This chapter explores how diverse storytelling modes invoke the modern discourses of urban threat. The Eternaut, created by writer Héctor Germán Oesterheld and illustrator Francisco Solano López, stages an alien invasion in the city of Buenos Aires. Dengue by Rodolfo Santullo and Matías Bergara tells a story of invasion and disease transmission in Montevideo. Urban detective literature and the mystery/occult story are fused in Jacques Tardi’s The Extraordinary Adventures of Ade`le Blanc- Sec, whose action unfolds in Paris. Created by Japanese artist Tsutomu Nihei, Blame! fictionalizes the verticality and immense scale associated with Tokyo in a visual dystopian tale. Adapting a now discredited theory on the Jack-the-Ripper serial killings, Alan Moore and Eddie Campbell’s graphic novel From Hell links the slums, architecture, and patriarchal violence of Victorian London. Fábio Moon, and Gabriel Bá’s Daytripper treads fearlessly into serial confrontations with mortality in and beyond the context of São Paolo.
本章探讨了不同的叙事模式是如何引发城市威胁的现代话语的。《永恒》由作家hmactor Germán Oesterheld和插画家Francisco Solano López共同创作，讲述了外星人入侵布宜诺斯艾利斯的故事。《登革热》作者Rodolfo Santullo和Matías Bergara讲述了蒙得维的亚入侵和疾病传播的故事。雅克·塔迪的《白姑娘的非凡冒险》将城市侦探文学和神秘故事融合在一起，故事发生在巴黎。由日本艺术家Tsutomu Nihei创作的《责怪!》在一个视觉反乌托邦的故事中虚构了与东京相关的垂直和巨大的规模。艾伦·摩尔和埃迪·坎贝尔的漫画小说《来自地狱》改编了一个现在已经不可信的关于开膛手杰克连环杀人案的理论，将维多利亚时代伦敦的贫民窟、建筑和父权暴力联系在一起。Fábio月亮，加布里埃尔·布的《白日旅行者》无畏地与死亡进行了一系列的对抗，无论是在圣保罗的背景下还是在其他方面。
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This chapter explores the built environment of the city at a personal scale. In a cover titled “The Comix Factory” designed for the comics magazine Raw, Dutch artist Joost Swarte employs the formal depth of comics to suggest their connection to tactile qualities of urban life in three dimensions. American Chris Ware’s ambitious boxed anthology Building Stories invites a tactile reading experience and pushes the architectural form of the comics multiframe to its limits. Also hailing from America, Mark Beyer’s transposition of his popular Amy and Jordan comic to the format of “City of Terror Trading Cards” uses tactility to implicate comics in city circulation patterns. Canadian artist Seth has been building tactile models of buildings in Dominion—the fictional setting for many of his comics. The Ghost of Gaudí by El Torres and Jesús Alonso Iglesias highlights Barcelona’s architecture.
本章从个人角度探讨城市的建筑环境。在为漫画杂志Raw设计的名为“漫画工厂”的封面中，荷兰艺术家Joost Swarte采用了漫画的正式深度，以三维方式暗示它们与城市生活的触觉品质的联系。美国人克里斯·韦尔雄心勃勃的盒装选集《建筑故事》带来了一种触觉阅读体验，并将漫画的多帧建筑形式推向了极限。同样来自美国的马克·拜尔(Mark Beyer)将他的流行漫画《艾米和乔丹》(Amy and Jordan)改编为“恐怖之城交易卡”(City of Terror Trading Cards)的形式，利用触感将漫画与城市流通模式联系起来。加拿大艺术家赛斯一直在多米尼克建造触觉模型，多米尼克是他许多漫画的虚构背景。El Torres和Jesús Alonso Iglesias设计的Gaudí幽灵突出了巴塞罗那的建筑。
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Pub Date : 2019-09-25DOI: 10.14325/mississippi/9781496825032.003.0007
B. Fraser
To bring Visible Cities: Urban Images and Form in Global Comics to a close, it is worthwhile to return to how I outlined this project in the introduction. This book was not meant to be an exhaustive treatment of global cities in comics. Neither was it meant to be broadly representative of themes addressed in the comics medium as a whole. It did not attempt to tell an encyclopedic history of the ninth art, or to catalogue the way in which cities are represented in comic. First and foremost it has been an urban contribution to the interdisciplinary landscape of comics studies....
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This chapter continues to explore the comics depiction of life on the modern city streets. Discussion concentrates on the twentieth and twenty-first centuries, and is carried out through the lens of the human passions. First, the wordless novels by Belgian artist Frans Masereel serve as yet another paradigmatic example of the urban legacy of early comics. Will Eisner’s trilogy uses tenement life as a stage for the Jewish American urban experience of New York. My New York Diary (1993-98) by Julie Doucet blends the artist’s feminist commitment with themes of urban alienation and entrapment. In twenty-first-century Madrid, Spain, Raquel Córcoles Moncusí a.k.a. ‘Moderna de pueblo’ and Rafael Martínez Castellanos explore romantic and sexual passions as they line up with the social identities of women and gay urbanites. Finally, contemporary artist Daishu Ma’s Leaf returns to hallmark aspects of Frans Masereel’s style nearly one-hundred years later.
