The Battle between Technology and Nature - Article Example

First Name Last Name Professor Subject 9 April 2008 Graphic Novels: A Review The Story about Ping and Fantastic Mr. Fox It would not be an exaggeration to say that the term “graphic novel” is at the center of one of the most controversial debates in the literary community today. What exactly is a graphic novel? Few are able to provide a definition agreeable to all. Fans and writers (as well as artists) are divided on the matter and establishing a universal standard for identifying what is and isn’t a graphic novel remains a difficulty at present. This study, however, shall utilize the definition of the term as provided by Will Eisner – a pioneer of the genre. Eisner defines the graphic novel as “sequential art; the arrangement of pictures or words or images to narrate a story or dramatize an idea” (Eisner 1985, p.5). Given such a definition, the crucial issue in a graphic novel is its ability to weave a narrative using a combination of images and words. More importantly, a graphic novel is a format, not a genre. This paper shall look into two graphic novels: Marjorie Flack’s The Story about Ping and Roald Dahl’s Fantastic Mr. Fox. Both are listed under the children’s literature genre, yet possess very different characteristics. Though both are indeed suitable for young readers in terms of theme and language, it may be said that these two stories belong to different genres that may appear similar on the surface, yet different inside. The Story about Ping Marjorie Flack’s narration of a young duck’s adventure can be described as a traditional story in the canon of children’s literature. First published in 1933, it tells the story of a young duck named Ping, who lived with his large family on a boat in the Yangtze River. Afraid of the certified spanking his tardiness would earn him, Ping decides to hide instead. As such, his adventure begins, swimming up and down the Yangtze River in search for his family. Along the way, Ping learns a few things, especially after he barely escaped becoming a Chinese family’s dinner. Eventually making his way back to the boat, Ping realized that he was, unfortunately, tardy again. This time, though, he braved the spanking and was finally reunited with his large family. The Story about Ping is a straightforward children’s story in the traditional sense. The narrative structure of the story is simple and direct, with no excessive convolutions as found in other literary genres. Rather, like other stories under the genre of children’s literature, The Story about Ping has a linear narrative, presenting the events of the story in a chronological fashion easily understandable by young readers. The story begins with the introduction of the main character, Ping, and then proceeds to unfold the events as they occur to the young protagonist in a manner that makes the identification of cause and effect significantly effortless. The format is largely episodic in nature, as it unfolds step by step. The story unravels in a manner direct and uncomplicated, moving from one scene to another following the changes in the protagonist’s actions. The plot moves forward primarily due to the actions of the protagonist alone. This external decision to leave his family – spurred by fear of corporal punishment – leads to Ping’s adventures in the Yangtze River. This is the catalyst of the story, propelling Ping towards an experience different from his usual pattern. Rather than present an internalized transformation, The Story about Ping follows another children’s literature tradition by making all actions and effects immediately external. Whereas other genres focus on the internal and emotional transformation, The Story about Ping shows a classic hallmark in children’s literature by presenting the changes in the young duck as physical. His encounter with the trapped fishing birds and his brush with death in the hands of the Chinese family were all brought about by his earlier actions and decisions. The effects of his actions are immediate, as when he decided to grab the cupcake and got caught by the young boy. The episodic structure lends a certain sense of simplicity to the story, resulting in the linear narrative discussed earlier. It is also significant to note that there are no overt expressions of emotion in the story. Again, the story is a presentation of cause and effect, a moral tale that presents an equal reaction for each action. The only mention of emotion in the entire story was when Ping feared his imminent death as the family’s dinner, and the author described the duck as “very sad”. This does not mean that there is no attempt at “touching” the emotional core of the reader. Rather, Flack successfully incorporates the emotional with the logical flow of the story, enabling the reader to grasp the moral as