INDIAN GRAPHIC NOVELS: THE NEW MODE OF STORYTELLING

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Research Journal of English Language and Literature (RJELAL)A Peer Reviewed (Refereed) International JournalImpact Factor 6.8992 (ICI) http://www.rjelal.com;Vol.9.Issue 3. 2021(July-Sept)Email:editorrjelal@gmail.com; ISSN:2395-2636 (P); 2321-3108(O)REVIEW ARTICLEINDIAN GRAPHIC NOVELS: THE NEW MODE OF STORYTELLINGAIBHI BISWASPhD Scholar, Department of English and Foreign Languages,Central University of HaryanaEmail- aibhibiswas@gmail.comAbstractArticle Received: 24/06/2021Article Accepted: 27/07/2021Published online:02/08/2021DOI: 10.33329/rjelal.9.3.52The graphic novel is not new to India, but its themes and styles are new. Indiangraphic novelists are creative and produce innovative traditional works within thenew format of graphic novels. They have come to the fore in the last decade becauseof the popularity of graphic novels like Delhi Calm, Corridor, Kari, River of Stories etc.Indian graphic novels have been able to grab the attention of readers across variousage groups. The digital era and globalization have increased curiosity of andaccessibility of Indian graphic novels. These connect the youth of the country totheir historical and socio- cultural roots in an effective, appealing, and efficient way.These can retell Indian cultural values of the past in the present by connecting themto the present conditions and aspirations. Amar Chitrakatha is one of the earliestexamples of Indian graphic novel published in India. The term, graphic novel wascoined in 1964 by Richard Kyle whereas the famous Amar Chitrakatha was publishedin 1967 the changes in the medium of comics in America were soon appropriatedinto the Indian comics industry. Indian graphic novels are constantly enlarging itsthemes, techniques.Keywords- Indian comics, Indian graphic novels, publishing market, Indian writing inEnglish, sequential arts, visual storytelling.IntroductionThe idea of representing your thoughts,emotions and experiences have been there from theancient times hence the idea of graphic novels canbe traced back to the cave paintings of early man.Indian visual narrative or storytelling via pictures canbe assumed to be starting from as early as 200 BCEin different parts of India. These went throughinnovations and refinements in the medieval periodin India like Buddhist Murals, Mughal art,Pattachitra, Kavaads, Phads, temple art etc. OshinVipra Sagar in his ƉĂƉĞƌ ƚŝƚůĞĚ ͞ ŽůůŽƋƵŝƵŵ͗ dŚĞ 52 ƚŽƌLJ ŽĨ ĞƋƵĞŶƚŝĂů ƌƚ͟ ĐŽŵŵĞŶƚƐ ƚŚĂƚ ŵĞĚŝĞǀĂů Ăƌƚ in the western world as well as the eastern worldgrew out of the cultural and social influences of theirruling empires and the iconographic traditions weregenerally associated with the religious institutes,sects or groups dominant in those regions. Medievalart hence generally were representations ofreligious texts and folk tales of the oral tradition.When talking about Indian graphic novels aprior history of comics in India cannot be neglected.This is because the graphic novel that we read todayis an amalgamation of all the historical changes,AIBHI BISWAS

