The Fourth Industrial Revolution represents the most advanced frontier of technological innovation that will transform the economy of the future in a disruptive way, introducing new devices such as: self-guided vehicles, 3D printing, advanced robotics, new materials, digital platforms, gene editing etc. The expression "empathic media" means not only the platforms and devices that develop forms of "emotional artificial intelligence", but also all those innovations who have been able to enhance the emotional nature of the human being in commercial terms. The ever closer relationship between emotions, artificial intelligence and creativity represents a dominant trend of our time that can be examined, for example, by comparing the recent cinematographic imagination with some innovations on the market. Through this comparison we can understand the way in which new technologies enhance the emotional dimension that has become a central aspect not only in human-machine interaction but also more generally of a new concept of design, communication and consumption. By analyzing the social context created as a consequence of the coronavirus, we discuss a classification based on three scenarios that it seems they can work as interpretative models of the relation between technology and everyday life: 1) Isolation, 2) Integration and 3) Co-design. Each of them is expressed as a form of experience in which the media are the medium and therefore the environment capable of creating, nurturing and hosting particular feelings and emotions. The media are transfigured as empathic tools because they allow "suffering together", as the etymology of the term prefigures, producing different types of experiential sharing
{"title":"Media empatici, emozioni e gamification: dalla quarta rivoluzione industriale alla società postpandemica = Empathic media, emotions and gamification: from the Fourth Industrial Revolution to the postpandemic society","authors":"Nello Barile, G. Bovalino","doi":"10.1285/I22840753N16P7","DOIUrl":"https://doi.org/10.1285/I22840753N16P7","url":null,"abstract":"The Fourth Industrial Revolution represents the most advanced frontier of technological innovation that will transform the economy of the future in a disruptive way, introducing new devices such as: self-guided vehicles, 3D printing, advanced robotics, new materials, digital platforms, gene editing etc. The expression \"empathic media\" means not only the platforms and devices that develop forms of \"emotional artificial intelligence\", but also all those innovations who have been able to enhance the emotional nature of the human being in commercial terms. The ever closer relationship between emotions, artificial intelligence and creativity represents a dominant trend of our time that can be examined, for example, by comparing the recent cinematographic imagination with some innovations on the market. Through this comparison we can understand the way in which new technologies enhance the emotional dimension that has become a central aspect not only in human-machine interaction but also more generally of a new concept of design, communication and consumption. By analyzing the social context created as a consequence of the coronavirus, we discuss a classification based on three scenarios that it seems they can work as interpretative models of the relation between technology and everyday life: 1) Isolation, 2) Integration and 3) Co-design. Each of them is expressed as a form of experience in which the media are the medium and therefore the environment capable of creating, nurturing and hosting particular feelings and emotions. The media are transfigured as empathic tools because they allow \"suffering together\", as the etymology of the term prefigures, producing different types of experiential sharing","PeriodicalId":40441,"journal":{"name":"H-ermes-Journal of Communication","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-11-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47129375","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}
Marvel's Spider-Man: crossmedia "Spider-Verse". This paper analyses the videogame Marvel's Spider-Man, released by Insomniac in 2018, from a crossmedia perspective. In particular, this study will enquire into the extent to which the examined videogame is influenced by the comics imaginary and, in turn, influences it. Furthermore, the examination will explore the mutual exchanges between comics and game story elements, which are essential in Marvel's Spider-Man to contribute to the processes of world and storyline building. Finally, the analysis will reveal the function of the urban environment at the time of creating transmedia connections, which are meant to construct and preserve the counterfactual scenario developed by Sony across several media. The main research objective is to underline that the narrative universe of Marvel Comics can benefit from the creation and preservation of the crossmedia "Gameverse".
