Week 3 - Anita Ibell

How does Attebery (1980) define Fantasy? Find at least 5 definitions.

1. "Fantasy is a game of sorts, a violation of convention and natural law and a representation of impossibilities for which have no place in the world we know as real."
   - The impossible nature of this type of story can be proclaimed through any number of means: for example, the presence of magic, fanstastical creatures such as dragons, articulated inanimate objects...




2. "By demanding a straightforward treatment of impossible characters, objects or events" with a consistancy that ensures that the reader and writer of fantasy is committed to maintaining the illusion throughout the entire course of the text.




3. "Any narrative which includes as a significant part of its make up, some violation of what the author clearly believes to be natural law-- that is fantasy." It is, in essence, the fundamental alteration of reality.




4. "One of the most important elements that fantasy can aim to give is comprehensible form to life, death, good and evil" - through storylines that can calrify philisophical and moral conflicts while not being directly applicable to our own lives.




5. "Fantasy invokes wonder by making the impossible seem familiar, and the familiar seem new and strange." (Attebery, 1980).
   

Here's what I came up with when comparing Le Guinn's A Wizard of Earthsea with Atterbury's definitions: Firstly, to disocate the reader from their world, there is a map included with the story. This helps to create the illusion of Earthsea as another place so that there is no way that it might be confused with the world we already inhabit. The way that Earthsea is illustrated within the text harks back to folklore and simpler medieval times where peasants wore robes, lived off the land and cooked over open fires in huts with no electricity or other technology. Ged's father is a blacksmith and as their village is about to be invaded, his basic weapons are all they have to fend off the enemy, that is, until Ged uses a spell to create fog in an attempt to confuse them. The simplicity of a world without complicated modern trimmings allows magic and those who posess it to have a significant and controllable role in society that would perhaps be occupied by other great powers that we are familiar with- such as politics and the politicians who have the power to create laws. Thus, as a wizard, Ged not only holds a lot of power but he has a responsibility to use it in a way that will benefit others. This responisbility is challenged early in the text when his arrogance and relative naiivity gets him in trouble and almost destroys him. Ged's growth and developement in the text are heavily reliant on those things that are not real in our world, but are consistant within the world of Earthsea- he grapples with dragons and dead spirits and through these challenges and losses he learns responisibility and takes on the role of the hero within the story.

References:

Attebery, B. (1980). The Fantasy Tradition in American Literature: From Irving to Le Guin. Bloomington: Indiana University Press, 1-10.

Le Guinn, U. (1993; 1968). A Wizard of Earthsea. In The Earthsea Quartet (pp.13-167). London: Penguin.

WEEK 2

WHAT DOES KHORDOC THINK THE ASTERIX SERIES DOES BETTER THAN HERGE’S TINTIN?

What Khordoc (2004) is trying to establish is that there is no denying Herge’s Tintin and Rene Goscinny and Albert Uderzo’s Asterix are both well known, well established series in the graphic novel genre. But in the employment of the convention of speech balloons, she attributes Asterix’s creators to have done this better over Tintin’s. When Khordoc addresses Herges’ work she comments,

“…though he makes use of onomatopoeia, iconic symbols and other devices to create the effect of sound, Herge has not displayed, in my opinion, the full range of sounds which can be represented graphically.” p. 158.

Her article notes that a seamless integration between the illustrations and the textual narrative in a graphic novel creates a special visual ‘soundtrack’ (Khordoc, 2004). Or similarly, too much narrative slows down the pace or ‘sound’ of the novel. Instead use less text and clever strategies in image to tell the story, as seen in the Asterix series.

Khordoc does acknowledge the fact that “[Tintin] is grounded in a fairly intricate plot, thus, is more highly narrated”. By doing so she provides insight into a possible reason why Asterix has a more ‘audible’ sound and flow then Tintin ever could.

Week 7

What does Brown (2001) identify as the central themes and concerns of the novel? What elements conform to the wider generic features of SF?

Within the given text, Brown (2001) identifies multiple central themes and concerns of the novel. The question of what constitutes a true human being becomes clear throughout the text, and Dick uses stories influenced by his upbringing to help portray the answer (Dick, 1962). The concept of powerlessness explored within the text shares traits with the feelings he had growing up, seeing the death of his 5 week old twin sister due to what he believed was his sister being neglected (Brown, 2001, p.7).

