The visual narrative is often referred to as visual storytelling, and it is a story told basically through the use of visual media. Visual stories can be told through video, still photography, or illustrations, and enhanced through graphics, voice or other forms of audio. The visual narrative components include glimpses on specific subjects, still or moving images, stories from the point of view, and an appeal for transformation in attitudes and behavior. One of the distinctive features of visual narrative is the presence of a story. Thus, a visual narrative should be a visual which tells a story. Another vital feature of visual narrative is that the visuals are constructed ideally to communicate a story to the onlookers. Thirdly, visual stories have actors and are composed of events arranged in time. Therefore, visual narratives are of great importance because it facilitates an understanding of the impacts and the power of image and narrative in Society. Therefore, the purpose of this paper is to identify different forms of visual narratives and use 3 case studies in analyzing and reflecting on how format impacts visual narrative delivery.
It is vital to reassert the primacy language and fix it into textual form to facilitate better visual presentation. Engaging with the narrative organization as availed by the narrative participants and incorporating ambiguities and contradictions is made possible through the establishment of textual form. Pictures require familiarity to be understood, and thus, simplicity should be ensured while presenting a visual narrative. Visual narratives may be categorized into three distinct groups which include static visual narratives (SVN), interactive visual narratives (IVN), and dynamic visual narratives (DVN). One real benefit of Visual Narrative is that it may well open doors for reticent print learners because it can't be as prescriptive as to the printed word.
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Static Visual Narratives (SVN)
Static visual narratives refer to a notion that encompasses physical markers on an immobile medium and presents the story content through temporal and spatial vision representation. In other words, static visual narratives are made up of visual that does not move in time. The visuals are often presented on a medium such as stone or wood, making the visual motionless.
Characteristic Features of the SVN
First, the static visual narratives are often displayed on a medium that occupies space. For instance, an illustrative comic book covers several pages, while a mural painting can be displayed over a whole wall. Viewers must, therefore interpret and understand the story by first exploring the area covered by the visual. The story is therefore told across the across space. Secondly, the images portrayed under the SVN are fixed on the surfaces of the mediums. By implication, such images remain materially unchanging. For example, a story once printed on the surface of a paper does not change much except for losing clarity with time. Thirdly, SVNs are based on the prior knowledge of the viewers or the readers ( Cohn, 2019, p.117) . It is only the viewers with advance knowledge of the pictorial illustrations of an SVN that can enjoy following the narrative since visual narrative serves the purpose of engaging spectators within it. Viewers have to recall the event in the story then link it to the event illustrated in the SVN. Spectators understand what happened in the past and what will happen next, but take part in following and interpreting the SVN as it has been presented. Fourthly, it is the viewer’s eye that is kept in motion while the visual presented in SVN remains fixed. A spectator in motion with an understanding of the connections between juxtaposed scenes views the SVN and communicates meaning. In the process of viewing an SVN, the spectator either stands back in front of a sculptural panel or, turns the pages.
Regarding the speed of viewing the visuals, the viewer sets the pace. Since the SVN is fixed, the viewer has an opportunity to travel around the visual leisure and can pose the narration at any time, or enhance a quick skimming of the visual. There is no defined viewing order of the visuals in an SVN. As such, the viewer can choose where to begin and end. Because the viewer knows the story, it is possible that viewing may start from the end towards the beginning, in flashback interpretation manner. This implies that the SVNs can be read and interpreted from the back, to the beginning, and then to the center, as per the viewer’s choice. Additionally, SVN appreciation is mainly done through the use of the viewer’s imagination. The SVN greatly rely on the imaginations of the viewers in making use of visual cues and in building the story. Due to active participation of the spectator, there is a resultant perception of motion in SVNs. To take part in the process of story narration, the viewer has to look at the static visual narrative, and to recall the story. One of the main advantages of SVN is that it provides visualized cues to the story being narrated.
Dynamic Visual Narratives (DVN)
Dynamic visual narratives are made up of visuals in constant motion, such as the films. Induction of movement to a sequence establishes vital cues and an additional layer of constraints on visual sequential information's effective communication. Through the term “Dynamic” as assigned to this category of VNs, the ability to constantly change images is outlined as a basic feature of this type of narrative. Movies are often made up of several still images which are run under high speed, creating an impression of movement on the screen. The scenes, the actors, an event’s duration, and all the visuals seen in movies literally move in time in a programmed linier fashion. In other words, the story is made up before the spectator’s eye. According to Cohn (2019, p.115), r eplacement of visuals with the new visuals is done on the displace space from where the visuals are often projected.
