New apps on the mobile phones are taking a much more influential participation in our lives with the introduction of augmented reality. It changes the perception of our awareness of the surrounding through augmentations on our mobile phones. This comic explores the recent popular app ‘Pokémon Go’ in the ways that it affects our everyday lives, through a simple family outing portrayed by the protagonist Lucy. The comic starts with both Lucy and her mother in the setting of a beach. The contrast can already be seen where Lucy is holding and focused on her mobile, while her mother is empty handed. Lucy is so attached to her phone that she forgets her surroundings and walks into a pole. This shows the over attachment to the augmented reality that …show more content…
she starts to be unaware of her surroundings and the reality. The augmented reality app is then shown in the middle with Lucy in it suggesting that she has already lost herself in the virtual world, while pictures of her mother surround her to show the contrast of settings. The issue of the difference between the generations of people is also shown, as Lucy is not the only one immersed by the app. When one person shouted “Pikachu” the resonance of the aftermath created meant that everyone who was around was attracted to it. When Lucy goes back to her mother to boast about her accomplishment, it was obvious that her mother had no understanding of the game and failed to understand the importance of the app. The comic ends with the backside of Lucy’s mother in the last page with the dialogue ‘sigh’ showing her alienation to her daughter and her struggles to keep up with today’s young society. Within the comic, page layout and color codes are the main techniques upon emphasizing the obvious contrast of digital virtual world and physical world by setting two symbolized protagonists in the opposite. In combinations with stylist uses of speech balloons, texts, and images, the techniques effort to add the depth and dominant mood to the depiction in a coherent organization. Utilizing rhetorical and decorative layouts effectively illustrates separate and rhyming functions across panels to symbolize characters and organize the pace of the narrative. As a splash panel, the first page integrates elements to emphasize the space, time and protagonists from the diegesis. The caption is positioned at the top of the panel as an independent entity and provides fundamental information in the narration from the perspective of the narrator (Saraceni, 10). By utilizing a rhetorical page layout, the format of the panel is oriented by the protagonists’ action in a hypothesizing narrative (Peeters, 41-60). Color codes in the setting emphasize and heighten the fantasy of the exterior physical world to the reader. The posture of Lucy suggests the following events on the next pages and mom’s expression in her eyes alludes to the sequence in the last page. The second page is framed by the iPhone that encloses and constitutes the specific “spatio-topical” (Groensteen, 32) of the game Pokémon Go in the isolation of the exterior reality. The mise en page is designed as the digital interface of the Pokémon Go app to separate the page as a unit from the whole story and generate an aesthetic function in the visual aspect. A rhetorical function is utilized in this page that “the dimensions of the panel conform to the action” in order to effectively serve “a pre-existing narrative” (Peeters, 41-60). There is a “moment-to-moment” (McCloud, 70) transition between panel 1 and panel 2 where Lucy is walking toward the ‘stop’ sign without awareness. They are following juxtaposed sequences in a dual environment that consist of resemblance (e.g. the sun, cyan sky and sand) and difference (e.g. the positions of Lucy). While Lucy’s physical and mental worlds are presented in different spaces – the exterior space of Mission Bay and the interior space of Pokémon Go on her phone correspondingly as a separative function. The gutter-like pole in the middle works as the same function in separating spaces. Lucy’s posture maintains cohesion in panel 1 and panel 2 showing her attention and connection to her phone rather than the physical world. Whereas, the transitions from panel 2 to panel 5 present forms of “subject-to-subject” (McCloud, 71) where it evokes the involvement of audience to endow them with meanings. Within my comic, the scene of Lucy running into the sign is not directly presented on the image instead created by sound effects of ‘pa-’ and ‘ouch-’ to the visual sequence as a picture specific combination (McCloud, 153). Panel 3, panel 4 and panel 5 are occurring simultaneously as co-presence from three aspects – sounds, object, and mood to depict one particular scene of hitting the pole at the same time and place. The page three hastens and holds the pace of narrative within a continuum by a succession of incorporating response to the last page along with the syntagm (Groensteen, 45). As Peeters (41-60) states, the decorative page layout prior depicts on the protagonists’ emotional changes over the pre-defined narration. There is a restricted interaction between Lucy and her mom within panel 3-4 and panel 4-5 where mom failed to enter Lucy’s mental world for the first time, which implicitly denotes the beginning of mom’s emotional change. Panel 4, being a central site in this page, repeats the same posture of Lucy and iPhone frame on the last page to emphasize and detach her mental space from her mom. The words in panel 4 utilize a duo-specific combination (McCloud, 153) that is identical to the meanings of the image, which Lucy is playing Pokémon Go in the time as space. By constituting a sharp contrast between the two protagonists, the visual discontinuities between panels 3-4 and panels 4-5 appear in contrasting mise en scene, postures, and attitude. Mom is looking around and enjoying the view for the vast amount of time while Lucy is staring at her phone. In order to maintain the linear coherence of narrative, the appearance of mom, settings, position, and size keep repeating and recalling as given information (Saraceni, 38) in the mom’s panels, however, the gradient colors and sunset explicitly present the passing subjective time within the comic. At the same time, in this page, speech balloons, textual fonts