As most SF writers base their stories off their own personal experiences (generally with less crazy stuff going on), the element of a power struggle (‘good’ v ‘evil’) tend to conform to generic features of science fiction. In saying this, Dicks elements do not reflect the stereotypical ‘aliens, precognition, ray-guns’ exactly, however ‘aliens’ could be an evil entity, and ‘ray guns’ a reflection of powerlessness.

Brown, E. (2001). Introduction. In Dick, P.K., The Man in the High Castle (p.v-xii). London: Penguin.

Dick, P.K. (2001; 1962). The Man in the High Castle. London: Penguin.

Week 4

Why does the religious right in the US condemn fantasy, according to Cockrell (2004)? On what grounds does Cockrell defend fantasy literature using Harry Potter as an example?

The religious right in the US condemns fantasy because it is directly associated with the devil (Cockrell, 2004). It is believed to “indoctrinate our children in witchcraft and satanism” (Brooks, 2001) among other frowned up consequences. Shores (2005) supports this by suggesting that “Harry Potter books encourage children to rebel against their parents... and to assume power for themselves” which is frightening for any parent, especially a fundamentalist Christian one. Last Trumpet Ministries International (2005) highlights the deadly reality that this form of entertainment is in fact a well disguised witchcraft handbook. In addition, because Harry Potter is a low fantasy narrative, his living in our world combined with his endless popularity with children is harmful to their spiritual wellbeing (Cockrell, 2004). However, Cockrell (2004) defends fantasy literature through Harry Potter on the grounds that the magic there is no different to that found in Cinderella, The Wizard of Oz and The Lord of the Rings. This is a real wonder because fantasy is a major part of modern children’s literature, yet Harry Potter is set aside as an evil art.

Brooks, W. Letter to the Editor. (2001, December 9). The Roanoke, p.2

Cockrell, A. (2004). Harry Potter and the Witch Hunters: a social context for the attacks on Harry Potter. The Journal of American Culture, Vol 29, No 1

Last Trumpet Ministries International. (2005). Wiccan Witchcraft. Retrieved August 12, 2011, from http://64.233.161.104/search?q=cache00jacpwxizgJ:www.demonbuster.com/wiccan.html+demonbuster+Harry+Potter&hl=en

Shores, L. T. (2005). Harry Potter, A New Twist to Witchcraft. Retrieved August 12, 2011, from http://www.exposingsatanism.org/harrypotter2.htm

Week 4 - Sarah Hosking

How does the fantasy genre relate to modern media such as video games?

Like other multimodal narratives, Harry Potter stands out as a adventure and fantasy classic in many ways. Like other multimodal genres, Harry Potter can be told in many different ways and the video game market has proven extremely successful for this franchise. "Josie finds the game authentic because it allows her to be Harry Potter" (Burn, A). One of Fantasy's themes is a main character who over comes a personal hardship and also does things out of the ordinary. In these video games a normal person (just like that of a protagonist in a Fantasy story) can do the extraordinary just like the character they identify with in their favourite Fantasy narrative.

REFERENCES
Burn, A (2005) 'Potter-Literacy - from book to game and back again; Literature, film, game and cross-media literacy', in Papers: Explorations into Children's Literature Vol 14, No 3

Week 3 - Sarah Hosking

How does Attebery (1980) define Fantasy? Find at least five definitions.

"an overt violation of what is generally accepted as possibility...Whatever the material, extravagant or seemingly commonplace, a narrative is a fantasy if it presents the persuasive establishment and development of an impossibility, an arbitrary construct of the mind with all under the control the control of logic and rhetoric" (W.R. Irwin) Attebery uses this as a means to locate how fantasy can be qualified as fantasy. He later goes on to state "Any narrative which includes as a significant part of its make-up some violation of what the author clearly believes to be natural law-this is fantasy" (Attebery p,3). He also alter states that Fantasy can be made up of "magical objects: rings, hats, or castles possessing wills, voices, mobility and other attributes inanimate objects do not, in our experience, possess" (Attebery p,3). This tells me that Fantasy in basic terms involves the unreal becoming real, in a matter of any object like the ones he mentioned above or has he states it, "...that violate fundamental assumptions about matter and life." (Attebery p,3). He then puts it plainly that "By demanding a straightforward treatment of impossibly characters, objects, or events, we can distinguish between fantasy and related genres" (Attebery)

REFERENCES
W.R. Irwin, The Game of the Impossible: A Rhetoric Of Fantast (Urbana, Ill.:University of Illinois Press, 1979), P.4.
Attebery, B. The Fantasy Tradition in American Literature: From Irving to Le Guin. Bloomington: Indiana University Press, 1980, 1-10

Week 3

In what ways does Tax (2002) suggest Earthsea may still be relevant today?

