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STATISTICS: Final submissions
To help you get a sense of the quality and complexity of your ongoing final project, here are some interesting statistics from previous semesters:
GROUPS ON ONE
> average number of panels >> 27 min:24 max:35
> average number of alternative characteristics (section #5) >> 12.5 min:10 max:19
> average number of comic book elements (section #8) >> 16 min:10 max:29
GROUPS OF TWO
> average number of panels >> 36 min:32 max:47
> average number of alternative characteristics (section #5) >> 14 min:10 max:20
GROUPS OF TWO
> average number of panels >> 36 min:32 max:47
> average number of alternative characteristics (section #5) >> 14 min:10 max:20
> average number of comic book elements (section #8) >> 21 min:15 max:30
STICK-FIGURE DRAFTS
Your draft should include three/four pages, all the panels, characters (as stick-figures), bubbles (speeches and thoughts), narrative boxes and words.
Fill up the entire page, using properly-sized gutters and panels.
Place and size your characters, bubbles, and words very carefully.
This will allow you to assess your storytelling, test your use of comic book elements, and evaluate the balance between your words and images.
DIALOGUE & BUBBLE PLACEMENT
Dialog always STARTS ON THE LEFT,
and DON'T CROSS TAILS!
Bubbles should be read in traditional Z-fashion:
from left to right, and from top to bottom.
CAMERA SHOTS
Ask yourself: What is the focus in this panel?
MEDIUM-TO-CLOSE SHOTS: TO FOCUS ON WORDS & CHARACTER ⤵
WIDE SHOTS: ONLY IF THE ENVIRONMENT REALLY MATTERS ⤵
★
★
★
AVOID WIDE SHOTS THAT ARE WORD-SPECIFIC ⤵
In short: Get as close to your character as possible!
The closer you are to the character, the more you emphasize their words, emotions, and personality. Zooming in draws the reader's attention where it matters most. Save the wide shots for when the setting is telling part of the story, or when you wish to introduce a new location (in the first panel at the top of a page).
WEEK 13
>>> NEXT REGULAR CLASS: APRIL 28 <<<
IN-CLASS PEER REVIEW OF YOUR STICK-FIGURE DRAFT
BRING YOUR PAPER DRAFTS & LAPTOPS
1) FINAL PROJECT: IF NEEDED, REVISE SECTIONS #1 TO 7 OF YOUR ONLINE WORKSHEET.
2) NEW COMIC BOOK ELEMENTS: REVIEW YOUR CLASS NOTES & BLOG POSTS ON NEW COMIC BOOK ELEMENTS.
3) EXAMPLES: STUDY CLOSELY THE EXAMPLES OF FINAL PROJECTS FROM PREVIOUS YEARS AS WELL AS EXAMPLES OF STICK-FIGURE DRAFTS.
4) DRAFT & WORKSHEET: CREATE YOUR STICK-FIGURE DRAFT & FILL UP SECTIONS 8 & 9 OF YOUR WORKSHEET.
SECTIONS #8-9 & YOUR STICK FIGURE DRAFT ARE BOTH DUE ON APRIL 28 BEFORE CLASS.
Submit your draft to LEA as one single pdf file.
Your draft needs to be comic book size: one whole sheet of paper for each page.
The size of your panels and gutters need to be standard-sized, that is, the common size of panels and gutters found in comics; drafts with very wide gutters or very small panels will not be accepted and be considered late submissions.
Your draft needs to include all the words, bubbles and narrative boxes. Think carefully about the placement of your bubbles, not to confuse your reader.
The size of the bubbles and words needs also to be standard-sized; drafts with very small bubbles or small/unreadable words will not be accepted and be considered late.
Take care!
Next in-person class
Thursday, April 17
Week-12 assignments due.
Bring your device to work on your final creative project.
Bring your device to work on your final creative project.
Essay II: Submission
Due date: April 22, 8AM*
*Students who are eligible to participate in the special session will receive a different due date.
Important: Follow editing rules closely.
Include: Works Cited, MLA formatting, and AI Usage Report**
Submission: final copy to LEA & Turnitin.
Incomplete or late submissions: will result in a late fee (5% per day)
** AI Usage Report: At the very end of your essay, following your Works Cited page, identify which permitted editing prompts you used -- which were the most helpful and which were the least -- and reflect on your overall experience using (or choosing not to use) AI in this project.
ESSAY 2: Works Cited Page
CLICK HERE to have information on the works cited page
Your works cited page should include at least two sources: Maus II & Metamaus and/or teacher's YouTube video.
