tag:blogger.com,1999:blog-40637501893515147612024-02-19T07:42:41.567-08:00UW Comics Theory Class BlogDale Jacobshttp://www.blogger.com/profile/17571591780461129972noreply@blogger.comBlogger239125tag:blogger.com,1999:blog-4063750189351514761.post-65188703880147015382019-04-07T20:49:00.002-07:002019-04-07T20:49:26.613-07:00Panel Density and How the Reader Is Not Overwhelmed In Oliver Issue # 2, there is high panel density among the pages. How is it that we don't lose the reader's eye? How is it that a free form comic with a complex layout can manage to keep this much clarity. Some free form comics opt to use a layout that isn't terribly demanding, although that doesn't mean that it's lacking in complexity. Let's take a look at this page. <br />
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The tiers are clearly defined and the panels within those tiers always run the length of those tiers. The panel width, however, is what varies. That is what makes the reading order so orderly and uncomplicated while allowing for variation. <br /> This type of free form page layout however carries the eye through a winding path that lends to greater risk of being read out of order or confusing the reader. I discussed earlier that the artist can find inventive ways in which to lead the reader's eye, such as breaking the panel, leading lines, placement of object (such as word balloons), and another way is to keep page density minimal. But here's an example of a page from this issue of Oliver. Every page is free form, and some of these pages have up to nine panels, such as page four.<br />
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In the grid format, this is nothing spectacular, but the average panel density per page in a free form comic where panels vary their lengths along the tier is usually six panels per page. <br /> Pages like Page six have up to nine panels as well, but sometimes clusters of panels can be abstracted as their own isolated landmarks that allow the reader to abstract the sections of the page. This sequence of nine becomes a sequence of three. But how is that so? The human mind is able to intuitively chunk these sequences based on the geographic unity within the landscape of the page.<br />
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<br /> So for instance, on page 6 we can see the top 2/3rds of the page. On one half is one panel, on the other half is a sequence of four panels. The one panel has equal visual weight as the four panels. They are both competing images that lead the eye vertically downward. The bottom tier is visually separate from the rest because it leaves a horizontal trail and the second panel keeps this sequence from aligning with the top two tiers. If the bottom sequence was even, then the gutter would have split the page in such a way where the delineation between different areas would have become confused in terms of surface comprehension.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7AHz-Zj_X6e9CF0t6XOItZjOhX5i12RyJzwbHDorqViZG4gVjnjrELLPzpsHf_YXW5W62lyau-X5SBUpQTZm10OTLUN4_5ySXFTpVQ9fO_lXS6eagF5mdMn9WgJwTDNmpMbg6tEa5nvD5/s1600/2+Sixth+Page+Third+Sequencepng.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1302" data-original-width="880" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7AHz-Zj_X6e9CF0t6XOItZjOhX5i12RyJzwbHDorqViZG4gVjnjrELLPzpsHf_YXW5W62lyau-X5SBUpQTZm10OTLUN4_5ySXFTpVQ9fO_lXS6eagF5mdMn9WgJwTDNmpMbg6tEa5nvD5/s200/2+Sixth+Page+Third+Sequencepng.png" width="135" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_FEhrDiRpjV8GkhJ78c2Q34f-r_mhqa0s49QurEttDiJTfGLpk-mpb_kTk_DcUIU4lSlyAC8Da9PABVP819XJGTEMpbZ654OudID5Q-rzdJcivP3hOIwhi-Akr_xkpgiISGmzjROQihzK/s1600/2+Sixth+Page+Second+Sequencepng.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1302" data-original-width="880" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_FEhrDiRpjV8GkhJ78c2Q34f-r_mhqa0s49QurEttDiJTfGLpk-mpb_kTk_DcUIU4lSlyAC8Da9PABVP819XJGTEMpbZ654OudID5Q-rzdJcivP3hOIwhi-Akr_xkpgiISGmzjROQihzK/s200/2+Sixth+Page+Second+Sequencepng.png" width="135" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxSV6iKpdQ8LjuhQ2hSKz3p7d0bKgRlxA2Duj-exYvzHS5aj6u3VjA6tYqxDkMxMVCHwfIkROWLlruEtz2n49Te4_LQ4_uiyrO2T_gelOnsHCSfBI-B7KE0TH8JntidbSlk2_jT_tHR3ss/s1600/2+Sixth+Page+First+Sequence.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1302" data-original-width="880" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxSV6iKpdQ8LjuhQ2hSKz3p7d0bKgRlxA2Duj-exYvzHS5aj6u3VjA6tYqxDkMxMVCHwfIkROWLlruEtz2n49Te4_LQ4_uiyrO2T_gelOnsHCSfBI-B7KE0TH8JntidbSlk2_jT_tHR3ss/s200/2+Sixth+Page+First+Sequence.png" width="135" /></a></div>
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<br /> One of the ways this chunking is maintained is that panels do not break the tier. The panels stack within the tier. Here's a visual example.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3Y3uUElwBTi0H6J1iuOk_5XDnWz7nKFEmnCbyB5JLPm6fNRfdC3UG8uASMVRzv5GG77bA5sgCwEEUi2xlScFRamR_P8JoY5owfM8CcK7rjFkETzhEzhnq9mVBJ7hW5PV0PGwrlzOHjXrX/s1600/Offender.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="525" data-original-width="348" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3Y3uUElwBTi0H6J1iuOk_5XDnWz7nKFEmnCbyB5JLPm6fNRfdC3UG8uASMVRzv5GG77bA5sgCwEEUi2xlScFRamR_P8JoY5owfM8CcK7rjFkETzhEzhnq9mVBJ7hW5PV0PGwrlzOHjXrX/s320/Offender.png" width="212" /></a></div>
The offending panel is in red. This is a disruption of the free form reading order and it's because the tier border is violated. The eye is encouraged to go to three different panels as the next in the sequence. Of course, there are comics where the panel layout is so un-anchored to any principle integrity, such as some dream-sequences or panel-sequences meant to depict something other worldly or surreal.<br /> And so, what would have been a sequence of nine or more is now a sequence of three or less.<br />
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<br />Caidyn Wynants-Bealhttp://www.blogger.com/profile/04238691984505083752noreply@blogger.com0tag:blogger.com,1999:blog-4063750189351514761.post-53840584519931819272019-04-07T20:24:00.000-07:002019-04-07T20:49:59.985-07:00Leading the Eye: A Dilemma in Regards to Free Form Comics<!--[if gte mso 9]><xml>
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<span style="font-family: inherit;"><span style="mso-tab-count: 1;"> <span style="font-size: small;"> </span></span><span style="font-size: small;">Comics
artists working with free form panel layouts where there’s variance in vertical
panel length have to be more inventive with the way they lead the eye. They don’t
have the luxuries that comics artists working with grid layouts or comics
artist working with free form layouts where the panels don’t vary in vertical
length.</span></span></div>
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<span style="font-size: small;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheg-7qKU_M-c84xMt6DT7snoKcfsauAqouNiFPr2pGkwZ2ojiMaVOrAjadbDMAZgZkmGo-265wKAIBOI9dLgKhfi3pE0Vma4cDeUw-0mWejOwy0ZyRD2GMZRrbVAOokidiQlGzt391BFZq/s1600/Layouts.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="324" data-original-width="800" height="161" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheg-7qKU_M-c84xMt6DT7snoKcfsauAqouNiFPr2pGkwZ2ojiMaVOrAjadbDMAZgZkmGo-265wKAIBOI9dLgKhfi3pE0Vma4cDeUw-0mWejOwy0ZyRD2GMZRrbVAOokidiQlGzt391BFZq/s400/Layouts.png" width="400" /></a></span></div>
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<span style="font-family: inherit; font-size: small;"> </span></div>
<div class="MsoNormal" style="text-align: center;">
<span style="font-family: inherit; font-size: small;"><span style="font-size: xx-small;"> Grid Layout | Free form w. Vertical Restriction | Free form w/ Vertical Variance </span></span></div>
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<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: inherit; font-size: small;"><span style="font-family: inherit;"><span style="mso-tab-count: 1;"> </span></span>The
first two types of layouts can take advantage of the fact that their layouts
conform to the habitual reading priority of the eye (left-to-right, top-down),
but the free form comic to the right doesn’t conform to that habit so easily.
One major roadblock is that the artist complicates the familiar reading
priority, and so the act of finding the proper sequence can end up taking away
from the reading experience. By using techniques to help lead the eye through
the space of the page, the artist can make that journey seamless. Such
techniques can be the use of leading lines, spotting blacks, having characters
look in a particular direction, placement of word balloons, the composition
within the panel, etc.</span></div>
<span style="font-family: inherit; font-size: small;"><span style="font-family: inherit;"><span style="mso-tab-count: 1;"> </span></span>One of the
biggest challenges I’ve found is, once the eye hits the right of the page, does
the artist suddenly break the trait for the eye to find its way back to the
left of the page, or does it break the reading priority (as in, go
right-to-left)? Sometimes the latter is the case. Let’s look at Oliver issue #1
and see how the artist, Darick Robertson.</span><span style="font-family: inherit; font-size: small;">
</span><br />
<div class="separator" style="clear: both; text-align: center;">
<span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixVPYR4lQHtGDHiF5VGsAHDKvh3mHZXvrcZWWw0e9-8jslckbgUq-dKqTpZ1v7yfmNsjkBiPnyBYNMFsS_E0bO4zb-fksYlm8UzBfNZXIkRGSklz1Qi7GBXA9RV8BAgqUTbGDdXOHFZ1Q-/s1600/Other+Full+Page.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1493" data-original-width="962" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixVPYR4lQHtGDHiF5VGsAHDKvh3mHZXvrcZWWw0e9-8jslckbgUq-dKqTpZ1v7yfmNsjkBiPnyBYNMFsS_E0bO4zb-fksYlm8UzBfNZXIkRGSklz1Qi7GBXA9RV8BAgqUTbGDdXOHFZ1Q-/s320/Other+Full+Page.png" width="206" /></a></span></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-size: small;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: inherit; font-size: small;"><span style="line-height: 115%;"><span style="font-size: x-small;">How does Robertson lead the eye from one part of
the page to another? Well, it’s a combination of leading lines, objects of
interest, and breaking the panel border. As the reader is going through the
first four panels, the creator uses the scenario of Oliver’s impromptu pole vault
in order to invent a way to seamlessly leas the eye back to the left of the
page. </span></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: small;"><br /></span></div>
<span style="clear: right; float: right; font-size: small; margin-bottom: 1em; margin-left: 1em;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6N1NO8-gOT7Kp2_4ZM7sAv87eGGh0rkXRRNkxKNsk46jbm2ZKNZitgW8iI0wcV6oEScYeOFsFZ1iFjWoaddnAa58zO42Siook3Br6Tnr2itsCNvlRkx_TwbDHNGwZ0zNZRpRUztYBHivv/s1600/No+Bird.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="980" data-original-width="964" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6N1NO8-gOT7Kp2_4ZM7sAv87eGGh0rkXRRNkxKNsk46jbm2ZKNZitgW8iI0wcV6oEScYeOFsFZ1iFjWoaddnAa58zO42Siook3Br6Tnr2itsCNvlRkx_TwbDHNGwZ0zNZRpRUztYBHivv/s200/No+Bird.png" width="196" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYgf895kUrmqAaZF1uo863XP2k9SkX7VSk8yvQQN10yEVlUfNUtyboB3y5XCBMSeCvmLaEk2TB8-wTu3jituhDphCG-KKQz8pNNUQpluYO8JhVIg__ugp8oCp3EfEAjji96un9RN2cRET9/s1600/Little+Part.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="553" data-original-width="835" height="131" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYgf895kUrmqAaZF1uo863XP2k9SkX7VSk8yvQQN10yEVlUfNUtyboB3y5XCBMSeCvmLaEk2TB8-wTu3jituhDphCG-KKQz8pNNUQpluYO8JhVIg__ugp8oCp3EfEAjji96un9RN2cRET9/s200/Little+Part.png" width="200" /></a>The broom handle acts as a leading
line in order to lead the eye to the bird breaking the panel. This bird is
important because without
it the eye would be more likely to jump to the right of the page and go against
the direction of the proceeding panel’s composition which urges the eye back to
the right anyway. In fact, the panel featuring Oliver’s flying over the gap may
inadvertently lead the eye to the end of the bottom tier sequence. It just
muddies flow. This bird on the other hand snatches the eye out of its habit,
acting as an exit point from the panel with Oliver about to vault and an entry
point into the panel where Oliver is flying through the air.</span><span style="font-family: inherit; font-size: small;"><span style="line-height: 115%;"><span style="mso-no-proof: yes;"> </span></span></span><br />
<div class="separator" style="clear: both; text-align: center;">
<span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgxZS8tfOEzsfNiMAXnp80rockmc57zw0OGumDoLoxjV5mwsl0olasTWUQRsVL0bTE-3UjBwvI1m1Bzf4sk6nSQvG04IFldqyXrLa7E_F1fUyCiXsoEnkSMtvBErJOZDodCxkzdv13yahF/s1600/Path+of+the+Eye.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1490" data-original-width="955" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgxZS8tfOEzsfNiMAXnp80rockmc57zw0OGumDoLoxjV5mwsl0olasTWUQRsVL0bTE-3UjBwvI1m1Bzf4sk6nSQvG04IFldqyXrLa7E_F1fUyCiXsoEnkSMtvBErJOZDodCxkzdv13yahF/s320/Path+of+the+Eye.png" width="205" /></a></span></div>
<div style="text-align: justify;">
<span style="font-family: inherit; font-size: small;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="mso-tab-count: 1;"> </span></span></span></span></div>
<div style="text-align: justify;">
<span style="font-family: inherit; font-size: small;">Two pages later we see a similar method of getting the eyes to smoothly travel across the page back to the top-right corner of the tier below. The top left panel features Oliver and Prospero framed to the left, lines leading downward, their forms almost perfectly aligned with Oliver's arm in the panel below. The pivot of the arm allows the eye to follow to the central image, and the tail of the speech balloons leads to the balloons themselves. The speech balloons are composed in a top-down arrangement where the tail of the last balloon directs the eye further downward to the top of the bottom tier.</span></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDmye51Qt05Z3J3aPay04oH6RalTPDIJPscj5hQyIrb29aTvtuHF7jZl8386WlWdACPXMXO6vPcNR9V5E11kIsafAFO5xIWiWsROOYHLOmdBlkSeN02r1GUV2RgzLBoSZspQbUV8_DyQSr/s1600/Full+Page.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1131" data-original-width="735" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDmye51Qt05Z3J3aPay04oH6RalTPDIJPscj5hQyIrb29aTvtuHF7jZl8386WlWdACPXMXO6vPcNR9V5E11kIsafAFO5xIWiWsROOYHLOmdBlkSeN02r1GUV2RgzLBoSZspQbUV8_DyQSr/s320/Full+Page.png" width="207" /></a></span></div>
<div style="text-align: justify;">
<span style="font-family: inherit; font-size: small;"> </span></div>
<div style="text-align: justify;">
<span style="font-family: inherit; font-size: small;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="mso-tab-count: 1;"> The inventiveness required for the seamless direction of the eye in free form comics draws attention to a mundane yet frequent obstacle that the artist always encounters, and the decision of whether or not it's worth guiding the eye back across the page or letting the audience's reading habits take them back across the page is something that deserves deeper appreciation.</span></span></span></span>
</div>
Caidyn Wynants-Bealhttp://www.blogger.com/profile/04238691984505083752noreply@blogger.com1tag:blogger.com,1999:blog-4063750189351514761.post-44466166464310363532019-04-07T18:14:00.000-07:002019-04-07T18:14:06.107-07:00Paratextuality in Captain Marvel #1<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjR3MkZaqfXxApAek1svytZ6aPYTLf64nXUdtktw8SxO5kHO8Ns0k7rribdEkq4TrGWKVRKOvTkzZu-fGluAf9__TdsvtFEE6sOIChV_esM0_F6eiTJhVUyKnYBM_r5VWINYdI-7Hq3mRO/s1600/Captain+Marvel.jpeg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="765" data-original-width="496" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjR3MkZaqfXxApAek1svytZ6aPYTLf64nXUdtktw8SxO5kHO8Ns0k7rribdEkq4TrGWKVRKOvTkzZu-fGluAf9__TdsvtFEE6sOIChV_esM0_F6eiTJhVUyKnYBM_r5VWINYdI-7Hq3mRO/s320/Captain+Marvel.jpeg" width="207" /></a></div>