Research Journal of English Language and Literature (RJELAL)A Peer Reviewed (Refereed) International JournalImpact Factor 6.8992 (ICI) http://www.rjelal.com;Vol.9.Issue 3. 2021(July-Sept)Email:editorrjelal@gmail.com; ISSN:2395-2636 (P); 2321-3108(O)evolutions, and changes in formats of narration andĨŽƌŵ ŽĨ ƌĞƉƌĞƐĞŶƚĂƚŝŽŶƐ ƚŚĂƚ ƚŚĞ ĐŽŵŝĐƐ͛ ĐƵůƚƵƌĞ ŽĨ that particular country has gone through. As HillaryChute points out the history of comics and itsevolution into the graphic novel format is not samefor every country. Hence the trajectory of comics inIndia along with its evolution into the graphic novelformat is not the same as how it emerged anddeveloped in other countries like France andAmerica. Indian comics books emerged anddeveloped out of a different agenda other thanpolitical propaganda. Unlike America comics in Indiadid not go through a national censorship phase as ŵĞƌŝĐĂŶ ĐŽŵŝĐƐ ĚŝĚ ŝŶ ƚŚĞ ϭϵϳϬ͛Ɛ ŶŽƌ ĚŝĚ ŝƚ experience an underground comix phase which ledto an alternative counterculture. Althoughinnovations, non-traditionalist form or narration andrepresentation has been experimented in Indiangraphic novels, but this was done individually bygraphic novelists; it was not a part of a nationalalternative culture movement as it was in America inƚŚĞ ϭϵϴϬ͛Ɛ͘The History of Comics in IndiaThe comic book is relatively a new form inIndia and can be assumed to begin after thepublication of Ambulimama or Chandamama (1947)by B. Nagi Reddy, Chakrapani and edited byKodavatiganti K. Rao. It was similar to a picture storybook rather than a comic book. The magazine wasstarted by publishing content in Telegu and Tamilbut gradually it started to be published in few otherlanguages like Bengali, Assames, Punjabi, Gujrati etc.as well. Chandamama presumably the firstillustrated Indian narrative formed the base forillustrated storytelling in the Indian publishingindustry. Dharamyug (1956) a Hindi magazineƉƵďůŝƐŚĞĚ Ă ƐƚƌŝƉ ĐĂůůĞĚ ͞Dabbuji͟ ĐƌĞĂƚĞĚ ďLJ ĂďŝĚ Surti, assumed to be the first Indian comics. It was sopopular that about four lakh copies were soldweekly, a great number for circulation in that period.In 1964, the Indrajal Comics was published under thetimes of India newspaper. The backing of amainstream newspaper meant having quite a goodproduction quality and circulation power. It becamepopular because of the Phantom comics series othercomics series like Mandrake and flash Gordon. Thesewere foreign comics series featuring foreign53characters. An original domestic superhero comicscharacter called Bantul or Batul- The Great wascreated by Narayan Debnath in 1965 and gained aŚƵŐĞ ƌĞĂĚĞƌƐŚŝƉ ĚƵƌŝŶŐ ůĂƚĞ ϭϵϲϬ͛Ɛ ĂŶĚ ĞĂƌůLJ ϭϵϳϬ͛Ɛ͘The introduction of Amar Chitra Katha (1967)by Anant Pai caused a break in the erstwhile comicbook publishing format in India eventually leading toa boom in Indian comics industry. Amar Chitra Kathawas started by Anant Pai with the purpose ofĞĚƵĐĂƚŝŶŐ LJŽƵŶŐ ĐŚŝůĚƌĞŶ ĂďŽƵƚ /ŶĚŝĂ͛Ɛ ŝŶĚŝŐĞŶŽƵƐ tales and stories of religious sects. Amar Chitrakathacomic books were 30 to 40 pages long picture storiesĂďŽƵƚ /ŶĚŝĂ͛Ɛ ůŽŶŐ-standing culture and heritage.Each Amar Chitrakatha magazine had one completestandalone story depicted though illustrations andwords, arranged in a sequential manner, it is lucidthat from where the heritage of Indian graphic novellies. Such a unique original content in such a newformat was pioneered by Anant Pai in India. Ridingon the success of Amar Chitra Katha. Anant Pai alongǁŝƚŚ ƚŚĞ /ŶĚŝĂŶ ŽŽŬ ,ŽƵƐĞ ƉƵďůŝƐŚĞĚ /ŶĚŝĂ͛Ɛ ĨŝƌƐƚ comic book magazine Tinkle in 1980. Tinkle was andstill is a comics magazine which includes comics,stories and columns that addresses the interests ofschool going children in India.The Graphic Novel is not new to India, but itsthemes and styles are new. Contemporary Indiangraphic novelists are quite innovative and creativeseen in the way they are able to uniquely representtraditional tales using the new format of graphicnovels. Indian graphic novels have come to the forein