The Walking Dead. Comic book series. Robert Kirkman (w); Charlie Adlard, et al. (a). Berkeley, CA: Image Comics, 2003-ongoing.

MELUS ◽  
2007 ◽  
Vol 32 (3) ◽  
pp. 261-263
Author(s):  
J. A. Diaz
Keyword(s):  
Comic Book ◽  
Book Series ◽  
The Walking Dead ◽  
Walking Dead

Gender Politics and The Walking Dead: Gendered Violence and the Reestablishment of Patriarchy

2016 ◽  
Vol 13 (1) ◽  
pp. 59-86 ◽  
Author(s):  
Tammy S. Garland ◽  
Nickie Phillips ◽  
Scott Vollum
Keyword(s):  
Gender Roles ◽  
Social Construction ◽  
Narrative Analysis ◽  
Comic Book ◽  
Gender Politics ◽  
Gendered Violence ◽  
Book Series ◽  
The Walking Dead ◽  
The Social ◽  
Walking Dead

Given that the acclaimed comic book series The Walking Dead allows readers to confront our greatest fears, as civilization has collapsed and zombies proliferate and prey upon the living, the paucity of literature addressing the gender dynamics in such a lawless society is disconcerting. In our analysis of 96 issues of the series, we explore the social construction of gender roles and the context of gendered violence and victimization in this post-apocalyptic world. Moving beyond a narrative analysis, we consider how comic art conveys that even in the zombie apocalypse, the patriarchal structure remains, the realities of sexism and gendered violence endure, and, sometimes, women literally pay with their flesh for trying to break out of stereotypical gendered constructs.

scholarly journals Creating an Authentic Experience

2019 ◽  
Vol 4 (1) ◽  
Author(s):  
Rachel Sarah Osolen ◽  
Leah Brochu
Keyword(s):  
Visually Impaired ◽  
Comic Books ◽  
Comic Book ◽  
Library Service ◽  
National Network ◽  
Narrative Story ◽  
The Walking Dead ◽  
Audio Description ◽  
The Creation ◽  
Walking Dead

While working as production assistants for the National Network of Equitable Library Service (NNELS), an organization that creates and shares accessible versions of books to people with print disabilities, we were tasked with a challenging request from a user: Could we make an accessible version of the comic book The Walking Dead? Audio description services are available to the visually impaired in a few different venues such as television, movies, and live theatre. Guidelines for the creation of these descriptive texts are available to potential creators, but in our case, we could find nothing that would help guide us to create a described comic book. While some people and organizations have created prose novelizations of comic books, these simply tell the story, and do not include the unique visual aspects of reading a comic book. We have found that it is possible to create a balanced description that combines the visual grammar of a comic with the narrative story. In addition to creating a described comic book, we are developing guiding documentation that will be a necessary tool to ensure that visually impaired readers have a comic book experience (CBE) that (a) closely matches the CBE of a sighted reader, and (b) is standardized across producers, so that the onus of understanding the approach to comic book description (CBD) is not put on the visually impaired reader. At this point in our work, we need more feedback from users with print disabilities to ensure we are meeting the highest standards.

Comic Books, Video Games, and Transmedia Storytelling

2016 ◽  
Vol 8 (2) ◽  
pp. 34-42 ◽  
Author(s):  
Charlie Ecenbarger
Keyword(s):  
Video Games ◽  
Video Game ◽  
Comic Books ◽  
Meaning Making ◽  
Comic Book ◽  
Additional Information ◽  
Transmedia Storytelling ◽  
The Walking Dead ◽  
Book World ◽  
Walking Dead

This article illuminates the transmedia storytelling techniques in The Walking Dead comic book and video game. Telltale Games' The Walking Dead localizes itself within the comic book world of The Walking Dead by acting as a transmedia storytelling device and using intertextuality comics to assist game players with meaning-making. By participating in the game, Telltale rewards players with additional information about The Walking Dead universe, as well as creating a contingent but separate narrative that expands upon the existing Walking Dead world. This exploration of The Walking Dead offers insights into the specific methods that are being employed by creators to further engage the audience in the transmedia storyworld.

scholarly journals BEING AN ETHICAL LEADER DURING THE APOCALYPSE: LESSONS FROM THE WALKING DEAD TO FACE THE COVID-19 CRISIS

2021 ◽  
Author(s):  
Oihab Allal-Chérif ◽  
María Guijarro-García ◽  
José Carlos Ballester-Miquel ◽  
Agustín Carrilero-Castillo
Keyword(s):  
The Walking Dead ◽  
Ethical Leader ◽  
Walking Dead

scholarly journals The World of The Walking Dead – Transmediality and Transmedial Intermediality

