Alternate Ending

WP2: Statement of Purpose

Among the many types of medium used to convey arguments, the comic is one that has different abilities than other typical formats. While it has the ability to address difficult subjects in a personable manner to the audience, this medium also requires the use of many rhetorical devices as well. In order to be effective, the author must consider the purpose, audience, and context of the message, among other things. Thus, in creating a comic, my purpose is to largely apply the rhetorical concepts used in the medium of comics to convey a message to my audience. More specifically, this message is mainly that politicians in the U.S. are not true representatives of citizens, as they are extremely wealthy, which possibly skews their view on various issues.

Besides looking at the purpose, paying attention to the particular audience and context of the comic are also crucial when making decisions throughout the illustration process. The primary audience of my particular comic is my professor, as he will be the one reading and grading the comic. The secondary audience, however, includes my classmates and other people who stumble across it. This being said, the context of the comic is that it is published on the internet via a blogpost. Noting this can help further refine the primary level of audience, as anyone with the internet could potentially view the comic. These individuals might possibly be looking to gain a particular insight, or a laugh from the comic’s message. The fact that this audience consists of primarily educated older people is important in that its political message would be difficult for a child to understand. Moreover, the various modes of appeal used for this particular audience need to be considered throughout its construction.

One mode of appeal that is essential in the comic is logos, as logic plays a huge roll in the particular message I am trying to illustrate. Essentially I demonstrate that political representatives need to be extremely wealthy people in order to fund successful campaigns, etc. In looking at the resulting disparity between wealth of representatives and the bank accounts of average Americans, this sheds light as to the gap between governmental interests and those of the general population. Thus, the text and storyline of the comic need to clearly convey this logical message through the use of a narrative, analogies, etc. In addition, the selection of a particular typography as well as considering the framing, or the way in which the particular panels are read, can also add to the clarity of logic.

Another mode of appeal important to the argument is the pathos generated in the comic. The emotion and general feeling of the audience helps to convey the message in as personable way as possible, so that it connects with each individual. One unique method of doing this in comics is by varying the level of abstraction of the characters. Generally the audience can identify more closely with a less detailed character than a realistic figure, and so using the correct level of will help the audience identify with certain characters (specifically the blue-collar ones). In addition, applying specific hues in various locations of the comic also have the ability to draw attention to particular aspects of the message, as well as convey a particular pathos to the audience. In my particular situation, I might want to add color to the blue-collar workers, so that the audience notices this color and relates with them. These aspects are all important in creating a comic, and if I consider them, my message will most likely be clearer and more effective.

WP2: Second Post

There are two historical points that need to be considered when looking at the comic, the first of which is the history of the comic itself. What is the purpose of the comic strip, and what topics are frequently addressed by the author? This comic in particular is entitled White Ninja's New Low, with the series having the name White Ninja Comics. Published online as a webcomic, every issue features a nameless white ninja who performs activities ranging from far-fetched to mundane. Furthermore, each publication is self-standing, or not linked to previous issues, and the humor is typically non-sequitur.

The second point that needs to be evaluated is the particular historical context of the subject matter (drug addiction; specifically drugs via injections). Drugs themselves have been around since early BC, and can either be inhaled, injected, or absorbed in other ways. According to drug-rehabs.org, alcohol and narcotics such as marijuana have been used since 4000 BC, but it was not until the late 18th century, that the hypodermic needle was invented. Currently, the drugs are consumed around the world, with people injecting various substances in their bodies to "get high." In particular, however, the use of drugs is and has been prevalent primarily in Europe, North America, and Asia.

After looking at this background information, one can further understand and analyze the message being portrayed in the comic White Ninja's New Low. Whereas before I didn't know what or who the blob-shaped character was, I now know that he is the main character in the series: he is the White Ninja. Furthermore, I can see that these six panels do not rely on previous information from an earlier publication. The point about the Dewey Decimal makes little sense, but it is not supposed to, since it is part of the non sequitur humor. In addition, this comic is about drugs and the vicious drug cycle, and knowing background information on this problem, is important as well. The fact that drugs are used on a global scale, for instance, can increase the significance of this subject matter. Due to the fact that both characters are speaking English, however, one can conclude that the comic is directed towards a more Western audience.

A comic strip is an unusual medium in that it has the capability to convey a more serious message in a more relaxed manner than other types of communication. Since drug use may be a touchy subject, readers may be more likely to read and think about the message in the form of a comic rather than an essay. If so, this, in turn, may lead to a more effective means of portraying the message to this audience. Furthermore, the comic medium reaches a variety of ages, as not only does it appeal to adults but to some teens as well.