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<span style="color: black; font-family: "Times New Roman"; mso-ansi-language: EN-US;">That saying of “never judge a book by a
cover” is totally true for people, but I think with actual books and other forms
of literature that can get a little tricky. With comics there is this thing
called transtextuality which refers to the ways texts must be interpreted
within a larger system in terms of 5 different elements. One of those elements
is paratextuality. Paratextuality is when all other messages and commentaries
which surround the text can affect the interpretation of a text. For example, in
the first issue of <i style="mso-bidi-font-style: normal;">Captain Marvel</i>,
the cover is of Captain Marvel herself, who is in a heroic stance and behind
her are her different traits as a regular civilian and superhero. This kind of
cover is not like the typical cover from the 1940s where the cover is a panel
from the comic. Instead this covers acts like representation of what will
happen in this issue. This issue’s cover gives an overview on Captain Marvel
herself and it follows the typical superhero comic cover. This allows you to
see and create expectations that you will be reading a superhero cover at first
glance. <o:p></o:p></span></div>
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<span style="color: black; font-family: "Times New Roman"; mso-ansi-language: EN-US;"><br /></span></div>
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<span style="color: black; font-family: "Times New Roman"; mso-ansi-language: EN-US;"><br /></span></div>
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<span style="color: black; font-family: "Times New Roman"; mso-ansi-language: EN-US;"><br /></span></div>
<div class="MsoNormal">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixi-8cK36h65k9ZVlXgekSh8zMdvT1jO70ZOk7PiehTK97Rncnnqt9nNQI_HVOSajunwHJ7KFX6Rg7KLj_-HOZ-L8e7o-OCA0DkM7hOlFRDH4pdnnSbmqNFj_6YXi3rNeNwX8hxpcTRO-n/s1600/Captain+Marvel+panels.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="783" data-original-width="491" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixi-8cK36h65k9ZVlXgekSh8zMdvT1jO70ZOk7PiehTK97Rncnnqt9nNQI_HVOSajunwHJ7KFX6Rg7KLj_-HOZ-L8e7o-OCA0DkM7hOlFRDH4pdnnSbmqNFj_6YXi3rNeNwX8hxpcTRO-n/s320/Captain+Marvel+panels.jpeg" width="200" /></a><span style="color: black; font-family: "Times New Roman"; mso-ansi-language: EN-US;"><o:p> </o:p></span></div>
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<span style="color: black; font-family: "Times New Roman"; mso-ansi-language: EN-US;">Before you get to the actual story of the
comic, there is a page where it gives another little introduction/ overview of
Captain Marvel. They way this is done is by a nine panel page layout and in the
middle is a Sailor Moon-esque transformation of Carol Danvers’ silhouette. In
these pictures there are snapshots of Carol’s life with one word answering a
non-stated question of who is Carol Danvers/ Captain Marvel. Most of the panels
are all the same size and shape, indicating that all those traits equally make
up Carol. This shapes the reader’s view before reading the comic because it
gives a little preview on who Carol Danvers is and it entices the reader to
want to keep reading to see if those actual panels are in any other issue. As
well, it already sets up an expectation of how great and power this superhero
is. All these elements in <i style="mso-bidi-font-style: normal;">Captain Marvel
#1</i> shape how the reader will interpret the story before they get to read
the whole comic, so that saying “never judge a book by a cover” can’t really be
used for comics. <o:p></o:p></span></div>
<!--EndFragment--><br />Justinhttp://www.blogger.com/profile/18287251719513728140noreply@blogger.com0tag:blogger.com,1999:blog-4063750189351514761.post-42290947449460059412019-04-07T15:43:00.001-07:002019-04-07T15:43:40.351-07:00<h2>
Take Two on Middlewest</h2>
<div>
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For the next issue of Middlewest #5 by Skottie Young, one of the features that I was especially drawn to was the use of colors, specifically, how this issue subverts the conventional symbolism that colors can represent. For example: the color red has traditionally use to convey a sense of danger or violence as opposed to the color blue, which represents calmness and tranquility. However, Middlewest #5 subverts this standard by equating shades of red worn by Abel with instances of safety and calm, while shades of blue tend to occur during scenes of violence, or negativity.<br />
<br />
The main character, referred to as Abel, is always depicted as wearing red:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGpUEElA9LP8UeLUZY4TnjSh-5HsWHCnLPBtZsvXJa8de_WMWZUkmqZBGt7pcS-hCf5vjRadLz1zZsmzK6ewCLWG7ufFp_GSbBwyiXa0w8G7cz1ZYZezzDi4B4I_dwehcK9x6P1ywjhsB2/s1600/Image+%252811%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="993" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGpUEElA9LP8UeLUZY4TnjSh-5HsWHCnLPBtZsvXJa8de_WMWZUkmqZBGt7pcS-hCf5vjRadLz1zZsmzK6ewCLWG7ufFp_GSbBwyiXa0w8G7cz1ZYZezzDi4B4I_dwehcK9x6P1ywjhsB2/s640/Image+%252811%2529.jpg" width="396" /></a></div>
<br />
which indicates that red is what Abel feels the most comfortable wearing. The above scene in which Abel is taken in by Maggie, is overshadowed by tones of red, demonstrating that he has found a place where he can be safe. Even the scenes in which Maggie agrees to hire Abel (essentially providing a home for him), this happy scene is overshadowed in tones of fiery red and dim lighting.<br />
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In contrast, when clear blue is used in this issue, there are usually scenes of violence, fear or disgust. Such as in this scene:<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkyP-Ba8SRA2xFnkBJjZYtVvoDVZAgy0uDZE1wHOWZQUPYu0HBKaxl_1S5RJn4_Te9glJL_W8zHrcR5hRgPyvSfxBeY6d2hnyhtgXAlW8tVfhyphenhyphenYAR5vhc1AAf1SS_SsIwBLJyrO047pjYU/s1600/Image+%252810%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1029" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkyP-Ba8SRA2xFnkBJjZYtVvoDVZAgy0uDZE1wHOWZQUPYu0HBKaxl_1S5RJn4_Te9glJL_W8zHrcR5hRgPyvSfxBeY6d2hnyhtgXAlW8tVfhyphenhyphenYAR5vhc1AAf1SS_SsIwBLJyrO047pjYU/s640/Image+%252810%2529.jpg" width="409" /></a></div>
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In a flashback that this issue opens with, Abel has just received a new bicycle from his estranged mother that his abusive father proceeds to destroy. The surrounding scenery depicts a lovely, almost pastoral scene, with emphasis on the blue sky. In a sense, this surrounding scene and the bright colors makes it all the more disturbing when the act of violence occurs; a father should enjoying this lovely day with his son, not destroying his possessions. When Abel's father Dale, destroys his son's blue bicycle, the next panel is a close up of the tears in Abel's eyes.<br />
<br />
Young and Corona are subverting the conventional meanings of colors; red is typically associated with happiness for Abel because this what he wears throughout the majority of the comic. Blue, like Abel's tears, represents distress or disgust; be it either the vomit-stained amusement park ride that Abel must clean:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpzU5Af4PWjw8Nu1xDBzZvfz_nmjtv065Zt1JpQ7Wz571FzFBvoVh3VDS9pSurUKGHR3gyady_RhDPRiZhaQPIUSVIxsiMeTIcRJ-lhOmqXdiJK8dmx3Vdk_x8oK_7YUXPP7EfbdxsMZ_P/s1600/Image+%252812%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1071" data-original-width="1600" height="267" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpzU5Af4PWjw8Nu1xDBzZvfz_nmjtv065Zt1JpQ7Wz571FzFBvoVh3VDS9pSurUKGHR3gyady_RhDPRiZhaQPIUSVIxsiMeTIcRJ-lhOmqXdiJK8dmx3Vdk_x8oK_7YUXPP7EfbdxsMZ_P/s400/Image+%252812%2529.jpg" width="400" /></a></div>
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the blue crystal ball which foreshadows Dale's meeting with Jebediah (and the possibility that Dale will find Abel)<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOsPdyY8Kuw9DGzvl3j05w9_mO_-2nGI7F5DFcM5fTlmpXUtxKnN20F-DzioViBp7-KLIAm7sXuRI5hM8hSnT7RsjXlsKQK34TAb24Myjt1umsxSDtcOVpMqLHdP8QV8ESmvxn9I-FpdHr/s1600/Image+%252813%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1389" data-original-width="1600" height="345" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOsPdyY8Kuw9DGzvl3j05w9_mO_-2nGI7F5DFcM5fTlmpXUtxKnN20F-DzioViBp7-KLIAm7sXuRI5hM8hSnT7RsjXlsKQK34TAb24Myjt1umsxSDtcOVpMqLHdP8QV8ESmvxn9I-FpdHr/s400/Image+%252813%2529.jpg" width="400" /></a></div>
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or the blue articles of clothing worn by Dale who is hunting for Abel.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgL9aec-hoSmxt74kP0LhJoeK8GNdn0YY0Nv3Aeo9jliuXikSYyk6yOa5mN83L7Qdb9KRzj4VNqm0-igOE1mA54kvSizLR86TVVIOYLmFbELyjsbbbD9kEa0RV6w1tM8wPWMz164m5Afjbh/s1600/Image+%252814%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1012" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgL9aec-hoSmxt74kP0LhJoeK8GNdn0YY0Nv3Aeo9jliuXikSYyk6yOa5mN83L7Qdb9KRzj4VNqm0-igOE1mA54kvSizLR86TVVIOYLmFbELyjsbbbD9kEa0RV6w1tM8wPWMz164m5Afjbh/s640/Image+%252814%2529.jpg" width="404" /></a></div>
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<br />
The emotions of the characters (happy for Abel and threatening for his father) juxtaposed with and therefore enhanced due to the "conflicting" color schemes. In choosing to portray colors in this way, Young and Corona seem to be saying to the readers that Middlewest is a comic series that makes its own rules, rather than strictly abide by symbolic conventions. Young and Corona make the colors more personal (directly related to the experiences of the characters) and this personal use lends itself to the unpredictability of the comic. The reader cannot rely on conventions to determine what an instance means or what will happen next.<br />
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<br />Aliahttp://www.blogger.com/profile/14191646261486771438noreply@blogger.com0tag:blogger.com,1999:blog-4063750189351514761.post-53714316087916303902019-04-07T13:30:00.000-07:002019-04-07T13:29:06.278-07:00Lettering and Sound in Black Hammer: Age of Doom<br />
<div style="text-align: center;">
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRkqHqWeoOn7NadTNDImsgs3q42ogKiJ-SLYgAsVHM5Jm_0W3a4sGhXU7tDIaE9FbIVLyix-mHy8BX-p37lArYIgajwh_B2zFB8lUuGIfxUreEqGDI3u0vJQvm_d-CCTZ6UgnVNkBovL4/s1600/Black-Hammer-Age-of-Doom-1-review-feature.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="300" data-original-width="409" height="291" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRkqHqWeoOn7NadTNDImsgs3q42ogKiJ-SLYgAsVHM5Jm_0W3a4sGhXU7tDIaE9FbIVLyix-mHy8BX-p37lArYIgajwh_B2zFB8lUuGIfxUreEqGDI3u0vJQvm_d-CCTZ6UgnVNkBovL4/s400/Black-Hammer-Age-of-Doom-1-review-feature.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">BH: Age of Doom #1, Cover & Credits</td></tr>
</tbody></table>
<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><br /></span>
<span style="font-family: "courier new" , "courier" , monospace; font-size: large;">***STILL NO SPOILERS***</span><br />
<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><br /></span></div>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvQQRP50PEtnq-lHsb-Qp2XA_Bjd6DbOVlBVPmUMD10HNPDtnp-W17woPlV6ocw4o9QnthAFX2lri3ZJAam8gB8GLVIa0oUqdL5_DkHn_eC9zgzggXkDGuPT-T9Gx23B9AtnvWCGX6oP4/s1600/IMG_E2541.JPG" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1024" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvQQRP50PEtnq-lHsb-Qp2XA_Bjd6DbOVlBVPmUMD10HNPDtnp-W17woPlV6ocw4o9QnthAFX2lri3ZJAam8gB8GLVIa0oUqdL5_DkHn_eC9zgzggXkDGuPT-T9Gx23B9AtnvWCGX6oP4/s320/IMG_E2541.JPG" width="204" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">4 Kids Walk into a Bank, n.p. (Ch 4)</td></tr>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-large;">Many of you will know we studied <a href="https://blackmaskstore.com/products/4-kids-walk-into-a-bank-collected-trade-paperback" style="font-style: italic;" target="_blank">4 Kids Walk into a Bank</a> this semester (created by Tyler Boss, Thomas Mauer, and Matthew Rosenberg). I got kinda stuck on the sound effects, trying to figure out how I still heard the smash of 'dick move' and sploosh of 'drugs.' </span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: x-large;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif; font-size: x-large;"><br /></span></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpfrn6YcgDixrF6SL6CIepPM2aDKPD-RbWZxRJK3aHKLVWTCk1vR199MAea21bQiCIx4nlmum1poLe0ERRrd1I9gHSx6ii7IogONaZRdyLi2A18gvSGRw3EhLtHwXNoxpKcrR0_Q0r2MU/s1600/IMG_E2544.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="949" data-original-width="1600" height="188" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpfrn6YcgDixrF6SL6CIepPM2aDKPD-RbWZxRJK3aHKLVWTCk1vR199MAea21bQiCIx4nlmum1poLe0ERRrd1I9gHSx6ii7IogONaZRdyLi2A18gvSGRw3EhLtHwXNoxpKcrR0_Q0r2MU/s320/IMG_E2544.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">4 Kids Walk into a Bank, n.p. (Ch 3)</td></tr>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-large;">I experienced some of the same in the <a href="https://www.darkhorse.com/Books/3000-806/Black-Hammer-Volume-3-Age-of-Doom-TPB#prettyPhoto" target="_blank">Black Hammer: Age of Doom</a> series. A number of characters (particularly in <a href="https://readcomicsonline.ru/comic/black-hammer-age-of-doom-2018/3/1" target="_blank">Issue #3</a> when a protagonist is introduced to an--ahem--alternate family) have a unique voice, cadence, and tone to their speech. </span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-large;"><br /></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-large;">There's still the usual approach to emphasizing some of the words with bold lettering, but the style of the balloons and font also affect how speech or sound is heard. </span></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxDzw3a_vPBCsJmbQzsTnfg2WxUJV_OTE6YawpNojrKegZJVRgKawvI0iSNQMQKIPEM_Ehs8VA76YJRFE5rG7dJj2VHwAkkSlGfeKptxoXFi32U1yI-daQr53e3JtOXUWRCWfEsim7KWo/s1600/10.jpg" imageanchor="1" style="clear: left; display: inline !important; margin-bottom: 1em; margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="1163" data-original-width="1600" height="464" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxDzw3a_vPBCsJmbQzsTnfg2WxUJV_OTE6YawpNojrKegZJVRgKawvI0iSNQMQKIPEM_Ehs8VA76YJRFE5rG7dJj2VHwAkkSlGfeKptxoXFi32U1yI-daQr53e3JtOXUWRCWfEsim7KWo/s640/10.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Issue #3, page 10</td></tr>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-large;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif; font-size: x-large;">When the Timekeeper first spoke, it sounded cog-y to me, grinding and hollow, like rubbing two sticks together to make a fire but with copper tubing instead. It wasn't until the second panel (above) that I understood his weight and size would influence how I heard him, and I read his words again, this time as rumbling and heavy. It's possible others might hear a high and </span><span style="font-family: "times" , "times new roman" , serif; font-size: x-large;">squeaky voice, his pace alternating between lightening fast and excruciatingly</span><span style="font-family: "times" , "times new roman" , serif; font-size: x-large;"> slow. The combination of his size and the gear-like word balloon could call up any number of sounds for the reader, but they all point to the essence of this character. And back again. It creates a never-ending loop of image as text, text as image. What's in the panel can't be separated from the text, nor can the text avoid influencing our reading of each panel and, indeed, the story overall.</span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: x-large;"><br /></span>
