The Motivating Power of Comic Books: Insights from Archie Comic Readers

Author(s): Bonny Norton

Source: The Reading Teacher , Oct., 2003, Vol. 57, No. 2 (Oct., 2003), pp. 140-147
Published by: International Literacy Association and Wiley

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 BONNY NORTON

The motivating power of comic books:

Insights from Archie comic readers

This study, conducted in an elementary have significance for literacy educators. In em

barking on this research I was aware, as Haugaard
school, suggests that the sense of
was, that the comic book?perhaps more than any
ownership that children have over comic other literary form?has been the source of much
books accounts for the vibrant debate, controversy. Since the 1950s, when texts such as
Wertham's (1955) classic Seduction of the Innocent
discussion, and critique of them. Such were published, debates have raged about the value
insights may help teachers reclaim literacy of comic books within educational practice. These
debates have frequently been related to prevailing
as a meaning-making practice. conceptions of the text, the reader, and the process
If educators ever find out what constitutes the fantastic
of reading. While Wertham dismissed comic books
motivating power of comic books, I hope they bottle it and as trash, Meek (1992) argued more recently that
sprinkle it around classrooms. they deserve better. There has been little research,
(Haugaard,1973,p.54) however, to answer Haugaard's call.
For readers unfamiliar with Archie comics, an
Kay Haugaard's plea for research on com introduction will be useful (see also Robbins,
ic books is no less relevant today than it 1999). Archie comics describe the lives of a group
was 30 years ago. Haugaard was a of teenagers living in a suburban area called
teacher and a mother of three boys, all of whom Riverdale, in a temperate coastal region of the
were reluctant readers. She found that it was United States. The main characters in the stories
only when her boys started to read comic books are Archie, Betty, and Veronica, and the latter two
that they did not have to be "urged, coaxed, ca constantly vie for Archie's attention. Other mem
joled, and drilled" to read (Haugaard, 1973, p. bers of the group include Jughead, something of a
54). The research described in this article can be maverick; Reggie, the local rich boy; Moose,
seen as a response to Haugaard's call for greater Midge, and Ethel; and various parents and teachers.
understanding of the "fantastic motivating power" The majority of the characters in the stories are
of comic books. European American, though African American
Like Haugaard, I am also a teacher and a characters occasionally play minor roles. The girls
mother, and I became interested in Archie comics generally wear fashionable clothing, and beach
when my children began to pick them up at our lo scenes are common. Any given comic book has
cal grocery store. Their curiosity led me to investi about 20 short stories of varying length, address
gate not only why children read Archie comics, but ing a variety of themes about friendship, schooling,
also whether insights from Archie readers might dating, and family life. The stories are frequently
provide a window on larger questions of literacy humorous, and there is much play on words.
and learning. Thus the objective of my research is According to the Chief Executive Office of Archie
not to promote or denounce Archie comics, but to Comics Inc., Michael Silberkleit (personal com
better understand the ubiquitous Archie reader and munication, April 11, 2000), approximately one
to determine if insights from Archie readers may million Archie comics are sold on a monthly basis

140 ? 2003 International Reading Association (pp. 140-147)

