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Journal articles on the topic 'Comic books'
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1
Le, Van Huynh Ha, and Oanh Thi Kieu Doan. "Comic Books." International Journal of Computer-Assisted Language Learning and Teaching 12, no. 4 (October 1, 2022): 1–22. http://dx.doi.org/10.4018/ijcallt.310082.
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Collaborative learning is an educational approach that allows learners to learn effectively in groups and construct new knowledge together. Online collaborative learning takes place on an online platform. This educational approach is evaluated as an effective solution to the learner's isolation in online courses. This action research aims to investigate the impact of online collaborative learning by designing comic books on diminishing the learner's isolation and exploring the obstacles to making online comic books. One hundred fifty freshmen at Van Lang University, Vietnam took part in a 10-week project. The action research method was used in combination with three data collection instruments: notes, questionnaires, and focused group interviews. The findings indicate that online collaborative learning with comics can remove the isolation feelings and bring a sense of community to online learners. The research also pointed out difficulties that may arise during designing comics. The action plan has pedagogical values and should be duplicated for the sake of online learning and teaching.
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Scanlon, Meaghan. "Canadian Comic Books at Library and Archives Canada." Papers of The Bibliographical Society of Canada 56, no. 1/2 (July 16, 2019): 37–51. http://dx.doi.org/10.33137/pbsc.v56i1/2.30363.
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Library and Archives Canada (LAC) has what is likely the largest collection of Canadian comic books in a Canadian library. LAC’s collection has three distinct parts: comics acquired via legal deposit,the John Bell Collection of Canadian Comic Books, and the Bell Features Collection. These holdings, which span the history of the comics medium in Canada, represent a significant resource for researchers studying Canadian comics. This article looks at each of the three main parts of LAC’s comic book collection, giving anoverview of the contents of each part, and providing information on how researchers can discover and access these comics. The article also briefly explores other comics-related holdings at LAC. Its purposeis to provide a starting point for researchers seeking to make use of LAC’s comic book collections.
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Aleixo, Paul A., Daniel Matkin, and Laura Kilby. "What do teachers think about the educational role of comic books?: A qualitative analysis." Studies in Comics 11, no. 2 (November 1, 2020): 387–404. http://dx.doi.org/10.1386/stic_00037_1.
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An exploratory, qualitative, study into the views of teachers on the use of comic books in education was carried out. Three secondary school teachers with varying experiences of comic books were interviewed using an open-ended format. Results of a thematic analysis indicated three clear areas of thinking around comic books: firstly, comic books are considered to be a medium of children’s entertainment, and not associated with educational practice; secondly, when the medium is employed in education, it should primarily be used with students that require extra support and thirdly, comic books represent a ‘missed opportunity in education’ and have not achieved their full potential due to a lack of comic book resources for use in the classroom. All three concepts are discussed in light of research evidence supporting the use of comics in educational contexts and concerns are highlighted that suggest these themes might represent a barrier to the future use of comics in these areas. Further qualitative and quantitative research to expand these initial findings is also suggested.
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Głownia, Dawid. "Pacification of Rebellious Comics by the Comic Code On the Example of Changes Introduced Into Reprints of Pre-1955 Comics." Kultura Popularna 60, no. 2 (January 31, 2020): 188–204. http://dx.doi.org/10.5604/01.3001.0013.7343.
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The article discusses the issue of changes introduced into reprints of pre-1955 American comics in order to adapt them to requirements of the Comic Code. Pre-1955 American comic books are characterized as “rebellious” — challenging norms and aesthetic rules of contemporary America – and the activities of Comic Code Administration as a form of their pacification. What follow next is a presentation of main strategies of adaptation of pre-1955 comics to the requirements of the Comic Code identified on the basis of analysis of fifty reprints. In the last part the author compares the original and reprinted versions of three comics books stories, shows how dramatically the plot of stories could change due to introduction of prescriptions of the Comic Code Administration.
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Lichtblau, Krzysztof. "Polski komiks wojenny z czasów PRL-u." Annales Universitatis Paedagogicae Cracoviensis | Studia Historicolitteraria 15 (December 12, 2017): 80–89. http://dx.doi.org/10.24917/3919.
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Polish comic books from the Polish People’s Republic period After years of fighting with comics book the authorities of the Polish People’s Repulic started using it for its own objectives. Propaganda was the basic target of the comic book narration and interference in history was the main element of it. In my publication I will present images of war created by authorities in the main comic books from the Polish People’s Republic period.Propaganda used by authorities helped to show friendship between Poland and Soviet Union. What is more, using comic books in a political game allowed to create a demonic image of the so-called enemies; Germany especially, but also everything what was connected to the west politics and culture was considered hostile.Comic books became a great tool in governments’ hands for propaganda objectives. Simpifications and contrasts which are used in comics were a great way of ideological speech.Key words: comic book; war; propaganda;
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Lo, Patrick, Bradley Allard, Kevin K. W. Ho, Joyce Chao-chen Chen, Daisuke Okada, Andrew Stark, James Henri, and Chung-chin Lai. "Librarians’ perceptions of educational values of comic books: A comparative study between Hong Kong, Taiwan, Japan, Australia and New Zealand." Journal of Librarianship and Information Science 51, no. 4 (March 29, 2018): 1103–19. http://dx.doi.org/10.1177/0961000618763979.
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Comic books are becoming increasingly popular in the field of education. In the past, comic books were excluded from school libraries and classrooms. However, with the resurgence in the popularity of comic books and students’ increased demands for them, they are now considered as recreational reading with educational value. In response to this, school libraries have begun collecting comic books and including them as part of their regular collections. This research paper reflects on the current situation of comic books in primary and middle school library collections and examines school librarians’ perceptions towards educational values of comics. The investigation was launched in Hong Kong, Taiwan, New Zealand, Australia and Japan – making comparisons amongst different levels (primary school and secondary school), and different types (public school and private school) of schools in five different countries. Questionnaire surveys were sent to selected school librarians and were the main method of data collection. A total number of 683 responses were collected for this study. Research results include librarians’ attitudes towards comic books in school libraries, adolescent readers’ use of school libraries, their reading and borrowing practices, as well as other problems encountered with the on-going maintenance of comic books as part of the school libraries’ regular collections.
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Ciemniewski, Marcin. "Indian spooks: What Indian Comic Books Readers Are Afraid of." Politeja 16, no. 2(59) (December 31, 2019): 161–76. http://dx.doi.org/10.12797/politeja.16.2019.59.11.
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The comic book industry in India began in 1950. Back then leading American comic books like The Phantom, Flash Gordon and Rip Kirby started to be published in India and translated into local languages. Indian youngsters in no time became interested in the new medium, especially in superhero comics known from the American popular culture. The success of these translations encouraged local publishers and cartoonists to create Indian themed comic books, set in India with Indian heroes (and superheroes) − even though Indian comics were still strongly influenced by American ones, mainly in terms of esthetics. However, around 1950, American comics publishing companies also tried to attract adult readers by presenting more adult content in a form of horror and thriller stories. Publishers in India quickly adapted this trend launching a very popular comic book series in Hindi of thrill, horror and suspense. In this way horror – till then almost completely absent from Indian literature and popular culture – was introduced to the local audience. The question remains, how different are those local spooks from the American ones and finally: what are Indians afraid of?