MLA WORKS CITED PAGE:
https://champlaincollege.wixsite.com/essaywriting/workscitedMLA entry for a book (for Maus II & Metamaus)
Last Name, First Name. Title: Subtitle of the Book. Publisher, Publication Year.
Make sure to indent the second and subsequent lines of citations by 0.5 inches to create a hanging indent.
Last Name, First Name. Title: Subtitle of the Book. Publisher, Publication Year.
Publication information on Metamaus (the book including the interviews)
Title: Metamaus
Sub-title: A Look Inside a Modern Classic, Maus
Sub-title: A Look Inside a Modern Classic, Maus
Author: Art Spiegelman
Publisher: Pantheon
Publication year: 2011
MLA entry for a YouTube video:
Paquet, Stéphane. "Nazi ideology & Anti-Semitism." YouTube, uploaded by Stéphane Paquet, 4 Sept. 2023, https://www.youtube.com/watch?v=kUeMybr2OmY.
Make sure to indent the second and subsequent lines of citations by 0.5 inches to create a hanging indent.
COMIC BOOK FRAGMENTATION
The Art of Fragmentation:
1. The Fragmented Nature of Comic Book Storytelling
Comic book stories aren't told in one continuous flow, like in a movie or a novel. Instead, they are fragmented, broken down into digestible chunks.
This fragmented state makes comic books so compelling because it allows readers to actively participate in the narrative, filling in the gaps between panels with their imagination.
2. Breaking Down the Big Picture
from Story → Pages → Lines → to Panels
Pages:
First, you need to divide your story into pages.
Each page in your comic should have its own one clear focus or topic. It should be engaging enough to stand as a mini-story on its own, with its own beginning and end, while still pushing the overarching narrative forward.
Lines:
Second, you need to divide each page into (usually 4) lines.
Think of the lines as steps in the development of the mini-story told on each page. Ask yourself: How may steps do I need to tell that mini-story? 3? 4? Each line must have one clear focus or topic and be a complete story in itself. It's a sub-chapter within the page, guiding the reader through the story's rhythm and pace.
Panels:
Finally, divide each line into 1-4 panels.
Think of the panels as steps in the development of the mini-story told in each line. Ask yourself: How may steps do I need to tell that mini-story? 1? 2? 3? 4? Just as every word in a poem has meaning, every panel in a comic book must have one clear focus. Whether it's a close-up of a character's face showing emotion or an action shot, each panel is a snapshot of a moment, contributing to the story's overall mood and progression.
CLICK HERE to see an example of line-by-line fragmentation:
In the story below, the first line focuses on READING. The second line focuses on BEING BORED. The third line (containing one single splash panel) reveals THE REASON WHY THE CHARACTER IS BORED: ABSENCE OF COMPANIONSHIP.
Essay 2: Editing Rules
Editing Instructions for Handwritten Drafts
Initial Draft Requirement
You must first type your handwritten draft word for word. During this initial typing phase, you can only fix basic writing errors: spelling, punctuation, and subject-verb agreement (e.g., correcting he say to he says). You do not need to insert comments to identify these minor corrections.
Editing Process
After completing the initial draft requirement, you may edit your text further, with or without AI assistance, under the following conditions:
- When using AI tools, you must only use teacher-approved AI prompts on Moodle.
- For each modification made (whether AI-assisted or not), you must insert a comment describing briefly the change that was implemented. If AI was involved, specify which permitted prompt was used.
Specific Limitations
- You may not modify, replace or add more than four words in any single sentence.
- You are allowed to edit only one sentence per paragraph beyond the four-word limit mentioned above.
- You are permitted to delete or remove any words or sentences without needing to insert comments.
Maintaining Authentic Voice
It is crucial that all work submitted genuinely reflects your own ideas and writing style. Therefore:
- You must not use AI-suggested words that you:
- Cannot pronounce correctly.
- Cannot define without looking them up in a dictionary.
- Would not typically use in your own writing or speaking.
- You must read all AI-assisted passages aloud to ensure they sound natural and truly reflect your authentic voice.