{"title":"Marvel's Spider-Man: \"Ragnoverso\" crossmediale = Marvel's Spider-Man: crossmedia \"Spider-Verse\"","authors":"Nicolò Villani","doi":"10.1285/I22840753N18P73","DOIUrl":"https://doi.org/10.1285/I22840753N18P73","url":null,"abstract":"Marvel's Spider-Man: crossmedia \"Spider-Verse\". This paper analyses the videogame Marvel's Spider-Man, released by Insomniac in 2018, from a crossmedia perspective. In particular, this study will enquire into the extent to which the examined videogame is influenced by the comics imaginary and, in turn, influences it. Furthermore, the examination will explore the mutual exchanges between comics and game story elements, which are essential in Marvel's Spider-Man to contribute to the processes of world and storyline building. Finally, the analysis will reveal the function of the urban environment at the time of creating transmedia connections, which are meant to construct and preserve the counterfactual scenario developed by Sony across several media. The main research objective is to underline that the narrative universe of Marvel Comics can benefit from the creation and preservation of the crossmedia \"Gameverse\".","PeriodicalId":40441,"journal":{"name":"H-ermes-Journal of Communication","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-07-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42708166","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}
Pub Date : 2020-07-12DOI: 10.1285/I22840753N18P163
R. Bartual, Gerardo Vilches
One of the latest and more complex examples of the potentialities of digital comics is Joselito (2018-) by Spanish author Marta Altieri. Published on her own webpage, Joselito is a serial melodrama, in which the author uses all her knowledge as a webpage designer in order to introduce various intermedial elements, such as real-time diegetic music, photographs, chat conversations, gif animations, memes or vertical scroll as a reading mechanism, imitating our way of reading someone else's stories today. In this paper, we propose a study of Joselito's narrative and analyze the strategies that it uses when it comes to represent psychological and subjective realities, as well as the way it provokes emotional and sensorial responses in the readers. We also analyze the implications of the absence of the conventional panoptic qualities of conventional comics, which are replaced by a multimodal way of organizing information. We also investigate the many ways whereby Joselito defies the most traditional comic definitions, not to mention the great changes that animations introduce in the representation of movement. Additionally, we analyze how the return of serial narrative and the possibility of extending each chapter without restrictions have an influence in webcomics like Joselito, making way to a different kind of narrative, based on the anecdotal and on routine, where the psychological evolution of the characters is not as important as it is in the classical graphic novel.
{"title":"La vanguardia del cómic digital: Transmedialidad y recursos narrativos en Joselito de Marta Altieri = Digital Comics Avant-garde: Transmediality and narrative resources in Marta Altieri's Joselito","authors":"R. Bartual, Gerardo Vilches","doi":"10.1285/I22840753N18P163","DOIUrl":"https://doi.org/10.1285/I22840753N18P163","url":null,"abstract":"One of the latest and more complex examples of the potentialities of digital comics is Joselito (2018-) by Spanish author Marta Altieri. Published on her own webpage, Joselito is a serial melodrama, in which the author uses all her knowledge as a webpage designer in order to introduce various intermedial elements, such as real-time diegetic music, photographs, chat conversations, gif animations, memes or vertical scroll as a reading mechanism, imitating our way of reading someone else's stories today. In this paper, we propose a study of Joselito's narrative and analyze the strategies that it uses when it comes to represent psychological and subjective realities, as well as the way it provokes emotional and sensorial responses in the readers. We also analyze the implications of the absence of the conventional panoptic qualities of conventional comics, which are replaced by a multimodal way of organizing information. We also investigate the many ways whereby Joselito defies the most traditional comic definitions, not to mention the great changes that animations