The underrated mass media yet to bloom

Sequential storytelling has always been a media of the masses. From ancient hieroglyphs to comic books and do-it-yourself IKEA furniture instructions, these sequential images are so common, they can very easily find their way into the hands of millions. By conveying a story, instructions, or message through a sequence of pictures, the form of sequential storytelling through pictures avoids language and culture barriers, while being economically efficient at the same time. Stories told in visual terms are universally accessible and immediately understandable to a diverse and international audience. Even though some say that a picture doesn’t always succeed to convey a thousand words, language can be just as large of a barrier, especially if those thousand words are written in a language that the reader doesn’t understand.

Picture based storytelling has predated verbal language for centuries, always serving as a direct and efficient manner to communicate ideas and information. From the cave paintings of early man to the ceiling of Rome’s Sistine Chapel, pictures, when linked to convey an overarching narrative, have a unique ability to teach and inspire. So why is it that this media is still struggling to achieve the exposure it deserves?

This wonderful and visually rich media does not only reach its audience in a larger extent than almost any other media, but it’s cheap and works great for educational, editorial, and advertising purposes. So despite all of this, why are juvenile comic books the only thing people associate sequential narrative with? Why are the majority of flight safety pamphlet and instruction manuals so poorly made? And why hasn’t the graphic novel received more notoriety in the literary world? For further reading on sequential narrative versus “proper litterature” and fine arts continue to my other article “Comics, the inferior litterature?”

Picture-based storytelling as a form of media is all around us, and it affects us on a daily basis. However, I simply believe that people take it for granted, and by doing so, we overlook its potential. I think that if we acknowledge the strengths of this media, we can really push its boundaries and help dissolve the idea that “childish comics” should not belong in the modern world of communication. Eventually, maybe we will begin to consider this type of media for what it is:
One of the most powerful means of communication in history.

There’s tons more on the issue of sequential narrative as a mass media and loads of wonderful examples, but I think this is enough for now. It has made me think of another question though, regarding the idea of whether or not sequential storytelling could also be a media created by the masses, basically by people with no artistic background. Hieroglyphs, flight safety pamphlets and graphic novels are all the work of craftsmen. But today, when we mix it with another media of the masses- the internet- we see results such as web-comics, where anyone can publish their work, as editors aren’t necessary and readers are easily found at arms length. What if there was a tool, simple enough for anyone to use, that made it as easy to create sequential narrative as it is to consume it? A thrilling thought, but let’s save that bugger for later.

I hope this was as fun for you to read as it was for me to write. ’til next time!

“If you want to truly understand something, try to change it.”

– Kurt Zadek Lewin 1890-1947.

About the author

My name is Sebastian Ramn. I’m currently employed as Art Director at the Stockholm based agency Dallas.

Having a sore spot for comics and graphic novels and working with illustration and story boarding I was bound to eventually end up fascinated with sequential narrative. This is my way of learning all about it. Feel free to help me.

See some of my work at www.ramn.nu
Check out Dallas