Characteristics of Dynamic Visual Narratives
Firstly, replacement of visuals with newer visuals is done on a stationery screen, propelling the story forward. The story is therefore perceived as unfolding over time. Secondly, dynamic visual narrations comprise of several static images which are set into high speed motion once commanded to move. Thus, visuals keep moving and do not remain still on the screen unless commanded to or posed intentionally. Therefore, the visuals in DVN are perceived to be in constant state of movement. Thirdly, the viewer should know the story in advance to be able to establish a sense of the visuals because the narration in DVN unfolds over time. Often, an introduction of the characters is done, and a briefing about the background of the story made to the viewer. Revealing of the plot is done as time progresses and narrative made or constructed through the use of flashbacks and flash-forwards. Besides, under the DVN, the spectator remains at a fixed position when watching while, the visuals move in time. In other words, the viewer remains static, that is, in front of the screen, when watching the film. The viewer has the capacity to decide the event that unfolds, and the time or speed at which the events unfold. However, the viewer cannot control the time that can be spent in watching an event as presented in the DVN. To move the film forward and further in time, DVNs are set with automated processes which facilitate progression of the story. The viewer can only control the film by either forwarding or rewinding. Regarding the pace of the film, the viewer has no control, and the pace is fixed. Furthermore, the pace is predetermined and fixed by the creator of the story. When the visuals in a DVN change, the contemplation time is cut short, leading to constant and frequent change. As these changes occur, the viewer gets a chance of adjusting and updating oneself on the plot progression. Being preoccupied with this, though; the contemplation time is something that a viewer snatches whenever possible while the DVN is in progress.
Interactive Visual Narratives (IVN)
Interactive visual narratives are almost similar to SVN and DVN. However, IVN fulfil three different conditions. First, IVNs are basically visual in nature. Secondly, IVNs have narrative features or specifications to them. Thirdly, IVNs incorporates the viewer’s interactions. Therefore, interactive visual narratives are a special category of narratives which could be either oral narrative based or text based only. IVNs have combination of the features of dynamic visual narratives and static visual narratives. Unlike in the DVN where visual is often pre-set to move at defined speed, in the SVN the visual does not move. In the interactive visual narratives, one can experience presence of static visual narrative, which portrays dormant dynamic capabilities which may be activated upon the viewer’s decision. Therefore, interactive visual narratives may bear both the characteristic features of dynamic visual narratives, and static visual narratives. Furthermore, IVNs may be made up of SVN and DVN in accordance with the creator’s design. Additionally, like the DVN, the IVN can incorporate sound and movement in virtual story space.
Characteristic Features of the IVN
IVN unfolds across time because it is often viewed via a medium, mostly a screen. However, interactive visual narratives can be designed as static visual narratives to unfold in space. For instance, a viewer is able to stop the visuals in the IVN, to watch visuals designed as SVNs. Secondly, IVN visuals can be designed to behave like either SVN or DVN. This implies that an event of a story can be termed as an SVN or as a DVN. Thirdly, in IVN, the viewer doesn't need to understand the story in advance since there is a possibility of exploring the plot as the story moves on. Additionally, IVNs offers two different possibilities, that is, the viewer can be kept in motion while the story is frozen in time, or the story may be kept moving in time as the viewer watches from a fixed position.
Research Methods
When conducting research on narrative stories, it is vital to emphasize and focus on both lived lives and told stories. To strengthen the theory research methodology, it is necessary to combine methods visual with narrative research methods ( Bradbury, 2017, p.15). Utilization of visual data such as photovoice, body mapping, and visual autobiography is vital in the process of collecting data about visual narratives. Such techniques become applicable, particularly when the interpretation of stories becomes difficult to articulate. Participants often chose what to tell in narrative research. Through the co-construction of visual data, externalization of the meaning-making process and making of the interpretive and reflexive nature of all data is made more apparent ( Bradbury, 2017, p.17). In the process of analyzing data, the visual technique is relatively less widespread. Thus, it is vital to reassert the primacy language and fix it into textual form to facilitate better data analyses. Engaging with the narrative organization as availed by the narrative participants and incorporating ambiguities and contradictions is made possible through the establishment of textual form.
