Why Adults Should Read Comic Books Too

While comics play a great role in getting younger students to develop reading habits – both by meeting individual reading needs and to help form a love for reading – we are finally moving past the misconception that the medium is just for kids. Comics are for all ages, whether you are new to the medium or have loved it for years. Here’s why.

 

Comics are fun to read

Maybe the best thing about comics is that almost any topic can be found in a comic book – nothing is too far-fetched as a subject matter! Aliens, man-eating slugs, vampires, ghosts, post-apocalyptic nightmare realms…the list goes on. Comics explore topics that stretch far and wide, and are a medium where imagination runs wild, and not just in terms of the story, but the art as well. 

Other times, certain subject matters need to be made riveting. Comics can be used as learning tools across a wide range of subjects, such as languages, science, and even mathematics. Oftentimes, when it’s in a comic, it is easier to digest.

 

Smashed: Junji Ito Story Collection entwines scary and strange in a collection of horror manga. The Stuff of Life: A Graphic Guide to Genetics and DNA is a nonfiction science comics for adults, while The Thrilling Adventures of Lovelace and Babbage: The (Mostly) True Story of the First Computer is inspired by the lives of Ada Lovelace and Charles Babbage.

 

Comics were first intended for adult readers

While young readers are naturally drawn to comics (think comics series like The Adventures of Tintin and Mr Kiasu), comics can be used to tell stories of any content, in any style, and for any audience. Japanese, European and American comics each evolved differently, but generally speaking, comics were used to depict cultural and historical events, satirical or otherwise. Even today, with many child-friendly comics targeted at very specific age groups and market segments, more than half of comic book readers are still adults. So it is entirely possible for the children and adults to be visiting a comics shop together, each absorbed by the variety of content on offer in separate corners of the same shop.

 

Sayonara, Zetsubou-Sensei, When the Wind Blows and Watchmen

Sayonara, Zetsubou-Sensei, When the Wind Blows and Watchmen are satirical works that encapsulate feelings on war, politics, and life.

 

Comics provoke deep-thinking

Comics make readers engage on a plane that extends beyond words on a page. The process is active: Text and images come together, but the reader makes meaning out of the combination, filling in the gap between panels, gutters and speech bubbles. When we read comics, we’re not only looking at the text but also at the spatial cues, the colours, the visual cues between objects, and all the other elements in the panel. When all of these elements are combined, they can invoke the sense of passage of time, the space of the story, sounds, and action. As the reader’s inference skills and visual literacy improves, comics also pave the way for a deeper understanding of metaphors, symbolisms, and point-of-views.

 

Furthermore, creators can pack a lot of tiny details into one single panel or page just by how they portray their work. Even a character’s personality traits can be shown in a panel by highlighting an object. For example, a character’s love for a certain movie franchise can be shown entirely through background illustrations; maybe there are movie posters in the room, or memorabilia peeking through their bag. There are so many visual cues that artists use to convey plenty of information – all in just a few panels.

 

trese-ten-sticks-liquid-city

Trese, Ten Sticks and One Rice, and Liquid City are beautifully crafted graphic novels that encapsulate characters’ emotions and settings.

 

Comics are used to discuss heavy topics

Oftentimes, narratives in comics also mirror real-world events. X-Men, for example, reflected racial tensions, and Captain America was created during World War II to serve as motivation and inspiration for troops. Similarly, a lot of stories in comics, even now, mirror our ever-changing world and current social issues, offering intellectually stimulating, empowering stories. There are also comics that deal with topics like grief, growing up, and other hardships of life – and sometimes, these heavy topics can be expressed more poignantly in this widely-accessible medium.

 

Sound-Persepolis-Dancing-at-the-pity-party

SOUND: A Comics Anthology, Persepolis, and Dancing at the Pity Party are graphic novels that poignantly discuss topics that can be difficult to breach.

 

Comics transcend language and cultural barriers

Ever wondered how the instructions in an IKEA manual can guide anyone, anywhere? As visual learners, in contrast to prose, pictures can help a wide range of people with understanding, which can go on and on for pages…this is something that could just be displayed in a couple of panels!

Often in prose, a reader can also lose concentration when there are unknown words. Yet, comics don’t generally have this problem. The story can still be followed by its art and other elements. In fact, comics are a good resource to learn more vocabulary – this could especially help those learning a new language.

More than just expanding one’s vocabulary within the English language, the visual accompaniment inherent to comics allows readers to follow the story even if they aren’t speakers of the language the comic is printed in! Manga is a great example of this – known as a representation of Japanese culture and history, manga started gaining traction with a new generation of non-Japanese people around the world who were interested in learning the country’s culture and language. Today, manga has become synonymous with Japanese popular culture, and is enjoyed worldwide by readers of all ages.

arrival-number-unocean

The Arrival, The Number 73304-23-4153-6-96-8, and Un océan d’amour are examples of graphic novels that do not feature any dialogue, yet tell compelling stories through visuals and other elements.

 

Comics is a unique medium that encourages reader participation, and when immersed in a comic, you are in charge of your (reading) journey. What are you waiting for? Once you set foot in this vast, inviting realm, to quote the magical words of Dr Suess, “Oh, the Places You’ll Go!”

 

Psst! Remember to check out all the books mentioned in this post! DE recommends them to ages 18+.

SOUND: A Comics Anthology

Update: We have announced the final teams and stories here

Traffic. The crackle of food. An argument.
What does sound look like to you?
Send us your stories now. 

Difference Engine would like to invite writers and illustrators to submit story pitches to our comics anthology, which will be published in 2020! SOUND: A Comics Anthology is an initiative to develop and showcase the talents of local and regional creators. Coming on board as guest editors are Budjette Tan and Charis Loke, both veterans in the Southeast Asian comics industry.