{"title":"THE PASSIONS OF EVERYDAY URBAN LIFE","authors":"B. Fraser","doi":"10.2307/j.ctvpbnq63.6","DOIUrl":"https://doi.org/10.2307/j.ctvpbnq63.6","url":null,"abstract":"This chapter continues to explore the comics depiction of life on the modern city streets. Discussion concentrates on the twentieth and twenty-first centuries, and is carried out through the lens of the human passions. First, the wordless novels by Belgian artist Frans Masereel serve as yet another paradigmatic example of the urban legacy of early comics. Will Eisner’s trilogy uses tenement life as a stage for the Jewish American urban experience of New York. My New York Diary (1993-98) by Julie Doucet blends the artist’s feminist commitment with themes of urban alienation and entrapment. In twenty-first-century Madrid, Spain, Raquel Córcoles Moncusí a.k.a. ‘Moderna de pueblo’ and Rafael Martínez Castellanos explore romantic and sexual passions as they line up with the social identities of women and gay urbanites. Finally, contemporary artist Daishu Ma’s Leaf returns to hallmark aspects of Frans Masereel’s style nearly one-hundred years later.","PeriodicalId":346575,"journal":{"name":"Visible Cities, Global Comics","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129713371","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This chapter explores the way in which early comics established a legacy emphasizing urban street life. It begins by detailing the connection of comics with urban environments, themes and circulation patterns in eighteenth-, nineteenth- and twentieth-century London, England, Geneva, Switzerland, and New York, USA. For this discussion, A Harlot’s Progress by William Hogarth, the caricature and urban themes of Rodolphe Töpffer, and Richard F. Outcault’s The Yellow Kid and Hogan’s Alley serve as paradigmatic examples. Attention then turns to Winsor McCay’s vibrant Sunday-page color Little Nemo comics, which harnessed suburban dreams at the dawn of the twentieth century. Finally, an example from the twenty-first century demonstrates how these earlier themes are important for understanding the continuing legacy of urban comics. Contemporary Canadian artist Sophie Yanow’s War of Streets and Houses recalls the graphic and stylistic innovation and spatio-historical context of Töpffer’s comics production.
本章探讨早期漫画是如何建立起强调城市街头生活的传统的。它首先详细介绍了漫画与十八、十九和二十世纪英国伦敦、瑞士日内瓦和美国纽约的城市环境、主题和流通模式的联系。在这个讨论中，威廉·贺加斯的《妓女的历程》、鲁道夫Töpffer的漫画和城市主题，以及理查德·f·奥特科的《黄孩子》和《霍根巷》都是典型的例子。接着，人们的注意力转向了温莎·麦凯(windsor McCay)的周日版彩色漫画《小尼莫》(Little Nemo)，它利用了20世纪初郊区的梦想。最后，一个21世纪的例子说明了这些早期的主题对于理解城市漫画的持续遗产是多么重要。当代加拿大艺术家Sophie Yanow的《War of Streets and Houses》回顾了Töpffer漫画制作的图形和风格创新以及空间历史背景。
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This chapter analyzes a group of comics in which the large-scale machinations of urban planning culture have negatively impacted the life of city dwellers. Norwegian artist Hariton Pushwagner’s Soft City indulges in the social alienation that results from the linear monotony of the metropolis. The tyranny of urban planning is dramatized in Samaris by Belgian creators Benoît Peeters and François Schuiten. Dead Memory by French creator Marc-Antoine Mathieu takes the spontaneous appearance of walls in the city as an impetus to play with themes of spatial form, memory, and language loss. Two final comics juxtapose the top-down method of urban planning with the experience of the city’s built environment at the scale of the individual: Robert Moses: The Master Builder of New York City by French author and illustrator Pierre Christin and Olivier Balez and American Ben Katchor’s collection Cheap Novelties: The Pleasures of Urban Decay.
{"title":"URBAN PLANNING, BUILT ENVIRONMENT, AND THE STRUCTURE OF CITIES","authors":"B. Fraser","doi":"10.2307/j.ctvpbnq63.7","DOIUrl":"https://doi.org/10.2307/j.ctvpbnq63.7","url":null,"abstract":"This chapter analyzes a group of comics in which the large-scale machinations of urban planning culture have negatively impacted the life of city dwellers. Norwegian artist Hariton Pushwagner’s Soft City indulges in the social alienation that results from the linear monotony of the metropolis. The tyranny of urban planning is dramatized in Samaris by Belgian creators Benoît Peeters and François Schuiten. Dead Memory by French creator Marc-Antoine Mathieu takes the spontaneous appearance of walls in the city as an impetus to play with themes of spatial form, memory, and language loss. Two final comics juxtapose the top-down method of urban planning with the experience of the city’s built environment at the scale of the individual: Robert Moses: The Master Builder of New York City by French author and illustrator Pierre Christin and Olivier Balez and American Ben Katchor’s collection Cheap Novelties: The Pleasures of Urban Decay.","PeriodicalId":346575,"journal":{"name":"Visible Cities, Global Comics","volume":"2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115411970","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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