PAST FINAL CREATIVE PROJECTS
These past projects may not align perfectly with this semester's guidelines.
Made with Storyboardthat.com
Stick Figures
Hand-Drawn
AI-Generated
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 by filling in the gaps between pages, lines, and panels.
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.
WEEK 12 (due April 16)
NEXT CLASS: MONDAY, APRIL 13
2nd ESSAY WRITING SESSION
THE ASSIGNMENTS BELOW ARE DUE IN ONE WEEK ON APRIL 16
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THE USE OF AI ASSISTANCE IS PERMITTED ONLY
TO STRUCTURE YOUR PERSONAL ANECDOTE BY
BREAKING THIS STORY INTO 3-4 PAGES (each page having one single focus)
BREAKING EACH PAGE INTO 4 LINES (each line having one single focus)
BREAKING EACH LINE INTO 1-4 PANELS (each panel having with one single focus)
& 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].
Remember: your story must focus on words (thoughts, dialogues, monologues, and narrative boxes), not special locations or action scenes.
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 Microsoft TEAMS (in the apps in the upper-left corner).
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 Microsoft TEAMS (in the apps in the upper-left corner).
In the upper-right corner, click on JOIN TEAM and use the code m88tg74 if you are in the 8AM section or the code 7knuaz2 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 (due April 9)
NEXT CLASS: THURSDAY, APRIL 9
FIRST MANDATORY
IN-CLASS DRAFTING SESSION
BRING PAPER COPIES OF
MAUS II, YOUR SKELETON OUTLINE (including "quotes" from research documents),
ESSAY GUIDELINES & TEACHER'S FEEDBACK ON YOUR 1st ESSAY.
You cannot bring the research documents (interviews or script of Nazi video).
IN-CLASS ESSAY DRAFTING: APRIL 9 & 13
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 a 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 simple, ordinary, with an emphasis on words, not actions or unique environments.
For your information, some of you will be using Storyboard That to illustrate your panels. You may also draw, use Google's AI Gemini, or take photos. Your pick!
Take care.
WEEK 10 (2/2) (due April 7)
NEXT CLASS: Tuesday, April 7
BRING YOUR INDIVIDUAL COPY OF MAUS II
TO CONTINUE OUR DISCUSSION
& BEGIN OUTLINING YOUR 2ND ESSAY
TO CONTINUE OUR DISCUSSION
& BEGIN OUTLINING YOUR 2ND ESSAY
MANDATORY IN-CLASS DRAFTING OF 2ND ESSAY: April 6 & 13
1) 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.
2) TEACHER FEEDBACK: READ CLOSELY YOUR TEACHER'S FEEDBACK ON YOUR FIRST ESSAY.
Your teacher should have uploaded (or will soon) his feedback on LEA in the 'Assignments' section.
Review this feedback carefully, paying attention to your strengths, and identify two or three specific goals you would like to work on in your next essay.
3) ESSAY GUIDELINES: READ THE ESSAY GUIDELINES CLOSELY.
FINAL CREATIVE PROJECT
4) 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.
WEEK 10 (1/2) (due April 2)
NEXT CLASS: Thursday, April 2
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) READING: READ THE LAST 50 PAGES OF THE FAMOUS GRAPHIC NOVEL MAUS II BY ART SPIEGELMAN.
AS YOU READ, LOOK FOR SCENES/PANELS THAT CAN HELP US UNDERSTAND THE AUTHOR'S UNUSUAL 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
- TO DRAW SOME HEADS AS HUMAN HEADS WEARING ANIMAL MASKS
FIND PANELS/SCENES WHERE THE AUTHOR, DIRECTLY AND INDIRECTLY,
- COMMENT ON HIS OWN ANIMAL METAPHOR
- DRAW OUR ATTENTION TO ITS STRENGTHS OR LIMITATIONS
TIP: Consider that the animal heads may be used to illustrate and comment on the Nazi ideology.
2) WORKSHEET: FINISH FILLING UP, INDIVIDUALLY, THE SECOND PART OF THIS WORKSHEET -- ON ART SPIEGELMAN'S USE OF ANIMAL HEADS.
COLLECT & RESPOND TO 15-20 SPECIFIC SCENES/PANELS FOR NEXT CLASS.
3) LEA SUBMISSION: SUBMIT TO LEA THE COMPLETED WORKSHEET.
Take care.
WEEK 9 (due March 30)
NEXT CLASS: MONDAY, MARCH 30
WORKSHOP ON THE ALTERNATIVE MOVEMENT
MANDATORY TO ATTEND: YOUR INDIVIDUAL COURSE PACK
TO COMPLETE ONE SHORT IN-CLASS ASSIGNMENT
PLEASE BRING YOUR PAPER COPY OF MAUS II AS WELL
MAUS II: BEGINNING OF PROCESS TASKS (2nd essay project)
Process tasks will constitute 33.33% of your final grade for your second essay.