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 internationally, and the Archie website (www, "fun." During the interviews, the children talked at
archiecomics.com) has 13-14 million hits a month. length about the way they shared stories with
Despite its popularity, however, little research has friends, swapped comics on a regular basis, and de
been done on a comic that has for decades attracted bated the merits of different characters. I was in
the attention of millions of primarily preteen trigued by the children's enthusiasm and insight,
children in North America and beyond? asking myself why I seldom saw such animation
approximately 60% of whom are girls and 40% in the many classrooms I had visited.
boys. My curiosity laid the groundwork for a larger
I began my research with two pilot projects in scale study that took place from 1998 to 1999 in
the greater Vancouver area. The first was with a an elementary school in Vancouver, in which 34
group of 34 student teachers (January 1997) and Archie readers took part. As someone interested in
another with a small group of Archie readers critical literacy (see, for example, Alvermann,
(October 1997). Both pilot studies included ques Hinchman, Moore, Phelps, & Waff, 1998; Barton
tionnaires and interviews. What I learned from the
& Hamilton, 1998; Fairclough, 1992; Gee, 1990;
student teachers was that although they had en Hall, 1992,1997; Kress, 1997, 2000; Lewis, 1998;
joyed Archie comics as youngsters, they now con Luke, 1995, 1997; McCarthey, 2001; Mitchell &
sidered them unsuitable reading material, Weiler, 1991; Muspratt, Luke, & Freebody, 1997;
particularly in the school context. The characters New London Group, 1996; Norton, 2001; Norton
were dismissed as "superficial and shallow," and Peirce & Stein, 1995), I wished to better under
the stories were perceived to give children "the stand the nature of students' engagement with
wrong ideas." When asked whether they would in Archie comics and the extent to which this engage
corporate Archie comics into their curriculum, the ment can be better understood with reference to
majority of the student teachers answered nega larger sociocultural practices both inside and out
tively. "They are not very educational," one student side schools. In order to address my broad research
teacher said. "A lot of children might be distracted question "Do insights from Archie readers have
by the pictures," said another. "I would prefer an significance for literacy educators?" I developed
actual book," said a third. For those who were
three related research questions, all of which are in
slightly more positive, the comic was seen to pro formed by comments from teachers and students in
vide the opportunity to promote critical thinking, the pilot study. Question 1, "Why do children read
"particularly vis-?-vis analysis of [the comic's] de Archie comics?" gives me insight on the appeal of
ficiencies and shortcomings," while others said, Archie comics and children's conceptions of read
"any reading is better than no reading." ing. Question 2, "How do readers of Archie comics
It was the pilot project with the Archie readers relate to one another?" seeks to understand the re
(three girls, two boys) that inspired me to persevere
lationship among Archie readers both inside and
with the topic. The children arrived at the informal
outside school. Question 3, "How is the reading of
interview carrying armfuls of Archie comic books. Archie comics contrasted with school-authorized
They spoke animatedly about their enjoyment of literacy practices?" provides insight on such school
them and illustrated their comments with numerous
rituals as homework and silent reading.
references to Archie stories. When I shared the
reservations the student teachers had about Archie
comics, the children were indignant. "They have no
idea!" said one of the girls. The eldest child, a boy Methodology
of 12, did express surprise that somebody at a uni Like Davies (1993), who was interested in the
versity was interested in this topic. "Archie is more life worlds of children slightly younger than those
of a comic type thing, not a book type thing," he in my study, I took the position that the best way
said. When I asked him if he thought comics were of drawing on the insights of Archie readers was,
not a legitimate text, he replied, "It depends if it's very simply, to ask them. This is not to suggest,
supposed to be fun or not." I was struck by such however, that asking questions is a simple task. The
insights and wondered how many children thought greatest challenge in the research was to construct
that "legitimate" texts were not supposed to be questions and activities that would create