2015 ◽  
Vol 10 (1) ◽  
pp. 73-88 ◽  
Author(s):  
Benjamin Beil ◽  
Hanns Christian Schmidt
Keyword(s):  
Video Games ◽  
Cultural Environment ◽  
Transmedia Storytelling ◽  
The Walking Dead ◽  
Adventure Game ◽  
The World ◽  
Interactive Nature ◽  
Walking Dead

Abstract As transmedia franchises increasingly populate our cultural environment, many questions arise about the effect of the different media involved in the depiction of storyworlds. Through the analysis of different examples, with special emphasis on the particular case of The Walking Dead, and drawing primarily from Henry Jenkins’s concept of “transmedia storytelling” and Jens Schroter’s concept of intermediality, this paper aims to show how different media aesthetics contribute to the process of storytelling and enrich the experience of the consumer. Usually overlooked in other analyses, we argue that these formal and aesthetical characteristics, such as the interactive nature of video games, call for a broader approach that transcends the accustomed search of common narrative aspects. This will be exemplified by a closer comparative look at the adventure game The Walking Dead: The Ganie (Telltale Games, 2012) and The Walking Dead: Survival Instiiict (Terminal Reality, 2013). The transformations that the different media demand contribute not only to the narrative, but also provide different tools for the construction of storyworlds and different ways to engage with it.

scholarly journals The Walking Dead: Late Liberalism and Masculine Subjection in Apocalypse Fictions

2015 ◽  
Vol 49 (4) ◽  
pp. 793-811 ◽  
Author(s):  
KATHERINE SUGG
Keyword(s):  
Settler Colonialism ◽  
White Male ◽  
White Masculinity ◽  
Social Transformations ◽  
Frontier Myth ◽  
The Road ◽  
Popular Narrative ◽  
The Walking Dead ◽  
Liberal Modernity ◽  
Walking Dead

From The Road to The Walking Dead, contemporary apocalyptic fictions narrativize the conjunction of two central “crises”: late liberal capitalism and twenty-first-century masculinity. This conjunction underlines the insights of a variety of scholars and cultural critics who analyze the “crisis” of contemporary masculinity, often specifically white masculinity, as a product of recent economic and social transformations, including the perceived disempowering of white male authority in a neoliberal era of affective labor, joblessness and multiculturalism. But the apocalypse, especially as a television series, is a rather peculiar narrative vehicle for the articulation of a transformative future for – or a nostalgic return to – masculine agency and authority. Focussing on questions of subjection and agency in the late liberal/neoliberal moment, I suggest that zombie apocalypse stages a debate on the status of masculine agency that has roots extending deep into the foundations of liberal modernity and the gendered selfhood it produces – roots that are ironically exposed by the popular cultural referent that dominates The Walking Dead: the frontier myth. The frontier and the apocalypse both draw from Hobbesian prognostications of a state of nature as relentless competition and a war of “all against all” that are foundational to modern liberal political theory and questions of sovereignty, self-interest, and collective governance. But they also index a narrative antidote to the erasure of political agency as traditionally enshrined in liberal democratic norms and traditions. Like the western, the zombie apocalypse speculates about possible ways in which masculine agency in liberal modernity might be reimagined and/or reinvigorated. In the place of a tired, automated neo-“official man”, the apocalypse in The Walking Dead promises an opportunity to “finally start living” – reminding us that white masculinity figures precisely the Enlightenment liberal subject-citizen and the authoritative, if highly fictional, agency which has been notoriously crushed within regimes of late capitalist biopower. And yet, even as the zombie apocalypse engages foundational myths of liberal modernity, it elaborates them in surprisingly nihilistic set pieces and an apparently doomed, serial narrative loop (there is no end to the zombie apocalypse and life in it is remarkably unpleasant). The eruption of haptic elements in the television show – especially in the visual and aural technologies that allow representations of bodies, suffering, dismemberment, mutability, disgust – further counters the apparent trajectory of apocalyptic allegory and opens it to alternative logics and directions. The narrative options of the zombie apocalypse thus seem to be moving “back” to a brutal settler colonial logic or “forward” to an alternative, perhaps more ethical, “zombie logic,” but without humans. This essay is interested in what these two trajectories have to say to each other and what that dialogue, and dialectic, indicate about contemporary economic governance as it is experienced and translated affectively into popular narrative and cultural product. That is, to what extent is the racist and economic logic of settler colonialism already infected by the specter of another logic of abjection and otherness, one that is figured both by the zombies and by the nonnarrative function of spectacles of embodied male suffering? And what does that slippage between logics and directions tell us about the internal workings of settler colonialism and economic liberalism that have always been lodged within mythic fantasies of the frontier?