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Guynes, Sean A. "Four-Color Sound: A Peircean Semiotics of Comic Book Onomatopoeia." Public Journal of Semiotics 6, no. 1 (December 23, 2014): 58–72. http://dx.doi.org/10.37693/pjos.2014.6.11916.
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Onomatopoeia are the representation or imitation in language of sounds from the natural world. They occur in the phonic modality of speech, the written modality, and a third modality combining word and image. The latter is a common device in the sequential art of comic strips and comic books, and is particular to the American tradition of comics. Onomatopoeia diversify the experience of sequential art and have unique signifying properties. Though there have been significant attempts to provide a structural analysis of the comics medium, these have often ignored onomatopoeia’s uses in the comics medium. This study utilizes the concept of an American Visual Language (Cohn, 2013) within a Peircean framework to offer theories of the individual (onomatopeme) and structural uses of word/image onomatopoeic expressions in mainstream American comic books.
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McCall, Sophie. "Framing, Reframing, and Deframing: Disclosure in Indigenous Comics." Inks: The Journal of the Comics Studies Society 8, no. 3 (September 2024): 337–57. https://doi.org/10.1353/ink.00021.
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ABSTRACT: This article demonstrates how Indigenous comic creators disrupt or reclaim the conventions of comics in four works: The 500 Years of Resistance Comic Book by Gord Hill (Kwakwaka’wakw), 7 Generations: A Plains Cree Saga by David Alexander Robertson (Cree), Deer Woman: A Vignette by Elizabeth LaPensée (Anishinaabe, Métis), and Dakwäkãda Warriors by Cole Pauls (Tahltan). These comics use innovative paneling to expose silence and denial in settler-colonial societies, to disrupt linear concepts of time, and to assert Indigenous presence expansively across settler-colonial borders. American comic book theorist Scott McCloud, author of several celebrated books on the “vocabulary of comics,” argues that comics create a “dance of the visible and invisible” in the production of “closure” across panels (McCloud 92). In the context of reading comics, McCloud defines closure as “observing the parts but perceiving the whole,” which he further glosses as the reader’s act of silently filling in the gaps between panels, allowing that reader to comprehend the action even between two seemingly unrelated panels. However, without critical self-awareness, a reader risks imposing closure in ways that maintain settler-colonial norms. The comic books that I discuss mobilize strategies of dis closure to contest a reader’s assumptions about the production of meaning across panels. I argue that disclosure interrupts readers’ unconscious mobilization of established narratives that invisibly guide interpretation, and turns the mirror back on the readers themselves. These comic books’ insurgent acts of disclosure challenge settler-colonial impositions of closure and powerfully activate narratives of Indigenous resistance, cultural continuance, empowerment, and resurgence.
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Ying, Yi, Mei Rianto Chandra, Florence Y. Tanoto, Ziola A. Mufida, and Qian Kun. "Creating E-Comic to Motivate Students to Learning Mandarin." Lingua Cultura 18, no. 1 (June 6, 2024): 41–48. http://dx.doi.org/10.21512/lc.v18i1.11190.
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The research explored whether digital comic books were a new learning method that could increase learning motivation in learning Mandarin. Illustrated learning media made it easier for students to understand learning material. Along with the times and technological advances, learning methods had also developed in various ways. The questions in the research were: (1) How was the application of e-comic in learning Mandarin?; (2) What did students think about learning with e-comic? The research applied a qualitative method, and 40 students who studied Mandarin were the respondents. Based on the results, it can be concluded that all respondents agree that applying learning media using digital comic books can provide positive results in learning Mandarin. All respondents think learning through e-comic makes it easier to understand grammatical material and helps compose sentences to construct conversations. Learning with comic book media is considered very interesting. Even though the learning process using comic book media occurs online during the pandemic, learning with comic book media can create interactive learning. Students can become more creative and able to use various applications to make their own comics with the characters they choose. Learning with comic books can motivate students to learn Mandarin.
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Jee, Benjamin D., and Florencia K. Anggoro. "Comic Cognition: Exploring the Potential Cognitive Impacts of Science Comics." Journal of Cognitive Education and Psychology 11, no. 2 (2012): 196–208. http://dx.doi.org/10.1891/1945-8959.11.2.196.
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Increasing people’s interest and involvement in science is a growing concern in education. Although many researchers and educators seek innovations for classroom instruction, much could be gained by harnessing the activities that people perform at their leisure. Although new media are constantly emerging, comic book reading remains a popular activity for children and adults. Recently, there has been an explosive increase in the creation of educational comic books, including many about science. This rapid increase in science comics far outstrips our understanding of how comics impact people’s beliefs and interests in science. In this theoretical article, we draw on research from cognitive science and education to discuss heretofore unexplored cognitive impacts of science comics. We propose several ways in which learning could be enhanced or impaired through reading science comics and discuss several broader issues related to the use of comic books in education, including individual differences and informal learning.
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Summers, Tim. "‘Sparks of Meaning’: Comics, Music and Alan Moore." Journal of the Royal Musical Association 140, no. 1 (2015): 121–62. http://dx.doi.org/10.1080/02690403.2015.1008865.
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ABSTRACTComics have become a significant part of modern popular culture. This article examines the ways in which music is involved with comics, and develops methods for analysing musical moments in comic books. The output of the writer Alan Moore (b. 1953) is used as the domain for examining music and comics. This popular author's works are notable for their sophisticated use of music and their interaction with wider musical culture. Using case studies from the comic books V for Vendetta (1982–9), Watchmen (1986–7) and the second and third volumes of The League of Extraordinary Gentlemen (2002–12), the article demonstrates that the comic can be a musically significant medium (even to the point of becoming a piece of virtual musical theatre), and argues that music in comics serves to encourage readers to engage in hermeneutic criticism of musical and musical-literary texts.
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Kurnia, Jusep, and M. nasrul Kamal. "PERANCANGAN BUKU KOMIK BAHAYA NARKOBA TERHADAP ANAK." DEKAVE : Jurnal Desain Komunikasi Visual 10, no. 2 (February 17, 2020): 288. http://dx.doi.org/10.24036/dekave.v10i2.108164.
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Drug abuse has an adverse effect which can lead to addiction (addiction) which results in dependency. Drug abuse in Indonesia is increasingly happening in some circles ranging from people with low and high economics.The purpose of designing this comic is to inform children about the dangers of drugs and as a precautionary measure so as not to increase drug abuse. The chosen media is comic books because comic books have a lot of pictures so it is interesting for children.This design produced a comic book as the main media, and was also supported by several other media, namely: Poster, Sticker, Totebag, X-banner, Tshirt, Key Chain, and Backdrop as supporting the main media and as a promotional media.Keywords: Comics, Drugs.
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Whatley, Edward. "Sources: Comics Through Time: A History of Icons, Idols, and Ideas." Reference & User Services Quarterly 54, no. 4 (June 19, 2015): 80. http://dx.doi.org/10.5860/rusq.54n4.80a.
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Comics Through Time: A History of Icons, Idols, and Ideas is an ambitious, four-volume title that "seeks to capture some of the richness" of comics history and "provide information on this history for a wide range of users, from casual fans of comics to professional scholars of the form" (xxiii). Each of the four volumes covers a specific time period, beginning in the 1900s with comic strips and continuing to the present. Just as the volumes cover a broad expanse of time, they also deal with a diverse array of subjects, including comic strips, comic books, comics creators both well-known and obscure (often accompanied by large photographs), comics publishers, and genres such as science fiction and horror.
