Design of an interactive sequential graphic system on cyber-space

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DESIGN OF AN INTERACTIVE SEQUENTIAL

GRAPHIC SYSTEM ON CYBER SPACE

A THESIS SUBMITTED TO

THE DEPARTMENT OF GRAPHIC DESIGN

AND

THE INSTITUTE OF FINE ARTS

OF BiLKENT UNIVERSITY

IN PARTIAL FULLFILMENT OF THE REQUIREMENTS

FOR THE DEGREE OF MASTER OF FINE ARTS

By

Berke Atasoy

January, 2000

T

'A S Z ^ 0 0 0

I certify that I have read this thesis and that in my opinion it is fully adequate, in scope and in quality, as a thesis for the degree of Master of Fine Arts.

Assist.Prof.Dr

z . - __________________

Erdoğan (Principal Advisor)

I certify that I have read this thesis and that in my opinion it is fully adequate, in scope and in quality, as a thesis for the degree of Master of Fine Arts.

Prof. Dr. Mustafa Pultar

I certify that I have read this thesis and that in my opinion it is fully adequate, in scope and in quality, as a thesis for the degree of Master of Fine Arts.

Vis< Prof. Jerzy Ostrogorski

Approved by the Institute of Fine Arts

ABSTRACT

DESIGN OF AN INTERACTIVE SEQUENTIAL GRAPHIC SYSTEM ON CYBER-SPACE

Berke Atasoy MFA in Graphic Design

Supervisor: Asst.Prof.Dr. Nezih Erdoğan January 2000

The aim of this study is to explore and discuss the possibility o f an interactive

sequential system on World Wide Web. It is an attempt to formulate a definition for a system, which utilises different mediums like text, image and audio in the standards o f World Wide Web with a motive for generating a sequential art product in the cyber-space. The study discusses a software model, which offers a set of actions in which the user can participate in the development process of the system by creating and combining different media.

Keywords: Cyber-Space, Interactivity, Space, Network.

ÖZET

SÎBER UZAYDA ETKİLEŞİMLİ SIRASAL GRAFİK SİSTEM TASARIMI

Berke Atasoy Grafik Tasarım Bölümü

Yüksek Lisans

Tez Yöneticisi: Asst.Prof. .Dr. Nezih Erdoğan Ocak, 2000

Bu çalışmanın amacı, Internet üzerinde etkileşimli sırasal bir grafik sistem ihtimalini araştırmaktır. Çalışma, bu tip bir sistemi formüle etmeyi amaçlayan ve bu amaçla internetteki metin, imaj ve ses olanaklarını,ağın standartları doğrultusunda siber uzayda bir sırasal sanat ürünü oluşturmak için kullanan bir yapıyı benimsemektedir. Ürün internet üzerinde farklı medyalar ve bir dizi metod aracılığıyla kullanıcıya sistemle etkileşimde bulunma ve bu sayede sisteme katkıda bulunarak sistemi geliştirme olanağı sunan bir yazılım modelidir.

Anahtar Sözcükler: Siber Uzay, Etkileşim, Uzam, Ağ.

ACKNOWLEDGMENTS

I would like to thank to Asst. Prof. Dr Nezih Erdoğan for the advice and support that he provided throughout the production of this thesis. I am very grateful for his generosity of tolerance and encouragement that makes the production of this thesis possible.

I would also like to thank Murat Yılmaz for his criticism, support and friendship while the production o f this thesis. Many things that I have presented in this study are inspired from the discussions that we made together.

I am also very grateful to Orhan Anafarta, Şebnem Timur, Begüm Bengi, Dilek Kaya, Bülent Eken and Burak Elmas for their precious support and friendship they have shown.

Abstract... iii

Ozet... iv

Acknowledgments... v

Table of Contents... vi

List of Figures... vii

1. INTRODUCTION 1 1.1 Purpose of the study... 1

1.2 Limitations of the study... 2

2. DESIGNING THE SPACE 4 2.1 Information and space of a product... 4

2.2 Design attempts on World Wide Web... . 12

3. SEQUENTIAL ART 15 3.1 Closure... 15

3.2 Structure... 20

3.2.1 Type of transitions... 21

3.2.2 Picture-text combinations... 28

4. DESCRIPTION AND DESIGN OF MASK 32 4.1 What is MASK and how does it work?... 32

4.1.1 Poet... 34 4.1.2 Inspiration... 41 4.1.3 Poem... 44 5. CONCLUSION 49 BIBLIOGRAPHY 51 TABLE OF CONTENTS VI

LIST OF FIGURES

Figure 1. The Thonet Chair (Heskett 43)... 5

Figure 2. The Aeron Chair (Mok, 215)... 6

Figure 3. “Thonet” and “Aeron” ... 6

Figure 4. The “man-machine” interface (Pheasant 2)... 8

Figure 5. Correspondence of an Industrial Design and Sequential Art product... 11

