major events in the real world still happen. I think that 9-11 also lead to the rise in what I’d call Post-Apocalyptic stories (Walking Dead, YLast Man, Crossed etc). Traditionally comic books may have had superheroes dealing with extraordinary events, now they are featuring more stories about realistic characters dealing with major events beyond their control. However I would expect comics to change again and reflect the mood of a particular time.

103