Comics as Communication by Paul Fisher Davies

Author:Paul Fisher Davies
Language: eng
Format: epub
ISBN: 9783030297220
Publisher: Springer International Publishing

Gipi: Vois comme ton ombre s’allonge

Sparseness and closeness of line may appear in contrast to more carefully worked modes of comics production. To shift my attention to bande dessinée, Gipi in Vois comme ton ombre s’allonge (2013) uses rendering style to mark shifts of time and reality status throughout. The ostensibly most ‘real’ level of the diegesis is rendered in loose black and white inking, borderless and sharing space with the narration. The effacement of borders perhaps suggests that this is unprojected diegesis; the immediacy of ink on paper may often be adopted as a signifier of truth value, of unmediated contact between creator and reader. The protagonist’s imaginary worlds of memory or fantasy are by contrast rendered in vivid, more or less realist, watercolour, with control of tonalities and saturation helping to distinguish between regions and periods of memory and imagination. Rather than operating along a norm determined by colour photography, as Kress and van Leeuwen (2006) seem to assert, or even varying according to genre, the text seems to establish its own norms of modality as regards reality status; though line qualities nonetheless carry modal qualities of affect, and enclosures seem to be employed as projective modalisations of the content alongside the resources of colour and line quality. As the images in the story exchange these specific qualities (not always all together) and render the same material using these different modalities, the graphic narrative is able to play with the modalities of experience and enact uncertainties and ambiguities about what is real and what is not. Repetitions of images from one drawing to the next, across these modality markers, problematise our reading of the text as designating continuities of space, time and even identity: the reader is challenged to piece together a causal story from the materials of the text. This play with modalisations as well as expectations of readership lends to Gipi’s work much of its richness and mystery.

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