Tax (2002) mentions the relevance of Earthsea in recent times as it acts as a muse to inspire one to conjure ideas that may contradict expected norms of everyday life. She continues to create a direct link between Earthsea’s “wall of stones” (Tax, 2002 p11) and those which we build. The author shows the comparison of the prisonlike confinement of the deceased with our own adulthood struggles. This is referred to as “the arid land of adulthood, the land of death-in-life, where so many of us spend so much of our time” (Tax, 2002 p16). The writer continues to build on this by mentioning the inevitable creativity evoked from exposing oneself to fantasy-based narratives; and its importance in assisting and giving readers a release from their personal “wall of stones” (Tax, 2002 p11). This is because “people turn to the realms of fantasy for stability… immutable simplicities”. (Tax, 2002 p15).

Tax, M. (Jan 28, 2002). Year of Harry Potter, Enter the Dragon. In The Nation

Week 2

According to Horricks (2004), how have perceptions of comics as a media changed?

Horricks (2004) points out major changes that have occurred over time in New Zealand with comics. For instance the issue of whether comics could potentially impact on youth negatively was concerning for the general public, especially those with strong antagonistic views. Such views are that of conservatives and other less obvious anti-comics campaigns because of “violence and jingoistic anti-Communism found in many American comics”. The writer continues to show that regardless of comics being frowned upon in the past, it has come a long way to be considered over tie as a more serious literary canon. For example “there are courses dedicated to comics in English and Art History university departments in America, Britain and here in New Zealand”. We are told, however, that mass concerns such as this have in fact not vanished. Instead it has just moved on to other forms of media hat raise the same concerns. That includes gangsta rap, television, the internet or video games” to name a few. Contemporary commentators have considered these art forms as unworthy of looking into. It is also these kinds of views that caused the novel among other things to be a “target of moral panics at various times in the past”.

Horricks, D. (2004). The Perfect Planet: Comics, games and world-building in Williams, M. (Ed.), Writing at the Edge of the Universe. Christchurch: U of Canterbury Press

Week 4

How does the fantasy genre relate to modern media such as video games?

Fantasy relates to video games today heavily. The amount of video games that are fantasy type based is unimaginable. Off the top of my head I can name the Final Fantasy Series, World of Warcraft, Fable, Dragon Age, Rift and many more. The point is all these games couldn’t exist if fantasy didn't exist. They all maintain the illusion that magic is possible and monsters roam the earth. They are all set in another world, and all follow the rules of fantasy.

This being said however, when reading this weeks reader I became aware of an interesting view. "Truckers argument here, is that they contain structures, above all, influenced by the images and practises of video games" Burn, 2005. This quote was referring to the Harry Potter series. I find this interesting as it is claiming the video games are responsible for Harry Potter, and potentially any new day fantasy, rather than the fantasy being responsible for the video games. An interesting theory.

The article continues to show parts of Harry Potter where Harry is expected, and lives up to the expectations, of doing most of the action in dangerous events. He is often the one to save his friends. Is this not very similar to a video game?

But either way we want to look at it, the Fantasy Genre is strongly related to many of the modern day video games that are coming out, and they do have many similarities.

Burn, A (2005) 'Potter-Literacy - from books to game and back again; literature, film, game and cross media literacy', in papers: Explorations into children's literature vol 14, No 3

Trucker, N (1999) 'The Rise and Rise of Harry Potter', Children's literature in Education, 30:4 pp 221-234.

Week 3

What are some archetypes (e.g. common character types)of fantasy fiction?

The fantasy Genre at first glance seems to stretch far and wide, but when studied it becomes clear that there are in fact many similarities between the great works of fantasy. But a factor about fantasy that is the most consistent is the character types. Each fantasy has its own version of the same characters slightly warped and changed, but they are there to achieve the same purpose in every story. For example, in the texts talked about by (Tax, 2002) he is talking about Lord of the Rings, Harry Potter, the Wizard of Earthsea and the Narnia books. These great works of fantasy are all different and unique, but the character 'archetypes' are similar in many of them. For example, all these fantasy works have the main Hero, be it Frodo, Harry, those kids from Narnia, or Ged from the wizard of earthsea, who at the beginning of the book aren't that brave, powerful or strong. But after the tests and events throughout the story they grow and turn into a hero. They all have characters to give them advice and guide them throughout their quest, for example there's Dumbledor, Gandalf, The Lion Aslan? All these characters help the heros in their times of need, with advice or items to aid them. Then there's the villain, who are all different and have their own unique perks, but they are there for the same reasons. Example; Sauron, Voldemort, the Witch ect.

