This entry describes Religious Studies as a critical approach to comics. Religious Studies, as a tool used to analyze comics, considers the spiritual message given and the spiritual images represented in the studied source.
Background
To the uninformed, Religion and Comics might seem to be an oxymoron; the one implies the seriousness of faith while the other suggests the illegitimate child of literature who laughs at its canonized parent. Certainly, there exists works in the comic medium that achieve this purpose. At the same time, there are examples that use the medium of comics as an expression of the beauty and hope of a particular faith. "Throughout history, every art form has retold the compelling stories of faith. [After all] Two Jewish youngsters created Superman, who has been compared to that mythical Jewish avenger, the golem. Indeed, the Bible's superpatriarchs and supermatriarchs often called upon special powers to protect their people" (Cornog 79). Indeed, in Christianity, Superman has also symbolized a Christ Saviour figure. In an abstract for an article titled, "Where the Sacred Meets the Profane: Religion in the Comic Pages", the genre of newspaper comics is the selected source for analysis:
There is nothing comedic or funny about religion per se, nor is it supposed to be laughable or entertaining. Often, however, the opposite is demonstrated. The nature of this paradox is addressed through an analysis of syndicated comic strips containing religious content. The comics studied were published in the Los Angeles Times between 1979 and 1987. They were classified according to religious themes which produced seven major categories i.e., Ministering Religion, Death and the Afterlife, Religion and the World of Adults, Religion and the World of Children, Prayer, Deity and Biblical Texts and Contexts. Within the framework of communications theory these categories were analyzed for their meaning and significance for religion in modern society. Conclusions are drawn suggesting that newspaper comics reflect idealized religious traditions that seem to have continuing importance today but they also mirror the "modern" circumstances facing religion (Lindsey 63).
Boston University has taken on the role of presenting this critical approach through their seminars. "A. David Lewis, author of “The Lone & Level Sands” and “Some New Kind of Slaughter,” two comic book series published by Archaia Studios Press that prominently feature religious themes and situations, helped to organize the first ever Graven Images: Religion in Comic Books and Graphic Novels Conference, April 11-13 at the Elie Wiesel Center for Judaic Studies on the Boston University campus. The conference was made possible by the Boston University Luce Program in Scripture and Literary Arts, and in conjunction with the New England-Maritimes American Academy of Religion, the Boston University Department of Religion and the Boston University Graduate Student Organization.Currently pursuing his Doctorate in Religion and Literature at Boston University, A. David Lewis, in helping to organize the conference and serving as its chair, said his main goal was to further expand, explore and encourage an open discussion on the ways in which religious customs, symbols and traditions have and can be portrayed in comics, especially with the general public starting to more and more accept and view the medium as a serious form of artistic expression. He cited the current state of religion in comic books and graphic novels as something that is, “Everywhere and nowhere at once,” treated mostly topically or blandly when it is even treated at all" (Moran).
Underlying Assumptions
This method of critical approach assumes that the association of religion in the comic form is a distinction among all other critical methods and theoretical approaches. Its premise is based on a underlying human need for spiritual awareness as expressed in the characters of the graphic novel or cartoon.
Types of Questions
The first question [...] tackled was, “Just what exactly is a ‘religious’ comic anyway?”
“I’ve always felt that the term ‘religious comic’ is a very loaded one,” Mohapatra chimed in. “Just because a movie has sex in it doesn’t make it a porn movie, you know. Just like with movies, TV, plays, and novels, there are comics that use religion as a theme while telling a larger, more compelling story, and then there are ‘religious comics,’ which are those comics that are mainly concerned with trying to preach to or convert you" (Moran).
Marky Smylie adds, “I think there’s a distinction between what you would call a religious comic and comics in which characters practice religion (Moran).
How is faith presented in the studied work? What symbols of religion are visualized? What does the narrative say about morality and ritual observances of religion? Do the characters represent the religion expressed in modern society? Do the characters reject or condone religion? Who are the target readers? Is the text a "religious" text or a text on religion?
Objects of Study
This critical approach applies to graphic novels, serial cartoons, serial comic books, and evangelical tracts, etc.
Methods of Analysis
Lindsey and Hereen suggest that analysis should consist of an understanding of how the work relates to any combination of the following themes:
Ministering Religion, Death and the Afterlife, Religion and the World of Adults, Religion and the World of Children, Prayer, Deity and Biblical Texts and Contexts. They use the framework of communications theory to analyze these themes "for their meaning and significance for religion in modern society" (Lindsey 66). They consider these categories as all inclusive, however I would add that these pertain only to textual analysis and a complete approach must include methodologies in Ideological Critical Theory as well as Philosophical Critical Theory in order to analyze the work beyond the text itself and to include the intended or marketed audience. This is especially informative when prosyletizing comics and graphic tracts are the analyzed work.
Bibliography
Graven Images: Religion in Comic Books and Graphic Novels. Continuum. 2010. c.366p. ed. by A. David Lewis & Christine Hoff Kraemer. illus. bibliog. index. ISBN 9780826430267. pap. $34.95. GRAPHIC NOVELS
Grant Morrison’s “Invisibles,” Alan Moore’s “From Hell,” and Neil Gaiman’s “The Sandman.” A. David Lewis, writer Saurav Mohapatra (Virgin Comics’ “Devi” and “Deepak Chopra Presents: India Authentic”), writer/artist Steve Ross (“Marked!”), writer G. Willow Wilson (“Cairo”), and Marky Smylie, the creator of “Artesia” and the publisher, through his Archaia Studios Press imprint, of “The Lone & Level Sands,” “Some New Kind of Slaughter,” and “The Long Count,” are all titles that deal prominently with some aspect of religion in one form or another (Moran).
References
Cornog, Martha, and Steve Raiteri. "Religion And Comics." Library Journal 132.1 (2007): 79. Academic Search Complete. Web. 24 Apr. 2012.
Lindsey, Donald B., and John Heeren. "Where The Sacred Meets The Profane: Religion In The Comic Pages." Review Of Religious Research 34.1 (1992): 63. Academic Search Complete. Web. 24 Apr. 2012.
Moran. David. "Graven Images: Religion in Comics." Comic Book Resources. CBR, 08 May 2008. Web. 25 Apr. 2012.
Further Reading
http://www.comicbookresources.com/?page=article&id=16345
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