and colors approach to depict the distinctions on space and characterizations in the notion of hermeneutic meanings (Duncan, 45) in order to arouse reader’s attention and interpretation. Lucy’s space is restricted in the game within the iPhone frame, corresponding to the last page. Green is the tone that represents Lucy’s world where it is the same as the color of Pokémon Go’s interface, whilst mom is always standing in a world of natural cyan. This contrast of color symbolizes the protagonists in reader’s mind (McCloud, 190). Moreover, the rectangle-sized speech balloons along with normal textual fonts represent Lucy’s unique personalities – energic and dynamic. On the contrary, mom portrays a warm and tender female as curved lines emphasize a sense of “warm and gentle” (McCloud, 125). Asserting unique speech balloons, panel borders, and textual fonts for each protagonist epitomizes the depth of underlying meanings and generates a tension to the reader, that is inspired by David Mazzucchelli’s Asterios Polyp comic, as two main characters insist their own stylist panels in particular tones to illustrate their experiences and characterizations (Mazzucchelli). The fourth page hastens the pace of narrative upon the accumulated story through a new diegetic event – someone caught a Pikachu nearby.
By creating a rhyming function, the shapes, sizes and sites across panels privilege a unique composition of the image compared to all other pages. Also, the dimensions of panel 1, 2 and 4 associated with a rhetorical layout which intends to conform to the movement and track of Lucy and random gamers on the street from left-hand page to right-hand page within the pre-existing framework of narrative (Peeters, 41-60). Concerning the speech balloon of one gamer outside the gutter across panel 1 and panel 2, the words function an addictive combination elaborate and amplify the image that the reader is not able to understand why they run away without the words, and vice versa (McCloud, 154). All panels in this page interact with each other and lead to the identical sequence – Lucy runs away for Pikachu, by following this coherent narrative, iconic solidarity as an approach to the hypothesizing linear reading method across all panels (Groensteen, 114). A similar page layout emphasizes the movement of the protagonists in Michael Straczynski’s Thor comic by creating dynamism …show more content…
(Straczynski). Page five utilizes the same page layout in page two to draw the reader’s gaze back to Lucy’s mental world from her perspective, which is on her mobile phone.
Again, a rhetorical page layout is privileged in this page to emphasize the particular powerful moment and create the expressivity of panels concerning the narrated action (Peeters, 41-60). By depicting the progression of catching Pikachu, the forms, sizes, and sites of panel 1 and panel 2 are distinctive from page two to emphasize the position of Pikachu and the movement of the Pokémon ball as asserting a rhyming function. The reader is allowed to follow Lucy’s action of sliding on screen as a linear sequence and elaborate the succession from panel 1 to panel 3 throughout the sound effects ‘shua-’ and ‘bung-’, which captures the imagination of bridging the gaps within these panels. As the established information in previous pages, green tone, and rectangle-sized speech balloon are icons in panel 4 and 5 remind the reader of Lucy’s characterization and provide the clue as to where the dialogue ‘yes’ comes from without displaying her face straightforwardly. This moment of recalling a symbol associates its exclusive meanings is described as “the discipline of semiotics” (Saraceni, 14). The accomplishment of catching the Pikachu is co-presented in three perspectives among panel 3-5 by integrating image, sounds and facial expression simultaneously. Also, as seen in all panels within this page are filled with green color and
straight-line borders, these elements represent the sealed virtual world in isolation of physical world and Lucy’s attachment to her mobile phone. Page six continually illustrates the contrast between the two protagonists as well as the interior virtual world and the exterior physical world. By maintaining a consistency in two distinctive tones to identify the protagonists, the changes in the setting, page layout, and borders sustain the cohesion of narration as new information beyond the established information (Saraceni, 35-43). The first four panels involve a linear fashion that enables to be read either horizontally or vertically. Between panel 3 and panel 4, the margin approaches to a breakthrough of the virtual world and bridge a connection to the exterior physical world by adding a soundtrack. The balloon pop wraps around Lucy’s speech where balloon represents the high volume of her voice that is empowered to break the gutters within the spaces. Although these two worlds ultimately fail to blend into each other in panel 5 since mom is still unable to understand the significance of the app when Lucy boasts about her Pikachu. The color of the screen on Lucy’s mobile phone turns to yellow as the color of Pikachu to present her accomplishment visually. In the bottom of this page, from a third person perspective, the Pokémon world (Pokémon ball and Pikachu on the app) becomes the overarching barrier in Lucy and her mom’s communication. Lastly, page seven is also a splash panel that corresponds to the first page. It ends with the backside of Lucy’s mother with the dialogue ‘sigh’ at nightfall. The darker color of setting, sunset and disappearance of Lucy in the physical world constitute the conversion in mood towards mom by utilizing a hermeneutic image function (Duncan, 45). A small panel of mom’s expression in her eyes represents her depression, loneliness, and alienation to Lucy, by contrasting to Lucy’s emotion on page five. The coherence of the narration from the first page to the last page in the sequential organization provides the reader a view of how people are being so obsessed with the mobile apps in contemporary society that it even surpasses real life. Therefore, by utilizing all technical elements within the comic, the depths are gradually supplemented to the gaze of the reader to arouse interpretation of a state in reader’s mind beyond the visual aspects.
