…best. guy. ever.
so this is the link to the glome character i am working on.
can i buy yr book from you directly?
Very cool, Charmaine. Thanks for the link.
Buy direct? How about trade for a glome instead? Be warned, though: EIKLOR is a very angry child and will saw off all the legs on your furniture.
how did you feel when brett said that kids don’t read. and that librarians are investing more in more in the comic “media” because kids are interested in them. i know you were pretty passionate about having an opposite opinion, at least in class. i read backlog of the class blog, and i understand now that you were saying the exact same thing that brett was mentioning today.. that literature is “dead” for lack of better word, but to quote you, that it’s evolving. i can change my opinion now that kids don’t read. we just have to give them variations of line and color if needed, and redefine our language.
gosh, i can’t wait to listen to the pod cast.
The argument that “so-and-so doesn’t read anymore” is heavily contingent on what’s meant by “reading” in the first place, and also what kinds of texts are considered worthwhile. It’s for those reasons that I think the cultural mantra “kids don’t read anymore” is more than a little disingenuous, and tends to privilege more traditional and elitist kinds of text. It’s usually not too difficult to trace that mantra back to traditional notions of class and gender roles.
The mantra also tends to assume an oversimplified, binary worldview: i.e., kids can only either play videogames or read novels (as Brett said yesterday, “it’s Gameboy world”). True, they usually can’t do them at the same time (or maybe they can, depending on the game…), but I think it’s much more complicated than an either/or postulation. And it’s certainly a silly argument that games have nothing of importance to offer, or can’t be read as important texts against the cultures that produced them. Take a quick click through McKenzie Wark’s GAM3R 7H30RY, for just one example.
Yes, our critical definitions of literature are certainly evolving, especially as universities and colleges continue to develop approaches in visual rhetoric. The growing acceptance of comics and the emerging field of game studies are just two examples. And I definitely agree with Brett’s enthusiastic declaration that we’re in a second golden age for comics, not in terms of sales and numbers of copies moved, but certainly in terms of their scope and range as narrative devices.
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