While students love graphic novels, teachers are often at a loss as to how to utilize them in a classroom. His graphic novel adaptation shifts focus to emphasize reflection, relationships, and emotions. The limited color palette allows Russell to comment editorially throughout the narrative. I apply comic book and adaptation theories to argue that Russell’s adaptation refocuses the narrative from the novel’s philosophical societal questions toward a heartfelt emotional core: what can two people who care about each other do to help a community that has been lost? Russell shifts focus from the cerebral to the emotional by leveraging a limited color palette and a color braid throughout the text to deepen the relationship between Jonas and The Giver. Craig Russell’s 2019 graphic novel adaptation of Lois Lowry’s The Giver. This essay offers a framework for scholars and educators to use when considering graphic novel adaptations that is exemplified by a close-reading of P. This essay explores how this choice changes the experience of Gaiman’s story in comparison to the novel and the film, using Eisner’s and McCloud’s analyses for support in addition to examples from all three versions of the story. Russell has employed a cartoonish style for other literary adaptations, so he clearly chose a realistic style for Coraline because he thought a realistic approach was better suited for his vision of Gaiman’s book as a graphic novel. Realistic art, by contrast, leads to readers seeing characters as more like real people who are different from them and can lead to a greater sense of the story’s plausibility. According to Will Eisner and Scott McCloud, cartoon art can contribute to reader identification with characters more than realistic art, suggest a removal from reality in the narrative, and can distance the reader from the narrative. The decision to use a realistic or a cartoonish style is important. In the art accompanying the novel and in the movie, Coraline and the other characters are depicted in a cartoonish fashion. This realistic treatment stands in contrast to the novel’s original cover and its illustrations as well as the stop-motion puppets in the 2009 film. Russell is best known for his detailed, realistic style based on photographed models, which he employs in Coraline. It is a faithful adaptation what makes it particularly interesting is its art. Craig Russell, who adapted Gaiman’s novel Coraline into a graphic novel. One of his most frequent collaborators is P.

Since entering the comics field, Neil Gaiman has worked with many artists.

P craig russell coraline