Summary: Much like the Italian sonnet, Japanese haiku or a Berryman Dream Song, which are based on specific strict rules, comics could be created based on formal constraints. For queer audiences, there is more content available on the Internet and content producers are able to distribute content using online and mobile technology to gain access to this instant global audience.Ĭhapter 14 for Teaching Comics and Graphic Novels: A Practical Guide to Classroom and Community in the 21st Century. These audiences actively seek out content to consume and communities to participate in outside of mainstream media due to the lack of representation in traditional media. This chapter explores how transmedia and multi-platform narratives are providing a depth of immersion that ‘niche’ audiences (such as lesbian audiences) desire. It is setting a new benchmark for participatory culture giving audiences the power to navigate and negotiate their own media consumption.

Multi-platform storytelling is not just another potential revenue stream to maximise financial return it provides possibilities for forming communities for those who might feel marginalised or silenced. ' 3 Movement is a necessary part of this meditation: experiencing located wonder tales is hardly about stories, their producers, or receivers staying in place, but about their taking uncanny journeys and their taking us with them.įilm and television industries are utilising the multitude of alternative entry points (outside of traditional media) to capture and retain their audiences, however online digital storytelling has also impacted the way ‘niche’ audiences are accessing and engaging with their content. Together these movements assemble my ongoing reflections on Mayako Murai's and Luciana Cardi's question of how to approach 'adaptations of folktales and fairy tales produced in a globalizing world where Western and non-Western cultures interact and compete with each other. Each movement cites and is incited by fairy-tale or wonder-tale texts that were on my mind and in my classroom experience in 2016, when I first drafted this piece.

2 It is a meditation in four movements, or takes, on fairy tales in plain sight as well as in a web of unseen relations fairy tales we cite and adapt fairy-tale insight that disorienting adaptations provide and fairy-tale reorientation as incitement. 1 More specifically, it is a meditation on fairy tales in site, that is, as events positioned, produced, and received in specific locations and times.

As you enter this reading experience, be mindful: not an argumentative essay, this is a meditation on fairy tales or wonder tales.

Chivalry by neil gaiman sparknotes