For the project, I took up the role of looking up pictures and coming up with ideas for the text that was going to be inserted to the panels. For the most part, I found myself looking up pictures that tied in to our project’s main argument, which turned out to be challenging because of the difficulty in finding appropriate pictures. The skills that I brought to the project, I think, were to make it easier to go through the project as a group and ensure that all the pages were connected by suggesting ways to go about reviewing the pages together. For the project, I also tried to make the photos on the page match to what the text was saying by using different filters  to convey senses of time and emotions. The way I approached this project was to come up with an agreement with all my group members to make a comic story line that we all agreed on. This was a challenge at first because we saw ourselves running out of ideas early in the book and sometimes our storyline wasn’t cohesive and seemed contradictory.

Another group’s project “The Almighty Google” used bitstrips, which allowed them to freely change the expressions of the characters and also their body movements, which provided for a more fluid comic. To overcome the monotony of using the same characters and background, the group used zooming in and specially-shaped speech bubbles to create different emphases on their topic. By looking at the group’s project, I saw that btistrips was a pretty effective tool at making the comic more fluid, instead of more jumpy between pictures. Using bitstrips is very useful, it seems, to create comics where consistency in characters is important.

I find that this project combines the ideas that we saw in Understanding Comics, about panels, colors and text boxes, since we were forced to incorporate these ideas to make a comic ourselves, which made us look for different ways of expressing an idea on a particular page. This project combined the idea behind close reading in Maus, visually representing an argument in Fun Home and tying them all together like we did with in Vietnamerica. From making the comic, I learned that making a comic requires a lot of effort artistically and also requires a lot of organization to fit words in with your panels that make sense. I also learned that there are many aspects of a comic that can be changed; there’s plenty of freedom to express your style and ideas.

Follow this –> link<– to see the project!

Link: The Safety Delusion

My main role in the project was to do the logistical work of creating the comic in Comic Life 3. I have worked with a variety of creative software, such as the GIMP, so I felt that I was well-suited to figuring out the workings of Comic Life 3. I also played an integral role in drafting the storyline of the comic. It was my idea to gradually flesh out a panel-by-panel draft of our comic in GoogleDocs. Once we had a concrete plan laid out, we cooperatively searched the internet for Creative Commons licensed photos that matched our draft. Additionally, I came up with the ideas to incorporate a reality vs. expectations segment, and the sci-fi esque “danger free” world. These two elements made critical points central to the argument of the article. These elements also both make claims in a stylish, artistic form. I consider myself an artsy person with a penchant for aesthetics, a skill that proved useful for our project.

The Almighty Google made use of bitstrips. I thought this was interesting because it resulted in the comic strip being uniform in style with a consistent set of characters, something our comic seriously lacked. Admittedly, this makes the comic more aesthetically appealing and easier to follow. Obviously using a fixed set of visual elements, however, has limitations. However, this group effectively overcame those limitations through photo editing and creative use of the tools provided by bistrips.

I learned a lot about the interplay between visual elements and text from making this comic. At first, when the first few pages lacked text, a friend pointed out to me that the story made little sense. Looking back at it, I realized she was right. After adding the text, I realized that together, the text and the visuals were able to clearly convey an argument while having a certain aesthetic appeal that text alone lacks. This project combined skills we developed from all of the other assignments. We had to engage in a close-reading of the article to pick up on the nuances of the argument, a skill we learned from the Maus assignment. We had to visually represent an argument about a text, as we did with Fun Home. Finally, we analyzed and explained an argument made by a text using specific references from the text, as we required to do in the Vietnamerica assignment.

Before reading this reflection, take a look at this article: America’s Real Criminal Element: Lead

Click the image below to view “The Life I Lead”

In the process of creating “The Life I Lead,” I took on the task of developing and expanding the storyline. The bulk of our story revolved around a real situation and a real setting–Pitcher, Oklahoma. As a native Oklahoman, I was the only person in my group who had even heard of Pitcher, so I had to participate in the development of the storyline. My main job was taking a reality and turning it into a fictional representation of an argument. Expanding and altering a dark storyline into somewhat of a political argument wasn’t easy, but my group’s geographical detachment from Pitcher made my job easier. My group’s unique perspectives provided somewhat of a “foreign” view of Pitcher and its situation, which allowed me to change details galore and differentiate our comic from the past of Pitcher, Oklahoma.