The motivating power of comic books: Insights from Archie comic readers 141

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conditions for the generation of insight. Because may well be that our concern stems from fear of the
questionnaires and interviews had proven success unknown, fear of a loss of control over our students
ful in the pilot studies, I decided to carefully refine and our curricula. It was partly out of the desire to
the questionnaire and interview protocols I had al confront this fear that I embarked on the Archie
ready used. An important modification to the ques comic research in the first place. I hope that the fol
tionnaire was to include a specific Archie story for lowing findings, which I have found significant, rep
analysis. I learned in the pilot studies that children resent at least a preliminary response to Haugaard's
like to have Archie comics on hand when respond plea, and may be of interest to other literacy educa
ing to questions and that children enjoy illustrat tors. Pseudonyms are used throughout the text.
ing their comments by referring to specific stories
they have read.
The site I chose to do my research was an ele
mentary school in the greater Vancouver, British The appeal of Archie comics
Columbia, area of Canada. Because the elementary Literacy educators can learn a great deal about
school included students from kindergarten through reading by understanding the popularity of comics
grade 7,1 was confident I would find many readers such as Archie. Of the 30 Archie readers who re
of Archie comics at the school. As it is also a school sponded to the question "Why do you like reading
with a multicultural and multilingual population, it Archie comics?" 25 cited humor as key to the
provided the opportunity to investigate the appeal of Archie appeal. Common responses included the
Archie comics for a diverse range of students. I ob following: "I like reading them because they are
tained permission from the principal, teachers, par funny," "They are fun to read and also very fun
ents, and children to conduct the study, indicating ny," "They are fun and I like stories I can't put
that I wished to gain a better understanding of the down." For this particular age group, approximate
immense appeal of Archie comics for preteen chil ly 9 to 12, just discovering the richness of language
dren. I explained that my research would involve and the myriad possibilities of irony, puns, and
both questionnaires and interviews, and that my re plays on words, there was much support for Clara's
search assistant, Karen Vanderheyden, would help observation, written in large capital letters, that
with the interviews. Children in grades 5, 6, and 7 "ARCHIE RULES!" Thus while the student teach
were invited to participate in the study, represent
ers in the pilot study made the point that the char
ing an age range of approximately 9 to 12. The par
acters in Archie stories were "superficial and
ticipants comprised 19 girls and 15 boys, with 4
shallow," Archie readers in the study found the
fifth graders, 23 sixth graders, and 7 seventh
characters interesting, engaging, and humorous.
graders. Further, of the 34 Archie readers, 13 were
When I told children in the pilot study that student
English-language learners, 6 male and 7 female.
teachers found the Archie characters offensive, the
The home languages of the latter group of students
children felt personally aggrieved. Indeed, the chil
were Korean, Swedish, Mandarin, Bengali, Farsi,
and Cantonese. dren seemed protective of their favorite characters
and were quick to defend their actions.
Perhaps one of the most important outcomes
Such data prompt me to ask to what extent we as
from this study, both personally and professionally,
literacy educators take seriously the enjoyment val
was the opportunity I had to enter the pr?adolescent
world and confront my own fears and reservations ue of reading for preteen children. Clearly, we rec
about comic books in general and Archie comics ognize that children derive much pleasure from
more specifically. When children told me that their books such as the Harry Potter series or the Matilda
parents and teachers thought that Archie comics books. However, we are frequently ambivalent about
were a "waste of time," I saw myself mirrored in the pleasure that children derive from comic books.
such comments. When children said, in excited Have we become accustomed to equating such "fun"
tones, how great it was that an adult was taking an with "trivia"? More important, have we encouraged
interest in their world, I was embarrassed. I kept ask this view in the students we teach? Kim, for exam
ing myself why it is that adults?and teachers in ple, made a distinction between the process of read
particular?are often dismissive of comic books. It ing for fun and the process of studying:

142 The Reading Teacher Vol. 57, No. 2 October 2003

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 I just read them [Archie comics] for fun not to, like, study. lowing comment: "Well, they got picture, can help
But if I meant to, like, read it studying, then like, you know,
them, colorful pictures to help the readers to un
[I'd] look at the dictionaries and stuff, but these, if I don't
derstand like how, what is happening, going on."
know the words from here, I just go by, 'cause I read them
for fun. Namisha, similarly, explained that the pictures
helped her in the construction of meaning: "The
stuff that I did was that I first looked at the pictures
Kim suggests that when a student is reading for
and then I made up my own words."
fun, the student feels a certain amount of control
As Kress (2000) argued, especially in light of
in the reading process. The student can construct
the increasingly visual nature of communication,
meaning, make hypotheses, and predict future de
scholars need to rethink the view that visual modal
velopments. In contrast, when a student is "study
ities are a distraction in the process of making
ing" a literary text, there is little room for invention
meaning. Technologies of communication, he sug
and creativity; words that are unfamiliar need to
gested, lend themselves to visualization because
be looked up in a dictionary; the meaning of a text
the transport of information is seen as more effi
is not coconstructed, but needs to be ferreted out by
cient in the visual rather than verbal mode.
the diligent, studious reader.
Drawing on such insights, it is possible to argue
I am not suggesting, however, that diligence is
that comic books can be seen as innovative in seek
an undesirable characteristic or that dictionary
ing to convey meaning through multimodality. In
work is problematic. My point is that Kim's con
such a theory, the notion of "text" is not confined to
ception of what it means to be a "good reader" of
the written word, and readers are encouraged to
prescribed books is a cause for concern. Not only
construct meaning with reference to a wide range
are students like Kim unlikely to associate "fun"
of representations.
with the reading of prescribed books, but they lim
it their creative response to the text by constant ref
erence to other school-authorized texts. As noted
by Norton Peirce and Stein (1995), central ques The Archie comic community
tions for such students, given their institutional As Dyson (1996) suggested, the social events
context, include the following: "How am I expect through which artifacts are produced and used are
ed to read this text? What is the correct interpreta central in the construction of meaning. A text does
tion of this text?" The student is less concerned not exist independent of different readers and
with questions such as "How do / make sense of communities, at a given time and place. The com
this text? What background knowledge can I bring ic book, given its marginalization within practices
to this text?" With reference to the construction of of schooling, can be associated with what Finders
meaning, students assume that the prescribed text (1997) would call the "literate underlife" of
has a preferred "fixed" meaning, known to the schools and communities. In her seminal study on
teacher, to be second-guessed by the student. early adolescent girls, Just Girls, Finders (1997,
Unequal relations of power between teachers and pp. 25-26) made the case that "literate underlife
students thus construct the students' readings of is central to the development of the early adoles
prescribed texts, and resistance on the part of stu cent female.... Underlife provides an opportunity
dents would, in all likelihood, have negative con for the girls to refute official expectations and ne
sequences. gotiate social roles within other powerful circles."
Children who said that Archie comics are "fun In my research I found that Archie readers, and the
to look at" highlight, in addition, the visual appeal girls in particular, constituted an informal and
of comic books. While one of the student teachers loosely connected reading community in which
in the pilot study had expressed concern that stu the vast majority were introduced to Archie
dents would become "distracted" by the pictures comics by friends. The children in the study bor
in Archie comics, my research suggests that the rowed comics from one another, went to one an
pictures were not only engaging, but also an aid to other's houses to swap comics, and talked about
learning and meaning making. For example, one the stories on a regular basis. Suzanne, for exam
English-language learner, Guofang, made the fol ple, describes how she and her friends would go

