Perhaps this illustrates how popular cultural icons, such as The Simpsons, have been successfully utilized by school teachers and college professors to engage students with what is normally considered boring topics. There are numerous books and websites devoted to such applications. For example, during the very first season of The Simpsons, episode two (“Bart the Genius”) provides an ideal lesson discussion opportunity for students about scholastic honesty. Bart cheats on an intelligence exam and learns the real liability of dishonesty, experiencing multiple encounters of others’ retaliation to his actions. A website called Creative Thinking (http://creativethinking.nku.edu), designed for educators’ use and developed by the authors of this article, offers related lessons about plagiarism and copyright awareness utilizing film clips, such as this one from The Simpsons.

Animation of varying types, including animé, appeals to a wide range of ages, especially children and teens. Teaching young people about intellectual property can be a challenging task. Using pop cultural resources and animation to relate to a younger audience makes this task both fun and educational.

Intellectual Property Information Literacy

As intellectual property librarians, we have collaboratively worked with children’s librarians, teen librarians, school librarians, and other educators. Our goal is to promote many types of Intellectual Property Information Literacy (IPIL) programs in the Cincinnati and Northern Kentucky metropolitan region.

After conducting successful science inventor patent programs for children—on behalf of Patent and Trademark Resource Center (PTRC) libraries representing the United States Patent and Trademark Office—we were searching for ways to include other intellectual properties, particularly trademark and copyright, as well as topics such as music, arts and humanities, and business entrepreneurship. These types of “creativity and innovation” programs have included InventorFest² and Creative Thinking,³ which is an online K-12 intellectual property awareness curriculum to teach youth about originality and avoiding plagiarism. The Creative Thinking site also includes an original interactive database entitled “Which Simpsons Character Is Your Intellectual Property Profile?” Students test to see which Simpsons character they compare to, in relation to intellectual property challenges such as plagiarism and copyright.

Before offering superhero intellectual property awareness programs for public libraries, we presented an engaging IPIL book discussion for a regional middle school student workshop at Northern Kentucky University (NKU). The popular tween novels Masterpiece by Elise Broach (2008) and Scumble by Ingrid Law (2010) were utilized to engage students to analyze the creativity of these books’ characters. Students proactively explored synthesizing research skills while learning to respect others’ intellectual works. They learned how to avoid plagiarism, while becoming aware of copyrights, trademarks, and patents that could also apply to their own creative and innovative works.⁴

Superheroes and graphic novels have also been tied to library research lesson plans for high school students, such as Joan Upell’s “Creating 21st Century Superheroes,” published in the American Association of School Librarians (AASL) Learning4Life lesson plan database.⁵ Upell’s instruction demonstrates the wide-ranging possibilities of educating students on multiple topics. It is also tied to the AASL/Common Core State Standards Crosswalk. A similar lesson plan, “Using Graphic Novels with Children and Teens,” posted on the Scholastic website for teachers, claims that, “educators have reported great success when they have integrated graphic novels into their curriculum, especially in the areas of English, science, social studies, and art.”⁶

Recently, science graphic novels have been published that can support students’ academic success. Studies have demonstrated that science-themed comic books, utilized to supplement traditional teaching resources, can improve student learning and attitudes towards science.⁷ There are even educational comic books with intellectual property as the main subject, published by World Intellectual Property Organization (WIPO) and the Duke Center for the Study of the Public Domain.⁸ These best practices and resources further assisted us in our use of the superheroes theme in educating younger audiences at public libraries about intellectual property.

Running Superheroes through a Pedagogical Pace

For our public library intellectual property awareness programs for children and teens, we utilized the same pedagogical approaches mentioned previously and applied them to the history of superhero comics. We introduced how intellectual properties were associated with the concept of superhero characters and their creators. Our initial public library target audience was for ages 6 through 12. We avoided any clip art of proprietary superhero images, only using generic artwork for the published promotional materials. After our first round of presentations, we discovered that the content presented was received even better by 8- to 12-year-olds. Later, we adapted the program for teens and adult audiences at other public library venues.

