Comic Books in America and Japan - Case Study Example

?Comic Books in America and Japan Introduction Society comprises individuals with a range of needs. These needs are addressed by the construct of leading a healthy social life. Within these created principles and boundaries, members of the society are accorded the opportunity to advance as active members within that society through the development of desirable attributes. In the development of resources considered effective for creating such opportunities, the most vital members of the society (that is, children and youth) are given special consideration. Children are active societal members that will have a great effect on future development. However, children are also the most sensitive group within the society because they are at a developmental stage that is highly susceptible to influence. Moreover, children are also the most active in leisure activities because they require socialisation to develop intellectually. The development of children is dependent on the presented values within the family and the environment in which they live, with different societies presenting different traditions. The group relations and activities that children engage in during their leisure time are particularly influential on their developmental attributes (Turow 2011, p. 162). An excellent example of this is the influence of comic books. Comic books are either locally created or imported and often follow a similar fictional plot that children can identify with easily. Comic book popularity has recently been boosted by advances in technology, as children can now access comic plots through the internet on their computers and/or mobile phones. In both America and Japan, the increased trend of comic books use in children is obvious, although the regions depict a variation in child behaviour in response to comic books. Thus, this paper will present a discussion of the phenomena in both countries, and offer some comparison to show how comic books affect children intellectual development as well as on aspects pertaining to their social behaviours. Japanese Manga and American Comics Overview Since the Second World War, America and Japan have experienced similar developments, and have participated in a great deal of cultural exchange. For the purpose of this paper, the common prevalence of the comic book in the two countries will be addressed. In America, the term is ‘comic books’, and in Japan, it is ‘manga’ (Burton, 2008, p. 3). Comics were developed in America in the thirties, at which time the super hero aspect gained popularity. Since then, comics have influenced the creation of Japanese manga, which has borrowed heavily from such super hero fictions as Batman and Superman. In both countries, the fictional worlds created have offered entertainment to an increasingly broad audience of children. Indeed, both comics and manga are significant to the publication industry (Bresler & Thompson 2002, p. 51). Japanese production of manga has been larger as compared to the American comic industry, occupying forty per cent of total publication production in Japan (Schodt, 1996, p. 19). This is because the composition of manga is dynamic and has grown to cover an increased scope as compared to comics. Interest has therefore increased among consumers, who have incorporated Japanese manga into their entertainment. This has prompted the publishers of American comic books to seek developments in plot that increase the creativity and involvement of the youth and children. However, Japanese manga continues to have a greater influence as compared to comic books because, unlike their comics, the target audience is much wider. Considering these differences in audience reach, despite the similarities of the manga and comic book genres, the influence on children in Japan as compared to in America has been recorded to vary. This may be related to differences in plot development in the stories and the reflections they offer of societal norms (Burton, 2008, p. 3; Schodt 1996, p. 20-22). Comics among American Children In the 1930s, when comics were first being introduced in America, they were presented as family entertainment (Schodt 1996, p. 22). In these early years, characters such as Superman and Batman targeted the younger generation for entertainment and educational purposes. The comic concept eventually advanced to be included in movies and television productions to reach a wider audience (Schodt 1996, pp. 31-2). As the American Academy of Paediatrics (2001, p. 1224) explains, the influence of media on children increases with alterations in the content. Children learn through observation and by imitating observed behaviour (Schodt 1996, p. 55). In this way, they personalise their learning by fitting new concepts within their socialisation process. With the inclusion of varied characters in comic books, children are provided models for imitation. These models are designed to promote certain societal behaviours, such as the battle against the injustice in a way that the audience can easily comprehend (Schodt 1996, p. 25; Duncan & Smith 2009, p. 42). As comics have improved in terms of the quality of their illustrations and layout, their audience has grown. Moreover, increased affordability and availability allowed comics to be integrated as one of the tools for children’s development. Considering the boost the media offers to children’s reading skills and ability to analyse prose, comics have also offered children the opportunity to advance within society by positively affecting their intellectual development (Furi-Perry 2003). Comic books and American societal norms are closely intertwined. Since the genre developed largely in the American context, the media has been heavily influenced by American society to the point that many of the traditional themes of comics are reflections of American social norms. One example is the eradication of injustice within the system. Themes such as this soon gained popularity among children because not only were the graphical representations of characters interesting, the children could easily relate to and portray the behavioural trends as depicted in their favourite content. Comic books in America reflect