Ho Chi Minh University of Pedagogy – English Department

Humour in English Literature – Friday class

Instructor: Mrs. Tran Phuong Hong

HUMOR IN COMICS

We declare that this assignment is an original work submitted by the following members who have
all actively made a contribution. Any other work of a similar nature has been appropriately referenced
in this assignment.

MEMBERS

Nguyen Phan Thuy Linh - 44.01.701.096

Cao Thi Le Mai - 44.01.701.101

 TABLE OF CONTENTS

Introduction 1

Literature review 1

Comics in general 1
Humor in comics: 2

Methodology 3

Findings 3

Visual and verbal humor techniques 3

The positive effects of humor in comics 8

Conclusion 9

Self-reflection: 9

Appendix 1: Creative writings - Nguyễn Phan Thuỳ Linh 10

Appendix 2: Creative writings - Cao Thị Lê Mai 12

REFERENCES 14
 Introduction

Comics hold an undeniable significance in modern history. With their intense visuals and focus
on plot and characters, comics can be much more engaging than other literary media, such as novels
or short stories.

Comics are often closely associated with humour and it mainly depends on the opposition
between visual and verbal scripts. Thanks to the outstanding function of humour, these artistic
mediums have affected our world culture in profound ways. Over the years, comics have not only
catered to children with funny comic series but also adults with comic strips on newspapers as a
creative way to acknowledge current events and voice opinions as well.

Going through our portfolio, we will critically discuss how humour elements effectively blend into
words and pictures to clarify the cultural impact comics have had on our daily lives.

Literature review

Comics in general

There are endless debates on how to precisely define comics and their related terms. According
to McCloud (1994), comics essentially are ‘juxtaposed pictorial and other images in deliberate
sequence intended to convey information and/or to produce an aesthetic response in the viewer’ . He
highlights the serialized images as the distinguishable characteristic, but later Harvey (1996) puts
more emphasis on the collaboration of both visual and ‘verbal content’; and some other researchers
just simply define comics as ‘pictorial narrative’ (Heyman & Pratt, 2005). In order to simplify this matter,
personally we would agree with Sanders (2013): people can immediately identify the comics when
they come across ones. The reason for this popular “brand awareness” is understandable. Although
many comics publications targets at children (Meskin, 2007), mainly primary and secondary students
(Lazzarich, 2013), adults are quite familiar with them, too; it could be that the narrations and visual
arts comics include memories from their childhood (Woodhead, 2009). As McCloud stated in his
guidebook for comics (1994), ‘[...] the cycle begins all over the world, as young reader discover comics
for the first time and in a few cases, begin to develop a love for comics that will last for a lifetime.’

As stated above, it seems that any issues related to the comics theory could be seen as battles,
particularly the opposing opinions about comics and manga. McCloud (1994), Luebering (2009) and
Brienza (2009) introduces manga as a type of comics, while Cohn (2011) refers to manga and comics
as two separated disciplines of graphic panels. Personally, we would agree to the separation as many
prior quantitative researches such as the study of Wilson and Wilson (1977), Smith (1988), Masami
Toku (2001, 2002) also support this point of view.

If one would like to read comics and look for them in libraries, bookstores, or on the Internet,
they would realize the variety of its forms: from newspapers and magazines, books, to digital works.

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In the nineteenth century, newspaper comics were quite popular in black and white version except for
the Sunday edition (Illustration History, n.d) and some prominent strips are “The Katzenjammer Kids”
(first published in 1897); “Peanuts” (1950); “Garfield” (1978); and “Calvin and Hobbes” (1985), etc. For
comic books, some best-known representatives are Marvel (1933) and DC (1935) superhero series
and the nostalgic “Walt Disney’s Comics and Stories” (1940), which inspire many blockbuster
adaptations nowadays: the four “Avengers” movies of Marvel, “Aquaman” of DC, to name a few.
Webcomics are also getting more and more well-known when all the above-mentioned comics have
their online versions for the sake of preservation in the long term (British Library, 2017). There are
also some concerns mentioned in Aggleton’s paper (2018) about the potential deconstruction of print
comics due to this bloom, but our discussion would come back to this point later if there is any
reference to our main focus - humor in comics.