We collaborated with branch libraries at both the Public Library of Cincinnati & Hamilton County (PLCH), and the Kenton County (KY) Public Library (KCPL). The branch libraries handled all of the publicity and venue set up, including displaying related-topic books onsite to supplement our program content. We asked the branch librarians to have plenty of paper, crayons, pencils, felt-tipped markers, and so on available for younger children to create their own superhero artwork or stories. We prepared a visually engaging PowerPoint presentation to support our topic, and showed a few superhero cartoon clips from YouTube to supplement our talk. This was especially important for the younger attendees. We displayed short 6-to-12-minute film clips that were authorized promotional presentations from the studios representing DC Comics and Marvel Comics. We also found perfectly fitting film clips from YouTube which provided instruction on how to draw a superhero.⁹ We supplemented this drawing instruction with a few “How to Draw a Superhero” workbooks or educational webpages. The Cleveland Public Library also provided its own Superman crossword puzzle and trivia sheet that we distributed at the venue for older teens and adults. Cleveland is the home of Jerry Siegel and Joe Shuster, the creators of Superman. Additionally, a local comic-book shop retailer co-presented with us at one of the older teen and adult venues. The retailer was able to bring along plenty of free sample comic books and memorabilia for attendees. Inviting local artists that specialize in drawing animated characters or superheroes for a demonstration could be considered too.

We presented another version of this superhero matinee program (that we called “Behind the Mask”) for teens and adults at PLCH’s second annual Comic Con series. This audience included adults who were actively working on artwork or graphic novels of their own, as well as teens who were interested in drawing or writing. We again used the history of comics to introduce intellectual property concepts. We talked about freedom of expression challenges, such as the now defunct Comics Code Authority¹⁰ that was adopted in 1954 to regulate the content of comics. We also answered many thoughtful copyright questions from the audience. The organizer of the Comic Con series commented: “Thanks for putting on that great program! I think your program was one of the most educational yet fun ones we’ve had so far.”

At the first annual iMAGiNExpo (a free community creativity and innovation seminar)¹¹ at KCPL’s Covington branch in May 2014, we presented the “Behind the Mask” program to an audience of mostly teens who were fascinated by the YouTube video of an artist creating a superhero in real time. This audience was very interested in the drawing aspect of the program, but were also introduced to some basic intellectual property concepts. As with the younger participants during the summer programs, the seed concept about intellectual property was planted.

How to Host a Superhero Intellectual Property Program at Your Own Library

It’s easy to create a superhero intellectual property awareness program at your library by adapting the following outline to your program’s unique audience needs:

1. Start the program by displaying an image of a large group of superheroes from a book or website. Ask the attendees questions such as: What are superheroes? Which words best describe superheroes? Can you provide examples of some of the super powers that they possess? Which sidekicks do they have? Who are their archenemies and nemeses? Which mediums convey the stories of superheroes? Who creates these characters and stories? What theme ties these stories together? This leads well into detailing the history of comics, showing examples from notable earlier era characters and using a few short videos from YouTube. For instance, the Katzenjammer Kids, Happy Hooligan, and Barney Google are great examples of early newspaper comic strip characters before the development of superheroes. Little Orphan Annie, Popeye, and Dick Tracy offer examples of transitional heroes at the dawn of the Golden Age of superhero comic books (1930s to 1950s), which featured Superman, Batman, and Wonder Woman. Subsequent eras include the Silver Age (1950s to 1970s) with such works as the Fantastic Four and the Silver Surfer, the Bronze Age (1970s to 1980s) with the Amazing Spider-Man, and the contemporary Modern Age today with long-standing and new characters alike. There are many books which provide more historic details, such as Gail Stavitsky’s Reflecting Culture: The Evolution of American Comic Book Super Heroes.¹² (This portion should last about 15 minutes.)
2. Introduce the intellectual property subjects of copyright, patent, and trademark and apply these concepts to the superheroes and their creators. Returning to questions about authors and artists leads well into this topic: How do these authors and artists create these works? Have you written any creative short stories, songs, poems, or drawings? Are you an author or artist? How might you write about or draw superheroes? How do artists and authors protect their intellectual works? For the older teens and adults, discussing common literary storytelling techniques from related instructional books is effective.¹³ For all audiences, books or short YouTube video clips on how to draw superheroes are displayed. (This portion should last about 15 minutes.)
3. Next, instruct younger participants to create their own superheroes. Ask them which special powers they will create. Will s/he use any gadgets? We suggested that they give the superhero a name, too. In our programs with youth, participants shared their creations with the group. We reminded them that they were now the copyright holder of their very own superhero drawing! For the older teen and adult groups, we asked if they had created any intellectual works related to our topic. If so, we asked them to compare or contrast their original characters’ innovative attributes to those of any characters from a popular book or movie. Then we discussed which intellectual properties (e.g. patent, trademark, or copyright) might apply to their characters or stories.¹⁴ In addition, you might ask older participants to apply their scientific innovation and/or artistic creativity to dream up an invention of application or technology within their field of interest that would support a superhero or a villain. (This portion should last about 30 minutes.)
4. To wind down the program, display library books and videos about superheroes for customer checkout and for further discussion to tie the use of videos to the pedagogy of intellectual property awareness and the educational aspect of the workshop. (This portion should last about 10 minutes.)
5. Optional concept: invite a local comic-book retailer or animation artist to participate. Also, refer to recently published newspaper or magazine articles related to intellectual property and superheroes. For example, the local Cincinnati Enquirer¹⁵ published a timely news story about the seventy-fifth anniversary of Superman, including a photo of the original writer Jerry Siegel and cartoonist Joe Shuster looking over Superman sketches while visiting the Enquirer art room in 1942. Other articles of interest included “Marvel’s Superhero Licensing,” featured in the June 2012 issue of WIPO Magazine.¹⁶