Figure 6. “Novembers Child” httpiZ/yrnw. geocities.com/sotto/square/6775 ... 12

Figure 7. “Commercial” http://www.milomanara.it/eng/strip/x strip.html... 13

Figure 8. ‘ ‘Sixth Seal” http://www.geo.fmi.fi/~tmakinen/cartoons/l6s/index en.shtml... 13

Figure 9. “Pocahontas” http://www.disnevblast.com/Prewiev/blast/index2.html ... 14

Figure 10. Understanding Comics (McLaud64)... 16

Figure 11. Understanding Comics (McLaud 65)... 17

Figure 12. Understanding Comics (McLaud 68)... 18

Figure 13. Understanding Comics (McLaud 69)... 19

Figure 14. Understanding Comics (McLaud 69)... 19

Figure 15. Panel to Panel Transitions list... 20

Figure 16. Eye of the Sea (Frezzato 36)... 21

Figure 17. That Yellow Bastard (Miller 35)... 21

Figure 18. The man from Ciguri - Absoluten Calfeutrail by Jean “Moebius” Giraud... 22

Figure 19. Spawn: Blood & Shadows (McFarlane 28)... 22

Figure 20. The Crow (O’barr 6)... 23

Figure 21. Trip to Tulum (Fellini 21)... 23

Figure 22. Understanding Comics (McLaud 101)... 25

Figure 23. Understanding Comics (McLaud 104)... 26

Figure 24. Understanding Comics (McLaud 104)... 26

Figure 25. Picture-Text Combination list... 27

Figure 26. Heavy Metal (Goffaux 73)... 28

Figure 27. Loma - Leviathan, (Azpiri 97)... 28

Figure 28. Heavy Metal (Goffaux 72)... 29

Figure 29. Heavy Metal (Gimenez 24)... 29

Figure 30. The Crow (O’barr 14)... 30

Figure 31. Dust Covers - Sandman by Dave McKean... 30

Figure 32. Eye of The Sea (Frezzato 41)... 31

Figure 33. HomePage o f MASK... 32

Figure 34. “Poet” page of MASK... 34

Figure 35. Poet’s “Emotion Library” in MASK... 34

Figure 36. Media Libraries of MASK; Library of Love... 35

Figure 37. Text Library of L ove... 36

Figure 38. Image Library of L ove... 37

Figure 39. Audio Library of Love... 38

Figure 40 Library of Pain... 39

Figure 41. Library o f Longing... 39

Figure 42. Library o f Consciousness... 39

Figure 43. Library of Desire... 40

Figure 44. Library of Self-torture... 40

Figure 45. Library of Loneliness... 40

Figure 46. Media Libraries of MASK; Inspiration Library... 41

Figure 47. Emotions of Inspiration... 41

Figure 48. Library o f Dreaming... 42

Figure 49. Library of Consciousness... 42

Figure 50. Library of Curiosity... 42

Figure 51. Library of Arrogance... 43

Figure 52. Library of Desire... 43

Figure 53. Library of Dissapointment... 43

Figure 54. Library of Regret... 44

Figure 55. Poem... 45 Figure 56. Composer... 45 Figure 57. Works... 45 Figure 58. Riddle/Frame 1... 46 Figure 59. Riddle/Frame 2... 46 Figure 60. Riddle/Frame 3... 46 Figure 61. Riddle/Frame 4... 47 Figure 62. Riddle/Frame 5... 47 Figure 63. Riddle/Frame 6... 47 Figure 64. Riddle/Frame 7... 48

Figure 65. Navigation Map... 48

1. INTRODUCTION l.I Purpose of the study

The purpose of the study is to design an interactive system model for World Wide Web where the user’s participation will be utilised for generating a sequential product. The properties of this product are defined according to the relationship between two media namely; sequential art* and cyber-space. These two media will be analysed in the context of a design process, which discusses a system structure that offers a space for the user in which he/she can play an active role in the construction of the system. The study has a structure similar to what Umberto Eco has defined as an “open work”. According to Eco, ‘open’ works are in movement and they are characterised by the invitation to make the work together with the author. These are organically completed works that are ‘open’ to a continuous generation of interval relations which the addressee must uncover and select in his act of perceiving the totality of incoming stimuli. (49) He discusses works that appeal to the initiative of the individual performer, hence they offer themselves, not as finite works which prescribe specific repetition along given structural coordinates, but as ‘open’ works, which are brought to their conclusion by the performer at the same time as he

experiences them on an aesthetic plane. (48) This study aims to reach such a platform in which the users participation and their personal performance will become the main element of construction for the system. The relation between Eco’s discussion and a system design for cyber-space becomes visible with the concept of interactivity in the computer medium.

* Tlic widely used term for “sequential iul” is "comics”. Tlie term; “sequential art” which has first coined Will Eisner (Eisner 6) will be more sufficient for tins specific work.

