This article focuses on the use of religious semiology in the 2008 Black graphic novel The Hole: Consumer Culture Vol. 1 by Damian Duffy and John Jennings. Both creators use hidden signs taken from Haitian Vodou and other Afro-American literature tropes in order to give their story multiple meanings. To accomplish this, they utilize the Afro-American rhetorical figure Signifyin’ (or Signifyin(g)). This meta-speech plays with signs and their attached meaning in a way that could be summarized as ‘saying (or showing) one thing, but meaning something completely different.’ With this technique, the authors are able to mislead and exclude readers from the intentional meaning of the graphic novel by emphasizing ambivalent signs. By using cultural signs taken from Vodou, they are able to imply a spiritual reading experience in which the graphic novel becomes a ritual object and vehicle of the Vodou god Legba, lord of the crossroads and of interpretation. Modeled on Legba’s qualities, the story becomes an interactive system of reading paths that changes its reception depending on the reader’s interpretation of those ambiguous signs. This essay hence discusses the authors’ narrative strategy and how it changes the narrative. It thereby builds on the theory of Afro-American Signification presented in the book The Signifying Monkey by Henry Louis Gates, Jr. and expands it.
{"title":"The Comic at the Crossroads: The Semiotics of ‘Voodoo Storytelling’ in The Hole: Consumer Culture Vol. 1","authors":"Lisa Kottas, Martin Schwarzenbacher","doi":"10.16995/CG.150","DOIUrl":"https://doi.org/10.16995/CG.150","url":null,"abstract":"This article focuses on the use of religious semiology in the 2008 Black graphic novel The Hole: Consumer Culture Vol. 1 by Damian Duffy and John Jennings. Both creators use hidden signs taken from Haitian Vodou and other Afro-American literature tropes in order to give their story multiple meanings. To accomplish this, they utilize the Afro-American rhetorical figure Signifyin’ (or Signifyin(g)). This meta-speech plays with signs and their attached meaning in a way that could be summarized as ‘saying (or showing) one thing, but meaning something completely different.’ With this technique, the authors are able to mislead and exclude readers from the intentional meaning of the graphic novel by emphasizing ambivalent signs. By using cultural signs taken from Vodou, they are able to imply a spiritual reading experience in which the graphic novel becomes a ritual object and vehicle of the Vodou god Legba, lord of the crossroads and of interpretation. Modeled on Legba’s qualities, the story becomes an interactive system of reading paths that changes its reception depending on the reader’s interpretation of those ambiguous signs. This essay hence discusses the authors’ narrative strategy and how it changes the narrative. It thereby builds on the theory of Afro-American Signification presented in the book The Signifying Monkey by Henry Louis Gates, Jr. and expands it.","PeriodicalId":41800,"journal":{"name":"Comics Grid-Journal of Comics Scholarship","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-08-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47426204","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}
Juan Diaz Canales and Juanjo Guarnido’s Blacksad is a comic series that evokes the noir tradition through thematic and visual callbacks to noir films and comics. As they use noir tropes, the comics illuminate the tensions in both noir and comics. Yet, Blacksad stands out as a liminal text that simultaneously references and reverses traditional noir themes. One often-overlooked noir trope is the inclusion of music in each comic album. Blacksad has often been analysed as a purely visual text. However, the inclusion of music enhances the text as the songs themselves create a layered meaning in the work that is relevant to the styles present in both comics and film noir. The music enhances the intertextual and noir references embedded in Blacksad, both building the world around the story and enhancing the storytelling of an inherently ‘silent’ medium.