Observations and Feedback from Program Participants

The question-and-answer sessions near the start of the program were very popular for discussing the superhero characters; that is, comparing Marvel versus DC characters or villains associated with specific heroes or even gadgets and gizmos associated with superheroes. The younger kids were extremely enthusiastic to answer questions posed about the various characteristics of the superheroes and which ones were their favorites.

The history and origins of Batman was among the most popular of the characters discussed. Attendees were surprised to learn how old the publishing origins were of the early DC characters, around the year 1939. It surprised them to learn that was the same era of the classic film The Wizard of Oz. This led to a discussion about book adaptations to films and television programs. This, in turn, helped to pave the way for the copyright and authorship topic.

When authors and artists were discussed in more detail, students were very engaged to chat about the intellectual property concepts protecting creative works. We tied this concept to their original drawings, poems, superhero gadgets, or costumes. We demonstrated the use of drawing a copyright © symbol. This led into the concept of originality versus plagiarism and the characterization of copycats as literary villains. We discussed the public domain by presenting the superhero American Crusader from the early 1940s by a company that went out of business and subsequently entered into the public domain as many others did from that era.¹⁷ We defined copyright, trademarks, and patents next. Trademarks were associated with the Marvel and DC brands and characters. For our teen and adult programs, we discussed how the term “super heroes” is a federally registered trademark¹⁸ for toys and comic books that is co-owned by DC Comics and Marvel Comics. We displayed US Design Patent D329,321 from the year 1992 for the Batman headdress from the popular film series.

Near the close of our program, we asked the younger participants to draw their own superheroes or favorite interpretations of the characters they liked. They were very excited to create their own drawings, and some children even wrote short stories and poems. Some invented unique super-gadgets in their drawings, too. When they were ready, attendees shared their works of art with others. An onsite popularity poll was implemented where everyone applauded when each child presented and described their work in front of the others. A grand-prize winner was determined and announced, while everyone received motivational adhesive stickers. Instructional coloring and drawing sheets were provided as references when attendees needed inspiration or ideas.

Multiple children’s librarians participating noticed that although the younger kids might not have fully understood the concept of intellectual property, they felt that the seed had been planted. For example, they understood the authorship tied to ownership concept and that copycats were dishonest and wrong.

Conclusion

Superheroes once again have come to the rescue, this time to save the day with public library programs that educate our youth about the legality and respect of the intellectual property of others. Who knows, perhaps Batgirl a.k.a. Barbara Gordon (the Gotham City librarian in the Batman comic) has utilized similar programming for the children of Gotham City to learn about intellectual property. Such awareness programs about intellectual property can be based upon best practices and the proven pedagogy of educators’ related lessons and librarians’ information literacy instruction, making all of our library customers more aware of intellectual property.