Nintendo is the world's largest company in the video game industry. Over the years, Nintendo's video game consoles have been famous for its unique designs, along with its complex but simple controllers. Most importantly, Nintendo is famous for being kid-friendly. In August 2002, Nintendo partnered with Heineken, a famous Dutch brewing company, to publish a magazine ad to inform the public about an upcoming contest. The advertisement specifically utilized the elements of logos and pathos, unintentionally communicating to the reader that underage drinking is appropriate while playing video games.
The language technique of imagery plays an important role within the text ‘Thunderwith’. This technique is used to create a mental picture of the scene by using descriptive language. Imagery makes a piece of work more realistic and helps the reader to visualise and experience the author’s writing in depth. An example of imagery is when Hathorn writes “Running and running through the forest up into the hills, effortlessly, gliding over rocks and bushes. Almost flying ……..She reached upwards to the empty air. She tried to call his name but the cry froze in her throat” .In this example, the author creates a mental image of Lara and Thunderwith by using descriptive words such as gliding and flying which makes the authors writing more realistic.
middle of paper ... ... ity going in the last paragraph. The structure of the passage helps the responder to clearly see the changed perspective of the author. The passage starts with the child’s perspective; the writing has almost a curious and flighty feel to it. This feeling is empathized through the use of verbs, adjectives, similes, metaphors, imagery and descriptive and emotive language.
As we can gather from the examples, Gwen Harwood uses language to create dynamic backgrounds and images to subtly delineate the changes experienced by the persona in the poems. Sometimes the characters themselves are not aware of these changes but the readers are able to appreciate them with the aid of skill Harwood posses in using language to such great measures.
Dialogue and characterization are effectively employed by Ruta Sepetys to create a forced atmosphere where choices are limited. Told from the perspective of an adolescent girl, Lina, the excerpt portrays a character who combats between appearance and her own ‘reality’ through her artistic expression. Her drawings are “very realistic” because she draws them based on her view of the world (Sepetys). In the ‘real world’, however, they appear to be rather unflattering and therefore, although she “longs to draw” it as she sees, she is forced to conform (Sepetys). In Between Shades of Gray, Ruta Sepetys, through the utilization of dialogue, imagery and characterization, conveys the contrast between reality and appearance in the protagonists’ artistic interpretations in order to convey the contextual setting of the novel.
A pattern of repeated words or phrases can have a significant impact in conveying a particular impression about a character or situation, or the theme of a story. In the story "The Storm," by Kate Chopin, and "The Chrysanthemums," by John Steinbeck, imagery is an integral element in the development of the characters and situation, as well as the development of theme.
With an evident attempt at objectivity, the syntax of Passage 1 relies almost entirely on sentences of medium length, uses a few long sentences for balance, and concludes with a strong telegraphic sentence. The varying sentence length helps keep the readers engaged, while also ensuring that the writing remains succinct and informative. Like the varying sentence length, the sentence structures vary as complex sentences are offset by a few scattered simple sentences. The complex sentences provide the necessary description, and the simple sentences keep the writing easy to follow. Conversely, Passage 2 contains mostly long, flowing sentences, broken up by a single eight word sentence in the middle. This short sentence, juxtaposed against the length of the preceding and following sentences, provides a needed break in the text, but also bridges the ideas of the two sentences it falls between. The author employs the long sentences to develop his ideas and descriptions to the fullest extent, filling the sentences with literary elements and images. Coupled...
