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Tag Archives: digital comics

Poetics of the Algorithm: A Report

By Leslie Goufo Zemmo, Giorgio Busi Rizzi and David Pinho Barros

 

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In June 2016, for three days, scholars from all over the world met at the Université de Liège for a ground-breaking bilingual conference on digital media. The starting points for the discussions were several challenging questions about the way storytelling is evolving with the adoption of new technologies on the part of  artists and writers. Poetics of the Algorithm was mainly concerned with the ways in which medial creations are changing, the impact these changes have on viewers and readers and how humanities scholars should deal with this paradigm shift. The ethical implications and the political consequences of the current state of digital creation were also fore preoccupations of the organisers Aarnoud Rommens, Benoît Crucifix and Björn-Olav Dozo when they set up this project.

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Posted by on 2017/03/09 in ACME, Conference reports

 

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Experiments in Digital Comics: Somewhere between Comics and Multimedia Storytelling by Jakob F. Dittmar

This paper looks at a few experiments on comics-storytelling in digital comics. The paper starts with introducing aspects from media psychology and research on technical documentation to look into the narrative and graphic structure of comics and touches on the characteristics of digital media before focusing on specific examples in more detail.

It can be said that a lot of digital and analogue comics constantly experiment on formal and narrative options. This is most obvious where elements of other narrative media get included (see Dittmar 2012 for a more thorough discussion of digital comics). The growing spectrum of forms offers more and more areas to use comics for: not only fictional but also non-fictional issues are communicated increasingly often in comics. For instance, maintenance manuals and assembly instructions for all kinds of artefacts are provided in sequential images more and more (see Schwender 2007, also: Jüngst 2010) – they are much easier to read than descriptive texts, as no translation of text into visual information is done, but the artefact in question and its parts are depicted and can be recognised easily.

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Posted by on 2015/03/14 in Guest Writers

 

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Manga Studies #1: Introduction by Jaqueline Berndt

Manga [1] does not easily attract scholarly interest as comics. In the name of manga, the critical focus is usually less on sequential art but rather a certain illustration style or character design, and closely related, fannish engagement in transformative or derivative creations (dōjinshi), up to and including cosplay. In many cases, scholars turn to manga as an entry point for research on girls’ (shōjo) culture and female consumers, gender and sexuality, the subcultures of fujoshi (self-designated “rotten girls” engaged in Boys’ Love, or yaoi)[2] and otaku (geeks). Attempts at elucidating the peculiar role of the comics medium in that regard—for example, by focusing not only on “shōjo” but also “manga” when discussing shōjo manga [3] —remain a distinct minority whenever sociological and anthropological concerns prevail. Be it “fan culture,” “subculture” or “scene,” user communities are given preference over media specificity, texts and individual readings, at least outside of Japan. This applies especially to Japanese Studies, which is still the field yielding most manga research abroad. Here, manga is taken to represent, if not national culture in general, then Japanese popular culture, in the main understood as a youth culture with significant global impact and economic effects. Consequently, the utilization of manga as mere object appears to matter more than methodological diligence.[4] Whether subjected to symptomatic readings of social issues or to sophisticated critical theory, media-specific contexts and manga-related expertise tend to be neglected. This is as much due to specific institutional requirements as it is indicative of a lack within the institution, that is, the absence of a respective field of research and criticism.

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Posted by on 2014/05/11 in Guest Writers, Manga Studies

 

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Digital Comics: New Mutations & Innovations by Daniel Merlin Goodbrey

We are pleased to be able to offer Daniel Merlin Goodbrey’s presentation ‘Digital Comics: New Mutations & Innovations’ for download in PDF format. This paper was presented on the 18th of November 2011 as part of Comics Forum 2011. Many thanks to Daniel for making this available!

Click here to download the presentation.

Abstract: The medium of comics sits on the cusp of the digital future promised to comic creators at the turn of the century. Explorations of the infinite canvas and the many strange mutations of the hypercomic have been given a new relevance and audience by the recent advances in portable display and mobile media. Now, with a decade of experimental digital work behind us, the wider world is at last beginning to catch up to these odd outliers of the form.

As the comics industry moves to catch up with the frontier, newer and stranger ideas must be entertained. The hunt for weirder, more wonderful mutations must be renewed with new vigour and new purpose. This talk considers the different directions potential explorers of the medium might next pursue. It examines the possibilities of new forms such as locative, sonic, game, spatial and AR comics. In doing so it aims to map some of the many trails leading out into the new decade of experimental comics that lies before us.

Daniel Merlin Goodbrey is a senior lecturer in Interaction Design at The University of Hertfordshire in England. A prolific and innovative comic creator, Goodbrey has gained international recognition as a leading expert in the field of experimental digital comics. His hypercomic work received the International Clickburg Webcomic Award in Holland in 2006 while his work in print was awarded with the Isotope Award for Excellence In Comics in San Francisco in 2005. An archive of his work can be found here.

Comics Forum 2011 was supported by Thought Bubble, the University of Chichester, the Henry Moore Institute, Dr Mel Gibson, Routledge, Arts Council England, Intellect and Molakoe Graphic Design.

 

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Comics Scholarship 2.0 by Ernesto Priego

At the cusp of second decade of the 21st century, if the word “webcomics” still sounds strange to some, it is clear the reason is not the prefix web. It is the word “comics” that is problematic for several reasons. In spite of their ubiquity in the mainstream cultural landscape, comic books are still the object of a widespread prejudice that has two main expressions. One is the debatable disqualification of any texts addressed or appealing to children as lacking “seriousness”. The “infancy/maturity” binary set is a recurring topos of comics scholarship, explained amongst other reasons by the field’s struggle to convince the general public that “comics are not just for kids”. Echoing Bart Beaty’s assessment of “contemporary comics scholarship” (2004) , Craig Hight writes:

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Posted by on 2011/06/03 in Guest Writers

 

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