References and Notes

1. Sara Bibel, “Sunday Final Ratings: ‘Family Guy’, ‘60 Minutes’ & ‘The Mentalist’ Adjusted Up; “The Simpsons’, “Bob’s Burgers’, ‘The Best of Jimmy Fallon’ & ‘Betrayal’ Adjusted Down,” TV by the Numbers, accessed June 30, 2015.
2. John Schlipp, “Best Practices and InventorFest: Community Partners and Patent and Trademark Depository Libraries (PTDLs),” Intellectual Property (IP) Journal of the PTDLA 4, no. 2 (Nov. 2007): 1-12; accessed June 30, 2015.
3. John Schlipp, “Creative Thinking: A Student-Centered Approach to Plagiarism and Copyright,” Kentucky Libraries 74, no. 3 (Summer 2010): 28-32.
4. John Schlipp and Linda Kocis, “Using Popular Fiction to Spark Student Creativity and to Teach Intellectual Property Information Literacy (IPIL),” Kentucky Libraries 77 no. 1 (Winter 2013): 26-32.
5. Joan Upell, “Creating 21st Century Superheroes,” Language Arts Lesson Plan Published in AASL Learning4Life Lesson Plan Database,” accessed Oct. 22, 2013.
6. Scholastic, “A Guide to Using Graphic Novels with Children and Teens” lesson plan, accessed July 1, 2015.
7. John J. Meier, “Science Graphic Novels for Academic Libraries: Collections and Collaborations,” C&RL News (Dec. 2012): 662-65.
8. Duke Center for the Study of the Public Domain, Tales from the Public Domain: BOUND BY LAW?, accessed July 1, 2015; and World Intellectual Property Organization (WIPO), “Publications for Young People and Schools,” accessed July 1, 2015.
9. “Illustration & Drawing Tips: How to Draw a Superhero,” YouTube video, 5:26, posted by expertvillage, Oct. 9, 2008, accessed July 1, 2015.
10. Amy Kiste Nyberg, “Comics Code History: The Seal of Approval,” Comic Book Legal Defense Fund, accessed Jul. 1, 2015.
11. Eileen Fritsch, “Cincy Is Creative: iMAGINExpo 2014 Inspires Creators to Think about Intellectual Property Rights,” WCPO.com, June 1, 2014,
    accessed July 1, 2015.
12. Gail Stavitsky et al., Reflecting Culture: The Evolution of American Comic Book Super Heroes (Montclair, NJ: Montclair Art Museum, 2007).
13. Dennis O’Neil, The DC Comics Guide to Writing Comics (New York: Watson-Guptill, 2008).
14. Steve Brachmann, “How to Get a Trademark for a Comic Book Superhero Character,” eHow, accessed July 1, 2015.
15. Jeff Suess, “Superman Created by Cleveland Duo: Man of Steel Debuted in Comics 75 years Ago,” Cincinnati Enquirer (Apr. 28, 2013): B7.
16. Nicole J.S. Sudhindra, “Marvel’s Superhero Licensing,” WIPO Magazine (June 2012), accessed July 1, 2015.
17. “Public Domain Super Heroes,” Wikia, accessed July 1, 2015, http://pdsh.wikia.com/wiki/Public_Domain_Super_Heroes.
18. Matt Brady, “Super Hero Trademark Story,” Newsarama.com, Mar. 27, 2006, accessed July 1, 2015.

Further Information

See the foundation of our presentation and activity based upon exercises from Novels for Students: Presenting Analysis, Context and Criticism on Commonly Studied Novels, volume 25 (Thomson Gale, 2007), page 11, lesson planner utilizing The Amazing Adventures of Kavalier & Clay.

The post Using Superhero Comics to Teach Young Children Intellectual Property Concepts first appeared on Public Libraries Online.

One way of connecting with people interested in comic conventions is through partnerships. San Diego Public Library worked with convention organizers to host the Art of Comic-Con, which contains forty-five years of Comic-Con art. This free show includes art work from some of the best known illustrators and comic writers in the business, including many works that haven’t been seen before.[1]

Another way to become more involved is to be at a convention in whatever way you can. During 2015, many Colorado libraries were able to do outreach at Denver Comic Con (DCC) through a booth arranged by the Colorado State Library (CSL). With attendance of over 100,000, this was a fantastic opportunity for participating libraries.

Ashley Kazyaka from the CSL explained that the inspiration for getting libraries into DCC came out of the 2014 Colorado Association of Libraries Conference (CALCON). “Library staff from multiple districts expressed interest in Comic Con, but were unsure about how to coordinate the effort,” explained Kazyaka, so she took it on. DCC is run by a non-profit called Pop Culture Classroom, which focuses on literacy, and they were supportive of having libraries involved. To highlight some of the new technology that libraries have and people don’t necessarily know about, Kazyaka specifically talked with libraries involved in the maker movement, as well as people who had expressed interest at CALCON 2014. Kazyaka also put together a Google map of Colorado library makerspaces and handed out information for people to access it.[2]

When asked about the experience, Kazyaka said, “Nearly all of the interactions that I witnessed between library staff working the booth and DCC-attendees were not just positive but enthusiastic…There were times that people would be drawn to a particular activity, get engrossed in it, then suddenly have an excited realization, ‘THIS is the library, really?!’” Kazyaka is convinced that being at DCC is worthwhile, and all the participating libraries are interested in doing it again in 2016. If you’re interested in trying to get involved with your local comic con, Kazyaka recommends planning early and making sure your promotional materials reflect everyone involved.[3]

Some libraries have taken this kind of event a step further and started offering their own conventions. Just do an Internet search for ‘libraries and comic con,’ and the results pile up. Libraries all across the country are experiencing great success with everything from panels, to signings, to cosplay! Publishers Weekly even had a 2014 article called, “How to Throw a Comic Con at Your Library.” If that’s not enough, Diamond Bookshelf of Diamond Comics also has an article to provide ideas for libraries.

Connecting with people is one of the specialties of libraries. What better way to connect with new users and add a new service for those who are already library lovers than through comic cons!

