The artists featured in this issue all appeared in C’est Bon Anthology (CBA) #56&57: Uncomics, published by C’est Bon Kultur (CBK), in 2022. CBK’s stated purpose is to support, evolve and disseminate comics with higher artistic ambitions – that is, comics made away from the commercial factory paradigm of the mainstream industry. ‘Un/comics’ was edited by comics artist and researcher Allan Haverholm, who coined the term Uncomics in his master’s thesis to describe comics that are about abstract and nonlinear modes on the periphery of comics.
{"title":"Introduction: Uncomics","authors":"Damon Herd","doi":"10.1386/stic_00074_1","DOIUrl":"https://doi.org/10.1386/stic_00074_1","url":null,"abstract":"The artists featured in this issue all appeared in C’est Bon Anthology (CBA) #56&57: Uncomics, published by C’est Bon Kultur (CBK), in 2022. CBK’s stated purpose is to support, evolve and disseminate comics with higher artistic ambitions – that is, comics made away from the commercial factory paradigm of the mainstream industry. ‘Un/comics’ was edited by comics artist and researcher Allan Haverholm, who coined the term Uncomics in his master’s thesis to describe comics that are about abstract and nonlinear modes on the periphery of comics.","PeriodicalId":41167,"journal":{"name":"Studies in Comics","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44052353","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}
Review of: Who Understands Comics? Questioning the Universality of Visual Language Comprehension, Neil Cohn (2020) London and New York: Bloomsbury Academic, 256 pp., ISBN 978-1-35015-604-3, p/bk, £25.99
{"title":"Who Understands Comics? Questioning the Universality of Visual Language Comprehension, Neil Cohn (2020)","authors":"J. Bateman","doi":"10.1386/stic_00068_5","DOIUrl":"https://doi.org/10.1386/stic_00068_5","url":null,"abstract":"Review of: Who Understands Comics? Questioning the Universality of Visual Language Comprehension, Neil Cohn (2020)\u0000 London and New York: Bloomsbury Academic, 256 pp.,\u0000 ISBN 978-1-35015-604-3, p/bk, £25.99","PeriodicalId":41167,"journal":{"name":"Studies in Comics","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46870968","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}
The goal of this article is to analyse how graphic narratives creators can incorporate transmedial fictional characters such as celebrities, and what features these character types contribute to these narratives. Our target character is ‘Prince’, the celebrity alter-ego of Prince Roger Nelson. This character had an ambiguous and complex identity, an eclectic approach to art, a strong determination in achieving one’s goals, and a keen drive to be kind and realize the emancipation of his companions, especially women. These four traits pervade receptions of Prince as a fictional character across different graphic narratives, though they are interpreted in partial and often contrasting manners. We discuss the import of this intertextual and transmedial reception of Prince as a fictional character, and how this reception is mediated via these four key traits. We suggest these traits have inspired creators to develop characters that may refer to the ‘Princian purple thread’ to differing degrees, but constantly change across cultural, genre and thematic boundaries. For instance, most receptions of Prince interpret this fictional character as a kind, supportive individual with a fluid, non-binary identity, but express these aspects in culturally informed manners. We conclude by suggesting that our analysis informs theoretical views on graphic narratives in at least two aspects. First, the analysis sheds light on how characters can shape the creation of graphic narratives, modulo genre norms and constraints. Second, the analysis sheds light on what cultural and philosophical themes they can contribute to these narratives.