Not only that, but all these fantasies come out with a traditional happy ending where good vanquishes evil. There are great similarities, but the stories themselves are extremely different.

Tax, M (2002). In the Year of Harry Potter, Enter the Dragons Nest. The Nation.

Le Guinn, U. (1993; 1968). The Earthsea Quartet. London: Penguin.

Week 2 - Sarah Hosking

According to Horricks (2004), how have perceptions of comics as a media changed?

Comics were threatened extinct in the 1950s as many political groups found them as a haven for “violence and jingoistic anti-Communism” (Horricks, D.2004). In the article which that quote comes from, a lot of reasons are detailed as to why this was a concern in the 1950s. But as I personally have seen time and time again, anything new is a threat. It’s said later in the article that “…but the same cannot be said of gangsta rap, television, the internet or video games.” These mediums (which are all relatively new) can be used by a minority to express such radical ideals but as history tells us, the same can’t be said for the majority.

Comics or Graphic Novels have became a special part of modern literature, (perhaps because the authors have used it as a means to communicate less popular political ideals?) and the fact the Pulitzer Prize and NY Review of Books has began including Graphic Novels and Comics proves this.(Horricks, D.2004)

REFERENCES
Horricks D 2004. The perfect planet: comics, games and world buildings in Williams, M. (E.d.), Writing at the edge of the Universe. Christchurch: U of Canterbury Press.
https://autonline.aut.ac.nz/@@/541D502BDC67F5A87C9527D4EEC3ACE9
/courses/1/166104_2011_02/content/_1843493_1/Reader_Week%202.pdf

Week 1

According to the second Farr extract (p.50-59), how did Hergé research China for The Blue Lotus?

In response to Louvain University’s chaplain Father Gosset’s advice on Chinese perception, Farr(1991) suggests that Herge came to aquire a true more clearer knowledge of China through interactions with a bright sculpture student Chang Chong-chen. He continues to stress the importance of meeting with Chang, since resulting revelations lead to the shaping of The Blue Lotus and to the inclusion of “young Chang as a special friend for Tintin”. The overall effect eliminated his preconception and any previous generalisation that “China was peopled by vague, slit-eyed people who were very cruel… and throw children into rivers”. From this point it is clear that by researching China through the eyes of a Chinese native, Herge proved that without immersing oneself into any culture, it is easy to be lost by blinded views and clichés. The Blue Lotus was in turn directly connected with the culturally rich discoveries Herge encountered. It also impacted greatly on newer Tintin content as prior research would ensure accurate accounts of material.

Farr, Michael. (1991). Tintin: the complete companion. London: John Murray

Week 6

With reference to Cavallaro (2006), what distinguishes Mononoke technically as being – it is generally agreed – a great work of anime?

Mononoke (Miyazaki, 2006) is generally seen as a great work of anime because of the complexity of both the storyline and the attention to detail. The story focuses on subjects outside of those experienced in most anime (samurais etc), and prefers to focus on the lesser known issues in a style that takes advantage of the ‘fascination’ the Japanese people have with Legend and folklore (Cavallaro, 2006). It is set in the Muromachi period (1392 – 1573), and uses a cross-dimensional plot to portray seemingly alternate aspects of the said legends.

The Production of Mononoke itself gives yet another reason why it is a considered a great piece of anime. The art directors involved were sent to Yakushima, which provided an environment filled with elements that could be associated with the Mononoke world(Cavallaro, 2006). It could be said that this level of detail could allow its target audience to relate to the anime on a greater level.

The style of production was also ‘smoother’ than typical anime, which, combined with Miyazaki’s attention to using the setting to create a distinct environment that lends itself to the overall story(Cavallaro, 2006). For this reason, it could be said that the attention to detail and the topics involved in Mononoke help to establish it as a great work of anime.

Cavallaro, D. (2006). The Anime Art of Hayao Miyazaki. London: McFarland & Company.

Miyazaki, H. (2006). Princess Mononoke. Tokyo: Studio Ghibli Productions.

