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Journal Entry

Graphic books (comics) are becoming increasingly popular, not just among teenagers.

For generations, they've become an underappreciated and much-ridiculed format, but they're

now gaining traction, with entire college classes devoted to their studies. Many individuals

(particularly parents) have criticized them, claiming that they aren't difficult enough for

children, are merely glorified picture books, or don't qualify as fiction. But, to be truthful, all

these are simply common misunderstandings. Comics are a simple form of narrative with

many best literary concepts such as humanism, heroism, and triumph over extraordinary

circumstances. This Journal entry examines six comic books in different thematic and style

analysis styles. The following comics are concerned: The Complete Maus, A Contract with

God, X-men, Batman: Arkham Asylum, This One Summer, and Daredevils.

The Complete Maus

The comic book tells the narrative of Vladek Spiegelman, a Former prisoner from

Poland who spent time in slums and extermination centers during Nazi rule. From a

conceptual standpoint, survival is a significant issue Spiegelman explores during his time in

internment camps and after the Holocaust.

In contrast, Vladek's ingenuity is demonstrated through the basic stuff he maintains or

collects, as well as his abilities. Vladek, for instance, describes to Art how he continuously
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abused his employment by taking on the duties of an interpreter and a cobbler to gain access

to more food and clothes by being regarded well by the Polish Kapo. Due to the scarcity of

food and clothing in the internment camps, necessities acquired a form of wealth, and Vladek

insisted on being thrifty and practical, which allowed him to purchase Anja's liberation from

the Birkenau station.

Many veterans had post-traumatic stress disorder (PTSD) and 'survivor's guilt.' This is

demonstrated by Art's mother, Anja, who commits herself 20 years after escaping the death

camps. After losing most of her colleagues and family, she tried to understand why she was

still alive when others were not. Her sadness is palpable all through the comic book.

Spiegelman also expresses his anger with Vladek, who treats him like a child rather than an

adult. Art, for instance, is surprised that Vladek could toss out most of Art's jackets but

instead purchase a better coat, notwithstanding Vladek's hoarding since he is unwilling and

ashamed to let his kid wear his "old nasty coat." This gesture might imply to audiences that

Vladek is attempting to give Art the lifestyle he does not have and is hesitant to allow his kid

to wear clothing that he considers 'unacceptable.' Art, on the other hand, "can't possibly

believe it" and doesn't understand his behavior.

A Contract with God

Will Eisner's graphic novel "A Contract with God" focuses on commercial

relationships' shallow and changeable nature. The short tales build on one other to examine

this issue, beginning with a basic example and gradually growing more subtle and ethically

rich. The comic starts with a real pact between God and Frimme Hersh, a devout Jewish

American immigrant. Hersh views his daughter's death as a breach of the bargain, and he

resolves to abandon his dedicated life to chase fortune and power. He is struck by lightning in
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what is believed to be a divine act when he feels he has acquired a new contract. In religious

situations, Eisner advises against transactional expectations. The following story, "The Street

Singer," takes a more secular approach to the topic. The battered street performer strikes a

deal with the distraught ex-diva to pursue an operatic career under her guidance. He betrays

the agreement, and instead of caring for his pregnant wife, he spends her money on drinks

(Anupama, 22). His relations to his wife, kid, and server are all strained, and his exchanges

add to the story's melancholy tone.

The moral stakes are elevated in "The Super," when a transactional connection

between a hated German handyman and a ten-year-old Jewish tenement inhabitant takes the

form of a sexual contract. After completing the transaction, the teenage girl betrays the

super's faith in the insubstantial connection, setting in motion a series of circumstances that

finally lead to his death. The ethics of what and who is to fault for the catastrophe grow

murky, but the underlying theme suggests that tragedy is the essence of such contractual

arrangements.  What's fascinating about this narrative is that most of the endings are pleasant,

at least superficially. Benny and Goldie get married to rich people. But a frightening image of

Willie, the victim of Mrs. Minks' paraphilic deeds, overlooking the city in the downpour on

the narrative's final chapter entirely undercuts this false sense of resolve (Anupama, 39). This

unequal power and consent connection matches others all through the record and shows the

futility of such partnerships with a feeling of certainty.

