It’s hard to believe now, but comics used to be the black sheep of

reading! This powerful medium was once synonymous with juve-

nile delinquency and bad reading habits. But today, they’re at the
center of pop culture. Just because graphic novels are popular, that
doesn’t mean everyone understands how they can benefit libraries.
Don’t fear, Comic Book Legal Defense Fund is here! We’ll help
you make the most of this incredible creative medium for all of
your patrons!

Comics – Start Here!

An introduction to graphic novels for librarians looking to start, expand, or
just better understand comic book collections.

Comics & Graphic Novels – What’s the Difference?

For the most part, comics and graphic novels are the same thing,
and the difference in name has more to do with marketing than it
Graphic Novels use the does with content.
language of comics -
which Scott McCloud de- From a physical point of view, the most important difference is
fines as “the arrangement that graphic novels appear in a book format, whereas comics can
of pictures or images and be thought of as comic books which are shorter, magazine style
words to narrate a story or publications or the briefer comic strips that appear in a
dramatize an idea.” newspaper or online.

Of course, everybody knows the important part isn’t the physical,

but what’s inside! Within those covers, graphic novels use the
language of comics – which Scott McCloud defines as “the
arrangement of pictures or images and words to narrate a story or
dramatize an idea.” In other words, comics and graphic novels are
just labels. But since we’re talking to professionals who are
stocking books, we’ll use the label graphic novel from here
forward!
 Comics Are For Everybody!
Graphic novels are one of the fastest growing publishing categories, which means readers want more and more
of them! It’s also important to understand that graphic novels aren’t a genre, they’re a category of books that
includes many genres! This includes more traditional comics genres like superheroes, science fiction, fantasy,
humor, and horror, to real-life subjects like memoir, journalism, biography, and even literary fiction.

The same is true of manga, or comics originating in Japan and now making a huge impact in the United States
thanks to the popularity of anime, or the animated adaptations of the original comics. In Japan, manga is a
huge category, with works covering everything from kids adventures to wine tasting, cooking and golf.

This means there’s no one-size-fits-all solution to building a graphic novel collection. While this may sound
frustrating at first, it means that this medium can speak to everyone in your library, from the youngest patron
to the most experienced, and everyone in between!

Librarians know comics are popular, and many librarians are avid comic book readers themselves. But with a
rich history of characters that exist in hundreds of incarnations, and books that run the gamut from appeal-
ing to kids to exceptionally mature, shelving and cataloging can go from nuanced to nightmarish. That’s why
CBLDF teamed up with a few brilliant graduate students from iWashington to collect data from librarians on
their best practices and potential problems, and developed a resource that can help! Let’s get started!

Cataloging Recommendations
If you have to interfile comics
include a “COMICS” sticker
on the spine to make them Where to Put Them?
easier for patrons to locate.
Shelf browsing is a vital part of circulating comics. We
recommend that comics be collected into their own
section, sorted by title and/or character as appropri-
ate, with labeling and signage. Shelving by author has
the potential of breaking up runs of stories, since the
Big Two often change authors in the middle of a story
run.

Exceptions could be made for authors who are indi-

vidually well-known, such as Neil Gaiman, G. Willow
Wilson, or Gail Simone, however these exceptions
should be rare and chosen carefully.
 Helpful Definitions:
Creative Team: Collectively, the individu-
Comics: A visual narrative using pic- als who worked on a particular comic sto-
tures and often words arranged to tell ry, which could include writer, artist/illus-
a story, for any age group and in any trator, penciller, inker, colorist, etc.
genre. This resource is designed specif-
ically to address print comics. Writer/Author: The person who writes
the story, but may not create the art. The
Manga/Manhwa: Comics from Japan writer is not necessarily the creator of the
or Korea, respectively, with a distinctive characters (but can be). Comics industry
art style. Intended for all age groups, nomenclature assigns authorship to the
from children to adults. creative team, not merely the writer, so to
avoid confusion and maximize discover-
Issue: A single issue, magazine type pub- ability it is beneficial for all creators to be
lication generally about 22 pages. Some- listed in the 100 field.
times referred to as a ‘floppy’ because of
its thin, soft cover construction. Artist/Illustrator: The person who draws
or otherwise creates the pictorial aspects
Volume/Trade: A volume collects a cer- of a story. Sometimes the artist/ illustra-
tain number of issues into a trade paper- tor is also the writer, and may be called a
back book. For example, volume 1 of a cartoonist.
comic may collect issues #1-6.
Penciller/Penciler: The person who cre-
Title and Subtitle: Many comics include ates the initial line drawing. Sometimes
both a title and a subtitle. To ensure ac- the same person as the artist.
cess, it is important to include the entire
title and subtitle in a series. Inker: The person who draws over the
initial pencil drawing, using inks to add
Reboot: A reboot is a re-imagining of a depth and definition. Sometimes the same
character or story that already exists, person as the artist.
usually with the participation of a new
creative team. However, just because a Colorist: The person who adds color to
different writer or artist is working with the drawn art, which can create moods or
an established character, doesn’t mean themes in the piece. Sometimes the same
it is necessarily a reboot. person as the artist.