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Syska, Rafał. "Comics in museums. Paradoxes of the presence and absence of comics in museum exhibition practices." Kultura Popularna 60, no. 2 (January 31, 2020): 148–61. http://dx.doi.org/10.5604/01.3001.0013.7341.
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The article analyzes the phenomenon of exhibitions dedicated to comic books, which are displayed in museum and gallery spaces. It presents the theory of contemporary narrative exhibitions. Using some tools of the latest research on the art of exhibition, the author analyzes the status of a comic book in a museum landscape. He reflects on the diversity of the comic book’s presence in everyday practices, the other nature of comic's experience by a visitor, and a link between comic books and other media, especially film. He describes the role of the viewer, who becomes the object in relations with a comic book transformed into a subject as a museum artifact.
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Dzhumaylo, O. A. "New books on comics." Practices & Interpretations: A Journal of Philology, Teaching and Cultural Studies 8, no. 2 (June 30, 2023): 148–67. http://dx.doi.org/10.18522/2415-8852-2023-2-148-167.
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The review analyzes current issues and approaches in the academic study of comics on the material of generalizing scholar books published in 2020– 2022. The focus is on two dictionaries of key concepts in the field of comics studies (“Keywords for Comic Studies”, “Key Terms in Comics Studies”) and two collective monographs of a systematizing bent (“Comics Studies: a Guidebook”, “More Critical Approaches to Comics”). In addition, the monograph “Comics as a Research Practice: Drawing “Narrative Geographies Beyond the Frame” is discussed as an example of interdisciplinary (humanitarian geography in the study of comics) and activist practice in comics studies. The importance of research through the prism of a narrative approach is shown in the scholar book “The Narratology of Comic Art”. Taking into account the fact that comics are both a medium and an instrument of entertainment economics, politics, personal self-expression, and one of the notable forms of everyday culture, the following topical aspects of the theory and practice of studying comics are highlighted: the legitimization of comics in academic culture and contemporary neoliberal university; the intermedial / multimodal / transmedia status of comics; problematization of the concept of comics and its historiography as a constructed entity in dependence of the chosen scholar approach; specific historical, social, political, economic and cultural contexts in which comics are created and interpreted; comics as an expression of critical reflection and activist position (of the creator and of the researcher); intellectualization of academic discourse on comics; attention to the issues of specific poetics of comics as a verbal-visual-figurative medium, the breadth of its genre catalog, dynamic forms of distribution and consumption culture of comics (adaptation and transmedia storytelling).
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Dewanty, Via Luviana, Dewi Kusrini, and Renindra Atsilah Putri. "Literature Review: Penggunaan Komik dalam Pembelajaran Bahasa Asing untuk Pengembangan Media Ajar Bahasa Jepang Berfokus pada Bentuk dan Tampilan Komik." Chi'e: Journal of Japanese Learning and Teaching 10, no. 1 (March 27, 2022): 1–10. http://dx.doi.org/10.15294/chie.v10i1.48541.
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The study was aimed to discover the form of comics used in language learning and the development process, as well as the style of the Comic suitable with the interest of Japanese language students used in the previous study, which is expected to elaborate types of necessary research in the future for Japanese language teaching material development. There were 20 articles reviewed related to comics development for language learning. Based on the review result, it was found that 1) There are two types of comics, namely 1-Panel Comic used to explain one specific material and 4-Panel Comic used for conversation materials. However, there has yet any research related to comics development in the form of comic books; 2) In terms of process, both types of comics are formulated and developed by referring to a curriculum and learning plan so that the comics may assist students in understanding learning material; 3) Comic styles discussed in previous researches refer to American comic style, and thus less suitable to be used as Japanese language learning materials. The style used in Japanese comics is predicted to be more attractive for Japanese language students. However, there has yet any scientific study on the development of Japanese style comics in Japanese language learning.
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Yu, Chiejheaca Jehanna G., and Ernil D. Sumayao. "Development and Implementation of a Contextualized Comic Book to Improve Students’ Conceptions of Cell Division." Asia Pacific Journal of Educators and Education 37, no. 2 (December 30, 2022): 301–23. http://dx.doi.org/10.21315/apjee2022.37.2.15.
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Cell division was identified as one of the least learned competencies in teaching biological science to junior high school students. Comics’ combination of pictures and words makes the process more engaging to students by changing their perspective on learning. Reading literacy and motivation are improved by contextualized comic books. The use of comic books as instructional material significantly influences academic attainment, particularly for low achieving youngsters. As a result, instructors’ teaching strategies and approaches reflect the growth and inclusion of comics in teaching-learning. The study aimed to develop and assess a contextualized comic book teach-ing cell division concepts to improve students’ conceptions. The research used a modified exam from the General Biology book based on Curriculum Guide Competency and Most Important Learning Competency (MELC). The accomplishment exam consisted of 20 items covering the following topics: Cell Division/ Cell Cycle. The contextualized comic book was rated accept-able and with moderate agreement by the evaluators. The findings showed that the developed contextualized comic book positively influenced the knowledge level of the student’s cell division concepts. Moreover, there was a significant difference between the student’s pre-test and post-test mean scores. Additionally, they positively perceived that the developed contextualized comic book had increased their interest and creativity and enhanced their knowledge and understanding of Cell Division. Because of their significance to the teaching process, instructional comics are suggested for inclusion in many courses, notably in science.
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Hosler, Jay, and K. B. Boomer. "Are Comic Books an Effective Way to Engage Nonmajors in Learning and Appreciating Science?1." CBE—Life Sciences Education 10, no. 3 (September 2011): 309–17. http://dx.doi.org/10.1187/cbe.10-07-0090.
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Comic books employ a complex interplay of text and images that gives them the potential to effectively convey concepts and motivate student engagement. This makes comics an appealing option for educators trying to improve science literacy about pressing societal issues involving science and technology. Here, we report results from the first systematic assessment of how a science comic book can affect student learning and attitudes about biology. We used pre- and postinstruction instruments to measure students’ attitudes about biology, attitudes about comics, and content knowledge about evolution before and after using the science comic book Optical Allusions in their classes. On the preinstruction instrument, nonmajors reported the lowest scores on the content test and attitude surveys relative to the other groups. However, on the postinstruction instrument, nonmajors’ content scores and attitudes showed a statistically significant improvement after using the comic book, particularly among those with lower content knowledge at the start of the semester. The improvement in attitudes about biology was correlated to attitudes about comics, suggesting that the comic may have played a role in engaging and shaping student attitudes in a positive way.
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Midkiff, Emily. ""This malfeasance must be stopped!": Flora & Ulysses and the Literary Quality of Children's Books." Children's Literature Association Quarterly 48, no. 4 (December 2023): 343–56. http://dx.doi.org/10.1353/chq.2023.a930095.
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Abstract: Flora & Ulysses by Kate DiCamillo carefully negotiates between what is expected of comic books and what is expected of literary children's novels, resulting in a book that borrows from and signals both traditions. As a result, Flora & Ulysses challenges the different values traditionally assigned to comic books and literary children's books, but without ever becoming too radical. In this article, analysis of this text and its archival materials held in the Kerlan Collection demonstrates how the book pushes for a wider acceptance of comics formatting as valuable literature, while also exemplifying the value systems still in place.
