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Journal articles on the topic 'Comics'
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1
Kasmana, K., and E. N. Hikmah. "The Representation Concept of Hell Punishment in Islamic Teachings in the comic Indahnya Taman Surga, Pedihnya Siksa Neraka." Proceeding of International Conference on Business, Economics, Social Sciences, and Humanities 1 (December 1, 2020): 679–92. http://dx.doi.org/10.34010/icobest.v1i.231.
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Indahnya Taman Surga Pedihnya Siksa Neraka, one of the religious comics present in Indonesia. This comic reaps the discourse of the debate because it is considered to present violence and pornography, on the other hand, this comic offers the teachings of life and cosmology according to Islam. This research seeks to find a representation of the concept of the torment of hell in the Islamic teachings present in the comic visual. Comparative studies were conducted between Islamic teachings through the interpretation of the Quran Hamka version, as well as the content of torture present in the visuals embodied in the comics. Interpretation brings the result that the comic provides narrative development by making variations, additions, simplifications, and reductions influenced by the comic's background without changing the main idea of the source. Comics show the comic's belief in Islamic teachings, including in interpreting his belief that there will be a hell of a version of himself.
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Anderson, Brianna. "Revolutionary paratext and critical pedagogy in Nathan Hale’s One Dead Spy." Studies in Comics 11, no. 1 (July 1, 2020): 127–46. http://dx.doi.org/10.1386/jem_00018_1.
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Autobiographical accounts of historical violence and trauma in comics form have gained widespread recognition as valuable pedagogical tools, particularly in the wake of Art Spiegelman’s groundbreaking Maus (1980–91). These comics often draw from the conventions of text-based autobiographies to provide first-person, non-fiction narratives of historical events, contributing to their perceived legitimacy as ‘serious’ texts worthy of inclusion in the classroom. However, this narrow focus on autobiographical comics as authentic windows to history has led educators to largely overlook the unique pedagogical possibilities offered by historical fiction comics, which can use both their fictionality and the comics medium to teach young readers to critically engage with history in different and deeper ways than traditional history textbooks and single-narrator autobiographical comics. This article remedies this gap by analysing how Nathan Hale’s middle-grade historical fiction comic One Dead Spy enacts a critical pedagogy approach to teach children to challenge hegemonic historical discourses and ways of thinking. The comic centres on the Revolutionary spy Nathan Hale (no relation to the comics creator) as he attempts to delay his hanging by narrating the American Revolution to his executioners. Nathan’s purportedly true account hinders children’s critical engagement with history by perpetuating dominant historical discourses, providing readers with a whitewashed, male-centric narrative of the Revolution. By contrast, the backmatter complicates Nathan’s one-sided representation of history by featuring a mini-comic narrated by the former slave Crispus Attucks and by attributing the comic’s non-fiction bibliography to fictional Research Babies. This blending of academic citational practices with absurd metafiction, as well as the introduction of marginalized counter-narrators, teaches middle-grade readers to question the authority of history writers and destabilizes all historical narratives as artificial constructs. However, the paratext also reinforces racist and sexist paradigms by displacing black and female voices to the comic’s supplemental endpapers, underwriting the comic’s well-intentioned attempts to educate readers about important voices excluded from white-centric narratives. Thus, while One Dead Spy demonstrates how historical fiction comics can provoke much-needed discussions about the inherent biases and erasures of dominant historical discourses, it also reveals the dangers of relegating opportunities for children to learn about marginalized perspectives in history to the literal margins.
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Anderson, Brianna. "Revolutionary paratext and critical pedagogy in Nathan Hale’s One Dead Spy." Studies in Comics 11, no. 1 (July 1, 2020): 127–46. http://dx.doi.org/10.1386/stic_00018_1.
Full textAbstract:
Autobiographical accounts of historical violence and trauma in comics form have gained widespread recognition as valuable pedagogical tools, particularly in the wake of Art Spiegelman’s groundbreaking Maus (1980‐91). These comics often draw from the conventions of text-based autobiographies to provide first-person, non-fiction narratives of historical events, contributing to their perceived legitimacy as ‘serious’ texts worthy of inclusion in the classroom. However, this narrow focus on autobiographical comics as authentic windows to history has led educators to largely overlook the unique pedagogical possibilities offered by historical fiction comics, which can use both their fictionality and the comics medium to teach young readers to critically engage with history in different and deeper ways than traditional history textbooks and single-narrator autobiographical comics. This article remedies this gap by analysing how Nathan Hale’s middle-grade historical fiction comic One Dead Spy enacts a critical pedagogy approach to teach children to challenge hegemonic historical discourses and ways of thinking. The comic centres on the Revolutionary spy Nathan Hale (no relation to the comics creator) as he attempts to delay his hanging by narrating the American Revolution to his executioners. Nathan’s purportedly true account hinders children’s critical engagement with history by perpetuating dominant historical discourses, providing readers with a whitewashed, male-centric narrative of the Revolution. By contrast, the backmatter complicates Nathan’s one-sided representation of history by featuring a mini-comic narrated by the former slave Crispus Attucks and by attributing the comic’s non-fiction bibliography to fictional Research Babies. This blending of academic citational practices with absurd metafiction, as well as the introduction of marginalized counter-narrators, teaches middle-grade readers to question the authority of history writers and destabilizes all historical narratives as artificial constructs. However, the paratext also reinforces racist and sexist paradigms by displacing black and female voices to the comic’s supplemental endpapers, underwriting the comic’s well-intentioned attempts to educate readers about important voices excluded from white-centric narratives. Thus, while One Dead Spy demonstrates how historical fiction comics can provoke much-needed discussions about the inherent biases and erasures of dominant historical discourses, it also reveals the dangers of relegating opportunities for children to learn about marginalized perspectives in history to the literal margins.
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Sutanto, Shienny Megawati, and Marina Wardaya. "THE PARADIGM SHIFT OF COMIC AS STORYTELLING MEDIA." Journal of Visual Communication Design 5, no. 1 (September 28, 2021): 61–75. http://dx.doi.org/10.37715/vcd.v5i1.2290.
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Comics are media stories that are not specific to a particular group of readers. But in reality, comics are often regarded as mere children's reading. This raises a negative paradigm for comics, and comics are considered as reading that degrades children's morale. This article will describe the history, definition, and function of comics as storytelling media, and how the negative paradigm affects the comic industry in Indonesia. As a medium, the comic is a means to convey messages similar to television, radio, newspapers, and magazines. And similar to other media, comics can be used to convey various kinds of information, not merely intended for entertainment only. Various kinds of messages, ranging from advertorials, political propaganda, public services, even education, can all be conveyed using comic media.