the events within the society, with the characters changing in response to social transformation. With the Second World War, the characters were made to accommodate the themes of the Atomic age, and predictions were made regarding the developments of that period of history. However, by the 1950s, the American comic book industry had adopted a focus on horror themes and detective narratives in response to consumer interest (Duncan & Smith 2009, p. 40). This period also delivered record comic book production. However, the increased audience base reflected by this record production brought with parental concern regarding the influence that exposure to comics was having on the intellectual development of children. As mentioned in the next paragraph, a number of ‘evils’ were associated with comic book readership. In the 1950s and onwards a link was assumed between comic books and increased reports of juvenile delinquencies, including a rise in the incarceration rate of young adult males. Fredric Wertham led the protest against comic books in the 1940s, arguing that since the content in comic books had shifted towards including more violence, there had been a reduction in the positive societal relations promoted by comic readership (Wymann 2010). By 1954, Wertham’s writings were serving to educate the public on the negative influences of comic books and the dangers portrayed in the media. Since this time, there has been criticism that American comic books have a negative influence on children. In particular, the violence portrayed in the media has been questioned in terms of the effect on children of exposure. Research conducted on this topic has revealed that, children are vulnerable and with increased exposure to forms of violent comic content, they may attempt practising some forms of violence or other scenarios depicted in comic books. This is one example of a negative psychological influence of comic books on children (Lopes 2009, p. 32). Other harmful effects also relate to the violent environments evident in comic books. For example, there have been increased cases of trauma that affect the child’s involvement in social activities. Comic books have also been linked to the increased prevalence of exposure to sexual content among children. Children have been found to question unexplained societal norms as they are presented in comic books. Indeed, comics are regarded as platform through which children can analyse complex information, which their parents may have failed to offer. Of course, one advantage of this is that the characters and the style of comics make these complex topics easier to understand. Comic books have also become implicated in encouraging video game and movie use (McAllister, Sewell & Gordon 2001, p. 15). Criticisms of this media typically arise from parents and educational sources, who challenge the content and possible effects of comic books on the children. Comic books often depict characters succeeding against villains, and these heroes then become the children’s role models within the society. Children may seek to adapt their lifestyles to suit their heroes and to personalise their behaviour to achieve success within society. The increasing interest in comic books has witnessed elevated profits in a market largely composed of children. The content of comic books had been linked to the depiction of a violent world that threatens positive development in children. It has been argued that children that grow up with the ideology of a violent society are unable to differentiate this comic-based ideology from real life events (Lopes 2009, p. 28-30; Wright 2003, p.198). Another negative impact of comic books has been the duration that children have come to spend being entertained by them or by their application in other media. Overindulgence in comic books can manifest in reduced participation in active social activities. This has been exacerbated by new technologies such as the internet and the smartphone, which have made comic books even more portable and readily accessible. The increased audience afforded by these developments has allowed for the further spread of negative norms such as violence, and sexual immoralities among those children who overindulge and come to idolise the characters found within the books (Wright 2003, p. 201). Manga among Japanese Children Japanese manga has had a more profound effect on the development of Japanese children as compared to the influence of American comics discussed above because manga incorporates an aspect of artistic development (Efland 2002, p. 46). The way in which the characters in manga are depicted has proven an inspiration for children’s creativity, and thus their artistic development. The provision has been aided with the realisation that an increasing number of children read manga as compared to American comics. As in America, in Japan, the development of manga has been suffused with Japanese societal representation of culture. As mentioned, children learn by imitation and through the forms depicted within their entertainment. Japanese children are able to relate to the behavioural trends within the plot development in manga and articulate the behaviour (Efland 2002, p. 48). Evidence shows that children learn by imitating images that they consider intriguing for their development; for example, attributes and role models. Visual language has been found to lead to more information retrieval in children as compared to other forms of communication. The manga genre offers an easier relation to the characters and societal themes as compared to other communication media. Manga themes are designed to present children with the opportunity to realise the norms existing within the society. Children associate the characters within the manga to reflections of those (righteous and evil) characters within society. Manga has been identified as an educative platform that shapes the characters of the children as they adjust to the rules of the governing society. Regarding the creation of manga characters, priority is given to the target, which is usually broader than in comic books. Manga editions contain a wider content in information, as the topics are shaped to represent the variable aspects within