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Sherwood, Rosie. "New Readings: The Comic as Artists’ Book." Art Libraries Journal 40, no. 1 (2015): 16–19. http://dx.doi.org/10.1017/s0307472200000067.
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Artists’ books consider every aspect of the book in the creation of meaning. How might reading the comic book through this context extend the possibilities of the art form? Can considering the whole book change the way creators and readers approach the comic? This article considers the space between book arts and comics, asking how they might fit together and considering the possible benefits of this expanded reading for the comic book as a form.
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Sayılgan, Özge. "Exploring Interactivity in Digital Comics." Interactive Film & Media Journal 3, no. 1 (June 6, 2023): 97–105. http://dx.doi.org/10.32920/ifmj.v3i1.1687.
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The digital revolution has reconditioned our media landscape, instigating hybridity in traditional forms and reshaping the nature of storytelling through enhanced interactivity. This paper scrutinizes the transformative interplay of digital technologies and comic books, engendering new media narrative forms such as interactive comics and redefining conventional sequential storytelling. As a reflection of this evolution, comic books, long recognized as sequential art, have broadened their narrative scope by integrating elements of motion, interactivity, and game-like attributes. This research explores four distinct types of digital comics: Meanwhile: An Interactive Comic Book (Zarfhome Software, 2018), Framed (Noodlecake Studios, 2014), Florence (Mountains Studio, 2018), and Our Plague Year (Burton, 2022). By adopting Sheldon’s categories of interactivity and Lebowitz and Klug's interactive story spectrum, we analyze these stories' levels of interactivity and linearity. The findings indicate that the complexity, diversity, and multitude of reader agency do not necessarily render a story interactive in terms of content. While these digital comics vary significantly in design, most still adhere to a traditional linear narrative framework despite the diversity and many interactive elements. Only “Meanwhile: An Interactive Comic Book” deviates from linearity, manifesting non-linear, web-like narrative structures and branching story paths. This analysis unravels the nuanced hybridization of digital media and comic books, illuminating how digital technologies reshape and augment our narrative practices. The digital revolution has not only brought about a new storytelling habitat but also expanded our understanding of co-authorship, thus pushing the boundaries of sequential storytelling in an ever-evolving digital culture. It also highlights the importance of recognizing the differences between interacting with the medium and interacting with the story itself. Consequently, this research contributes to the understanding of the intricate relationship between digital technologies, interactivity, and sequential storytelling, paving the way for further exploration in the field of digital comics.
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Woo, Benjamin. "Is there a comic book industry?" 9ª Arte (São Paulo) 9, no. 1 (December 21, 2020): 122–44. http://dx.doi.org/10.11606/issn.2316-9877.v9i1p122-144.
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The “American comic book industry” is not American, its true product is not comic books, and it may not even be an industry. This article uses a geospatial map of comic book and graphic novel publishers active in the US market as well as sales estimates derived from both the direct market of specialty comic book retailers and trade book stores to question inherited “mental maps” of comic book publishing, such as the divide between “mainstream” and “alternative”/“independent” publishing. Adopting a relational approach, it suggests that a sociology of comics publishing – and of the cultural industries more generally – must be cautious of taking on board un-sociological concepts like “industry.”
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Buoye, Alexander, Arne De Keyser, Zeyang Gong, and Natalie Lao. "Intellectual property extensions in entertainment services: Marvel and DC comics." Journal of Services Marketing 34, no. 2 (February 13, 2020): 239–51. http://dx.doi.org/10.1108/jsm-06-2019-0224.
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Purpose The purpose of this paper is to look into the topic of IP category extensions in an entertainment setting. The main goal of the study is to explore the reciprocal spillover effect of customer experience (CX) ratings with an intellectual property (IP) in one medium (i.e. film) on the sales of the same IP in other media (i.e. comic books). Design/methodology/approach The study is based on 21-years of monthly top 300 comic book direct market sales data linked to the release schedule and domestic box office gross figures for films featuring Marvel and DC comic book IP appearing in the weekly top 50 films over the same time period. The analysis is based on a hierarchical linear (i.e. mixed) model to account for the nested structure of the data. Findings The analysis reveals that CX ratings of weekly top 50 films featuring comic book IP have a quadratic relationship with comic book sales by the two major publishers. Films receiving very good but not excellent ratings are associated with the highest levels of incremental comic book sales. Research limitations/implications The model is based on sales of periodical comic books in the direct market only (i.e. specialty shops) and does not account for sales of digital comics or collected editions through other channels. The analysis is also limited to IP for the two major publishers (Marvel and DC comics). Originality/value This study expands current knowledge on CX spillover effects between different media, contributing to entertainment and CX-literature alike.
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Ecenbarger, Charlie. "Comic Books, Video Games, and Transmedia Storytelling." International Journal of Gaming and Computer-Mediated Simulations 8, no. 2 (April 2016): 34–42. http://dx.doi.org/10.4018/ijgcms.2016040103.
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This article illuminates the transmedia storytelling techniques in The Walking Dead comic book and video game. Telltale Games' The Walking Dead localizes itself within the comic book world of The Walking Dead by acting as a transmedia storytelling device and using intertextuality comics to assist game players with meaning-making. By participating in the game, Telltale rewards players with additional information about The Walking Dead universe, as well as creating a contingent but separate narrative that expands upon the existing Walking Dead world. This exploration of The Walking Dead offers insights into the specific methods that are being employed by creators to further engage the audience in the transmedia storyworld.
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Wolski, Michał. "Type in pictures. Comic book lettering in contemporary American comics. An overview." Kultura Popularna 60, no. 2 (January 31, 2020): 162–86. http://dx.doi.org/10.5604/01.3001.0013.7342.
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This paper focuses on the issue of comic book lettering in mainstream American comics with an aim to introduce theoretical and methodological framework for further analysis of comic book typography. First, it addresses numerous aspects of relations between text and image in comics and presents the brief history of lettering in American comic book industry, as it grew apart from its European counterpart in the early years of development and became much more institutionalized, in no part because of the works of Will Eisner, Gaspar Saladino and especially Richard Starkins, who introduced an affordable means of using the digital typography in early 90s' comic books. In its main part the paper presents the classification of usage of lettering in comics' communicates, which distinguishes the diegetic (graphic, verbal and mental) and non-diegetic (meta- or paratextual and narrative) communicates. This analysis was based on the research sample of over 700 comic book issues, mostly from the Ultimate Marvel imprint (2000–2015) In the final paragraphs, the author critically examines functions of comic book typography and outlines three possible fields of further study.
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Sigit, Sigit Dwi Laksana, Zainal Arif, Ayok Ariyanto, and Anip Dwi Saputro. "Comic Strip Media as An Innovative Media for Adab Learning." Journal of Educational Technology and Instruction 3, no. 1 (March 7, 2024): 79–87. http://dx.doi.org/10.70290/jeti.v3i1.62.