Juan Diaz Canales和Juanjo Guarnido的《黑社会》是一部漫画系列，通过对黑色电影和漫画的主题和视觉回顾，唤起了黑色传统。当他们使用黑色的比喻时，漫画阐明了黑色和漫画中的紧张关系。然而，《黑社会》作为一部边缘文本脱颖而出，它同时引用和颠覆了传统的黑色题材。一个经常被忽视的黑色比喻是在每张漫画专辑中都加入音乐。《黑社会》经常被分析为纯粹的视觉文本。然而，音乐的加入增强了文本，因为歌曲本身在作品中创造了一种分层的意义，与漫画和黑色电影中的风格相关。音乐增强了Blacksad中嵌入的互文和黑色参考，既围绕故事构建了世界，又增强了一个固有的“无声”媒介的故事性。
{"title":"“That Old Black Magic”: Noir and Music in Juan Díaz Canales and Juanjo Guarnido’s Blacksad","authors":"Hailey J. Austin","doi":"10.16995/CG.156","DOIUrl":"https://doi.org/10.16995/CG.156","url":null,"abstract":"Juan Diaz Canales and Juanjo Guarnido’s Blacksad is a comic series that evokes the noir tradition through thematic and visual callbacks to noir films and comics. As they use noir tropes, the comics illuminate the tensions in both noir and comics. Yet, Blacksad stands out as a liminal text that simultaneously references and reverses traditional noir themes. One often-overlooked noir trope is the inclusion of music in each comic album. Blacksad has often been analysed as a purely visual text. However, the inclusion of music enhances the text as the songs themselves create a layered meaning in the work that is relevant to the styles present in both comics and film noir. The music enhances the intertextual and noir references embedded in Blacksad, both building the world around the story and enhancing the storytelling of an inherently ‘silent’ medium.","PeriodicalId":41800,"journal":{"name":"Comics Grid-Journal of Comics Scholarship","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48500900","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}
Guoxue, often translated as ‘national learning’ or ‘sinology’, is one of the compulsory subjects that Chinese children and teenagers are required to study. The main area it explores is traditional Chinese academia, covering philosophy, literature, arts, history, geography, mathematics and many other aspects. This article is a critical analysis of comic books for guoxue learning. Firstly, it investigates the current guoxue comic market and the most commonly adapted fields of guoxue literature and knowledge in comic books, namely traditional philosophy, traditional culture values and history. Selected significant works are discussed using methods of visual research and content analysis. To create a comic – a format often seen as a sequential narrative – the artists need to consider, for example, contents for each panel, links between panels and visual symbols for representing non-visual matters. These comic art essentials make the process of adapting philosophical and cultural values rather challenging, as it is a procedure of visualising thoughts and concepts instead of stories. Guoxue comics not only succeed in this adaptation, but also in visual narratives that are easy-to-understand and child-friendly. This distinctive feature is the heart of guoxue comics and is highlighted through the examination of example works in this paper. Methods used by artists to visualise concepts through means of comic art will be useful to comic artists in the future and will help them explore innovative approaches to creating sequential visual art.
{"title":"Guoxue Comics: Visualising Philosophical Concepts and Cultural Values through Sequential Narratives","authors":"X. Tan","doi":"10.16995/CG.149","DOIUrl":"https://doi.org/10.16995/CG.149","url":null,"abstract":"Guoxue, often translated as ‘national learning’ or ‘sinology’, is one of the compulsory subjects that Chinese children and teenagers are required to study. The main area it explores is traditional Chinese academia, covering philosophy, literature, arts, history, geography, mathematics and many other aspects. This article is a critical analysis of comic books for guoxue learning. Firstly, it investigates the current guoxue comic market and the most commonly adapted fields of guoxue literature and knowledge in comic books, namely traditional philosophy, traditional culture values and history. Selected significant works are discussed using methods of visual research and content analysis. To create a comic – a format often seen as a sequential narrative – the artists need to consider, for example, contents for each panel, links between panels and visual symbols for representing non-visual matters. These comic art essentials make the process of adapting philosophical and cultural values rather challenging, as it is a procedure of visualising thoughts and concepts instead of stories. Guoxue comics not only succeed in this adaptation, but also in visual narratives that are easy-to-understand and child-friendly. This distinctive feature is the heart of guoxue comics and is highlighted through the examination of example works in this paper. Methods used by artists to visualise concepts through means of comic art will be useful to comic artists in the future and will help them explore innovative approaches to creating sequential visual art.","PeriodicalId":41800,"journal":{"name":"Comics Grid-Journal of Comics Scholarship","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-07-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49038148","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}
Available on the web and often excerpted by the visually-oriented algorithms of social media feeds, webcomics arguably have the broadest reach of any form of comics, yet they remain under-theorized. Given the close association with the development of the mode (digital technology) and the medium (webcomics) that Campbell (2006) points out in his history of the form, webcomics ought to be studied alongside other digital media, approached not just as comics, but as a series of websites and webpages where comics appear amidst such elements as ads, banners, links, and comments, all of which shift over time. By discussing not just the comics, but also the contextual elements of the webpages and websites of reciprocal guest comics from Jeph Jacques’s Questionable Content (QC) and Sam Logan’s Sam and Fuzzy, this article applies a historically-focused approach to webcomics as digital media to demonstrate how the attention economy, where ‘eyeballs’ are a form of currency, recasts relationships between authors so they are characterized by cooperative competition via webcomics collectives. Webcomics, as serial texts published by the same author over long periods of time, can teach us much about how developments in digital technology have shaped digital media over time.
