Изотекст: Сборник материалов конференции исследователей комиксов 19-20 мая 2016 г.
This article analyzes Japanese comics called “Daughter of Twenty Faces” (Nijyuu Mensou no Musume), created by Ohara Shinji and published in manga magazine “Comic Flapper” from 2002 to 2007. This manga based on Edogawa Ranpo’s novel “The Fiend with Twenty Faces” (1936). The object of our research is a character nicknamed “Twenty Faces”, who embodies the archetype of “outlaw” and undergoes some changes.
Kamishibai (from ‘kami’ meaning paper and ‘shibai’ meaning drama - literally paper drama) is an unusual form of manga which was popular in Japan in the 1930s-1950s. This visual experience consisted of a series of illustrations being shown accompanied by an oral commentary. An examination of Kamishibai reveals some interesting facts and explains why Japanese comics flourished after the Second World War.
In this paper we describe the design and development of a multi-touch surface and software that challenges current approaches to the production and consumption of comics. Authorship of the comics involves drawing the ‘top level’ of the story directly onto paper and projecting lower-level narrative elements, such as objects, characters, dialogue, descriptions and/or events onto the paper via a multi-touch interface. In terms of the impact this has upon the experience of reading and writing, the implementation of paper is intended to facilitate the creation of high-level overviews of stories, while the touch surface allows users to generate branches through the addition of artifacts in accordance with certain theories about interactive narratives. This provides the opportunity to participate in the reading and authoring of both traditional, paper-based texts and interactive, digital scenarios. Prototype comics are used to demonstrate this approach to reading and writing top-level and low-level narratives.
The article discusses the transformations that happened in creating and perceiving fantastical bodies in American comics from 1960s to 2020s.
This article examines the industrial wastes and environmental effects of Soviet technological development through the history of the Karelian Isthmus, a border territory that had previously been Finnish. Focusing primarily on the history of two large enterprises – the Svetogorskii (former Enso) and Sovetskii (former Johannes) pulp and paper making plants, the authors illustrate the polluting nature of the Soviet economy in the 1940s-1980s. We contend that from the very beginning, important as they were for the USSR, the enterprises of the Isthmus were built into a system of shortages of techniques and materials that contributed to the hectic fulfillment of the plan. Producing pulp and pulp-based products remained a priority during the whole Soviet period. On the level of industrial enterprises, the Soviet system revealed itself as incapable of solving the problem of pollution and wasting. After waste treatment facilities developed by Soviet engineers in the 1960s turned out to be inadequate for dealing with increasing pollution, the Soviet authorities called on Finnish companies to carry out substantial modernization of a few enterprises on the Isthmus. This helped the modernized plants remain functioning in the age of economic crisis at the end of the Soviet epoch. Old problems, however, such as shortages and lack of expertise, remained pivotal, while new sources of pollution, such as carbon emissions, appeared. As a result, the level of contamination was still high and led to negative environmental impacts.