WEEK 12
NEXT CLASS: MONDAY, APRIL 14
2nd ESSAY WRITING SESSION
THE ASSIGNMENTS BELOW ARE DUE IN ONE WEEK ON APRIL 17
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THE USE OF AI ASSISTANCE IS PERMITTED
TO TURN YOUR PERSONAL ANECDOTE INTO A FULLY DEVELOPED STORY
TO BREAK THIS STORY INTO 3-4 PAGES (each page having one single focus)
TO BREAK EACH PAGE INTO 4 LINES (each line having one single focus)
TO BREAK EACH LINE INTO 1-4 PANELS (each panel having with one single focus)
TO GENERATE WORDS IN AN ALTERNATIVE STYLE
TO HAVE SUGGESTIONS FOR YOUR TITLE & COVER PAGE
AI tools will not 'understand' alternative comic book stories the way we discussed them in class. You may first want to 'prime' the AI first by teaching it the elements of alternative comic book storytelling we listed in class.
First (priming) prompt: Reply with "OK" to confirm reception of the following list of elements of alternative comic book storytelling: [paste the list here]
Second (request) prompt: On the basis of these elements, [put detailed instructions here].
IMPORTANT: Keep in mind that you will need to create each panel using, most probably, Storyboard That. Test the app to make sure it can illustrate all the locations, actions and characters in your story.
Remember: your story needs to focus on words (thoughts, dialogues, monologues, and narrative boxes), not locations or actions.
2) CREATIVE ASSIGNMENT (20%): COMPLETE SECTIONS 1 TO 7 OF YOUR ONLINE WORKSHEET.
Do NOT download or submit the online document. Just open and edit the online copy.
Please note that late completion of sections will result in a 5%-per-day late fee. This assignment will represent 20% of your final grade.
>> GROUPS OF TWO:
Log in OFFICE 365 with your Champlain user ID and password.
Open TEAMS.
Go to the CHAT window.
Find the conversation your teacher created for you and your partner.
Click on the link to access your group worksheet; if needed, refresh the page.
>> GROUPS OF ONE:
Log in OFFICE 365 with your Champlain user ID and password.
Open TEAMS.
In the upper-right corner, click on JOIN TEAM and use the code sk0et91 if you are in the 8AM section or the code k3t0z4l if you are in the 12PM section.
Open the GRAPHIC NOVELS team.
In ASSIGNMENTS, click on 'WORKSHEET.'
Open the document resource and begin to fill it up.
Do NOT turn in the assignment; your teacher has already access to it.
TAKE CARE.
WEEK 11 (2/2)
NEXT CLASS: THURSDAY, APRIL 10
FIRST MANDATORY
IN-CLASS DRAFTING SESSION
YOU MAY BRING PAPER COPIES OF
MAUS II, YOUR SKELETON OUTLINE (including "quotes" from research documents),
ESSAY GUIDELINES, TEACHER'S FEEDBACK ON YOUR 1st ESSAY,
A DICTIONARY & THESAURUS.
A DICTIONARY & THESAURUS.
You cannot bring the research documents (interviews or script of Nazi video).
IN-CLASS ESSAY DRAFTING: APRIL 10 & 14
An outline is a structured set of keywords or very short phrases (3-4 words) that provides a framework for your essay, like a skeleton structure. It cannot include complete sentences (except your thesis, topic sentence, and exact quotes from the interview or video on Nazism). In class, you will put flesh on this skeleton and turn these keywords into complete sentences.
Your outline and essay must align and engage with: (1) the individual notes you took as you completed the worksheet, (2) group and class discussions, (3) class notes, (4) the author's interview, and (5) the video on the Nazi ideology.
The use of other external sources or assistance is not permitted.
The language and voice of your outline must be your own. The presence of writing in your outline that does not align with your own voice due to its different style, vagueness, wordiness, or extreme sophistication or pretentiousness may result in a rejection of your final copy.
- Secondary sources: Your essay must include at least one reference to a very specific point from the video on the Nazi ideology or Art Spiegelman's interview.
Integrate this very specific point at the right place into your outline (a direct "quote" may be a complete sentence). This point can help you confirm or develop one specific point in your analysis.
Include a parenthetical reference indicating the specific time, such as (1:34), or page number in the interview documents.
- Submit to LEA a digital copy of your outline & bring a paper copy to the first drafting session. This is the last process task.
FINAL CREATIVE PROJECT
2) FINAL CREATIVE PROJECT: SEND A PERSONAL MIO MESSAGE TO YOUR TEACHER TO TELL HIM WHETHER YOU WILL BE COMPLETING THE FINAL CREATIVE PROJECT ALONE OR WITH A PARTNER (name your partner).
Begin to brainstorm a list of three personal anecdotes for your alternative story. Do NOT use AI to generate these initial ideas as this would go against the very essence of alternative comics; these three ideas must be based on real anecdotes in your life.