{"title":"The purple thread: The reception of Prince as a fictional character in graphic narratives","authors":"Francesco-Alessio Ursini, Giuseppe Samo","doi":"10.1386/stic_00089_1","DOIUrl":"https://doi.org/10.1386/stic_00089_1","url":null,"abstract":"The goal of this article is to analyse how graphic narratives creators can incorporate transmedial fictional characters such as celebrities, and what features these character types contribute to these narratives. Our target character is ‘Prince’, the celebrity alter-ego of Prince Roger Nelson. This character had an ambiguous and complex identity, an eclectic approach to art, a strong determination in achieving one’s goals, and a keen drive to be kind and realize the emancipation of his companions, especially women. These four traits pervade receptions of Prince as a fictional character across different graphic narratives, though they are interpreted in partial and often contrasting manners. We discuss the import of this intertextual and transmedial reception of Prince as a fictional character, and how this reception is mediated via these four key traits. We suggest these traits have inspired creators to develop characters that may refer to the ‘Princian purple thread’ to differing degrees, but constantly change across cultural, genre and thematic boundaries. For instance, most receptions of Prince interpret this fictional character as a kind, supportive individual with a fluid, non-binary identity, but express these aspects in culturally informed manners. We conclude by suggesting that our analysis informs theoretical views on graphic narratives in at least two aspects. First, the analysis sheds light on how characters can shape the creation of graphic narratives, modulo genre norms and constraints. Second, the analysis sheds light on what cultural and philosophical themes they can contribute to these narratives.","PeriodicalId":41167,"journal":{"name":"Studies in Comics","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42388874","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}
Pull quote was originally published in CBA #56&57: Uncomics, a collection of works guest-edited by Allen Haverholm meant to ‘unmake’ comics. This unusual prompt challenged me to almost entirely drop text, representational imagery, and narrative and embrace abstraction instead. My goal was to create a sequence of pages with echoes of comics structures like panels and gutters and that can still be ‘read’ even without a strict left-to-right and up-to-down format. I began this comic by lightly tracing the underlying shapes in magazines called page architecture – pictures, headers, articles, ads, etc. – and used them as a foundation for coloured pencil and marker abstractions. This led to unexpected images that shook me out of my usual style. This interestingly abstract ‘readability’ allows readers to drift through Pull quote taking in the soft, melting forms on the pages in their own ways – maybe as physical spaces, tangible objects or simply flat colours. The title comes from the term for short quotes that editors pluck from an article and feature as attention-grabbing headers or graphics. Print magazines have a certain visual architecture that is unique to the medium, and tailored to different genres and purposes and that language has been proliferated through ‘western’ graphic design in general. But all these design choices are usually invisible to the reader, existing to move us smoothly through an article from beginning to end (including the ads). Although I took these unseen shapes and let them take centre stage, my process does not result in neat, legible graphic design. Instead, it produces chaotic tangles of organic and angular forms that cannot be easily organized by the eye. Even if the reader does not know about the tracing process I used or the meaning of the title, I think it resulted in abstractions with a nagging sense of familiarity and that evoke some of the information overload of contemporary life.
{"title":"Pull quote","authors":"Laurel Lynn Leake","doi":"10.1386/stic_00077_1","DOIUrl":"https://doi.org/10.1386/stic_00077_1","url":null,"abstract":"\u0000 Pull quote was originally published in CBA #56&57: Uncomics, a collection of works guest-edited by Allen Haverholm meant to ‘unmake’ comics. This unusual prompt challenged me to almost entirely drop text, representational imagery, and narrative and embrace abstraction instead. My goal was to create a sequence of pages with echoes of comics structures like panels and gutters and that can still be ‘read’ even without a strict left-to-right and up-to-down format.\u0000 I began this comic by lightly tracing the underlying shapes in magazines called page architecture – pictures, headers, articles, ads, etc. – and used them as a foundation for coloured pencil and marker abstractions. This led to unexpected images that shook me out of my usual style. This interestingly abstract ‘readability’ allows readers to drift through Pull quote taking in the soft, melting forms on the pages in their own ways – maybe as physical spaces, tangible objects or simply flat colours.\u0000 The title comes from the term for short quotes that editors pluck from an article and feature as attention-grabbing headers or graphics. Print magazines have a certain visual architecture that is unique to the medium, and tailored to different genres and purposes and that language has been proliferated through ‘western’ graphic design in general. But all these design choices are usually invisible to the reader, existing to move us smoothly through an article from beginning to end (including the ads). Although I took these unseen shapes and let them take centre stage, my process does not result in neat, legible graphic design. Instead, it produces chaotic tangles of organic and angular forms that cannot be easily organized by the eye. Even if the reader does not know about the tracing process I used or the meaning of the title, I think it resulted in abstractions with a nagging sense of familiarity and that evoke some of the information overload of contemporary life.","PeriodicalId":41167,"journal":{"name":"Studies in Comics","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47267165","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}
In my black-and-white comic Undkomic 2, I combine the abstract elements of my art, different genres and ways of doing things. The transformation and repetition of the elements bring to the comic an atmosphere where the pictorial continuums intersect with each other. The division of traditional comics into squares is included in my comic as a background element and as an object of composition.