The Big Two: Marvel and DC are the two Cover Artist: The person who created spe-
biggest comics publishing companies. cial cover art only. Sometimes the same is-
Both Marvel and DC have several im- sue will have multiple, or variant, covers
prints, smaller publishing houses that even though the interiors are the same.
can often have a more focused line of Cover artist is not an official realtor term,
books. so Cover Designer should be used instead.
 Helping Users Find Comics
Users’ most frequent search strategy is by title —
so be sure to capture as much of the title as possible.
For example, when cataloging a series like The Walk-
ing Dead, include the title of the series (The Walking
Dead), the volume title (eg. Miles Behind Us) and the
volume number (Vol. 2). Simply cataloging the
book as The Walking Dead #2 is unclear; is it issue #2,
trade paperback volume 2, hardcover edition volume
2, or omnibus edition volume 2? Also, be sure to in-
clude the title on the spine/cover if those are different!
Spotlighting Your Comics
Two of the biggest frustrations are unclear volume
numbers and organizational inconsistencies. Make
sure you include volume number in addition to the Use front facing displays to showcase
title in the appropriate area. covers — these will make your comics
fly off the shelves!
• Sometimes, Volume 1 in a series is not explicitly
labeled as such. Make sure to check either the Include comics in seasonal / topical
publisher’s website or one of the recommended displays — like March for Black His-
comic book sites above to verify volume number. tory Month, Maus for a display about
the Holocaust, Persepolis for Women’s
• Collections are often renumbered/rereleased. It History Month, American Born Chi-
is best to state which issues are in a trade volume. nese for a display about fitting in, etc.

Publication date is very important for identifying Many comics include diverse char-
comics. Due to the frequency of reboots, especially in acters and creators. Reach out to your
the superhero genre, the publication date helps users marginalized communities by collect-
distinguish which book or storyline their library has. ing, recommending, and highlighting
If possible, include the original publication date as their stories, like Ms. Marvel, Lumber-
well as the publication date of the collected volume. janes, or the manga Real.

• For example, when cataloging a trade paperback, Create special displays around movie
include a 500 (general) note stating, “Originally releases. For example, showcase Mar-
published in single magazine form in Batman vel superheroes if a new Avengers movie
X-XX, Batman Annual X’--Title page verso.” is coming out, or Star Wars in advance
of new movies in the franchise.
 Additional Resources Important Cataloging Information
Comic Book Legal Defense Fund Include the entire creative team. Many different
cbldf.org people play a part in creating comics, so making
Find additional resources for adding comics to your col- sure they receive credit is important. Also, some
lection, what to do if someone challenges a graphic novel comic fans follow the careers of specific artists,
in your library, and how to connect with local creators to so their art should be findable in searching. This
host special events. can be especially important in academic libraries
for supporting research needs. If possible, include
Comic Book Database creator characteristics such as gender and ethnic-
comicbookdb.com ity as well.
A massive wiki aimed at cataloging and cross referencing
every issue of comics. When crafting a series note, it is helpful to
include Publisher as a qualifier in the 830
Comic Vine field. Many comics change publishers or reboot
comicvine.gamespot.com storylines, often under the same title. An exam-
A comprehensive wiki on comic books that also includes ple is Conan; it was published by Marvel in the
information on TV, movies, and relevant editorial content. 1970s, then by Dark Horse in the 2000s, and will
be published by Marvel again in 2019.
Book Riot Comics
bookriot.com/2016/09/07/welcome-book-riot-comics/ For those using LC, we recommend classing
Website and newsletter, especialy geared towards kids and comic book series by series title (PN6728), e.g.
YA related comics. Batman would be PN6728.B36. This is helpful as
authors frequently change, especially for superhe-
Anime News Network ro comics.
animenewsnetwork.com
Strong database search with information about manga Set records vs. individual records. Use set
readily available. records for items that do not have individual vol-
ume titles, e.g. Fullmetal Alchemist or Saga. Cat-
Diamond Books alog volumes individually if they do have unique
diamondbookdistributors.com titles or subtitles, e.g. Death Note or Fables.
Industry’s leading graphic novel distributor. Sign up for the
newsletter & check their website for the latest releases. Use fictitious character headings. Not all com-
ics include the main character in the title (com-
mon for Batman, Superman, etc.). If a character
Amazon, Wikipedia, and Google has multiple incarnations, such as The Flash, try
Books are all great places to get to include the fictitious character heading for the
help with summary statements. person ‘under the mask’, e.g. Barry Allen.
 Want to help patrons to discov-
er manga in your collection?
Start a manga book club!