Week 1 - Sarah Hosking

According to the second Farr extract (p.50-59), how did Hergé research China for The Blue Lotus?


Hergé was contacted by Father Gosset, a Belgian Missionary who had heard of Hergé’s plans to write about the Far East, and contacted him to ask if he would consider taking time to research his story as he thought any inaccuracies could hurt intercontinental relationships.
This lead to Hergé being acquainted with Chang Chong Chenn through Father Gosset. It’s mentioned in The Blue Lotus (Michael Farr,1991) that “The meeting with Chang and the sweeping away of prejudices was so important to Hergé that he transposed it into the narrative of the new adventure and created a young Chang as a special friend for Tintin.” That young Asian man in the story stopped and took time to discuss racial stereotypes with Tintin, after which, they both became friends. Unfortunately this part was left out from the cartoon adaptation which I felt to be most disappointing.

Therefore it is clear to me that Chang had a monumental effect on the way in which Hergé approached writing Tintin, and as is evident, inspired the creation of the most critically acclaimed Tintin instalment ever created.(pp1a)
I think that Hergé must have had a real interest for China and its history to change his narrative style and personally confront his readers about racial stereotypes between not only Europeans and Chinese, but to all different races.

REFERENCES
Farr, Michael. (1991). The Blue Lotus. In Tintin: the complete companion (p50-59). London:
John Murray.
https://autonline.aut.ac.nz/@@/541D502BDC67F5A87C9527D4EEC3ACE9/
courses/1/166104_2011_02/content/_1843491_1/Week%201%20Readings.pdf


PP1a – notes taken from class lecture

Week 5_Jing Lin

Is it a high or low cultural genre, according to Napier (2005)? What are some of its subgenres?

Firstly, Napier (2005) defined that the “culture’ to which anime belongs is at present a “popular” or “mass” culture in Japan, and in America it exists as a “sub” culture. On the other hand anime is a popular culture from the clearly builds on previous high cultural traditions. Not only does the medium show influences from such Japanese traditional arts as Kabuki and the woodblock print. Finally, the issues it explores, often in surprisingly complex ways are ones familiar to readers of contemporary ”High culture” literature (both inside and outside Japan) and viewers of contemporary are cinema. Furthermore, he mentioned that things have changed. Whereas Japan has been known for such “high cultural” products as haiku, Zen and the martical arts, the Japan of the 1990s began to develop a new export, animated films and videos- anime, a Japanese abbreviation of the English world’ animation.”
As an anime fans, I do think anime is kind of art especially one of the country’s most popular animators, Hayao Miyazaki. “Grave of the Fire flies”, “Spirited Away”, ”Howl’s Moving Castle” and so are. They are not normal cartoon that for kids but also for all group of ages.

Napier, S. (2005). Why anime? In Anime: from Akira to Howl’s Moving Castle (pp.3-14). Hampshire: Palgrave/ Macmillan.

Week 4_Jing Lin

Question1, How does the fantasy genre relate to modern media such as video games?

First of all, Burn (2005) pointed that whether games influence books or the other way round is perhaps debatable in this case: Tolkien's stories also have maps, lists, puzzles and so on; The Lord of the Rings gave rise to one of the most popular of modern game-gennres, the RPG;
On the other hand, this kind of relate has been called as cross-media. As a popular fantasy book, The Lord of the Rings became popular movie around world. With a clearly, fully understanding of the background of a video game, became a good reason that people chose it.
Further more, the lists, maps and other means of puzzle-solving and game-survival that characterise in the books are alway in the games as well. In my opinion, it makes people feel familiar.
With my own experience, when I play the fantasy RPG (of course need read the fantasy first), I feel like it is real course everything ,everyone has in my mind. That is a special feeling differ from normal RPG and fantasy.


Burn, A. (2005). Potter Literacy from book to game and back again: literature, film, game and cross media literacy in papers, 14(3)

Week 3:_Jing Lin

What are some archetypes (e.g. common character types)of fantasy fiction?

According to Attebery (1980), " There are various ways a story can proclaim its fantastic nature. It can involve beings whose existence we know to be impossible." Attebery gave the example as dragons, flying horses what always appealed in the folklore tales. He also mentioned the magical objects, such as the ring in Lord of the Rings, the newspaper with the movable photo in Harry Porter. Further more, Attebery says it can proceed through events. My example is Harry Porter have to go through the wall then pass to Platform Nine and Three_Quarters. All these thing will never happen in real life but it becomes natural when it happens in fantasy. In my opinion, the most important word in fantasy is "magic", whatever a human being with magic or a magic wand even a speakable animal, and so on. May be this is the glamour of fantasy, a glamour with wonder.