well as emotional dimensions of the story. This means that the reader achieves a sense of sympathy for the protagonist while still understanding the moral imparted by the story. There is no in-depth characterization present in The Story about Ping. Though the protagonist is the prime mover that pushes the narrative forwards, there is not sufficient information about Ping to transform him into a fleshed individual. There is, however, significant detail regarding the motivation of Ping – first, his fear of punishment, and later his desire to be reunited with his family – and his resulting decisions. The actions of Ping are decidedly affected by the factors that motivate him, thereby moving the story forward as well. The characterization, however, is insufficient, as little is known of the minor characters of the story. Barely passing glances are awarded to the other characters, and they remain unknown and unrealistic throughout. What further identifies The Story about Ping as a story under the children’s literature genre is its illustration. The images created by Kurt Wiese are bold and vivid in color, highly enticing for children and adults alike. The style is more realistic than in most children’s books, however, primarily due to its non-supernatural content. Wiese’s rendition presents a very beautiful view of the Yangtze River, creating an ambience that emphasizes the natural environment and setting of the story. Certainly, the illustrations help bring the story itself to life, transporting children into the world of Ping. Wiese’s design, however, has received much flak for its perceived racist overtones. The Chinese people are depicted in bright yellow, just as Ping is. The story itself is derided for its supposedly cruel aspects, i.e. the captured kissing birds and Ping’s brush with death. It must be taken into consideration, however, that the story was written by Marjorie Flack in 1933. The concepts of the day do not necessarily reflect the politically-correct beliefs today. What is viewed as a negative portrayal of the Chinese may have merely been a reflection of the Chinese image during the time Flack completed the story. It is more important to note that the moral of Ping’s story remains timeless to this day. Children everywhere could easily identify with Ping, who shirks punishment only to face hardships in his quest to be reunited with his family. The idea of avoiding punishment is a common one among children everywhere, yet Ping shows how such avoidance could lead to worst consequences. The story of Ping tells children everywhere that just punishment for their mistakes should be accepted wholeheartedly. In the story, the spanking comes from being tardy – tardiness could mean a duck would inadvertently left behind. The punishment, therefore, is actually a reminder to be hasty in going back to the boat, lest they be lost in the Yangtze. Fantastic Mr. Fox Though commonly described and categorized as a children’s story, Roald Dahl’s Fantastic Mr. Fox is in fact more of a fable – similar to Aesop’s – than a yarn to amuse children. Dahl’s graphic novel is the story of a wily fox who earns the ire of three mean farmers named Boggis, Bunce and Bean. The three farmers conspire to eliminate the fox once for all, to stop him from attacking their chickens. In response, the fantastic Mr. Fox succeeds in burrowing into their larders, partaking of the farmers’ foods with his own family and the other animals he befriended. In the end, the three farmers employ every technologically superior means to defeat the fox only to have him use his natural intelligence and skills to outwit them. At first glance, Dahl’s comical manner of narrating may seem to indicate a pleasant and simple story designed for children. Despite its designation as such, a look at the protagonist of Dahl’s story reveals a very different genre. Instead of a straightforward story for children, Dahl’s Fantastic Mr. Fox presents a wily protagonist who steals and kills without fear or mercy. It is, indeed, his nature as a fox to do so. To assume that Dahl’s story is as innocent as most assume it to be is quite a stretch from reality. The story is, in fact, allegorical in the sense that the struggle between the Fox and the three Farmers is more of an allegory than a straightforward, moral-laden story designed for children. It may be said that Fantastic Mr. Fox belongs to the parable genre. Like The Story about Ping, the narrative structure of Dahl’s Fantastic Mr. Fox is linear and episodic. The story unfolds in a gradual manner, alternating between the camp of Mr. Fox and the side of the three farmers. The language is simple and easy for children to read. Roald Dahl employs his popular rhyming skills and adds a humorous touch to the proceeding through the use f colorful and at times silly depictions. Compared to The Story about