introduce in the representation of movement. Additionally, we analyze how the return of serial narrative and the possibility of extending each chapter without restrictions have an influence in webcomics like Joselito, making way to a different kind of narrative, based on the anecdotal and on routine, where the psychological evolution of the characters is not as important as it is in the classical graphic novel.","PeriodicalId":40441,"journal":{"name":"H-ermes-Journal of Communication","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-07-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47742799","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}
{"title":"Introduzione. E-comics - Attualità e inattualità del fumetto nel tempo digitale = Introduction. E-comics - The contemporary and uncontemporary nature of comics in the digital era","authors":"S. Brancato, Ivan Pintor Iranzo","doi":"10.1285/I22840753N18P7","DOIUrl":"https://doi.org/10.1285/I22840753N18P7","url":null,"abstract":"","PeriodicalId":40441,"journal":{"name":"H-ermes-Journal of Communication","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-07-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43750375","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}
Pub Date : 2020-07-12DOI: 10.1285/I22840753N18P209
Alessio Aletta
On the basis of Bolter and Grusin's definition of 'remediation' as 'the representation of one medium in another', this paper analyses the various ways in which digital comics have tried to rethink the comics 'grid' for computers and smaller devices, following three main approaches: digitalized comic, 'infinite canvas' and 'panel delivery'. In particular, this study discusses the problems that may arise when comics created for the screen are published on paper (an issue which is much less explored in the literature). The analysis focuses on the interactions between 'traditional' and digital comics in the latest works of Italian cartoonist Leo Ortolani. Over the last few years this author, despite being famous mostly for having created the popular superhero parody Rat-man, has experimented a variety of different approaches on e-comics. Most recently, Ortolani worked on a series of 'mobile comics' in which he chronicled the developing of Covid's first wave in the Spring of 2020. This series was later published in a volume titled Andra tutto bene ('Everything will be fine'), which imitates the original 'panel delivery' format by printing one panel per page. This peculiar typographical choice, which seems to embody the very idea of 'remediation', muddles the separation between 'traditional' paper comics and e-comics. Furthermore, by trying to preserve the 'mobile comic' layout, Ortolani seems to legitimize the peculiarity of e-comics as an independent medium with its own potentialities.
在Bolter和Grusin将“补救”定义为“一种媒介在另一种媒介中的表现”的基础上，本文分析了数字漫画试图重新思考计算机和小型设备的漫画“网格”的各种方式，以下三种主要方法:数字化漫画，“无限画布”和“面板交付”。特别地，本研究讨论了当为屏幕创作的漫画在纸上出版时可能出现的问题(这个问题在文献中很少探讨)。分析的重点是意大利漫画家Leo Ortolani的最新作品中“传统”和数字漫画之间的相互作用。在过去的几年里，这位作者虽然以模仿超级英雄鼠人而出名，但他在电子漫画上尝试了各种不同的方法。最近，奥尔托拉尼创作了一系列“移动漫画”，在这些漫画中，他记录了2020年春季新冠病毒第一波的发展。这个系列后来出版了一卷名为Andra tutto bene(“一切都会好的”)，它模仿了原始的“面板交付”格式，每页打印一个面板。这种独特的排版选择似乎体现了“补救”的理念，混淆了“传统”纸质漫画和电子漫画之间的区分。此外，通过尝试保留“移动漫画”的布局，Ortolani似乎将电子漫画作为一种具有自身潜力的独立媒体的特性合法化。
{"title":"Dalla tavola al touch (e ritorno). Rimediazioni tra fumetto cartaceo e digitale in Leo Ortolani = From paper page to touchscreen (and back). Remediations between printed and digital comics in Leo Ortolani","authors":"Alessio Aletta","doi":"10.1285/I22840753N18P209","DOIUrl":"https://doi.org/10.1285/I22840753N18P209","url":null,"abstract":"On the basis of Bolter and Grusin's definition of 'remediation' as 'the representation of one medium in another', this paper analyses the various ways in which digital comics have tried to rethink the comics 'grid' for computers and smaller devices, following three main approaches: digitalized comic, 'infinite canvas' and 'panel delivery'. In particular, this study discusses the problems that may arise when comics created for the screen are published on paper (an issue which is much less explored in the literature). The analysis focuses on the interactions between 'traditional' and digital comics in the latest works of Italian cartoonist Leo Ortolani. Over the last few years this author, despite being famous mostly for having created the popular superhero parody Rat-man, has