The prefix “inter” means ‘between’ a or ‘in the middle of a’. Activity signifies active behaviour and was borrowed from the Latin word ‘agere’ in the 17**' century. In the context of digital media, the concept of interactivity signifies mutual communication between sender and recipient- the “author” can become the “user” and the user can become the “author”. Digital computer technology

represents a vehicle for media communication. The key feature of interactive systems is not the product, but rather the act of production as a process. (Fleischmann 1 of 8)

1.2 Limitations of the study

This study explores the sequential art and cyber-space media’s with a motive of designing a system that can be applied in existing networks. A software product that is designed to work via cyber-space needs a controlled environment in order to survive at first. Controlled environment can be reached by ignoring certain aspects of the real environment at development stage. This ignorance is necessary to generate a working structure at first hand because in software development the system is designed dynamically through modifications according to the user behaviours after the product gets into the market. That is why every software product begins with a Beta version and several updated versions follow this first version. The product that is going to be discussed in this thesis should be evaluated as a Beta version of this software. After the release of this product in the market, it will be effected by several issues, which concerns such products in cyber-space like social and political aspects in this space or ethical arguments about the nature of this arena.

Cyber space becomes species of space, that can be “colonised,” “explored,” “developed” and “owned” -all of which have severe social implications- rather than a shorthand term for data and the ways in which we represent, store and retrieve it. (Weinbren 2 of 3)

This study does not refuse any political and ethical arguments in cyber-space but perceives them as a further discussion that will be unprofitable for the goal of this thesis at this stage. In the content of this study a controlled environment is assumed in order to generate a Beta version. Another assumption about the work is the

assumption of an advanced user and reader who does not need answers for questions like “what is a computer?” or “what is a browser?” This system is being designed for an average World Wide Web user so the user profile can be defined as people who are aware of the computer media and as a WWW user.

2. DESIGNING THE SPACE

2.1 Information and space of a product

Computer technology is a powerfijl and widely used tool, and its environment has a dominating effect on every medium today. This is a transforming effect on every medium that it encounters. In other words every medium that somehow relates with the computers spatiality requires change and modifications in its structure in order to survive in this new environment. The intention of this study is to discuss on a certain medium among them, sequential art. To begin with, it is important to clarify what does medium, transformation and spatiality means in terms of design. To explain the concepts which the problem and design is going to be built on, a design process example from a different medium other than sequential art will be useful, namely Industrial Design. Every design process is fundamentally similar so this example will serve to identify the principles that will bind the design which constitutes the matter of this thesis which has the title MASK/interactive Sequential Graphic System.

Whatever the argument or intention about “design” is, there are four basic elements of a design process leading to a product.

A need

- A material

- A tool (production method)

- A user (End user)

We can think of these four elements as the inevitable minor group of elements (of course in the simplest sense) in a design process.

To clarify these elements an example of product from everyday life will be sufficient. A chair, more specifically the “Thonet Chair” which was designed by Michael Thonet in 1859.

Fig. 1 Thonet Chair

If we apply the plot which has been mentioned above to “Thonet” we will end up with the four design elements listed below;

Need; To sit.

Material; Wood, usually “beech”, screws

Tool: Steam and pressure, lathe, screwdriver. Production method: Machine formed rods of wood are curved and bent under steam-pressure and screwed together.

User: Human.

Thonet’s chair was a revolutionary chair with its technique of production that eliminates the need of jointing or sockets.

The simplicity of both the process and the forms produced enabled chairs to be manufactured in huge quantities, at low prices, and Thonet soon had a world market, (Heskett 43)

There is another revolutionary chair, which is much closer to our time. The “Aeron chair” by Herman Miller in 1992.

Fig. 2 Aeron chair

Need; to sit.

Material: Durable Aluminium (air aluminium), plastic

Tool; machine forming by pressure on a CAD-CAM controlled press. User: Human.

Now, why do these examples of “chairs” are being discussed? It is very obvious for everyone that these two chairs have very different design considerations in accordance with the periods in which they were produced and material technologies. They serve for different manners of the same purpose and function in different mechanical principles. But simply, they are still to sit on and still for a human being. So, why are they so different? What has changed so much from 1859 to 1992 so that they are both chairs yet produced through very different design considerations.

Some very common answers to these questions may be time, technology in every sense, and all design considerations, which have been pointed out above. There is an incredibly wide area to explore in order to understand this “change” between the two chairs. The intention here is not to explore this wide area in its totality but the awareness of this wide range is necessary in order to determine and pick up certain elements to make use of this study. Concentrating on one element of difference between these two designs is necessary, which also defines a point of view. This element is the “User” and his/her point of view that will be enough to construct an argument. What has changed on the user side from “Thonet” to “Aeron”? Asking these question to a discipline which has a mission of bringing out compact information among such wide ranges of subjects and moreover with design purposes will be sufficient. This discipline is “Ergonomics” which can be defined as, “The scientific study of human beings in relation to their working environments.” (Pheasant 2) The reason why the question is directed to ergonomics is because there is a possibility of finding the answer in the interaction between the “user”(human) and the “product”, (chair) According to Stephen Pheasant;

The concept of work must encompass a wide range of human behavior- not only in the tasks performed in the occupational context but leisure and domestic activities as well. Similarly our study of the working environment must include not only the physical environment and the objects within it (such as machines, furniture, tools, etc.) but also psychological factors such as mental workload, the flow of information and social interactions with other human beings. (Pheasant 2)

The point of view of ergonomics informs us about a missing element of design which has not been mentioned before and this new element which can be counted as a fifth

element is the“ space” which is constructed on the previous design elements. We may think of this space as a place in which design “works”. A place, where the user and product interacts, where the action takes place.