Humor in comics:

On a scientific view, there have been many papers since the nineteenth century emphasizing
the role of humor in alleviating stress, anxiety, and muscle pressure (Prerost et al., 1987; Prerost &
Frank, 1988). Such tempting pleasure partly explains for the common use of humor techniques in
comics, which are originally considered as a part of the mass media (Nöth, 1990; Klein, 1993). Also,
as stated above in the first section of our literature review, comics are seen as an icon for children
individually and childhood collectively, therefore, the laughter-provoking visuals and storylines are
indispensable.

However, during the phrase of searching for materials about humor in comics, we realized that
not many realiable prior works specify the verbal and visual techniques which contribute to humor in
comics. As Sterling states in his research (2015), comics are a “relatively young” study field, not to
mention the study of its humor, so our struggles could be understandable. Consequently, our
assumption is the amount of pre-researched information is not enough for an overall conclusion, but
there are still some worth mentioning articles dwelling on the views of humor in comics which could
come in handy in our research. One of the oldest work is of Schmidt-Hidding in 1963, which describes
the categories of humor behavior as the main contributor to differentiate comic styles, namely ‘humor,
fun, nonsense, wit, irony, satire, sarcasm, and cynicism’. Other researchers, while discussing humor
in comics, prefer to emphasize the contrast in narratives e.g plot, character, etc. (Attardo & Raskin,

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1991). In another article, Ruch and his colleagues (2018) divide comics into ‘light’ and ‘dark’ humour,
which depends on the underlying goals of the comics and the effects on readers; while Rajala (2018)
opines that the verbal and visual demonstrations are the most influential factors in constructing
comical humor.

As we could see, the presented discussions mainly apply the theory of humor to completing the
theory of comics; while the detailed demonstration of how words and images have been used to
provoke laughter in comics is hardly found. Therefore, our work would respond to two questions, using
the source of both previous studies and our own observations:

1. What are the common visual and verbal techniques to provoke laughter in comics?

2. What kind of positive effects has those techniques contributes to the society?

Methodology

In this paper, to solve the questions, the qualitative approach is applied in the form of observation
analysis, accompanied by the examples of some particular publications. Since comical words and arts
complementing for each other, the findings would focus on verbal and non-verbal humor in comics
based on the theories of humor origin (in Meyer, 2000), which are Relief, Incongruity, and Superior;
and the guidance on illustrating comics (Taylor, 2003).

Findings

Visual and verbal humor techniques

To summarize the definition of the three theories in brief words, we could understand Relief as
‘the release of nervous energy’ (Meyer, 2000); Incongruity as something contrasted with our
expectations or common sense (Morreall, 2020); Superior as ‘ignorant actions on the part of others,
as adults often laugh at sayings or doings of children’ (Meyer, 2000). These situations are considered
as inspiration to creating storyline and organizing the space and time in panels. Below are some closer
look at the use of verbal and non-verbal tools, using the explanations of these three theories.

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 Gross, M. (1929), Nize baby

From the dialogues in balloons - a trait of dialogues in comics - we could understand the ironic
situation in which a slacking-off dad meets trouble due to the innocence of his son. To highlight the
panic level of the dad, Milt Gross exaggerates his chain of actions in some details: wide-opened eyes
and mouth (panel 4), spikes and stars to show the strong hit (panel 4); the giant ice and the grand
piano (panel 6 and 7), etc. We would categorize them as exaggerations because from the moment
his colleagues arrive at the house to the moment they meet the dad; there is not enough time for him
to do all of these (and even if it was, a man with such a frail appearance hold no chance to carry a
piano). The exaggerations here, beside illustrating the crisis of the dad, it also shows that he would