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One picture is worth a thousand words (one picture is worth a thousand words). This sentence is very well addressed in comic media. The existence of comics which is increasing rapidly must be the center of attention for educators, especially educators at the elementary school level, in this case, tertiary institutions. Scenes shown in comic books often display behavior that students should not emulate and sometimes parents and lecturers don't pay much attention. Problems like this if left unchecked can make the next generation of the nation have dishonorable behavior. Looking at these problems, the world of education began to look at the comic media. Comic media began to be developed in the world of education, actually comics in the world of education is not a new thing, a psychologist who is well-known for behavioristic theory Edward Lee Thorndike has conducted research on comics that students who read more comics for example in a month at least one comic book, then it's the same as reading textbooks every year, this has an impact on students' reading abilities and vocabulary mastery far more than students who don't like comics. Comic strip media is different from existing comics in that the storylines in comics are made as attractive as possible by raising themes or subject matter in elementary schools. The existence of Media Comic Strip media is expected to be an innovative media that can be used as an alternative media to overcome students who have learning difficulties, especially in terms of interest and understanding of the material
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Peterle, Giada. "Comic book cartographies: a cartocentred reading of City of Glass, the graphic novel." cultural geographies 24, no. 1 (June 23, 2016): 43–68. http://dx.doi.org/10.1177/1474474016643972.
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This article responds to the call for a deeper theoretical and methodological exchange between the disciplines involved in geohumanities research and proposes comic books as an environment for interdisciplinary, geo/cartographical and literary critical research practice. The analysis considers the emerging field of ‘comic book geographies’ and suggests a further opening to ‘comic book cartographies’. Hence, by referring to the ‘spatiocentred’ approaches emerging in literary theory and criticism, I propose a ‘geocritical’ and ‘cartocentred’ reading of comics to explore the ‘cartographies of the comic book’. I individuate the peculiar map-like features of comics’ spatial grammar to interpret the comic book as both a cartographer and a map. Moreover, taking into account the recent shift in cartographic theory towards an ‘emergent cartography’, I propose an ‘ontogenetic’ understanding of comics as maps. Through both their representational and non-representational map-like features, comics are intended ‘as always mappings’, providing the author/reader with a truly mapping experience. The analysis of the exemplary case study of City of Glass, the graphic novel transposition of Auster’s novel by Paul Karasik and David Mazzucchelli, counts as a first attempt to propose a ‘cartocentred’ reading of the cartographies inserted within and emerging from a comic book. This article suggests that a ‘cartocritical’ reading of comics could provide comic studies, cultural geography and literary theory with new insights, as well as cartographic theory with an unexplored laboratory to keep on ‘rethinking maps’ from an ‘emergent’ perspective.
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Igareda, Paula. "Approach to the translation of sound in comic books." Babel. Revue internationale de la traduction / International Journal of Translation 63, no. 3 (November 3, 2017): 343–63. http://dx.doi.org/10.1075/babel.63.3.03iga.
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Abstract The relationship between texts and images in comics is essential from the graphic point of view and for the understanding of the story. Hence, the translation of comics has certain peculiarities that other literature genres do not have, partly due to its combination of iconic language and literary language. Among the wide array of interesting topics within this field, we are going to focus on a great challenge for translators: the graphic and phonetic values of the sounds in comics. Technical advances have improved comic books translation: nowadays modifying an element of the vignette no longer involves redrawing the whole animation. Thus, the translation of this literature genre can now focus on other problematic issues, such as the translation of sounds. Taking into account the lack of categorization of these sounds, this article deals with the translation of inarticulate sounds, interjections and onomatopoeias from English comic books into Spanish in order to observe the existing trends in these issues and to confirm if the new technologies have changed the translators’ task in the last 25 years.
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Asimakoulas, Dimitris. "Aristophanes in Comic Books: Adaptation as Metabase." Meta 61, no. 3 (March 23, 2017): 553–77. http://dx.doi.org/10.7202/1039219ar.
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Translation studies researchers have for a long time critically engaged with the idea of translation being a mode of creative rewriting across media and cultural or temporal divides. Adaptation studies experts use a similar premise to study products, processes and reception of adaptations for specific locales. This article combines such perspectives in order to shed light on an under-researched area of comic adaptation: this is the metabase, or transfer, of Aristophanic comedies to the comic book format in Greek and their subsequent translation into English for an e-book edition (Metaichmio Publications 2012). The paper suggests a model for the close reading of creative transfer based on Lefèvre’s (2011; 2012) typology of formal properties of comics and Attardo’s (2002) General Theory of Verbal Humour. As is shown, visual rhythm and text-image relations create a rich environment for anachronism, parody, comic characterisation and ideological comments, all of which serve a condensed plot. The English translation rewrites cultural/ideological references, amplifies obscenity and emphasizes narrator visibility, always taking into consideration the mise en scène.
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Hunt, Whitney. "Negotiating new racism: ‘It’s not racist or sexist. It’s just the way it is’." Media, Culture & Society 41, no. 1 (October 4, 2018): 86–103. http://dx.doi.org/10.1177/0163443718798907.
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Comic books are being adapted into film and television series, encouraging underrepresented voices to become more prominent in comic book culture. White men continue to dominate the culture as creators and principle characters. Yet, women and people of color are consuming comic books and films at increasing rates prompting fans to use social media outlets and online forums to engage in conversations about race in pop culture. Employing a qualitative content analysis of an online forum tailored to comic book culture, this research investigates how fans negotiate their continued fandom of comics amid claims that the industry is discriminatory toward people of color. Findings reveal forum discussion is adopting framings of new racism when accounting for a lack of diversity in comic book films. Specifically, this research shows how fans rely on White racial framings throughout discussion. Central themes indicate most forum participants suggest only overt discrimination implies that race matters and minimize the effects of historical processes. Moreover, few fans challenge traditional representations normalizing White dominance. This study contributes to research on new racism and the prevalence of White racial framings in contemporary American society.
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Rocha, Cláudio Aleixo, and Ana Dayanne da Silva Farias. "<i>História em quadrinhos Ilha dos Esquecidos: o retrato do apagão no Amapá em 2020</i>." 9ª Arte (São Paulo) 12 (June 12, 2024): e222667. http://dx.doi.org/10.11606/2316-9877.2024.v12.e222667.
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This work researches the use of comic books (comics) within the scope of social design, highlighting their potential as an effective means of communication to address social and political issues. The study seeks to understand how a comic, in the context of social design, can critically narrate a specific event, such as the blackout in Amapá. The objectives include describing the blackout, discussing social design and presenting the process of creating the comic "Ilha dos Esquecidos. The justification emphasizes comics as a means capable of transmitting complex, emotional and critical ideas. The relevance of comics is highlighted authors that address social issues and the importance of social design in contemporary times. The project is an initiative to provide the Amapá community affected by the blackout with a space to tell their stories and contribute to a more just, humanized and egalitarian society.
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Kirsh, Steven J., and Paul V. Olczak. "Violent Comic Books and Judgments of Relational Aggression." Violence and Victims 17, no. 3 (June 2002): 373–80. http://dx.doi.org/10.1891/vivi.17.3.373.33661.