<br />
<span style="font-family: "times" , "times new roman" , serif; font-size: x-large;">The lettering artist here is Todd Klein, who also created the letters for <a href="https://www.dccomics.com/search?keyword=the%20sandman" target="_blank">The Sandman</a> </span><span style="font-family: "times" , "times new roman" , serif; font-size: x-large;">series. Even in these two simple panels, we can see his "traditional hand consists of clear, relatively undistinguished block capitals... his knack for using--and often creating--different calligraphic hands to add both graphic identity and storytelling content... especially in individual characters" (<a href="https://www.umass.edu/umpress/title/illuminating-letters" target="_blank">Kannenberg, 178</a>). In fact, they are also an excellent example of all three qualities typography can assist with making meaning in comics: narrative, metanarrative, and extranarrative (Kannenberg, 166).</span><br />
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-large;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif; font-size: x-large;">It's easy to understand why scholars "generally downplay the aesthetic contributions of text in favor of concentrating on its presumably transparent capacity as the vehicle for narration," but a closer look at the work of someone like Klein helps us see how important the typography is to any graphic text (Kannenberg, 165).</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgM5vY2bhyphenhyphenqbsfQgYRXF9MtjXHAF04xnu-rHs1M4N2L0nb5xzx-QIAdC8-6QLpQkam5Wecp2anLnpw70dClLUmHg7x0h2DO640S9emsTcIpt6icP0WEK61Zbbvn9RfDxW5FGU4inL0e69I/s1600/12.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="708" data-original-width="1316" height="344" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgM5vY2bhyphenhyphenqbsfQgYRXF9MtjXHAF04xnu-rHs1M4N2L0nb5xzx-QIAdC8-6QLpQkam5Wecp2anLnpw70dClLUmHg7x0h2DO640S9emsTcIpt6icP0WEK61Zbbvn9RfDxW5FGU4inL0e69I/s640/12.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Issue #3, page 12</td></tr>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-large;">How do you hear these characters' voices? Does it help to know they are described as "Makerbreaker, brother of Destruction, and Matchmaker, sister/brother of Love"? What does the image of the text itself tell you about the story and/or what they're saying? </span><br />
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-large;">What I love about comics is how each of us can read the same text and come away with a different interpretation, and this series does that for us through its lettering.</span></div>
KChttp://www.blogger.com/profile/05364613853461140555noreply@blogger.com0tag:blogger.com,1999:blog-4063750189351514761.post-90831183881127989652019-04-06T22:03:00.001-07:002019-04-06T22:03:06.645-07:00Sensory Diegetic Images in Daredevil Issue #1<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkZtaZtpcZI8jppdRvLa4UwwRC5EkQipZFR85CDadPTDCOhI6HD8RzzXi464u4dTiTN6ZPj4n5g3jdWdzotZUIeRing80bOsdkRnqQGOsE4lLcYUPSrUm-vUSQ4XPabDljrcsuxgEH7V8/s1600/Daredevil+1+cover.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1041" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkZtaZtpcZI8jppdRvLa4UwwRC5EkQipZFR85CDadPTDCOhI6HD8RzzXi464u4dTiTN6ZPj4n5g3jdWdzotZUIeRing80bOsdkRnqQGOsE4lLcYUPSrUm-vUSQ4XPabDljrcsuxgEH7V8/s320/Daredevil+1+cover.jpg" width="208" /></a></div>
I have chosen to do my blog post on the first issue of Zip Zdarsky's <i>Daredevil. </i>One of the important facts about Daredevil is that he is blind. Since readers of a comic assume that they are viewing the images as if they are in the main character's point of view, it is interesting how we process that we are seeing what the main character cannot. On this post I am going to relate this to Randy Duncan and Matthew Smith's theory on sensory diegetic images.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcrTeHh_KBxNEg96QLkz6qILK1jzD2xfZuVhZ5ZxPmhSQhi5gjaQqyhYxTP42Iocd2LCx6qptAqZ-Ke9bMJPuBKzoFCJ3y4H5q59HE9_3zkyvfI-PYWs9a1q-FVwXHBt9vP5Qq-3ooX9w/s1600/Daredevil-sensory.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1200" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcrTeHh_KBxNEg96QLkz6qILK1jzD2xfZuVhZ5ZxPmhSQhi5gjaQqyhYxTP42Iocd2LCx6qptAqZ-Ke9bMJPuBKzoFCJ3y4H5q59HE9_3zkyvfI-PYWs9a1q-FVwXHBt9vP5Qq-3ooX9w/s320/Daredevil-sensory.jpg" width="240" /></a></div>
In this example, the character Matt Murdock is narrating about his radar sense. The third panel on the page, the color pallet changes to red and blacks with the exception of his hand. This is showing us that we are now being brought into the perspective of our main character as we get a visual on what the narration is referencing. The comic is using <i>sensory diegetic images </i>to show the senses of the character, (Duncan & Smith, 155). To be specific, this is known as <i>non-visual sensory</i> since the reader is getting information on what the character hears and feels rather than what he sees. (Duncan & Smith, 155).<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcJEC7RIhWN7B6-xKr9dEnyOuZEHHIT6agX6hVmS8cs-VDqpo8b042gfOrGKpACk-tWz7k1v-T-ulH03uVCXxFrOrSKOEELBQQVRDSIELpHI9MW3ju3aPGd80c2aTQhF6zh9ceRvlE5Mc/s1600/Daredevil+Moving.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="640" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcJEC7RIhWN7B6-xKr9dEnyOuZEHHIT6agX6hVmS8cs-VDqpo8b042gfOrGKpACk-tWz7k1v-T-ulH03uVCXxFrOrSKOEELBQQVRDSIELpHI9MW3ju3aPGd80c2aTQhF6zh9ceRvlE5Mc/s320/Daredevil+Moving.jpg" width="320" /></a></div>
Another example appears later in the comic as Daredevil is intervening a robbery. Here we see both visual and non-visual sensory diegetic images. The visual being the movement of Daredevil from the top panel to the bottom panel implying that he has descended from the original position he was in on the first panel. The non-visual being the radar images coming from his head implying that he hears a gun about to fire.<br />
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There are plenty of these moments through issue #1, these were just some that I found interesting.Nicholas Baddeleyhttp://www.blogger.com/profile/17210313051768853840noreply@blogger.com0tag:blogger.com,1999:blog-4063750189351514761.post-16786326969071427672019-04-04T10:01:00.002-07:002019-04-04T10:01:29.374-07:00Filling in the Gaps in Outpost Zero #6<div class="separator" style="clear: both; text-align: left;">
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For the next issue of <i>Outpost
Zero</i>, I have chosen to focus on how creators force readers to fill in
the gaps and make connections, whether correct or not, between panels. <o:p></o:p></div>
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This sequence shows the climactic
fight for Mitchell, one that he has been training for a long time and one that
will help to raise the morale for the entire community. I chose this initial page
as it demonstrates to the reader the fact that Mitchell is a total underdog in
this scenario, and has little chance at success, thereby setting up negative
expectations for the outcome of the fight, despite his determination and
resolve. By placing the start of the fight at the bottom-right corner of
the page, the reader is forced to turn to the next page to figure out what
happens next (Cohn, 53). </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOmAg1SNIu7e0E94xjsVy49G0ftYUJdchf3xCt4jSWVMTxN8fBM1YC6IJvvIOnG69uEReOyBTHaeQAtcHXnJ_OxnuMELLGXjrL_fcNmH_oUkW6au2pCvYhwULxf_4Pjw6-LzZJLsa2UOw3/s1600/outpost+zero+no+6+pg+2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1041" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOmAg1SNIu7e0E94xjsVy49G0ftYUJdchf3xCt4jSWVMTxN8fBM1YC6IJvvIOnG69uEReOyBTHaeQAtcHXnJ_OxnuMELLGXjrL_fcNmH_oUkW6au2pCvYhwULxf_4Pjw6-LzZJLsa2UOw3/s640/outpost+zero+no+6+pg+2.jpg" width="416" /></a></div>
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By skipping the actual fight, and
instead showing the outcome for Mitchell, the creators force the reader to fill
in the gap by imagining that the fight went horribly for him. The usage of large
three-tier panels, along with the colourful image of Mitchell’s bruised face, force
the reader to take more time on these panels (as there have not been any panels
of those size yet in the issue) and to focus on his injuries (by drawing the
eye). These aspects prevent the reader from seeing the ending instantly, so the
reader has to follow the panels in sequence to determine what happened. Magnussen
argues that all comics are indexical, as they are made up of fragments that the
reader must fill in to understand (195-96). <i>Outpost
Zero </i>uses this argument by forcing the reader to fill in the gap of the
fight itself. The comments from Mitchell's coach seem to cement the reader's
view of what had occurred, where Mitchell lost the fight – the codes of signification
(the verbal and visual aspects) seem to coordinate and give the same message (Hatfield
36). However, the final panel completely reverses our expectations and reveals
that Mitchell had won the fight, forcing the reader to go back and, as Postema
outlines, retroactively re-signify the image of Mitchell's bruised face (50). <o:p></o:p></div>
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<br />Devon Fraserhttp://www.blogger.com/profile/15999050139191535434noreply@blogger.com0tag:blogger.com,1999:blog-4063750189351514761.post-7105024192312753762019-04-04T10:00:00.002-07:002019-04-04T10:00:33.210-07:00Drawing the Eye in Outpost Zero #5<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: "Times New Roman", serif; font-size: 12pt; line-height: 107%;">One
interesting aspect of the comics form is how creators draw the reader's eye to
important information. To demonstrate this, I'm focusing on an aspect can be
seen in issue #5 of the dystopian coming-of-age comic <i>Outpost Zero</i> by
Image Comics. <o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUKVUwNWx-KJixnLm9iumYXi_dm-NcdBlg2yQC8yfqZ7uXSiQBZLOYD3lAo_9A4YYD2VGLUnzmiYtIHXJeKOTddRZ91_7tQU-BPa1QugPyx_uSdwr4vMOgsjt_1ROpqbgvGOsBFq9Gz3LR/s1600/outpost+zero+no+5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1544" data-original-width="1007" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUKVUwNWx-KJixnLm9iumYXi_dm-NcdBlg2yQC8yfqZ7uXSiQBZLOYD3lAo_9A4YYD2VGLUnzmiYtIHXJeKOTddRZ91_7tQU-BPa1QugPyx_uSdwr4vMOgsjt_1ROpqbgvGOsBFq9Gz3LR/s640/outpost+zero+no+5.jpg" width="416" /></a></div>
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<span style="font-family: "Times New Roman", serif; font-size: 12pt; line-height: 107%;">This sequence
shows Lyss forced out of her daydreaming and made to confront her tedious reality.
The gray balloons in the first two panels act as indexical signs, as they
represent an object being affected by it (Magnussen 196) – these balloons point
to the previous sequence where Lyss puts in earbuds to listen to music while
hoverboarding. The placement of the exclamatory word balloon right next to the
gray one conveys how Lyss (and, by extension, the reader) is dragged out of
daydreaming. As Carrier explains, speech balloons are an intermediary, as they
are neither entirely verbal or entirely pictorial (29). Because of this,
readers use word balloons as both representations of speech and as indexical
signs pointing to characters. These indexical signs help to draw the reader’s attention
to the figure speaking to Lyss. The tails of the speech balloons on the third
panel, showing the conversation between Lyss and Gerald, draw the eye back and
forth between the pair. For Carrier, the word balloons become another aspect in
the visual field, where readers have to understand them in context to the rest
of the page, not as neutral aspects (44). In the bottom-right corner, which is
an area that the reader's gaze is naturally drawn to, Gerald's comments both give
further information about the world that the characters live in and give an
ominous tone that contrasts strongly with the bright, sunny background. The
placement of Gerald’s speech balloons in the final panel (the verbal code of signification)–
almost working as images – act as a sequence that draws the reader’s eye to
Lyss’ forlorn figure (the visual code of signification), giving us further information
about the world and about Lyss herself (Hatfield 36-37). <o:p></o:p></span></div>
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<br />Devon Fraserhttp://www.blogger.com/profile/15999050139191535434noreply@blogger.com0tag:blogger.com,1999:blog-4063750189351514761.post-84692722854455619042019-04-02T07:40:00.003-07:002019-04-02T07:40:52.774-07:00Multimodal meaning in Middlewest<div align="center" class="MsoNormal" style="line-height: 200%; text-align: center;">
Multimodal meaning in Middlewest<o:p></o:p></div>
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In the third issue of Middlewest, the story starts to resemble a fantasy adventure comic because the main characters travel through the beautiful countryside. these sections of the plot involve finding someone who can help Abell with his new cursed tattoo. The author’s art style renders flourishing natural settings with the rolling hills and the sky. As the colour palate is incredibly bright which reflects the uplifting atmosphere and a happy-go-lucky mood of the characters. The counterpoint to the journey plot is the plotline with the father who is always associated with duller colours or the colour blue. This common theme of being associated with blue is presented throughout the past few issues, for example from the first issue the blue lighting of Abell’s room, the blue curse mark across his torso, the blue hospital room the father wakes up in, and finally his blue hat when he goes off to find Abell. bright colours are only associated with the Dad comes in to show worry or shock such as when the father realizes that he chased Abell away. This common theme of blue palette colour codes both the character and the mood he brings with him. When blue is used in a negative context it has conventionally signals depression or entrapment, telling the reader that misery follows the father wherever he goes. This misery applies to the mere mention of the father. In this segment of the plot, the main cast is talking about Abel’s father around a campfire at night. This signals that the misery the father brings is omnipresent as he is only acknowledged at night by the main characters and never in the day. This shows the degree of power the father has over Abel’s world that the mere acknowledgment of his father can turn Abel’s world to darkness. This is reinforced by the start of the blue colour palate encroaching to eventually dominating the background after the topic of Abel’s father is brought up. <o:p></o:p></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqjZxm0QwFJ2q6OZT58I_rjwAbbFhFF4npmPskJ5xZouVZ3swoyySqsdfn3QXF6X2aKWfgMf_sVfdqNyQdcQO0SezLWpPshFxWpLkZUtkLN61kvCuTxPn_v4HxckqKpwQm2rv_-vHDaeo/s1600/RCO011.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1041" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqjZxm0QwFJ2q6OZT58I_rjwAbbFhFF4npmPskJ5xZouVZ3swoyySqsdfn3QXF6X2aKWfgMf_sVfdqNyQdcQO0SezLWpPshFxWpLkZUtkLN61kvCuTxPn_v4HxckqKpwQm2rv_-vHDaeo/s320/RCO011.jpg" width="208" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Figure 1. page 11, Abel's father wakes up in the hosptial</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikFUCBlyGp9UjuysRIrrOA6X968zDEs3dYB9Jhdi-kavtaIY7YB4WaDwkZVE-XsMO9eQx3zEK0drgiH-bfAXbn_QIVnKQGwAEqiEoGc_FXdl3r8jYU4n4oW87is3YPeKrVWb4zfLWdFhg/s1600/RCO004.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1041" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikFUCBlyGp9UjuysRIrrOA6X968zDEs3dYB9Jhdi-kavtaIY7YB4WaDwkZVE-XsMO9eQx3zEK0drgiH-bfAXbn_QIVnKQGwAEqiEoGc_FXdl3r8jYU4n4oW87is3YPeKrVWb4zfLWdFhg/s320/RCO004.jpg" width="208" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">figure 2. page 4. Abel discusses his father</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_PcoKZawh46KnS7E8nvPjWzW_33S_mORd-3iJKUnQfJnEEcG8HSsE3Cysyh_VaRLVVh4J5UMVHvulJPtPp8wPsJzUJcd6CAHPeXLWSHOl22V6082dJqB4pVNYjH_q9lSZ7Wl9fC8U2qU/s1600/RCO005.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1041" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_PcoKZawh46KnS7E8nvPjWzW_33S_mORd-3iJKUnQfJnEEcG8HSsE3Cysyh_VaRLVVh4J5UMVHvulJPtPp8wPsJzUJcd6CAHPeXLWSHOl22V6082dJqB4pVNYjH_q9lSZ7Wl9fC8U2qU/s320/RCO005.jpg" width="208" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Figure 3. page 5. encroachment of the blue palate</td></tr>