We’re looking for comics that are:

  • Original fiction of any genre in the theme of “sound”
  • Inspired by Southeast Asia 
  • 10-20 pages long
  • Black & White
  • Written in the English language

Creators must be:

  • Living in Southeast Asia
  • Of Asian descent
  • Aged 18 and above upon submission

There will be two rounds of selection – Round 1 (Call for Submissions) and Round 2 (Further Development).

Stories selected for publication will receive a page rate of USD$30.

The deadline for Round 1 is 31 July 2019, 11.59pm GMT +8. 

For more details, read our rules and regulations at the bottom of the webpage, or download the PDF (they’re the same!).

Read our FAQ here.

If you are a writer looking for an artist, or an artist in need of a writer, head to the Facebook post here to introduce yourself to fellow creators.


Download:

Entry Form (PDF)  / Entry Form (Word Doc)

Rules and Regulations (updated 28 Aug 2019)

SOUND: A Comics Anthology Information Booklet 


 

Our Guest Editors

Budjette Tan Trese Comics

Budjette Tan

Budjette grew up in a haunted house and was told to sleep early because there were aswang flying outside his bedroom window. These stories inspired him to write the comic book TRESE, which he co-created with artist Kajo Baldisimo. TRESE will soon be adapted into a Netflix anime series.

“I’m excited to see what kind of stories we’ll get for the anthology because the topic is very challenging. I feel it will push the writers and artists to figure out how to tell a story about sounds, music, songs, voices, noises, in a medium where your main weapon of choice are visuals and words. It feels great to be working with a team that shares a passion for telling stories, most especially through comic books.”

Charis Loke Comics Editor Illustrator

Charis Loke

Charis is an illustrator and educator based in Penang, Malaysia. Her work draws upon literature and visual culture, exploring both real and fictional worlds. She is the Comics & Illustrations Editor at New Naratif and a committee member of Arts-ED, where she works on community-based arts and culture education for youth.

“So many Southeast Asian storytelling traditions — wayang, chanted epics, songs of healing, recited poetry — are rooted in oral forms. With this in mind, SOUND is an exciting opportunity to explore what comics as a storytelling medium is capable of. How might you push visual boundaries to depict the unseen? How might you meld word and image to be sound itself, not merely a representation? How do you tell stories with, without, about sound?”


 

Rules and Regulations for SOUND: A Comics Anthology

1. Theme

The theme of this comics anthology is “sound”. The stories must be inspired by Southeast Asia.

 

2. Content Eligibility

Content must be:

  • Original fiction of any genre. Not currently under review or previously published by a publisher. We accept stories that have been self-published on personal blogs, websites, Patreon, or elsewhere. We will also accept excerpts from longer work if they can be understood as a standalone without the need for additional context.
  • 10-20 pages long
  • Black & White
  • Written in the English language
  • Suitable for readers age 13 and above, containing no explicit content, including but not limited to graphic language, depictions of violence, drugs, and sex

Creators/creative teams whose stories are selected will be working with the anthology editors to prepare it for publication.

 

3. Creator Eligibility

Creators must be:

  • Living in Southeast Asia, of Asian descent
  • Aged 18 and above upon submission
  • Creators can submit as an individual or as a team.
  • Multiple submissions are accepted, up to a maximum of 3 per creator.
  • Creators/creative teams must own all copyrights to their submitted work.
  • Difference Engine reserves the right to request for verification of eligibility.

 

4. Submission Guidelines: Round 1 (Call for Submissions) 

Submissions must include:

  • A written story pitch outlining the plot, including the ending (500–800 words) typed in Arial, font size 11, single-spaced
  • One page of thumbnails or one page of character/settings concept sketches
  • A portfolio sample of 3 illustrations
  • A short biography of each creator (50–100 words)
  • A completed and signed entry form

All of the above needs to be compiled into a single PDF file no more than 10MB.

Label the PDF file with the title of the story.

Email the file to readcomics@differenceengine.sg with the subject header “Anthology Submission: [title of the story]”.

All submissions must be in soft copy. 

Timeline for this round:

  • Round 1 Call for Submissions closes on 31 July 2019
  • Creators will be informed by 31 August 2019 if their submission has been selected for Round 2 Further Development

 

5. Submission Guidelines: Round 2 (Further Development) 

Creators/creative teams will be requested to submit:

  • A full script with page and dialogue instructions
  • Five pages of thumbnails
  • One page of finished comics

Timeline for this round:

  • Round 2 submissions close on 30 November 2019
  • Final creators/creative teams whose stories are selected for publication will be informed by 31 January 2020

 


Sound Antho_Important Dates_v2
 

6. Publication Details

Creator/creative teams selected after Round 2 will be offered a contract in January 2020.

Sound: A Comics Anthology will be published in print and digital formats.

Estimated Publication Date: end 2020.

 

7. Payment

Stories selected for publication will receive a page rate of USD$30 (or the creators’ local currency equivalent). Creative teams may determine the payment division between them.

Each creator will receive 2 complimentary copies (up to a maximum of 6 copies per submission).

 

8. Rights Requested

Exclusive first world anthology rights for 1 year from the date of publication in both print and digital formats.

Continuing non-exclusive rights to print and reprint as this anthology for 5 years from the date of publication in both print and digital formats.

Copyright to the published work will remain with the creator(s).

 

9. PDPA

Difference Engine will take all reasonable efforts to ensure that your personal data is securely handled according to the guidelines set out by the Personal Data Protection Act of Singapore.

 

Updated 28 August 2019 

Difference Engine reserves the right to amend these rules and regulations at any time without prior notice.

 


Download:

Entry Form (PDF)  / Entry Form (Word Doc)

Rules and Regulations (updated 28 Aug 2019)

SOUND: A Comics Anthology Information Booklet