the last decade proven by the popularity ofgraphic novels like Delhi Calm, Corridor, Kari, TheRiver of Stories, This Side That Side, Hush, Munnu: Aboy from Kashmir etc. ůƚŚŽƵŐŚ ĂƌŶĂƚŚ ĂŶĞƌũĞĞ͛Ɛ graphic novel, Corridor is assumed to be the firstIndian graphic novel, but it was Orijit Sen a pioneerof the graphic novel format in India, authored TheRiver of Stories (1994). Many Indian Graphic Novelshave managed to grab the attention of readersacross range of age groups. The digital era in India,opening of the Indian publishing market andglobalization has increased the curiosity andavailability of Indian Graphic Novels. These GraphicNovels connect the Indian youth to their history,culture, and social setup in an effective, appealing,and efficient way. Graphic novels have the feature toAIBHI BISWAS

Research Journal of English Language and Literature (RJELAL)A Peer Reviewed (Refereed) International JournalImpact Factor 6.8992 (ICI) http://www.rjelal.com;Vol.9.Issue 3. 2021(July-Sept)Email:editorrjelal@gmail.com; ISSN:2395-2636 (P); 2321-3108(O)retell the core cultural values of India and keep themin the consciousness of the readers making themquestion their position in society and structuring oftheir identity as an Indian and questioning theirsocial consciousness. This is done by linking the pastevents and values to their present interests andanxieties, making it easier to comprehend.Moonward, Hush etc. Comics is a medium, graphicnovel on the other hand is a format through whichvisual narratives are presented. Graphic novels are aĨŽƌŵĂƚ ŽĨ ƚŚĂƚ ŵĞĚŝƵŵ͖ ŝƚ͛Ɛ Ă ƉĂƌƚ ŽĨ ƚŚĞ ŶĞǁ ŵĞĚŝĂ͕ a new medium of telling the tales. Many Graphicnovelists place Graphic Novels somewhere betweenComics and Animation.Amar Chitra Katha is one of the earliestprototypes of Indian graphic novels published inIndia. The term graphic novel was coined in 1964whereas Amar Chitra Katha began in 1967. Thesenarratives are deeply rooted in the Indian culture,published in English and a variety of Indianlanguages. Tradition of Comics and comicsreadership is long one in India. These Indian Comicstargeted children as their primary readers, makingreligious stores, folklore, and myths as their maincontent. The Indian comics industry peaked duringƚŚĞ ϭϵϴϬ͛Ɛ ĂŶĚ ϭϵϵϬ͛Ɛ͕ ĂůŵŽƐƚ ƐĞůůŝŶŐ ϱϬϬ͕ϬϬϬ ĐŽƉŝĞƐ͘ hŶĨŽƌƚƵŶĂƚĞůLJ͕ ŝƚ ĚĞĐůŝŶĞĚ ŝŶ ůĂƚĞ ϭϵϵϬ͛Ɛ ĚƵĞ ƚŽ ƚŚĞ introduction of television which offered them avariety of choices. The Indian comics industry beganŝŶ ƚŚĞ ϭϵϲϬ͛Ɛ ǁŝƚŚ ƚŚĞ ƉƵďůŝĐĂƚŝŽŶ ŽĨ Indrajal Comics.Indian comics continued to explore and expand itsthemes and techniques and the changes in themedium of comics in America were soonappropriated into the Indian comics industry. The/ŶĚŝĂŶ ŐƌĂƉŚŝĐ ŶŽǀĞů ǁĂƐ ďŽƌŶ ĨƌŽŵ ĐƌĞĂƚŽƌƐ͛ interest and urge to experiment with the comicsform using nontraditional formats. It was a result ofinnovations in the visual narrative forms andeventually became a mass cultural product.Scholar Arocika Licy Monika divideschronologically the evolution of Indian comics intographic novels into three broad periods, these areƚŚĞ ϭϵϵϬ͛Ɛ͕ ƚŚĞ ϮϬϬϬ͛Ɛ ĂŶĚ ƚŚĞ ƉƌĞƐĞŶƚ ĚĞĐĂĚĞ ŝ͘Ğ͕͘ 2010-20. The graphic novels and comics reflect thecultural and socio- political set up and developmentsof that period. Indian comics other than Amar ChitraKatha and tinkle which contributed to the boom inƚŚĞ ϭϵϴϬ͛Ɛ ĂŶĚ ĞĂƌůLJ ϭϵϵϬ͛Ɛ ǁĂƐ Diamond Comicsestablished by Ghulshan Rai in 1978 whose originalcreation Chacha Chaudhary was quite popular; RajComics 1984 played a prominent role in popularizingthe desi comic book along with indigenoussuperhero