It is said that fiction is an essentially rhetorical art and that the author tries to persuade the reader towards a specific view of the world while reading. This is evident in both short stories, A Secret Lost in the Water by Roch Carrier, and He-y Come on Ou-t by Shinichi Hoshi. Although through A Secret Lost in the Water, Roch Carrier displays how fiction is an essentially rhetorical art better than Shinichi Hoshi in He-y, Come on Ou-t (awkard sentence), Shinichi Hoshi demonstrates it better through the use of prognosis. Furthermore, by utilizing the characters, such as the farmer from A Secret Lost in the Water, and the use of symbolism such as the hole from He-y, Come on Ou-t, it is evident that the author makes an endeavour towards persuading
In one line, the reader sees from the perspective of the bully, shamelessly berating the fat kid. But, in the next line, the reader is forced to see from the perspective of the fat kid, abused and disregarded. Thus, the author enables conversations between readers by displaying varying perspectives throughout the
The text also works with the pictures throughout the story. The text is on the right page compelling the reader to turn the page to see what happens next. As Max's imagination grows so do the pictures forcing the text to the bottom of the page. The full page spreads eventually take over the entire page leaving no room for text. The pictures carry on as extensions of the story, working well to continue the story. Finally the story ends on a page of all text. A small tag line that brings closure to the story and Max's adventure. The text as well as the pictures work hand in hand to tell a complete story. Along with the various codes that were used to give depth and understanding to the story, the text positioning worked well to provide direction. Everything worked together to tell a great story.
The story “The Grasshopper and the Bell Cricket”, written by Yasunari Kawabata, is a children’s fiction story that is written in a third person narrative point of view. The author, who sets himself as the narrator, is describing what he sees as he stumbles upon a group of young, neighborhood kids as they frolic along the bank of a stream near dusk time. He points out the extreme care that the children take in creating their lanterns, and he sees the passion and enthusiasm they have while apparently searching for bugs along the bank and in the bushes. As the story goes on, the author moves from a tone of describing and being literal, to a more serious tone that causes some serious thought. He seems to be attempting to convince the audience of something emotional.
Augmented reality, is changing how we see the world. Augmented reality isn’t a new technology by any means. However, it is gaining popularity as the hardware and software that allows us to view our world through a new prospective becomes increasingly cheaper. As technology progresses, processers and circuits become smaller and smaller in size. Thus allowing for more capability from various forms of hardware like phones, computers, glasses, contacts, and even your car. All these devices have screens, or windows in which we look at our world, and with cleaver programs, software, and hardware, integrated into these modes which we view the world. The way which we see the world around us will forever change based on our own interests thanks to augmented reality. However, the question we have to ask ourselves is, is ability to overlay our world with whatever we please a good thing, or a bad thing?
Tweets, texts, and the virtual world are beginning to engulf human society one message at a time. For the past ten years, the estimated phone usage per day has become three to four hours. Those precious hours add up quickly, resulting in a total of one hundred and twelve hours per month spent staring at an animated screen. Children, teens, and even adults are beginning to use their cell phones more and more, and are putting themselves at a greater risk of developing social awkwardness, little persistence, and becoming known as digital natives; all these traits driven within your hand held partner.
It has four distinct narrative voices, which are highlighted by each voice having a specific font. All of the children and their parents are given apparently simple voices. However, their voices in fact are extremely complex. Each voice explores each of the character's different feelings and traits. The most essential part of this story are the illustrations which are postmodern and surreal ones. In the illustrations the landscape are distorted, and the adults and children are portrayed like themes. The illustrations change to reflect the characters' attitude and the font of the text changes with each character to mirror to some degree their social status. The father and daughter, who are obviously from a poorer area, have slanted, messy, somewhat obtrusive text. The shades of color in the different characters' illustrations give a heavy impression. It surprises from the mother's standpoint, where everything seems to be regular and mundane. Nevertheless, once it shifts to the father's standpoint, the pictures become dark, dull, dirty, and more expressive. The little girl's viewpoint was very bright and animated, while in the little boy's viewpoint everything appeared bigger than him or distant. As for the picture in which the boy and girl were sitting on the bench, separated by the lamp post, in reality mirrors the way by which the two children perceive the world. As for the boy the world is dark and isolated, while the girl on the other hand perceive the world as a bright, happy place. the illustrations in Voices in the Park stimulate the readers to think deeply and to wonder about the contained details. For instance the fact that the father in the second voice has human hands, however he has not a human face challenges the reader to ask questions and to resolve the meaning of the story. Another example is an illustration shows a
Raise your hand if you’re one of 44% of Americans that sleep next to their phones at every night. It’s true, so many of us are dependent on our mobile devices, that psychologists are now calling it the “Invisible Addiction”! Since its invention critics have debated every inch of the cell phone. From its usefulness and size, to its effects on health after prolonged usage. The conversation has since shifted. The cell phone market today is flooded with a plethora devices to choose from, sporting top of the line materials and industry leading software, but this just scratches the surface. With over 968 million worldwide smartphone sales in 2013, consumers are feeding into the latest technology that the market has to offer. Though they may become