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go any lengths to take a day off. Such strong desires motivates him to torture himself and nothing
would give him away. The author could have stopped at panel 11 when the dad is pissed off by how
stupid he was (the anger is shown by the eyebrows, the frown), because the joke here is revealed;
however, he decides to add the last panel (the dad venting his frustration). The last panel is a Relief,
where tension built up through the previous one is given time to release, resulting in laughters. To
increase such tension throughout the strips, starting from the moment the dad hearing about the
breaking news, there are no balloons of speech or bubble of thoughts; plus, the depicted facial
expressions of the dad, along with the spikes, speedlines, twirls, etc., also show the emergency level.

The next comics is an illustration of the second theory - Incongruity:

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 Waterson, B. (2018). Calvin and Hobbes

Unlike the previous comics, there is onomatopoeia - another visual technique to depict the sound
- which are the small “eeeeeep” and the bold, enlarged words “BLAAUGH!”, “GAG”, “HACK”,
“COUGH”, “WHEEZE”, “ACK”. The big onomatopoeia here is to visualize the sounds Calvin is making

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and emphasize the consecutive coughs, along with the bulging eyes, oversize mouth and tongue. This
type of enlargement make the reactions of Calvin much more humorous and extreme.

The Incongruity here lies in the last panel. The “lesson” here is supposed to be the hazardous
smoking, not “hazardous” obedience. We would assume the underlying reason for this satirical end
here (we burst out laughing when reading this comics) could be put to the mischievous behavior of
the boy, not the miscommunication between two people; because at the beginning, the tiger Hobbes
has already mentioned the restriction in smoking age. This speech balloon is colored blue, together
with some other lines, might have some emphasis effects. Indeed, the comics author has their own
way to put an emphasis on the text, and sometimes readers also are not clear about his or her
intention, but one deduction could be made. “Calvin and Hobbes” are for young readers: the
personified Hobbes which could stand and talk like human; the main character Calvin who is still a
boy; the simple use of language, etc. so the author might want to highlight what the children should
pay attention to.

The Incongruity humor could also be effectively demonstrate through the use of images solely,
as in this four-panel comics:

Cassandra, C. (2020, November 25)

Under no common circumstances would anyone think of the last panel. Hair shredding during
shower is not and so is putting it on the wall to avoid drain blockage, but shredding much enough to
draw “The Scream” - it might represent her feelings at that moment - is obviously abnormal. This

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comics would evoke much empathy and many chuckles (of pain) from the women readers. Nonverbal
images in this comics has successfully depicts the Incongruity, which is simple, yet impressive.

The last comics would be the example of Superiority:

Adams, S. (2012). 2012 comics strips.

The Superiority here (mainly shown in the verbal demonstration) is when the staff ignore interrupt
their boss while he has not fully finished announcement yet. This should not be seen as vulgar or
something against the working etiquette. From the visual appearance of the boss, which is added with
the two horns of devil, he might be the villain in the company and has several records of putting
pressure the staff. This comics also show a good choice of space: in the third panel, instead of
zooming in the talkative staff, the author chose to draw the boss and demonstrate his funny emotion
when the staff starts blabbering. Judging from the his blank face and the non-stop chatting of the staff,
his explosion of anger might be coming soon.

From the detailed analysis above, we have demonstrated how humor elements are delivered
through the use of words and images. This could also be a reason for the increasing popularity of
comics, which leads to some of their useful applications.

The positive effects of humor in comics

As the main readers of comics are children, the educational merits of comics are worth-
mentioning. Due to the colorful demonstration and attractive humor, comics are used in a wide range
of academic levels gain attraction during the lectures, from primary school (Rota & Izquierdo, 2003;
Hermita et al., 2020; Phoon et.al, 2020) to universities (Silva et al, 2017; McNicol, 2017). We assume
that using comics in pedagogy would benefits some other aspects as well. comical humor is
considered to help enhance creativity, and support the relaxation process of mental health (Khurana,
2005; Morelli, 2018).