{"title":"Undkomic #2","authors":"Miika Nyyssönen","doi":"10.1386/stic_00078_1","DOIUrl":"https://doi.org/10.1386/stic_00078_1","url":null,"abstract":"In my black-and-white comic Undkomic 2, I combine the abstract elements of my art, different genres and ways of doing things. The transformation and repetition of the elements bring to the comic an atmosphere where the pictorial continuums intersect with each other. The division of traditional comics into squares is included in my comic as a background element and as an object of composition.","PeriodicalId":41167,"journal":{"name":"Studies in Comics","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46978664","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}
Review of: Judging Dredd: Examining the World of Judge Dredd, Scott Weatherly (ed.) (2021) Edwardsville: Sequart Organization, 228 pp., ISBN 978-1-94058-925-1, p/bk, $19.99
{"title":"Judging Dredd: Examining the World of Judge Dredd, Scott Weatherly (ed.) (2021)","authors":"Kelly Kanayama","doi":"10.1386/stic_00069_5","DOIUrl":"https://doi.org/10.1386/stic_00069_5","url":null,"abstract":"Review of: Judging Dredd: Examining the World of Judge Dredd, Scott Weatherly (ed.) (2021)\u0000 Edwardsville: Sequart Organization, 228 pp.,\u0000 ISBN 978-1-94058-925-1, p/bk, $19.99","PeriodicalId":41167,"journal":{"name":"Studies in Comics","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42144895","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}
In this interview, Ritam Sarkar and Somdatta Bhattacharya talk to the French comics artist Simon Lamouret, to discuss his comics The Alcazar. Lamouret is a graphic novelist and illustrator based out of Toulouse, France. He has produced two graphic novels: Bangalore (part of the Angouleme International Comics Festival selection) and L’Alcazar (Winner of the debut award ADAGP/Quai des Bulles, France, 2021). L’Alcazar was published in India in 2022 as The Alcazar. In this conversation, Lamouret talks about his creative process, his experiences of living in Bangalore and the relationship comics share with cities. The interview was conducted on 3 July 2022 via Microsoft Teams. It has been edited for length and clarity.
在这次采访中，Ritam Sarkar和Somdatta Bhattacharya与法国漫画艺术家Simon Lamouret进行了交谈，讨论了他的漫画《恶魔》。Lamouret是一位来自法国图卢兹的平面小说家和插画家。他创作了两部平面小说：《班加罗尔》（Angouleme International Comics Festival评选的一部分）和《阿尔卡扎》（2021年法国ADAGP/Qui des Bulles首秀奖得主）。L‘Alcazar于2022年在印度出版，名为《Alcazar》。在这次对话中，Lamouret谈到了他的创作过程、他在班加罗尔的生活经历以及漫画与城市的关系。采访于2022年7月3日通过微软团队进行。为了篇幅和清晰度，对其进行了编辑。
{"title":"‘I don’t see any limitations when it comes to comics’: An interview with Simon Lamouret","authors":"Ritam Sarkar, S. Bhattacharya","doi":"10.1386/stic_00080_1","DOIUrl":"https://doi.org/10.1386/stic_00080_1","url":null,"abstract":"In this interview, Ritam Sarkar and Somdatta Bhattacharya talk to the French comics artist Simon Lamouret, to discuss his comics The Alcazar. Lamouret is a graphic novelist and illustrator based out of Toulouse, France. He has produced two graphic novels: Bangalore (part of the Angouleme International Comics Festival selection) and L’Alcazar (Winner of the debut award ADAGP/Quai des Bulles, France, 2021). L’Alcazar was published in India in 2022 as The Alcazar. In this conversation, Lamouret talks about his creative process, his experiences of living in Bangalore and the relationship comics share with cities. The interview was conducted on 3 July 2022 via Microsoft Teams. It has been edited for length and clarity.","PeriodicalId":41167,"journal":{"name":"Studies in Comics","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41737224","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}
Framing Yves Chaland’s Spirou as a return to and a quest for origins, this article examines how Chaland creates the illusion that his Spirou harks back to the so-called golden age of bande dessinée. Borrowing from the formal and thematic tropes and codes of the European hero travelling to colonial Africa that were established during this golden age, Chaland constructs the double of Jijé’s and Franquin’s Spirou. This double, structured around a series of mistakes and illusions, appears in turn to participate in the deconstruction of the very codes of heroism around which this golden age was built, and around which it may still be perceived.