the society containing all the available demographics. Manga creations have been considered vital in the development of the child because they assist in boosting his or her artistic skills. Japanese art is influenced by the culture and activities that are prominent within the societal setting. The style adopted in the Japanese comic creation has been influenced by the ability to express desires visually. Children are capable of predicting the proper character presentation and adopt the measures in developing their creativity. In children, visual communication measures are more effective than, for example, educational platforms aimed at teaching morality. With the style adopted in manga, the majority of the information included reflects the virtues found in the society. The development of manga is based on the vital principles of nature, and each form applied represents paramount entities such as the Japanese culture and societal morals as well as expectations on children. Further, Japanese comics are less explicit in graphical information due to the strict laws and morals found in that society thus the comic books avoid adopting too violent or immoral stuff. The laws applied in Japan are grounded in the traditional rules governing society (Bresler & Thompson 2002, p. 49). Children’s development has responded positively to the involvement of such traditional cultural morals in the manga tradition. Manga is thus not only entertaining, but plays a vital role in supporting positive development in children. Moreover, as with American comics, Japanese manga is a media through which Japanese children can relate to the norms within their societal setting. Japanese manga reflects the culture and morality of the environment in which it was developed. Moreover, the genre was created specifically for Japanese audiences. Japan’s rich culture and strict laws require that plots and themes adhere to the positive aspects that define the development of Japanese culture. Children are presented as those that aid righteousness and overlook evil. The villains within the community are regarded as outcasts and peaceful relations are promoted. Japanese comic books aim to uphold moral standards within the community and serve as easy sources of intellectual fulfilment. Comparison of American Comic Books And Japanese Manga In both societies, the content of comic books varies from generation to generation. However, the two regions hold differentiated identities in their definition and application of comic books. Comics in both regions have been developed to offer children a platform through which to receive social norm information and communication. The characters developed in the media have been regarded as the ideal entertainment forms for application with the demographic. The characters in comic books, in America, have been linked to those in Japan, as their behavioural traits have shown a resemblance. This is the legacy of America’s influence on the Japanese comic industry. Likewise, the ideology represented in both manga and comic books is similar in that the characters identify the moral codes of the society. The righteous dominate over evil and the consequences of engaging in negative behaviour are made clear. In both American and Japanese societies, comic books have taken their inspiration from society, with its current problems and future needs. The leading difference between American comics and Japanese manga lies in the inspiration and motive behind the comics in both regions. American comic books have developed to serve as an entertainment form; they derive their plots from dynamic themes, including sexuality. Conversely, the harsh Japanese culture of strength, determination and positive living has heavily influenced the development of manga. This is shown in the broader messages of the manga genre. Consequently, children reading manga have developed more positive behaviour as compared to those reading American comics. Conclusion Despite the similarities in the importance of comics in the children’s entertainment market in both America and Japan, comic books have presented varied consequences in terms of the development of children in the American and Japanese societies. Comic books tend to generate a harmonious correlation of ideas and points of view that are related to issues in the contemporary society in a form that can be easily understood by children. Some positive implications of reading comics experienced by both American and Japanese children is that comics have had a positive association with the development and valuing of reading, and the increased accessibility of texts and thus intellectuality. In Japan, another advantage has been the strong development of children’s artistic capabilities as a direct response to their engagement with the style of Japanese manga illustrations. Another phenomenon observed most strongly among Japanese children is the relationship between manga reading and visual expression and comprehension. Such advantages surely outweigh the criticisms levelled against the comic book genre, particularly in America. Works Cited American Academy of Paediatrics 2001, ‘Media violence’, Paediatrics, vol.108, no.5, pp. 1222–6. Bresler, Liora & Thompson, Christ M 2002, The arts in children’s lives: Context, culture, and curriculum, Kluwer Academic Publishers, Dordrecht, The Netherlands. Burton, C 2008, “Superhero as Metaphor: Using Creative Pedagogies to Engage”. International Journal for the Scholarship of Teaching and Learning. Vol. 2, No 2, Georgia Southern University, Georgia. Duncan, Randy & Smith, Mattew J 2009, The power of comics: History, form and culture, Continuum, London. Efland, Aarhur D 2002, Art and cognition: Integrating the visual arts in the curriculum, Teachers College Press, New York. Furi-Perry, Ursula 2003, ‘“Dude, that book was cool”: The reading habits of young adults’, Reading Today, vol.20, no.5, p. 24. http://www.panelology.info/Wertham1940s.html Lopes, Paul D 2009, Demanding respect: The evolution of the American comic book, Temple University Press, Philadelphia. McAllister, Mattew P, Sewell, Jr., Edward H & Gordon, Ian 2001, Comics and ideology, Peter Lang, New York. 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