Make sure that (1) these ideas correspond to the alternative movement as discussed in class, and (2) they would not be too difficult to illustrate graphically. In other words, keep it ordinary, with an emphasis on words, not actions or unique environments.
For your information, many of you will be using Storyboard That to illustrate your panels. You may also draw or take photos. Your pick!
Take care.
WEEK 11 (1/2)
NEXT CLASS: MONDAY, APRIL 7
BRING YOUR INDIVIDUAL COPY OF MAUS II
TO CONTINUE OUR DISCUSSION
& BEGIN OUTLINING YOUR 2ND ESSAY
BRING YOUR INDIVIDUAL COPY OF MAUS II
TO CONTINUE OUR DISCUSSION
& BEGIN OUTLINING YOUR 2ND ESSAY
MANDATORY IN-CLASS DRAFTING OF 2ND ESSAY: APRIL 10 & 14
1) ESSAY GUIDELINES: READ THE ESSAY GUIDELINES CLOSELY.
You may ask ChatGPT to perform a risk assessment of the essay guidelines, using the last prompt on Moodle in AI section.
2) RESEARCH DOCUMENT/MOODLE ACTIVITY: READ CLOSELY THE TWO EXCERPTS BELOW FROM AN INTERVIEW WITH ART SPIEGELMAN.
As you read, identify quotes you might use in your essay as you try to understand the significance of the animal heads.
CHOOSE THE MOST SIGNIFICANT QUOTE AND COMPLETE THE RELATED ACTIVITY ON MOODLE (in 'Activities').
Here are the two excerpts from the interview:
★ Spiegelman speaks about the animal metaphor.
★ Spiegelman speaks about the animal masks.
FINAL CREATIVE PROJECT
3) FINAL CREATIVE PROJECT: SEND A PERSONAL MIO MESSAGE TO YOUR TEACHER TO INDICATE WHETHER YOU WILL BE COMPLETING THE FINAL CREATIVE PROJECT ALONE OR WITH A PARTNER (name your partner).
Take care.
Prompt Questions to Help You Fill Up the Worksheet on Maus II
Question: What does it mean to find panels where the author directly or indirectly draws our attention to the limitations of his animal metaphor?
Answer: In Maus II, Art Spiegelman repeatedly comments on and attacks - directly and indirectly - his own animal metaphor... his own decision to draw human heads as cartoonish animal heads.
Pay attention to panels where the fake, non-realistic, or problematic nature of the animal heads is emphasized or exposed in some way.
Do you see panels where the organization of the human race into specific races/categories (represented as distinct animal species) breaks down or does not work?
What does Spiegelman gain and lose by using animals as metaphors for race, nationality, or ethnicity? Consider scenes where these metaphors appear inadequate or simplistic.
Do you notice real animals that contrast with the “fake” animal heads? Why does the author incorporate real animals into the story?
Can you identify panels where the animal heads are drawn differently? Look for small details. What is the meaning of these differences?
Are there specific scenes where the use of simplistic animal heads doesn’t work well, is problematic, or inappropriate? Look for instances where the animal heads or their simplicity clash with the experiences the characters are having.
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WEEK 10 (due April 3)
NEXT CLASS: Thursday, April 3
WORKSHOP ON MAUS II
TO JOIN US, SUBMIT, INDIVIDUALLY, A COMPLETE WORKSHEET
TO JOIN US, SUBMIT, INDIVIDUALLY, A COMPLETE WORKSHEET
& BRING YOUR PAPER COPY OF MAUS II
1) VIDEO: WATCH VERY CLOSELY THIS IMPORTANT VIDEO ON THE NAZI IDEOLOGY.
As you watch: Identify 6-10 significant specific points to help us understand the Nazi point of view. Focus strictly on points that help us understand how Nazis (mis)perceived others, themselves, and the human race as a whole.Add these points to the second part of THE WORKSHEET ON MAUS II, making sure to identify the specific time mark (#minutes #seconds) for each point in the video.
2) READING/WORKSHEET: FINISH READING MAUS II & SUBMIT YOUR COMPLETED WORKSHEET.
Complete the worksheet individually.
Submit to LEA before class.
3) <process task due on April 7 before class> RESEARCH DOCUMENT/MOODLE ACTIVITY: READ CLOSELY THE TWO EXCERPTS BELOW FROM AN INTERVIEW WITH ART SPIEGELMAN.
As you read, identify quotes you might use in your essay as you try to understand the significance of the animal heads.
CHOOSE THE MOST SIGNIFICANT QUOTE AND COMPLETE THE RELATED ACTIVITY ON MOODLE (in 'Activities').