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Text and speech bubbles also come into play to help establish character. This is used for the bridge troll who tries to eat the main protagonists. The troll’s speech bubble and its tail are much rougher and more jagged compared to the other speech bubbles with the only exception being when characters yelled. The rough bubbling act as a signal a rough or scratchy characteristic to the troll’s voice when speaking. Similarly, the bolder/thicker front used for the troll communicates to the reader that it the troll speaks in a much louder voice than when other characters are speaking, befitting of the large nature of the troll. <o:p></o:p></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtDUAuhcEx4CZTOU_dMTyu3fQPbr4fSxpD4F9O2U5VbVf1S3q7S1arghp350R5kujyezHFkjoJY-2Vkw__WTWGUQL5twzESJzBOeWCD1otp4Uha1r_mx69mzHHB598BWRpW2RuizEDsTo/s1600/RCO016.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1041" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtDUAuhcEx4CZTOU_dMTyu3fQPbr4fSxpD4F9O2U5VbVf1S3q7S1arghp350R5kujyezHFkjoJY-2Vkw__WTWGUQL5twzESJzBOeWCD1otp4Uha1r_mx69mzHHB598BWRpW2RuizEDsTo/s320/RCO016.jpg" width="208" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Figure 6. page 16. the troll's speech bubbles</td></tr>
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Edel Baihttp://www.blogger.com/profile/00552544286265520392noreply@blogger.com0tag:blogger.com,1999:blog-4063750189351514761.post-23336142463433518422019-04-01T18:49:00.001-07:002019-04-01T18:50:01.019-07:00The use of colour and line in “Middlewest”<div align="center" class="MsoNormal" style="line-height: 200%; text-align: center;">
<v:shapetype coordsize="21600,21600" filled="f" id="_x0000_t75" o:preferrelative="t" o:spt="75" path="m@4@5l@4@11@9@11@9@5xe" stroked="f"> <v:stroke joinstyle="miter"> <v:formulas> <v:f eqn="if lineDrawn pixelLineWidth 0"> <v:f eqn="sum @0 1 0"> <v:f eqn="sum 0 0 @1"> <v:f eqn="prod @2 1 2"> <v:f eqn="prod @3 21600 pixelWidth"> <v:f eqn="prod @3 21600 pixelHeight"> <v:f eqn="sum @0 0 1"> <v:f eqn="prod @6 1 2"> <v:f eqn="prod @7 21600 pixelWidth"> <v:f eqn="sum @8 21600 0"> <v:f eqn="prod @7 21600 pixelHeight"> <v:f eqn="sum @10 21600 0"> </v:f></v:f></v:f></v:f></v:f></v:f></v:f></v:f></v:f></v:f></v:f></v:f></v:formulas> <v:path gradientshapeok="t" o:connecttype="rect" o:extrusionok="f"> <o:lock aspectratio="t" v:ext="edit"> </o:lock></v:path></v:stroke></v:shapetype><v:shape alt="https://lh4.googleusercontent.com/KnlyteWiAeAm7odC_czXJM9tn0PFU0UA_5COe0BRa4ManG0Q4vrKi7aTvQpYLjB1MdnVNVmqa3XWMgPt8W-y4pOURBOMibsXelEsfjGa6LC-OcXTAcVL4EM9zPlPg2mbuchZtHct" id="Picture_x0020_1" o:spid="_x0000_s1029" style="height: 324.75pt; left: 0; margin-left: -1.5pt; margin-top: 26.25pt; mso-position-horizontal-relative: text; mso-position-horizontal: absolute; mso-position-vertical-relative: text; mso-position-vertical: absolute; mso-wrap-distance-bottom: 0; mso-wrap-distance-left: 9pt; mso-wrap-distance-right: 9pt; mso-wrap-distance-top: 0; mso-wrap-style: square; position: absolute; text-align: left; visibility: visible; width: 243.75pt; z-index: -251665920;" type="#_x0000_t75"> <v:imagedata o:title="KnlyteWiAeAm7odC_czXJM9tn0PFU0UA_5COe0BRa4ManG0Q4vrKi7aTvQpYLjB1MdnVNVmqa3XWMgPt8W-y4pOURBOMibsXelEsfjGa6LC-OcXTAcVL4EM9zPlPg2mbuchZtHct" src="file:///C:/Users/Edel/AppData/Local/Temp/msohtmlclip1/01/clip_image001.jpg"> <w:wrap type="tight"> </w:wrap></v:imagedata></v:shape><span lang="EN">The use of colour and line in “Middlewest”<o:p></o:p></span></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMpd_tcubMjX030qA57xqnlxhYp4IJLvMgiITiQ-yMMIySMeQum-SmBJocpdJph5czqhlI-VGQqPOLbcxrMM6IkRT45V0UhDLjlQ9oJSIT_H-5gdsJk3up9ytGa3A-fmpwu6t5mFqJOlo/s1600/IMG_20190330_173553.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1200" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMpd_tcubMjX030qA57xqnlxhYp4IJLvMgiITiQ-yMMIySMeQum-SmBJocpdJph5czqhlI-VGQqPOLbcxrMM6IkRT45V0UhDLjlQ9oJSIT_H-5gdsJk3up9ytGa3A-fmpwu6t5mFqJOlo/s320/IMG_20190330_173553.jpg" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Figure 1. Front cover of Middlewest</td></tr>
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<span lang="EN"> I’ve always enjoyed aesthetically pleasing and unique art styles, so I’m drawn to fantasy comics. “Middlewest” by Skottie Young and Jorge Corona displays a cover that at first glance promises a casual read. I did not expect the first issue of the comic to be so dark. It tackles the dynamic of a broken and abusive family and Abell’s journey to escape from his father. <o:p></o:p></span></div>
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<span lang="EN">Colour and line work play a major role in the story to convey emotions and build atmosphere. The story begins with Abell waking up to his father breaking his things while yelling at him about how he overslept and didn’t deliver the newspapers. The colour blue dominates this scene, conveying the tragic reality of the situation and effectively establishing a melancholy atmosphere. Along with this, the authors use bold lines. Particularly on the father. This signals the father’s strength and the power that he uses in this interaction, particularly when throws the alarm clock at the family picture.<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqnpDfaniQtCwXwjndOVcfRHWXN4Tc9EMF9gjLxeKmFqCaRPMswEcKc7DEhQLECQrw-yTbSZ-2b5CJpJiIRVsud4H6mjvMwtwlCEMja4D-uh9mCwvBFd1i_WxsBUnDFc-NMwP-W7qI7Lo/s1600/Capture.PNG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="668" data-original-width="1009" height="211" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqnpDfaniQtCwXwjndOVcfRHWXN4Tc9EMF9gjLxeKmFqCaRPMswEcKc7DEhQLECQrw-yTbSZ-2b5CJpJiIRVsud4H6mjvMwtwlCEMja4D-uh9mCwvBFd1i_WxsBUnDFc-NMwP-W7qI7Lo/s320/Capture.PNG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Figure 2. Page 7 of Middlewest where Abel's father throws his alarm clock </td></tr>
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Later, the colour palette is used again in later interaction with Abell’s father. At this point in the story, Abell is caught shoplifting and is thrown out of the house by his father in response. In this interaction, the authors use bright colours to draw the viewers eyes and guide them panel to panel. this colour palate differs from the previous palate as it focuses on the red dotted across the scene. From Abell’s hoodie to the red glowing vials dotted across a dark blue dominated palate reaches a payoff with the giant red slap. The colour red in this context not only guides the reader but also used as the hermeneutic backdrop to the slap scene to convey the feeling of danger, pain, and anger in this moment. This along with the black brush strokes that could mean fear, evil, strength, and aggression. The rough appearance of the brush strokes in the background gives the impression of tearing, emphasizing the brutality of the strike not only physically and emotionally. The black and red especially stand out due to the authors muting the colours of both Abell and his father, allowing the contrast between the characters and background<v:shape alt="https://2.bp.blogspot.com/-lS8xLAfNYeo/W_VrGzhhUyI/AAAAAAAAaUI/Ny7akWFjpigmCPGPL-wXQgrR8d-Lj7bYQCHMYCw/s1600/RCO020.jpg" id="Picture_x0020_4" o:spid="_x0000_s1028" style="height: 428.25pt; left: 0px; margin-left: 251.25pt; margin-top: 147pt; position: absolute; visibility: visible; width: 278.6pt; z-index: -251654656;" type="#_x0000_t75"><v:imagedata o:title="RCO020" src="file:///C:/Users/Edel/AppData/Local/Temp/msohtmlclip1/01/clip_image003.jpg"><w:wrap anchory="page" type="tight"></w:wrap></v:imagedata></v:shape><span lang="EN"> to be even greater. <o:p></o:p></span></div>
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<tr><td class="tr-caption" style="text-align: center;">Figure 3</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiW7NgNNYQgDEr-9k2Po5YEeFYJdSKK4gNLDbuq5ihuKur-npbkVJYrFQpHbzIipqTGzSh69T8efb-R9h0uXiTb9rgUq8RE2JSFG_wpQETEsBr_LjtAJDv9REbfbno_dPJfbx4jMOE62JE/s1600/RCO020.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1041" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiW7NgNNYQgDEr-9k2Po5YEeFYJdSKK4gNLDbuq5ihuKur-npbkVJYrFQpHbzIipqTGzSh69T8efb-R9h0uXiTb9rgUq8RE2JSFG_wpQETEsBr_LjtAJDv9REbfbno_dPJfbx4jMOE62JE/s320/RCO020.jpg" width="208" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">figure 4</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4PTt6I7fdR1cK9-2B3w4WKGDC6bm7d_QJQBX6maVF7NoxsE_oYZrcvCPYwU2bGOVTuB90ZBQCSnF7-vjT8cfUYazlRpYervN5bjfRCXTxQEHHoPw0PgoQVT0bpayKraoxLQZ6VR-kdOU/s1600/RCO021.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1041" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4PTt6I7fdR1cK9-2B3w4WKGDC6bm7d_QJQBX6maVF7NoxsE_oYZrcvCPYwU2bGOVTuB90ZBQCSnF7-vjT8cfUYazlRpYervN5bjfRCXTxQEHHoPw0PgoQVT0bpayKraoxLQZ6VR-kdOU/s320/RCO021.jpg" width="208" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Figure 5. </td></tr>
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Edel Baihttp://www.blogger.com/profile/00552544286265520392noreply@blogger.com0tag:blogger.com,1999:blog-4063750189351514761.post-30421100149368243932019-04-01T16:05:00.000-07:002019-04-02T05:32:55.040-07:00The Dreaming Issue #2: Perspective and Time<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in;">
<span lang="EN-CA" style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">The
second issue of <i>The Dreaming</i>, written
by Simon Spurrier and drawn by Bilquis Evely, undertakes a unique narrative
approach to telling its story. Hopping between two separate time periods, the
job of the narrator is taken over by a character within the work itself: Merv
Pumpkinhead. The time period with the primary perspective features Merv talking
to an unknown character as he rants about the problems he’s facing under new
leadership. An example of how this plays out can be seen in figure 1, which is
the opening page that begins the narrative in medias ras. A majority of the
pages however, takes place in the past with Merv’s narration detailing his
thoughts on what’s occurring with occasional inset panels returning to Merv in
the present. The manner in which Merv’s narration is overlapped with what is
happening and how the inset panels operate can be seen in figure 2. <o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjn5DTDzZDxkP7c6cjYqAtUNH5TDOYg8yXtEANziewm5bW2BSYm97mjadkCQeYNIF9p6bCJnz_fQR1HKTvgZxSp4yhM-VNXVOo__uRJAOiFIT-jcnLR5INB8jG5L4VwZsHD6fk4wOo3_yE/s1600/sandman+figure+1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="673" data-original-width="563" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjn5DTDzZDxkP7c6cjYqAtUNH5TDOYg8yXtEANziewm5bW2BSYm97mjadkCQeYNIF9p6bCJnz_fQR1HKTvgZxSp4yhM-VNXVOo__uRJAOiFIT-jcnLR5INB8jG5L4VwZsHD6fk4wOo3_yE/s400/sandman+figure+1.jpg" width="333" /></a></div>
Figure #1<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmg6J0eowQGL14ichfmhEoJXnuGgdFcpwVTd84stuGcOywBkFXS14RC50QAnUQ65lxNUlL5Q6laFQOqnrYMxwixSN8Kt6O6ckKuoktmE34cIlLpospfzFvkec7xz5acxX8ErKsPHlxC_c/s1600/sandman+figure+2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="863" data-original-width="568" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmg6J0eowQGL14ichfmhEoJXnuGgdFcpwVTd84stuGcOywBkFXS14RC50QAnUQ65lxNUlL5Q6laFQOqnrYMxwixSN8Kt6O6ckKuoktmE34cIlLpospfzFvkec7xz5acxX8ErKsPHlxC_c/s640/sandman+figure+2.jpg" width="420" /></a></div>
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<span lang="EN-CA" style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;"> Figure #2</span></div>
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<span lang="EN-CA" style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Through these examples, the unique way in which this issue of <i>The Dreaming</i> treats its audience is
established. In figure 1, although the perspective is from another character,
the way in which it is done is very much metafictive. For example, Merv refers
to the reader’s perspective in the second person multiple times, giving the
sense that the audience is this actual character within the narrative. One
almost gets the sense that Merv is monologuing to himself, but this notion is
broken once the reader’s perspective holds up a gun to Merv, clearly
illustrating to the reader that they are not simply viewing the audience
perspective, but the perspective of another character. Throughout the entire
work the audience’s perspective never speaks until near the end when the tight
focus on Merv is broken, as seen in figure 3. To say that the audience’s
perspective doesn’t have a voice until the end however, would appear somewhat
incorrect. Consider the second panel in figure 1, where Merv asks “what –
this?” as though he is asked a question by the unknown speaker about his
rotting head. Furthermore, look towards the panel in which the audience
perspective draws a gun on Merv in response to his pleading once more. Clearly,
the audience perspective – who is only introduced as being Judge Gallows in the
very last page – is not inactive as suggested by their physically being able to
pull a gun on Merv. At the same time, the reader is not treated to any of what
the audience perspective says, even though they should be very much aware that
the perspective is saying something.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdX3IxZYgKelDgJqAt64u-Pv6XZEob-STYaQbjdSufGYXEQUBMzbM9Z7ozyw1iCBCDQHAVaknQcTlX2pOrrdF8_zOPuCL6RHZisouxW1t__EktEaJgwh_nTKrIqQkpidH5aV8rhpJJmBA/s1600/sandman+figure+3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="564" data-original-width="550" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdX3IxZYgKelDgJqAt64u-Pv6XZEob-STYaQbjdSufGYXEQUBMzbM9Z7ozyw1iCBCDQHAVaknQcTlX2pOrrdF8_zOPuCL6RHZisouxW1t__EktEaJgwh_nTKrIqQkpidH5aV8rhpJJmBA/s400/sandman+figure+3.jpg" width="390" /></a></div>
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<span lang="EN-CA" style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;"> Figure #3</span></div>
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<span lang="EN-CA" style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">In effect, this forces audience interaction on two levels. As Randy
Duncan and Matthew J. Smith observe in their <i>The Power of Comics</i>: “[readers] … [use] their imaginations to not
only make static images come to life, but also to fill in actions between the
panels” (153). This claim was made after observing the myriad of different ways
readers described a single sequence of a swordfight. Put simply, readers do not
simply fill in gaps, but they fill in gaps as influenced by their own
perspective, thus leading to many potential responses. Understanding this
approach in relation to the audience of this issue of <i>The Dreaming</i> means that the possibilities for the audience’s
perspective are potentially endless until Judge Gallows himself is introduced.