Sources

[1] Yarbrough, Beau. “Comic-Con 2015: Comic Art Show at the San Diego Library, No Badge Required.” Los Angeles

Daily News. July 8, 2015. http://www.dailynews.com/arts-and-entertainment/20150708/comic-con-2015-

comic-art-show-at-the-san-diego-library-no-badge-required (accessed July 15, 2015).

[2] Kazyaka, Ashley, email interview by Becca Cruz. Project Manager (July 16, 2015).

[3] Ibid.

The post Comics, Super Heroes, Pop Culture, and Libraries first appeared on Public Libraries Online.

Who are the adult readers of graphic novels and why are they important? Very little demographic data pertaining to graphic novel readers and purchasers has been gathered. It is a great mystery and much of the “data” available is implied. Most data has come from the observations of others and not from thorough survey methods. Based on their experiences with patrons, Lee County librarians agree that graphic novel readers can be placed into five demographic groups: (1) children, (2) teen males, (3) teen females, (4) adult males, and (5) adult females.3 Adult females account for the lowest interest among the five groups, while the other four groups have comparable readership levels, each four times the amount of adult female readers. In 2003, Diamond Distributors, the company that distributes all comic books from all publishers, found that the average graphic novel reader was twenty-nine years old.4 Ryan Searles, graphic novel enthusiast, estimates that in 2012 that number is still relatively accurate, with most graphic novel readers and purchasers being between the ages of twenty-five and forty.5

On his blog, Graphic Policy, blogger Brett Schenker used the social networking website Facebook as a way to estimate the ages and genders of comic book fans. He did not disclose his exact method but he took nine fundamental elements from the comic book universe and looked at the demographic information of those who “liked” them in the United States. The total population looked at was 1,215,960 self-identifying comic book fans. Of the users who listed their gender (1,209,800), approximately 75 percent identified as male and 25 percent identified as female.6 Schenker’s findings on ages of comic book fans are in table 1.

He found that eighteen to thirty is the prominent age range for both males and females with male readership dominating each age group. While I believe that this group is the most prominent, it is also important to note that teenagers and tweens frequently lie about their ages (with the help of their parents) in order to use Facebook.7 Therefore, the eighteen to thirty number is likely inflated and the seventeen and under demographic is underrepresented due to this inflation.

Sarah Ziolkowski and Vivian Howard surveyed nine adult graphic novel readers in their study “The Value of Comic Books to Adult Readers.” Of the nine, only three were female. Five of the nine participants were either in the process of completing or already completed graduate-level studies. All participants were employed at the time of the survey. The average age that the participants started reading comics was 8.5 years, with 5 of the 9 having started reading comic books between the ages of 4 and 7 years. All three female readers stated that Manga of some kind (Japanese comics) was their preferred comic book genre. Three of the males reported superhero comics as their favorite genre while two did not provide a favorite genre and one indicated that romance comics were his preferred genre.8

Even with all of the information above, do librarians really know who comes to the library to check out their comics and graphic novels? The honest answer is no. What librarians do know is that comic and graphic novel readers are dedicated to their hobby. The demand for graphic novels in general has increased tremendously over the past twenty-five years––the last five in particular––among all age groups due to the influx of wildly successful films centered on prominent comic book characters. Recent summer blockbusters like The Avengers and its earlier lead-ins such as Iron Man, Thor, and Captain America, as well as the darker films Batman Begins and its sequel, The Dark Knight, have contributed to the increased demand for graphic novels by adults. According to The Comic Chronicles, whose in-depth numbers come directly from Diamond Distributors, Diamond Distributors sold 7.03 million copies in June of 2012. That figure is up 17 percent from June of 2011.9 Graphic novel and comic sales are rising considerably each and every month but a barrier to personal access is today’s cost. Libraries must fill that void and provide access to readers that the depth of their pockets and wallets cannot facilitate.

Today, a comic book reader cannot read just one series of books. Individual comic books such as those based on The Joker and Catwoman will tie into a bigger universe-spanning annual event. To be up to speed on one’s chosen comic book universe (for example Marvel or DC), one must not only read his favorite characters, but there will also be crossover of characters into other books with events leading up to the universe-spanning event.10 Searles indicated that at his most dedicated, he had twenty-five issues in his monthly pick list at his local comic book shop. With individual monthly books costing more than four dollars per book, it could realistically cost one reader one hundred dollars per month to keep up with his chosen universe (if he only chooses one). Add trade collections to that and it is not hard for a comic book fan to spend several thousands of dollars annually on his hobby. However, many readers forgo reading the monthly books and choose to wait for issues to be collected and published in the trade volumes.