Case Studies
The first case I have chosen is Karishma Chugani Nankani . Karishma is a storyteller, paper engineer, writer, illustrator and a designer. This case is of great interest. Firstly, I like the way Karishma has designed the layout of her book. The book is written and presented using both pictures and words. Arguably, the information presented using both words and pictures enhances better learning and memory than information presented solely by words (Yum et al., 2021, p.71). Karishma has done many works, such as “The gods eat, songs of the jungle, the life of an anchovy, and portraits with love,” among other works. In these works, she has used illustrations and visuals, which convey the intended message to the viewers. According to Yum et al., (2021, p.71), visual narratives should present information using a sequence of images conveying situations and events, alongside multimodal text combinations. Such an attribute is effectively incorporated in the works of Karishma. For instance, in her work “Spices with love,” she has established her design using illustrations and texts. The book contains 18 spice illustrations and is meant to celebrate an anniversary. This work has the features of a static visual narrative. On the other hand, Karishma’s work “Chinese shadows” uses texts to explore different narrative techniques. She designs characters as Chinese shadow and uses black-silhouette paper cuttings to narrate the story by moving them on the table. This narrative has a dynamic visual narrative features since the paper cuttings (visuals) are kept in constant movement on a static medium (table).
Karishma's procedure in creating her work entails writing the story she wants to tell, then creating visual Language and imagery afterwards. The imagery and visual Language are designed to tell the story. Under the graphic layout, Karishma ensures that she integrates text and image, which Cohn and Magliano (2020, p.204) term a vital characteristic trait of visual narratives. Additionally, Karishma makes her work done by being keen on the four levels of the interface through which written Language and pictures relate. These levels include inherent relation, emergent relation, adjoined relation and, independent relation.
The second case study is that of “ All the Lost Things ” by Kelly Canby . According to Mirkovski et al., (2019, p.4), a story that is narrated effectively should have a protagonist and an antagonist as primary characters. This aspect is effectively implemented in the work of Canby through the use of a little girl and an old lady. Canby has used many attractive features in building her work. At the start, the book uses a black and white world, with the only bit of colour being a small girl. The girl follows a strange sound down a manhole where she finds something that changes her world. I like the way Canby uses illustrations and images to pass his message to the viewers. Canby uses presentable color compositions to ensure that viewers are enticed to her work. Comparatively, the strategy and format used by Canby are the best when writing a concertina. The use of graphic structures in the works of Canby serves the purpose of governing the line and shapes which make up the visual composition. Graphic structures can be equated to phonological structures responsible for organization of melody in spoken Language. The format used by Canby is therefore impressive and may create great reader interests.
The third case study is “ Through the Woods ” by Emily Carroll. A comic web reads by scrolling down the page. Once a reader reaches the page bottom, the button labelled “next” is pressed to open up the following page. It can be observed that a webcomic shows the good consequential flow of the story being narrated. In the current case, Carroll integrates texts and pictures, which Farinella (2018) terms as guiding principle of textbook illustrations. Comics use characters and situational models as the basis of establishing emotional attachment with the viewers. However, navigating through the pages of comic stories as one scroll downward is challenging. The consistent flow of the story being narrated can be lost, especially when pictorials are used without texts. Drawn visual narratives often appear in comics and are associated with young learners (Manfredi et al., 2018, p.189). Comparatively, concertina book is more presentable and easy to use than comic web. The audience using the concertina book benefits in many ways. Firstly, the concertina book is easy to navigate through as compared to the webcomic. Secondly, the concertina book provides the more progressive and sequential flow of the story being narrated than the webcomic. According to Cohn (2018, p.3), the visual language structure used in comics does not have hierarchical cascade down from page to panel components in a single divisible structure. The perception of a holistic experience in webcomics is established through the mutual interaction of independent components. Due to such complications, it may be argued that most viewers will prefer concertina books to webcomics. Concertina books appear to be small in size when viewed at first sight. The concertina book displays workings and decorative texts when opened by viewers, which makes the reader more interested. The story's flow being narrated in the concertina book is more progressive, and the connection between visuals and text is coherent.
Analysis and Critical Thinking
All the three cases illustrate visual narration techniques which are critical in conveying the required message to the viewers. However, there are some differences in the formats used by the different forms of visual narrative. The formats used in narratives influence the narrative delivery and the perception of the viewers. In the first case herein, Karishma makes use of static visual narrative, dynamic visual narrative and integrative visual narrative. Karishma's formats in her works are comprehensive and utilize a format with all the three critical story parts: exposition, complication, and resolution. Under such a format, a story is developed such that it has background information introducing the reader to the story, and enhancing better understanding. According to Kernbach (2018, p.4), a good narrative story should have three parts which include, the beginning, the middle and the end. Within the complication part, the story itself is narrated. It is this part that develops the narrative by introducing the conflict. Pictures require familiarity to be understood, and thus, simplicity should be ensured while presenting a visual narrative. The viewers may not understand the format that displays pictorials and illustrations in a complex manner.
