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Following the stylistic elements of comic-books, Pilkey also uses onomatopoeia. Captain Underpants, who has unknowingly lost his powers, jumps out of a three storey window only to fall to the ground. The following page shows Captain Underpants with stars bouncing off of his head, reminiscent of cartoon action.
Dav Pilkey has written and illustrated numerous popular, award-winning books for children, including the Captain Underpants and Dumb Bunnies series.

Close reading of a picturebook/picture book

Dav Pilkey’s ‘Captain Underpants and the Big, Bad Battle of the Bionic Booger Boy, Part 2: The Revenge of the Ridiculous Robo-Boogers’ (hereafter referred to as Captain Underpants) constructs childhood as a time of innocence and expression. Pilkey portrays childhood as a vessel of innocence where children have not been exposed to prejudices or pre-conceptions. I argue that Captain Underpants celebrates and encourages the creativity and imagination associated with childhood. Pilkey seeks to recapture the youthful energy and vitality that dissipates with adulthood. I will be looking at Pilkey’s use of intertextuality, onomatopoeia and colour to examine how he constructs childhood, as an era of creative freedom and expression.

Captain Underpants’ construction of childhood is of one of not maturing too quickly. Pilkey was both the class clown and a prankster. In elementary school he “was diagnosed with Attention Deficit Disorder and severe hyperactivity. By the start of first grade, Dav had successfully moved into the role of class clown […] Dav’s teacher didn’t care for his particular brand of humour.”

[1] Whilst growing up, Pilkey’s artistic and creative expression were always discouraged, as his teachers wanted him to follow the rules. At school, Pilkey might have lost his creative expression if he had obeyed his teachers, yet through rebelling, he found success. This demonstrates how children can still enjoy success without strictly adhering to an academic rule structure. Whilst Nodleman would argue that this is evidence of how:

we work in literature […] to make children more like the ideal- to restore them to a “childhood” they appear to have lost sight of. But did we really experience childhood as we claim to remember it? Or have we come to believe we did because we ourselves […] have also read books by and had interactions with adults who worked to impose their visions of childhood upon us?[2]

Whilst Nodleman argues this as a criticism of children’s literature, I assert that Pilkey uses it positively. Even though, he enforces romanticised, unreliable memories of his own childhood onto his child audience, he still constructs a positive depiction of children. Rather than encouraging them to mature too quickly, he urges them to retain their creative innocence. Within the short comic book, at the text’s beginning, the pictures and text are intentionally simplistic. The text is not in a computer font but crude handwriting that is littered with spelling mistakes and crossing-outs. (See Figure 1)

Figure 1: Dav Pilkey, Captain Underpants and the Big Bad Battle of the Bionic Booger Boy Part 2: The Revenge of the Ridiculous Robo-Boogers (London: Scholastic Children’s Books, 2003)

Accompanying this text are equally crude and basic drawings that visually demonstrate and enhance the text. In one panel, George and Harold explain they hypnotised their school principle, Mr Krupp, into thinking he was Captain Underpants. (See Figure 1) This is demonstrated by Mr Krupp’s eyes being depicted as two spiralling lines. Pilkey is constructing a childhood, where it is just as important to have fun and express yourself, as it is to follow the rules. Whilst Pilkey is not advocating a complete departure from rule structures, he wants to encourage self-expression, as opposed to enforcing ideologies onto children.

This celebration of innocence and expression is continued through Pilkey’s use of intertextuality and onomatopoeia. This intertextuality is seen near the book’s conclusion, where Harold worries that using Melvin’s time “machine two days in a row [could] bring about the end of the world,”[3] and George replies “that’s ridiculous […] it all sounds like a set-up for the sequel to a really lame children’s book.” (CU, p.172) (See Figure 2)

Figure 2: Dav Pilkey, Captain Underpants and the Big Bad Battle of the Bionic Booger Boy Part 2: The Revenge of the Ridiculous Robo-Boogers (London: Scholastic Children’s Books, 2003)

However, the following page depicts smoke clouds and lightning bolts exploding from the time-machine. (See Figure 2) Pilkey’s inclusion of this drawing serves to parody adult fiction. He is poking fun at how some adults take themselves too seriously and adhere too strictly to the rules. Following the stylistic elements of comic-books, Pilkey also uses onomatopoeia. Captain Underpants, who has unknowingly lost his powers, jumps out of a three storey window only to fall to the ground. The following page shows Captain Underpants with stars bouncing off of his head, reminiscent of cartoon action. (See Figure 3)

Figure 3: Dav Pilkey, Captain Underpants and the Big Bad Battle of the Bionic Booger Boy Part 2: The Revenge of the Ridiculous Robo-Boogers (London: Scholastic Children’s Books, 2003)

This combined use of onomatopoeia and intertextuality keeps Captain Underpants grounded within its own genre and relates to Pilkey’s idea of simplicity. By using this intertextuality, Pilkey parodies how other writers over-intellectualise their work, thus alienating themselves from their child-readers. Through his onomatopoeic language and by implicitly referencing cartoon action, Pilkey keeps his work identifiable and readable for his child audience. In 2012, “Captain Underpants surprisingly topped the list of the most banned books in America […] beating out the much more controversial title “Fifty Shades of Grey.”[4] I assert this is why Captain Underpants has become so popular with children. Due to how it has become so condemned by teachers and parents, children read it as an act of rebellion.

The trademark of the Captain Underpants series is the Flip-o-Ramas, which function as miniature flip-books. Readers are instructed to hold the book down with one hand and to flip the page with the other. This interactive and intertextual element engages child-readers by actively involving them within the book, thus transforming them from passive to active readers. This relates to Pilkey’s construction of childhood as a time of free expression. In one picture, Captain Underpants’ arms and legs are pointed in different directions, and in the next they alternate. (See Figures 4 and 5)

Figure 4: Dav Pilkey, Captain Underpants and the Big Bad Battle of the Bionic Booger Boy Part 2: The Revenge of the Ridiculous Robo-Boogers (London: Scholastic Children’s Books, 2003)

Figure 5: Dav Pilkey, Captain Underpants and the Big Bad Battle of the Bionic Booger Boy Part 2: The Revenge of the Ridiculous Robo-Boogers (London: Scholastic Children’s Books, 2003)

If the pages are flipped fast enough, “the two pictures will start to look like one animated picture.” (CU, p. 138) He also suggests that the child should “try humming a stupid song and flipping to the beat.” (CU, p. 138) In encouraging the child-reader to actively engage with the story in a fun, creative way, Pilkey continues to construct childhood, as a vessel of timeless innocence and enjoyment.

A notable aspect of Captain Underpants is the monochrome drawings in which, Harold is white, whilst George is black, yet no mention of their ethnicity is made. (See Figure 6)

Figure 6: Dav Pilkey, Captain Underpants and the Big Bad Battle of the Bionic Booger Boy Part 2: The Revenge of the Ridiculous Robo-Boogers (London: Scholastic Children’s Books, 2003)

This reflects the innocence of children and serves to demonstrate their accepting nat

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