网络漫画可以在网络上获得，并且经常被社交媒体提要的视觉导向算法摘录，可以说是任何形式的漫画中覆盖面最广的，但它们仍然缺乏理论依据。鉴于与模式(数字技术)和媒介(网络漫画)的发展密切相关，坎贝尔(2006)在他的形式历史中指出，网络漫画应该与其他数字媒体一起研究，不仅仅是漫画，而是作为一系列网站和网页，其中漫画出现在广告，横幅，链接和评论等元素中，所有这些都随着时间的推移而变化。本文不仅讨论了漫画，还讨论了来自Jeph Jacques的《可疑内容》(QC)和Sam Logan的《山姆与Fuzzy》(Sam and Fuzzy)的互惠客串漫画的网页和网站的背景元素，将历史聚焦的方法应用于网络漫画作为数字媒体，以展示“眼球”是一种货币形式的注意力经济如何重塑作者之间的关系，从而通过网络漫画集体实现合作竞争的特征。网络漫画，作为由同一作者在很长一段时间内出版的连续文本，可以让我们了解数字技术的发展是如何随着时间的推移而塑造数字媒体的。
{"title":"A Historical Approach to Webcomics: Digital Authorship in the Early 2000s","authors":"Leah Misemer","doi":"10.16995/CG.162","DOIUrl":"https://doi.org/10.16995/CG.162","url":null,"abstract":"Available on the web and often excerpted by the visually-oriented algorithms of social media feeds, webcomics arguably have the broadest reach of any form of comics, yet they remain under-theorized. Given the close association with the development of the mode (digital technology) and the medium (webcomics) that Campbell (2006) points out in his history of the form, webcomics ought to be studied alongside other digital media, approached not just as comics, but as a series of websites and webpages where comics appear amidst such elements as ads, banners, links, and comments, all of which shift over time. By discussing not just the comics, but also the contextual elements of the webpages and websites of reciprocal guest comics from Jeph Jacques’s Questionable Content (QC) and Sam Logan’s Sam and Fuzzy, this article applies a historically-focused approach to webcomics as digital media to demonstrate how the attention economy, where ‘eyeballs’ are a form of currency, recasts relationships between authors so they are characterized by cooperative competition via webcomics collectives. Webcomics, as serial texts published by the same author over long periods of time, can teach us much about how developments in digital technology have shaped digital media over time.","PeriodicalId":41800,"journal":{"name":"Comics Grid-Journal of Comics Scholarship","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-06-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46202037","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 the late 1980s, Ann Nocenti became the principle writer on the Marvel comic book, Daredevil, the second woman to be lead creator on the book and the first to write a significant run on an ongoing basis. Nocenti integrated themes relating to social justice, violence and the treatment of children into the narrative. She also shone the spotlight on the supporting female cast members in a way that was original and refreshing. In this article, Nocenti’s challenging of feminine archetypes, such as the housewife, the temptress and the Barbie Doll, reflects ideas of mutable identities, promoted by second-wave feminism. Examining her writing of Karen Page, Typhoid Mary, Brandy Ash and Number Nine, this article argues that, despite the comic centring around a male superhero and with a predominantly male readership, Nocenti succeeds in introducing a more nuanced picture of women and pre-empting some of the changes in the promotion of female characters now apparent in the industry.
