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Starting with Seven Soldiers of Victory in 2005 and Final Crisis in 2008, Morrison began applying mystical concepts related to the boundaries between fiction and reality, first explored in his creator-owned series The Invisibles, to the mainstream DC Comics universe. Over the years, his stories have evolved from being deconstructions of the superhero archetype to magical explorations of the medium itself and recently with mainstream superhero fiction. Grant Morrison has been writing comics since 1985. Immersion and immediacy remain partial and oscillate together with the hypermediacy of the graphics plane. The motion comic does not achieve the immediacy of live action film or cell animation.
Hybrid media disrupt the separation of media defined in formal scholarship and media aesthetics. The implication of hybrid media is the warm aesthetic of the hybrid, a ‘medium in between’, neither hot nor cool. I have characterized motion comic design strategy, based on self-imposed creative constraint, as panel exploration. The motion comic redesign objective was to construct a compelling motion graphics feature narrative by remediating the comic panel assets.
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The exegesis examines the unique context of Family Slaughter Comic (1989) as a movie tie-in whose design objective was to convey a low budget horror film. In turn, animation and cinema are also compromised – diminishing their characteristics of live-action recording and fully posed and rigged characters. With the motion comic, comics sacrifice the exclusivity of their spatial map and fuse with elements of temporal continuity acquired from animation and cinema. The intersection of the comics’ panel with digital film and the screen circumscribes a domain of hybridity and partial immersion. It was found that hybrid media have blurred the lines between established media, including comics, whereby ‘comics’ perception’ has become part of the cultural interface of screens. The theoretical investigation reveals that the motion comic emerges from fluidity produced by softwarization and hybridization of media, wherein the process of remediation operates as a key dynamic. The primary research question is: With specific reference to the motion comic, what are the implications of hybrid media formats for contemporary media scholarship and media design practice? This research project combines both a literature-based theoretical investigation into the hybrid media context of motion comics and an exegesis of the design context of the artifacts-Family Slaughter comic and screenplay-and the subsequent design strategy for their remediation as Family Slaughter Motion Comic. A motion comic is a hybrid format that combines affordances from comics, animation, film, graphic design, sound design and interactivity.
And when you are done, export data to a range of external formats.Īeon Timeline is also the only timeline tool that allows you to create your own fantasy calendar systems.ABSTRACT This screen media practice-based research examines the design of the horror-themed motion comic, Family Slaughter. Navigate and edit your timeline with a simple, intuitive interface. Zoom to view the time scale you wish to see. Filter events based on people, places, and tags. Model relationships between people and events. They are presentational, static, and perfectly suited to overhead slides and projectors. Most traditional timeline applications are designed to suit a single need: to create an attractive display of one- dimensional time.
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Aeon Timeline for Mac 2.0.3 介绍Īeon Timeline is the timeline tool for creative thinking.
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