scholarly journals Choices and Consequences: The Role of Players in The Walking Dead: A Telltale Game Series

2017 ◽  
Vol 1 (1) ◽  
pp. 350-358 ◽  
Author(s):  
Matteo Genovesi
Keyword(s):  
Decision Making ◽  
Video Games ◽  
Video Game ◽  
Comic Books ◽  
Active Role ◽  
Interactive Approach ◽  
Transmedia Storytelling ◽  
The Walking Dead ◽  
Walking Dead

Abstract One of the most important features in a transmedia structure, as Max Giovagnoli argues in his book Transmedia: Storytelling e Comunicazione [Transmedia: Storytelling and Communication], is the development of the user’s decision-making power, defined by the author as “choice excitement.” In this, every choice of the user should have a consequence in the fictional universe of a specific franchise. Consequently, a narrative universe that wants to emphasize choice excitement and the active role of people can focus on video games, where the interactive approach is prominent. This essay will discuss a specific video game, based on the famous franchise of The Walking Dead. This brand, which appears in comic books, novels, TV series, Web episodes and video games, is analysable not only as an exemplary case of transmedia storytelling, where every ramification of the franchise published in different media is both autonomous and synergistic with the others, but also by focusing on the choice excitement of users in the first season of the video game The Walking Dead: A Telltale Game Series.

scholarly journals Terytorium rezu. Symbolika oraz kulturowe konteksty krajobrazu indiańskiego rezerwatu we współczesnym północnoamerykańskim kinie i komiksie

2018 ◽  
Vol 9 (4) ◽  
pp. 30-38
Author(s):  
Magdalena Kempna-Pieniążek
Keyword(s):  
Comic Books ◽  
Comic Book ◽  
The Other ◽  
Dark Side ◽  
Indian Reservation ◽  
Cultural Contexts ◽  
Book Series ◽  
American Cinema ◽  
Pine Ridge ◽  
Pine Ridge Reservation

DOI 10.24917/20837275.9.4.3Ubogie domostwa, rozsiane po pustkowiu przyczepy zamieszkane przez zdegenerowanych ludzi, pokryte kurzem drogi, po których poruszają się zdezelowane samochody – pejzaż indiańskiego rezerwatu we współczesnej kulturze audiowizualnej naznaczony jest świadectwami upadku. Równocześnie jednak przestrzeń, w której tak wyraziście manifestują się liczne problemy społeczne, na czele z alkoholizmem oraz bezrobociem, stanowi część dyskursów dotyczących marginalizacji, nietolerancji, alienacji i społecznej stygmatyzacji. Filmowy i komiksowy pejzaż „rezu” stanowi krzywe zwierciadło oficjalnej amerykańskiej kultury, symbolizowanej przez Mount Rushmore, w której cieniu kryje się rezerwat plemienia Lakota w Pine Ridge. Analizując wybrane przykłady filmowe oraz komiksowe, autorka ukazuje różne aspekty symboliki i kulturowych kontekstów „rezu”. Z jednej strony – w filmach takich jak Skins Chrisa Eyre’a lub Za głosem serca Michaela Apteda oraz w komiksowej serii Skalp Jasona Aarona i R.M. Guéry – mamy do czynienia z wizją rezerwatu stanowiącego krajobraz nieomalże apokaliptyczny, utożsamiający ciemną stronę Ameryki; z drugiej – w realizacjach pokroju Sygnałów dymnych Eyre’a czy Piętna przodków Michaela Linna – rezerwat jawi się jako przestrzeń mityczna, obszar kontaktu ze wcześniejszymi pokoleniami.Rez territory. Symbols and cultural contexts of Indian reservation landscape in contemporary Northern American cinema and comic booksPoor houses, trailers scattered in wilderness, inhabited by degenerated people, dusty roads full of old cars – the landscape of Indian reservation in contemporary audiovisual culture is marked with symptoms of degradation. In the same time, places where social problems – especially alcoholism and unemployment – have been so vividly manifested, become a part of various discourses of marginalization, intolerance, alienation and social stigmatization. “Rez’s” landscape in film and comic books becomes a dark mirror for the official American culture symbolized by Mount Rushmore, in whose shadow lies the Lakota Pine Ridge reservation. In her analysis of selected films and comic books, theauthor shows different aspects of rez’s symbols and cultural contexts. In such films as Chris Eyre’s Skins or Michael Apted’s Thunderheart and Jason Aaron and R.M. Guéra’s comic book series Scalped, Indian reservation is shown almost as an apocalyptic territory and – in the same time – as a dark side of America. On the other hand, in Eyre’s Smoke Signals or Michael Linn’s Imprint, rez is a mythic place of cross-generation encounters.

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