Works Cited

Hoge, Warren. "The New York Times Log In." The New York Times - Breaking News, World News & Multimedia. 25 June 2007. Web. 22 Mar. 2010. {http://www.nytimes.com/2007/06/26/world/asia/26nations.html}.

WP2: First Post

Entitled New Low, this comic can be viewed on the white ninja comic website. Although it is somewhat different from the typical Sunday-paper comic, this series of panels uses many of the rhetorical concepts and techniques as defined in chapter 15 of CDA, as well as in Scott McCloud's book The Vocabulary of Comics. The general theme within this particular comic appears to be people who do things for others without even thinking about the implications of these actions. Specifically, it uses drugs and "druggies" as an extension for this message. It also briefly mentions how this type of lifestyle is one of a circular path, with one bad thing leading to another.

The first and most basic device used within the panels is the simplicity with which the characters are drawn. As McCloud mentions within his Vocabulary of Comics, the primary reason that people connect with the various symbols and messages within comics is that they are simple enough so that people can relate with them, or apply them to their own life. If there were too many details to make the pictures seem more realistic, then people would not be able to associate themselves as closely with certain figures. In fact, while the guy on the right is simply a stick figure with definition, the guy on the left hardly resembles anyone. Thus, from the reader's experience, he/she can mentally relate a person they know with one of these characters. In addition, the more relaxed atmosphere allows the author to approach the serious subject of drugs to a wider range of audience. As I am planning on writing/drawing my own comic for this assignment, I hope to employ this simplistic effect in my work as well. Instead of using lots of detail to make the message applicable to a specific audience, I plan to expand this audience by being less specific/detailed. In addition, the use of simple symbols in my comic, such as the syringes in this one, allow for further connection.

Another device that is used within the comic strip is the implementation of a specific typeface: script. As defined in CDA's chapter 9, "typography is the study of how lettershapes-on paper or on screen-work functionally and rhetorically." In using a script letter-type, or one that looks as though it is handwritten, the author gives the viewer some information regarding the types of characters in the story. In this instance, the letters look like they were written somewhat sloppily, and thus communicate a certain unprofessional or relaxed atmosphere to the reader. Coupled with the theme of drugs within the comic, as well as the body form of the character on the left, this style of communication relates to the message being portrayed. As I am thinking about doing a comic that discusses a more serious subject such as trash, recycling, and the environment, I will have to think about using a more "creditable" typeface, such as sans serif.

WP1: Final Draft

Author's Note:

In writing this first essay regarding the global argument behind the photo Very Bad, I learned how to deconstruct the elements of a photo and then depict the argument based on those elements. Throughout this process, however, there were many challenges that I had to overcome, the first of which was actually depicting the argument of the photo. I originally thought the argument was that the woman had been raped, as shown by her gestures. I soon found out through class discussions, however, that an argument is much more in-depth than simply inferring observations from the photo. By deconstructing the elements of the photo via pathos and logos, I was able to see that, in the context of a westerner looking at the photo, it evoked a sense of sympathy, thus provoking a desire to aid these people.

Another difficulty that I had was figuring out which elements of the photo would best support my argument. Vectors of attention immediately stood out, as the woman conveys much emotion through her gestures. Beyond that, however, I had to pick apart the rest of the photo to see that the framing/cropping isolated the few elements within the image, supporting the argument. In addition, I found out that the coloration, or contrast of the dark hues of the background and the bright hues of the clothing, also emphasized the woman. Thus, framing and coloration became my other key points adding to the argument.

As far as global revisions, besides adding bits and pieces to each of the key points over the course of the drafts, the most drastic change that I made was to rearrange these supporting points. In my first draft, the "statement of organization" looked as such, “Specifically, technical elements including vectors of attention, framing, as well as coloration function to forward this argument via appeals to pathos and logos.” However, due to the fact that the framing and coloration used logos in order to focus on the vector of attention, the woman, I switched the order of these supporting points to framing, coloration, and then vectors of attention.

Besides switching the key points, I also made a relatively drastic change to my introduction, as it was a bit lengthy in my first draft. Originally, I included much information regarding dates in the history of the Congo such as, “In 1997, the Mobutu regime, which was the empowered government in Congo, was overthrown with the support of Rwanda and Uganda.” I realized that this information was not salient to my argument, however, and so I replaced the irrelevant history with information on the photographer. In addition, I found that I had not addressed the “so what?” question in the conclusion, so I added several sentences such as, “Looking at this situation from a Western perspective, then, the issue goes beyond sympathy.” I believe that this concludes the essay more appropriately, and keeps the reader engaged until the end.

