Historical Comics' Anachronistic Art

Yesterday I wrote about some of the potential of comics to make historical experiences come alive for young readers. Today’s topic is how to screw up that process through lazy research.

Just as artwork can convey meaning more quickly and powerfully than prose, pictures of historical events can produce wrong impressions. Furthermore, while prose can say, “This is what happened, as best as we can tell from our sources,” realistically rendered art carries the implication that events did happen this way. In comics the visual elements usually provide at least half the meaning, particularly at the emotional level, so it’s especially important to make the artwork as historically accurate as possible. That means the same level of research should go into the art as into the words.

It doesn’t look like the teams behind Capstone’s Graphic Library of historical books has worked that way. During the pre-Revolutionary turmoil covered by the series’s Boston Massacre volume, British settlers had been living and building in Boston for more than a century and a third. We have pictures of what the center of town looked like, where men met to discuss business and politics. It did not look like a frontier village with small, unpainted houses.
(I also wonder if the guy with his Kirbyish mouth wide open is supposed to be shouting, “Down with the Stamp Act!” and the calm gentleman on the right is supposed to be saying, “I can’t believe Parliament taxes our newspapers...” This book has a number of panels that look slapped together.)

The artist for Graphic Library’s Paul Revere’s Ride seems to have looked up the Paul Revere House in the North End before drawing it in this panel. But that house was never this close to the waterfront. Even after global warming it won’t be this close to the waterfront.

Using good historical art references can also avoid anachronistic styles of clothing and hair. Contrary to what Rachel on Friends believed, not everything from the past falls into “the colonial period.” (To be fair, Rachel also acknowledged “yore.”) This set of protesters from the Graphic Library Boston Tea Party look like they walked out of Little House on the Prairie.

From the same book, here’s the man accused of trying to make off with tea during the protest. His name was Charles Conner. Contrary to what we might assume from this portrayal, he lived in the 1770s, not the 1970s.

And lest we think the books’ visual errors are no more consequential than facial hair in a time when British men were almost universally clean-shaven, loading a cannon alone as shown below (from the Molly Pitcher volume) is a good way to get your arms blown off.