In a lot of cases, though, I am creating characters in order to see these places—these times, these settings. But, from the very beginning, I’ve known what kinds of stories I’ve wanted to do—so it’s also a question of finding the character who belongs to that world, as an excuse to draw that world.
The city as social realm strongly refers to communication via images. Comics help turning these images into cultural narratives and aesthetics and to create outstanding icons of modern identity, landmarks of our self-understanding that are, by definition, not bound to specific cities or nations.
[…] Tolkien’s most important contribution by far […] was his construction of a systematic secondary world. There had been plenty of invented worlds in fantasy before, but they were vague and ad hoc, defined moment to moment by the needs of the story. Tolkien reversed that. He started with the world, plotted it obsessively, delineating its history, geography and mythology before writing the stories. He introduced an extraordinary element of rigour to the genre.
China Miéville – Tolkien – Middle Earth Meets Middle England
Henry Jenkins is the director, Comparative Media Studies Program at MIT. In this viral-info-snack he discusses the power of media in a 21 century trans-mediated world. A world where converging technologies and cultures give rise to a new media landscape.
It would be pointless to demystify textual worlds as constructed by language or other types of signs, if the imagination were not spontaneously inclined to pretend that these worlds are real, or, as the romantic poet Wordsworth put it, to „suspend disbelief“ in their autonomous existence.
Marie-Laure Ryan – Fictional Worlds in the Digital Age