This project was unassumingly challenging. I originally thought that creating a comic would be simple, but incorporating an unknown argument was extremely difficult. Regardless of the difficulty, this assignment combined several “take-aways” from this class, and turned them into a cohesive assignment. I found myself repeating processes I used in both the Maus project and in the Fun Home project. My group and I discussed color, texture, shading, panel organization, and text placement. We took aspects from each graphic novel we read and incorporated them into our project. We built a simple storyline, intertwined with depth and meaning. This assignment was indeed difficult, but by utilizing the practices we used in the past, my group and I managed to turn it in to an enjoyable, creative experience. The small nuggets of knowledge I found while working on this project only serve to underline the knowledge I gained by taking this class as a whole. I learned the importance that illustration can have in a novel, and the depth in which it forms. I learned that words can’t tell the whole story and that a picture is sometimes worth 1000 words.

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“The Safety Delusion” was a well thought-out, well illustrated comic. However, the reason I enjoyed it was because it sparked a quality discussion in the classroom. To me, the whole purpose of this project was to ignite a conversation–to reveal an argument. In addition to revealing a solid argument, “The Safety Delusion” also revealed the impact an illustration can have on the reader, and the depth a simple choice in color can add to a graphic novel. Through their attention to panel-detail and color, “The Safety Delusion” successfully sparked a conversation about children’s safety and parental risk.

“Should we let children assume risk?”

“Should parents protect their children from the risk of harm?”

These two questions sat in the back of my mind as this comic was presented, and I still can’t tell you the answers. “The Safety Delusion” captured the heart of a purposeful argument, and left a lasting impact on the reader. It successfully combined the strategies we used throughout the year, and highlighted what I want to take away from this course as a whole.

Click the image below to view “The Safety Delusion”

It took a while but we finally did it. Check out the comic that Wyatt, Chuck, David, and I created here. 

Check out our team’s comic on the little known negative effects of lead exposure.

https://docs.google.com/document/d/1LwlygsjQIiuWS_mNNsjBKMUhHRCfmD1VFT2EfETYeV4/edit

Here’s the link to check out my analysis of Vietnamerica as a bildungsroman!

I finished my Vietnamerica essay! Check it out here.

In his biography, Vietnamerica author G.B Tran addresses the themes of family history, loss of cultural identity and personal growth. Vietnamerica follows the coming of age journey of G.B Tran, from an ignorant young Vietnamese American unaware and uninterested of his family’s past to a young adult who seeks to learn of his Vietnamese culture and family history. In an interview done in 2012, G.B Tran discusses the impact that writing Vietnamerica had on him as a first generation Vietnamese American. “When I started writing Vietnamerica part of the reason it was interesting to me was because I had no sense of connection to my Vietnamese heritage, my Vietnamese roots. When I finished it I realized I did feel a greater connection to my Vietnamese’s roots. It started with a curiosity, a desire to learn, a desire to experience and basically a child reaching a point were they want to really know who they are, and realizing that in order to do that, they needed to have an understanding of who their parents are.” [1] This quote is noteworthy because it was through writing Vietnamerica that G.B Tran was able to piece back together his families past and in doing so find himself. I think that the overall message Tran wants to emphasize and urge his readers to learn is that we must all value and search to understand our past, before it becomes too late and then from our past we find ourselves.

The graphic novel Vietnamerica- A Family’s Journey written by GB Tran is a wonderfully creative, informative and emotional piece of work that, true to its title, describes one extended family’s extraordinary experiences in the duration of and after the Vietnam War. This memoir, containing stories scattered across countries, across seas and across generations, is best described as a longitudinal representation of Vietnamese life before the war and long after it was over. The study of ethnography involves researching and depicting the culture of a group or society, Vietnamerica would be best described as a longitudinal ethnographic novel.

Did GB Tran solely intend to give us a convoluted history about his family’s past, or was there something more behind the purpose of this novel? Why isn’t this novel more like a bildungsroman? Stepping back for a second, the reader should observe the intentional confusion Tran creates in the order and plotline of the novel. The progression of the story skips entire decades, then flashes back entire decades. Each scene is set in a different time, at a different place, and involves different characters every time. Tran does a fantastic job of displaying scene transition through graphic elements such as color change (black and white to extremely vibrant colors to dark maroon and black) and framework (the frames separated by lighter smoke on page 56, the separation of panels with a scrabble board on page 111 or the different frames falling into the storage box on page 207), Some characters have nicknames that are used interchangeably with their full names, while certain relatives’ stories are cut apart and placed at different points in the book, leaving the reader up to piece together full length passages. As discussed in class, identifying the present-day “frame” for these stories being told about the past is inherently difficult for the reader to accomplish.