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 Furthermore, as comics are basically a type of media, the functions of news sharing cannot be
ignored. Besides the comics section which is usually spotted on “The New Yorker”, “New York Times”,
etc.; recently, a new genre has emerged, which is called comics journalism: ,instead of reporting
verbally, journalists draw the news” (Webber & Rall, 2017). In the time of Covid-19, such visual
illustration of news has contributed much to the promotion of public health (Kearns & Kearns, 2020).
and ‘articulate spatial, temporal, and relational aspects of the pandemic in ways that may be more
challenging for other media to portray.’ (Callendet et al., 2020).

Conclusion

Regardless of the form that comics take, print or digital, humour in them is thus a product of
the endless variation around such themes and motives within a recurring narrative structure. Such a
narrative structure allows for even minimal variation in the drawings, which in some comics may be
rather simple or repetitious. Hmour relies not only on the incongruity or exaggeration of visual and
verbal signs but also displays the sense of the authors in define the plot and tension of their work
which is able to bring laughter

Self-reflection:

In this course of Humour in English Literature, the most precious lesson that we could perceive
is how to enjoy our life more. As we are not much healthy kids, depressions and exhaustion are the
frequent haunting. Learning more about humor elements, along with the study of John Cleese, Charlie
Chaplin and Rowan Atkinson, we have find out more interested visual and verbal techniques of
humour, which have greatly supported us in this portfolio. But we are not good at describing places
and time, so our creative writing do not have many improvements. That is the only shame.

We are also in charge of movie makings, so we understand the importance of choosing the right
time, space, and words; all of them coincides and overlap in the study of comics. We are sincerely
thankful for Mrs. Hong, who had given us the chance to get he most sounding achievement – the
revival of happiness in these enlocked time.

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 Appendix 1: Creative writings - Nguyễn Phan Thuỳ Linh

CREATIVE WRITING – TWO OPPOSITE POINT OF VIEWS

Topic: Hospital trips as a hobby (an argument between a girl and her mother).

1. Supportive opinion paragraph:

Parks, cinemas, supermarkets,… are all public infrastructure; and so are the hospitals, so what is the
point of your making a fuss here? I have to check in at the hospitals occasionally due to my state of
health, so there is no problem if I go to those places more frequently than usual, right? Hospital trips
are fun, though. I can show the elders the way to the right rooms, stay with pregnant madames when
they go check up alone. I am the witness of devoting doctors trying to save lives; the kindness among
impoverished families; also the pain when a mom signs DNR (Do-not-resuscitate) for her child. Mom,
I have more faith in life and get more mature, which explains my discernment and perceptive
observation habits, because when people are out of hope, their true persona would be uncovered. If
we did not experience those in hospitals, we could never understand the values of pain and the values
of love. Your premature child is growing up in the hospital, Mom, so if

2. Disapproving opinion paragraph:

I could not understand why she does that. I mean, to be one of the healthcare personnel, you have
to be tough guys, enough to cater to the life-or-death matters. She’s not even a nurse and she’s not
tough like that: always overthinking; then how could she stay away from desperations and focus on
the bright side of life? Also, hospitals are full of fatal diseases, who knows what kind of germs would
affect her during those trips, while her immune system is devastated like that? Hospitals are public
infrastructures, yes, but people only arrive at those places when they are out of hope and have no
other choices, not for recreational purposes! Jesus Christ, are you insane?

IN-CLASS WRITING (2): HOW I USE MY FIVE SENSES.

When I knew that I was born with a tattered body, I did not give it a flinch. Rather than buried in grief,
I am more interested in what I could do to sharpen the senses; gradually, when put in some desperate
case, my senses power up. However, in most of my cases, they cannot cover my spontaneous
insanity. Many times I am referred to as a psychopath, but I do not pay them much of my intention.