experimented a variety of different approaches on e-comics. Most recently, Ortolani worked on a series of 'mobile comics' in which he chronicled the developing of Covid's first wave in the Spring of 2020. This series was later published in a volume titled Andra tutto bene ('Everything will be fine'), which imitates the original 'panel delivery' format by printing one panel per page. This peculiar typographical choice, which seems to embody the very idea of 'remediation', muddles the separation between 'traditional' paper comics and e-comics. Furthermore, by trying to preserve the 'mobile comic' layout, Ortolani seems to legitimize the peculiarity of e-comics as an independent medium with its own potentialities.","PeriodicalId":40441,"journal":{"name":"H-ermes-Journal of Communication","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-07-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46125067","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 is a reflection on manga as a litmus to talk about two dimensions of comics at large. The first is the non-evolutionary nature of the comics medium. The article first argues that manga's and comics' perceived stages over time cannot be informed by the metaphor of evolution, but proceed-ed via "lateral" movements. We suggest that this form has mutated and is migrating into different technological realms, following non-ascending movements that date back to more ancient forms of visual sequential languages. The second dimension we discuss is in fact comics' transition from a "poly-medium" to a "post-medium" status. This article's focus on comics' post-mediality relates the new situation of media convergence where comics as content carrier is in turn carried through any possible image-supporting device, and this entails the loss of its status of a technology-specific form.
{"title":"From poly-medium to post-medium A discourse on non-evolutionary movements of manga and comics","authors":"Marco Pellitteri","doi":"10.1285/I22840753N18P23","DOIUrl":"https://doi.org/10.1285/I22840753N18P23","url":null,"abstract":"This is a reflection on manga as a litmus to talk about two dimensions of comics at large. The first is the non-evolutionary nature of the comics medium. The article first argues that manga's and comics' perceived stages over time cannot be informed by the metaphor of evolution, but proceed-ed via \"lateral\" movements. We suggest that this form has mutated and is migrating into different technological realms, following non-ascending movements that date back to more ancient forms of visual sequential languages. The second dimension we discuss is in fact comics' transition from a \"poly-medium\" to a \"post-medium\" status. This article's focus on comics' post-mediality relates the new situation of media convergence where comics as content carrier is in turn carried through any possible image-supporting device, and this entails the loss of its status of a technology-specific form.","PeriodicalId":40441,"journal":{"name":"H-ermes-Journal of Communication","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-07-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45605171","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}
Pub Date : 2020-07-12DOI: 10.1285/I22840753N18P297
Jesús Gisbert Sampedro
Observation of the history of the comic reveals that its mutations are in correlation with changes in its means of production and distribution. But it is also perceived that the cartoon mutates in time with the variations in self-awareness manifested by the agents involved in the medium. This paper proposes a theoretical approach that collects these two evolutionary aspects affect the development of the comic. In particular, this study focuses on one of the vertices of the semiotic triad and combines it with a hypothesis that equates the comic book reader with a Turing machine. Finally, after detailing the existence of a space of meaning that is common or accessible to all media, the author brings together the previous suggestions and illustrates the result through a reference to Do Androids Dream of Electric Sheep?. The conclusion is that the aporias implicit in this novel and in its graphic version are as undecidable and unpredictable as the changes that technological development applied to the media will bring to cartoons, which makes it difficult to anticipate the next mutations of the comic.
