![]() ![]() Responsive soundtracks are demonstrated to support rather than conflict with the identified characteristics of the form. The spatial nature of the form of comics is established as providing potential for synthesis with the spatial nature of videogames. Game comics are identified as hypercomics that exhibit some of the characteristics of games and use some of the key characteristics of the form of comics as the basis for their gameplay. Gallery-based hypercomics are shown to draw on approaches originally established within digital formats to meet the challenges of architectural mediality. The thesis concludes that different digital comic formats place greater or lesser emphasis on the seven identified characteristics of the form. A further game comic prototype is constructed to examine the integration of audible, time-based soundtracks. ![]() A series of prototype game comics is created to investigate the hybridisation of comics with the ludic qualities of videogames. Similarities between digital and architecturally mediated formats are considered. The operation of a range of different formats of digital comic (webcomic infinite canvas malleable page guided view motion comic hypercomic game comic audible comic) is analysed. A cross-disciplinary, practice-based methodology is used to examine the impact of digital mediation on these seven characteristics. Eisner McCloud), a model of comics is developed based on seven key characteristics of the form: space as time simultaneous juxtaposition of images closure between images spatial networks reader control of pacing tablodic images word and image blending. Cohn Groensteen Hatfield Miodrag) and practitioner-theorists (e.g. Through an analysis of the work of theorists (e.g. This thesis examines the impact of digital mediation and hybridisation on the form of comics. ![]() The form of comics is undergoing a transition as digital display becomes an increasingly popular mode of consumption. ![]()
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