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 the Nazi ideology and how Nazis generally perceived others, themselves, and the human race as a whole.ADD THESE POINTS TO THE FIRST 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: READ THE FIRST 85 PAGES OF THE FAMOUS GRAPHIC NOVEL MAUS II BY ART SPIEGELMAN.
AS YOU READ, LOOK FOR SCENES/PANELS THAT CAN HELP US UNDERSTAND THE AUTHOR'S UNUSUAL 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
- TO DRAW SOME HEADS AS HUMAN HEADS WEARING ANIMAL MASKS
FIND PANELS/SCENES WHERE THE AUTHOR, DIRECTLY AND INDIRECTLY,
- COMMENT ON HIS OWN ANIMAL METAPHOR
- DRAW OUR ATTENTION TO ITS STRENGTHS OR LIMITATIONS
TIP: Consider that the animal heads may be used to illustrate and comment on the Nazi ideology.
3) WORKSHEET: BEGIN TO FILL UP, INDIVIDUALLY, THE SECOND PART OF THIS SAME WORKSHEET -- ON ART SPIEGELMAN'S USE OF ANIMAL HEADS.
COLLECT & RESPOND TO AT LEAST 10 SPECIFIC SCENES/PANELS FOR NEXT CLASS.
Note: You will finish (and resubmit) this worksheet next week after reading the last 50 pages of the graphic novel. If you wish, you may read the full novel for next week and collect & respond to 15-20 specific panels/scenes (instead of just 10).
4) LEA SUBMISSION: SUBMIT THE WORKSHEET TO LEA.
Take care.
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WEEK 8 (due March 23)
NEXT CLASS: MONDAY, MARCH 23
MANDATORY: BRING YOUR INDIVIDUAL COURSE PACK
TO ATTEND CLASS and JOIN THE DISCUSSION.
ESSAY: DUE MONDAY, MARCH 23, 8AM OR 12PM, ON LEA (more info here)
ESSAY 1: Works Cited Page
CLICK HERE to have information on your Works Cited page
★ You will need to create a distinct biographical entry for each volume discussed in your essay.
★★ The title of each volume is Superman and the sub-title is Earth One.
★★★ Include the two main authors (indicated on the cover).
★★★ Include the two main authors (indicated on the cover).
PAGE LAYOUT:
https://champlaincollege.wixsite.com/essaywriting/workscitedBasic Book Format, with multiple volumes
Last Name, First Name. Title: Subtitle of the Book. Vol. #. Publisher, Publication Year.
Book with Two Authors
Gillespie, Paula, and Neal Lerner. The Allyn and Bacon Guide to Peer Tutoring. Allyn and Bacon, 2000.
Last Name, First Name. Title: Subtitle of the Book. Vol. #. Publisher, Publication Year.
Gillespie, Paula, and Neal Lerner. The Allyn and Bacon Guide to Peer Tutoring. Allyn and Bacon, 2000.
eBook: Insert "E-Book," before the publisher
Silva, Paul J. How to Write a Lot: A Practical Guide to Productive Academic Writing. E-book,
American Psychological Association, 2007.
American Psychological Association, 2007.
WEEK 7 (2/2) (due March 23)
NEXT CLASS: THURSDAY, MARCH 19
BRING YOUR COURSE PACK!
Due date for the 1st essay: March 23, 8am or 12pm
Submit final copy to LEA
Save a copy of your typed draft before you start editing. Once you’ve made changes, save the edited version with a different file name -- to keep both your original typed draft and the edited copy separate.
1) TYPING: IN MICROSOFT WORD, TYPE YOUR DRAFT, EXACTLY AS IT IS, WORD FOR WORD.
As you type, you can only correct spelling, punctuation, and verb-subject agreement (e.g., "he say" > "he says").
AI Usage: You can give ChatGPT your draft (one photo at a time) and ask it to extract the handwritten text word-for-word, exactly as it is. Since your final copy must match your draft, verify ChatGPT’s transcription (every single word) to make sure it hasn’t misread your handwriting.
2) CONCLUSION: DRAFT YOUR CONCLUSION BY YOURSELF. NO AI.
SHARE WITH YOUR READER YOUR OWN IMPERFECT HUMAN THOUGHTS.
A SUDDEN CHANGE IN WRITING STYLE, TONE, OR QUALITY OF INSIGHTS WILL RESULT IN YOUR CONCLUSION, AND POSSIBLY YOUR ENTIRE ESSAY, NOT BEING ACCEPTED.
- Keep the conclusion short: about 100-125 words.
- Restate the thesis in a clear way, using different words.
- Briefly remind the reader of the main point from the theory paragraph and the main point from the comic book analysis.
- End by explaining why your discovery matters: what does this teach us about superhero stories, immigration, or social integration?
Two options for the ending (why it matters):
- If applicable, refer back to the real-world issue or opening idea from the introduction so the essay feels unified.