The reader knows the perspective is speaking, but they do not know what the
perspective is saying, thus they are able to imagine just about anything behind
the perspective. As previously touched on, this forced perspective also works
on a metafictive level as the audience is made to feel as though they are
within the narrative itself. Overall, like its parent series of <i>Sandman</i>, which was heavily metafictive, <i>The Dreaming</i> seems to desire to
establish itself as being of a similar metafiction.<o:p></o:p></span></div>
<br />Andrew Whitmarshhttp://www.blogger.com/profile/01373736511718988427noreply@blogger.com1tag:blogger.com,1999:blog-4063750189351514761.post-15733897109180364182019-04-01T15:56:00.000-07:002019-04-01T15:56:51.568-07:00The Dreaming Issue #3: Leading Eyes<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;"> The
concept of leading one’s eyes through the reading of a comic is a very
important aspect that a creator must consider. Unlike a book or a movie where
everything is presented in a linear fashion that is easily consumable, the
reader of a comic book must piece together the various aspects of a comic. In
this day and age however, this is a relatively easy thing for many creators to
accomplish on a basic level due to the established history of comics. For
example, if one were to read a comic for the first time, they would almost
certainly know how to as long as its design is not overly complicated. In Issue
#3 of <i>The Dreaming</i>, </span><span lang="EN-CA" style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-ansi-language: EN-CA; mso-bidi-font-size: 11.0pt;">written by Simon
Spurrier and drawn by Bilquis Evely</span><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;">,
there are two splash pages which are immensely cluttered, complicated, and
busy, so much so that even experienced comic readers may have difficulty with
them. These two examples can be seen below:<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;"></span></div>
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<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;"> While
readers will generally know to start reading at the top left most caption with
both splash pages, there is a lot going on that may cause a reader to trip up
at points. This can be observed as being the tension between the linear and the
tabular, which Cohn explores in his “Mise-en-Page: A Vocabulary for Page
Layouts.” “[N]o comics page is experienced purely as a linear series … or as a
continuous tableau (a whole taken in all at once),” Cohn writes, highlighting
the inherent conflict at the heart of any comics page: it can be taken in all
at once, but it is more often than not meant to be read in a linear order (46).
Despite all the noise present within these two splash pages then, they are
clearly meant to be read linearly. This fact is easily observable by the
placement of the caption boxes, which act as an orderly guide for the eyes to
follow along. Cohn further observes, “authors [often want to] … exercise a
tight control over the reader’s eyes, a control maximized by reliance on a
visual layout organized like a verbal text,” which explains how the ordered
nature of these caption boxes operate (49). The manner in which the eyes are
lead in order to understand these two splash pages linearly however, is not
done in the traditional manner.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;"> Normally,
comics in the more traditional mode would employ panels, gutters, and tiers in
order to easily guide a reader’s eyes. On the surface, none of these aspects
are present in these two pages, at least not in their traditional forms.
Consider the first example: the caption boxes start in the top left corner and
guide the eyes downwards to a KKK rally, a few more caption boxes, and some
speech bubbles from the character Dream. Instead of using more caption boxes to
guide the eyes along however, the comic instead employs the visual of Dream
dragging several people by ropes, leading up into the character of Judge
Gallows and another caption box. Finally, the Judge brings his cane down hard
on the person sleeping in bed to symbolize his giving him nightmares, which at
the same time elegantly guides the reader’s eyes down to the final caption.
Despite the busyness of the page then, it’s clear that the reader’s eyes are
drawn along to take everything in in a smooth, succinct manner. While the
second page operates in a similar manner, using train tracks to help guide the
eye for example, it almost employs a subtle tier through the use of smoke. At
first, the reader is lead to read the page from the left to the right, but then
they come to a sudden stop with the Judge bringing down his gavel. Through the
use of the smoke however, the reader is lead to understand that this page is
essentially broken down into two tiers. Thus, when they reach the upper right
of the page, they know by convention and by the context of the page itself that
starting at the bottom right to read the rest of the page would be incorrect,
leading them to start reading the second tier from the middle-left caption box.</span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in; text-indent: .5in;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;">Overall then, the tactics
employed to guide the reader’s eye in these two busy splash pages are quite
subtlety done. They serve as an excellent example of a non-traditional way to
approach the layout of a comic’s page outside of the typical grids, panels,
gutters, and tiers.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;"><br /></span></div>
<br />Andrew Whitmarshhttp://www.blogger.com/profile/01373736511718988427noreply@blogger.com0tag:blogger.com,1999:blog-4063750189351514761.post-38711168151466492522019-03-29T07:37:00.001-07:002019-03-29T07:37:36.791-07:00The Function of Eyes in Conan the Barbarian #3<div class="separator" style="clear: both; text-align: center;">
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<u>The function of eyes in <i>Conan the Barbarian #3</i></u></div>
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<span style="font-family: "Calibri",sans-serif; font-size: 11.0pt; line-height: 107%; mso-ansi-language: EN-CA; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><br />The
recurrence of the cinematic “close up” in Aaron and Asrar’s run of <i>Conan the Barbarian </i>is especially
noticeable in the third issue. The artist makes great use of the gaze of
characters, both to focus audience attention and effect the reader response to
specific characters. On the first page of the comic, where we are informed that
the setting is Nemedia, the first of three panels is dominated by the red face
of a hanged man, whose eyes stare downwards. In diagetic space the man is
seeing his death below him, and the reader naturally will want to know what he
is staring at. The very eyes themselves guide the reader’s eye downwards to the
next panel, and we see the man quickly falling to the dogs.<br />
<br />
Later the grim face of Conan stares out at the reader before he is to be hung,
but unlike the helpless and fearful eyes of the hanged man, Conan’s face is
shaded and has a look of anger upon it. Later, the priest of Mitra stares out
at the audience, his smug smile and relative height to the sitting Conan give
him an air of haughtiness. Because the priest is not just talking to Conan but
also to the reader, it is easy to feel contempt for him, and the reader will
presumably not be much bothered when Conan throttles him.<br />
In the very next panel the reader is met with the gaze of a soldier,
highlighted by his appearance on the left hand of the page and the
representation of light in the space beyond the panel. Through this the reader
is given the impression that someone important has just arrived. The shocked
expression of the guard is revealed to be in response to the coming of the
village inquisitor, but the reaction isn’t justified until the next page, when it is
revealed that he is wielding a crossbow and intends to kill the priest. The reader expectations in all of these cases are shaped by the depiction of diagetic reactions.</span></div>
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<br />Liamhttp://www.blogger.com/profile/10855225130961490347noreply@blogger.com0tag:blogger.com,1999:blog-4063750189351514761.post-53169210629803779342019-03-18T22:29:00.000-07:002019-03-31T16:31:14.809-07:00Miles Morales: Spider-man blog post 2: Shift in Paratext Iconography and Style<div dir="ltr" style="line-height: 2.4; margin-bottom: 0pt; margin-top: 0pt; text-align: center;">
<span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 700; text-decoration: underline; vertical-align: baseline; white-space: pre;">How Line and Iconography Can Be Used to Sway a Reader</span></div>
<div dir="ltr" style="line-height: 2.4; margin-bottom: 0pt; margin-top: 0pt; text-align: center;">
<span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 700; text-decoration: underline; vertical-align: baseline; white-space: pre;">By: Elias Christian Pacheco</span></div>
<div dir="ltr" style="line-height: 2.4; margin-bottom: 0pt; margin-top: 0pt; text-indent: 36pt;">
<br /></div>
<div dir="ltr" style="line-height: 2.4; margin-bottom: 0pt; margin-top: 0pt; text-indent: 36pt;">
<div dir="ltr" style="line-height: 2.4; margin-bottom: 0pt; margin-top: 0pt; text-indent: 36pt;">
<span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">When Miles Morales: Spider-man #1 dropped in comic shops on December 12th, 2018,</span><br />
<span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;"> it was released two weeks prior to the release of Spider-man: Into the Spider-verse in cinemas. </span><br />
<span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;"> The film bought a new perspective to how to adapt a comic book, and literally </span><br />
<span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">(as literal as a comics page can be) brought Miles and other spider heroes to life. </span><br />
<span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">This effectively drove up the sales, and interest, in the ongoing title. </span><br />
<span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">So, by this reception to the film, by the time the second issue had been released, </span><br />
<span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">the interior at had stayed the same as the first issue, yet the cover was drastically changed from </span><br />
<span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">what had preceded it, mainly in order to draw in film goers to the title. </span><br />
<span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">The para text, specifically the cover, of the second issue has a drastic change to the art style, </span><br />
<span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">and heightens and highlights the shift in iconography to draw in the film audience. </span></div>
<div dir="ltr" style="line-height: 2.4; margin-bottom: 0pt; margin-top: 0pt; text-indent: 36pt;">
<span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">To begin, the most striking difference is that of the color palette. </span><br />
<span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">When compared to the first issue, the reds of his suit have a lighter quality while also having </span><br />
<span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">the black of the suit be more bluish in tone to fit the film’s highly stylized cartoon aesthetic. </span><br />
<span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">Jumping off from this point, the line work gives off a sense of cartooning that would be closer </span><br />
<span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">to an animated film. The lines are much more simplified and less detailed, having a greater emphasis placed on having </span><br />
<span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">Miles look more smooth and plastic. The shading as well is less of a black spread across with darker shades of red to simulate shading,</span><br />
<span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;"> as is the case for the first issue, instead it appears to replace that with a more standard idea in comics with that of a rigid construct of lighter areas to create highlight, </span><br />
<span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">as well as the use of benday dots and slanted lines to reinforce the idea of the classic comic book feel, which was again featured heavily in the film adaptation.</span></div>
<span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">Probably the most striking evidence to support this marketing strategy is the iconography of the</span><br />
<span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;"> main elements that draw you into the cover. The most blatant of those being the six speech</span><br />
<span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;"> bubbles with simplistic icons of everyday life, which again feed into the classic idea of the</span><br />
<span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;"> modern comic, and have the reader be able to identify these elements easily, as well as associate </span><br />
<span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">their style with that of the animation. However, a very clever use of iconography is that on </span><br />
<span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">Miles Morales himself. Having his symbol be large and bolded in the background surrounding </span><br />
<span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">him is a clever way to pay homage to his suit in the film, with the line of his suit encompassing</span><br />
<span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;"> the spider within, much like Miles’ suit does in the film. As well, the face of Miles, while still</span><br />
<span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;"> being cartoonish in style, evokes a sense of classic animated Spidey, say from the sixties,</span><br />
<span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;"> to give a hidden style to that of animation and Spider-man while also creating an arthrological weave</span><br />
<span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;"> back to the history of the animated Spider-man. Yet the most damning piece of evidence are his eyes. </span><br />
<span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;"> They are overdrawn and given a cartoon shine, with the lenses using the sine and some shading to</span><br />
<span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;"> give them a somewhat line configuration around the eye, which would evoke the main visual of the</span><br />
<span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;"> promotional material for Spider-verse, which were the eyes of Miles Morales’ mask. </span><br />
<span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">With this analysis of the theory and paratext, as well as the intertextuality, it gives light to the strategies </span><br />
<span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">of companies to draw in a bigger reading group from the films.</span><br />
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Eliashttp://www.blogger.com/profile/08097034416327175786noreply@blogger.com0tag:blogger.com,1999:blog-4063750189351514761.post-63596742766320630552019-03-18T21:56:00.001-07:002019-03-31T16:34:28.917-07:00Miles Morales: Spider-man Blog Post 1: General Arthrology<div style="text-align: center;">
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<span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 700; text-decoration: underline; vertical-align: baseline; white-space: pre;">Analyzing Arthrology Through the Spider-men</span></div>
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<span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 700; text-decoration: underline; vertical-align: baseline; white-space: pre;">By: Elias Christian Pacheco</span></div>
<div dir="ltr" style="line-height: 2.4; margin-bottom: 0pt; margin-top: 0pt; text-align: left;">
<span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">When the character of Miles Morales was created, it was answering a simple question: </span><br />
<span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">How do we re-create the same sense of wonder that Stan Lee and Steve Ditko did back in 1962? </span><br />
<span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">This task was given to Brian Michael Bendis and Sarah Pichelli, yet it was not until the newest ongoing</span><br />
<span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;"> series that focuses on the character where the most potent of a connection between both versions was </span><br />
<span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">established. Writer Saladin Ahmed and artist Javier Garron took on the recently iconic character to bring </span><br />
<span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">back the sense of Peter Parker to the character to Morales. The ongoing series </span><span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 12pt; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">Miles Morales: Spider-man </span><br />
<span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 12pt; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;"> </span><span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">is effective in establishing an arthrological connection through weaving, to have the audience create a link </span><br />
<span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">between the original idea of Spider-man and Miles version.</span></div>
<div dir="ltr" style="line-height: 2.4; margin-bottom: 0pt; margin-top: 0pt; text-align: left;">
<span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">For a jumping on point, lets start with how the overall character of Miles has changed with this series. </span><br />