A consideration of the multiple exchanges between human and environment may lead us to think in terms of man-machine systems or, on a broader scale, of socio-technical systems. By way of illustration, a person (of either sex) operating a computer terminal would be an example of a man-machine system, whereas many such people and machines functioning within an organisational context would be a socio-technical system. The ‘system concept’ has been very influential in the development of ergonomics, as has the idea of the man- machine interface (or more generally the user-interface). (Pheasant 2)

IntMtac*

Display

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Fig. 4 “The man-machine interface”

The answer to the question; why “Thonet” and “Aeron” have different identities even though they serve for the same purpose and user can be found in terms of “space”. We can define this space as a space in between the user and the product, or in a wider sense, it is a space in which the user and product are and they are defining the properties of it through their relation with it. So another question arises; how can we define this space? How can we express the existence of such a space that works in structure that overwhelms the relation that stands simultaneously as its source?

This may be represented as an imaginary surface across which information is transmitted from machine to operator by means of displays and from operator to machine by means of controls- in the case of our computer operators the screen and keyboard respectively. (Pheasant 2)

Considering this definition, is it possible to construct a link between the definition and our question about the two chairs? Do we need a definition from a design point of view about our knowledge on the term that deciphers the space?

Ergonomics is the application of scientific information about human beings (and scientific methods of acquiring such information)to the problems of design. (Pheasant 3)

Now, according to this definition we can discuss the raw material for the construction of this “space” which is the information.

Information: 4. The act of informing or the condition of being informed; communication of knowledge. ( Mok 94)

If we consider “information” as the unit element of “space” which the design action takes place which may be described as a design-space, it sounds correct to say that, the properties of this information plays the main role on the construction of the space. So obviously this situation brings us in front of another design problem which is visible just now inside the previous design process. Here we have a design problem in the middle of another design problem. If we need to define them reciprocally, we may say; To run the design process “A” we first need to run a preliminary design process “B” inside “A” in order to organise and conduct the knowledge of “A”. As a result we need to design the “information of the product” to be able to design the “product.” Exploring the design process in this situation has not only pointed out the core elements of the argument in this thesis about “design space”, “the material of design

space” and the “interaction between user and product” but also answered the question about the chairs from a user oriented point of view. Thonet and Aeron chairs are different because the design of information around the relationship between the user and the product are different. According to the definition of information as a construction element of the space which design occurs, the space in which Thonet have been designed has a different identity in terms of its knowledge from the space of Aeron. While the dominant information was about economy in manufacturing processes for Thonet’s space, user-centred disciplines were the source of information so the unit element of construction for Aerons space. Of course there are several factors which effect these information and it is possible to depict reasons for these differences of information but this study intends not to concentrate on the reasons but to discuss this “changing effect” of the information designs on a medium.

Medium: A specific kind of artistic technique or means of expression as determined by the materials used or the creative methods involved. (Mok 22)

To this point the problem is discussed through a three dimensional everyday product. By doing this intention was to define the concepts which will be necessary in the future through a familiar object from now. It becomes easier to imagine abstract concepts like “space”, “information”, “design” and “medium” around a concrete, familiar product. With all these thoughts in our mind we may think of a chair with not just it’s physical properties or function but also with a virtual existence and background which includes its questions on somewhere which is not obvious and perceptible with our habitual perceiving strategies. Here the intention is to conduct a design process in a space that challenges our perception in a way that requires redefinition of any term, which it encounters. So what is the main point of discussing these matters? What were the elements of design process in “two chairs” case? A

Product (that includes need, material, tool, user) at first, for each example, they have just been out. But then a question is asked about their difference. The tools in hand were not enough to answer because the question required the “relationship” of the product and the user. At the point we searched for the relation we encountered first with the concept of “space” and then the source of this space as the “information”. The two designs were in a “transformation” in the means of information and space. This stage could be named as “transformation stage” for every design that shares the same source of need. It could be asked again what has a chair and a sequential art example may have in common. It is possible to clarify this situation with a correspondence similar as the chairs.

product 2"*' product Information space

Tlionet chair Aeron chair Ergonomics Antlu-opometric Space Sequential Art 9 _{Computing Cyber-space}

Fig. 5 Correspondence of an Industrial Design and Sequential Art product

This correspondence is necessary to point out the transformation of “a kind” from one space to another according to the information. If we count sequential art as a “kind”, the intention of this study is to explore the information (ergonomics = computing) and space (anthropometric space = cyber-space) in order to define the transformation and so to design.