However, most people still believe the false paradigm that that comic is only for children. This is a misunderstanding and is not true. Since the beginning, the Indonesian comic industry has always tried to grow and counter the negative paradigm. In order to revitalize comics as one Indonesian creative industry subsector, a paradigm shift on how the society values and appreciates comics not just as child reading material needs to happen.
Keyword: comic, media, story, paradigm shift, creative industry.
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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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Sutanto, Shienny Megawati, and Marina Wardaya. "THE PARADIGM SHIFT OF COMIC AS STORYTELLING MEDIA." VCD 5, no. 1 (July 13, 2021): 57–70. http://dx.doi.org/10.37715/vcd.v5i1.2685.
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Comics are media stories that are not specific to a particular group of readers. But in reality, comics are often regarded as mere children's reading. This raises a negative paradigm for comics, and comics are considered as reading that degrades children's morale. This article will describe the history, definition, and function of comics as storytelling media, and how the negative paradigm affects the comic industry in Indonesia. As a medium, the comic is a means to convey messages similar to television, radio, newspapers, and magazines. And similar to other media, comics can be used to convey various kinds of information, not merely intended for entertainment only. Various kinds of messages, ranging from advertorials, political propaganda, public services, even education, can all be conveyed using comic media.
However, most people still believe the false paradigm that that comic is only for children. This is a misunderstanding and is not true. Since the beginning, the Indonesian comic industry has always tried to grow and counter the negative paradigm. In order to revitalize comics as one Indonesian creative industry subsector, a paradigm shift on how the society values and appreciates comics not just as child reading material needs to happen.
Keyword: comic, media, story, paradigm shift, creative industry.
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Setiyawan, Doni, Evelyne Henny Lukitasari, and Arif Yulianto. "Perancangan Komik Digital Wayang Hanoman." JURNAL KEMADHA 13, no. 1 (April 27, 2023): 51–70. http://dx.doi.org/10.47942/ke.v13i1.1396.
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ABSTRACT The puppet show comic is a typical Indonesian comic whose story is taken from the Indonesian or Indian version of the Mahabharata and Ramayana stories. Most Indonesian people quite well know this story. This design aims to design effective and attractive i llustrations and create digital comics that are conceptualized and adapted to the target reader. The design method used digital comic media so children can read comics through gadgets daily. On the other hand, the work of designing digital comics for wayang hanoman is expected to teach children about the moral messages in the puppet show of hanoman stories, and it can be imitated in their daily habits. Keywords: Comics, Puppet Show of Comics, Digital Comics, Design
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Jumiati, Annisa, Mochamad Aviandy, and Silva Tenrisara Pertiwi Isma. "Identitas Budaya Pada Tokoh Pahlawan Dalam Komik «БЕСОБОЙ» [BESOBOY] Yang Diterbitkan Bubble Comics." Populis : Jurnal Sosial dan Humaniora 8, no. 2 (December 14, 2023): 158. http://dx.doi.org/10.47313/pjsh.v8i2.2641.
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<p><em>The comic’s development in Russia is inseparable from globalization which has the ability to carry the movement of global culture. This is the cause of the interfusion between local culture and foreign culture. Bubble Comics is one of the Russian publications that releases Russian versions of superhero-themed comics by adapting comic culture from America and Europe. In this article, the formulation of the problem that will be discussed is how the cultural identity of the hero is represented in the Бесобой [Besoboy/Demon Boy] comics. The aim of this article is to explore the cultural identity featured in Бесобой comics. This article examines cultural identity in the Бесобой [Besoboy] comics series 1—50 by using Stuart Hall’s concept of cultural identity. The results of this research indicate that Russian comics, especially Bubble Comics, still carry Russian cultural values in their stories even though they adopt American and European comic culture. The cultural identity of the comic character Бесобой as a Russian hero is depicted in the form of similar cultural values shared by the characters of Russian society, especially Moscow.</em></p><p>Perkembangan komik di Rusia tidak terlepas dari globalisasi yang memiliki kemampuan dalam mengusung perpindahan arus budaya global. Hal tersebut menjadi penyebab adanya percampuran antara budaya lokal dan budaya luar. Bubble Comics adalah salah satu penerbitan Rusia yang banyak mengeluarkan komik bertemakan pahlawan super versi Rusia dengan mengadaptasi budaya komik dari Amerika dan Eropa. Dalam artikel ini, rumusan masalah yang akan dibahas adalah bagaimana identitas budaya tokoh pahlawan direpresentasikan dalam komik <em>Бесобой [Besoboy/Demon Boy]</em>. Tujuan artikel ini adalah untuk mengeksplorasi identitas budaya yang ditampilkan dalam komik <em>Бесобой [Besoboy]</em>. Artikel ini mengkaji identitas budaya dalam komik <em>Бесобой</em> seri 1—50 dengan menggunakan konsep <em>cultural identity </em>milik Stuart Hall. Hasil dari penelitian ini menunjukkan bahwa komik Rusia, terutama Bubble Comics, tetap mengangkat nilai budaya Rusia di dalam ceritanya meskipun mengadopsi budaya komik Amerika dan Eropa. Identitas budaya dari karakter komik <em>Бесобой</em> sebagai pahlawan Rusia digambarkan dalam bentuk kesamaan nilai budaya yang dimiliki oleh karakter masyarakat Rusia, terutama Moskow.</p>
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Lent, John A. "Comics and Comic Art." Communication Booknotes 22, no. 5 (September 1991): 108–11. http://dx.doi.org/10.1080/10948009109488004.
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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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Musnur, Irfandi, and Muhamad Faiz. "ANALISIS PENYAJIAN KARAKTER DAN ALUR CERITA PADA KOMIK VULCAMAN-Z." Narada : Jurnal Desain dan Seni 6, no. 2 (September 30, 2019): 339. http://dx.doi.org/10.22441/narada.2019.v6.i2.010.
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Analysis of Character Presentation and Storyline in the Comic "Vulcaman-Z" aims to find out and identify visually how the presentation of characters and storylines in the comic Vulcaman-Z by Galang Tirtakusuma. This comic is a 4 point comic (yonkoma) or four panels, a slapstick action-comedy genre that is rarely found in the Indonesian comics industry. This comic also has several unique features such as the use of layouts, characters, colors, expressions, action lines, and word balloons. This research uses a descriptive qualitative method with interviews, literature study and observation data collection methods. The purpose of this research is the initial research conducted jointly with students to uncover several Indonesian comic artists' styles which later become a study of revealing comic styles from Indonesia. As we know that Indonesian comics are still very influential with foreign comics, both Japanese and American. The comic style possessed by Indonesia does not yet have own characteristics, although some comic artists have tried to express the identity of Indonesia through cultural ornaments and stories. But the presentation and style of comics are still using or the same as the style that is outside. Based on this, this research is present as an effort to discover the characteristics of Indonesia in Comics or to give an idea to Indonesian comic artists to present new style contributions to Comics.