Jeremiah Cochran, lifelong comic book fan, estimates that his annual spending on comics is around $300. That figure depends on yearly events, release of trades, and new books written by authors that he has to read. If Cochran could afford it, he could see himself easily spending more than $1,000 per annum on hardcover omnibuses, indie titles, and variant covers (a single issue comic book with the same content but different covers varying in price and rarity). If money were not a concern, he would likely spend $10,000 a year. That includes going after hard-to-find back issues that can be pricey, every title from major publishers like Marvel and DC but also a large majority of titles from Image, IDW, Dark Horse, and Zenoscope. Only titles that he has “zero interest in would remain on the shelf and that list would be surprisingly short.”11

Cochran is not the only comic book fan whose hobby is limited by his income. With cost as a barrier, it is important for libraries to provide this user group of graphic novel readers with what they are looking for. Diamond Distributors Vice President of Sales, Kuo-Yu Liang, stated in 2009 that 10 percent of comic and graphic novel sales go into the public library market.12 Including graphic novels in the library collection increases circulation and use in the library. Studies have shown that patrons who check out graphic novels will come back, not only to read more graphic novels but to read other books as well. Circulation can increase two to four times when graphic novels are added to the collection.13 If this is the case, then why such resistance to inclusion in the collection? While most librarians understand the benefits of housing graphic novels in the collection, the bigger question is where do graphic novels and comic books fit in a library collection?

In addition to a lack of materials available to some users in many library systems, another concern for this user group is the lack of library classification for graphic novels. In Library of Congress classification, all graphic novels are in the call number area PS or NC and those that use Dewey classification, place all graphic novels in the call number 741.5. Graphic novels are not sorted by author, publisher, character, or in any way that is appealing to the user or makes them easy to find. The inability to classify comics and graphic novels in a logical and visible way affects the way that users access this information. If a reader cannot find the few items that he is looking for in three out of four trips to the library, will he come back? Searles has expressed his grief over the classification system utilized by the Cleveland Public Library main branch, which stores its collection in three unique spots. Graphic novels can be found in the popular library, literature, and young adult sections. If one is looking for an entire series and a search of the catalog indicates that all are available, it is very likely that one will have to visit all three locations in order to find all the books. On top of that, they may be organized by author in one section and by character in the next section that is five feet away.

Considering the amount of foot traffic and circulation of materials that graphic novel and comic readers provide, it is still difficult for them to obtain their materials. Whether this is due to the naivety of library staff of the materials’ function and readership or the classification within the library, libraries must make it easier for these users to access their materials. Suggested methods for improvement include the development of a formal and in-depth classification system, the maintenance of an online comic database, programming for readers of comics and graphic novels, close monitoring of the titles that circulate in order to pre-order future titles, and a general interest by library staff to service this subsection of the public.

Searles has considered asking his local library if he can rearrange the graphic novel collection pro bono. Perhaps at one time it was an organized collection that has now lost its way. Nine times out of ten, he cannot find what he is looking for. Libraries have to come up with a universal and encompassing classification system. Some libraries are at odds with graphic novel classification because they don’t know how to classify it. It seems that librarians try to get into the head of the user without consulting the user himself. Will the user be looking for a book by its publisher such as Marvel or DC? Or will the user be looking for a book about a character such as The Incredible Hulk or Buffy the Vampire Slayer? Will the user be interested in a book because of the author? How about the artist? There are so many elements that play into the classification of comics and graphic novels. Searles has proposed a straightforward classification system that puts the items listed above into practice.

Items should first and foremost be classified by publisher (see figure 1). Comic book readers first have a favorite or a few favorite publishers that they enjoy. An example of a prominent publisher is Marvel Comics. Marvel Comics then has a collection of characters to choose from. Readers of Marvel Comics will find themselves enjoying a particular character or group of characters more than others, so within the classification by publisher, there should be a breakdown by character. A reader who is interested in The Fantastic Four will expect that all Fantastic Four books be together. Within that group of books pertaining to The Fantastic Four, the books need to be rearranged chronologically where they fit in the universe. A story arc from 1988 should come before a story arc from 2009. Searles says that comic books do not need to be arranged by author. “Comic book fans are the most informed group of readers. If a reader is aware of the story arc, he is aware of the author. If the books are arranged chronologically, there is no need to organize by author.”14 This model has been adopted by comic shops for decades and it works incredibly well. Carol & John’s comic shop in Cleveland, Ohio, follows this very method. Searles can walk into Carol & John’s and walk directly to the book he needs without thinking about it. While this may be huge undertaking for a library with a sizeable graphic novel collection, this layout will make access to desired library materials much easier for this user group.