<span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;"> Not generally speaking of his physical character, he still is the same Miles with the same costume, and </span><br />
<span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">still has his same home life and friends. When referring to character, it refers to the idea of the </span><br />
<span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">character of his actions. Ahmed made the decision to have his Miles be more grounded like Peter, </span><br />
<span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">and focus on his everyday struggles down in the streets of Brooklyn, like juggling high school, family, friends,</span><br />
<span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;"> his girlfriend, and fighting crime. This echoes the original writing of Peter Parker, in the sense that Lee </span><br />
<span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">wanted to make the character an image that teen readers could relate to. </span><br />
<span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;"> Thus, it makes more of a focus on showing Peter and Miles as a teenager in high school, </span><br />
<span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">with Miles borrowing the inner monologues commonly used with Peter showing their grief rather than</span><br />
<span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;"> showing them punch their way out of a situation in their spider-suits. </span></div>
<div dir="ltr" style="line-height: 2.4; margin-bottom: 0pt; margin-top: 0pt; text-align: left;">
<span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">In doing this in the current series, it creates an arthrological connection to Peter through Miles,</span><br />
<span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;"> specifically through weaving, having the actions that Miles makes and his inner turmoils demonstrated </span><br />
<span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">through monologues set up a weaved connection back to the original Peter, creating a stronger line to Miles being a re-invention of Spider-man for a new world. </span><span style="font-size: 12pt; white-space: pre-wrap;">In terms of a physical, narrative world, weaving connections are established by both Ahmed and Garron by placing Miles in the world of the original Spider-man. The first issue also sees Miles in his original setting of Brooklyn, while Peter is in Queens, but still they pit Miles against classic Spidey foe, the Rhino. They construct a familiar setting around both characters, with Rhino being caught red handed in a robbery and being apprehended by Miles, while he totes off quips towards the big brute. Having this interaction again sets up a connection, weaving in different characters, as again weaving a path back towards Peter for the reader to engage with him and place him as the newest Spider-man for the audience.</span></div>
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Eliashttp://www.blogger.com/profile/08097034416327175786noreply@blogger.com0tag:blogger.com,1999:blog-4063750189351514761.post-71092631591510777962019-03-09T15:07:00.001-08:002019-03-09T15:10:04.761-08:00<div class="MsoNormal" style="font-family: Calibri, sans-serif; line-height: 32px; margin: 0cm 0cm 0.0001pt; text-indent: 36pt;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyItJDLlxEU4FQ9ObLiygQAJw56x8u4RRdIXLC3vFzGak8doMDhPzAC1Nh_yK-y7N_Wek6S5pLk8Icd2hs94F-sqxqx5xdkLEwaT-8lpeqrMJ026vzF9Xu-08aHG_Pc4MlJlGnEN2xYWM/s1600/Daredevil-2-preview-page-1.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1600" data-original-width="1041" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyItJDLlxEU4FQ9ObLiygQAJw56x8u4RRdIXLC3vFzGak8doMDhPzAC1Nh_yK-y7N_Wek6S5pLk8Icd2hs94F-sqxqx5xdkLEwaT-8lpeqrMJ026vzF9Xu-08aHG_Pc4MlJlGnEN2xYWM/s320/Daredevil-2-preview-page-1.jpg" width="208" /></a></div>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUVOUM8A7B8WDhxea92stXLszfbmkvXG2O-AnopzZUpaLytwKF1EpDpgo8gb77sDJ6y639f5dW5NYvUuw8wVSmwqG8hyphenhyphenrsXODu6p0k2y2AClaO9Pquo1Xz6ZfnyjvZHQCprMSqOK5Oa5o/s1600/Daredevil-2-Main-Cover.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1041" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUVOUM8A7B8WDhxea92stXLszfbmkvXG2O-AnopzZUpaLytwKF1EpDpgo8gb77sDJ6y639f5dW5NYvUuw8wVSmwqG8hyphenhyphenrsXODu6p0k2y2AClaO9Pquo1Xz6ZfnyjvZHQCprMSqOK5Oa5o/s320/Daredevil-2-Main-Cover.jpg" width="208" /></a><span style="font-family: "times new roman" , serif;">Following up with the first issue I published last time, I would say that the second issue of Daredevil has made a triumphant come back from close devastating wounds futile. The clock ticks as Daredevil chases for intimations to demonstrate his innocence. Blamed for homicide and chased by what appears the whole city. In only two issues, he's layered rich storytelling and full-grown characters voiced with unique excellence to make, what they tout in the book-world as, a page-turner. This isn't simply hyperbole. The out of control ravings of a hyper Daredevil hardcore, fiending after a quality hit. This is the plain and straightforward truth. In the wake of the current week's Oscars, the narrating and the nature of composing is keeping pace with being deserving of brilliant statue wonder.</span><br />
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The acting, the illustrative way that Marco Checchetto uses his characters to play out Zdarsky's words is just one sublime note in a symphony of great art. The unpretentious creative praises proceed with Checchetto's rendering of The Kingpin, reviewing John Romita, Jr's. forcing work from the Man Without Fear limited series.<br />
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<span style="font-family: "times new roman" , serif;">It's not simply the speed lines and muscles on the assumption that let you know precisely how hard a substantial sack is being chipped away at the opening page. It's the strong, sizable PAF that befuddles your eyeballs into supposing they're your ears. The sound of DD's billy club propelling into the night air should look amusing, balancing the solitary activity of the board. However, it's impeccably adjusted to work in a state of harmony with the picture. The climactic minute, the penultimate demonstration of the issue? You best trust it wouldn't have the breaking sway it manages without the productive ability of Clayton Cowles. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUbAH_rAp-1i-MVmXszmdZjlpmmJSRzLhWFEKqTn_ZkVjIlV6wrMz0CZgQdGo6_j0XfV-w7Ve2hcbDrtPmGV6cwjV0Iv_ySZS2BMJI6Sy3OqUHnTWI7T7NlZrwH2JZEbbNhdhcviBDXSQ/s1600/Daredevil-2-preview-page-3.jpg" style="clear: right; float: right; font-family: Calibri, sans-serif; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1600" data-original-width="1041" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUbAH_rAp-1i-MVmXszmdZjlpmmJSRzLhWFEKqTn_ZkVjIlV6wrMz0CZgQdGo6_j0XfV-w7Ve2hcbDrtPmGV6cwjV0Iv_ySZS2BMJI6Sy3OqUHnTWI7T7NlZrwH2JZEbbNhdhcviBDXSQ/s320/Daredevil-2-preview-page-3.jpg" width="208" /></a>In terms of colouring, I would useMcCloud’s theory of words and colours which states that Colour can be said to have physical and emotional effects. This works really well in this issue where the use of colour in comics has been limited due to commerce and technology. As McCloud says that colour is made by the combination of cyan, magenta and yellow are mixed. Also, Colour costs more to produce but also makes for better sales. To get the brightness and contrast costumed heroes were dressed in bright primary colours and lived in a bright primary world. Often the effect of the many colours was overall dulling in emotional effect. The colours had iconic power, as the colours of the heroes costumes became iconic. Flat colour also emphasizes the shape of objects making them stand out from the background.</div>
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Noor Taherhttp://www.blogger.com/profile/13263032532160955405noreply@blogger.com0tag:blogger.com,1999:blog-4063750189351514761.post-57115295513695321192019-03-08T17:00:00.001-08:002019-03-08T17:00:22.674-08:00<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOVvgmAN5hSHNjQsM_fCJm-SEW7KuXRiGcmmeKRwtRZbjHj96GLMQc5XJ4HIAcxMyrNE_m0uJufYTjT541IlUfXII9UGOt_0ORLIda_AWmztmzKysCc3aoE5-IoXJHObC2gywqehkI-F0/s1600/IMG_0601.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1600" data-original-width="1159" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOVvgmAN5hSHNjQsM_fCJm-SEW7KuXRiGcmmeKRwtRZbjHj96GLMQc5XJ4HIAcxMyrNE_m0uJufYTjT541IlUfXII9UGOt_0ORLIda_AWmztmzKysCc3aoE5-IoXJHObC2gywqehkI-F0/s320/IMG_0601.jpg" width="231" /></a></div>
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<span style="background-color: white; font-size: 12pt; font-weight: normal; text-align: center; text-indent: 36pt;">I chose to do my first blog on the first issue of Marvel Daredevil LGY#613 which is called the man without fear written by Zdarsky and Checcetto. This edition has a lot of messy grounded colures and the cover is really dynamic. </span></h2>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEih3-aMgvvEvPhghmZzuMx8-rYdz78KIIOcltEA5xVena5IuBND6tDhLYlijtzRMaKV7GsQhgkOmZv7OxipW27MkBzr-Txbn8DyJ5Mkj5MWzhDisRC7PoHKv4RcyY175pNVvIo5CNf6b4I/s1600/IMG_0609.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1600" data-original-width="992" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEih3-aMgvvEvPhghmZzuMx8-rYdz78KIIOcltEA5xVena5IuBND6tDhLYlijtzRMaKV7GsQhgkOmZv7OxipW27MkBzr-Txbn8DyJ5Mkj5MWzhDisRC7PoHKv4RcyY175pNVvIo5CNf6b4I/s320/IMG_0609.jpg" style="cursor: move;" width="198" /></a><span style="background-color: white; font-size: 12pt; font-weight: normal; text-align: center; text-indent: 36pt;">In this issue, the hero does uncommon things which are pushing and threatening a cap whereas he was supposed to be working together. Also, there are a lot of flashbacks and then we see Daredevil alone in all threads in a one-night stand. Basically, the story is about the hero wants to get back to the game after being crushed by a truck. </span></h2>
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<span style="font-size: 12pt; font-weight: normal; text-indent: 36pt;">For those who only started to read this issue, they are not capable enough to keep up with the sequence of events because this issue does not actually explain what we have missed. The story was written as a lifetime movie. In this issue, there is a lot of work done on the characters development but little in actions’ development. </span></h2>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimelJWYHikGC4a2FYN9LukuYZiyogHmHDEbyDpN7d9qcLjcu3yB-lR261zHd6XXPFJN4vCOnPl-Z4s66W13hZbVqhaoVK3FfIenrJPeSDR1ldLNb0TICAUVEHs8rMYdkUvqRpVWW_VhyY/s1600/IMG_0606.jpg" imageanchor="1" style="background-color: white; clear: right; display: inline !important; float: right; font-size: 12pt; font-weight: normal; margin-bottom: 1em; margin-left: 1em; text-indent: 36pt;"><img border="0" data-original-height="1600" data-original-width="1018" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimelJWYHikGC4a2FYN9LukuYZiyogHmHDEbyDpN7d9qcLjcu3yB-lR261zHd6XXPFJN4vCOnPl-Z4s66W13hZbVqhaoVK3FfIenrJPeSDR1ldLNb0TICAUVEHs8rMYdkUvqRpVWW_VhyY/s320/IMG_0606.jpg" width="203" /></a><span style="font-size: 12pt; font-weight: normal; text-indent: 36pt;">It wasn’t seen as a horrific but rather as more like a detective story. It is a really good first issue because it shows how the writer balances his life through visualities. Zdarsky dives in and focuses on the Catholic aspects of Daredevil.</span></h2>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9zaVakbldr1fU1kzu_1l5gCvEoyFKGGiMO7UFeY8R0SPocPYiRraWKdwNzirgI4nGcimu0s8XnDcv9Qwhcqp_jkcgyCqY64PCoGMjTAnp7-M3peKUjj0jiP9Qyk2NAZQhRzNaNp4vYKg/s1600/IMG_0607.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1600" data-original-width="955" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9zaVakbldr1fU1kzu_1l5gCvEoyFKGGiMO7UFeY8R0SPocPYiRraWKdwNzirgI4nGcimu0s8XnDcv9Qwhcqp_jkcgyCqY64PCoGMjTAnp7-M3peKUjj0jiP9Qyk2NAZQhRzNaNp4vYKg/s320/IMG_0607.jpg" width="191" /></a></h2>
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<span style="font-size: 12pt; text-indent: 36pt;">Here is a radical twist from holly sacred setting from a church to a daily life setting in a bedroom. </span></h2>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYnFRE8bB4GaUFhyphenhyphenuBaUxDss0-FQIfh7fA4PZ2CzzFVnhbtTT3u0BksAOSHQsL3ZIeJa3b-9XlGMsO81G7QZTqA3i4lGXrc2YE6EkwVClKFfth9RpFyyycoEKHPRVzQda-mEJhqRfxpd4/s1600/IMG_0603.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1600" data-original-width="1030" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYnFRE8bB4GaUFhyphenhyphenuBaUxDss0-FQIfh7fA4PZ2CzzFVnhbtTT3u0BksAOSHQsL3ZIeJa3b-9XlGMsO81G7QZTqA3i4lGXrc2YE6EkwVClKFfth9RpFyyycoEKHPRVzQda-mEJhqRfxpd4/s320/IMG_0603.jpg" width="206" /></a> </div>
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<span style="background-color: white; font-size: 12pt; font-weight: normal; line-height: 32px;">In these images, it is obvious that punch of strangers is being followed by Daredevil. <o:p></o:p></span></h2>
<h2 style="font-family: "Times New Roman", serif; font-size: 18pt; line-height: 48px; margin: 4.5pt 0cm;">
<span style="background-color: white; font-size: 12pt; font-weight: normal; line-height: 32px;">The panel has a view of nighttime of a city with bolding the word “CHOK ” which signifies the blood that comes out of the hero. Even though the reader does not get to see the actual accident, they still can sense that the man is aggressively and physically approached by another man throughout the signs that the author chose to use especially the use of vocabulary which is been mentioned and discussed by McCloud</span><span style="font-size: 12pt; font-weight: normal; line-height: 32px;">Understanding Comics, Ch. 2. Also, the time that the reader takes to read the comic does not necessarily mean that it has to deal with the timing and rhythming of these comics. But it has to do with the author and how he directs the reader through the narrative choices. <span style="background-color: white; background-position: initial initial; background-repeat: initial initial;">As well, Bongco argues that In comics, time is a function of space, and panels serve as divisions of time,” (80). McCloud provides a diagram which explains the six different timing transitions. The first panel-to-panel transition is moment-to-moment, which can take place over a few seconds. The second is action-to-action, which is also usually quick but is focused on a single action. The third is subject-to-subject, which can take place within one scene. Next is scene-to-scene, which brings the reader across different settings. Fifth is aspect-to-aspect which brings the reader across different scenes, ideas, emotions, or aspects.<o:p></o:p></span></span></h2>
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<span style="background-color: white; font-size: 12pt; font-weight: normal; line-height: 32px;">Eventually, there is non-sequitur where comic panels don't share any sort of relationship (McCloud, 70-74). These distinctive timing transitions fill in as an author's narrating tools. Without a doubt, the creator of these panels could have made an alternate storyboard with more boards that happen in the middle of the left and ideal to give more detail of the occasion. authors must choose which panels are important to make the ideal comprehension of the event, just as work that is stylishly satisfying. They pick what they will put in the panel and what they should forget for the per user’s conclusion. A per user’s comprehension of the story is one of the greatest variables when settling on innovative choices.<o:p></o:p></span></h2>
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<span style="background-color: white;">To Be Continued ...Next Issue</span></div>
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Noor Taherhttp://www.blogger.com/profile/13263032532160955405noreply@blogger.com0tag:blogger.com,1999:blog-4063750189351514761.post-19178824084834404432019-03-03T12:18:00.001-08:002019-03-03T12:25:00.643-08:00<br />
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<h3 style="text-align: left;">
Mulling over
Middlewest </h3>
<div>
by Alia Sabzwari</div>
<b></b><br />
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">The comic that I
have chosen is issue #4 of <i style="mso-bidi-font-style: normal;">Middlewest</i>
by Skottie Young and Jorge Corona. I was attracted to this comic due to the
expansive imagery of the cover page as well as the mixture of both dark, almost
ominous colors mixed with the softer, almost water color like drawings. And
I’ll admit, I am a sucker for a story with a cool-looking robot.<span style="mso-spacerun: yes;"> </span></span><br />
<br />
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"><span style="mso-spacerun: yes;"> </span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZyxAsymQKhBizMBz2iIUPj6J08-lbvKTZY07ydBsAfbky2Mu75NJM5unYFIdPSUKKrDj4WhUWaE10fy3BfWxSfnh0qEe6BMkkgdYy7z8yUJ7nUU3aN1u_M2R1B3NzYqPP8pXJ7pPRsN0U/s1600/alias+%25283%2529.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1052" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZyxAsymQKhBizMBz2iIUPj6J08-lbvKTZY07ydBsAfbky2Mu75NJM5unYFIdPSUKKrDj4WhUWaE10fy3BfWxSfnh0qEe6BMkkgdYy7z8yUJ7nUU3aN1u_M2R1B3NzYqPP8pXJ7pPRsN0U/s640/alias+%25283%2529.jpeg" width="420" /></a></div>
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<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">A first glance
of the cover may cause the reader to think the story is about the child front
and center with their robot, but neither of these characters are our main
protagonist. In fact, our main protagonist is the faceless child on the bottom
right corner of the cover. Did you see him? Go back and look at the cover
again, he’s right at the bottom, running for his life, it seems. I’ll wait.