{"title":"Historietas, lectores y máquinas de Turing = Comics, Readers and Turing Machines","authors":"Jesús Gisbert Sampedro","doi":"10.1285/I22840753N18P297","DOIUrl":"https://doi.org/10.1285/I22840753N18P297","url":null,"abstract":"Observation of the history of the comic reveals that its mutations are in correlation with changes in its means of production and distribution. But it is also perceived that the cartoon mutates in time with the variations in self-awareness manifested by the agents involved in the medium. This paper proposes a theoretical approach that collects these two evolutionary aspects affect the development of the comic. In particular, this study focuses on one of the vertices of the semiotic triad and combines it with a hypothesis that equates the comic book reader with a Turing machine. Finally, after detailing the existence of a space of meaning that is common or accessible to all media, the author brings together the previous suggestions and illustrates the result through a reference to Do Androids Dream of Electric Sheep?. The conclusion is that the aporias implicit in this novel and in its graphic version are as undecidable and unpredictable as the changes that technological development applied to the media will bring to cartoons, which makes it difficult to anticipate the next mutations of the comic.","PeriodicalId":40441,"journal":{"name":"H-ermes-Journal of Communication","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-07-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44890334","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}
Pub Date : 2020-07-12DOI: 10.1285/I22840753N18P139
Pons Moreno, M. Álvaro
In the last decade, small press and self-publishing has undergone an important boom in Spain, mainly around two phenomena: on the one hand, the generalization of the introduction of comics in higher art studies; on the other hand, the appearance of a circuit of festivals and events of self-publishing and smll press. Two forces that have contributed to the appearance of a brilliant generation of young authors who have found in the comic a valid way of expression, far from any previous canon of the comic and without previous baggage in the medium. As opposed to a tradition that was marked by the influence and admiration of the great authors on the past of the medium, this new generation has been influenced by the culture of the audiovisual image, from television series, cinema and, of course, the omnipresent graphic presence in social networks such as Instagram, DevianArt or Pinterest. Despite the fact that most of the creation has been developed on paper, as part of a claim for the organic in rebellion against the digital omnipresence, this work has been also published in social media or online, questioning the limitations between media and taking full advantage of the new options that web publication brings. An example of this fruitful relationship is Tik Tok comics, a website showing the work of young authors in search of new expressive paths, which has evolved into an Instagram channel, Tris Tras, where the dynamics of the social network itself establish new contours of interaction. New experiences that advance in a line of radical experimentation in which we would find Joselito, by Marta Alteri, who hybridizes the medium without concessions.
{"title":"Fanzinismo catódico experimental desde España = Experimental cathodic fanzinism from Spain","authors":"Pons Moreno, M. Álvaro","doi":"10.1285/I22840753N18P139","DOIUrl":"https://doi.org/10.1285/I22840753N18P139","url":null,"abstract":"In the last decade, small press and self-publishing has undergone an important boom in Spain, mainly around two phenomena: on the one hand, the generalization of the introduction of comics in higher art studies; on the other hand, the appearance of a circuit of festivals and events of self-publishing and smll press. Two forces that have contributed to the appearance of a brilliant generation of young authors who have found in the comic a valid way of expression, far from any previous canon of the comic and without previous baggage in the medium. As opposed to a tradition that was marked by the influence and admiration of the great authors on the past of the medium, this new generation has been influenced by the culture of the audiovisual image, from television series, cinema and, of course, the omnipresent graphic presence in social networks such as Instagram, DevianArt or Pinterest. Despite the fact that most of the creation has been developed on paper, as part of a claim for the organic in rebellion against the digital omnipresence, this work has been also published in social media or online, questioning the limitations between media and taking full advantage of the new options that web publication brings. An example of this fruitful relationship is Tik Tok comics, a website showing the work of young authors in search of new expressive paths, which has evolved into an Instagram channel, Tris Tras, where the dynamics of the social network itself establish new contours of interaction. New experiences that advance in a line of radical experimentation in which we would find Joselito, by Marta Alteri, who hybridizes the medium without concessions.","PeriodicalId":40441,"journal":{"name":"H-ermes-Journal of Communication","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-07-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47042440","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}
Pub Date : 2020-07-12DOI: 10.1285/I22840753N18P229
Martina Caschera
Since the first decades of the XXI century, the field of comics production and comics-related investigation has expanded considerably. New genres have appeared, and new research areas have started to select them as objects of scrutiny. The present essay aims at analyzing and comparing two examples of the latest trends in comics production (i.e. graphic novels, autobiographical/autofictional comics and graphic journalism), American Born Chinese (2006) and Primavere e Autunni (2015) by intertwining the fields of media studies, transnational studies, and Chines studies. These works both focus on diasporic identities, problematizing the issue of Chinese cultural heritage and the process of accommodation and synthesis of what are (perceived as) conflictive identities. Meanwhile, these “reality-based comics” allow us to explore the potential of the new trends of comics production and problematize the very notion of visual modality as an analytical tool.