characters like Nagaraj. Amar ChitraKatha is one of the results of 199Ϭ͛Ɛ ůŝďĞƌĂůŝnjĂƚŝŽŶ and globalization which paved the way for earlygraphic narrative fiction in India. Hence cultural,mythological and historical comic books was adominant influence on the early graphic novels ofƚŚĞ ϭϵϵϬ͛Ɛ͘Beginning with Amar Chitra Katha and Tinklecomics, the comic culture in India is an old one. Inthe recent years, Graphic Novels and Comics havefound a unique contemporary Indian voice. Thisform dapples with issues, which are close to theheart of an Indian who is educated, urban, andglobalized. Issues like identity crisis, onships, love relationships, life in a new city,creating a home in a new city etc. Indian Comics hasentered and penetrated the general book industry,proven by the popularity of Graphic Novels like AdiPurva, Aranyaka, Corridor, Delhi Calm, The BarnOwls Wonderous Tale, Devi, This Side That Side,Sita’s Ramayana, Kashmir Pending, Munnu,54Globalization and the Indian Publishing IndustrySouth Asia specifically has powerful visualnarrative or visual language and the visual in mostcases is the material claims author Emma DawsonVarughese. She also points out the fact that Indiangraphic novels efficiently utilize this visual languageand its potential by using it to narrate and depicttestimonies, memoirs, critique as well as selfappraisal. Indian graphic novels push visualengagement which deals with intellectual andemotional analysis. Varughese adds that thechanges in fiscal policies the opening of domesticmarkets in 2007 pushed the growth anddevelopment of the book publication industry.International companies and publishing housesentering Indian domestic market like harper Collins,penguin publications etc., produced, published, andnourished many Indian graphic novels. The currentgeneration is very visual since they are surroundedAIBHI BISWAS

Research Journal of English Language and Literature (RJELAL)A Peer Reviewed (Refereed) International JournalImpact Factor 6.8992 (ICI) http://www.rjelal.com;Vol.9.Issue 3. 2021(July-Sept)Email:editorrjelal@gmail.com; ISSN:2395-2636 (P); 2321-3108(O)by images and words everywhere from school tosocial media. This new generation of readersequipped with visual literacy is ready to create andconsume graphic novel content. This is one of thefactors responsible for the rise of Indian graphicnovels in the Indian publishing industry.publishing industry to establishindependent publishing houses.Post liberalized Indian economy of the lateϭϵϵϬ͛Ɛ Žƌ ĞĂƌůLJ ϮϬϬϬ͛Ɛ ĨŽĐƵƐĞĚ ŽŶ ƚŚĞ ĚŽŵĞƐƚŝĐ Indian markets. Similarly, the publishing industry toolooked inwards towards the domestic reading publicand domestic genre fiction writing in English.Eventually the advent of Indian graphic novels wasable to create an appealing niche within thecategory of Indian writing in English for itself. In2014, Prime Minister Narendra Modi shiftedcreative focus to Indianness and Indian capabilitiesƵŶĚĞƌ ͞DĂŬĞ ŝŶ /ŶĚŝĂ͟ ƉƌŽũĞĐƚ͘ dŚŝƐ ůĞĚ toinvestment in Indian businesses. This impacted theliterary scene of that period. Foreign publishinghouses like Harper Collins and Penguin Books hadalready entered India and were now moving to thefore. Market policy changes and the trend ofliterature festivals like The Jaipur Literature Festivalaffected Indian graphic novels and their creators in apositive way. Such events led to better connectionbetween authors and publishers. The entry of globalpublishing companies and slacking of market rules ofdistribution, led to the publication of more Indiangraphic narratives and