You’re back? Cool, but I’ll say this: I did not even notice the faceless child
at first. After all, why would our main protagonist, whom we spend almost the
entirety of this issue with, be so inconspicuous? </span><br />
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"><br /></span>
<br />
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Among the main
techniques that Young and Corona use to convey the meaning of this story is in
the speech bubbles and the panels themselves. Wrench the robot’s speech bubbles
are noticeably different then the human characters. While the speech bubbles
for the humans are square with softer corners, Wrench’s bubbles are rigid and
sharp as are the font of his letters. This creates an interesting phenomenon in
regards to how we “hear” the voice of Wrench in our minds. The sharpness of the
speech bubble calls to mind a computer screen with words appearing and our
background knowledge relating to robots allows us to make the connection
between robots and computers. Therefore, the reader understands what Wrench is
supposed to sound like; a comic cannot create sound. However, the design of the
speech bubbles is to give us an idea of what Wrench is supposed to sound like:
robotic and rigid, in comparison to the human characters. </span><br />
<br />
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">So, why isn’t
the main character the focus of this issue? My stance: the main character does
not have a clear identity. Throughout the issue, the main character’s name is
never mentioned: he is only ever referred to as “Kid.” Further evidence for
this position, is that there are several times throughout the comic, when the
Kid’s face simply disappears, typically in scenes where he feels confused or
lost.</span><br />
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"><br /></span>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEip57gbkldx6nvB46mqQAZmB9VxeN0S0pfWhbhAqz0c1emJWBtsY_h3KSdsO9KMIyCkOBMjeI7JIgW2ayoFkcf-Qa7sMtKkuY0-LUZJS_kus3SfKHFAq6pY7qN-Iwuz5ZH30e3ow3ucgpf0/s1600/alia2.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1046" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEip57gbkldx6nvB46mqQAZmB9VxeN0S0pfWhbhAqz0c1emJWBtsY_h3KSdsO9KMIyCkOBMjeI7JIgW2ayoFkcf-Qa7sMtKkuY0-LUZJS_kus3SfKHFAq6pY7qN-Iwuz5ZH30e3ow3ucgpf0/s640/alia2.jpeg" width="418" /></a></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"></span><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"></span><br />
<br />
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Young plays
around with panels several more times in this issue: they open up and disappear
when he wishes to show how bigger the tents in the amusement park are than the
Kid (who cannot afford anything there and is simply reminded of how they are
too great for him to obtain)</span><br />
<br />
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">During the chase
scene between Wrench and Kid, the panels become noticeably shorter, forcing the
reader to move quickly between one panel to the next. There is no dialogue at
all during the chase scene, which means that the reader would not spend any
time reading words.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh12DzelGVnlmH0OlFq0kvsDx2E1TOD2RTAe9tsnPOYTX3K7Gt_JdtLxqIvTBghwtaJGnJZGDeYHjMVRhMpg3sS5Vm4KJPus774iukxq6ZsLb-adCVK9EtqYdc7dTlYuPoHNdOxBwSr8fdS/s1600/alia3.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><br /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVru8wroJsQPQ2TWAB4QqQGCtePaUbWSEznAO7XdAyCna4_Q8Wbjkz4HBfmRPGP97azkFmdE8oDzXNXIpmeJNPdqToGw9xZSurWagUvoS2hzOY6zT5o3EfnfTTjJEaS9H1gFeCmjXF7pqb/s1600/alia4.jpeg" imageanchor="1" style="-webkit-text-stroke-width: 0px; clear: right; color: #0066cc; float: right; font-family: Times New Roman; font-size: 16px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; margin-bottom: 1em; margin-left: 1em; orphans: 2; text-align: center; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><br /></a></div>
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<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">The above spread
feels very much like a chase scene film straight out of a movie, even ending on
a small panel of the Kid blearily looking at something off panel. This panel
creates a strong sense of suspense as the reader immediately wants to know what will happen next, encouraging the reader to turn the page and determine the outcome of the chase.</span></div>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-z1GhPY756BEaBJUmZ4wJljwhblSwRapRPySOpItmxLsXzx5iySFFjxl8y94hHm34pORcFjikEt8AVyFZYOR75Qkd7LP7ICCTiE9PE82JysZGw8NxurXDNnghdzqDB8LM06uH5YR96q9s/s1600/alia4.jpeg" imageanchor="1" style="-webkit-text-stroke-width: 0px; clear: right; color: #0066cc; float: right; font-family: Times New Roman; font-size: 16px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; margin-bottom: 1em; margin-left: 1em; orphans: 2; text-align: center; text-decoration: underline; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"></a><br />
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">But my personal
favorite is this page. </span><br />
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"><br /></span>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNGqqdHCBDhinc-qcuqY8vWnGZuxa1CE_tJpyWBa_nR9B8auZn3U6JJKVhyN2wtk-iauFR4YpoEI5jM6vOL2F2kbvSmNky5dN6SsZezoXSJjp5_UvvYx_u36nVDWRsNgOnDBURtwvjZNZI/s1600/alia5.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1029" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNGqqdHCBDhinc-qcuqY8vWnGZuxa1CE_tJpyWBa_nR9B8auZn3U6JJKVhyN2wtk-iauFR4YpoEI5jM6vOL2F2kbvSmNky5dN6SsZezoXSJjp5_UvvYx_u36nVDWRsNgOnDBURtwvjZNZI/s640/alia5.jpeg" width="411" /></a></div>
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"><br /></span>
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"><br /></span>
<span style="font-family: "times new roman" , "serif";">I<span lang="EN-US" style="font-size: 12.0pt; line-height: 115%;">t is fascinating to me how the Kid’s face is
split into two panels: in the first panel he is visibly desperate and
frightened, but in the second (after he is divided by the thugs chasing him),
he is angry and determined. To me, what is demonstrated by both words and
pictures is the psychological division of the Kid, which connects to his
uncertain identity throughout the issue. Is he a frightened child or a brave
fighter? Like a true child or “kid,” he is growing and trying to discover who
he is.</span></span><br />
<span style="font-family: "times new roman" , "serif";"></span><br />
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">And perhaps,
just what he is. In the following page the Kid unleashes his scream, demonstrating that he possesses a strong
power through his scream: which is so powerful that no onomatopoeia can do it
justice. In
other words, the silence (we take it) is deafening.</span><br />
<br />
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">The last
page-and the last thing I will talk about-does show a scream…but it does not
come from the Kid, whose mouth is visibly closed in this scene. We are left to
indicate that whoever is screaming is doing so as a result of the damage that
the Kid’s scream has brought. This time, the Kid is shining in light, but he is
surrounded by darkness, symbolizing death and leaving it up to the reader's imagination as to what will happen next.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7_IgrrbQLEOTzgN9DCuF_O-hMdwaaBSJY92W3TgP42pNznQEUJcHc09MIR41TOaETn3t9RdU6EGyI0h7wEnjzd9ZKQ6jBMom9Howaso0rTk7q1nSz3OSfvkRii5Q9GLp6GHdhwy_A00e9/s1600/alia6.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1037" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7_IgrrbQLEOTzgN9DCuF_O-hMdwaaBSJY92W3TgP42pNznQEUJcHc09MIR41TOaETn3t9RdU6EGyI0h7wEnjzd9ZKQ6jBMom9Howaso0rTk7q1nSz3OSfvkRii5Q9GLp6GHdhwy_A00e9/s640/alia6.jpeg" width="414" /></a></div>
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<b></b><i></i><u></u><sub></sub><sup></sup><strike></strike>Aliahttp://www.blogger.com/profile/14191646261486771438noreply@blogger.com0tag:blogger.com,1999:blog-4063750189351514761.post-2861488630562692972019-02-16T07:50:00.002-08:002019-02-25T05:25:51.090-08:00Bleeding Worlds in Man-Eaters<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmT32FHsu1oe_Q60izF7PBPGmTeploScDHGBNssVoPRuMYkIRJxVKyFp1TWTd_OrplPGE4ST3O1bCI4J7L4gdJIHFlhvkOA90klo4OGOlquDT1olLeMXYRD3ICSwlfVLzCiGMwjPedY9A/s1600/man-eaters_89bbe9e589.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="400" data-original-width="1200" height="132" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmT32FHsu1oe_Q60izF7PBPGmTeploScDHGBNssVoPRuMYkIRJxVKyFp1TWTd_OrplPGE4ST3O1bCI4J7L4gdJIHFlhvkOA90klo4OGOlquDT1olLeMXYRD3ICSwlfVLzCiGMwjPedY9A/s400/man-eaters_89bbe9e589.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Man-Eaters Issue 1, Front Cover</td></tr>
</tbody></table>
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<div style="text-align: center;">
<span style="font-family: "courier new" , "courier" , monospace;"><span style="font-size: large;">***NO SPOILERS. NONE.***</span></span></div>
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmh65c2LakmiW8LscRgqjlgVyhHpeSWoezi2b7BH3aIj_-SvVRVTu-TJOj2cBNBBSQtFrNfiC4_2GIdqZ4cdW7kfuxOyMwx5FxwiEdruolJ5PIiQ1dFeqOU_XcjhU0Ulal2TVcJnZYB0M/s1600/maxresdefault.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="684" data-original-width="859" height="317" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmh65c2LakmiW8LscRgqjlgVyhHpeSWoezi2b7BH3aIj_-SvVRVTu-TJOj2cBNBBSQtFrNfiC4_2GIdqZ4cdW7kfuxOyMwx5FxwiEdruolJ5PIiQ1dFeqOU_XcjhU0Ulal2TVcJnZYB0M/s400/maxresdefault.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Man-Eaters Issue 1, page 15</td></tr>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: "times" , "times new roman" , serif; font-size: x-large;">You guys, Man-Eaters gets me turnt up. Not only is it feminist AF and <a href="https://www.bleedingcool.com/2018/09/26/14-ways-chelsea-cains-man-eaters-violates-the-comics-code-of-1954-spoilers/">breaks the comics code on repeat</a>, but its play with thresholds and boundaries between the narrative world and the real world adds so many more
layers to the story. <o:p></o:p></span></span></div>
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<br /></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: "times" , "times new roman" , serif; font-size: x-large;">An important thing to note about me is that I don’t understand the world
through my eyes very well, a reason I have long-struggled with the comics medium. I tend
to process information primarily through sound. When I read, I feel and hear the words before my brain understands what it’s seeing. I read with
my ears. If someone like me gets excited about what’s happening with the art
in a comic, you know it’s lit. <o:p></o:p></span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-large;"><span lang="EN-US" style="mso-ansi-language: EN-US;"></span></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTo_ufYKkTA0ZYHSD97nilybG_SbB8PQnO8x5xc73zKlYkdcnDOAwKJdYHfgD5ZUgg_nw3hwbKo2q59MsLAmc1Fb7kP8Fnln9jWgafwVxDml2sttYQb_J92rVoWDQSUODiv8JTB8fiXHs/s1600/02.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="font-family: "times" , "times new roman" , serif; font-size: x-large;"><img border="0" data-original-height="1600" data-original-width="1041" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTo_ufYKkTA0ZYHSD97nilybG_SbB8PQnO8x5xc73zKlYkdcnDOAwKJdYHfgD5ZUgg_nw3hwbKo2q59MsLAmc1Fb7kP8Fnln9jWgafwVxDml2sttYQb_J92rVoWDQSUODiv8JTB8fiXHs/s320/02.jpg" width="208" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Man-Eaters Issue 1, Page 1</span></td></tr>
</tbody></table>
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<span lang="EN-US"><span style="font-family: "times" , "times new roman" , serif; font-size: x-large;">Throughout the
series, there are items from the diegetic world made into paratext of the
material floppy itself. The reveal on the very first page in the entire series (seen left) opens with a perfect example of this. I mean, the Ministry of Trouble is clearly an Orwellian-Rowling hybrid of literary silliness and if we, in the real world, see a cat we don't have to seek shelter immediately (I assume). We know this is fictive so it <i>seems</i> its only function is paratextual, to give weight to the comic as a book.</span></span></div>
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<span lang="EN-US"><span style="font-family: "times" , "times new roman" , serif; font-size: x-large;"><br /></span></span></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="clear: left; float: left; margin-bottom: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEVhMTQWNYZSc4r2-5IjBQzgak7qe2BPJhms8tj6BmTEb6kev5LAH9K-QRl2AJS8qmOiVvppSSjw606ArDs0wparNnPuEZmwGKmK97czbqszVCgX6wKTYcf0fYYYnpzApl7oKXCiOg9wQ/s1600/RCO012.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="font-family: "times" , "times new roman" , serif; font-size: x-large;"><img border="0" data-original-height="1600" data-original-width="1041" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEVhMTQWNYZSc4r2-5IjBQzgak7qe2BPJhms8tj6BmTEb6kev5LAH9K-QRl2AJS8qmOiVvppSSjw606ArDs0wparNnPuEZmwGKmK97czbqszVCgX6wKTYcf0fYYYnpzApl7oKXCiOg9wQ/s1600/RCO012.jpg" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Man-Eaters Issue 1, Page 12</span></td></tr>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-large;">The reappearance, or braiding, of this image on </span><span style="font-family: "times" , "times new roman" , serif; font-size: x-large;">page twelve creates our readerly awareness of the poster as an artifact from the diegetic world, calling "attention to the text as an artificial construct" (<a href="http://www.mattsmediaresearch.com/pdfs/ReflexivityInComicArt.pdf">Jones, 2</a>) and retroactively resignifying (<a href="https://www.rit.edu/press/narrative-structure-comics-making-sense-fragments">Postema, 50</a>) the image, giving us more information about the story and the world it exists within, yet avoiding lengthy, boring, wordy explanations. </span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-large;">Genette tells us that "more than a boundary or a sealed border, the paratext is, rather, a <i>threshold</i>" (his emphasis, <a href="https://internt.ht.lu.se/doc/1408547525.calendarEvents.6300.pdf.0.Introduction_to_the_paratext.pdf/Introduction%20to%20the%20paratext.pdf">260</a>), but what exactly are we crossing here? Worlds, people. We are crossing worlds.</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-large;">In essence, by breaking the fourth wall, these images peppered throughout the narrative bleed into the real world we live in. A world the comic comments on, making the impact all the more palpable. </span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: x-large;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif; font-size: x-large;">By playing with these boundaries, The Ministry of Trouble complicates for readers which world is which, blurring the lines between reality and fiction. This distinction, one that usually helps keep the story distant from our real lives, gets removed and has us considering just how frighteningly similar our world is to the narrative one. </span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-large;"></span><br />
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-large;">There are probably hundreds of examples </span><span style="font-family: "times" , "times new roman" , serif; font-size: x-large;">in this series </span><span style="font-family: "times" , "times new roman" , serif; font-size: x-large;">to enjoy and, I promise, totally worth your attention. In fact, the fourth issue is entirely comprised of concepts and artifacts from the narrative world in magazine style.</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifIy_D7x6lWrMRPS66y_6MERY0aAQkN8xpVri_NKmqQhMBZg1fBPSDXxr2GMEgbO5j8AsFBxL9D2AZhSCcP_p818G0vBEIfz7TuJWlD4Ja2MHwGlU9-VJdeOcw6BCaahaR70fYeS6LNMA/s1600/JUL180103-600x924.jpeg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="924" data-original-width="600" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifIy_D7x6lWrMRPS66y_6MERY0aAQkN8xpVri_NKmqQhMBZg1fBPSDXxr2GMEgbO5j8AsFBxL9D2AZhSCcP_p818G0vBEIfz7TuJWlD4Ja2MHwGlU9-VJdeOcw6BCaahaR70fYeS6LNMA/s320/JUL180103-600x924.jpeg" width="206" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Man-Eaters Issue 1, Page 2 (my arrows)</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXU9a38MoeNMYlR7SAyu28nP3nOU-tF9GJtoLlyEOlRdTnHJGTgAguRMK3-so-fKPCTeKBYUxsmmiKHizRzsTxnbPYFr0WucoXtGWdvbv091bdNSiSqod_qTC6Zg5qloyAuod0Ejq6ceg/s1600/03.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1041" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXU9a38MoeNMYlR7SAyu28nP3nOU-tF9GJtoLlyEOlRdTnHJGTgAguRMK3-so-fKPCTeKBYUxsmmiKHizRzsTxnbPYFr0WucoXtGWdvbv091bdNSiSqod_qTC6Zg5qloyAuod0Ejq6ceg/s320/03.jpg" width="208" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Man-Eaters Issue 4, Page 1</td></tr>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-large;">Interested in more? Man-Eaters Issue 6 is available at <a href="https://www.comicshoplocator.com/Home/1/1/57/575">your local comic book shop</a> on February 27th and <a href="https://imagecomics.com/comics/series/man-eaters">you can order all the issues from Image Comics</a>.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7gcCezZkbVYKfEuAPMzsdTKg6LpvEv1N3SgPo5wqoJKSMxxWQ_Nq6n_BaQXXm0y6538EVFHEjwXroColcioWQqbMFmswfdxUAGIcfwDJpiRvSeJP-uNPrcem1BZ6EMAkodyfUGumox5M/s1600/02+%25281%2529.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1041" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7gcCezZkbVYKfEuAPMzsdTKg6LpvEv1N3SgPo5wqoJKSMxxWQ_Nq6n_BaQXXm0y6538EVFHEjwXroColcioWQqbMFmswfdxUAGIcfwDJpiRvSeJP-uNPrcem1BZ6EMAkodyfUGumox5M/s640/02+%25281%2529.jpg" width="416" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Man-Eaters Issue 3, Page 2</td></tr>
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KChttp://www.blogger.com/profile/05364613853461140555noreply@blogger.com0tag:blogger.com,1999:blog-4063750189351514761.post-44996848815545677582019-02-15T07:40:00.000-08:002019-02-15T07:59:13.737-08:00Intertextuality and Reflexivity in Aaron and Asrar's Conan the Barbarian #1<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: "calibri" , sans-serif; font-size: 11.0pt; line-height: 107%;">Intertextuality
and Reflexivity In Aaron and Asrar’s <i>Conan
