Comic+Creation

**__Comic Creation__** – was a comic that was developed in order to use satire of the current conditions of our world and the choices individuals make.

 The Above Image Was Drawn By Neeta Ramsaroop In 2009

**__Narrative:__**

 The comic “WHY?” was developed to illustrate the last decade, which consisted of disease ridden livestock and society’s fears associated with its consumption. The reader is meant to feel as though they are in the mind of the character thinking of his rationale of what to eat, and why. The character is contemplating and using his imagination to visualize what diseases are associated with individual livestock and what might be the best thing to consume. In every individual frame there is an explanation of the reasoning and thought; each frame depicts an animal suggesting and leading to a safer option. The pig suggests beef, the cow suggests chicken and the chicken ultimately suggests “greens” which is a lifeless entity therefore has no thought and cannot suggest, thus the symbol of question mark is used to illustrate this. Above each of the living creatures frame shows the diseases that have plagued their species in the last decade.

 The reason that the pig is seen as sick is to emphasize the H1N1 disease which was formerly known as the swine flu implying it originated from a pig, however because of the negative connotations; a more politically correct name was given which now is known as H1N1. Along with the outbreak of mad cow disease and the bird flu, they all essentially had the same effect influencing the economy and society adversely by the depleting demand as a result of inadequate consumer confidence in the livestock industry.

 This comic focuses on the consumer confidence, it invokes the reader’s imagination to fill in the blanks through assumptions that the male character is thinking about these animals rather than literally seeing them. The initial frame with the blank background is used to focus the reader’s attention on the character’s converged eyes on the menu, which is the central theme of the strip. In the end, essentially the same picture is shown other than his eye brow is now raised; this is done to explain the livestock and vegetable images between the first and last frames were mentally produced images by the character.  The decision he made in the final frame, to have it all rather than nothing at all, is used to depict the apathetic attitude of society towards the outbreaks, plagues and epidemics. The comic is meant to have a light hearted spin on the fears that have develop, and poke fun at the extremes that people go though. Ultimately, the character decides he would rather die then eat vegetables, and risks his life to indulge in the consumption of meats.

 **__Short Analysis:__**

 The comic begins with an ambiguous male character figure looking at a menu with a blank background, in the left corner there is a thinking bubble that states “what should I eat?”; insinuating that he is an indecisive individual dining at a undefined restaurant. The character is not introduced, as it is not vital to the comic to understand his personality, the vagueness of his race, sexuality and culture is used in order to make him relatable to the reader. He however is drawn with more precise detailing in comparison to the livestock which uses conceptual elements to display their recognizable features. The farm animals have been personified with the illusion of thought, through light airy thought bubbles which suggest a substitute for each animal for the male character to eat. The reader does not identify with the animals; however, they can with their mentality of finding an alternative meal because of disease.

 The frame with the sickly pig is set against a faint green backdrop to offset the pink pig and the yellow “COUGH” jagged bubble. This bubble is used to describe the extent of the flu along with the pig’s abnormal coloured uvula. The outlines around the pig’s eyes show his despair due to the anguish of illness. The streak lines escaping the pigs mouth represents a “visual metaphor” (McCloud 128), a symbol of the air escaping the pig whilst coughing in its sickness. This is an example of an invisible phenomenon representing illness. The jagged bubble represents the startling sound associated with coughing. In reality, the rush of air escaping ones mouth does not appear if a person coughs, however in comics, lines enhance unseen elements like speed and pain– it has become part of the lingua franca of comics.  From the beginning to the final frame the change is the character’s raised eyebrow which is used as a symbol to show a passage of time “the reader’s deliberate voluntary closure is comics’ primary means of simulating time and motion” (McCloud, 69). Little time has passed in the comic as it is almost instant however, the last frame is not as focused on his actions, showing background figures insinuating that he is no longer surveying his options and is brought to reality with the restaurant filling up. This is an example of moment to moment closure showing only his eyebrow raised. The comic as a whole is scene to scene closure transporting thre reader across the restaurant to a farm and back again. The strip stays within the idea that he is hungry and deducing what he wants to eat, he decides on all the meats rather than none. The transition is meaningful to the reader because it shows the male subject having a problem and the effect being ironic. The comic allows for the reader to interact and find meaningful explanations, by relating to reality, this participation is essential to have closure between frames.

 The colours in the comic emphasize the focus of the frames; all but the first and last frames have soft background colours: green, blue and yellow, to insinuate that it is not reality but rather a mental image. Each animal’s virus is slightly enhanced by colouration of small elements, such as the pig’s pink sore uvula; the cow’s red vein filled angry staring eyes and the chickens red pupils are used to insinuate the crazy images people think of when conversing about the diseases. In the last frame the only figure coloured is the character. The background tables show depth in sizing and dimension, they are solidly coloured black giving the impression of silhouettes, however they are not the spotlight of the frame but are being seen subconsciously by the reader. Rather, the focus is the subtle sarcasm and the character’s reaction by his raised brow; this is used to focus the reader’s attention on the character and the words spoken or thought.

 “WHY?” uses abstract imagery to make the comic relatable to the audience. This cartooning aspect is “not so much eliminating details … [but] focusing on specific details” (McCloud, 30). McCloud’s concept of abstraction gives comics the ability to “amplify” the significance of a situation whilst realism cannot. He believes our self-image is an abstract “general placement” of attributes. This “sketchy arrangement” can be as “simple…as a cartoon” (Mc Cloud, 36) therefore when looking at the “WHY?” comic strip; the reader can enter the comic world. The abstract image simplifies the identity of the character and makes him more relatable, so “we don’t just observe the cartoon we become it!”(McCloud, 36).

 This comic strip’s demographic is young to middle-age adults who appreciate the irony and humour in confused messages and information that the media and authorities are sending.

 “WHY?” is meant to bring across an aura of apathy and de-sensitization towards the information and propaganda circulating in the media. The last frame illustrates how the character is taking charge and making a decision; this ultimately shows a rebellion contrary to the advice given.

<span style="background-color: #ffffff; color: #000000; font-family: Georgia,serif; font-size: 13px; line-height: 19px; margin-bottom: 0cm;"> //__Citation:__// <span style="background-color: #ffffff; color: #000000; font-family: Georgia,serif; font-size: 13px; line-height: 19px; margin-bottom: 0cm;"> Mccloud, Scott. Understanding Comics The Invisible Art. New York: Harper Paperbacks, 1994. Print.