264 GRAPHIC CLASSICS
and 1950s. Editor, publisher and creator of Graphic Classics , Tom Pomplun began
toying with the idea of publishing classics as comics in the 1990s when he worked on
the literary journal, Rosebud , in Cambridge, Wisconsin.
Th e series initially released anthologies that focused on specifi c authors, including
Edgar Allan Poe, Arthur Conan Doyle, H. G. Wells, and many others whose stories were
predisposed to being executed visually and have, over the years, been utilized in other
media. Th ese author-based anthologies included many frequently anthologized pieces, but
also some lesser known pieces by the authors. For instance, the Poe anthology included
“Th e Tell-Tale Heart” and “Th e Cask of Amontillado,” but also “Th e Imp of the Perverse”
and “Hop-Frog.” Later volumes focused on a particular theme or genre including adven-
ture , horror , gothic, fantasy , and science fi ction. Th ese linked together several famous
and lesser known pieces of authors to create a mixture of stories that are both recogniz-
able and authentic. For instance, the Fantasy Classics: Graphic Classics Volume 15 includes
the classic Frankenstein by Mary Shelly but also lesser known pieces such as “Rappaccini’s
Daughter” by Nathaniel Hawthorne and “Th e Glass Dog” by L. Frank Baum.
Graphic Classics relies on a range of artists; though few are established in mainstream
comics. Instead, the publisher uses artists who have found their own niche, whether
in magazines, newspapers, or within independent and alternative comics publishing.
Th eir range of style, experience, and personal background evokes the individuality and
creative process evident in each volume. Regular artistic contributors have included
Kevin Atkinson, Maxon Crumb, Rick Geary, Molly Kiely, Rob Lott, Carlo Vergara,
and Lisa K. Weber, many of whom have won awards and are well known in other
professional circles.
Pomplun’s decision to focus on classics stems in part from the infl uence of the
Classics Illustrated series on his own upbringing, but also the economic viability of
using public-domain pieces. Like other book and audiobook publishers, Pomplun
looked to defray the cost of publishing by using free material that already had an
established record, though Graphic Classics does rely signifi cantly on writers to adapt
a text before giving it over to the artist.
However, the power and success of Graphic Classics lies in the interpretative act of
visually executing what is written. Pomplun did not want to copy the Classics Illus-
trated model, which repackaged the story in an accessible compact story that children
could read and understand, but rather truly adapt these pieces for an adult reader-
ship. Th erefore, the stories can take on new and more compelling meaning due to the
tones, themes, and subtleties of the artwork. Since every adapted story has its own
distinct voice and style, Graphic Classics uses diff erent artists for each story; thus,
each volume includes a wide range of drawing styles that can be a delight or challenge
depending upon the reader. Often, this visualizing process can produce added eff ects
or provide readers with interesting digressions from the original text. For instance,
in Graphic Classics: Mark Twain , Kevin Atkinson’s adaptation of “Th e Celebrated
Jumping Frog of Calaveras County” provides readers with an iconic robust character
with a barrel chest and chiseled body. His body evokes images of superheroes , which