its circulation domesticallyand globally. Author Emma Dawson Varugheseobserves that this shift in production anddistribution within the literary scene of India led to atype of domestic knowledge production andconsumption. She adds that the expansion andopening of domestic markets has led to emergenceof many domestic independent publishing houseslike Zubaan Books, Rupa Books, Jaico Books etc. salesof eBooks versions helped boost sales as well. Allthese factors contributed to establishment ofpublishing houses and collectives which publishedIndian graphic novels and Indian comics like LiquidComics, Campfire Comics, Graphic India, VimanikaComics, Level 10, The Pao Collective etc. In supportscholar Arocika Licy Monika adds that globalizationand opening of Indian economy led to entry of thewestern graphic novel and the western publishingsystem in India. This encouraged the Indian55theirowndŚĞ ϭϵϵϬ͛Ɛ ĐŽŵŝĐƐ ĐƵůƚƵƌĞ ŝŶ /ŶĚŝĂ ŵŽƐƚůLJ included India comics like Nagraj, Motu-Patlu,Chacha Chaudhary, Batul-The Great and westerncomics like Phantom, The Adventures of Tintin andAsterix Which were translated into Hindi and otherregional languages. The most influential of all werethe Amar Chitra Katha series, which were a steptowards the emergence of Indian graphic novels.The similarity between Indian graphic novels andAmar Chitra Katha can be seen in its content,themes, narration, and larger aim behind itscreation. Similarly Indian graphic novelsaccommodate and responds to the contemporaryƉĞƌŝŽĚ͛Ɛ ĐƵůƚƵƌĂů ƚƌĞŶĚƐ͕ ĨĞĂƌƐ͕ ŚŽƉĞƐ ĂŶĚ ĚƌĞĂŵƐ while serving to be a platform for socio-cultural andpolitical awareness and expression. Scholar Arocika ŝĐLJ DŽŶŝŬĂ ĐŚĂƌĂĐƚĞƌŝnjĞƐ ƚŚĞ ϮϬϬϬ͛Ɛ /ŶĚŝĂŶ ŐƌĂƉŚŝĐ novels as depicting stories that dealt with the dailylives of people, stories of lust, greed, hate, searchetc. These graphic novels represent the political andthe macrocosm by mediating through personalindividual life stories. Similarly, Indian graphic novelslike Kari (2008) by Amruta Patil and Munnu a boyfrom Kashmir by Malik Sajad, depict individualpersonal tales which are highly politicized. SomeIndian graphic novels present an alternativetraditional narrative by re-visioning, restructuring,and re-imagining Indian mythological tales, legends,and folklores for example Devi created by ShekarKapur, published in year 2006. The graphic novels ofthe current decade i.e., 2010-20 notes scholarArocika Licy Monika are geared toward finding andestablishing their Indianness, while incorporatinginfluences from the modern globalized world. IndianŐƌĂƉŚŝĐ ŶŽǀĞůƐ ĞdžƉůŽƌĞ ŽŶĞ͛Ɛ ŝĚĞŶƚŝƚLJ ĂŶĚ ƚŚĞ ĐƵůƚƵƌĞ that one lives in by bringing out the past suppressedvoices in the present. This may employ by creatingoriginal stories or by reworking mythological tales.This in a way follows the mainstream trends but alsodisrupt the traditional narratives although there areexceptions like. Ramayana 3392 AD (2007) byShamik Dasgupta, In Defence of The Realm (2010) bySanjay Deshpande and Shiva: The Legends ofImmortals by Kshitish Padhy (2018) which try tomeet the originals aesthetic standards and narrativeAIBHI BISWAS