Attebery.B.(1980). Locating fantasy. In The Fantasy Tradition in American Litrature:

WEEK 4

Why does the religious right in the US condemn fantasy, according to Cockrell (2004)? On what grounds does Cockrell defend fantasy literature, using Harry Potter as an example?

Religious groups in the US continue to publicly express their complete disapproval of the fantasy genre. It is the literal interpreters of the Christian bible who feel that fantasy literature is ‘deceit’. Deceit defined as a dishonest act essentially means a lie and so through fantasy children will learn how to lie (an evil act). Studies by Taylor and Carlson have shown that these fundamentalist parents regard fantasy as a creation of imaginative friends that in turn is an association with the devil. Parents condemn fantasy, on these grounds that they must protect their children from the devil.

Cockrell (2006) believes there are two main reasons for such unreserved judgment towards the low-level fantasy series ‘Harry Potter’. Firstly, she believes that Rowling’s decision to place Harry in the world that we live in is far too close to comfort for the ‘Pottor-phobic’ religions. According to Cockrell (2006), Christian fundamentalists assume,

‘…that the monsters and miracles of the bible are literally true, in all their ferocious splendor, then the unseen world must indeed exist, and the seperation of fact from fiction that deals with that world becomes shaky.’

This provides an insight into why Harry Potter is causing such a reaction. These anti-fantasy groups can see this parallel world as the literal reality of evil and are scared of it.

Secondly, Cockrell (2006), believes that characters in Harry Potter such as the Dursleys are ‘skillfully parodied’ versions of Rowling’s detractors. Rowling makes fun of these characters, dishonours them and questions their believes. Fundamentalists who condemn Rowling’s work can see these characters as an attack on there religion or an attack on figures who should not be questioned and try to shield their children from ‘the voice of Satan’.

Cockrell (2006), defends the fantasy genre through claiming that Harry Potter’s central idea is…

‘…mystery, which many theologians of the more experimental stripe tell us is God. For this reason, liberal theologians have no trouble with Harry. Harry frightens only those who want the answers to be the same every time the question is asked. In Rowling’s world, the answer is not the same.’

Cockrell, A. (2006). Harry Potter and the witch hunters: a social context for the attacks on Harry Potter in The journal of American culture, 29(1)

Week 5

According to Lent (2000), what place does animation occupy in Asian societies? How different is this across Asia (ie comparing China and Japan)?

Animation, or anime as it is widely known, can be defined as a form of media produced to depict traditional stories using similar techniques to that of their American counterparts (i.e Early Disney) (Lent, 2000). Using anime, many different concepts can be portrayed to the masses and can ultimately educate society and shape their morals. Furthermore, anime can be used to convey governmental and bureaucratic goals (Lent,2000).

Animation all over Asia differs as a result, as different areas have different goals, traditional stories and the like. An example of such is that of Korea and Taiwan placing a ban on Anime in regards to underlying themes of Japanese cultural imperialism (Lent,2000).

A decline in US television production in the late 1990s has created competition between different Asian societies, as each society is/was competing for the airtime on offer as a result. This competition has seen a multitude of co-productions between Asia, the Americas and Europe.

Lent, J. A. (2000). Animation in Asia: appropriation, reinterpretation, and adoption or adaptation. Retrieved 9 August, 2011, from AnimeResearch.com.

week1

Do you think comics are a children's or adult genre/media?

In my point of view comics books are for both children and adults, because the relation between text and image on comic books help children to get interested about reading and develop their imagination and learn the visual language. “It is also very important to choose the right comic books for children to read and learn the age appropriate material.” Comic books has some messages for children in to learn, for example the snow white and seven dwarf the message is people can be seem nice and kind but inwardly they are evil and satanic.

Comics are one of the most popular forms of media, the development of increasingly visual age.

According to Herg (1935), comics aimed all ages from seven to seventy seven. In fact it has appeal much wider from children first learning to read aged; and each age find level of understanding and appreciate.

Alber , A. (n.d). Top 20 Children’s Comics. Retrieved August 6, 2011, from

http://comicbooks.about.com/od/buyingcomics/tp/toptenkids.htm

Hergé. (1935). The Adventures of Tintin: The Blues Lotus. London: Egmont.