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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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von Reumont, Frederik, and Alexandra Budke. "Strategies for Successful Learning with Geographical Comics: An Eye-Tracking Study with Young Learners." Education Sciences 10, no. 10 (October 21, 2020): 293. http://dx.doi.org/10.3390/educsci10100293.
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Many studies report that comics are useful as learning material. However, there is little known about how learning with comics works. Based on previously established theories about multimedia learning, we conducted an eye-tracking experiment to examine learning about geography with a specially designed combination of comic and map which we call geo-comic. In our experiment, we show that our geo-comic fulfills many prerequisites for promoting deep learning. Thus, we establish guidelines for an effective design of geo-comics and recommend deploying comics in combination with maps in geography classes.
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Belov, Dmytro. "Research of Comics in Modern Humanities." Ukrainian Journal on Library and Information Science, no. 8 (December 20, 2021): 27–50. http://dx.doi.org/10.31866/2616-7654.8.2021.247583.
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The growing popularity of comics in Ukraine and worldwide increases scientific attention to this type of information product. The article is devoted to generalising the leading tendencies in the Comics Study and researching comics in modern humanities. Based on the study devoted to comics professional publications, profile resources of world comics research centres and the current state of understanding the phenomenon of comics magazines and Internet resources, application of review-analytical, historical-chronological, dialectical, socio-communication, and content analysis methods has been detected that the syncretic nature of comics made them a research subject in various sciences and programme subject areas: literary studies, linguistics, cultural study, art history, history, political science, and others. Leading research centres of Comics Study are the International Comic Art Forum, the British Consortium of Comic Researchers, the Comics Research Hub of the University of the Arts, the Canadian Society for the Study of Comics, the Society for Comics Researchers (USA). The educational direction of Comics Studies has been represented by bachelor’s, master’s, and doctoral (doctor of philosophy) educational programs in higher education institutions of different countries: the University of Florida, University of Toronto, University of California Santa Cruz, University of Portland, West University, University Dundee, Teesside University, Lancaster University (UK), Kyoto Seika University (Japan). The growth of scientific knowledge in Comics Study, on the one hand, and on the other hand - the predominance of interdisciplinary approach in the studies necessitated the establishment of special scientific journals dedicated to comics, such as the Journal of Graphic Novels and Comics, Studies in Comics, European Comic Art. In Ukraine, the study of comics at the dissertation level took place in the dimension of pedagogy and philology. However, some scientific research on comics is available in journalism, press studies, publishing, political science, literature, journalism, and social communications. It has been found that as a multifunctional and unique information product and object of library activity, comics have not yet become the subject of study for bibliologists and librarians. The prospects of separating the corresponding research direction in bibliology and library science are substantiated.
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Ayyub H.B.N.MS, Arsito Ari Kuncoro, Fendy Suhono, and Mufadhol Mufadhol. "PEMANFAATAN DESAIN GRAFIS SEBAGAI MEDIA PROMOSI UNTUK MENUNJANG PENJUALAN BUKU KOMIK ULTIMATE GLAD." Jurnal Publikasi Ilmu Komputer dan Multimedia 1, no. 2 (May 30, 2022): 133–45. http://dx.doi.org/10.55606/jupikom.v1i2.385.
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Technological developments are also needed in the field of communication, especially in the book publishing industry. Now, the comic industry in Indonesia is very busy, where almost all bookstores in big cities sell various types of comics. However, what is quite worrying is that most of the comics sold in these bookstores are translated comics. The dream about the rebirth of Indonesian comics as a renaissance is far from reality, although it is possible that it will rise again in the future. Moreover, with the entry of imported comics from Europe, East Asia, and America, the position of local comics is increasingly pressing. Moreover, Indonesian comics are also losing interest, because they are dominated by Japanese and Korean comics. Through these problems, efforts to promote Ultimate Glad comics need to be done creatively, namely promoting comics using the Merchandise method. Creative here is not just using promotional media, but how to promote efforts to get awareness and engagement of old consumers or new potential customers through direct interaction between merchandise products and consumers. Merchandise as the most appropriate promotional media because it can win the competition in attracting the attention of consumers. With a very unique and attractive design, it will be easier to introduce the "Ultimate Glad" comic to potential consumers, especially teenagers and comic lovers in Indonesia.
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Wiseman, Richard, Jordan Collver, Rik Worth, and Caroline Watt. "Hocus Pocus: using comics to promote skepticism about the paranormal." Journal of Science Communication 20, no. 02 (March 8, 2021): A04. http://dx.doi.org/10.22323/2.20020204.
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This study investigated the potential for comics to promote skepticism about the paranormal. Participants rated their interest in comics, read a skeptical account of alleged paranormal phenomena in one of three mediums (text, comic, and comic containing an interactive magic trick), and then rated their engagement, skepticism and recall. The text was rated as more interesting and entertaining than the comics, and participants' prior interest in comics positively correlated with engagement and shift in skepticism. This suggests that for certain cohorts, comics may be an effective way to promote engagement and attitude change. The implications for future work are considered.
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Shaker, Sara. "Gender Binaries and Sexual Violence in Adult Comics During Post-Revolutionary Egypt." Kohl: A Journal for Body and Gender Research 3, Winter (December 1, 2017): 205–15. http://dx.doi.org/10.36583/20203211.
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This article examines whether the male-centric production of adult Egyptian comics in post-revolutionary Egypt challenges and subverts gender stereotypes and the binaries of femininity and masculinity, with a particular focus on two comic magazines, Al Shakmgia and TukTuk. It presents the work of some of Egypt’s comic artivists that attempt to fill an analytical gap when it comes to the visualization of women’s sexualities, whether in Egyptian adult comics or in media more generally. This article consists of four main sections. The first section elaborates on the importance of studying comics and the considerable obstacles that the circulation and development of comics face inside Egypt. The second section provides a short backgroud about the history of adult comics in Egypt. While the third section explores and revisits the concepts of femininity and masculinity in the comics, the fourth focuses on sexual violence and redefining consent. Finally, the last section addresses the question of the scarcity of women comic artists, highlighting the pervasiveness of hegemonic masculinity, whether materially or in comic representations.
