Peda-comical: a personal account of comics in education

presented as a comic stripIn the forward to his 1985 book 'Comics and sequential art'. comics great Will Eisner defines sequential art as...'a means of creative expression, a distinct discipline, an art and a literary form that deals with the arrangement of pictures or images and words to narrate a story or dramatize an idea'. Comic books, falling under this definition, have been used as an educational tool since the 1940s in the US..

Comics in clinical practice: a grounded theory exploration of how sequential art is applied to talking therapy

The clinical practice of counselling psychology and psychotherapy requires therapists to engage in a continuous process of development and learning regarding the range of their knowledge of theory, skills, and clinical tools. This research project explores the application of sequential art (comics, comic books, graphic novels, manga, comic strips etc) as a clinical tool in the practice of talking therapy. To date, there is a clear sparsity of research regarding this practice and the potential validity of sequential art as a legitimate clinical tool in counselling psychology and psychotherapy. This study used social-constructivist grounded theory (GT) in order to explore how therapists used sequential art in their clinical practice. It focused on exploring what kinds of clinical interventions sequential art was used in, which client groups sequential art was used with, what presenting issues sequential art was applied to, and how therapists viewed the effectiveness of applying sequential art to their clinical practice. Ten therapists with experience of applying sequential art to their clinical practice were interviewed. The findings of this project are presented as a substantive foundational model of how sequential art can be applied to talking therapy as a clinical tool. The findings indicate that, for some clients, interventions based on the application of sequential art can be a useful tool for a range of presenting issues and can be applied to therapeutic work with clients across a very broad range of demographic groups. The clinical application of sequential art takes three broad forms; interventions based on the creation of sequential art, interventions based on the consumption of sequential art, and some combination of these two forms. The findings also indicate that, for some clients, the application of sequential art can support communication between therapist and client, collaborative working between therapist and client, client engagement in therapy, the development of empathy and self-compassion, and the client’s development of insight

The Cthulhu Journey : storytelling through an architectural immersive experience

The exhibition of sequential art is becoming increasingly popular. The subjects of these shows vary from fantasy, horror to science fiction depending on the style of authors. Compared with other 2d images, sequential art requires more narrative framing. Typical exhibitions show sequential art like regular images, however narrative is the essence of sequential art. This thesis will find a way to exhibit sequential art forms in a way that respects that they are based in storytelling. I will develop an immersive experience of sequential art. Immersion is also a narrative-based experience, if we combine the immersive experience with the sequential art. Each will enhance the other. It used to be that immersive experiences made some reference to the architecture that housed them. Nowadays if you have a topic and a portable digital tool, the experience can take place even in blank boxes. To me, this is a loss. I hope to design a prototype of an exploratory and immersive visit in an adaptive reuse space, always with the goal of enhancing the narrative quality of sequential art. My intent is to bring people into the story and make them feel the rhythm of the stories with the help of spatial qualities. The site will be the first floor of the CIT building of the Rhode Island School of Design in Providence. Providence is the birthplace of the Cthulhu Mythos, which is popular in manga or cartoon works. CIT is a school building, in front of Johnson and Wales University, which will attract many students who are interested in manga. This sequential art exhibition will be centered on “Hellstar Remina”, a horror manga by Junji Ito, considering the psychological benefits of the horror experience. Through tilted floors, lighting, compression of space, eerie sounds and direct interaction with architectural elements that bring the visitor into close contact with the sequential art of “Hellstar Remina,” a feeling of unease and terror is created. In this way, the intent of the sequential art is achieved

X10 Comics: Reimagining the Sequential Narrative

At its core a comic book is a narrative told using a sequence of images or a sequential art narrative. There are a number of conventions, established early in the history of comics, which make the comic panel format a powerful tool for visual communication. My thesis project examines these conventions and attempt to distinguish which ones are results of the unique nature of sequential art and which began as a byproduct of technological limitations. By doing so my goal is to take advantage of current technology by creating a new comic book format that integrates digital media while celebrating the comic book as a sequential art narrative

Sequential Art, Graphic Novels, and Comics

The first global distribution of a paper prepared for the Science Fiction, Fantasy, and Graphic Novels Special Interest Group of the International Reading Association,the Executive Board of the New Jersey Reading Association, and the Legislative and Professional Standards Committee of the NJRA

Zach\u27s News

Scientific Stories, Frame by Frame: Using Sequential Art for Science Educatio

BlueRedMagenta: effective implementation of color, image, animation, and interaction in an original web-based sequencial art narrative

This project is an attempt to review and explore the strengths and limitations of the technologies and tools in the web-based sequential art medium in order to find a process with which one can create more efficiency in delivering impactful sequential images to convey a narrative. The information gathered and analyzed here is then used to inform creative decisions in forming the final work, which is a web-based original sequential art narrative. The final web-based narrative endeavors to function as a ‘proof of concept’ for the topics discussed and analyzed

Frances Gateward and John Jennings. The Blacker the Ink: Constructions of Black Identity in Comics and Sequential Art. Rutgers UP, 2015.

Review of Frances Gateward and John Jennings. The Blacker the Ink: Constructions of Black Identity in Comics and Sequential Art. Rutgers UP, 2015

The eye of Persepolis’ tiger : how melancholy and nostalgia resonate through Satrapi’s animated film

Will Eisner coined the term sequential art to refer to comic strips/books and graphic novels, while arguing that this distinct discipline not only has much in common with film-making but it is in fact a forerunner to film-making. Sequential art is a powerful form of popular culture. However, the scholarly community has generally ignored this popular form of art. This article discusses the animated film Persepolis (Paronnaud and Satrapi, 2007) and explores the ways in which animation is used. We analyse this film in terms of the cultural memory discourse and suggest that this film not only creates a melancholic cultural memory of the past it negotiates, but also, paradoxically, it generates a nostalgic one. As we shall argue, the film’s inherent melancholy and nostalgia allegorically communicate a quest for identity in our present-day societies