2.2 Design attempts on World Wide Web

In this study there is a discussion about a reinterpretation of sequential art in cyber­ space. If we look at the existing attempts in which sequential artists tried to publish

Anthropometry is the science that explores human dimensions with a motive o f producing data for ergonomics.

their work via cyberspace, we see several misinterpretations and several underestimations. The reason for this unsuccessful attempts lies in the very core of the “transformation of a kind” concept that have been explored so far. A very common approach for a sequential artist would be introducing the structure and elements of his/her art to the cyberspace representation techniques. And it may sound fairly correct to say that it is just a matter of transporting a sequential art page into the screen of a computer. At first the sequential artists simply scanned their pages and published them on screen.

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Fig.6 November’s Child

It was the same as reading a page from paper. Only the user was unable to turn your pages directly. He/she needs additional elements like keyboard and mouse to control and a simple navigation interface that includes a next and back button on the screen. Then the artists took one step further with the help of developments on interactivity design and adapted their work to the popular tools of cyberspace like World Wide Web and CD Rom.

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These sequential artists approached sequential art as if it is a part of a web design. A homepage that includes links to every chapter, long introduction and additional information pages that explains the site and how it works. One of the most successful applications about sequential art on the cyber space is Disney’s application. Disney just transported every single principle of a sequential art by converting them into

suitable units for the space of Internet.

Fig. 9 Disney Blast Online

There were more positive attempts corresponding to the preliminary examples on WWW but the sequential artists were still far away from the main problem. It was not a matter of transporting an existing sequential system from its native space to another space. Or it was not even transforming a sequential art to the use of cyber­ space. Obviously it is a problem of design. It is vital to design the “information of the product” to be able to design the “product.” It is not possible to design sequential art on cyberspace only by trying to transport its principles to the computer environment. First it is necessary to understand both spaces and their structure. While analysing cyber space the most important subject is the relation between the user and this environment. The information that will be designed has its sources at the interaction between the user and the product. Interactivity is the most important factor for any design which aims a product on cyber-space, so it is also the main reason for this study as an interactive sequential graphic system. Computer technology and environment has the greatest potential of designing and increasing interactivity between the user and the product. It is the responsibility of the designer to construct a working design process that will fulfil the requirements of such a problematic, and to conduct a design process with all this information.

3. SEQUENTIAL ART

Developing the MASK requires the information about the principles and mechanics of existing comics. If we accept Scott McLaud's description of comics as ‘juxtaposed pictorial and other images in deliberate sequence, intended to convey information and/or to produce an aesthetic response in the viewer, (McLaud 9) then we should discuss three concepts; the properties of images, their Juxtaposition and their sequence. The properties that involve physical characteristics and perception will be discussed under the concept o f ‘closure’. The juxtaposition and sequence on the other hand will be discussed under the heading o f ‘structure’.

3.1 Closure

Scott McLaud defines the concept of closure as a very well known principle of visual perception with the motives of understanding comics. Closure is the ‘assumption’ of a person according to the limits of his/her perception and past knowledge We have a fragmented perception in which we can peiceive several things at one time according to our five senses. . ( McLaud 61) We can just perceive fragmented and incomplete elements of everything and we make them a whole in our mind.

I have no guarantee that anything exists outside of what my five senses report to me. I’ve never been to Morocco, but I take it on faith that there is Morocco. I’ve never seen the earth from space first-hand, yet I trust that the earth is round. I’ve never been in the house across the street, yet I assume it has an interior, that it isn’t just some big movie set. Our perception o f ‘Reality’ is an act of faith, based on mere fragments. (McLaud 61,62)

CL S RE

The reason why we are discussing this very familiar concept is because closure is the main factor that creates interactivity between a comic and it’s reader. Closure occurs in different media in different ways. Fragments of grain constitute a photograph but we take it as real. Closure has a place in different media like, cinema and television. McLaud also discusses electronic media but he neither explores nor explains that area. But by the point of view that he states under the content of comics, he offers a very clear understanding for Comic’s interactivity. ‘A medium where the audience is a willing and conscious collaborator and closure is the agent of change, time and Motion.’ (McLoud 65)

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At this Stage it will be very useful to discuss the definition of interactivity a little bit earlier. In a very simple manner, interactivity in this case, means the participation of the reader/user with the thing that he or she is experiencing. McLaud states that the closure of electronic media (by which he means Film industry and TV Broadcasting) is continuous, largely involuntary and virtually imperceptible. On the other hand

closure in comics is far from continuous and anything but involuntary. To clarify his statement, he gives a well-known plot as an example.

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In this example as an addition to the visual closure, there is also a clear assumption about what happened. In this way he states that the reader develops his or her personal decision according to the plot while he or she fills in-between the fragments. And as a difference from other media, closure becomes comics’ primary means of simulating time and motion.

*Г0 KILL А MAN в с 'WCeN I’ANFLS IS TO CONOrMlU l+IW TO A TMOlJSANP DFATMS. Fig. 13 McLaud 69

Compared with comics in the means of their sequential structure no other medium has such a dominant alliance with the blank space in-between.