Ping, Dahl’s book makes use of language that is not as “child-friendly”, trading several insults between the Farmers the wily fox. Fantastic Mr. Fox is in fact very similar to the world’s beloved fables, particularly Aesop’s. The structure of the plot is direct and linear, with events unfolding in an episodic manner. What sets it quite apart from the genre is its use of humor and Dahl’s trademark nonsensical lines that are actually intelligent and insightful though seemingly child-like. The story is moved forward by the actions of both the protagonist and the antagonist, in a battle of wits that appears more like an action-reaction chain. Whereas Ping is the single catalyst for his story, Fantastic Mr. Fox is the story of the Fox and the Farmers who intend to hunt him down immediately. The actions in Fantastic Mr. Fox are similarly external – changes in the story occur as the protagonist and the antagonist act out their plans. It is significant to note that unlike in The Story about Ping, there is actual conflict in this story. Whereas Ping was a quite simplistic story that featured his near-brush with death as the climax, Fantastic Mr. Fox has an actual conflict and resolution. The Fox is pitted against the powerful Farmers; in the end, when they decided to camp outside the Fox’s lair to starve him and force him into submission, they do not realize that they are the ones tricked and punished in the rain while the Fox ate their food with his family and animal friends. Moreover, Fantastic Mr. Fox has more fleshed out characters. Whereas Ping was mostly one-note, Dahl deftly presents a depth to the characters of the Fox and the three Farmers. He effectively portrays nearly all characters in the story, providing each with a personality and a realistic motivation. The Fox is shown as a contradiction, a heartless bandit who loves his family nonetheless. Though his actions may seem immoral (stealing and killing), the Fox is but naturally following his instincts and providing for his family. Dahl successfully presents a negative character as a positive one, making him a sympathetic protagonist for the story. The Farmers are portrayed just as deftly. Dahl is clear in identifying his protagonist and the villains early in the story. Clearly rooting for the Fox from the very beginning, Dahl describes the Farmers as mean and, in some ways, unnatural. Though it may seem, from a human point of view, that it is the Fox who disrupts human life, Dahl shows the Farmers to be the real villains, given their willingness to destroy the natural world in their efforts to capture the Fox, who is merely following his natural instincts. They are shown to be cruel (especially when they peppered the Fox’s tail) and powerful yet unfailingly unintelligent. It may be said that Dahl’s story-telling allows for a more in-depth characterization of the protagonists and antagonists. Despite its “children’s story” status in literature, the deep and three-dimensional presentation of the Fox and the Farmers should show how Dahl’s graphic novel is far from a simple yarn for children. Unlike The Story about Ping, with its straightforward story that lacks characterization and any plot twists, Dahl’s Fox presents a more complicated novel that can best be described as insightful. The accompanying art in Fantastic Mr. Fox should also be a clue in identifying it as more of an adult’s fable than a child’s bedtime story. Despite its child-friendly use of simple words, at a deeper level, the story is not entirely suitable for children, given its rather violent and sometimes cruel portrayal of the battle between the Fox and the Farmers, even though it is couched in humor. The illustration of Fantastic Mr. Fox is significant in identifying its genre. Blake Quentin’s drawings feature a clothed Mr. Fox, thereby providing him with “human” characteristics. Animals with human personalities and abilities are the hallmark of fables, presenting human stories in humorous animal form to impart a lesson. Even the moral of the story might go above children’s heads. Love for nature is, of course, a given lesson for all ages. The battle between technology and nature, however, may be lost on children. Instead, it is a more suitable lesson for adults who tend to be more focused on high technology, eventually losing touch with the natural world. The farmers destroyed the hillside with their powerful machineries yet still failed to defeat the natural diggers of the story. Their willingness to destroy the natural world in exchange for the capture of a single Fox is a cautionary tale for men who have forgotten how it is to live in peace with nature. References: Dahl, Roald. Fantastic Mr. Fox. NY: Puffin Books, 1998 Eisner, Will. Comics and Sequential Art. FL: Poorhouse Press, 1985 Flack, Marjorie. The Story about Ping. NY: Puffin Books, 1977 Read More