Digital Comics, Circulation, and the Importance of Being Eric Sluis

Wershler, Darren

doi:10.1353/cj.2011.0035

Cited by 44 publications

(2 citation statements)

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“…19 The alternation and parallel processing of verbal and visual components through different levels of overview and detail, which characterize even linear graphic narratives, may be remediated through multiple windows and various magnification tools, 20 but incomplete pages or even panel-by-panel viewing can become the dominant reading mode in the interest of "onscreen legibility" (especially on smaller devices). 21 Besides affecting the digital migration of comics with a preexisting page layout (where legibility vies with the rival priority of archival or aesthetic fidelity), 22 this also informs the remediation of comics topography across multiple platforms.…”

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A Language of Scratches and Stitches: The Graphic Novel between Hyperreading and Print

Orbán¹

2014

Critical Inquiry

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In one of the memorable media historical anecdotes of the electronic Stone Age that was the 1970s, security officials learned about haptic reading the hard way when the classified documents hastily shredded before the takeover of the US embassy in Tehran were painstakingly reassembled by hand. The unshredding was not done by intelligence officers but by specially hired local carpet weavers. As the deputy director of the National Security Archive at George Washington University commented, "for a culture that's been tying 400 knots per inch for centuries, it wasn't that much of a challenge." 2 The different time scales of abstract mathematical possibility and human activity are important elements of the unexpected reconstruction, yet the story reveals more than a case of absurdly patient reading. It is also a demonstration of the curious fact that if you cannot read a document with your eyes like an intelligence analyst, you may still be able to read it with your hands like a carpet weaver-a shift that acknowledges reading as a genuinely multisensory experience. The New York Times article mentioning the Tehran unshredding incident (on the occasion of the more recent electronic reassembly of Stasi files) calls the weavers' method "crude," a label both naïve and arrogant in equating predigital slow technologies with a lack of sophistication. 3 In fact, the role of touch in the embodied reading process can vary in subtle, often unconscious ways, although the significant cognitive consequences of this multisensory experience, which normally go unnoticed, may require cultural confrontations as bizarre as analysts versus weavers to appear.In the following pages, I will present graphic narrative as a site of reading that merits attention precisely because of the cultural contestation and rival practices it dramatizes in its embodied, multisensory reading process, though in this case we will abandon the different weaving (and unraveling) methods of text and textile for paper and screen. When viewed in a

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A Language of Scratches and Stitches: The Graphic Novel between Hyperreading and Print

Orbán¹

2014

Critical Inquiry

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“…Journal of Graphic Novels and Comics 459browser-based platform Marvel Digital Comics Unlimited(Wershler 2011). For a monthly fee, the platform offered members unlimited access to a curated selection of older Marvel comics through their browser.…”

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confidence: 99%