Go to cbldf.org/library
to download our guide to
getting started, plus a ton of
other resources, like links to
50 manga series every library
should have!

Manga is usually read from right to left.

What would be the back cover of an American
book is often the front cover of a manga. Each
page follows the same pattern , with the panels
Manga’s popularity has influenced comics from being read from right to left, top to bottom.
many countries. Similar comics from South
Korea and China are called manhwa and manhua
It’s an easy habit to get into because the manga
respectively.
creators, or mangaka, take special care to make
Comics written in English that utilize the iconic the story flow naturally from right to left. Because
look of Japanese comics can also be referred to of this, the panels and gutters (spaces between the
as manga or OEL (Original English Language) panels) aren’t as rigid as in western comics.
manga.

For more information, check

Get started with One Piece, the best out the CBLDF guide Manga:
selling manga of all time. A shonen Introduction, Challenges, and
series written and illustrated by Best Practices. It delves into the
Eiichiro Oda that follows Monkey history of manga, demographic
D. Luffy, a seventeen-year-old boy divisions, significant creators,
who gains special abilities from eating and some of the challenges it
a supernatural fruit. He travels the has faced in North America.
oceans in search of treasure with the
pirate crew, the Straw Hats. Go to cbldf.org/library to get
your copy today!
 MANGA
Japanese manga simply refers to comics and graphic
novels. If you’re from Japan, this word represents all
forms of sequential art, but for those in the western
world it has come to represent the highly stylized

101
comics from Japan that have taken the world by
storm. In 2016, manga sales rose 29% in America,
bringing it to a $110 million dollar industry.

Don’t think of manga as a genre but rather a broad

class of published works that contains within it as
many different genres as there are readers to enjoy Know Your Audience
them. Kodomo manga: created for younger kids, 7 - 10.
Simple tales that usually have a strong moral.
Popular examples: Hello Kitty and Pokémon

In manga, black pages and back- Shonen manga: comics for young teenage boys,
grounds often denote flashbacks. 10 - 15. Often have a young male hero, with prior-
If a background transitions from ities being placed on action and adventure. Despite
black to white, the story is mov- being aimed at young boys, these tales have a cine-
ing from past to present.
matic quality that appeals across demographics.
Popular examples: Dragon Ball and One Piece

Shojo manga: comics for young ladies, 10 - 18.

Tend to focus more on romance and friendships
then shonen. Female and gay male leads dominate
the genre.
The shape of word balloons can provide Popular examples: Sailor Moon and NANA
clues about how the dialogue is intend-
ed, or even who is speaking. Seinen manga: comics for young men, 15 - 24.
More violent and complex stories than shonen
manga, also can contain nudity. Compelling action
makes these popular for people around the world
regardless of age or gender.
Popular examples: Ghost in the Shell and Hellsing

Josei manga: aimed at adult women, 18+. Not

common outside of Japan, they include more “slice-
of-life” stories and less idealized relationships than
other manga types. Often handle sexuality in a frank
and open manner.
Popular examples: 07-Ghost and Loveless
 Dealing With Challenges
Comics and graphic novels are among the most Report Challenges When They Occur!
frequently challenged books. In part, this is because
images are easier to take out of context than words. Not only does reporting challenges give
However, there is also an outdated stigma that comics Comic Book Legal Defense Fund a chance
are low value speech, or made for children. This goes to offer guidance and support if needed,
back to the moral panic of the 1950s that emerged but it also helps illuminate where problems
from The Seduction of the Innocent by Dr. Fredric
are happening and what books are effected.
Wertham. However, in 2013, University of Illinois
researcher Dr. Carol Tilley proved that Wertham had
falsified many of his claims! Although there are some Also make sure to report all challeng-
unique issues affecting comics, dealing with challenges es to the American Library Association.
to graphic novels is not that different than dealing with They take care to track censorship statistics
challenges to print material. around the country and publish their find-
ings each year.

Making Strong Policies

For more information, links to all the
Strong policies are key for protecting access to library resources mentioned in this booklet, and
materials, including comics. The American Library much more, go to:
Association has developed a number of excellent tools to
assist school and public libraries in the essential prepara- cbldf.org/library
tion to perform before books are challenged at:
http://www.ala.org/advocacy/banned/challengeslibra-
rymaterials/essentialpreparation

Challenge Essentials

What do you do when a comic is challenged?