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Pangaribuan, Kezia, and Alfiansyah Zulkarnain. "Using the Concept of Timeframing to Implement Animation in the Motion Comic Adaptation of Bumi." IMOVICCON Conference Proceeding 2, no. 1 (July 6, 2021): 35–39. http://dx.doi.org/10.37312/imoviccon.v2i1.86.
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Motion comics are known for their implementation of animation in static comics, but the goal of the animation itself is rarely thought about. Some use animation in comics just for the sake of creating a moving comic, without really thinking about the strengths animation can bring. Understanding the concept of timeframing and the seven characteristics of a motion comic will help improve the use of animation in a motion comic.
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Kusuma Putra, Gede Lingga Ananta, and Gede Pasek Putra Adnyana Yasa. "KOMIK SEBAGAI SARANA KOMUNIKASI PROMOSI DALAM MEDIA SOSIAL." Jurnal Nawala Visual 1, no. 1 (May 31, 2019): 1–8. http://dx.doi.org/10.35886/nawalavisual.v1i1.1.
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Comics are one of the most effective promotional media because they have pictures, text and storylines. The present development of comics is not only made through conventional processes but can also be done in digital processes. This comic gain is taken to carry out the promotion process. The development of the internet today is very rapid. With the help of internet use it can allow an individual to interact with other individuals without any distance limitations. Social media is one of the developments in digital technology that makes it easy for someone to communicate with people without the distance of their location. Social media is an effective publication tool in the publication of comics that contain promotional content so that messages can be received by the wider community. Comics have various types according to their needs, and one of them is the Comic Strip. In the Comic Strip is an effective choice in carrying out a promotional activity. Stripm comics are a type of comic that only consists of a few panel images. However, when viewed in terms of its contents, this comic has revealed the idea of complete content. With the advantages of Comics and social media, comic publications on social media are one of the effective choices in making a promotion.
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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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Hasian, Irene, and Andri Sakti Mardika. "Pengaruh Komik Asing terhadap Visualisasi Perkembangan Komik di Indonesia." Magenta | Official Journal STMK Trisakti 1, no. 01 (August 24, 2017): 1–23. http://dx.doi.org/10.61344/magenta.v1i01.7.
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Development of Indonesian comics that has been more than 80 years old is very rarely being topic of scientific study, especially about the history and its realitionship with foreign comics. Comics Industry in Indonesia is dominated by foreign comics, especially manga. Because of the popularity of manga comics in Indonesia, many Indonesian comics have similar visual appearance with the manga. The effect of foreign comics which is familiar by the author. This influence creates an ambiguity of identification Indonesian original comics. This reinforces the author desire to examine the historical development of comics in Indonesia and how far the influence of foreign comic visualization. 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 author uses a random sample representing each decade which are similar with foreign comics. The analysis focused on a visual comic sample that includes panel, the viewing angle and the size of the image in the panel, ditch, bubling, and illustration. Conclusions are taken based on visual analysis of the entire Indonesian comics and foreign comics, and also from the results of both.
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Putro, Dimas. "PERKEMBANGAN TREN MEMBACA KOMIK PADA ERA DIGITAL DI INDONESIA." SOURCE : Jurnal Ilmu Komunikasi 7, no. 2 (November 6, 2021): 115. http://dx.doi.org/10.35308/source.v7i2.3640.
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Comics is a reading medium that is a favorite for some people in Indonesia. Reading comics has become a habit or a hobby for some people. Various types of titles, genres, and types of comics have been found in the world and also in Indonesia. In this digital era, printed comics are challenged by the changing times that have migrated from the printed book system to digital books. This study wants to see how the comic fan community has an opinion about the displacement that occurs in the world of comics. In the existing dualism, each version that exists in the type of printed or digital comic has its own appeal for its fans. Comics have become an alternative reading medium which is a hobby for some people. The convergence of comics at this time received mixed opinions from the audience. Digital and printed comics still have an attractive side for the audience to continue reading and collecting.
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Iksan, Muhamad, Agust Isa Martinus, and Dian Novianti. "Exchange Site for Reading and Publication of Comics Web-Based." Jurnal Improsci 1, no. 4 (February 16, 2024): 168–81. http://dx.doi.org/10.62885/improsci.v1i4.188.
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This study aims to create a web-based comic reading and publishing exchange to make obtaining, reading, and publishing a comic easier. As for the background of this research, in today's modern era, when getting a comic, some people still use conventional methods, so it requires more costs, limited stock, longer time, limited storage space, and more complex maintenance and production costs—extensive distribution. Creating web-based comic reading and publication exchanges is an alternative expected to make reading comics easier and faster. Comic buyers and sellers can also easily make comic transactions because they are systemized and stored safely. Testing the reading site exchange system and web-based comic publications shows that the system has achieved the expected goals. The system can identify user roles; allows the Admin to review or confirm comics and chapters as well as manage genre and user data; provides the seller with the ability to manage data on comics, chapters, and payments; gives customers access to view a list of comics, transaction history, make purchases, and read comics; and the payment system can confirm transactions made by customers.
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Markova, Maria V. "PARTICULARITY OF THE TRANSFORMATION OF THE SUPERHERO COMICS IN THE RUSSIAN CULTURAL SPACE: BY THE EXAMPLE BUBBLE COMICS." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 9 (2021): 87–99. http://dx.doi.org/10.28995/2686-7249-2021-9-87-99.
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The modern Russian comics industry is mostly author’s comics. At the same time, first of all, comics are associated with superhero stories, whose appearance on the screens of cinemas became the starting point for many people to recognize the original source – the comic. In Russia, a mass commercial comic strip is presented by the publishing house BUBBLE Comics. Its slogan from the first issue was: “The country must know its superheroes”. The article examines the forms and methods of transformation of the characteristic features of superhero comics in Russian comics published by BUBBLE Comics. BUBBLE Comics strives not to copy the narrative strategies of American publishers, but to adapt them for the Russian reader. BUBBLE publishers partly use the superhero theme, adopting the idea of a single universe and heroes who are engaged not so much in saving the world as in helping people. Unlike traditional solo superheroes, BUBBLE Comics’ heroes are surrounded by people who share their mission and are more of a team. Such comics not only construct a new fictional world, but also to a certain extent reflect the socio-cultural reality that is close to the understanding of the Russian reader.
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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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Arianti, Andini Setya. "DRAWING STYLES VISUAL ANALYSIS OF INDONESIAN ACTION COMICS." ARTic 3 (March 15, 2019): 93–101. http://dx.doi.org/10.34010/artic.2019.3.2484.93-101.
