The Evolutionary World of Comics
The story of the evolutionary world of comics started almost In the 18th century when children in England were enjoying books like Gulliver’s travels (1726) and Robinson Crusoe (1719) here in India children were Cherishing Ramayana and Mahabharata. These books were not written targeting children but they are shared by both children and Adults. The Enlightenment in Europe raised concerns about the child and philosophers like Rousseau emphasized the need of proper nature and care to raise a conscientious child. His Emile Dealt with issues regarding moral education of the child and the necessity of a simple life. These ideas got transformed into the Romantic notions of the child as good, innocent, pure and close to God. While Romantic ideas laid importance on the natural goodness of the child and childhood it by implication
Moral Values:
also emphasized the necessity for proper care of the child so that it grouts into a worthy individual. Thus a lot of Chapbooks, nursery rhymes, ballads and similar works, mainly didactic in nature, were published to instill moral values in a child. India and Britain were in close relationship during the formative years of children’s literature in
India and so 19th Century British Children’s literature was diffused with images and visions of India creating a mystical and Mythic ambience. In the same time history of Comics in India was just around the corner re-visiting it’s most smiting of the metamorphosis ever to be seen again, It has the ability to make us laugh, cry, grab our imagination, stand out for our beliefs, and go beyond our wildest dreams. Comic books have always been a part of our society, and their societal impact has been apparent throughout our country’s history. It’s the one place where you can express your displeasure with a powerful political person while still worshiping your favorite superhero. A comic strip is nothing more than a collection of short stories.
The History:
The ancient history of sequential art is lengthy and much famous. The earliest examples of sequential art were cave paintings. These pictures were generally an illustrated chapter of an ancient tribe’s quest for sustenance, and they came from the cave of Lascaux in France. Egyptian hieroglyphics found within pyramids about 1300 BC praised their pharaohs (Richard Halegua, Online). These were some of the predecessors of what we have come to now know as comic art.
Originally established as a strategy to lure people to the Sunday edition of the local newspaper, comic strips were only published as weekly features in the Sunday supplement of American newspapers (Halegua, Online). Originally, comic strips were derived from conventional cartoons. A “cartoon” was a single drawing, usually with a caption or legend that conveyed a message. the message (Stephen Becker 2). Famous cartoonists such as Thomas Nast, Honoré Daumier, and William Hogarth contributed to its popularity. The emergence of comic strips was a continuous process rather than a one-time occurrence. Word balloons were frequently employed in cartoons by William Hogarth and Thomas Rowlandson in both the 18th and early 19th centuries. Rowlandson used “continuity,” combining one narrative with another.
American Newspaper:
Although there were early examples of comics in American newspapers, the medium was officially launched in 1896 with the publication of Richard Felton Outcault’s The Yellow Kid in Joseph Pulitzer’s New York World (Becker 10). The “child” had a smart, somewhat Chinese face and was bald with flap ears. The Yellow Kid’s nightshirt was generally the focal focus of the painting; it served as a messaging billboard. The Yellow Kid was significant because the written word had gone into the painting, and it was no longer just a caption or a legend. Words began to mirror the drawing’s comedy, and vice versa (Becker 11). The Katzenjammer Kids, by Rudolph Dirks, followed next (1897), It was the first to utilize a series of panels to present the story invariably. Dirk set the framework for subsequent comic strips with The Katzenjammer Kids, which blended internal conversation and panelized continuity (Halegua, Online). All of the essential components of the comic strip, such as regularity of cast, use of a sequence of panels, and speech-balloons, were refined and securely established with the appearance of pioneering strips such as Frederick Burr Opper’s Happy Hooligan, Carl E. Schultze’s Foxy Grandpa,
This volume is authored by famous comic novelist and biology professor Jay Hosler and illustrated by the creative team Kevin and Zander Cannon. Evolution includes the same characters from The Stuff of Life: A Graphic Guide to Genetics and DNA, who are now back to explain the foundations of life on Earth’s evolution. After explaining the complexities of human genetics to his planetary commander in The Stuff of Life, the intrepid extraterrestrial scientist Bloort-183 is tasked in this sequel with addressing the larger tale of evolution. Using the same storytelling premise that was deemed “so delightful that you won’t even know you’ve digested a whole novel” by Plenty magazine,
The most accessible visual work:
The most accessible visual work on this globally studied subject, Evolution, takes the reader from the primordial soup of the planet to the vestigial features of contemporary people, such as the coccyx and male nipple. The Cannons’ award-winning drawings make the complicated appearance and everything ingeniously funny once more. Evolution also has an award-winning biology instructor in Hosler, whose scientific cartoons have won him a National Science Foundation grant and an appearance on NPR’s Morning Edition