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This study investigated the effects of reading extremely violent versus mildly violent comic books on the interpretation of relational provocation situations. One hundred and seventeen introductory psychology students read either an extremely violent comic book or a mildly violent comic book. After reading the comic books, participants read five hypothetical stories in which a child, caused a relationally aggressive event to occur to another child, but the intent of the provocateur was ambiguous. After each story, participants were asked a series of questions about the provocateur’s intent; potential retaliation toward the provocateur; and the provocateur’s emotional state. Responses were coded in terms of amount of negative and violent content. Results indicated that participants reading the extremely violent comic books ascribed more hostile intent to the provocateur, suggested more retaliation toward the provocateur, and attributed a more negative emotional state to the provocateur than participants reading the mildly violent comic book. These data suggest that social information processing of relationally aggressive situations is influenced by violent comic books, even if the comic books do not contain themes of relational aggression.
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Gipson, Grace D. "Now It’s My Time! Black Girls Finding Space and Place in Comic Books." Arts 12, no. 2 (March 28, 2023): 66. http://dx.doi.org/10.3390/arts12020066.
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This essay examines how Black girl narratives are finding and making space and place in the arena of comic books and television. With the rise in Black girl (super)hero protagonists on the comic book pages and adapted television shows, it is essential to explore the significance of their rising inclusion, visibility, and popularity and understand how they contribute to the discourse surrounding the next generation of heroes. Guided by an Afrofuturist, Black feminist, and intersectional framework, I discuss the progressive possibilities of popular media culture in depicting Black girlhood and adolescence. In Marvel Comics’ “RiRi Williams/Ironheart”, DC Comics’ “Naomi McDuffie”, and Boom! Studios’ “Eve”, these possibilities are evident. Blending aspects of adventure, fantasy, sci-fi, and STEM, each character offers fictional insight into the lived experiences of Black girl youth from historical, aesthetic, and expressive perspectives. Moreover, as talented and adventurous characters, their storylines, whether on the comic book pages or the television screen, reveal a necessary change to the landscape of popular media culture.
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Hasian, Irene, and Anissa Jiwojati Utami. "Tinjauan Desain Karakter Komik Mice terhadap Kesesuaian Karakter Indonesia." Magenta | Official Journal STMK Trisakti 2, no. 01 (February 3, 2018): 271–88. http://dx.doi.org/10.61344/magenta.v2i01.31.
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The increase in popularity of Indonesian comics happens after many print and webcomic presence comics as a medium of communication between the author with the reader. Growth of Indonesian comic starts as expression media of author’s frustration about Indonesian politic and nowadays comic as a sliceâ€ofâ€life comic or in order to tell certain situation.
Cartoonist Muhammad Misrad commonly called Mice is a comic artist who is already struggling in the comic world for a dozen years and successfully communicating the Indonesian people's lives and many people call it as so†Indonesian comic. The character by Mice is perceived by writer as a soâ€Indonesian character. This reinforces the author desire to examine the character of Mice comic and the suitability with Indonesian character. The method used in this research is a qualitative approach. The explanation of the research methods for the required data will be divided into several different sub chapters. Phases of the research starting from data collection, sampling process, analyzing process, to conclusion.
The writer uses a sample based on the comic book that tells the story of Indonesia people daily life from 2011 to 2015 as many as two samples of comic books. The analysis focuses on the visual character that covers the body shape, manner of dress, facial expressions and body gestures. The conclusions drawn by the overall visual analysis of the characters in the comic as well as compliance with reality.
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Griffiths, Rhiannon. "Young people express their feelings through creating and publishing comics." Children and Young People Now 2019, no. 2 (February 2, 2019): 58. http://dx.doi.org/10.12968/cypn.2019.2.58.
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Name Listen Up Provider Comics Youth CIC Summary Knowsley Council-backed community interest company supports vulnerable young people to create their own comic books and zines to express their concerns and hopes, and to help build resilience.
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Nguyen Thi Thanh, Huong, and Huong Tran Thi Lan. "Proposing way to use storybooks to regulate emotions for preschool5-6 years old." Journal of Science Educational Science 67, no. 4A (December 2022): 194–203. http://dx.doi.org/10.18173/2354-1075.2022-0106.
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Considered as an effective means of not only developing language, providing knowledge, and enhancing imagination for children, story books are also a tool to help children recognize and regulate emotions. The article proposes four ways to use comics to regulate emotions for preschoolers 5-6 years old, including 1. Choosing story books with emotional regulation value, 2. Organizing role-playing games to be transferred can be from the content of comics to regulate emotions. 3. Read story books to regulate emotions after a situation where children lose control of their emotions. 4. Collaborate with parents in using comic books to help children regulate their emotions.
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Ijaz, Saba, Muhammad Awais, Mudasar Ali Nadeem, and Farahat Ali. "Rendering Muslims as Terrorists in the English Comic Books: Analysis of Liberty for All and Holly Terror." Journal of Social Sciences Research, no. 68 (August 31, 2020): 785–96. http://dx.doi.org/10.32861/jssr.68.785.796.
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Comic books are not only designed to entertain the readers but they also become a medium to communicate something between the lines. Comic books are a popular medium in western countries. This paper investigated the depiction of terrorist incidents allegedly involving Muslims in English comic books. The study aimed to analyze the treatment that was given to the Muslim and non-Muslim characters especially as a part of terrorist organizations while showing real-life terrorism based incidents. It was also intended to explore how they induced fear appeal in their stories regarding particular characters. Through purposive sampling, two comic books have been selected to know how the Muslim characters in the comic book were portrayed in a derogatory manner and to know how they have recaptured the incident of September 11, 2001. Liberality for All and Holy Terror are the two books that were selected and analyzed by using the method of content analysis. Drawing upon the theoretical perspective of Agenda Setting (and Framing), it is assumed that the comic books were prepared deliberately to depict Muslims in a deprecating approach. The results ask the orientalist scholars to raise their eyebrows toward the depiction of Muslims in comic books whose audience is relatively younger and the particular portrayal in such manner can have a profound and longer effect on the young minds regarding Muslims.
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Oroh, Kevin, Nurmin Samola, and Paula Hampp. "AN ANALYSIS OF THE DIFFERENCES BETWEEN COMIC AND MOVIE BY STAN LEE: IRON MAN." Journal of English Culture, Language, Literature and Education 10, no. 1 (June 1, 2022): 168–78. http://dx.doi.org/10.53682/eclue.v10i1.4054.
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This research aims to find out the differences between comics and movie by using a qualitative method, effective to describe the problem and give more explanation about this comic and movie Iron Man. This research was conducted in Comic (Tales of Suspense: Iron Man) and Movie Iron Man (2008). To fulfill the research objective, the researcher took an experimental study involving a sample of a movie with a duration of 2 hours 6minutes and a comic strip of 13 pages. Data is obtained through analysis in books and comics, reading, and seeing the problems obtained. The data in the comics show more past events at that time than the data in the movie. in the comics it shows realistic events in the 1963 era and the values or data shown in the movie are more into the modern era. Based on the results of the research, the researcher concludes that the comics and the Iron Man film have differences that make each story with the right elements, stories that have suggestions through time
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Rioux, Philippe. "Une amitié nécessaire : entraide et fraternité dans le champ des comic books québécois (1984-1995)." Papers of The Bibliographical Society of Canada 58 (February 27, 2021): 35–63. http://dx.doi.org/10.33137/pbsc.v58i0.34804.