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Comics are one of popular storytelling media which combines images and text, and is read through spesific order. Far before it was known as “comic”, Indonesia already has several forms of storytelling, such as Wayang Beber and relief on Borobudur’s temple. This forms are later known as comics, which evolve through times in Indonesia. Indonesian comics received many influences from other countries. Indonesian comics received most influences from America and Japan. These influences are seen on its storytelling, and also, its drawing style. The comics being analyzed on this thesis are those with action genre, also known as “komik silat” in the past, because this genre is one of the most popular genre. There are two titles picked to be analyzed, one is “Pandji Tengkorak”, which represents older generation comic, and “Raibarong”, which represent a more modern comic. To understand how indonesian comics grows throughout times and the factors behind its growth, this research uses qualitative analysis and descriptive-comparative along with study case as its approach. The result shows the differences between drawing style of the two comics, caused by the trends existing on their respective eras. Internal factors such us the authors personal preferences and media used to create the comics also further influences their drawing styles.
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Arianti, Andini Setya. "DRAWING STYLES VISUAL ANALYSIS OF INDONESIAN ACTION COMICS." ARTic 3 (March 15, 2019): 93–101. http://dx.doi.org/10.34010/artic.v3i0.2484.
Full textAbstract:
Comics are one of popular storytelling media which combines images and text, and is read through spesific order. Far before it was known as “comic”, Indonesia already has several forms of storytelling, such as Wayang Beber and relief on Borobudur’s temple. This forms are later known as comics, which evolve through times in Indonesia. Indonesian comics received many influences from other countries. Indonesian comics received most influences from America and Japan. These influences are seen on its storytelling, and also, its drawing style. The comics being analyzed on this thesis are those with action genre, also known as “komik silat” in the past, because this genre is one of the most popular genre. There are two titles picked to be analyzed, one is “Pandji Tengkorak”, which represents older generation comic, and “Raibarong”, which represent a more modern comic. To understand how indonesian comics grows throughout times and the factors behind its growth, this research uses qualitative analysis and descriptive-comparative along with study case as its approach. The result shows the differences between drawing style of the two comics, caused by the trends existing on their respective eras. Internal factors such us the authors personal preferences and media used to create the comics also further influences their drawing styles.
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Ilham, Muhammad, and Marlini Marlini. "Pembuatan Komik Literasi Informasi Untuk Meningkatkan Literasi Siswa di Perpustakaan SMA Negeri 1 Padang." Ilmu Informasi Perpustakaan dan Kearsipan 8, no. 1 (October 29, 2019): 204. http://dx.doi.org/10.24036/107327-0934.
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AbstractThe writing of this paper aims to explain the making of information literacy comics to increase student literacy in the Public Library of Padang 1 High School. The method used in this paper is descriptive method, the data is taken through field observations and interviews with librarians and librarians, based on facts that occur in the field of Public Library 1 Padang. Based on these results it can be concluded that the making of information literacy comics can be concluded the following steps. Determine the topic or theme of the Comic, Thinking of characters or extras, Determine the character to be played, Determine the setting of the place, Determine the setting of the atmosphere, Determine the setting, Determine the title, Make a title, Make a script, Provide tools and materials, Make a comic panel, Make a sketch of a picture comic characters, thickening comic character drawings, sketching conversation balloons, thickening panel lines, making storyline text columns according to narration, coloring sketch pictures on comics, thickening story conversation balloon lines, filling text in conversation bubbles and storyline columns in comics, Thicken the character image using a ballpoint pen. Keywords: comics, information literacy comics, student literacy
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Salam, Babus, Iwan Joko Prasetyo, and Daniel Susilo. "IInterpretasi Dan Makna Kritik Sosial Dalam “Komik Strip Untuk Umum (Kostum)” Periode 1 Desember – 31 Desember 2017." LONTAR: Jurnal Ilmu Komunikasi 6, no. 2 (December 26, 2018): 96. http://dx.doi.org/10.30656/lontar.v6i2.949.
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Theres many ways can be done to appreciate the voices of messages and criticisms through creative ways, one of them through comics. One of the Indonesian comic artists who used comics as a medium of social criticism was Haryadhi through his "Komik Strip Untuk Umum (KOSTUM)” creation. KOSTUM Comics record the events that are happening and pour them into comic strips spread through social media. This research is a qualitative descriptive type using Roland Barthes' semiotics theory with two-stage significance (two orders of signification). From the results of the study, researchers found the implicit meaning that is to criticize and satirize the behavior of Indonesian people in a subtle way. Criticism expressed to comics is directed directly at the actors but is delicately wrapped with humorous portrayals through their characters. From the KOSTUM comics examined can be concluded that the social criticism described in the comic is an expression of the condition of the community related to the values that are used as a guideline for living in community groups.Keywords: Comics, Social Criticism, Semiotics, Roland Barthes
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Brozović, Domagoj. "How to Tell a Story without Words." Acta Universitatis Sapientiae Film and Media Studies 25 (August 20, 2024): 137–58. http://dx.doi.org/10.47745/ausfm-2024-0008.
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This paper focuses on the narrativity in wordless comics, that is, in comics that do not use words or use them only scarcely. The verbal-visual duality of comics is always semiotically challenging. The absence of words in wordless comics foregrounds their visual component which carries additional narrative or aesthetic meaning for the comic as a whole. First, several contemporary narratological models are considered. Most often narratives are considered as a description of a series of situations and events, independently of the medium in which they occur. Among scholars of comic studies, the author presents Eisner and McCloud’s concept of sequence as a focal point of plotting in comics, which has similar characteristics to narrating and storytelling in literature. The author also explores several models of medium-specific modifications such as comic focalization markers, monstration, and graphic enunciation with special attention paid to wordless comics. Finally, the author demonstrates the proposed analytical model through two examples: Mirko Ilić’s Horizontal and Vertical (1978) and Ileana Surducan’s The Quest (2014).
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Lestari, Annisa Fitriana, and Irwansyah Irwansyah. "LINE WEBTOON SEBAGAI INDUSTRI KOMIK DIGITAL." SOURCE : Jurnal Ilmu Komunikasi 6, no. 2 (October 31, 2020): 134. http://dx.doi.org/10.35308/source.v6i2.1609.