The motivating power of comic books: Insights from Archie comic readers 143

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to her grandmother's house, staying up late and It is possible to argue that the reading of Archie
reading Archie comics, "then we usually talk comics is an activity shared by speakers of diverse
about them and say, 'it was really funny when this backgrounds and can provide a common link
might of happened' and then, you know, and just among children. It is also important to note that
talk...." As Ping said, "When I started reading it common links are important, not only for the de
[Archie comics], when I was reading it I used to velopment of community relationships but also for
always talk about it with my friends who had them the perceptions that target language speakers have
and we used to switch and read them." of language learners. Comic book culture may
As I reflect on the comments of these students, serve as an important bridge to tolerance and com
I wonder to what extent teachers are aware of this munity building.
particular "literate underlife" of the children in
their classes. How often have teachers tried to en
courage students to engage with texts in the class Authorized and unauthorized
room, to debate the merits of various characters,
and to share insights and critique?often with lim literacy practices in schools
ited success? Have we put too much emphasis on Both teachers and parents generally considered
the "right answers" and the "correct interpreta the reading of Archie comics to be a waste of time.
tions" of characters and events, thereby changing While the children in the study were not given de
reading from an enjoyable activity to a challeng tailed reasons why adults held this view, they had
ing and often meaningless ritual? Again, reflecting picked up the message that Archie comics were, as
on the students' comments, I wonder to what extent one student said, "garbage." Two alternative, and
comic book culture is associated with an unoffi far more productive, practices, as far as adults were
cial curriculum in which much learning, debate, concerned, were doing homework and reading
and engagement take place. Such a curriculum, chapter books. Consider the following exchange, in
however, receives little validation in the public which Ping contrasts the reading of comics, a
sphere of schooling, and even in the private sphere "waste of time," with the completion of "home
of the home. work," a productive activity.
Of particular interest to these reader relation
S: My mom just doesn't want me to read comics any
ships is the possibility that the "literate underlife" of more.
the Archie reader cuts across ethnic and linguistic
I: So why do you think your mom doesn't like you to
boundaries, an issue discussed in greater detail in read comics?
Norton and Vanderheyden (in press). Consider the
S: She said it's like I'm wasting my time, like I could do
comments of Dylan, a native speaker of English:
something better, like instead of reading comics, like
Interviewer (I): Is popular culture like Archie comics a actually doing homework.
good way of bringing kids together? I: Now, urn, do you think teachers think the same way
about comic books?
Student (S): Well, yes, because I know that one reason
most of the kids with English problems and S: Yeah, probably, but not always, but usually they do
kids with good English don't relate is be because they want you to focus on your homework.
cause the English kids seem to think that
either they are stupid because they can't
While it is possible to debate the relative mer
speak English, which is totally a miscon
its of doing homework as opposed to reading com
ception, or they're not like them, and
ic books, my central concern is as follows: In
they're kind of pushed away by that.
promoting rituals such as "homework," have par
I: So that's what you think, that It's a good
ents and teachers shifted the focus of such practices
way 'cause they can talk to each other?
from substance to form?from meaning making to
S: 'Cause it would give them something to
realize that these kids like some things that
ritual? Conversely, in discouraging child
they like, that they are kids who like things authorized practices of comic book reading, have
that other kids like, which is a way of bring
we been more concerned with form than sub
ing them together. stance? Although children derive great pleasure