Sometimes I find myself in a confined room without any prior impression, no conditioners, all ears are
raised. Some other people are in the same room as well, which retains the heat and makes it more
and more intensive as time flies by. It is also desperate when your instinct is yelling that someone is
approaching from behind but your legs are tied. The smell of dust and sweat worsen my vertigo. I

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have -4.5 myopia, so all in front of me is a thin flake of foggy steam; it was uncomfortable, but not
enough to blur my vision of motion. The roommates move non-stop: they keep repeating the same
movements for such a long time that I could gradually make sense of their intentions, the same with
so-called telepathy.

The atmosphere is heavily pressed under silence. At these times, my perfect pitched ears would be
of good use, which is a good compensation for my bad vision. They save the days sometimes,
especially at those enlocked moments. Although I cannot make out what they are mumbling about, I
still realize the words through their echoes. The sound of whispers and footsteps clash with each
other like the summer cacophony, to such a degree that I could feel it vibrating in my ears. The more
they talk and move, the more severe my headaches become. I put myself inside this room but don't
know how to escape. At these times, I just silently pray and hypnotize myself that everything is just a
mirage resulting from my poor eyesight. I have made some attempts to challenge the wardens, but
every end is the same failure.

So I would have to discard all the cards up my sleeve and give myself in driving out as much data as
possible. After all, you get what you pay for, a 250$ IELTS would serve me at its best, not similar to
any free trial tests that I have cheated on before.

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 Appendix 2: Creative writings - Cao Thị Lê Mai

THE TWO OPPOSITE POINTS OF VIEW ABOUT LITTERING

1. I am so proud of my talent, an incredible talent, that is my ability to draw on golden prospect. Why
do I have to pay for the public service when I can empty my garbage by taking it out and placing that
gross stuff in front of your house. You are the house owner, and I am just like someone who passes
by and accidentally drop some waste material. If you do not clean your front door up, who else is
going to do that? It’s your house, so that’s your responsibility. In addition, the garbage collectors
should treasure what I have done since they are able to finish their duty earlier and easily kill two birds
with one stone.

2. You think you are smart? You think you spend economically? You think you can do it secretly and
your fault will never be exposed? Completely wrong! I do know everything and you are such a stingily
idiotic neighbor. The amount of money you have to pay for the trash-collecting service is not that
much and I am not your maid let alone your sponsor. Everyone must be responsible over what they
do, and their garbage as well. By not paying for the public service, you yourself are rejecting your
rights in this society as a citizen so you should be ashamed of yourself.

HOW DO YOU USE YOUR 5 SENSES?

I barely even remember the last time I happily showered under the rain — how it gently caresses my
body with its every drop, how tenderly it tastes like a mug of steaming coffee, how it calms the worries
racing inside my heart for it overpowers the screams of my anxious mind.

And so, I got up, wore my old clothes and ran excitingly like a prisoner finally free from its four-
cornered cage. It was nostalgic. It felt surreal.

Screamed on top of my lungs— jogged back and forth on an empty street, as if anxiety never bothered
my sanity, as if sleep paralysis never nearly killed me countless times in my sleep, as if my deathbed
never held me tight during my rests on broad daylights.

I experienced a gradual yet abrupt happiness not until my eyes betrayed me, for I didn't notice that
as the rain dropped on my delicate skin, tears were falling as well.

But at the end of the day…

Despite how many times I curse love over empty beer cans, swollen eyes and haunting happy
memories. At times, I have this eagerness to scream and scream at the top of my lungs. It will feel
like I have lost my voice. I will find myself choking on those unspoken feelings and unheard voice. But

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Love, as I traverse these vast uncertainties, my voice will come along. And I will be heard like the way
I hear the others. Even in my silence and in my most chaotic state, I will be heard and understood.

In the midst of this chaos, I will eventually find my peace, my calm in my storm. And I will be able to
sleep soundly until it passes. Warm and safe.

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