Second Draft

First Draft
Statement of Purpose

Final Draft:

Throughout history, the weapon of rape has often accompanied acts of war between different countries. Designed to humiliate and devastate communities, this weapon demonstrates power, supremacy, and dominance via the sexual violation of women. Perhaps the major reason for its effectiveness, however, is the fact that victims are typically silent and passive to the oppressor, as discussed in the above video, The Greatest Silence, Rape in the Congo. Besides negative physical effects, a loss of self-esteem contributes to a weak and dejected psyche in victims (RAINN). This state of depression, then, does nothing to prevent future attacks.

Although this weapon has existed since biblical times, there are a few major events in the modern era that have embodied the destruction of rape. The infamous Rape of Nanking in 1937 was one such incident that displayed the magnitude of destruction rape could have on a culture. During this particular massacre, an estimated 20-80,000 Chinese women were raped by invading Japanese solders: many of whom were physically beaten, sexually abused, and slaughtered. (BBC News…The Rape of Nanking)

Perhaps the most recent and extensive use of rape, however, has been in the Democratic Republic of Congo, located in central Africa. Established in 1960, the country’s history has been characterized by political and social instability. (CIA World Factbook). In 2003, it finally looked as though peace had been reached, as a treaty was signed among neighboring countries. Unfortunately, however, this agreement had little effect, as acts of violence continued to mar the lives of natives. One of the biggest, but unseen, tragedies has been the raping of thousands of women by various military forces: both foreign and domestic. According to the video Congo: Rape as a Tool of War by the Washington Times, “Tens of thousands of women have been raped in Congo in the last ten years of civil war…[with] an average of 1,100 rape cases reported each month.” The video also says that rape is a weapon of choice because it is cheaper than using bullets, and it is guaranteed to keep a region submissive (Congo's Greatest Shame).

Besides looking at statistics, news reports have revealed the severity of the situation via other means. One photographer, Anna Kari, has taken photos in the Eastern provinces of Congo, depicting daily life in that area. She has published a series of photos of two women entitled Tales of Rape in DR Congo, which exemplify how rape has changed their lives. One such photo, entitled Very Bad, is about Aimerance, a seventeen year-old woman, who has been raped while serving time in the national army (BBC News: Photo Journal). This particular image illustrates the assistance and support needed by victims of rape in Congo to prevent further exploitation of natives. Specifically, technical elements including framing, coloration, and vectors of attention function to forward this argument via appeals to logos and pathos.

When one first looks at the photo, the woman immediately stands out, which plays an important role in the argument of the image. A powerful element that contributes to this focal point is the way in which the image is framed and cropped. By isolating the receding room, the wall, and the woman as the only elements in the picture, the photo presents a clear visual hierarchy. Thus, via logos, the image is better able to “shap[e] someone else’s attention,” meaning the viewer’s (Compose, Design, Advocate, 285). In other words, restricting the number of elements within the frame directs the reader’s attention to specific aspects of the photo. The pinnacle of this hierarchy includes the woman, as she is the closest in the foreground. This is important, as the viewer is then drawn to inspect her gestures more carefully to find a meaning to them.

In addition to framing, the alignment of these key elements also shapes how the reader perceives the photo. Due to the orthogonal orientation of the wall and background in respect to the frame, the audience uses the grid-like structure to inspect all parts of the photo. Eventually, however, the viewer’s eye comes to rest on the woman and what she represents. The juxtaposition of this rigid framework with the more dynamic pose of the woman reinforces the notion that she is the focal point of the image. Nevertheless, the audience’s inspection of this alignment in respect to the woman is also important, as it provides a backdrop or setting for her, upon which the viewer can expand.

Besides the framing and alignment of the photo, the coloration is another key element that relates to the argument of the image. In looking at the photo, there are generally two categories of color that are used. The receding room and wall are both dark hues: black and brown. The woman, however, is wearing a white top and blue jeans, which are much brighter hues. This difference in coloration creates high contrast between the woman and her background, reinforcing the notion that she is at the peak of the hierarchy. Furthermore, these hues enforce the narrative of the photo, as the dark hues from the shadows are logically associated with the negative experiences from her past (rape). There is also a bright, white light piercing from a window through the dark room, which logically represents a shining hope throughout her past. She has come out of this past, however, to stand exposed against the wall, only to be haunted by remaining shadows. This narrative, supported by the alignment and hues, also reinforces the woman as the primary element of the photo.