Research Journal of English Language and Literature (RJELAL)A Peer Reviewed (Refereed) International JournalImpact Factor 6.8992 (ICI) http://www.rjelal.com;Vol.9.Issue 3. 2021(July-Sept)Email:editorrjelal@gmail.com; ISSN:2395-2636 (P); 2321-3108(O)complexity. These Indian graphic novels celebratethe silenced voices in Indian mythologies. Someexamples of such Indian graphic novels are Ravanaby Abhimanyu Singh Sisodia, Sita: Daughter of theEarth by Saraswati Nagpal and Mani Kandan,Draupadi: The Fire Born Princess (2012) by SaraswatiNagpal and Sita’s Ramayana (2011) by Samhita Arnietc.The decade of 2010-20 Indian graphic novelspublished which dealt with autobiographies or livesof famous Indian personalities. Some of them wereAmbedkar: India’s Crusader for Human Rights (2019)by Kieron Moore, Buddha: An Enlightened Life(2017) by Kieron Moore and Rajesh Nagulakonda,Tales of Young Gandhi (2016) by Janhvi Prasad,Bhimayana (2010) by Srividya Natarajan, Delhi Calm(2010) by Vishwajyoti Ghosh. In addition to thesethere were many Indian graphic novels oncontemporary socio-cultural and political issues likeMunnu- A Boy from Kashmir (2016) by Malik Sajad,The Harappa Files (2011) by Sarnath Banerjee,Pashmina (2017) by Nidhi Chanani, etc.The socio-political power and impact ofgraphic novels in India is immense. One way graphicnovels are able to tap into such potential is bypresenting individual expressions in connection tolarger cultural issues and societal structures. ScholarArocika Licy Monika observes that illustrationsutilized by Indian graphic novels are nativized, doneby using vernacular art forms such as Gond art,Paval, Pattachitra Scrolls patterns etc. They exposeand shape grassroot expressions of being Indian.Fantasy and fiction are popular genres in Indiangraphic novels. these genres create an excellentarena or unrestricted political expression within theformat of graphic novels. In some Indian graphicnovels use imaginary lands to present the flaws ofŽŶĞ͛Ɛ ŽǁŶ ƌĞĂů ǁŽƌůĚ͛Ɛ ƉŽůŝƚŝĐĂů ƐĞƚƵƉ ĂŶĚ ƚŚĞ domination of certain classes and questions the ideaŽĨ ͚ŶĂƚŝŽŶ͕͛ ƐŽŵĞ ĞdžĂŵƉůĞƐ ŽĨ ƚŚŝƐ ĂƌĞ ƉƉƵƉĞŶ͛Ɛ Moonward (2013), Asyprus (2014) and The Snakeand The Lotus (2018).The Indian Graphic Novel A Hybrid Socio- CulturalProductThe comics medium is employed to depictnonfictional stories via forms like comics journalism56and graphic anthologies. Wikipedia definesComics/Graphic journalism as a form of journalismthat reports news of real-life events via theframework of comics, meaning that the news aboutreal life events is conveyed to the readers/viewersthrough a combination of the visual and the textual.Some examples of this are the graphic novels- Orijit ĞŶ͛Ɛ The River of Stories (1994) and This Side ThatSide: Restorying Partition (2013) edited byVishwajyoti Ghosh, respectively. The River of Stories;ϭϵϵϰͿ ĐƌĞĚŝƚĞĚ ƚŽ ďĞ /ŶĚŝĂ͛Ɛ ĨŝƌƐƚ ŐƌĂƉŚŝĐ ŶŽǀĞů ďLJ artist turned graphic novelist Orijit Sen. Although itdid not claim to be a graphic novel, yet it depicts thetale via sequential art and words. The 63 pages longgraphic novel visually-textually narrates thestruggles of the villagers; mostly tribal people whowere displaced from their villages due to thebuilding of the Sardar Sarovar Dam on Reva(Narmada) river. The visual narrative interweavesthe controversies, social concerns, environmentalcrisis, and political debates around the event. Itincreases public social awareness around such sociopolitical issues. It was sponsored and published bythe NGO, Kalpavrishka. Creator Orijit Sen cofounded the People Tree, an organization whichcreates indigenous comics and graphic novels tospread social awareness and ensures preservation ofculture. The publishing house Navayana wasestablished by S. Anand and D. Ravikumar in 2003with the aim to advocate the anti-caste cause. Theirput efforts to publish anti-caste writings andpopularising consciously forgotten anti-casteactivists like Ambedkar and Jyoti Rao Phule. S. Anandwas left dumbstruck to see the utterly