The world of comics is vast and varied, encompassing everything from superhero sagas to introspective graphic novels. But what truly defines a comic? This question becomes particularly interesting when considering seemingly simple strips like the Family Circus comic. Is it truly a “comic” in the same vein as more complex sequential art? To delve into this, we can turn to the insightful perspectives of Scott McCloud, a renowned comics theorist and creator.
In his seminal 1993 work, Understanding Comics: The Invisible Art, McCloud meticulously dissects the very essence of comics. Presented entirely in comic book form, McCloud’s book itself embodies his theories as he guides readers through his definition. He uses a cartoon version of himself as the narrator, directly addressing the audience and using the comic panels themselves to illustrate his points. For McCloud, sequential storytelling through images is paramount. Without this sequence, a series of images, regardless of artistic merit, falls short of being a comic.
McCloud argues that what we often call a single-panel comic is essentially just a cartoon paired with words. He emphasizes that “comic” and “cartoon” are not interchangeable terms. In fact, McCloud explicitly uses The Family Circus as an example of a cartoon, differentiating it from what he considers a true comic. (While the author of this article might personally agree with a less-than-enthusiastic view of Family Circus, the focus here remains on McCloud’s definition). Here is McCloud’s precise definition of “comics”:
(kom’iks) n. plural in form, used with a singular verb. 1. Juxtaposed pictorial and other images in deliberate sequence, intended to convey information and/or to produce an aesthetic response in the viewer. (“Understanding Comics,” p. 9).
By categorizing the ubiquitous Family Circus into the realm of “cartoons,” McCloud might initially appear to be narrowing the scope of “comics.” However, as one progresses further into Understanding Comics, it becomes clear that McCloud’s definition is surprisingly broad and inclusive, far exceeding conventional or contemporary understandings.
Indeed, McCloud’s definition is remarkably versatile. It doesn’t restrict itself to genre, subject, style, or even medium. Whether the aim is to teach rhetoric or employ rhetorical devices in any subject, McCloud’s framework accommodates a vast spectrum of visual communication. (Id. at 22).
Image Credit: Self-Portrait by Scott McCloud
Crucially, McCloud’s definition does not necessitate the presence of “words” in the conventional sense. This is a pivotal point, particularly for visual rhetoric. McCloud posits a compelling idea: humanity is evolving towards a universal language, and he proposes that comics could serve as the foundational vocabulary for this emerging global communication system. (Id. at 47). He further illustrates how images and written words exist on a continuum, interconnected and interdependent.
Image Credit: McCloud’s Image Vocabulary Continuum from Understanding Comics
These are profound concepts, perhaps unexpected when considering what we traditionally perceive as “comics,” especially strips like the Family Circus comic. But this is precisely McCloud’s point: to challenge and expand our understanding of this powerful medium. To further explore McCloud’s engaging ideas, his TED Talk provides an excellent continuation of these themes.