Comic panels fracture both time and space, offering a jagged, staccato rhythm of unconnected moments. But closure allows us to connect these moments and mentally construct a continuous, unified reality. (McLaud 67)

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Closure constitutes the core point to understand what is going on while the reader interacts with a sequential art example. This interaction is important for us to understand the relationship between the user and the product. Sequential art has a panel to panel structure. The form, content or any other property can change for these frames called panels, but it is vital to save the blank spaces. Organisation of these panels that constitutes “live moments” and the blank spaces that constitutes “blank moments” brings out another main aspect in sequential art which is the organisation and coordination of time in sequential space that is going to be discussed in next section.

3.2 Structure

There are different strategies according to different motives in sequential art arena that includes organisation of visual and time transitions. These transitions vary from one example to another but it is possible to separate the structure of them into several categories according to the existing examples around the world. One of the most clear and latest one is Scott McLaud’s classification with 6 types.

Fig. 15 Panel to panel transitions

In this type of transition we capture panels with very close time intervals in a similar space and occasion They resemble several frames from a camera shot. Does not require a serious closure. (McLaud 70)

3.2.1 Type of Transitions

1. Moment to Moment Transition.

Fig. 16 The Keeper of the Macer

2. Action to action Transition.

This type involves the

transitions featuring a single subject in distinct action to action progression. (McLaud 70)

Fig. 17 Sin City

This type takes us from subject to subject while staying within a scene or idea. Note the degree of reader involvement necessary to render these transitions meaningful. (McLaud 71)

3. Subject to Subject Transition

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Fig. 18 The man From Ciguri

4. Scene to Scene Transition.

Deductive reasoning is often required in reading comics such as in these scene to scene

transitions, which transports us across significant distances of time and space. (McLaud 71)

Fig. 19 Spawn

This type of transmission bypasses time for the most part and sets a wandering eye on different aspects of a place, idea or mood. (McLaud 72)

5. Aspect to Aspect Transition.

6. Non-Sequitur Transition.

Fig. 20 The Cro\\’

This transition offers no logical relationship between panels

whatsoever. (McLaud 72)

Fig.21 Trip To Tulum

One other element that is important for these transitions are the frames called panels. The panels are there to organise time and space. They maybe in various shapes and opacity but they arrange the pictorial elements on the spatial atmosphere for the sake of perceiving time and space. While doing this they also become pictorial elements themselves. McLaud describes these panels as the comics’ most important icon.

These icons we call panels or “frames” have no fixed or absolute meaning like the icons of language, science and communication. Nor is their meaning as fluid and malleable as the sorts of icons we call pictures. The panel acts as a sort of general indicator that time or space is being divided. (McLaud 99) One sequence can take us from the past and bring to the future by using two panels. But the relation between two panels in terms of time and space become more complex when situation requires hierarchy of these variables. Such a requirement clarifies the importance of panel properties. According to McLaud. In learning to read comics we all learned to perceive time spatially and in the world of comics we perceive time and space as one and the same. He states that, as readers we are left with a vague sense that as our eyes are moving through space, they are also moving through time. But the problem in this case is how can we estimate the quantity of that time interval. The requirement of this estimation for the reader utilises panel properties for the use of the artist.

A n ex a m p le about the duration o f a seq u en ce can clarify the tim e hierarchy.

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Fig.22 McLaud 101

One last important note about time transitions in comics is it has a value that no other sequential medium utilises. It is also an important property for the reader’s

participation and control on the work. It is. the capability of perceiving the whole page while you are concentrated on one panel.

i T H E Z r ΓΤ^Γ..

Fig.23 McLaud 104

You may turn back or go forward as you like in time and space of this sequential art. For McLaud in comics as in film, television and real life, it is always now. ( McLaud

103) The panel alone that you are concentrated on represents the present. The one before represents past and the one that is next represents future. But in comics and just in comics, both past, now and future are real, visible and around us. “Wherever your eyes are focused, that’s now. But at the same time your eyes take in the surrounding landscape of past and future!”(McLaud 104) Navigation in comics has a very

important role on the way to understanding and constructing a sequential structure. As we are all conditioned to read left to right and up to down, any attempt of interfering to this habit would be evaluated as ridiculous. It can be also true for the comics’ spatial atmosphere.

“ The idea that the reader might choose a direction is still considered exotic. This may, in part, be the influence of other media like film and television where viewer choice has not generally feasible. (McLaud 105)

CONDITIONED AS WE ARE TO READ lFFT-7 0 -ir/O H T AND tf f ^ T O -P O m / , A MISCHIEVOUS CARTOONIST CAN PlAV ANY NUMBER Of ON US

Fig.24 McLaud 105

Comics readers are also conditioned by other media and the ‘real time’ of everyday life to expect a very linear progression. Just a straight line from point A to point B. But is that necessary? McLaud believes that for now, the answer to his question lies in the territory of games and strange little experiments. He admits that viewer

participation is becoming an enormous issue in other media and he is curious about role of this issue for comics in the new century. (McLaud 106) The answer to his question constitutes the main frame of this thesis, not in the same point of view but with a similar motive The point of view is different because the aim of MASK is not to shuffle the existing reader/user behaviours or experimentation on them but to analyse and construct the principles of this navigation for another spatial atmosphere. Comics are generally identified as an art of storytelling despite of its wider potential. We have discussed the pictorial properties of this discipline but we haven’t touched its textual properties. Lastly we are going to explore the relation between text and pictures. While doing this McLaud’s categorisation will be a useful guide again. There are limitless ways to combine a text with pictures of course but when we look at the genre there are several categories of maintaining meaning through picture and text.

