However, Nancy Rose Hunt, an American historian specializing in African studies, questions this interpretation of the clear-line style, arguing that non-white audiences may have trouble identifying with the all-white main cast, especially when non-white characters are portrayed as racist caricatures alongside the protagonist(s). The " clear-line" style of Hergé, which blends abstractions with realism, encourages readers to mask themselves as the oblique Tintin while traversing through the detailed environments featured in each panel. Masking, in particular the placement of iconic characters in realistically detailed backgrounds, is featured prominently in Hergé's The Adventures of Tintin comics. However, the reader becomes aware of the prop as an object when it is shown in realistic detail, as the reader considers the prop's hypothetical real-world elements, such as its "weight, texture and physical complexity." Examples In Western comics įrom Prisoners of the Sun (1949), the fourteenth volume of The Adventures of Tintin.
When a prop is drawn in a simplistic manner similar to the character using it, it can be viewed as an extension of the character. Īnother common practice in manga and anime is that a simply-drawn object, often a prop used by a character, may suddenly be shown in realistic detail to emphasize its status as an object. Meanwhile, in shōjo (girl's) manga and anime, characters may be "minimally differentiated" from each other to encourage reader identification with the entire cast of characters. In shōnen (boy's) manga and anime, an antagonist may be depicted in a realistic style to convey the character's otherness from a simply-drawn protagonist. Ĭharacters may be drawn simplistically or in great detail to encourage identification or objectification by the reader. The placement of an iconic character in a realistically detailed background amplifies this reader-to-text connection, as it emphasizes the otherness of the setting and the status of the character as an "empty canvas". He argues that readers often look towards facial features – in particular the eyes and mouth – for indications of emotion, and the absence of such details in the simply-drawn faces of iconic characters create room for readers to project their own emotions onto. McCloud proposes that readers can use iconic characters as a "mask" to enter the detailed worlds of graphic narratives. Simply-drawn objects which are suddenly shown in realistic detail.Iconic characters juxtaposed alongside realistically detailed characters.Iconic characters placed in realistically detailed backgrounds.McCloud identifies three types of masking: 5.2.2 Journal articles and dissertations.
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