X-men

The X-Men stories elicit various interpretations, including parallels to all-too-human

social issues such as racism, sexism, anti-Semitism, and chauvinism. The series refers to

catastrophes such as the Holocaust while emphasizing the misery of using the themes

as insults. It also has a cast of characters who represent various social movements. Miller also
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argues for a queer interpretation of the X-Men. For instance, mutants "are frequently born of

'regular' parents" and "may stay concealed or in the closet' if they bear no visible trace of their

alteration," he points out. Those who do 'come out' are frequently shunned by their family

and acquaintances." The X-Men comic, despite its lofty aspirations, has a diversity issue,

according to Miller. Characters of Indigenous Populations in the United States, Vietnam, and

Brazil heritage was "either Clarification or pulled out of the storyline," according to Miller

(Comics & Marvel 33). While villains are frequently represented as members of marginalized

groups, the sequence took a long time to include racial minorities as heroes.

According to Miller, the show pulls in disadvantaged persons, quashes them, and

sends them out as "European," integrated figures. The theme is clear: the USA ought to be a

melting pot. Maybe they can appeal to both juvenile and senior readers' senses of fairness and

distinction, as Miller suggests. According to Miller, the X-Men have a "storyline subject of

hate and bigotry," which is adaptable enough to relate to the experiences of those who belong

to races or factions on humanity's peripheries. The mutants' unique characteristics make them

formidable, but they will also be terrifying. Consequently, the individuals are constantly

confronted with biasness, and their experiences become allegories for how society deals with

bigotry and tyranny (Comics & Marvel 78). Professor Xavier, who teaches mutants and seeks

to help them cohabit with humankind, has an idea of equality and reconciliation comparable

to Martin Luther King, Jr.

Batman: Arkham Asylum

In many respects, this comic story's topic is preference. Dr. Cavendish opted to

liberate the convicts, fulfill Amadeus Arkham's plot, and accuse Batman, which is reflected

throughout the story. Arkham's decided to put his mom out of her agony, she decided to

create Arkham Asylum, and he chose to murder Maddog. Batman decided to bring on the
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convicts on his own, leaving the detainees alone and unharmed. This idea is exemplified by

the Two-Face character, whose whole battle revolves around the concept of choice. In the

end, he decides to let Batman leave, despite the fact it is against his fortune ( Round & Julia,

161). This subject connects to Se7en's, in which Inspector Mills is presented with several

dilemmas throughout the film, culminating in the final decision. John, a documented serial

murderer, avenges his deceased wife or arrests him and lets the authorities handle it. Mills, on

the other hand, shoots John Doe in the ending. Choices are crucial; one incorrect choice at

any point in this comic, regardless of how minor, can turn it into a completely distinct graphic

book.

Morrison is a terrific Bronze Age comic creator, as seen by this issue. During the

Middle Ages, comics shifted away from the typical "hero rescues the day and wins the lady"

formula and instead focused on far darker subjects. The comic series and Grant Morrison

stand out as negative and genuine portrayals of comics' Middle Ages. The images are

designed abstractly, adding to the suspense and sense of foreboding of this chilling tale. The

whole comic is done in a gloomy tone, with the lightest panels merely displaying the Joker

against a dark backdrop ( Round & Julia, 168). The fonts chosen are bizarre and frequently

difficult to read, contributing to the bewilderment felt when viewing.