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Depuis leur apparition dans les années 1930, les comic books américains se présentent comme des œuvres collectives sur lesquelles travaillent à relais un nombre variable d’intervenants : le scénariste, le dessinateur, l’encreur, le coloriste, le lettreur et l’éditeur, principalement. Imposée par le rythme de publication (généralement mensuel) de ces imprimés fasciculaires, la création en équipe devient alors un gage de productivité. Ayant prouvé son efficacité, cette méthode de travail est aussi adoptée par la majorité des producteurs québécois qui se lancent dans l’édition de comic books à partir des années 1980. Or, dans ces cas, la collaboration dépasse parfois le partage du travail entre les créateurs à l’emploi d’une même maison d’édition. En effet, le péritexte des œuvres et la correspondance des éditeurs indiquent qu’un esprit de collégialité unit les producteurs rivaux, qui échangent idées et conseils au sujet de leurs séries respectives. Ce faisant, ils contribuent indirectement au contenu des comics publiés par leurs compétiteurs.
Cela dit, on peut s’interroger quant aux motifs donnant lieu à cette entraide. De l’amitié entre collègues à l’opportunisme commercial, quels sont les enjeux propres au champ des comics québécois que révèle cette apparente fraternité ? Quelles sont les conditions favorisant les échanges de services entre éditeurs, scénaristes et illustrateurs ? Bref, comment s’explique la collaboration entre producteurs concurrents évoluant au sein d’un même marché? Cet article répondra à ces questions afin de mieux éclairer la dimension sociale liée à la production de comic books sériels au Québec et au Canada. Il révèlera que la collaboration entre agents évoluant dans le champ des comics québécois (et parfois dans les champs canadien-anglais et américain) vise à consolider la place occupée par les éditeurs indépendants dans le milieu restreint qu’ils tentent d’investir. La fraternité qui les réunit est bienvenue et nécessaire dans la mesure où elle encourage des relations d’ordre transactionnel plutôt que conflictuel, transformant des concurrents potentiels en instances publicitaires ou légitimantes, voire en partenaires créatifs. Une alliance se crée, de telle sorte que tous tirent profit d’une collégialité faisant office de défense contre la domination du marché par les géants de l’édition de comic books.
Cela dit, on peut s’interroger quant aux motifs donnant lieu à cette entraide. De l’amitié entre collègues à l’opportunisme commercial, quels sont les enjeux propres au champ des comics québécois que révèle cette apparente fraternité? Quelles sont les conditions favorisant les échanges de services entre éditeurs, scénaristes et illustrateurs? Bref, comment s’explique la collaboration entre producteurs concurrents évoluant au sein d’un même marché? Cet article répondra à ces questions afin de mieux éclairer la dimension sociale liée à la production de comic books sériels au Québec et au Canada. Il révèlera que la collaboration entre agents évoluant dans le champ des comics québécois (et parfois dans les champs canadien-anglais et américain) vise à consolider la place occupée par les éditeurs indépendants dans le milieu restreint qu’ils tentent d’investir. La fraternité qui les réunit est bienvenue et nécessaire dans la mesure où elle encourage des relations d’ordre transactionnel, plutôt que conflictuel, transformant des concurrents potentiels en instances publicitaires ou légitimantes, voire en partenaires créatifs. Une alliance se crée, de telle sorte que tous tirent profit d’une collégialité faisant office de défense contre la domination du marché par les géants de l’édition de comic books.
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Pischedda, Pier Simone. "Translating English Sound Symbolism in Italian Comics: A Corpus-Based Linguistic Analysis across Six Decades (1932–1992)." Arts 9, no. 4 (October 26, 2020): 108. http://dx.doi.org/10.3390/arts9040108.
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Linking interdisciplinarity and multimodality in translation studies, this paper will analyse the diachronic translation of English ideophones in Italian Disney comics. This is achieved thanks to the compiling of a bi-directional corpus of sound symbolic entries spanning six decades (1932–1992)—a corpus that was created following extensive archival work in various Italian and American libraries between 2014 and 2016. The central aim is to showcase practical examples coming from published comic scripts and to highlight patterns of translation in each of the five different time windows which were chosen according to specific historical, linguistic and cultural vicissitudes taking place in the Italian nation. Overall, the intention is to shed light on an under-developed area of studies that focuses on the cross-linguistical transposition of ideophonic forms in comic books and to pinpoint how greater factors might influence the treatment of such deceptively miniscule elements in the comic books’ pages.
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Borodo, Michał. "Exploring the Links Between Comics Translation and AVT." TranscUlturAl: A Journal of Translation and Cultural Studies 8, no. 2 (November 22, 2016): 68. http://dx.doi.org/10.21992/t9xk9x.
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For a very young but steadily developing subfield of Translation Studies such as the translation of comics it seems only natural to look to other research areas within the discipline for inspiration and research methods. This is also one of the aims of the present article, which will attempt to point to certain similarities between comics translation and the subdiscipline of Translation Studies known as AVT (Audiovisual Translation) and the field of subtitling in particular. Both films and comic books are multimodal texts based on the interplay between the verbal and the visual. What is more, both films and comic books are primarily based on dialogue, which is nevertheless transcribed and communicated in writing in both subtitled films and translated comics. Text will, in both cases, usually appear in clearly specified areas, that is at the bottom of the screen (with some exceptions) in subtitled films, and in speech balloons (with some exceptions) in the case of comics. Furthermore, text may be condensed due to the existence of spatial and technical constraints, such as the limited number of characters that may appear at the bottom of the screen or the size of speech balloons and the type of the lettering employed in the case of comics. It is particularly the latter aspect, that is textual condensation related to both spatial constraints and the multimodal character of comics, that the article will focus on, investigating the first Polish translations of Calvin and Hobbes comic strips created by the American cartoonist Bill Watterson.
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Mis Endang Sutin, Rufi`i, and Ibut Priono Lesono. "The Influence of The Use of Digital Comics Vs E-Books and Learning Motivation on The Learning Outcomes of History of Class XI Social Studies Students of SMA Negeri 2 and 4 Probolinggo." ENTITA: Jurnal Pendidikan Ilmu Pengetahuan Sosial dan Ilmu-Ilmu Sosial 4, no. 2 (December 15, 2022): 119–34. http://dx.doi.org/10.19105/ejpis.v4i2.6899.
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The quality of learning is largely determined by teachers. They are required to be skilled in bringing and guiding their students so that they can learn optimally. The objectives of this study are: (1) To find out how much influence the use of digital comics vs. e-books has on the learning outcomes of class XI social studies students at SMA Negeri 2 and SMA Negeri 4 Probolinggo. (2) To find out how much influence of the use of digital comics vs e-books and high and low student motivation is on the learning outcomes of class XI social studies students at SMA Negeri 2 and SMA Negeri 4 Probolinggo. (3) To find out whether or not there is interaction in the use of digital comic media vs e-books and learning motivation towards the learning outcomes of class XI social studies students at SMA Negeri 2 and SMA Negeri 4 Probolinggo. The data collection technique is learning outcomes using tests and for motivation using questionnaires, and data analysis using 2-pathway variance analysis (Anava).
The conclusions of this study are: 1) There is an influence on the use of digital comics vs e-books on learning outcomes 2) There is an influence on the use of digital comics vs e-books and high and low student motivation on learning outcomes. 3) There is an interaction in the use of digital comic media vs e-books and learning motivation towards learning outcomes. In learning activities in the 21st century era, teachers are advised to provide and use digital media such as digital comics, so that students are interested in learning. Thus, students can be active and understand the material taught by the teacher and can improve their learning achievement.
