{"title":"利用意识流作为2D动画制作方法探索漫画中的角色表达","authors":"Min-Kuei Yang","doi":"10.12681/afiinmec.33662","DOIUrl":null,"url":null,"abstract":"More and more animations are now based on original comics. For instance, some Japanese anime perfectly recreate the original comic drawings in their character expressions, including lines and symbols. However, when these symbols are played in comics, they remain in that scene. As Scott McCloud mentioned in his book Understanding Comics, the definitions of comics and animation differ. Therefore, we cannot stipulate that \"sequential visual art\" interprets comics or animation (p.7–9). This research uses the fluidity of the stream-of-consciousness concept to make experimental animations with flowing character expressions. It combines comic and animation techniques; if the characters\" expressions remain the same, add comic symbols to change them. It also examines whether the audience appreciates that small details can change a character's mood. In other words, characters' expressions constantly change, but the symbols that express this do not change. What kind of experience will this bring? Alternatively, designers create new signs to express feelings and ascertain if the audience understands the character's emotions. Since the critical element is not the character's interactions but the character itself, this research would be helpful for researchers who want to examine a non-narrative, non-dialogue animation and benefit those interested in studying stream-of-consciousness animation techniques.","PeriodicalId":309468,"journal":{"name":"Open Journal of Animation, Film and Interactive Media in Education and Culture [AFIMinEC]","volume":"29 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2023-06-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Exploring Character Expressions in Comics by Using Stream-Of-Consciousness as 2D animation Production Method\",\"authors\":\"Min-Kuei Yang\",\"doi\":\"10.12681/afiinmec.33662\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"More and more animations are now based on original comics. For instance, some Japanese anime perfectly recreate the original comic drawings in their character expressions, including lines and symbols. However, when these symbols are played in comics, they remain in that scene. As Scott McCloud mentioned in his book Understanding Comics, the definitions of comics and animation differ. Therefore, we cannot stipulate that \\\"sequential visual art\\\" interprets comics or animation (p.7–9). This research uses the fluidity of the stream-of-consciousness concept to make experimental animations with flowing character expressions. It combines comic and animation techniques; if the characters\\\" expressions remain the same, add comic symbols to change them. It also examines whether the audience appreciates that small details can change a character's mood. In other words, characters' expressions constantly change, but the symbols that express this do not change. What kind of experience will this bring? Alternatively, designers create new signs to express feelings and ascertain if the audience understands the character's emotions. Since the critical element is not the character's interactions but the character itself, this research would be helpful for researchers who want to examine a non-narrative, non-dialogue animation and benefit those interested in studying stream-of-consciousness animation techniques.\",\"PeriodicalId\":309468,\"journal\":{\"name\":\"Open Journal of Animation, Film and Interactive Media in Education and Culture [AFIMinEC]\",\"volume\":\"29 1\",\"pages\":\"0\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2023-06-27\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Open Journal of Animation, Film and Interactive Media in Education and Culture [AFIMinEC]\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.12681/afiinmec.33662\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Open Journal of Animation, Film and Interactive Media in Education and Culture [AFIMinEC]","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.12681/afiinmec.33662","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
Exploring Character Expressions in Comics by Using Stream-Of-Consciousness as 2D animation Production Method
More and more animations are now based on original comics. For instance, some Japanese anime perfectly recreate the original comic drawings in their character expressions, including lines and symbols. However, when these symbols are played in comics, they remain in that scene. As Scott McCloud mentioned in his book Understanding Comics, the definitions of comics and animation differ. Therefore, we cannot stipulate that "sequential visual art" interprets comics or animation (p.7–9). This research uses the fluidity of the stream-of-consciousness concept to make experimental animations with flowing character expressions. It combines comic and animation techniques; if the characters" expressions remain the same, add comic symbols to change them. It also examines whether the audience appreciates that small details can change a character's mood. In other words, characters' expressions constantly change, but the symbols that express this do not change. What kind of experience will this bring? Alternatively, designers create new signs to express feelings and ascertain if the audience understands the character's emotions. Since the critical element is not the character's interactions but the character itself, this research would be helpful for researchers who want to examine a non-narrative, non-dialogue animation and benefit those interested in studying stream-of-consciousness animation techniques.