{"title":"Identità diasporica cinese nel fumetto di realtà: da American Born Chinese a Primavere e Autunni = Chinese Diasporic Identity in \"reality-based comics\": from American Born Chinese to Primavere e Autunni","authors":"Martina Caschera","doi":"10.1285/I22840753N18P229","DOIUrl":"https://doi.org/10.1285/I22840753N18P229","url":null,"abstract":"Since the first decades of the XXI century, the field of comics production and comics-related investigation has expanded considerably. New genres have appeared, and new research areas have started to select them as objects of scrutiny. The present essay aims at analyzing and comparing two examples of the latest trends in comics production (i.e. graphic novels, autobiographical/autofictional comics and graphic journalism), American Born Chinese (2006) and Primavere e Autunni (2015) by intertwining the fields of media studies, transnational studies, and Chines studies. These works both focus on diasporic identities, problematizing the issue of Chinese cultural heritage and the process of accommodation and synthesis of what are (perceived as) conflictive identities. Meanwhile, these “reality-based comics” allow us to explore the potential of the new trends of comics production and problematize the very notion of visual modality as an analytical tool.","PeriodicalId":40441,"journal":{"name":"H-ermes-Journal of Communication","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-07-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44695176","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}
Digital comics that try to maximize the affordances of their medium seem to be condemned to in-betweenness: their strength (leveraging on unusual narrative potentials) often becomes their limit, and authors are hardly able to free themselves from the role of niche experimenters and open up to audience participation. A significant exception, however, is Homestuck, a gigantic webcomic by Andrew Hussie. Strongly connected to videogame culture and the very nature of the internet, Homestuck features animations, sounds, embedded flash games, and so on. The webcomic resulted in various transmedial branches (a videogame spin-off and several friendsims, a multi-volume soundtrack, a book epilogue) and an ongoing intermedial adaptation in book format. It has equally managed, over the years, to consolidate an extremely lively community active both in its interactions with the author (with a constant exchange of ideas and an endless readiness to subsidize his projects), in its interpretation of the canon production, and in providing an amazing extent of fan production. This contribution aims to analyze Homestuck as a possible mediation between the two inclinations (experimental and participated) of digital comics.
{"title":"Il fumetto digitale tra sperimentazione e partecipazione : il caso Homestuck = Digital comics halfway between experimentation and participation : the example of Homestuck","authors":"G. Rizzi","doi":"10.1285/I22840753N18P45","DOIUrl":"https://doi.org/10.1285/I22840753N18P45","url":null,"abstract":"Digital comics that try to maximize the affordances of their medium seem to be condemned to in-betweenness: their strength (leveraging on unusual narrative potentials) often becomes their limit, and authors are hardly able to free themselves from the role of niche experimenters and open up to audience participation. A significant exception, however, is Homestuck, a gigantic webcomic by Andrew Hussie. Strongly connected to videogame culture and the very nature of the internet, Homestuck features animations, sounds, embedded flash games, and so on. The webcomic resulted in various transmedial branches (a videogame spin-off and several friendsims, a multi-volume soundtrack, a book epilogue) and an ongoing intermedial adaptation in book format. It has equally managed, over the years, to consolidate an extremely lively community active both in its interactions with the author (with a constant exchange of ideas and an endless readiness to subsidize his projects), in its interpretation of the canon production, and in providing an amazing extent of fan production. This contribution aims to analyze Homestuck as a possible mediation between the two inclinations (experimental and participated) of digital comics.","PeriodicalId":40441,"journal":{"name":"H-ermes-Journal of Communication","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-07-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41833577","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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