In this contribution, Greice Schneider uses a page by Kevin Huizenga to address the unstable nature of the speech balloon and how its conventions are subverted in service of a poetic meta-commentary.
Hey, Wait… was Jason’s first book published in English (2001), but as Greice Schneider discusses in this post, in some passages of this book readability is consciously compromised as a textual strategy. Schneider invites us to explore how the Norwegian cartoonist borrows conventions from other printing design formats in order to represent meaninglessness and disengagement through typographical excess.
Daniel Clowes is known for his strategy of changing styles in order to play with the reader’s horizon of expectation. Greice Schneider tries to discover what a page from David Boring can teach us about the history of the medium by analysing how the clash between the two fictional worlds illustrates the contrast between “mainstream” and “alternative” comics.
The Wrong Place, by Belgian Brecht Evens, recently got an award in Angoulême for “audacity”. Greice Schneider explains how Evens’s style comes hand in hand with an awareness of the mechanisms of graphic storytelling, and explores the possible combinations between word and image and the reading directions on the page.