After you call CBLDF, check out these resources the
American Library Association developed to cope with
challenges:

Conducting a Challenge Hearing

ala.org/tools/challengesupport/hearing

Challenge Support
ala.org/tools/challengesupport

Sample Request for Resource Reconsideration

ala.org/tools/challengedmaterials/support/samplere-
consideration
 CBLDF RESOURCES
CBLDF has developed tools to keep people informed about censorship and to help retailers, educators, and
librarians explain the benefit of comics.

Web Resources
Raising a Reader: An advanced resource about the learning benefits of comics in the Common Core and
more. Written by Dr. Meryl Jaffe. cbldf.org/resources/raising-a-reader/

Panel Power: Inspire kids to become lifelong readers! A CBLDF resource for battling misconceptions about
comics – filled with information, activities, and reading recommendations. cbldf.org/panel-power/

Using Graphic Novels in Education: In this column we examine graphic novels, especially those that have
been targeted by censors, and provide teaching and discussion suggestions. cbldf.org/using-graphic-novels/

Adding Graphic Novels to Your Library or Classroom Collection: Provide information about comics, in-
cluding reviews, praise, awards, and other CBLDF resources, that educators and librarians can use to justify
adding a book to their collections. cbldf.org/adding-graphic-novels/

CBLDF Discussion Guides: Tools to lead conversations about graphic novels. Great for teachers, librarians,
retailers, book clubs, and parents to start a dialogue about reading. cbldf.org/cbldf-discussion-guides/

CBLDF Newsletter: A weekly email that keeps you informed about censorship news, book challenges, and
everything CBLDF is doing on the front lines of free expression. Sign up at cbldf.org

Publications
CBLDF Banned Books Week Handbook: An essential annual guide to the banned and challenged graphic
novels every book lover needs to read! cbldf.org/librarian-tools/cbldf-banned-books-week-handbook/

CBLDF Presents: She Changed Comics:This concise, lively history is a vital guide to the women whose
work advanced free expression! CBLDF has also developed teaching guides and other resources to support
educators using this text. cbldf.org/she-changed-comics/

CBLDF Presents Manga: Introduction, Challenges, and Best Practices: A concise and informed overview
– delving into the history of manga, demographic divisions, significant creators, and challenges it has faced
in North America. cbldf.myshopify.com/products/manga-introduction-challenges-and-best-practices

Book Club Handbooks: Learn how to start and make the most of book clubs for comics and manga with
these helpful guides. cbldf.org/book-clubs/

Find all these resources and much more at cbldf.org/library

 Appendix – Subject Headlines & Genre Terms
(Up to date as of May 15, 2018)

LC Subject Erotic comic books, Newspapers—

Biographical comic strips, etc. Sections, columns,
headings for
books etc.—Comics
comics (LCSH)
Fantasy comic books,
Comic art strips, etc. Romance comic books,
Comic books, strips,
paraphernalia strips, etc.
etc.-main subject
heading, form Fotonovelas
Comic book covers Science fiction comic
division.
Graphic novels books, strips, etc.
Comic strip characters
Caricatures and
cartoons Grassroots comic Sex—Comic books,
Detective and mystery books, strips, etc. strips, etc.
comic books, strips,
Wit and humor
etc. Horror comic books, Steampunk comic
Autobiographical strips, etc. books, strips, etc.
Documentary comic
comic books, strips,
books, strips, etc. Motion pictures and Suspense comic
etc.
comic books books, strips, etc.

Fantasy comics Pornographic comics

LC Genre terms for Fotonovelas Religious comics
comics (lcgft) Funny animal comics Romance comics
Gay comics Samurai comics
Action and adventure comics Graphic novel adaptations Science fiction comics
Apocalyptic comics Graphic novels Sports comics
Autobiographical comics Grassroots comics Spy comics
Bible comics Historical comics Steampunk comics
Biographical comics Horror comics Superhero comics
Cartoons (Humor) Humorous comics Thriller comics
Comics adaptations Instructional comics Tijuana bibles (type of comic)
Comics (Graphic works) Lesbian comics True crime comics
Coming-of-age comics Mythological comics Underground comics
Detective and mystery comics Nonfiction comics Vampire comics
Documentary comics Noir comics War comics
Dystopian comics Paranormal comics
Educational comics Political comics

The information in this resource was made possible by the research and hard work of Allison Bailund,
Hallie Clawson, and Staci Crouch, graduate students at University of Washington iSchool in 2018, as
supervised by CBLDF Board Member Katherine Keller.
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