As the image uses appeals to logos via framing and coloration to direct the attention of the audience toward the woman, she is presented as the primary vector of attention within the photo. Positioned as such, further examination of her gestures reveals that her left hand is covering her eyes, hiding them from the camera lens, and in turn, the eyes of the audience. Due to this inability to establish eye contact with her, the audience is distanced somewhat from her specific situation. As onlookers, the issue then becomes the reason for her masked face. Logically, one looks to her body language for further explanation. However, in addition to logos, Compose, Design, Advocate says that this body language also appeals to pathos. As stated on page 352, “Vectors of attention are thus about…emotional connections within the photograph as well as between the photograph and the audience.” In this manner, the viewer can then look to her gestures for answers about her emotional state.

Looking at the woman, there is the insinuation of a lack of confidence, as she is seen covering her eyes, looking downward, and turning away from the camera. Further on in Compose, Design, Advocate, the author mentions “obvious pathos.” He says, “When we see people in a photograph, we might identify with them: we understand the situation they are in through our own experiences” (274). Indeed it is unlikely that many members of the audience have first-hand experience with rape. Despite this, most have probably experienced embarrassment, shame, or emotional instability at one time or another, which are the emotions portrayed by the woman. These feelings, consequently, are also an effect of rape, leading to a common connection between the audience and the woman (RAINN). The result of this is that as onlookers, the audience becomes sympathetic toward the raping of the woman, as well as her mental condition. This is especially true from a Western standpoint, which emphasizes values such as "liberty and justice for all" (The Pledge of Allegiance). On a different level, someone from the Congo, who has personal experience with similar situations, might react with rage directed toward the army. They too, however, would probably be sympathetic toward the woman, with both cultures agreeing that something needs to be done to stop these acts of rape from happening.

Through the use of isolation framing and contrasting coloration to highlight the woman as a vector of attention, the photo Very Bad by Anna Kari supports the argument through pathos and logos that assistance and support is needed in this region. With the history of rape as seen through incidences such as the Rape of Nanking, as well as the current published articles of the Congo, this image provokes a feeling of sympathy as pertaining to its audience. Rape can be life-altering, as it is emotionally, socially, and mentally taxing (RAINN). Looking at this situation from a Western perspective, then, the issue goes beyond sympathy. What can be done to assist these victims of rape? Surely such exploitation is inhumane and intolerable, but how is one to go about ending this crisis? Although the problem lies in the armed forces that patrol the region, in some cases it involves the same national army that is supposed to be protecting citizens. In looking at the photo, maybe it provides not only insight into such a problem, but to the solution as well. Perhaps the first step toward a better tomorrow is to unite the women of the Congo, showing their faces to the world.

Works Cited:

"BBC News: World, Scarred by history: The Rape of Nanking." BBC NEWS News Front Page. 13 Dec. 1997. Web. 01 Mar. 2010. {http://news.bbc.co.uk/2/hi/39166.stm}.

"BBC News: Photo journal: Tales of rape in DR Congo." BBC NEWS, News Front Page. 2007. 17 Feb. 2010 {http://news.bbc.co.uk/2/shared/spl/hi/picture_gallery/05/

africa_tales_of_rape_in_dr_congo/html/5.stm}.

"CIA - The World Factbook -- Congo, Democratic Republic of the." Welcome to the CIA Web Site Central Intelligence Agency. 15 Jan. 2010. 18 Feb. 2010 {https://www.cia.gov/library/publications/the-world-factbook/geos/cg.html}.

Congo's Greatest Shame: Rape as a Tool of War. Youtube. Washington Times, 8 Sept. 2009. Web. 1 Mar. 2010. {http://www.youtube.com/watch#playlist=1&playnext_from=TL&videos=

_3Ek6i8TCSk&v=xUH8ZhmEyp8}.

"Effects of Sexual Assault RAINN Rape, Abuse and Incest National Network." RAINN; Rape, Abuse and Incest National Network. 31 Feb. 2010. Web. 04 Mar. 2010. {http://www.rainn.org/get-information/effects-of-sexual-assult}.

"The Pledge of Allegiance" Ushistory.org. Web. 06 Mar. 2010. {http://ushistory.org/documents/pledge.htm}.