Making Comics: Storytelling Secrets of Comics, Manga and Graphic Novels

Lewis, Adrian

doi:10.1111/j.1540-5931.2007.00465.x

Cited by 9 publications

(17 citation statements)

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“…On the other hand, the dynamics within the material must be considered, since its affordances form the bases so that the narrative can be delivered. Those material dynamics are described in principles and procedures for speech [15] 10 , literature [50,16], theatre [51 -53], film [54,55], comics [56], dance [57,58], music [59], or game [60]. Research in discourse psychology further supports the above statements.…”

Section: Narrative and Narrationmentioning

confidence: 83%

Interactive digital narrative (IDN)—a complexity case

Nack

2022

New Review of Hypermedia and Multimedia

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Any form of design 1 is a creative process considering goals and constraints that result in a product, which addresses aesthetic, functional, economic, or socio-political considerations that are established by the stakeholders involved. A design can follow two main development paradigms, namely a rational or action-centric model [1]. The rational model is plan-driven, where the plan is executed in terms of a discrete sequence of stages, such as pre-production (i.e. design brief, analysis of design goals, requirement specification, conceptualising solutions), production (i.e. development and testing), and post production (i.e. introducing the solution into the environment, evaluation and conclusion). This procedural view 2 allows for the repetition of stages at any time before, during, or after production based on accompanying best practices [2][3][4][5][6][7]. The rational paradigm understands design as informed by research and knowledge in a predictable and controlled manner. The action-centric paradigm apprehends design also as informed by research and knowledge but considers the design process as improvised, where the sequences of analysis, design and implementation are undistinguishably connected [8][9][10][11][12][13]. Within action-centric design designers conceptualise a problem (framing) by defining goals and objectives and then construct tentatively the object to be designed (move). The design process here asks the designer to simultaneously refine the mental image of the design object based on the actual perception of the context in and for which it needs to be designed (sensemaking-coevolution-implementation framework [11]). The expression of the idea through suitable design tools facilitates the critical rethinking of the perceived idea, which results in a new design cycle. The essential element in action-centric design, actually the development of any design idea, is the means of expression and perception to facilitate a space for inspiration, ideation, and implementation through which the designer refines ideas and explores new directions [12]. This way of looking at design is known as design thinking [13]. Both paradigms are essentially human-centred, in the way that they see human needs, competences (cognitive as well as knowledge) and behaviour as the basis of the investigation and only then design to accommodate those [4]. At its core, all design is experiential and that is why all design addresses fundamental concepts, such as affordance, mapping, feedback, conceptual models, and system image. Affordance refers to the relationship between the properties of an item and the capabilities of an agent that establish how that item can be used or understood. Mapping represents the relationship between the elements of two sets of items (i.e. the layout of controls and the devices being controlled). Mappings represent analogies, which can be spatial, biological, cultural, or follow principles of perception (such as Gestalt psychology) to facilitate grouping through proximity. Feedback communicates the r...

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Section: Narrative and Narrationmentioning

confidence: 83%

Interactive digital narrative (IDN)—a complexity case

Nack

2022

New Review of Hypermedia and Multimedia

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“…Text is highly informative, and, as Rayner et al (2001) note, prioritizing this information may be the result of much exposure to multimedia stimuli over the years. This suggestion raises further questions with regard to expertise, however: while text is typically more informative, it is not always the case in comics (see McCloud's (1993, 2006) seven word‐image combinations, where text can play a much reduced role in providing information compared to image). Less expert readers who have not had this experience may be more swayed by text location than experts, who are guided by the External Compositional Structure alone.…”

Section: Methodsmentioning

confidence: 99%

“…while text is typically more informative, it is not always the case in comics (see McCloud's (1993McCloud's ( , 2006 seven word-image combinations,…”

Section: Influence Of Text Locationmentioning

confidence: 99%

“…The final manipulation (Blockage, Figure 1e) is a more extreme version of the Staggered layout, where one panel effectively blocks the horizontal gutter of the neighboring panels. The Blockage layout has also been mentioned in other works, with comic theorists and creators pointing out that this is one of the more potentially misleading layouts that can be used (e.g., McCloud, 2006; Abel & Madden, 2008), due to uncertainty as to whether the reader should read across or down.…”

Section: Introductionmentioning

confidence: 99%

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Navigating the narrative: An eye‐tracking study of readers' strategies when Reading comic page layouts

Kirtley

Murray

Vaughan

et al. 2022

Applied Cognitive Psychology

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In multimedia stimuli (e.g., comics), the reader must follow a narrative in which text and image both contribute information, and artists may use more irregular layouts which must still be followed correctly. While previous work has found that the external structure (outlines) of panels is a major contributor to navigation decisions in comics, other studies have shown that panel content can affect reading order. The present studies use eye-tracking to investigate these contributions further. In Experiment 1, the reading behaviors on six layout variations were compared. The influence of the external structure was replicated, but an effect of text location was also found for one layout type. Experiment 2 focused on variations of this particular layout, manipulating the location of text within critical panels. Panel content was a consistent effect for all variations. While most navigation decisions are made using the external structure, content becomes key when resolving ambiguous layouts.

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“…Pages from graphic novels were used to present multiple aspects associated with panels and panelling (e.g., panel shape, size and border colour; layout options; and techniques to create intensity) (McCloud, 2006) and the inferencing required when traversing gutters (space between panels). The students conveyed their understanding of the convention of speech balloons (or speech bubbles), but they were unfamiliar with its parts (i.e., root, tail, carrier and content) (Cohn, 2013).…”

Section: The Medium Of Comicsmentioning

confidence: 99%

Elementary students' engagement in transduction and creative and critical thinking

Pantaleo

2023

Literacy

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Student engagement in the process of transduction concomitantly affords them with opportunities to develop and express their critical and creative thinking competences. Reconfiguring or remaking knowledge or meaning in modes other than those of the original sources of information requires affective, imaginative and cognitive activity by sign‐makers. In this article, I present examples of elementary students' transduction work and discuss their semiotic meaning‐making with reference to the concepts of critical and creative thinking. During the study featured in this article, Grade 4 students engaged in the process of transduction when participating in activities about elements of visual art and design and conventions of the medium comics, when exploring picturebooks and graphic novels and when composing and explaining their own multimodal texts. The students' transmodal meaning‐making showed how, in the context of the research classrooms, the purposefully designed pedagogy and activities both required and nurtured students' critical and creative thinking, which simultaneously provided the students with opportunities to extend their knowledge and deepen their understandings of the concepts and curriculum content under study.

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Making Comics: Storytelling Secrets of Comics, Manga and Graphic Novels

Cited by 9 publications

References 0 publications

Interactive digital narrative (IDN)—a complexity case

Interactive digital narrative (IDN)—a complexity case

Navigating the narrative: An eye‐tracking study of readers' strategies when Reading comic page layouts

Elementary students' engagement in transduction and creative and critical thinking

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