In addition to a more user-friendly classification system, it is recommended that some sort of online comic database be developed for use by patrons with e-readers or via a login system from an in-library or remote computer. Readers of comic books and graphic novels can be considered to be nerds and everyone has heard the term “computer nerd.” It only seems natural to pair comics and computers or other emerging technologies. Graphic novel readers are, at this point, the only group of readers excluded from the e-book craze. Publishers are truly missing out by leaving comic readers as an untapped audience. Examination of the e-book collections of the Cleveland Public Library, Cuyahoga County Public Library, and Columbus Metropolitan Library show that comic-related e-books are limited to biographies of artists and writers, books based on film adaptations, or books targeted toward young readers. While this integration would require compliance on the part of Diamond Distributors, this could increase the library share of Diamond revenue, and open up a library’s collection to a brand new set of readers. This includes readers who cannot find physical copies of what they are looking for (popular items that are always on hold or checked out) or individuals who have denounced the concept of the book in the traditional sense (less common among comic book readers).

It is also recommended that libraries host programming for comic book readers. One of the most popular comic book events is Free Comic Book Day, “an annual give-away of multiple titles, designed to draw readers—and potential readers—into the comic book store.”15 Titles range from being geared toward children up through mature audiences and often include some hardcover issues. Free Comic Book Day is organized by retailers, publishers, suppliers, and Diamond Comic Distributors. “Each year, publishers apply to provide comic books at cost to retailers, who in turn give them away for free.”16 Readers get the chance to test out brand new titles or sample books with existing characters that they have not read before.

Larger stores may limit the number of single books a customer can have for free while some stores will offer every book (close to fifty in 2012) for free. This generates foot traffic into the store for the free comic books but sales on the shop’s stock generate additional buzz. Steve Coffman recommends that libraries be run like bookstores with coffee and chairs.17 However, the comic section needs to be run like a comic shop, keeping the interest of the users in mind as a way to maintain patronage. Another recommended promotion includes weekend events and displays to tie in with the release of comic-inspired movies. Make the materials visible and easy to find and they will circulate.

Once circulated, it is important to stay informed on which books are circulating and which are collecting dust. Some libraries, like the Cleveland Public Library main branch, keep up on new comic and graphic novel titles and add titles to the library collection as they come out.18 This method is important for libraries that are looking to grow their graphic novel collection. It is imperative that libraries see what is circulating. Are certain characters popular? Specific authors? Artists? This data needs to be collected to facilitate the automatic ordering process for materials that will undoubtedly circulate without promotion. While it is great to take a risk on an indie title, knowing what the reader wants and providing it is key. In 2009, Todd Allen took a look at a small sampling of popular books such as Maus, Civil War, and Blue Beetle: Shellshocked via WorldCat. Maus had holdings in 2,032 library systems worldwide and there were 7,497 copies averaging to 3.69 copies per library. Civil War and Blue Beetle: Shellshocked returned ratios of 3.27 and 3.12 copies respectively. Allen’s conclusion was that a popular graphic novel should have at least three copies in every library system.19 While it can be risky to make an assumption about the success of a given title in a library, there are some “safe bet” titles and authors whose work should be added to the collection without hesitation.

While uniform cataloging standards, programming for adult graphic novel readers, and close monitoring of circulation can go a long way, it is important––especially in big cities or large library systems––that there be a library staff member (preferably a librarian) who is genuinely passionate about comics and graphic novels. Comic book fans are dedicated to their hobby. Their foot traffic in the library will circulate materials of all types––not just comics––and it is imperative that these users be able to locate materials that they are interested in. Graphic novels and comic books are the lifeline of libraries in the twenty-first century. If readers can’t find comics that interest them, they won’t even bother looking at other materials.