Here are the two excerpts from the interview:
★ Spiegelman speaks about the animal metaphor.
★ Spiegelman speaks about the animal masks.
Take care!
WEEK 9 (due Thursday March 27)
NEXT CLASS: THURSDAY, MARCH 27
WORKSHOP ONTHE UNDERGROUND & ALTERNATIVE MOVEMENTS
1) REVIEW: REVIEW CLASS NOTES ON THE 50s, THE 60s & COMICS CODE AUTHORITY (CCA).
The completion of the worksheet (see points below) needs to align with class notes.
2) READING: READ ZAP COMIX #1 BY ROBERT CRUMB, THE FIRST UNDERGROUND COMIC: course pack pp. 94-115.
Robert Crumb is considered the father of the underground movement.
Zap Comix #1, which Crumb sold himself directly to his readers, is considered the first successful comic book sold outside the mainstream comics distribution system and outside the jurisdiction of the Comics Code Authority, paving the way for the underground comix movement of the late 1960s and 1970s.
3) WORKSHEET: AS YOU READ ZAP COMIX, BEGIN TO FILL UP, INDIVIDUALLY, THIS MOST IMPORTANT WORKSHEET ON THE UNDERGROUND & ALTERNATIVE MOVEMENTS.
As you read the Zap comics stories, look for recurring characteristics or elements that define these underground stories. For instance, look for recurring topics, messages, comic book elements, page layouts, panels, word/image combinations, transitions, characters, endings, problems, etc.
4) READING: READ 10 SHORT ALTERNATIVE STORIES FROM HARVEY PEKAR'S AUTOBIOGRAPHICAL SERIES AMERICAN SPLENDOR (pp. 118-160).
Harvey Pekar, a very good friend of Robert Crumb, is considered the father of the alternative movement.
Keep in mind that Pekar did not draw his own comics. He would draw a draft layout with stick figures and ask professional cartoonists, like his friend Crumb, to draw the final copy for him.
5) WORKSHEET: AS YOU READ AMERICAN SPLENDOR, FINISH FILLING UP, INDIVIDUALLY, THE WORKSHEET ON THE UNDERGROUND & ALTERNATIVE MOVEMENTS.
As you read the American Splendor stories, look for recurring characteristics or elements that define these alternative stories. For instance, look for recurring topics, messages, comic book elements, page layouts, panels, word/image combinations, transitions, characters, endings, problems, etc.
6) LEA SUBMISSION: BEFORE OUR NEXT CLASS IN ONE WEEK, SUBMIT TO LEA YOUR COMPLETED WORKSHEET (see points #3 & #5 above).
Submitting this worksheet and attending our next class (with your course pack) is a crucial step for your final creative project (20%).
MAUS II: BEGINNING OF PROCESS TASKS
Process tasks will constitute 33.33% of your final grade for your second essay.
7) READING: READ THE FIRST 50 PAGES OF THE FAMOUS GRAPHIC NOVEL MAUS II BY ART SPIEGELMAN.
AS YOU READ, LOOK FOR SCENES/PANELS THAT CAN HELP YOU UNDERSTAND THE AUTHOR'S DECISION TO DRAW ANIMAL HEADS.
EXAMINE WHY THE AUTHOR CHOSE:
- TO DRAW ANIMALS HEADS INSTEAD OF HUMAN HEADS
- TO DRAW THESE SPECIFIC ANIMAL SPECIES
- TO DRAW EACH ANIMAL FACE IN A SPECIFIC MANNER
FIND PANELS/SCENES WHERE THE AUTHOR, DIRECTLY AND INDIRECTLY,
- COMMENT ON HIS ANIMAL METAPHOR
- DRAW OUR ATTENTION TO ITS STRENGTHS OR LIMITATIONS
8) <due in two weeks> WORKSHEET: FILL UP, , INDIVIDUALLY, AND SUBMIT TO LEA THE FIRST PART OF THIS WORKSHEET ON SPIEGELMAN'S USE OF ANIMAL HEADS.
COLLECT & RESPOND TO 15-20 SPECIFIC SCENES/PANELS.
YOU MAY IGNORE, FOR NOW, THE SECOND PART OF THE WORKSHEET -- ON THE NAZI IDEOLOGY.
Take care.
WEEK 8 (course pack)
NEXT CLASS: THURSDAY, MARCH 20
MANDATORY: BRING YOUR INDIVIDUAL COURSE PACK
TO ATTEND CLASS & JOIN THE DISCUSSION
ImageFX
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