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Analysis of early adventure comics (Week 4)

The likes of Herge's "The Adventures of Tintin," to the original "Batman" comics by Bob Kane, despite being wildly different in seemingly every regard, basic narrative, characters, even locations and approaches to adventure literature; both are equally capable of inspiring morals along with having many similar approaches to conveying their individual narratives. For example, one massively popular trop of visual narrative is to start off with establishing shots that familiarize new comers to the literature or old fans to the location or characters, often with mental narrative of the protagonist informing the audience whats going on. Both comics also use sequential, action to action art where the start, climax, and ending of a particular action or gesture is explored by the artists, showing these characters "move" despite only showing static poses. Adventure comics as a whole create these larger than life heroes and characters that, regardless of their direct relatability to the individual reader, relate and learn themes from these stories in order to explore the narrative in their own ways, while many times still perceiving the desired end that the writer, (and sometimes the artists) wishes to convey. Realistically how many people relate to the billionaire goth orphan who decided dressing up like a bat while putting small children into pant-less onesies is sane? How many teenage people travel the world on a weekly basis to go climb mountains, fight off criminals, and find treasure while escaping death constantly...? And yet these characters and those like them in the adventure genre are able to cement themselves in our conscious because of and separate of the adventures they go on, its more than just the villains they fight and the quests the conquer, it’s the conflicts they struggle through and the human emotions they explore over the course of these adventures.

                                                        

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