the genres of comic and prose, refusing to commit to one solid form. Pilkey peppers his comics with that are in sharp contrast to the of most modern “imperfections” clean, “finished” style graphic novels. Shaky lines, misspellings, irregularly formed letters, and crossed-out mistakes are all integral parts of the design of books. Even though these stylistic choices are Pilkey’s most apparent in the sections of books meant to be in the voice of his two young Pilkey’s characters George and Harold, some carry over to comics that are in own voice. The Pilkey’s comic and is noticeably cleaner, but the borders of the “George Harold’s College O’ Art” below panels are still shaky, and the lettering contains a mixture of capital and lowercase letters. () () Another example of work that embodies this quality of is a self-portrait “un-intactness” that I created during my junior year of high school. The piece is for called “The Poster Child Even as I was drawing this piece, I recognized that all the different elements in it did ADHD.” not make sense together. The who exemplifies a trait -- phrase “poster child” means someone often a disease or disorder -- so well that they could be on a poster for it (“Poster Child”). However, the poster depicted here is a mix between a wanted poster, a missing child poster, and the kind of from which a smiles. The mugshot placard that I “awareness poster” “poster child” hold in the poster is blank. The poster is also drawn as if it were on a crumpled piece of paper, although the drawing itself is not literally crumpled. There are a multitude of incomplete elements, themes, and ideas in this drawing, none of them fitting together entirely. However, they all relate to my identity as a person with ADHD: as Charles Mee describes, my work is a
the genres of comic and prose, refusing to commit to one solid form. Pilkey peppers his comics with “imperfections” that are in sharp contrast to the clean, “finished” style of most modern graphic novels. Shaky lines, misspellings, irregularly formed letters, and crossed-out mistakes are all integral parts of the design of Pilkey’s books. Even though these stylistic choices are most apparent in the sections of Pilkey’s books meant to be in the voice of his two young characters George and Harold, some carry over to comics that are in Pilkey’s own voice. The comic “George and Harold’s College O’ Art” below is noticeably cleaner, but the borders of the panels are still shaky, and the lettering contains a mixture of capital and lowercase letters. () () Another example of work that embodies this quality of “un-intactness” is a self-portrait that I created during my junior year of high school. The piece is called “The Poster Child for ADHD.” Even as I was drawing this piece, I recognized that all the different elements in it did not make sense together. The phrase “poster child” means someone who exemplifies a trait -- often a disease or disorder -- so well that they could be on a poster for it (“Poster Child”). However, the poster depicted here is a mix between a wanted poster, a missing child poster, and the kind of “awareness poster” from which a “poster child” smiles. The mugshot placard that I hold in the poster is blank. The poster is also drawn as if it were on a crumpled piece of paper, although the drawing itself is not literally crumpled. There are a multitude of incomplete elements, themes, and ideas in this drawing, none of them fitting together entirely. However, they all relate to my identity as a person with ADHD: as Charles Mee describes, my work is a