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Presser, Alexandra, Gilson Braviano, and Eduardo Côrte-Real. "Webtoons." Convergences - Journal of Research and Arts Education 14, no. 28 (November 30, 2021): 67–78. http://dx.doi.org/10.53681/c1514225187514391s.28.28.
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There is a noticeable gap in academic studies between comic books and hypermedia. On the one hand, are found several publications on both printed and digital comic books. On the other hand, are publications aimed at media and technologies for content usability for small screen devices. Therefore, this study focuses on the development of comic books for small screen device reading. A parameter guide for the so-called Webtoons was developed, based on theoretical foundation, observation of webcomics in this style on content platforms, and 3 phases of qualitative field research. The research included interviews with comic artists, comic book professionals, and, seeking successive refinement, the guide's presentation to students as educational material.
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Bertetti, Paolo. "Buck Rogers in the 25th century: Transmedia extensions of a pulp hero." Frontiers of Narrative Studies 5, no. 2 (November 28, 2019): 200–219. http://dx.doi.org/10.1515/fns-2019-0013.
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AbstractThe Buck Rogers in the 25th century A.D. comic strip first appeared in the newspapers on 7 January 1929, an important moment in the history of comics. It was the first science fiction comic strip, and, along with Tarzan – which curiously debuted in comics the same day – the first adventure comic. However, many people are unawere that the origins of Buck Rogers are not rooted in comic strips, but in popular literature. In fact, Anthony Rogers (not yet “Buck”) was the main character of two novellas published in the late 1920 s in Amazing stories, the first pulp magazine: Armageddon 2419 A.D. (August 1928) and its sequel, The airlords of Han (March 1929). At first, the stories in the daily comic strips closely followed those of the novels, but soon the Buck Rogers universe expanded to include the entire solar system and beyond. This expansion of the narrative world is particularly evident in the weekly charts published since 1930. Soon, Nowlan’s creature became a real transmedia character: in the following years Buck appeared in a radio drama series (aired from 1932 until 1947), in a 12-episode 1939 movie serial, as well as in a 1950/51 TV series. Toys, Big Little Books, pop-up books, and commercial gifts related to the character were produced, before the newspaper comic strip ended its run in 1967. In recent years, the character has been reeboted a couple of times, linked to the TV series of the late 1980 s and to a new comic book series starting in 2009. Buck Rogers thus found himself at the centre of a truly character-oriented franchise, showing how transmedia characters can be traced back almost to the origins of the modern cultural industry. The following article focuses on the features that distinguish Buck Rogers as a character and on the changes of his identity across media, presenting a revised version of an analytical model to investigate transmedia characters that has been developed in previous publications.
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Oktaviani, Eva, Jawiah Jawiah, Rehana Rehana, and Imawan Eko Setiyono. "Pengembangan Media Edukasi Buku Komik tentang Covid-19 untuk Anak Sekolah Dasar." Journal of Telenursing (JOTING) 6, no. 1 (June 4, 2024): 1598–606. http://dx.doi.org/10.31539/joting.v6i1.9976.
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We aimed to summarize the development process of developing the Covid-19 comic book as a prevention medium through a literary work. Research and Development was used as the method in this research with 4 D approach (Define, Design, Develop, Disseminate). The research results show that the average comic validation test score is 4.61 for material experts, 4.24 for media experts, and 4.58 for practitioners. Comic books about education during the Covid-19 pandemic are very suitable to be used as health promotion media about Covid-19. The results of limited trials (n=100) described the stories in comics as very interesting (85%), easy to understand (85%), and useful (100%). In conclusion, the Covid-19 comic book has been declared very suitable as a health promotion medium for children during the pandemic. Attractive Media literacy is currently being encouraged to support children's learning in the concept of understanding Covid-19 and increase children's awareness of implementing health protocols during the pandemic. Keywords: Comic Book, Covid-19, Pandemic
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Cintya, Hedi Amelia Bella, Alvanov Zpalanzani Mansoor, and Hafiz Aziz Ahmad. "Cells at Work: Media Integration Mapping." Ultimart: Jurnal Komunikasi Visual 14, no. 1 (June 21, 2021): 89–106. http://dx.doi.org/10.31937/ultimart.v14i1.2000.
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Cells at Work is a Japanese comic by Shimizu Akane that tells about body cells’ science. The comic gains popularity as edutainment and adapted into several educative media such as spin-offs comics, picture books, games, stage plays, and many more. While it can act as good alternatives to learn about the science of cells, adaptation to media that is too diverse can create ambiguity, confusing its users. The purpose of this research is to create a media integration mapping of Cells at Work. This research employs a qualitative descriptive method. The descriptive method is used to describe and determine the use of each adaptation medium. Then this research will map the media integration. The findings show that the diversity of educational media has its roles and purposes. Spin-off comics have specific topics that can broaden the user's knowledge of various cells. At the same time, picture books are aimed at readers who want to study cells in depth without any side stories. Games are aimed at people who prefer interactive learning. The findings from this study can be used as a consideration for creating and integrating educational media.
Keywords: media integration; mapping; educational comic; science; cells at work.
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Murawski, Bartosz. "Herosi w odcinkach. Wczesne ekranizacje komiksów o superbohaterach." Kultura Popularna 3, no. 49 (March 31, 2017): 24–35. http://dx.doi.org/10.5604/01.3001.0009.8042.
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Films based on comic books are now at the peak of their popularity. Every year we get at least a couple of movies about superheroes. These are high-budget productions, perfected to the smallest detail. But it was not always so. In my article I discuss the first attempts to filming comics – so-called “serials” filmed in the 1940’s. These films were shot quickly, cheaply and without paying special attention to faithfulness of the source material. However, these movies had also an impact on conventions presented in modern comic book movies.
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Brianna Barbu. "Comic-book science and science comic books." C&EN Global Enterprise 100, no. 16 (May 9, 2022): 48. http://dx.doi.org/10.1021/cen-10016-newscripts.
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Arianti, Theresia, and Neni Nurkhamidah. "FILIAL PIETY CONTAINED IN FACE THREATENING ACTS IN DORAEMON AND KOBO CHAN: A MANGA ANALYSIS." JETAL: Journal of English Teaching & Applied Linguistic 5, no. 1 (September 26, 2023): 77–93. http://dx.doi.org/10.36655/jetal.v5i1.1275.
Full textAbstract:
Filial Piety is a value rooted form Confucianism. This value demands one to respect parents. As this value spreads widely in East Asia, this study aims to investigate what filial piety values contained in Doraemon and Kobo Chan, and to examine which same filial piety values shared in both comic books. Doraemon and Kobo Chan are chosen since these two comic books are originated from Japan whose society adopts filial piety. These two comic books are important to be studied since the two were highly popular in Indonesia in the late 1990’s and early 2000’s and were enjoyed by many Indonesian children. This study found that acquiescent respect and care respect are two values having the highest numbers of appearances in Doraemon and Kobo Chan, respectively. While the values contained in both comic books are acquiescent respect and respecting the ancestors. It is hoped that future studies could examine the relation between these values contained in both comic books and Indonesia’s young generation’s decision to take a role as a sandwich generation.