- Or, if your thesis argues that, in the end, the author supports conservative immigration goals or guidelines, the conclusion can end by discussing one or two negative effects of that policy. For example, you can mention negative effects for immigrants, such as who gets excluded or rejected, and negative effects for the larger community. This gives the conclusion a stronger sense of importance and offers your reader valuable insights to consider.
3) EDITING: EDIT YOUR DRAFT BY FOLLOWING THESE GUIDELINES:
Revisions can be done with or without AI. If you use AI, you can only use the prompts on Moodle in the AI Section: "1st Essay: TO EDIT YOUR DRAFT."
1. All revisions (with or without AI) must be clearly disclosed by inserting a comment in the margin for each modification: In Microsoft Word, select the specific word(s) you've modified, click on Insert and then on Comment. In the comment, indicate briefly the nature of the modification and (if you used AI) which permitted prompt you used.
2. No need to insert a comment when correcting punctuation (a comma, period, or semicolon), when correcting the spelling of a word, when correcting verb-subject agreement errors ("he says"), when correcting or adding determiners ("the," "a," "an," "this," "that," "these," or "those") or when deleting a word or sentence without replacing it.
3. No more than four words in a given sentence can be added or replaced.
4. One sentence per paragraph can be modified beyond four words, including the introduction and conclusion.
4) TITLE: USING THE TITLE PROMPT ON MOODLE, YOU CAN COLLABORATE WITH CHATGPT OR GEMINI TO GENERATE LISTS OF TITLES FOR YOUR ESSAY.
Don't forget to select your title and insert a comment to disclose your use of AI.
5) WORKS CITED & MLA FORMATTING: INCLUDE A WORKS CITED PAGE (link) ON THE PAGE THE FOLLOWS YOUR CONCLUSION & FORMAT YOUR FINAL COPY IN MLA STYLE (click).
6) LAST PROCESS TASK: WHETHER YOU USED AI OR NOT FOR THIS PROJECT, INCLUDE AN AI USAGE REPORT -- placed at the end of your essay following the works cited page:
This report should include:
1. A detailed description of whether you used AI for this project and how,
2. In multiple sentences, a thoughtful reflection on your experience using (or choosing not to use) AI in this project and its overall impact on your thinking and writing. If you did not use it, please share the reason(s) and reflect on the use of AI to support writing in an academic setting.
7) SUBMISSION: SUBMIT YOUR FINAL COPY TO LEA.
Take care.
WEEK 7 (1/2) (due March 16)
NEXT CLASS: MONDAY, MARCH 16
3rd MANDATORY DRAFTING SESSION
BRING YOUR DEVICE TO ACCESS THE COMIC BOOKS
Save a copy of your typed draft before you start editing. Once you’ve made changes, save the edited version with a different file name -- to keep both your original typed draft and the edited copy separate.
1) REVIEW: TO IMPROVE YOUR UNDERSTANDING OF THE STRUCTURE OF THE 2ND PARAGRAPH, EXAMINE CLOSELY THIS FICTIONAL EXAMPLE.
You may print a copy and bring it to class as a guide when you will draft your 2nd paragraph.
2) TYPING: IN MICROSOFT WORD, TYPE YOUR NOT-YET-COMPLETE DRAFT, EXACTLY AS IT IS, WORD FOR WORD.
As you type, you can only correct spelling, punctuation, and verb-subject agreement errors (e.g., "he says" > "he says").
AI Usage: You can give ChatGPT your draft (one photo at a time) and ask it to extract the handwritten text word-for-word, exactly as it is. Since your final copy must match your draft, verify ChatGPT’s transcription (every single word) to make sure it hasn’t misread your handwriting.
3) EDITING: NOW EDIT and FINALIZE YOUR NOT-YET-COMPLETE DRAFT BY FOLLOWING THESE GUIDELINES:
Revisions can be done with or without AI. If you use AI, you can only use the prompts on Moodle in the AI Section: "1st Essay: TO EDIT YOUR DRAFT."
1. All revisions (with or without AI) must be clearly disclosed by inserting a comment in the margin for each modification: In Microsoft Word, select the specific word(s) you've modified, click on Insert and then on Comment. In the comment, indicate briefly the nature of the modification and (if you used AI) which permitted prompt you used.
2. No need to insert a comment when correcting punctuation (a comma, period, or semicolon), when correcting the spelling of a word, when correcting verb-subject agreement errors ("he says"), when correcting or adding determiners ("the," "a," "an," "this," "that," "these," or "those") or when deleting a word or sentence without replacing it.
3. No more than four words in a given sentence can be added or replaced.
4. One sentence per paragraph can be modified beyond four words, including the introduction and conclusion.
Everything you write must sound like you! If AI suggests words that you don't know how to pronounce, cannot define without a dictionary, or wouldn't typically use, do NOT use them.
Shifts in tone, style, and word choice will confuse your reader and negatively impact the quality of your communication - and your grade. The use of AI should therefore be transparent, blending seamlessly with your voice and authentic writing style.
Take care.
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