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Comics and LanguageReimagining Critical Discourse on the Form$
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Hannah Miodrag

Print publication date: 2013

Print ISBN-13: 9781617038044

Published to University Press of Mississippi: March 2014

DOI: 10.14325/mississippi/9781617038044.001.0001

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date: 15 December 2017

Sequentiality as Realism

Sequentiality as Realism

Chapter:
(p.142) Chapter Six Sequentiality as Realism
Source:
Comics and Language
Author(s):

Hannah Miodrag

Publisher:
University Press of Mississippi
DOI:10.14325/mississippi/9781617038044.003.0007

This chapter examines the conceptualization of comics in terms of linear sequencing to differentiate it from other narrative media, focusing on the work of Chris Ware, such as his “Big Tex” strip. It shows that linear sequencing props up the comparison between comics and language, and illustrates how Ware’s use of the full-page split panel technique in “Big Tex” plays to the potentially ambiguous connection between text space and story time. The chapter also explains how narrative breakdown—segmentivity, and the simultaneity of those segments on the page—differentiates the comics form from other narrative media. In addition, it comments on Scott McCloud’s definition of comics and suggests that it might be better conceived of as a kind of realism principle. Finally, the chapter contends that sequentiality is key to the reading of Krazy Kat, a comic strip created by cartoonist George Herriman.

Keywords:   comics, linear sequencing, Chris Ware, language, text space, story time, Scott McCloud, realism, sequentiality, Krazy Kat

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