REFERENCES

1. Francisca Goldsmith, Graphic Novels Now: Building, Managing, and Marketing a Dynamic Collection (Chicago: ALA, 2005), 1.
2. Amanda Stegall-Armour, “The Only Thing Graphic Is Your Mind: Reconstructing the Reference Librarian’s View of the Genre,” in Graphic Novels and Comics in Libraries and Archives, ed. Robert G. Weiner (Jefferson, N.C.: McFarland & Company, 2010), 181.
3. Ibid.
4. David S. Serchay, The Librarian’s Guide to Graphic Novels for Adults (New York: Neal-Schuman, 2010), 1.
5. Ryan Searles, interview with the author, conducted on July 7, 2012.
6. Brett Schenker, ”Who Are the Comic Book Fans on Facebook?” April 27, 2011, http://graphicpolicy.com/2011/04/27/who-are-the-comic-fans-on-facebook.
7. Matt Richtel and Miguel Helft, “Facebook Users Who Are under Age Raise Concerns,” New York Times (online ed.), Mar. 11, 2011, accessed Nov, 8, 2012, www.nytimes.com/2011/03/12/technology/internet/12underage.html?_r=1&pagewanted=all.
8. Sarah Ziolkowska and Vivian Howard, “Forty-One-Year-Old Female Academics Aren’t Supposed to Like Comics!: The Value of Comic Books to Adult Readers,” in Graphic Novels and Comics in Libraries and Archives, ed. Robert G. Weiner (Jefferson, N.C.: McFarland & Company, 2010).
9. John Jackson Miller, “The Comic Chronicles: A Resource for Comics Research,” www.comichron.com.
10. Searles, interview with author.
11. Jeremiah Cochran, interview with the author, conducted on July 17, 2012.
12. Todd Allen, “Funnies Business: Quantifying Library Penetration for Graphic Novels,” Publishers Weekly, July 14, 2009, www.publishersweekly.com/pw/by-topic/book-news/comics/article/17561-funnies-business-quantifying-library-penetration-for-graphic-novels.html.
13. Serchay, The Librarian’s Guide to Graphic Novels for Adults, 4.
14. Searles, interview with author.
15. Carol Pinchefsky, “Free comic book day: When free comic books mean big business,” Geek Cultured Blog, May 3, 2012,  www.forbes.com/sites/carolpinchefsky/2012/05/03/p1563.
16. Diamond Distributors, “Free Comic Book Day FAQs,” www.freecomicbookday.com/Home/1/1/27/984.
17. Steven Coffman, “What if You Ran Your Library like a Bookstore?,” American Libraries 29, no. 3 (March 1998): 40–46.
18. Searles, interview with author.
19. Allen, “Funnies Business: Quantifying Library Penetration for Graphic Novels.”

The post It’s No Joke: Comics and Collection Development first appeared on Public Libraries Online.

Graphic novels have changed since the 1930s. The characters have gotten more complex, the stories are more detailed, and the art has gotten more diverse. Graphic novels deal with more difficult topics from being lost in a foreign land to serial killers to eating disorders. People from every age can find and connect with one story or another found in a graphic novel. Simple comics like Owly or Korgi are great for young kids just bridging the gap from picture books to chapter books while older folks may find sympathy in Welcome To Tranquility: a graphic novel about retired superheroes.

While on the topic of kids reading, groups like Reading With Pictures¹ and people like Nathan Hale are constantly pushing the boundaries on how beneficial graphic novels really are. Nathan Hale (the author, not the historical figure) wrote a pair of books giving the comic treatment to historical events and figures like Nathan Hale (the Revolutionary War spy, not the author). Reading With Pictures advocates the use of comics in classrooms and libraries as a teaching tool for kids who find themselves uninterested in or have difficulty with lengthy textbooks. Many kids who have difficulty with reading comprehension find solace in connecting pictures they see to words they read. Kids who are also learning English as a second language find it easier to identify and connect words and symbols than to procure images from their minds based on a string of descriptive words. Reading With Pictures was recently funded for their very first graphic textbook, which they hope will breach the standard for classroom texts.

Sure, they’re good for kids, but the majority of people who read comics are men and women from ages 18 to 45² Maybe you have to read Pride and Prejudice for a class but you find Austen’s writing too overdrawn and stuffy. Why not try the graphic novel adaptation? It’s not a verbatim transcription but you’ll have an easier time understanding what’s going on. Some people enjoy the quick-yet-compelling stories found inside graphic novels of all types. It’s important to keep graphic novels in libraries because they are such a joy to read but many people can’t afford to go out and buy a comic or graphic novel every week. Do you know a child who comes in with his parents and is afraid to take the step up from reader books to chapter books? Give him Bone. What about a teenager who has to write a report on the Gold Rush but doesn’t quite understand all the words in her textbook? Recommend the Graphic Library series. Or maybe there’s that patron who wants to read a biography on someone who has lost a lot of weight. Try Fat Free: Amazing All-True Adventures of a Supersize Woman!

You don’t have to want to read about superheroes to enjoy a graphic novel. You can continue reading stories about your favorite TV show that was canceled or get a shorter version of that book that the New York Times won’t stop raving about. Graphic novels are a bridge between art and literature. Libraries are haven of art and literature. It only makes sense that libraries would serve as a platform for the new era of graphic novels.

1. Josh Elder, Reading With Pictures, “About Us.” Last modified 2012. Accessed November 17, 2012. http://readingwithpictures.org/about-us/.
2. Brett Schenker, “Who Are The Comic Book Fans On Facebook?,” Graphic Policy (blog), April 27, 2011, http://graphicpolicy.com/2011/04/27/who-are-the-comic-fans-on-facebook/.

The post Not Your Grandpa’s Comic Books first appeared on Public Libraries Online.