low numberof writings on the Dalit cause and shocked to seehow mainstream media deliberately hides news ofDalit injustices in the present period. Narayanaattempts to publish anti caste works in an innovativeformat, to make aware the mainstream readershipof the same. Examples of such efforts are the Indiangraphic novels A Gardener in The Wasteland (2011)and Bhimayana- Experiences of Untouchability(2011), which was a domestic and global success.Hush (2011) written by Prateek Thomas andillustrated by Rajiv Eipe explores the sensitive andtabooed topic of sexual abuse of a minor within thefamily by a family member. In a traditional societyAIBHI BISWAS

Research Journal of English Language and Literature (RJELAL)A Peer Reviewed (Refereed) International JournalImpact Factor 6.8992 (ICI) http://www.rjelal.com;Vol.9.Issue 3. 2021(July-Sept)Email:editorrjelal@gmail.com; ISSN:2395-2636 (P); 2321-3108(O)like India such a topic is not only discussed openlyŝƚ͛Ɛ ƚŽ ĚŝƐĐƵƐƐ Ăƚ Ăůů͘ dŚĞ ŐƌĂƉŚŝĐ ŶŽǀĞů ŶĂƌƌĂƚĞƐ ƚŚĞ event in black and white sketches dark shadings atcrucial points the reveal dark moments that aredepicted. The graphic novel is a silent one has only afew words which means the readers need to be wellacquainted with visual grammar and visual literaryto comprehend the implied meanings. Such avolatile topic is handled efficiently so that it does nottake a vulgar and violent turn. Yet the reader is leftwith a haunting sense of fear, disgust, and sympathy.Such works gives courage to its readers to speak upagainst any injustices and makes one vigilant of suchissues.governmental or private projects which work for asocio-cultural purpose. Indian graphic novels like AGardner in the Wasteland written by S. Anand andillustrated by Subhash Vyam and Durgabai Vyam andBhimayana by Srividya Natarajan and AparajitaNinan , published by Navayana press wasestablished for the purpose of giving a voice to Dalitliterature and Dalit voices in the mainstreampublishing industry in India .Nonfiction Indiangraphic books, use of comics journalism anddevelopmental communication in Indian graphicand utilizing Indian graphic novels in educationwithin India is an area that needs to be studiedfurther.ConclusionThe contemporary Indian graphic novelbalances the elite literary modes and the culturalmass of images. It is not completely traditional norforeign. It is hybrid form which is sophisticated andglobal. It does not pretend to be western, but it iscosmopolitan yet indigenously rooted. These arewritten in the English but has an Indian sensibility,which is distinct feature of Indian graphic novels.Indian graphic novel is powerful medium to interactwith the society since it has the advantage of bothliterary and visual devices. In an oral storytellingtraditŝŽŶ ůŝŬĞ /ŶĚŝĂ͛Ɛ ƚŚŝƐ ŶĞǁ ĨŽƌŵ ŽĨ ƐƚŽƌLJƚĞůůŝŶŐ liberates the readers from a rigid storyline andeasing comprehension via the application of a hybridtextual- visual form. Diversity in Indian graphicŶŽǀĞůƐ ĂƌĞ ŝŶĐƌĞĂƐŝŶŐ ƐŝŶĐĞ ƚŚĞ ϮϬϬϬ͛Ɛ ĂŶĚ ŝƚ ŝƐ competing for cultural space and relevance withother mainstream cultural media like cinema andpopular fiction writing, trying to reach to a generalreadership. They explore the socio-political concernsprevalent in India critiquing the contemporary sociopolitical set up. The aim of these works is to makethe community vigilant, urging them to engage inproblem solving.Earlier objects of arts were commissioned butsince the 20th century counterculture trends haveled to production of art, which was relatively free,blunt, and sometimes even