Understanding Comics: The Invisible Art Paperback – April 27, 1994

I purchased this item, along with McCloud's other book Making Comics, to teach a course on comics in English to art students at Cheongju University in South Korea. Both of these books really lend themselves to teaching, each one is divided into chapters which discuss specific comic concepts and elements. Two excellent chapters:The first chapter in Understanding Comics is great because it discusses the history of comics, and some great activities can be done having students think about and search for comics in the real world and instances of comics in history. This chapter really validates the fact that comics are interesting and useful, rather than just being treated as a 'fake' art or a 'not really real' subject.Chapter three is excellent because it breaks down transitions not only in American comics, but European and Asian comics as well, and explains his thoughts as to why these differences exist. This allows students to compare the differences and broaden their understanding of how different cultures think differently. This chapter also discusses how comics are subtractive, and lends itself to an excellent lesson whereupon students can draw comics with many pictures, then keep subtracting and combining pictures until they have the miminum number of pictures that tells the gist of their story.In other chapters: Chapter two discusses word choice and flow in comics, four discusses time, chapter five discusses displaying emotion by using different types of lines (and similarities and differences between comics from different cultures), chapter six discusses how words and ideas complement each other in comics, and chapter seven discusses six steps to making comics.In my opinion, each book is worth its weight in gold alone for a comic class, but they have a synergistic effect when used in tandem with each other. Concepts from one book flow into the other book, and vice-versa, giving the students in-depth knowledge of both how to make comics and how to understand comics from other authors better. All of the concepts from the chapters can be seen easily in comics online or from newspapers, and so each week I first do the lecture, then use a few examples on the overhead that I have found from other comics, then give the students homework pertaining to the concepts discussed.Through use of the two books, the students' work is really improving, and it is fun to see them working specifically with each comic element. Each of the concepts discussed in the chapters is a great starting point to get the students' creative juices flowing. I would recommend this book to any teacher or lecturer interested teaching comics at almost any level and to any audience.

An easy read, yet gets into the theory of sequential art and comics as far as I’ve ever seen. The author refers to a broad range of comic artists and publishers— including those outside the classic Western canon.

I really don't want to write a lengthy review about this book (Well...I tried), for there aren't as many things to complain as to clarify.This book is exactly what it promises. I'm not used to black-&-white comic art, but some pages into the book I forgot that totally; the conceptual diversity and exploitation of visuals for their representation hooked me right away. And, when you reflect on the ideas, their developments and conclusions that Scott McCloud keeps stating, you can easily imagine this as an academic essay or a formal conference: really solid thinking.There is, perhaps, a situation which didn't much disliked me as surprised me and changed my experience with this book (not for worse, but truly different). Let me just call it (for the fun of it) "Yea, it's goo...WHOA, TOO GOOD, TOO GOOD." Hehe. Or "Is it good? Mmm. It seems goo..WHAM![IN YO FACE] GOOD IDEED!"It's just the tone. I wasn't expecting a book this in-thought, conceptually rich/solid, rigorously studied... it just surprised me. I found myself laughing at some part in which he synthesizes, wonderfully in one or two comics' pages, concepts from McLuhan thoughts about media and thinking to myself "you... magnificent bastard!" (because it was something I was wishing without looking for it). Can you get the idea now? More than I was looking for, which makes it part of my permanent collection of valuable materials; but nobody warned me! Why did I got the impression that this book was lighter and softer than it actually is? It could be just me... right?I bought with the intent of reading it quickly, I ended up, at weekends, reading Chapter 2 & beginning of 3 (the most dense ones?) at a pace of two pages each 3 or 4 hours and going back to mentally rephrase and make better connections between concepts. That didn't felt bad, actually; that felt refreshing and a healthy challenge. I got used to that.So, sorry for making it this long; hope was worth it. Just remember, you, "nameless-ageless-neutral-gender potential" reader... adjust your expectations and prepare for the ride. (From slacking in the beach to motorcycling in Cornell? Heheh)

Still reading the book, but, had to hit the pause button once I reached page 23, the last page of Chapter One.Not because I quickly grew bored of the book, rather, my mind refused to process the short definition applied to the term "Comics", i.e., Sequential Art, which is presented at this stage of the book.After wrestling with the short definition for a couple of minutes, I eventually modified it to " Sequential Imagery" that was later validated (in my mind) by Scott McCoud's definition of an "Icon" which reads, "Any image used to represent a person, place, thing, or idea.".For me, the term "Art" goes beyond images, i.e., sculptures, performances, music, etc.Therefore, this book made me think more about the topic which is why I'm giving it five stars.Fascinating read thus far which goes beyond the boundaries of comics as we understand the term today.

I was required to read this book for multiple comic courses. Yes, this book is useful, especially for those with a limited understanding of comics. The advice on flow, pacing, etc is invaluable. However, because comics are such a complex medium, this book is not the all-or-nothing guide it pretends to be and can even come off as pretentious at times. If you'd like to truly understand comics, observe the comics that you read rather than relying solely on this book.