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Because of internet and smartphones, various industries and their products have changed. Comics as one form of the reading industry also experienced this impact. Conventional comics are changing into digital comics, which can be read via cellphones. One of the digital comic services is LINE Webtoon, which has successfully become a popular comic application in various countries, including Indonesia. The purpose of this study is to provide an overview, deepen and develop the concept of Webtoon, especially LINE Webtoon. This research using qualitative descriptive as method. The results showed that the Webtoon was developed from a conventional form of comics in South Korea called manhwa. Manhwa change into digital because the decline of conventional comic market and technological advancements that developed in South Korea. As an industry, LINE Webtoon expanded its business with presenting paid content, creating advertisements, looking for talented comics, and adapting across media to popular Webtoon works.
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Siregar, Helmi Fauzi, and Melani Melani. "Perancangan Aplikasi Komik Hadist Berbasis Multimedia." JURNAL TEKNOLOGI INFORMASI 2, no. 2 (February 1, 2019): 113. http://dx.doi.org/10.36294/jurti.v2i2.425.
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Abstract - Comics are visual communication media that contain information, ideas, messages that are poured into images as attractive as possible. The combination of comics and hadiths is suitable to be used as an alternative to da'wah media because there are moral and moral messages contained in hadiths. The hadith comic application is made to make it easier for readers to understand the contents of comic stories and minimize the common mistakes that often occur. The method used in making the application is to use PHP. The hadith comic application has the features of presenting comics collaborated with animation, this is so that users listen to the comic storyline correctly and sequentially so as to minimize failure in understanding the core story. Hadist comic applications accompanied by attractive images and color variations make it an interesting application to use especially for teenagers and children. Keywords - Applications, Comics Hadits, Information, Multimedia
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Shahul Hamid, Mohamed Nazreen, and Muhammad Nur Saiful Ghazali. "E-Komik Hikayat Patani: Putera Pewaris Kerajaan (Satu Analisis Tekstual, Kepentingan dan Cabaran)." Jurnal Komunikasi: Malaysian Journal of Communication 37, no. 2 (June 30, 2021): 171–94. http://dx.doi.org/10.17576/jkmjc-2021-3702-11.
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In the era of globalization, physical comics have undergone a transformation from being available in a printed format to the e-comics production that are accessible online. However, e-comic-related studies are still limited. Looking at this gap, this study is conducted on the e-comic, Hikayat Patani: Putera Pewaris Kerajaan, published by Dewan Bahasa dan Pustaka (DBP). This study involved three main analyses, namely on the text, importance and challenges. The textual analysis uses five comic principles introduced by Hall in his writing Five Essential Principles of Comics and Cartooning. A library research, meanwhile, was conducted to identify the importance of e-comic and challenges. The analysis in textual aspect results found that the e-comic fulfils all the five comic principles by Hall. This shows that the e-comics have a high quality. In fact, the created illustrations are filled with abundant aspects of Malay identity and not be influenced by any other form of comic technique while presenting the content using an interesting storyline. The e-comic may be indicated as vital to attract the youth generation to learn about the traditional text of Hikayat Patani and the history of the Patani state while becoming a tool in fostering the interest among the younger generation to read and acquire knowledge. However, poor internet network, low chapter production and high cost of producing e-comics are challenges which must be overcome. Thus, this study find it is important to produce more e-comics based on historical sources or traditional texts so that the nation's civilization may continue to be preserved. Keywords: E-comic, Hikayat Patani: Putera Pewaris Kerajaan, textual, importance, challenges.
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Jankowski, Jakub. "„Comics making as a form of prayer?”. Komiksowa materialność na przykładzie komiksu Deserto / Nuvem Francisco Sousy Lobo." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 35, no. 44 (December 4, 2023): 33–62. http://dx.doi.org/10.14746/i.2023.35.44.3.
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Francisco Sousa Lobo (Portugal) touches on religious themes in many of his comics. In real life, he has been both for and against Catholics, and now he prefers to watch the world from above, sitting on a high comic book wall. In the split-book Deserto/Nuvem, which I propose to analyse in this article, he decides to create a reportage about the Catholic Carthusian order from Évora: in Deserto he presents a record of a week spent among monks, and Nuvem consists of 20 letters written to a monk. I would like to look at these comics in response to the question with which Pedro Moura concluded the Deserto/Nuvem review – “Comic-making as a form of prayer?” and through the concepts of the materiality of the comic book (Aaron Kashtan Between Pen and Pixel. Comics, Materiality, and the Book of the Future) and the performativity of the act of experiencing the comic book (Ian Hague Comics and the Senses: A Multisensory Approach to Comics and Graphic Novels).
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Manaysay, Ferth Vandensteen. "Illustrating Political Discourse: Comics and the Rohingya Refugee Crisis." IKAT: The Indonesian Journal of Southeast Asian Studies 3, no. 1 (August 16, 2019): 45. http://dx.doi.org/10.22146/ikat.v3i1.45539.
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This article explores the possibility of examining a storytelling platform, which has largely been ignored by scholars of visual politics about Southeast Asia: comics. It particularly describes how comics can serve as a discursive mechanism for visual representation within the purview of the Rohingya refugee crisis in the region. Drawing from post-structuralism and visual discourse analysis as the theoretical and methodological basis of the research, the article considers a case of a long-form online comic’s engagement withthe refugee crisis,with particular attention to the criticisms about Aung San Suu Kyi and the bloody military campaign against the Rohingya minorities in Myanmar. By specifically looking into the text-image discourses and inter-textual components of the comics, this article attempts to demonstrate that the ability of comics to “speak” politics is still dependent on international news sources and wider debates, which shape the ways in which the comic artists are able to frame their work. In this case, the use of comics as a story-telling platform, however, also suggests the agency of refugees to be portrayed as political-security actors. Although the article generally focuses on the case of the Rohingya refugee crisis, it also draws attention to the contention that scholars of Southeast Asian visual politics can most profitably engage with other regional issues by turning their attention to the dynamic role of comics as an alternative medium and source of data towards the analysis of threat construction and political-security discourse about Southeast Asia.
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Lysa, Iryna. "Comics as a separate component of the media space structure." Вісник Книжкової палати, no. 2 (February 23, 2023): 13–18. http://dx.doi.org/10.36273/2076-9555.2023.2(319).13-18.
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The article defines the comics as a separate component of the structure of the modern Ukrainian media space. The theoretical aspects of the concept of "comic journalism" are reflected and the perspective of using comic materials in the modern information space is analyzed. As a result, it was determined that comics are an effective means of conveying information, which not only successfully attract the attention of readers, but also retain it. However, due to the complex visual form, comic materials require more labor and time to create them, which makes it impossible to use comics in "fast" journalism. Despite this, comics are an important component of the structure of the media space, it is convenient to highlight information that does not require promptness.