GB Tran made Vietnamerica quite a confusing and haphazard novel, but why? Tran uses this tool of chaotic organization of different plots and numerous characters as a metaphor for the confusing, chaotic lives of most Vietnamese being displaced from their homes, separated from family with limited or no communication abilities, being forced to relocate just to keep future generations out of harm’s way, and begin to restart their lives again. Tran purposefully gives anecdotes about everyone in his extended family’s life in order for the reader to realize the degree to which the war traumatized different families in different locations at different points in time. Instead of focusing on and elaborating upon the experiences of himself and his immediate family, Tran chose to incorporate numerous stories that can better represent the scale of the impact of the war on the collective lives of a group of people, rather than an individual narrative. He is making an example of his family as one of the many families in the same exact same situation as his: “[o]ur family wasn’t alone, we weren’t a special case. Everyone suffered. Everyone had to do whatever they needed to survive” (90).

Vietnamerica is not a bildungsroman for the reason that the purpose of the novel and what the reader takes away from the novel is not so much a story about a boy who has a personal journey, but rather a story about one of the millions of families that went through the same conflicts over warfare, murder, separation, and loss of cultural identity. Truthfully, GB does not display much personal growth or character development throughout the novel. He was always reluctant to meet extended family and he seemed disinterested in hearing stories about the war, strife, and the unimaginably harsh conditions that caused Vietnamese families to constantly live in fear. After being asked to go to Vietnam with his parents to visit extended family he had never met before, GB exclaims that he has too much studying to do. His mother asks, “Don’t you think it’s time to see where we’re from?” and he replies “Uhh…No thanks. That doesn’t look like a fun trip to me” (182). One major symbol in the novel is the tree introduced on page seven accompanied by the Confucious quote “A man without history is a tree without roots” (6). As GB’s father tells the history and legend of that tree—its Buddhist enlightening capabilities and the reverence that the locals have for its power—GB sarcastically mutters “Riveting, Dad” (7). Later in the novel, that same tree was cited again when GB is on the phone with his mother while packing for a trip to Vietnam. After a long pause, she says, “I had that dream again last night.” This dream was about that same tree that was famous to the local Vietnamese, and it is a recurring dream that Dzung had multiple times in the past months. GB replies sarcastically, “Huh…riveting” (49). Twice now, GB has shown complete disregard for the most powerful symbol in this novel, the tree. And it is no coincidence that the one family tree fully displayed in this novel is a visual of an actual tree, its roots being the generations of families below the trunk representing Thi Mot. The only true change in GB’s reluctant attitude toward his family and their history is found on the final two pages of the novel, when GB pulls out the same note from the first page of the novel from his father containing the Confucius quote. After again rejecting his mother’s offer to visit Vietnam and meet extended family, he reads the note, shows a clear change in disposition, calls her back and says “I was just wondering…can I still go to Vietnam with you?” (279). This sole scene represents GB’s first and only change of heart from indifference to involvement and connection with his family’s roots.

Because the majority of the novel is spent telling story after story about Vietnamese life and hardships rather than developing GB’s character, Vietnamerica is much more of a ‘longitudinal’ ethnologic representation of Vietnamese life during and after the Vietnam War rather than a bildungsroman of the growth and development of GB Tran.

Tran, G. B. Vietnamerica: A Family’s Journey. New York: Villard, 2010. Print.

Is Vietnamerica a Bildungsroman

A bildungsroman is a coming of age story. In Vietnamerica, GB writes about his parents, and their history. Since they escaped Vietnam, his parents have traveled back and forth between the two countries. On one of the trips back over, they take GB and he learns about his roots. He meets his family in Vietnam for the first time and experiences a difference side of life. His New York life is nothing to the busy style of life Saigon. Throughout the text, I do not see character growth in GB. Most of the changes in character in the story are seen in his parents, who adapted to the living style of the time. In this way, Vietnamerica can be called a bildungsroman by the way that his parents grow up in the story. His mom flourishes with beauty in her teen years, and has many men interested in her, which triggers her consciousness about what is actually going on, and how its meaning changed at this point in her life. This is one example of how Vietnamerica can be considered a bildungsroman.