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![loading](/sites/all/modules/hf_eds/images/loading.gif)
"Fourth‐wall breakiness or whatevs": Presumed self‐awareness in American superhero comics.
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- Author(s): Bausela Buccianti, Lucía
- Source:
Journal of Popular Culture. Jun/Aug2023, Vol. 56 Issue 3/4, p673-688. 16p. - Source:
- Additional Information
- Subject Terms:
- Abstract: Studies on reflexivity in the field of comics studies have been scarce and, more often than not, disconnected from each other, which has resulted in overlapping, and sometimes even contradicting, classifications of reflexive devices. Therefore, this article analyzes different instances of self‐awareness in American superhero comics, as it has become quite a popular feature in recent years. In order to systematize the corpus of American comics which feature self‐aware characters, Pardo's theoretical model of reflexivity results highly advantageous due to the fact that its transmedia categories provide a useful framework to explore those elements which are particular to comics narration, such as panels, speech balloons, splash pages, and more of the like. At the same time, this theoretical model connects comics' self‐consciousness to the larger storytelling tradition of Western culture—after all, some of the most important studies on reflexivity stem from literary and film studies, from scholars such as Alter, Hutcheon, Waugh, and Stam, to mention a few. This article, then, provides a theoretical review of key definitions from the field of reflexivity before applying said categories to a corpus of American superhero comics which includes titles such as The Unbeatable Squirrel Girl, Black Hammer, and Empowered, as well as some Bat‐Mite strips and a few Deadpool and Harley Quinn issues. The analysis mainly focuses on the diegetic disruptions that self‐aware characters trigger in comics—particularly considering the formal elements of the medium—to prove that reflexivity, despite having been deemed as a tool to tackle serious existential and ontological issues in canonical works, operates as a bridge which brings readers as close as possible to the fictional realities in their favorite superhero comics. [ABSTRACT FROM AUTHOR]
- Abstract: Copyright of Journal of Popular Culture is the property of Wiley-Blackwell and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)
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