{"title":"Touch Me/Don’t Touch Me: Representations of Female Archetypes in Ann Nocenti’s Daredevil","authors":"R. Hagan","doi":"10.16995/CG.148","DOIUrl":"https://doi.org/10.16995/CG.148","url":null,"abstract":"In the late 1980s, Ann Nocenti became the principle writer on the Marvel comic book, Daredevil, the second woman to be lead creator on the book and the first to write a significant run on an ongoing basis. Nocenti integrated themes relating to social justice, violence and the treatment of children into the narrative. She also shone the spotlight on the supporting female cast members in a way that was original and refreshing. In this article, Nocenti’s challenging of feminine archetypes, such as the housewife, the temptress and the Barbie Doll, reflects ideas of mutable identities, promoted by second-wave feminism. Examining her writing of Karen Page, Typhoid Mary, Brandy Ash and Number Nine, this article argues that, despite the comic centring around a male superhero and with a predominantly male readership, Nocenti succeeds in introducing a more nuanced picture of women and pre-empting some of the changes in the promotion of female characters now apparent in the industry.","PeriodicalId":41800,"journal":{"name":"Comics Grid-Journal of Comics Scholarship","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-05-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46812502","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 article I reflect on the creation of my graphic pathography Diabetes: Year One (2018). I discuss and evaluate the ways in which, trying to articulate a patient perspective that is both personal and universal, my work moved into comics, and how the process involved the discovery of an aesthetic, that required the negotiation of the elements of comics, including: the visual interpretation and development of my ‘self’ and avatar, and the construction of a narrative viewpoint; the understanding and use of a spatial ‘rhythm and metre’ within the panel sequence; the layering of the page through colour and medium; the ‘designing’ of the narrative, and the interrelation of words and image. I then consider my project in the context of the field of graphic medicine (Squier & Williams, 2015) and the work of Nick Sousanis (Sousanis, 2015); from the position of imaging and articulating a complex, or immersive account of patient experience and argue that this approach can provide a nuanced account of medical identity that can enable a richer understanding of patient experience, which, in turn, can be a valuable contribution to the imaging and design of the patient-practitioner interface.
{"title":"Diabetes Year One. Drawing my Pathography: Comics, Poetry and the Medical Self","authors":"T. Pickering","doi":"10.16995/CG.147","DOIUrl":"https://doi.org/10.16995/CG.147","url":null,"abstract":"In this article I reflect on the creation of my graphic pathography Diabetes: Year One (2018). I discuss and evaluate the ways in which, trying to articulate a patient perspective that is both personal and universal, my work moved into comics, and how the process involved the discovery of an aesthetic, that required the negotiation of the elements of comics, including: the visual interpretation and development of my ‘self’ and avatar, and the construction of a narrative viewpoint; the understanding and use of a spatial ‘rhythm and metre’ within the panel sequence; the layering of the page through colour and medium; the ‘designing’ of the narrative, and the interrelation of words and image. I then consider my project in the context of the field of graphic medicine (Squier & Williams, 2015) and the work of Nick Sousanis (Sousanis, 2015); from the position of imaging and articulating a complex, or immersive account of patient experience and argue that this approach can provide a nuanced account of medical identity that can enable a richer understanding of patient experience, which, in turn, can be a valuable contribution to the imaging and design of the patient-practitioner interface.","PeriodicalId":41800,"journal":{"name":"Comics Grid-Journal of Comics Scholarship","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-05-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46446829","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 article examines three comic books, Silver Surfer #11 (Marvel Comics), Omega Men #9 (DC Comics) and Promethea #12 (Americas Best Comics), as philosophy in themselves, and not merely as supplements to philosophical texts or as a convenient form through which the complex ideas of philosophy can be elucidated. Each of these three issues utilises the form of the Mobius Strip in their fabrication in a variety of ways that contend with concepts of the One and the Infinite. Within their construction, these comics challenge ways of reading that are exclusive to the form of the comic book medium and enable a distinctive method for exploring themes of the good life, truth, and creativity. The article then returns full circle once again to further interrogate the manner in which each of these three comic books engages with the four choices we are faced with in our understanding of the One and the Infinite.
{"title":"…Comic Books, Möbius Strips, Philosophy and…","authors":"Ian Hornsby","doi":"10.16995/CG.151","DOIUrl":"https://doi.org/10.16995/CG.151","url":null,"abstract":"This article examines three comic books, Silver Surfer #11 (Marvel Comics), Omega Men #9 (DC Comics) and Promethea #12 (Americas Best Comics), as philosophy in themselves, and not merely as supplements to philosophical texts or as a convenient form through which the complex ideas of philosophy can be elucidated. Each of these three issues utilises the form of the Mobius Strip in their fabrication in a variety of ways that contend with concepts of the One and the Infinite. Within their construction, these comics challenge ways of reading that are exclusive to the form of the comic book medium and enable a distinctive method for exploring themes of the good life, truth, and creativity. The article then returns full circle once again to further interrogate the manner in which each of these three comic books engages with the four choices we are faced with in our understanding of the One and the Infinite.","PeriodicalId":41800,"journal":{"name":"Comics Grid-Journal of Comics Scholarship","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-04-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45008647","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 article conducts the first in-depth political-aesthetic analysis of Joyce Farmer and Lyn Chevli’s Abortion Eve. In this article we argue that Abortion Eve uses its visual form in a way that cuts between the contexts of later forms of graphic medicine and feminist comix, and in so doing contributed to a political culture of feminist information sharing, through a self-published visual medium.