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Woock, Elizabeth. "Visualizing the Author." Inks: The Journal of the Comics Studies Society 7, no. 2 (June 2023): 168–73. http://dx.doi.org/10.1353/ink.2023.a908592.
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ABSTRACT: This comic is the result of a practice-based approach to comics studies and comics-based research methodology. The aim was to explore the dynamics which occur when the author is visualized, or 'embodied,' on the graphic plane in a non-fiction or essayistic comic. The comic considers the use of the embodied author in data visualization, citation, form that functions, and possible interpretations by the reader. The results of this exploration are expanded to a full study in the essay "The Graphic 'I' in Research Comics" in this volume.
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Arisyana, Dwi Jaya, and Abay Delon Subarna. "Visual Elements of Kabasaran Character on Web Comic Nusantara Droid War." ARTic 3, no. 2 (June 30, 2021): 307–24. http://dx.doi.org/10.34010/artic.v3i2.8456.
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Comics are popular, comics contain stories that are published through images and text and contain information. Comics contain knowledge and entertainment. Comic stories and depictions come from creativity resulting in a variety of stories and visual styles. The visual style and content of the story influenced the interest of the audience and raise many comic genres. Many comics in Indonesia take inspiration from Indonesian culture both from their stories and visualizations. Many research on comics has been carried, but research on the visualization of Indonesian culture in comics is limited, as in previous research is still research on characters and their traits, but many character studies are associated with elements of Indonesian culture. Based on this, research on the content of Indonesian culture in a web comic entitled Nusantara Droid War needs to be carried out. Nusantara Droid War is one of the web comics that contains visualizations of Indonesian culture. The visualization used in this comic uses elements that represent the culture of an Minahasa North Sulawesi. The study aims to find out the cultural elements of North Sulawesi contained in the visualization of the character Droid Kabasaran in the Nusantara Droid War comic. It uses the descriptive qualitative method to describe and visually discover the object of study. The results of the study obtained a visualization of the character of Droid Kabasaran containing visualizations from the Minahasa culture, namely the Kabasaran dance. The visualization of Kabasaran dance elements is obtained from the results of character descriptions, character visuals and character costume elements. The visualization of Kabasaran characters in this comic is shown through skills (abilities) taken from three acts of Kabasaran dance, namely: Cakalele, Kumoyak, and Lalayaan. This research is expected to increase knowledge, increase the amount of research related to character visualization, enrich the science of visual communication design
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Kolisnyk, O. V., L. V. Ocheretna, M. I. Yakovlev, O. V. Kolosnichenko, K. L. Pashkevich, and O. M. Kretova. "TENDENCIES AND ART TECHNIQUES IN CONTEMPORARY COMIC BOOK GRAPHIC DESIGN." Art and Design, no. 3 (November 13, 2020): 34–45. http://dx.doi.org/10.30857/2617-0272.2020.3.2.
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Purpose. Exploring of the distinctive features of modern comics, their artistic and compositional solutions, types, main trends in American, European and Asian culture. Definition of the original formation of modern Ukrainian comics. Methodology. The basis of the research methodology includes integrated use of historical and comparative methods, system analysis, synthesis, generalization. Results. Basing on the analysis of modern comic book content, the history of comics and its perception by the audience as a modern media text are revealed, characteristics of individual elements in comics are systematized. The specifics of the artistic and compositional system of modern comics, the nature of figurative and stylistic techniques, graphic features of American, European, Asian, Ukrainian comics are determined. Patterns which are inherent in comics as visual narratives of different socio-cultural parts of the world, as well as aspects that shape modern Ukrainian comics, are considered. Scientific novelty. Characteristics of comics as an object of graphic design are determined: features of artistic and compositional design solutions in different regions of the world are systematized; leading trends in the development of specific types of comics in the United States, Europe, Asia and Ukraine are revealed. Practical significance. Based on art analysis of comic book types and by identifying trends in their development within modern art the specifics of the further development of comics are determined and ideas for future creative projects are presented, features that have both artistic and commercial value are indicated.
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Kittopakarnkit, Kullayanee, and Phongpitch Sawongram. "Translating Chinese Comics Titles into the Thai Language." Pattimura Excellence Journal of Language and Culture 2, no. 1 (November 14, 2022): 124–33. http://dx.doi.org/10.30598/pejlac.v2.i1.pp124-133.
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Comics have been a popular entertainment medium throughout the years. The Chinese cartoon has developed continuously since the late 19 century to early 20 century, imported into Thailand both in book form and online from around 2000, and has been translated into the Thai language for Thai readers. The translation of a comic's title has a profound impact in terms of attracting readers to that particular comic. This research is to study the translation of Chinese comics titles into Thai language. The objective is to study strategies for translation problems and solutions to problems arising from such translations. According to the research results, it was found that the giving titles method using the source language as a conductor of transmission was the most popular. The least popular method is giving titles by dynamic transmission.
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Soedarso, Nick. "Komik: Karya Sastra Bergambar." Humaniora 6, no. 4 (October 30, 2015): 496. http://dx.doi.org/10.21512/humaniora.v6i4.3378.
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Comic book is a literary medium which communicates via images. It has been part of Indonesian culture since a long time. Back to the 9th century, reliefs of Borobudur temple are proves of the early comic culture in Indonesia. Each relief panel of the Borobudur temple was made with a series of sequential scenes that depict many scenes of the 8th century’s daily life in ancient Java and the story of Sudhana and Manohara. It was made with the same principle of any comics nowadays. This article is a literature study with data gathered from both printed and electronic media. Field observation was done as well to obtain concrete data. Based on the result, comics can be categorized by its forms and formats, such as comic strip, comic book, and graphic novel. With stunning images and increasing in genres, comics easily become one of mass culture. Comics had a lowbrow reputation for much of its history, but nowadays it recieves more and more positive recognition and within academia. Its contribution to the field of entertainment, education, and imagination, especially to the young generation, makes comics as one of the important means of communication.
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Li, Nan, Dominique Brossard, Shiyu Yang, and Leonardo Barolo Gargiulo. "Exploring the Potential of Comics for Science Communication: A Study on Conveying COVID-19 Vaccine Safety Information to Black Americans." Science Communication 45, no. 4 (August 2023): 512–38. http://dx.doi.org/10.1177/10755470231195643.
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This study examined the effectiveness of using comics to communicate scientific information on COVID-19 vaccine safety to Black Americans. Although the effects of comics on interest, recall, and information sharing intention were not significant compared to expository texts and infographics, comics featuring abstract, racially ambiguous characters facilitated greater learning among participants with lower knowledge of COVID-19 vaccines, as opposed to comics with realistic representations of Black individuals. Furthermore, the effects of comics varied depending on individuals’ interest in comic reading. These findings highlight the potential of comics in science communication, but their design and target audience should be carefully considered.
