Introduction
Scott McCloud’s Understanding Comics: The Invisible Art is an insightful source for comprehending the essence and complexity of comic books alongside art. The author is an expert in the unique field of comics, and his particular work was published in the United States in 1994. While all sections of the book present interesting ideas, special attention should be paid to its second chapter, “The Vocabulary of Comics.”
A central theme introduced by the text is that comics are intricate combinations of pictures, words, and signs (McCloud 27). Notably, the chapter is oriented to a broad audience, from specialists to those simply interested in creating comic books, which may be seen as inferior entertainment publications but are a form of exceptional artistic expression. The second section of Understanding Comics explains how comics can convey complex information through icons in the context of a symbol-oriented culture. Icons represent a diverse vocabulary employed to communicate meaningful knowledge and appeal to people in different ways.
Discussion
Chapter 1
To better explain the claims provided in “The Vocabulary of Comics,” it is essential to summarize the chapter’s content first. The author starts by defining the concept of icon, which refers to images depicting “a person, place, thing, or idea” (McCloud 27). Icons can be pictorial, with fluid and diverse implications depending on appearance, or non-pictorial, with fixed and absolute meanings that reflect invisible sentiments (McCloud 28). The chapter dramatically emphasizes the former type of images due to their varying levels of abstraction based on how they resemble real life. In particular, the discussion concentrates on cartoons, which amplify something by simplifying its primary illustration (McCloud 30).
The writer explains how cartoons help individuals relate to what they see since such uncomplicated icons present universal notions (McCloud 36). The chapter then considers the usage of pictures and words and how they transmit information (McCloud 49). Finally, the author introduces the universe of comics and icons, where each creator utilizes a distinct approach to the continuously increasing variety of images (McCloud 58). Consequently, icons form vocabulary that is employed to share meaningful knowledge.
Chapter 2
The writer’s second chapter of Understanding Comics offers many thought-provoking claims and arguments. First, McCloud asserts that people have a “childhood fascination with cartoons” due to such icons being uncomplicated, thus quickly identifying with one’s self rather than seeing someone else in the images (36). For instance, “the more cartooney” the drawing of a face is, the more individuals it could be said to portray (McCloud 31).
Second, the author argues that different cultures have resorted to different methods of appealing to comic book readers through icons. In particular, creators from distinct countries use the masking effect, combining a sketched person with something realistic to varying degrees (McCloud 43). In Japan, for example, characters are depicted with little detail to help the viewers identify with them, while some look more lifelike to emphasize their “otherness from the reader” (McCloud 44). Third, the writer claims that icons require the mutual interaction of distinct parties since images are created and recreated by both authors and audiences (McCloud 59). Icons comprise a versatile vocabulary that can relate to real life and vary between cultures.
Questions for Further Exploration
The assessed chapter of Understanding Comics raises several questions for further research. The first query is how one’s brain changes when one views content with many cartoon-like icons. As discussed above, McCloud suggests that cartoon imagery can be characterized by universality, which helps individuals identify with what they see due to its simplicity (36). However, it would be interesting to learn how such icons affect the brain in the short and long term.
The second question is how differently children and adults perceive animated images in television or comic books. Since McCloud mentions people’s “childhood fascination with cartoons,” it is curious to know what happens in the minds of kids and adults when they view such content (36).
The third inquiry is what would happen if all advertisements began using simplified icons to promote products and services. McCloud remarks that the degree to which a person identifies with a character indicates the individual’s involvement with the story (42). Therefore, witnessing how society would respond to all ads with cartoon images would be intriguing. Overall, the chapter establishes a ground for further academic research.
Conclusion
To summarize, icons form a diverse vocabulary to convey meaningful information and appeal to the audience. Such images can be pictorial and non-pictorial; the former type is extensively utilized in comic books. Among the first kind of icons, those depicted as more uncomplicated will likely attract more people’s attention since they allow for easier self-identification. At the same time, a combination of drawn images with lifelike backgrounds is one of the approaches taken by creators from various cultures. Icons are versatile and can be mixed to present different meanings, thus creating a unique and broad vocabulary.
Work Cited
McCloud, Scott. Understanding Comics: The Invisible Art. William Morrow Paperbacks, 1994.