This One Summer

Mariko is most recognized for her collaborations with Jillian. Their best-known

graphic novel is depicted in a more favorable light. Because the prominent figure Rose

endures numerous problems and heartbreaks all through the story, Tamaki uses sympathy to

have the audience feel the same feelings Rose has. Because the novel is visual, the visuals in

the story don't have to be influential; yet, when a figure pondered with themselves and a

depicted figure wasn't required, Mariko could go into considerable detail. She didn't use a
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complex level in addition to the choice of language, but she utilized enough complexity in her

phrases to let readers understand the scenario (Lewkowich, 4). This also connected the

comic's lexicon and grammar, allowing the exposition and speech to blend smoothly.

She had a lot of grit and tenacity

and contradictory feelings like sadness and despair in her persona.

Tamaki was drawn to the concept of genuineness and affection in general.

Several themes may be extracted from a young girl's gloomy summer experience

when reviewing the comic. However, I believe the ideal one is that not blood relatives

persons should always be regarded as a cohesive family. This subject is also connected to the

Sisterhood. TibbyThis is since the significant protagonists Carmen, Bridget,

and Lena experience a separation during the summer in each of the five tales, much as Rose

has challenges and proximity issues with her dearest pal Windy (Lewkowich, 8). Both

storylines have many personal problems, as each of the four females has a separate dispute

throughout the summer, making it difficult for them to enjoy their time off. This also occurs

with Rose, who adores a considerably older male than her in the other comic. These little

details connected into someone's concepts by assisting the protagonists in discovering their

emotional self and learning how to confront their trials without the support of others

(Lewkowich 19). Rose and the four girls eventually learned the value of companionship, the

love life, and the challenges of growing older .

Daredevils

With Charlie Cox portraying the Marvel character in a Netflix series, the character's

fame had already been skyrocketing. Daredevil underwent various transformations in the

comics. He began wearing deeper tones of red in addition to the traditional red. In a few story

arcs, the morally upright lawyer, as well as vigilante, even became a nasty opponent of Iron
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Fist and spider-man. The story is well-suited for current viewers, as it presents the character

in a more edgy and bleak light. The Man Without Courage has been the protector of Hell's

Kitchen for many years. Considering that Netflix's Daredevil and its protagonist have dealt

with similar topics, supporters of the live-action version may genuinely appreciate this five

concerns tale ((Madrid & Mike, 22-68).

Due to his dad's profession and eventual death in kickboxing, Daredevil has a terrible

history with the sport. Daredevil returning to the ring to use his hand-to-hand fighting

abilities for a bit of brawl is an intriguing topic, given that while it is something Daredevil

would never do in his daily life. This abrupt shift in his demeanor suggests a shifting

Daredevil in Shadowland. Daredevil makes a bargain with Wilson Fisk to erase everyone's

knowledge of him after his wicked turn in Shadowland. He teams up with Spider-Man after

discovering his actual self. Although the two New Yorkers had previously partnered, Spider-

Man has no remembrance of his old ally.

Dark Nights is indeed a series of stories that illustrate Daredevil's fortitude in the face

of adversity. One narrative may be about an extraterrestrial takeover in New York, while the

other might be about a girl who needs an organ transplants in the center of the blizzard. Dark

Nights is a diverse bag of emotions due to the range of storylines. Daredevil fights crime also

as a armored hero and a lawyer, contending with ordinary difficulties as well as superhuman

challenges (Madrid & Mike, 98-152). He may be cowering in fear far from the general public

glare, but he genuinely cares about the individuals he encounters.

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Work Cited

Comics, Marvel, Stan Lee, and Jack Kirby. "The X-Men." New York, New York (2001).

Lewkowich, David. "Traumatic loss and productive impasse in comics: visual metaphors

of depression and melancholia in Jillian and Mariko Tamaki’s This One

Summer." Journal of Graphic Novels and Comics (2019): 1-19.

Madrid, Mike. Divas, Dames & Daredevils: Lost Heroines of Golden Age Comics.

Exterminating Angel Press, 2013.

Round, Julia. "Grant Morrison, Dave McKean, and Gaspar Saladino's Arkham Asylum

(1989)." (2018): 161-168.

Spiegelman, Art. Complete Maus. Vol. 1. Pantheon, 1997.