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This paper aims to illustrate how graphic novel adaptations can engage adolescents in conversations about gender and society, particularly when adaptations are weighed against messaging found in a student’s everyday life such as religiously motivated gender normativity.

This paper is based on quantitative and qualitative analyzes of the interview, think-aloud and survey data collected from 15 adolescents who self-identified as Modern Orthodox Jewish women. Texts used for think-aloud were three graphic novel adaptations that critically adapted potentially misogynistic readings and interpretations of religious Jewish texts such as the Bible.

Epistemic network analysis and constructivist grounded theory show that visual elements found in each adaptation can spark deeply personal reflections on topics that are often explicitly or implicitly suppressed by social norms such as gender normativity in Jewish texts and practices.

This paper is timely and contributes to understanding the apparent cultural clash between religious conservativism and movements for social change, using the graphic novel to mediate between them.

This chapter details how engaging students in digital comics creation might support adolescents in strengthening their narrative writing capabilities. This chapter first provides a more detailed explanation of the micro and macrostructural elements involved in narrative production. Second, the chapter provides an introduction to comics and important design features. The authors also illuminate the complexity of multimodal texts (texts that combine images and words) and link visual narrative pedagogy and curriculum to classroom equity and accessibility. Across these opening sections, academic standards are referenced to show how the comics medium aligns with national visions of what robust English Language Arts education entails. The chapter concludes with descriptions of specific pedagogical strategies and digital comic-making tools that teachers and interventionists might explore with students within various classroom contexts. Examples of digital comics designed using various web tools are also shared.

This bibliographic essay examines the scope and variety of nonfiction works in comics form with the intent of expanding librarians’ awareness of the diversity of such materials and serving as a resource for librarians.

It provides some theoretical background for understanding what constitutes nonfiction in graphic form and an overview of works available in print.

The article provides a representative (but not comprehensive) survey of graphic nonfiction works in the genres of memoir, travel, journalism, history, biography, science, essays and educational materials.

The essay focuses on materials published in books in English; the library world would benefit from subsequent research exploring the richness of materials available in other formats and other languages.

The field of graphic nonfiction is expanding, and this article serves as a guide for libraries interested in building or expanding collections in this format.

Provides a comprehensive review of the significance attributed to the usefulness, practicality and appropriateness of graphic novels in the school library media center with specific implications for collection development.

A careful review of recent literature provides the school media specialist with an overview of graphic novels including definitions, challenges, benefits, helpful resources, curricular connections and collection development issues. The sources reflect the recent trends in the increasing popularity of graphic novels and their use and benefit in school media centers.

Presents information on the definitions of graphic novels and the challenges and benefits specific to the school media center. Notes that while challenges exist, the benefits of including graphic novels in the school library media center are many, including engaging reluctant readers. Offers practical information for collection development and provides useful sources that serve many purposes.

Offers background information for the school library media specialist about graphic novels. Includes advice and practical strategies for building a graphic novel collection in the school media center.

This paper reflects recent trends toward increased interest in graphic novels and offers the school media specialist practical advice on how to best meet that growing interest by including graphic novels in the school media center.

Comics and graphic novels can disrupt traditional texts by challenging the “worship of the written word” (Torres, 2019), a feature of white supremacy that perpetuates textual hierarchies within educational spaces. Giving all of our students access to contemporary literature that centers Black youth perspectives is not only important in decolonizing literature education but also in presenting a holistic view of Black childhood. They can be used in the classroom as subjects to challenge stereotypical depictions by centering experiences, ideas, and concepts that are often marginalized in traditional curriculum. Within this chapter, we focus on comics and graphic novels as tools to enact students’ multiliteracies and to analyze visual stories depicting BlackBoy adolescence, using the frameworks of BlackBoy Crit Pedagogy (Bryan, 2022), an equity framework that interrogates the interdisciplinary ways that Black boy students' literacy learning can be formed through the teaching and learning of Blackness, maleness, and the schooling experiences of Black boys. We utilize this framework to analyze the use of diverse comics and graphic novels to facilitate critical conversations of bringing inclusive visual texts into the classroom. We invite practitioners to reimagine curricular ideas and content centered on empowerment and Black boy adolescence and how those ideas are presented to youth through a variety of visual narratives.

In 1958 the Daily Express began publication of a comic strip adaptation of Casino Royale authorised by Ian Fleming, predating the original film version by four years. For the next 10 years adaptations of the novels and short stories appeared in the newspaper with Bond’s appearance fashioned firstly by John McLusky and then Yaroslav Horak. When the supply of Fleming’s stories was exhausted, new adventures were penned by Jim Lawrence with artwork by Horak, McLusky or Harry North. From 1977 publication switched to the Sunday Express and then the Daily Star. Eventually, the strips were reprinted for a whole new audience by Titan Books.

Subsequently, Bond appeared in a number of other comic book adaptations and reworkings, including key adaptations by the independent publishers Dark Horse and Dynamite, offering contemporary re-imaginings of this iconic, but always controversial, male icon. Taken together they provide a run of Bond adventures over more than 50 years. As such, they contain an alternative Bond universe, where his embodiment of male heroism mimics and varies Fleming’s original and the images constructed in the film franchise. This chapter will consider these mirror images and their responses to changing societal pressures as Bond adapts to new definitions of what constitutes the male hero.

This chapter addresses adaptation to dynamic, novel and uncertain military environments. These environments require a shift from a maneuver warfare paradigm to an asymmetric world where shifting alliances, questionable civilian loyalties, opaque cultures, and the requirement to maintain peace one day and combat the next makes for a particularly confusing situation. This new warfare paradigm requires adaptation to an uncertain, complex environment.

The initial section discusses a general cognitive model of visualization called RAVENS and its importance for adaptation developed specifically to address complex military environments. RAVENS posits that humans are inherently flexible decision makers and situation awareness depends on the ability of humans to create narrative visualizations that capture the overall context of complex military environments. Using the framework as a guideline, we will examine two important visualization research programs whose purpose is to allow military operators to rapidly adapt to volatile situations. The first program investigates cognitive effects such as the framing bias and their possible interactions with a variety of display concepts during a series of missile defense simulations. The experimenters presented risk as a spatial representation of uncertainty and target value that emphasized either expected population lost or expected population saved. The second program investigated the feasibility of using visualizations generated from Scheherazade (a coevolutionary algorithm) to aid MI analysts in predicting emergent tactics of terrorist groups during urban operations. Finally, we discuss the value of these approaches for providing coherent narrative understanding as called for in the RAVENS model.