Fig.25 Picture-text Combinations

3.2.2 Picture-Text Combinations l.Word Specific Combinations:

These are combinations where pictures illustrate, but don’t significantly add to a largely complete text. (McLaud 153)

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2. Picture Specific Combinations:

Fig.26 The Cat

In these combinations words do little more than add a soundtrack to a visually told sequence. (McLaud 153)

Fig.27 Loma

These are combinations in which both pictures and text send essentially the same message. (McLaud 153)

3. Duo-Specific Combinations:

Fig.28 Tlie Cat

4. Additive Combinations:

Here words amplify or elaborate on an image or vice- versa. (McLaud 154) For example in this frame the action of hero amplified by his speech balloon.

Fig. 29 Choose Your Game

6. Parallel Combinations:

In these types of combination text and pictures seem to follow very different courses without intersecting. (McLaud 154)

FUNNY, HE HADN’T REALLY THOUHGT ABOUT IT BEFORE

THEN. THERE IS PROBABLY A LOTION OR CREME OR SOMETHING HE COULD GET.

7. Montage Combinations:

Fig. 30 The Crow

Another combination is the montage where words are treated as integral parts of the picture. (McLaud 154)

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Fig. 31 DustCovers

This is the most common type of word/picture combinations. Words and pictures go hand in hand to convey an idea that neither could convey alone. (McLaud 155)

7. Interdependent Combinations:

Fig. 32 Eye of the Sea

The information about comics’ structure will guide us through our journey towards the construction of an Interactive Sequential Graphic System on Cyber-Space. The concepts that we have in hand so far like reader participation, space and structure will be discussed in the product.

4. DESCRIPTION AND DESIGN OF MASK 4.1 What is MASK and How does it work?

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Fig. 33 Homepage of MASK

MASK is an interactive Sequential Graphic System which is designed as a platform for a WWW user that he/she can express themselves through a set of performances by using the specific media that the system offers. The system is divided into three sections, which organises these media and performances in their structure. The system interacts with the user by a set of interfaces, which directs and informs the user about the system. The main goal is to utilise the media that the system involves by constructing a sequential product in the standards of the system. The raw material of the system is in three formats namely; text, image, audio and they are not only offered by the system but contribution of the user is expected as the real source in order to grow.

The images of Masks are used for representing the user in the system. Mask of poet represents the user who enters the system as an identity interacting with the system from a poet’s point of view according to the definition that the system has defined for this identity. The identity of the mask of inspiration has been defined in a different manner in content but for the same functional reason with the mask of poet. The mask of poem constitutes the identity of the product that gives the opportunity to combine the raw data and construct the sequential product to the user. The identifications of the user in such a system by visual representations is a widely used tool in WWW to provide interactivity. Monica Fleischmann describes this personification as the “virtual representation of the persons avatar*” which states a certain anonymity. ( Fleischmann 1 of 5)

The Icrm avatar is derived from Sanskrit and relates to a “mental traveller” in Indian fairy tales.

4.1.1 Poet

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Fig. 34 Poet

The Mask of Poet directs the user to one of the two media libraries namely; Poet. This Library involves the psychological states of the poet which have collected under the “emotions” heading such as love, pain, longing, consciousness, desire, self-torture and loneliness.

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Fig. 35 Emotions of Poet

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These emotions are also libraries that involve raw material for constructing the sequential product. This material constits of three components ; text, image and audio.

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The system is expecting the user to insert data in these formats into the system

through these interfaces. There is a standardisation for every type of data that the user can insert in the system. The standardisation is vital for the existence of this system as in every software product that works on WWW. The standards of MASK are very similar to a common WWW site except some size constrains in this Beta version. The World Wide Web needs standards in order not to loose its “worldwide”

articulation. The sources of the medium can be monitored all around the world from different users through different computer hardware and software, in such a

cosmopolitan space standards become more important than anything else in order to be monitored by every single unit. The standardisation is not just for reaching every place but also it is also important in terms of perception such as in the example of text. The very general WWW rules, which are also adopted by MASK, are as follows;

Text: Arial, Helvetica,Tahoma,Verdana fonts are appropriate. They are all sans-serif so that they are easy to percei ve on the flickering fusion of the computer monitor. The font size is generally not smaller than 8 points in order to be visible. (Horton 250)

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Fig. 37 Text Library of Love

MASK has some extra limitations in addition to these standards as a beta version but they are going to be improved in order to improve the performance of the user in the system. There is a combo-box that you can add text in just one font type which is Arial and one font size which is 8 points. There are three types of actions that a user can take in this stage; the user can add, remove and browse. He/she can add text by using directly the combo-box, or using the copy-paste utility of any other text editor after converting the text into the necessary standards. These actions are the same with every other type of media that the system recognises according to the specific

standard of MASK.