{"title":"‘Tu te trompes, Fantasio’: Yves Chaland’s decoding and recoding of Spirou","authors":"Denis Dépinoy","doi":"10.1386/stic_00086_1","DOIUrl":"https://doi.org/10.1386/stic_00086_1","url":null,"abstract":"Framing Yves Chaland’s Spirou as a return to and a quest for origins, this article examines how Chaland creates the illusion that his Spirou harks back to the so-called golden age of bande dessinée. Borrowing from the formal and thematic tropes and codes of the European hero travelling to colonial Africa that were established during this golden age, Chaland constructs the double of Jijé’s and Franquin’s Spirou. This double, structured around a series of mistakes and illusions, appears in turn to participate in the deconstruction of the very codes of heroism around which this golden age was built, and around which it may still be perceived.","PeriodicalId":41167,"journal":{"name":"Studies in Comics","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45886990","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}
An interview with the writer T. C. Eglington and artist Simon Davis about their horror comic Thistlebone. Serialized in the British comic 2000AD from June to August 2019, the interview takes folk horror as its focus to explore the symbolic nature of the comic’s imagery, the importance of the British landscape to the narrative, alongside the subtle psychogeographic dimensions of this landscape that the myth of Thistlebone generates.
{"title":"Amongst the bramble and the bones: An interview with T. C. Eglington and Simon Davis","authors":"J. Rose","doi":"10.1386/stic_00073_7","DOIUrl":"https://doi.org/10.1386/stic_00073_7","url":null,"abstract":"An interview with the writer T. C. Eglington and artist Simon Davis about their horror comic Thistlebone. Serialized in the British comic 2000AD from June to August 2019, the interview takes folk horror as its focus to explore the symbolic nature of the comic’s imagery, the importance of the British landscape to the narrative, alongside the subtle psychogeographic dimensions of this landscape that the myth of Thistlebone generates.","PeriodicalId":41167,"journal":{"name":"Studies in Comics","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48282760","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}
Soma is an abstract comic exploring the relationship between the creative act and mental health with an emphasis on embodiment. The title derives from the Greek term as used in Homer’s Iliad, where the word is used to refer not simply to the body, but to the dead body and also refers to the intoxicant used in Vedic ritual. As an abstract comic, the emphasis is not on narrative momentum or the development of an argument, but rather the cultivation of a tone or mood. In line with this, the comic’s visual approach partly takes its inspiration from black metal and other extreme forms of music, where the lyrics’ deliberate indecipherability recasts them as pure musical elements rather than conveyors of information. In a similar vein Soma’s use of words is intended as primarily rhythmical rather than information-bearing; rendered in such a way as to make them at times illegible, they become subsumed into the design. This strategy lies parallel to the aim of the comic as a whole: the reintegration of mind and body through the creative act here imagined as an act of self-cannibalization, recasting, in the terms of the title, the dead body as a ritual intoxicant.
{"title":"Soma","authors":"Shaun Gardiner","doi":"10.1386/stic_00076_1","DOIUrl":"https://doi.org/10.1386/stic_00076_1","url":null,"abstract":"\u0000 Soma is an abstract comic exploring the relationship between the creative act and mental health with an emphasis on embodiment. The title derives from the Greek term as used in Homer’s Iliad, where the word is used to refer not simply to the body, but to the dead body and also refers to the intoxicant used in Vedic ritual. As an abstract comic, the emphasis is not on narrative momentum or the development of an argument, but rather the cultivation of a tone or mood. In line with this, the comic’s visual approach partly takes its inspiration from black metal and other extreme forms of music, where the lyrics’ deliberate indecipherability recasts them as pure musical elements rather than conveyors of information. In a similar vein Soma’s use of words is intended as primarily rhythmical rather than information-bearing; rendered in such a way as to make them at times illegible, they become subsumed into the design. This strategy lies parallel to the aim of the comic as a whole: the reintegration of mind and body through the creative act here imagined as an act of self-cannibalization, recasting, in the terms of the title, the dead body as a ritual intoxicant.","PeriodicalId":41167,"journal":{"name":"Studies in Comics","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42432345","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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