Such critiques resonate with oft-cited accounts of postmodern nostalgia and its alleged lack of ‘genuine historicity’, i.e., failure to identify the actual agents of historical change (Jameson 1991). In this view, phenomena like facsimile reprints, stylistic references or narratives focussing on obscure or lost works are all symptomatic of a nostalgic longing – which provides us with a commodified, selective view of the past, and thus defies a ‘true’ sense for the history of comics. The turn towards the medium’s past in contemporary comics and graphic novel production has been critically assessed as an instance of a broader ‘nostalgia’ or ‘retro culture’ (Baetens/Frey 2015). The research also identified other dimensions for further research of Indian comic books. Patterns, range and uniqueness emerged amongst the chosen material. ![]() 107 contemporary comic books/graphic novels by 28 publishers were a part of this study. This inquiry attempts to provide a definitive compilation of distinctive conceptual, visual and storytelling elements that make the Indian Comic book Industry what it is today. The metamorphosis has been backed by narrative, aesthetic and distinctive qualities of these comic books and graphic novels. This research delves into contemporary comic books and graphic novels which are an indicator of this change. Apart from this, there is also a dedicated Graphic novel industry now. This has added to the existent crop of superheroes and detective based comic books. Stories have been spun around sadhus, goddesses, mystiques, warriors, ghosts, pop culture icons, unusual creatures and even social issues. The Industry has embraced elements which are rooted deep in its countries culture. Numerous comic cons (pop culture conventions) have been successful in India. Indian comic book industry is now a different animal altogether: a perseverant beast to be precise. The situation has now changed for the better. They were bound by the harshness of the market. For years, they have told stories influenced by Western comic books. The distribution channels for comic books are non-existent in India. The Indian Comic book industry has managed to exist and prosper in by far one of the toughest commercial environments in the world. Its appeal is niche and the Industry isn’t exactly a money spinner like Films. But according to trade figures, the comic book industry throughout the world is struggling despite the digital convenience. Even comic books are now available digitally. And there are readers who believe in the traditional experience of these mediums. Films, TV, Newspapers and magazines- are available on hand held gadgets. Different media channels have benefitted from this. We live in a visually driven digital age. The medium itself is so distinctive because of the measured way in which it combines visuals and words. It is an interesting medium which can be used to tell a story in an alternative way from other mediums. ![]() Comic books and graphic novels are an amalgamation of artwork and literature.
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