{"title":"Information Labour and Shame in Farmer and Chevli’s Abortion Eve","authors":"Melanie McGovern, Martin Paul Eve","doi":"10.16995/CG.158","DOIUrl":"https://doi.org/10.16995/CG.158","url":null,"abstract":"This article conducts the first in-depth political-aesthetic analysis of Joyce Farmer and Lyn Chevli’s Abortion Eve. In this article we argue that Abortion Eve uses its visual form in a way that cuts between the contexts of later forms of graphic medicine and feminist comix, and in so doing contributed to a political culture of feminist information sharing, through a self-published visual medium.","PeriodicalId":41800,"journal":{"name":"Comics Grid-Journal of Comics Scholarship","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47979511","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 article presents a discussion about some of the main theoretical approaches of the assemblage of panels on the page and the double page, arguing that the correspondences between the images on the page are not fundamentally linear. On the contrary, comics foster readings that can be holistic, multidirectional and multilinear. Moreover, the correspondences between images through the pages of the whole book are also relevant. The book form, often disregarded by the critics, actually plays a very important role in the way comics are read and favour a reading that is translinear. Finally, some works are even breaking with the codex as a format, suggesting new ways of reading and engaging with the comics form. In order to illustrate how all these reading protocols work, this article offers a selection of examples of graphic narratives from different periods, from Winsor McCay to Richard McGuire.
{"title":"Beyond Linearity: Holistic, Multidirectional, Multilinear and Translinear Reading in Comics","authors":"Enrique del Rey Cabero","doi":"10.16995/cg.137","DOIUrl":"https://doi.org/10.16995/cg.137","url":null,"abstract":"This article presents a discussion about some of the main theoretical approaches of the assemblage of panels on the page and the double page, arguing that the correspondences between the images on the page are not fundamentally linear. On the contrary, comics foster readings that can be holistic, multidirectional and multilinear. Moreover, the correspondences between images through the pages of the whole book are also relevant. The book form, often disregarded by the critics, actually plays a very important role in the way comics are read and favour a reading that is translinear. Finally, some works are even breaking with the codex as a format, suggesting new ways of reading and engaging with the comics form. In order to illustrate how all these reading protocols work, this article offers a selection of examples of graphic narratives from different periods, from Winsor McCay to Richard McGuire.","PeriodicalId":41800,"journal":{"name":"Comics Grid-Journal of Comics Scholarship","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-03-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67482432","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 article traces the development of grief memoir told in the language of comics. The autobiographical comic called Toormina Video is an occasion to investigate the role of the moving body in the process of creating graphic narratives. Cartooning can be seen as a performative mode of handwriting in which material rules and practical decisions constrain the drawing body and have a significant influence on the poetic and literary outcomes. The article demonstrates how graphic style in the comic book is in part the result of an antagonism between the literary impulse and the material restraints that structure the author’s workflow. The comic under discussion is available to read online. Are we able to include a link to the work to enrich the experience? Toormina Video – http://www.patgrantart.com/toominavideo/toorminavideo.html . Blue – http://www.boltonblue.com/ .
{"title":"The Board and the Body: Material Constraints and Style in Graphic Narrative","authors":"P. Grant","doi":"10.16995/CG.145","DOIUrl":"https://doi.org/10.16995/CG.145","url":null,"abstract":"This article traces the development of grief memoir told in the language of comics. The autobiographical comic called Toormina Video is an occasion to investigate the role of the moving body in the process of creating graphic narratives. Cartooning can be seen as a performative mode of handwriting in which material rules and practical decisions constrain the drawing body and have a significant influence on the poetic and literary outcomes. The article demonstrates how graphic style in the comic book is in part the result of an antagonism between the literary impulse and the material restraints that structure the author’s workflow. The comic under discussion is available to read online. Are we able to include a link to the work to enrich the experience? Toormina Video – http://www.patgrantart.com/toominavideo/toorminavideo.html . Blue – http://www.boltonblue.com/ .","PeriodicalId":41800,"journal":{"name":"Comics Grid-Journal of Comics Scholarship","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-02-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44692516","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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