revolutionary. Visualtextual narratives were now produced by individualsas a way of self-expression and response to thecontemporary society scenario which has potentialgreat socio- cultural impact when they find their wayinto the mainstream narratives since they have thepower to change societal rules and alter opinions.The Indian graphic novel is one such culturalproducts. Graphic novels represent narrative worksin the form of sequential art, which was traditionallyŝƐ ĂƐƐŽĐŝĂƚĞĚ ƚŽ ƚŚĞ ĐŽŵŝĐƐ͛ ŵĞĚŝƵŵ͘ ŽŵĞ Đƌŝƚics saythat graphic novel is a neologism of the 21st centurypublishing industry, as it helps classify the work witha sea of new works and give a prestige. Others claimit is a new, hybrid form of narrative.Scholar Aibhi Biswas notes that Indiangraphic novels are complex visual-textual narratives,which utilizes personal stories to address largersocio- cultural, political, and often economicissues.Indian graphic novels are generally created toexplore particular social and cultural issues, spreadawareness regarding the issue alongside suggestingvalid solutions for the same. The social issuesaddressed in such works are intwined with culturalsituations and political conditions surrounding it.Social transformation and cultural awareness arethe end which these works aim for. Hence, theyĂƚƚĞŵƉƚ ƚŽ ůŝŶŬ ƚŚĞŵƐĞůǀĞƐ ƚŽ E'K͛Ɛ Žƌ 57WORKS CITED1.Banerjee, Supriya. The rise of the graphic noveland linguistic development in India. Nov. 2017,sajms.com/wpcontent/uploads/2016/11/THE RISE OF THEGRAPHIC NOVEL AND LINGUISTIC DEVELOPMENT IN INDIA- AN ANALYSIS 1.pdf.AIBHI BISWAS

Research Journal of English Language and Literature (RJELAL)A Peer Reviewed (Refereed) International JournalImpact Factor 6.8992 (ICI) ; ISSN:2395-2636 (P); 2321-3108(O)2. ŝƐǁĂƐ͕ ŝďŚŝ͘ ͞ Žŵ/EϮK͗ /ŶƚĞƌŶĂƚŝŽŶĂů ŽŶĨĞƌĞŶĐĞ ŽŶ /ŶĚŝĂŶ ŽŵŝĐƐ͘͟ ĞƉĂƌƚŵĞŶƚ ŽĨ Design, IIT Delhi, ComIN2O: InternationalConference on Indian Comics, ConferenceProceedings, 2021, pp. 1ʹ23.3. ͞ ŽŵŝĐƐ :ŽƵƌŶĂůŝƐŵ͘͟ Wikipedia, ki/Comics journalism.4. ƌĞĞŬŵƵƌ͕ ŽƌĞLJ ͘ ͞dŚĞ /ŶĚŝĂŶ 'ƌĂƉŚŝĐ EŽǀĞů͘͟ A History of the Indian Novel in English, editedby Ulka Anjaria, Cambridge University Press,2015, pp. 348ʹ358.5. ĂƐ͕ ďŚŝŵĂŶLJƵ͘ ͞/ŶĚŝĂŶ ŽŵŝĐƐ ĂƐ WƵďůŝĐ ƵůƚƵƌĞ͘͟ MIT Graduate Program inComparative Media Studies, 20 Mar. 2017,cms.mit.edu/indian-comics-public-culture/.6. ĂƐƚŝĚĂƌ͕ ŝƉƚĂƌƵƉ 'ŽƐŚ͘ ͞WƌŽƐƉĞĐƚƐ ŽĨ ŽŵŝĐƐ StudiĞƐ ŝŶ /ŶĚŝĂ͘͟ GNOSIS: Special Issue-3, Mar.2019,www.academia.edu/40883728/Prospects of Comics Studies in India.7. ĂLJĐŽĐŬ͕ ŝ͘ ͞'ƌĂƉŚŝĐ EŽǀĞůƐ͗ ŝĨĨĞƌĞŶƚ dĞdžƚƐ ĨŽƌ ŝĨĨĞƌĞŶƚ dŝŵĞƐ͘͟ Academia.edu, 2018,www.academia.edu/22124082/Graphic novelsDifferent texts for different times.8. DŽŶŝŬĂ͕ ƌŽĐŝŬĂ ŝĐLJ͘ ͞/ŶĚŝĂŶ 'ƌĂƉŚŝĐ EŽǀĞůƐ Ŷ /ŶƚƌŽĚƵĐƚŝŽŶ͘͟ ResearchGate, 3 Dec. ian Graphic Novels- An Introduction.9. Nayar, Pramod K. The Indian Graphic Novel:Nation, History and Critique. 1st ed., Routledge,2017.10. ƚŽůů͕ :ĞƌĞŵLJ͘ ͞ ƌĞĂƚŽƌΖƐ ,ŝƐƚŽƌLJ ŽĨ ƚŚĞ ŽŵŝĐƐ DĞĚŝƵŵ ŝŶ /ŶĚŝĂ͘͟ International Journal ofComic Art Vol. 15, No. 1, 2013,www.academia.edu/3624531/A Creators History of the Comics Medium in Indi.11. Varughese, E. Dawson. Visuality and Identity inPost-Millennial Indian Graphic Narratives.Palgrave Macmillan, 2018.58AIBHI BISWASVol.9.Issue 3. 2021(July-Sept)

in the 1960’s with the publication of Indrajal Comics. Indian comics continued to explore and expand its themes and techniques and the changes in the medium of comics in America were soon appropriated into the Indian comics industry. The Indian graphic novel was born from creators’ .

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