The third case displays a format that shows pictures in a spatially sequential manner. Additionally, the webcomic showed images in a format representing the complicated multi-panel layout. Such a format is difficult to follow and understand, which makes comics least preferred by viewers. The three cases have activity constraints, which show that visual changes might cue shifts in time, causation, or viewpoints despite the continuity. Because not all repetitions or changes in elements signal successive states, comprehended must distinguish cues for continuity and activity from irrelevant alterations. The formats used by visual narrative should be easy to understand. In comics and movies, there are always expectations built regarding the perceptions of the viewers. It is often expected that when the plot or a narration changes, then the viewing patterns of the viewers also change. Besides, the coherency of a narrative also influences the viewing pattern of viewers. When a more coherent narrative is presented, viewers become more interested. As such, the format used in presenting a narrative is of great significance. Manipulations generated through data presentation can be used in revealing the extent to which attention given to specific features or moments of a narrative. Interactive visual narratives are a special category of narratives which could be either oral narrative based or text based only. IVNs have combination of the features of dynamic visual narratives and static visual narratives. When conducting research on narrative stories, it is vital to emphasize and focus on lived lives and told stories. To strengthen the theory research methodology, it is necessary to combine visual methodologies with narrative research methods . In the process of analyzing data, the visual technique is relatively less widespread. Thus, it is vital to reassert the primacy language and fix it into textual form to facilitate better data analyses. Engaging with the narrative organization as availed by the narrative participants and incorporating ambiguities and contradictions is made possible through the establishment of textual form. The perception of a holistic experience in web comics is established through the mutual interaction of independent components. Due to such complications, it may be argued that most viewers will prefer concertina books to web comics. Concertina books many advantages over web comics, including being small in size when viewed at first sight. The concertina book displays workings and decorative texts when opened by viewers, which makes the reader more interested.
In conclusion, visual narratives occur in three distinct forms which include the dynamic visual narrative, the static visual narrative, and the interactive visual narrative. Visual stories can be told through the use of video, still photography, or illustrations, and enhanced through graphics, voice or other forms of audio. One of the distinctive features of visual narrative is the presence of a story. There are instances when stories can be imposed on visuals. However, not all such stories are considered to be visual narratives. Arguably, visual narratives have distinct peculiarity SVN executed on a medium that occupies space. For instance, an illustrated comic book runs over many pages, and a mural painting may cover an entire wall. Dynamic visual narratives are made up of visuals in constant motion, such as the films. Induction of movement to a sequence establishes vital cues and an additional layer of constraints on visual sequential information's effective communication. Interactive visual narratives are almost similar to SVN and DVN. However, IVN fulfil three different conditions. First, IVNs are basically visual in nature. Secondly, IVNs have narrative features or specifications to them. Thirdly, IVNs incorporates the viewer’s interactions. Therefore, interactive visual narratives are a special category of narratives which could be either oral narrative based or text based only. IVNs have combination of the features of dynamic visual narratives and static visual narratives. When conducting research on narrative stories, it is vital to emphasize and focus on lived lives and told stories. To strengthen the theory research methodology, it is necessary to combine visual methodologies with narrative research methods . In the process of analyzing data, the visual technique is relatively less widespread. Thus, it is vital to reassert the primacy language and fix it into textual form to facilitate better data analyses. Engaging with the narrative organization as availed by the narrative participants and incorporating ambiguities and contradictions is made possible through the establishment of textual form. Pictures require familiarity to be understood, and thus, simplicity should be ensured while presenting a visual narrative. The viewers may not understand the format that displays pictorials and illustrations in a complex manner.
References
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Farinella, M., 2018. The potential of comics in science communication. Journal of science communication , 17 (01), pp.Y01-01.
Kernbach, S., 2018, July. Storytelling Canvas: A visual framework for developing and delivering resonating stories. In 2018 22nd International Conference Information Visualisation (IV) (pp. 390-395). IEEE.
Manfredi, M., Cohn, N., Andreoli, M.D.A. and Boggio, P.S., 2018. Listening beyond seeing: Event-related potentials to audiovisual processing in visual narrative. Brain and Language , 185 , pp.1-8.
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