Image; The most important factor on WWW is the image format. There are different monitor sizes and moreover every user prefers different display settings. The general tendency is to design for the optimum hardware setting which is 800-600 pixel and 72 dots per inch. One other standardisation is about compression format. There are two widely used compression formats; the jpeg format for photographic images and the gif format for pictorial images. The data for each page should not be more than 100 KB in order to enable a faster file transfer. (Horton 296)

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Fig. 38 Image Library of Love

As an addition to these standards MASK can recognise only the images in a frame that has dimensions of maximum 300*300 pixel. The sample work that exists in the system is pictorial and monochrome according to the personal intention of the artist, it is not because of any technological limitations. The system can recognise images in a range of 16 colors to True color (32 Bit).

Audio: The Mp3, au, wav, midi formats are widely used audio compression formats. Their sound quality varies according to their sizes in terms of KB per second. (Horton 310)

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Fig. 39 Audio Library of Love

The system can recognise “au” and “wav” formats as audio formats. The user browses in these libraries and collects data to a list. When his/her work is finished he can browse the data that he/she gathered from this application called “List.” There are seven units for very media in this version but it can be increased according to the user participation. The user can also browse the works of other users through these

libraries and can add data that is inserted by another user in another time. There are six more emotion libraries similar to library of love. Every library has graphical interfaces, which emphasises the emotion of that library whose typographical, photographical and musical expressions are dominant.

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Fig,40 Library of Pain

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Fig.41 Library of Longing

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Fig. 42 Library o f Consciousness

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4.1.2 Inspiration

Library of Inspiration is the same with the poet library in terms of function. But inspiration library has similar and different emotions that are represented through the inspirations’ point of view. They are listed as, dreaming, consciousness, curiosity, arrogance, desire, disappointment and regret.

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Fig.47 Emotions of Inspiration

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4.1.3 Poem

The two emotions Libraries contain data in order to use in the section of Poem, which includes two facilities namely; “works” and “composer.” Works facility includes every work that every user in the network has designed by himself/herself or together with the other users in the network. But the main function of this facility is to exhibit the works in the network. But before this exhibition, the sequential product is

developed by a user or a group of users in an application called “composer.”

Composer works as a connector for the media that has been collected from emotion libraries. It is possible to place text, image and audio together on one page and make links between such pages that the user will prepare. There is a specific visual structure in this version which can be improved in further versions.

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If we analyse “riddle” from the point of sequential art and in terms of transitions; it has an aspect to aspect transition and in terms of picture-text combination “riddle” fits in an interdependent combination type.

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— Love Works Composer1 I>reaming —

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- Pain 1 1 1 1 consciousness —

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Fig.65 Navigation Map

5.CONCLUSION

MASK is an attempt to design a system that opens a space for a sequential product on the cyber-space. A sequential product has been defined for cyber-space, which works on the bases of interactivity and the network structure of WWW. The identification of the user in the system has two sides. One is the visual representation of the user in order to convey the necessary information through user interfaces to the user. But the user has another identity, which makes him/her visible for the system. It is an identity in the means of code. As in every system that belongs to a network, MASK also has an administrator whose responsibility is to operate the system. Every user will need an authorisation code when they enter the system, which makes them visible for the administrator. The common method of identifying the user on WWW is valid for MASK like a code and the user’s e-mail address. Such a system will also need a feedback utility in the future like a forum-space in which the user can discuss their works and interact with each other. These are the common requirements for an interactive system which aims to use the potential’s of WWW, but in the content of this study only the design process is concentrated on with a motive to design and some aspects are ignored to save concentration on the system design instead of technical and political considerations. MASK is a software model that aims to define and fulfil the requirements of a space through interfaces which utilises the potential’s of WWW by using the necessary media to create life-cycle for a sequential product on cyber-space.

Navigation in imaginary virtual space requires interfaces, which allow the participant to travel between the various worlds in order to create an illusion space. (Fleischmann 7 of 8)

This study is unique in itself not because it offers any uninvented technology but offers a consciousness for the user about the relationship between two spaces and a new space which offers a new motive and type of behaviour in cyber-space.

Azpiri, Alfonso

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California: Sage Publieations, 1996. “Lorna: Leviathan.” Heavy Metal.

(September 1998): 27-54.

Object Oriented Analysis and Design.

California: Addison Wesley Longman, 1994. Science Fiction Encyclopedia.

London: Dorling Kmdersley, 1995.

Eco, Umberto. The Role of the Reader.

Bloomington: Indiana University Press, 1984.

Eisner, Will. Comics and Sequential Art.

Princeton, Wi: Kitchen Sink Press, 1995. Elsaesser, Thomas, ed. Early Cinema: Space -Frame - Narrative.

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