the Barbarian #1<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjFbl4oj4C2eZvlwWF1KQ8t59Z4TFWsYhf8HG3_fAqxv5ki5LJNmd34L5uvzgSzqvNio82vCT7_8DhyEStRAVnczLShilGp3NLRS-1yxkWHpdcJySfZ5ftvhUoDzyxFnmeNpQDr3oCmlf-/s1600/20190215_103028%255B1%255D.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1200" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjFbl4oj4C2eZvlwWF1KQ8t59Z4TFWsYhf8HG3_fAqxv5ki5LJNmd34L5uvzgSzqvNio82vCT7_8DhyEStRAVnczLShilGp3NLRS-1yxkWHpdcJySfZ5ftvhUoDzyxFnmeNpQDr3oCmlf-/s320/20190215_103028%255B1%255D.jpg" width="240" /></a></div>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEQzvGNITvwXoZiFYVp_B6GGPHe6lma8il2zIhiDRXINH9gdQYRr1QoyllCh-G2N_6W8CUfAv3ZmwUBHBLCq8jZt3oqPtgLFqdqui7gtalWqCtnpBByiDLMmHktsXw3QGp54wxuixga_j_/s1600/20190215_084546%255B1%255D.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1600" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEQzvGNITvwXoZiFYVp_B6GGPHe6lma8il2zIhiDRXINH9gdQYRr1QoyllCh-G2N_6W8CUfAv3ZmwUBHBLCq8jZt3oqPtgLFqdqui7gtalWqCtnpBByiDLMmHktsXw3QGp54wxuixga_j_/s640/20190215_084546%255B1%255D.jpg" width="640" /></a><span style="font-family: "calibri" , sans-serif; font-size: 11.0pt; line-height: 107%;">Writers of the now venerable Conan series, which has passed between Marvel
and Dark Horse since beginning in 1971, have always been aware of the literary
tradition started by Conan creator Robert E. Howard in the 1930s. Further
complicating the realm of intertextual signification are the two cult Conan
movies starring Arnold Schwarzenegger in the 1980s. Therefore, Jason Aaron had three
legacies to draw upon when writing the new volume of Conan: those of the
original short stories, the older comics and the films. Aaron's writing and Asrar's artwork succeed in drawing together all three in the first issue.<br /><br /> On the cover a bubble is placed just below the right hand side of the sword
that contains the subtitle, and just to the right of king Conan’s head,
advertising the inclusion in this issue of “an all-new Conan novella.” This
placement makes sure that the bubble catches the eye of the reader. The
inclusion of this novella, written by John Hocking, works as a promotion for the
revival of Conan literature that Marvel appears to be affecting. The inclusion
of Hocking’s novella also draws attention to the differences between the two
dominant mediums utilized by Conan authors. This would be an example of
reflexivity, by allowing the reader to experience Conan in both the visual and
literary mediums, without privileging the older medium or the, admittedly still
rather old, medium of comics. This is also an intermedia approach, if we view
the novella chapter and comic as inseparable due to their paratextual
connection as part of the same physical book.<br />
<br />The opening spread begins with a collage of older Conan comics with the
opening words from Howard's "The Phoenix on the Sword" imposed over the images. For a long-time Conan fan
such as myself, these images serve to immediately connect this new run with the
old tradition, while also transforming the old stories into a mass of
primordial stuff from which the new series has essentially evolved. Using the
findings of Matthew Jones, I can argue that through my having read Howard’s work
and many of the subsequent comics I get more from the experience of reading, as
every one of these tactically placed establishing panels acts as a signal that
what is coming in the following panels is going to be similar to what I am used
to. Using Groensteen’s iconic solidarity, I will relate these images to those following
largely unconsciously. In fact, the image of Conan on his throne, resembling a
scene featured in the beginning of 1982’s <i>Conan
the Barbarian</i>, is in iconic solidarity with a film almost 40 years old! Other
panels stand in relation to panels in comics that are roughly 50 years old. Therefore,
despite being a reboot of the Conan franchise, Aaron and Asrar’s <i>Conan the Barbarian #1 </i>feels like a sequel
as well. <br /><br /><br /><br /><br /><br /><br /><br />
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<!--[endif]--></span>Liamhttp://www.blogger.com/profile/10855225130961490347noreply@blogger.com0tag:blogger.com,1999:blog-4063750189351514761.post-84292801261591777922019-02-01T17:30:00.000-08:002019-02-01T17:33:49.565-08:00For my third post, I chose to do it on Frankenstein: The Graphic Novel. In this blog post, I will be discussing the use of emanata, the gutter, and panels as well as how they function in the novel. To begin, on page 27 is an example of a beautiful use of emanata. Victor Frankenstein has just woken up for a distressing nightmare of his fiance transforming into the horrifying corpse of his dead mother. In order for the artist to physically show how distressing and horrifying this was for Victor, the author drew sweat beads around his forehead and face to suggest that his dream has left him feeling disturbed and anxious. In this sense, the use of emanata (sweat beads) is used as an effective way to add onto the meaning of the text through showcasing the character's emotions, feelings, and current state of mind. Without the use of emanata, the characters would be devoid of much display of emotions. Secondly, the use of the gutter is depicted on page 54-55 during the first meeting of the monster and Frankenstein. In panel 1, Victor is attacking the monster by attempting to punch him but in the second panel, the reader sees Victor is on the ground in pain. the character has to "observe the parts, but perceive the whole" (Scott McCloud) in the sense that the reader has to imagine what has happened between these two panels, which more than likely is that the monster has pushed Victor to the ground before Victor had the chance of punching him in the face. The space between these 2 panels is called the gutter, the space that connects these 2 panels together and completes them but is not depicted visually on the page. Thus, it is a conceptual area of the reader's mind that he or she applies to make sense of the whole part. Lastly, the use of open panels in the form of a splash page on page 52-23 is used because it is depicting a highly anticipated climax in the novel: the confrontation between the monster and Frankenstein in which this is the first time they meet face to face. The splash page, open border panel is most appropriate because it is dramatic moment in the graphic novel that the reader has been awaiting for, similar to an action scene in a movie. In this sense, the splash gives the attention required for an important scene in the graphic novel.<br />
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<br />Meera Al Bataynehhttp://www.blogger.com/profile/11203492562948398478noreply@blogger.com0tag:blogger.com,1999:blog-4063750189351514761.post-6874333282608727002019-01-29T19:49:00.003-08:002019-01-30T08:31:05.324-08:00<span id="docs-internal-guid-24696be3-7fff-e824-b425-f9519350d77e"></span><br />
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<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">In this commentary on the second edition of Old Lady Harley, I will be discussing the use of </span><br />
<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">multimodality </span><span style="font-family: "arial"; font-size: 11pt; white-space: pre;">and intertextuality in the comic. Intertextuality is the author’s references to other media</span><br />
<span style="font-family: "arial"; font-size: 11pt; white-space: pre;"> (books, flms,</span><span style="font-family: "arial"; font-size: 11pt; white-space: pre;">etc.) while multimodality is the use of visual, verbal, and other modes in a text.</span><br />
<span style="font-family: "arial"; font-size: 11pt; white-space: pre;"> To begin, one page 2,</span><span style="font-family: "arial"; font-size: 11pt; white-space: pre;">there is synaesthesia used in which certain words in the comic are depicted</span><br />
<span style="font-family: "arial"; font-size: 11pt; white-space: pre;"> to have a certain color,</span><span style="font-family: "arial"; font-size: 11pt; white-space: pre;">smell, and appearance. The reader is associating the word “BURRRP!”</span><br />
<span style="font-family: "arial"; font-size: 11pt; white-space: pre;"> coming from the monster with </span><span style="font-family: "arial"; font-size: 11pt; white-space: pre;">an odour because it is green [rotten smelling], textually, it tells the</span><br />
<span style="font-family: "arial"; font-size: 11pt; white-space: pre;"> reader what sound the monster is </span><span style="font-family: "arial"; font-size: 11pt; white-space: pre;">creating, and the melting visual element of the word dripping </span><br />
<span style="font-family: "arial"; font-size: 11pt; white-space: pre;">down the panel makes the word just as </span><span style="font-family: "arial"; font-size: 11pt; white-space: pre;">much a visual part of the comic as well as textual. </span><br />
<span style="font-family: "arial"; font-size: 11pt; white-space: pre;">Secondly, On page 1, the author’s inserts a Walking </span><span style="font-family: "arial"; font-size: 11pt; white-space: pre;">Dead zombie as a character in the comic </span><br />
<span style="font-family: "arial"; font-size: 11pt; white-space: pre;">that does not originally belong to the world of DC comic </span><span style="font-family: "arial"; font-size: 11pt; white-space: pre;">superheroes, but rather, it was originally </span><br />
<span style="font-family: "arial"; font-size: 11pt; white-space: pre;">a comic character of another world created by Robert </span><span style="font-family: "arial"; font-size: 11pt; white-space: pre;">Kirkman and later turned into a very popular</span><br />
<span style="font-family: "arial"; font-size: 11pt; white-space: pre;"> television series. In this sense, the use of the Walking </span><span style="font-family: "arial"; font-size: 11pt; white-space: pre;">Dead character is effective because the </span><br />
<span style="font-family: "arial"; font-size: 11pt; white-space: pre;">reader’s are going to understand the reference, whether</span><span style="font-family: "arial"; font-size: 11pt; white-space: pre;"> from the film or the comics, and thus </span><br />
<span style="font-family: "arial"; font-size: 11pt; white-space: pre;">understand the connection and influence the Walking Dead </span><span style="font-family: "arial"; font-size: 11pt; white-space: pre;">has on Old Lady Harley, which is a </span><br />
<span style="font-family: "arial"; font-size: 11pt; white-space: pre;">threat to human civilization and life. Without prior knowledge to </span><span style="font-family: "arial"; font-size: 11pt; white-space: pre;">this intertextual reference, the</span><br />
<span style="font-family: "arial"; font-size: 11pt; white-space: pre;"> meaning may be lost or hindered because the author’s intent is not </span><span style="font-family: "arial"; font-size: 11pt; white-space: pre;">being received by the </span><br />
<span style="font-family: "arial"; font-size: 11pt; white-space: pre;">reader. Lastly, the use of multimodality is depicted through pictorial metaphors.</span><span style="font-family: "arial"; font-size: 11pt; white-space: pre;">The Walking </span><br />
<span style="font-family: "arial"; font-size: 11pt; white-space: pre;">Dead zombie is really symbolic of the racial “Other”, who poses a threat on North </span><span style="font-family: "arial"; font-size: 11pt; white-space: pre;">American </span><br />
<span style="font-family: "arial"; font-size: 11pt; white-space: pre;">civilization through the influence they may have on the culture, governing system, and </span><span style="font-family: "arial"; font-size: 11pt; white-space: pre;">overall</span><br />
<span style="font-family: "arial"; font-size: 11pt; white-space: pre;"> life. Thus, it functions as a literary device because the text does not outright refer to the</span><br />
<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;"> zombies attacking the U.S./Canadian border as immigrants, but the visual elements of them</span><br />
<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;"> climbing </span><span style="font-family: "arial"; font-size: 11pt; white-space: pre;">up the wall may be interpreted by readers, especially given our current political climate, </span><br />
<span style="font-family: "arial"; font-size: 11pt; white-space: pre;">as a </span><span style="font-family: "arial"; font-size: 11pt; white-space: pre;">metaphor for a racial other. </span></div>
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<br />Meera Al Bataynehhttp://www.blogger.com/profile/11203492562948398478noreply@blogger.com0tag:blogger.com,1999:blog-4063750189351514761.post-79912287573239034942019-01-28T09:16:00.001-08:002019-01-28T09:28:31.499-08:00<span id="docs-internal-guid-3c4c634e-7fff-7a63-aa05-dcfe2d418934"><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">I picked up the comic strip “Old Lady Harley” to review because I have always loved the characters Harley and the Joker for their cunning and tongue in cheek attitudes. While reading this comic, what stood out to me the most was the layout of the comic and how much meaning is inserted into each frame, chosen color scheme, and lettering of the words. First, frames play an important role in the comic to produce a realistic depiction the events at play. In page 1, the frames are intended to mimic a television screen because the comic scene is that of two journalists giving television news about a zombie attack and about the whereabouts of superheroes. The slightly curved edge of the corners and old-school television lines over the panels works as a stand-in for a television screen as well as it works to suggest the time period. Since televisions have improved in quality, it is safe to assume that the comic exists within the time period of the early 90s. Secondly, the color scheme of the comic also works within a time period. On page 3, there is a flashback memory in a grey-black neutral color pallet, depicting past, dark memories. The exception being the color yellow, which is symbolic for fire. Thus, the choice of coloring is not simply for aesthetic purposes but it is also a symbolic element intended to provide further alternate meaning to the comic scene. In addition, the presence of the color yellow against a grey-black background is intended to give off a dramatic, cinematic effect similar to a car explosion in a movie scene. Lastly, the choice of lettering works very well with the flow of the panels so that the author is not in need of guiding the reader’s eye through the use of arrows or numbers. For example, page 11 is a very action crammed comic scene and there a lot of things to take in at once. Despite this, the organization of the panels does not lead the reader’s eye in the wrong direction of the story because while there are overlapping panels, they still maintain a carefully placed chronological order. The sound effects of “CHOOM!” or “BLAMM!” are internally placed with the coinciding panel so the reader is not confused to which panel the sound effect belongs to. In this sense, the placement of the lettering in accordance with the flow of panels really elevates the emotional impact of the comic scene because they are complementary to each other rather than distinctive and separate functions. </span></span><br />
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Meera Al Bataynehhttp://www.blogger.com/profile/11203492562948398478noreply@blogger.com0tag:blogger.com,1999:blog-4063750189351514761.post-90771950903956271122015-12-07T20:52:00.002-08:002015-12-07T20:52:39.703-08:00Multi-paneling in 300Almost everyone has seen or heard of the gory, brutal (and incredibly blue screened) film 300. It is particularly famous for its slow motion sequences, gory deaths, and of course, for kicking people into massive pits. But how would the slow motion fighting that we associate 300 with be achieved in comic form? The answer lies in large amounts of small panels that occur over top of a larger spread, as seen in the image below. Columns that feature a large amounts of smaller panels makes the reader read faster and makes the events occurring in the panels seem more drawn out as more panels are spent detailing the occurrence. In the image below, the large page spread depicts the Spartans battling from a larger perspective, while the small panels super imposed at the bottom detail the same battle but on a more personal level. There are 3 panels at the bottom that depict one of the enemy soldiers being killed, and with so many panels being used to show one small event, it makes the event seem more drawn out and is very similar to the slow motion effects seen in the 300 movies.<br />
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-James Holland<br />
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<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4063750189351514761.post-61338150466872094812015-12-07T20:31:00.000-08:002015-12-07T20:32:16.521-08:00Dealings in the Dark: Color and Narrative<br />
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Color is something that is often overlooked in comics, it is something that readers don't pay particular attention too. To them, color is as natural in a comic as it is in a movie or TV show. More often then not subtle color changes can be contribute significantly to the narrative of the comic in question. The two images below are taken from Darth Vader #12 and features Vader meeting with his associate Aphra. Aphra, who is introduced in issue #4, could be considered Vader's private investigator with regards to finding information about Luke Skywalker, Vader's son. In this instance, Aphra and Vader meet in a dark cave and discuss the tense employee/employer relationship. In the 4th panel in the image on the right, we see Aphra's features darken so that she is barely recognizable, the same can be said for Vader of the opposing page (but he has such a recognizable silhouette readers wound instantly him). The reason the are meeting in the dark on a faraway planet, is that Vader does not want his superiors to know about his dealings with Aphra, and the color change contributes to this notion of secrecy. We see a return to the normal color palate in the 5th and 6th panels on the second image. This is interesting to note because this takes place immediately after Aphra and Vader strike a new deal. There is no more need for secrecy now that the deed has been done, and the cartoonist returns to the original color scheme to suggest that the need for hidden faces (or masks in Vader's case) is no longer necessary.<br />
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-James Holland<br />
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