144 The Reading Teacher Vol. 57, No. 2 October 2003

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from their Archie comics, and are clearly actively suggested, however, such rituals can be a "colossal
engaged in meaning making, this practice is con waste of energy" (p. 80). In their intriguing study,
sidered a waste of time and is consequently not Greenleaf et al. described, for example, how some
authorized by more powerful adults. Mary made students "fake" reading during their silent reading
the point that in order to read her Archie comics, periods, knowing exactly how long to wait before
there is in fact a hierarchy of rituals that need to be turning a page, so that the teacher is duped into
addressed. "I read a chapter book because that's my thinking the student is reading. Ivey and Broaddus
excuse when I don't want to do my homework, but (2001, p. 368), in a similar spirit, found that middle
when I'm finished with my homework I can read school students ranked their classrooms as "one of
Archie." Insights from children such as Ping and the least likely places" to find the texts they want
Mary should be taken seriously if literacy is to be to read. Comic book reading, in constrast, can be
a meaningful experience for children. seen as an extension of children's own personal
A similar argument could be made with refer worlds. For the students in the study, the reading of
ence to the ritual of reading chapter books during Archie and other comic books provides a private
"silent reading" at school. In most elementary curriculum for them?a curriculum that gives in
schools, "silent reading" is a time set aside during sights on social relationships, friendships, and com
the school day when children are encouraged to munities. It is possible to argue that it is this sense of
read books of their own choosing. When I asked ownership that children have over Archie texts and
children if they thought Archie comics should be the Archie world that makes them particularly sen
permitted during silent reading at school, the chil sitive to criticism by teachers and parents.
dren responded with a host of insightful comments,
most of them suggesting that teachers preferred
"chapter books" to comic books. Ping, likewise, in
answer to the question of whether students should Significance for literacy education
be able to read Archie comics during silent reading, I stated in the introduction to this article that, in

responded as follows, "Well, ah, I don't really think embarking on this research, my aim was not to pro
so because I mean this is more of a free time thing mote or denounce Archie comics, but to better un
instead of, like, silent reading is more, like, novels derstand the ubiquitous Archie reader, and to
and books that are educational." Mary stated that determine if insights from Archie readers may have
what she calls a "proper" book is "like, a book that significance for literacy education. In the interests
doesn't have, like, that many pictures, and more of brevity, and at the risk of some oversimplifica
pages with text on it, like a chapter book." tion, I would like to conclude with three comments,
Namisha, in a similar spirit, explained that in her informed by my study, that may be of interest to lit
school, comics were discouraged because they eracy educators.
were not "challenging." First, my study suggests that the pleasure chil
dren derive from comics in general, and Archie
Urn, I mean you read and stuff, right? Well, there are some
comics in particular, is associated with a sense of
comics, some popular comics that people were allowed
ownership of text. It is this sense of ownership that
to read, like, in my old school, but they're not allowed to
read Archie comics for some reason. There's, like, no gives children the confidence to engage with com
swearing or anything so we could probably, but teachers ic books energetically and critically. However, al
say that it's, like, not challenging. though the study provides much evidence to
suggest that the Archie reading community was vi
In interview after interview, I gained the per brant and social, the children's reading preferences
ception that, for these children, texts that are "edu received little recognition or validation from teach
cational" are almost, by definition, texts that are ers or parents. The reading of chapter books, for ex
abstract and unconnected to their everyday lives. ample, was considered a much more productive
School-authorized literacy practices have, for many activity. I have suggested that a child's engagement
of them, become rituals in which teachers define with what Mary called "proper" books is mediated
what is "good," "proper," and "challenging." As by unequal relations of power between teachers?
Greenleaf, Schoenbach, Cziko, and Mueller (2001) the guardians of standards and grades?and less