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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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Kunzle, David, Paul M. Malone, Marco Pellitteri, Anne Cirella-Urrutia, Maaheen Ahmed, Catriona MacLeod, and Carolin Kirchhoff. "Exhibition, Conference and Book Reviews." European Comic Art 7, no. 2 (September 1, 2014): 115–40. http://dx.doi.org/10.3167/eca.2014.070206.
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BOOK REVIEWSThierry Groensteen, M. Töpffer invente la bande dessinéeOle Frahm, Die Sprache des Comics [The Language of the Comic]Daniela Petrini, ed., Die Sprache(n) der Comics: Kollokium in Heidelberg, 16.–17. Juni 2009 [The Language(s) of Comics: A Symposium Held in Heidelberg, 16–17 June 2009]Hannah Miodrag, Comics and Language: Reimagining Critical Discourse on the FormIan Hague, Comics and the Senses: A Multisensory Approach to Comics and Graphic NovelsEXHIBITION REVIEWAlbums: Bande dessinée et immigration, 1913–2013, Musée de l'histoire de l'immigration, Paris, 16 October 2013 to 27 April 2014 Catriona MacLeodCONFERENCE REVIEWGraphisches Erzählen: Neue Perspektiven auf Literaturcomics Graphic Storytelling: New Perspectives on Literature and Comics], University of Düsseldorf, Germany, 5–7 March 2014 Carolin Kirchhoff
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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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Hague, Ian, Nancy Pedri, José Alaniz, Stefano Ascari, and Silke Horstkotte. "Book Reviews." European Comic Art 7, no. 1 (March 1, 2014): 112–26. http://dx.doi.org/10.3167/eca.2014.070106.
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Daniel Stein and Jan-Noël Thon, eds, From Comic Strips to Graphic Novels: Contributions to the Theory and History of Graphic NarrativeBarbara Postema, Making Sense of Fragments: Narrative Structure in ComicsShane Denson, Christina Meyer and Daniel Stein, eds., Transnational Perspectives on Graphic Narratives: Comics at the CrossroadsMélanie Van Der Hoorn, Bricks and Balloons: Architecture in Comic Strip FormThomas Hausmanninger, Verschwörung und Religion: Aspekte der Postsäkularität in den franco-belgischen Comics [Conspiracy and Religion: Aspects of Post-Secularity in Franco-Belgian Comics]
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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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Berger, Michael, Guri Michael, and Nash Christoph. "E-comics: Pictorial Learning Media to Train Students' Viewing Skills." Journal Emerging Technologies in Education 1, no. 1 (July 21, 2023): 14–25. http://dx.doi.org/10.55849/jete.v1i1.188.
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Background. Nowadays, education requires ways to improve the quality of students. In improving and developing the quality of students, teachers must innovate in making learning media, one of which is learning media in the form of e-comic media. Purpose. this is to find out how the benefits of e-comics in learning. Method. using quantitative methods, data obtained through interviews and distributing questionnaires to students by utilizing the google form. Results. explained that learning media using e-comics can improve student learning outcomes. From the results of the interviews, it was obtained that these students felt an attraction and were motivated in learning by using e-comics. Students feel that learning by using e-comic media, grades and learning outcomes are increasing. e-comics is also one of the learning media that is easily understood by students. Conclusion. explained that this e-comic learning media really helps teachers to see students' skills in learning. e-comics is one of the learning media that is easily understood and liked by students as well as an effective learning media to use in learning.
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Wilde, Lukas R. A. "Webcomics as mediation." Studies in Comics 14, no. 1 (July 1, 2023): 43–62. http://dx.doi.org/10.1386/stic_00098_1.
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This article focuses on Nadja Hermann’s uniquely inspiring webcomic Erzählmirnix (sometimes translated into English as ‘Emoticomix’), approaching it from a theory of mediation. In recent years, this perspective has been developed into a fine-grained model for the analytical application in comic studies. Applied alongside or complementary to narrative-focused as well as art-focused perspectives, a view on comics as mediation puts into focus the interrelations of communicative-semiotic, material-technological and conventional-institutional aspects of a comic’s production, distribution and reception. Erzählmirnix makes an excellent, intriguingly complicated test case, as it is at the same time incredibly influential in German-speaking countries while still being mostly neglected by research. ‘Mediation’ focuses on the distribution of agency between all the actors involved with (digital artefacts perceived as) comics: in a semiotic-communicative respect this refers to comic-specific ‘narrative instances’ (like narrators, perceived as distinct from authors or artists) as well as to affordances and limitations of genre traditions; in a material-technological respect it addresses the possibilities and constraints of platforms and material formats, while cultural-institutional perspectives take agency and conflicts distributed between countless personal, institutional or corporate actors into account. My article then discusses how the entangled agentic structures surrounding Hermann’s minimalistic graphics and ‘emoji’-pictures constantly bridge, undermine and negotiate distinctions between comics, cartoons, memes and actual social media commentary.
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Nilan, Ignasius De Igo, and Agustinus Hary Setyawan. "An Analysis of Jargon used by Asian Comic Writers." Linguistic, English Education and Art (LEEA) Journal 7, no. 2 (June 23, 2024): 400–408. http://dx.doi.org/10.31539/leea.v7i2.9599.
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This research aims to find out the jargon used by comic writers as a social group. This research was applying the qualitative descriptive method to collect data. The method used to analyze the meaning and function of jargon is descriptive analysis which is visible in each paragraph. Collecting data was carried out by finding out the jargon on Asian comics such as manga, manhwa, and manhua on the website. The results of this research show the meaning and function of jargon used by comic writers. Jargon is a variety of language which is used by certain social groups or professions and is not understood by other groups. Research regarding the use of jargon in Asian comics can be conclude that jargon is used by comic writers to describe their work. The jargon found is in the form of words, phrases, acronyms, and abbreviations. The function of jargon used by comic writers is to identify and describe the word. This research proves that the use of jargon is not only in other communities but also in the comic writing community. The weakness of this research is that some comics still use Chinese, Korean, and Japanese terms. This is because there are no equivalent English words that is suitable to describe it. The words are dantian, qi, and mana. Researcher hope this writing can be a reference for future researchers to do a researching in other aspects of comics relate with linguistics or language learning media. Keywords: Asian Comics, Comics Writer, Jargon, Language Variety, Sociolinguistic