The motivating power of comic books: Insights from Archie comic readers 145

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powerful students. In such a context, children have the dictionary, and avoids comics?but seldom has
little ownership of text, and hence little pleasure in "fun"? A number of tentative explanations can be
school-authorized literacy practices. As many of offered. Reading assessments, for one, encourage
the students suggested, a school-authorized text is the use of particular kinds of texts, and teaching
not perceived to be fun. Thus, for example, when performance is frequently assessed with reference
children engage in critique of chapter books, their to student performance on these tests. Educational
primary concern is to determine what kind of publishers, for another, may reap greater rewards
analysis teachers would consider appropriate, what when chapter books are ordered by the dozen, par
criticism would guarantee high grades and public ticularly when accompanied by teacher guides and
praise. In discussions about comics, however, the homework sets. It may also be the case, however,
sense of ownership provides for a different set of that as we grow from childhood to adulthood, we
possibilities. For Archie comic readers, their goal lose touch with the central interests of young chil
in debating the merits of characters, events, and dren, and as we become distant from childhood
stories is not to second-guess other interpretations pleasures, particularly of the popular culture kind,
and critiques, but to draw on their own knowledge our ignorance turns to fear. In order to reestablish
and experience to reflect, engage, and defend. The control, we retreat to the rituals and practices that
study suggests that literacy educators need to better
are familiar in schooling, sometimes sacrificing a
understand rather than dismiss those practices that
focus on learning and meaning making.
students find engaging and meaningful, whether Third, Luke and Elkins (1998) have raised the
in or outside classrooms.
question of what it will mean to be a reader and
There are important caveats to be made. While
writer in the 21st century. They suggest that what is
I am suggesting that ownership and pleasure are central is not a "tool kit" of methods, but an en
important for active engagement in literacy prac
hanced vision of the future of literacy. Indeed, as
tices, I am not suggesting that all pleasurable texts
Kress (1997,2000) and others have noted, we need
must be "funny" or entertaining. What I am sug
to rethink the very notions of reading, literacy, and
gesting is that if children are to engage meaning
learning. The written word, while still important,
fully with text, they need to have a sense of
is only one of the many semiotic modes that chil
ownership of the text, and it is from this sense of dren encounter in the different domains of their
ownership that pleasure derives. Further, I am not
lives. Hypertext, CD-ROM, and the Internet are be
suggesting that we as educators should embrace
coming increasingly important in the lives of chil
comic books uncritically. The challenge for educa
dren. The challenge for literacy educators is to
tors is to consider how comics can be incorporated
into a curriculum that remains centrally concerned
reconceptualize classrooms as semiotic spaces in
which children have the opportunity to construct
with learning, meaning making, and human possi
bility (see, for example, Giroux & Simon, 1988). meaning with a wide variety of multimodal texts,
An additional challenge, conversely, is to structure including visual, written, spoken, auditory, and per
activities and relationships in such a way that chil formative. Scaffolding such a curriculum is a the
dren can develop greater ownership of school ory of meaning making in which children are not
authorized literacy practices. only the users but also the makers of systems of
communication.
My second comment is a plea for further re
search. My study suggests we need a better under In sum, I think Haugaard would be heartened
standing of why it is that educators are frequently by changes in conceptions of literacy over the past
dismissive of comics in general and Archie comics 30 years. My research suggests, however, that
more specifically. Why did the student teachers, teachers remain ambivalent about the place of com
who themselves loved to read Archie comics as ic books within educational practice. I hope that
children, dismiss them as "garbage" once they these insights of Archie readers may contribute to
reached adulthood? By what process did this trans an understanding of the fantastic motivating power
formation occur? How did they, like the children of comic books. If we take such insights seriously,
in the study, gradually learn that a "good" reader we may help to reclaim literacy as a meaning
is one who reads difficult chapter books, consults making practice rather than a site of ritual.

146 The Reading Teacher Vol. 57, No. 2 October 2003

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