This short post was written for the blog for the Literacy Research Centre at Lancaster University, following my recent presentation there.
During my recent LRDG talk I shared data from my ethnography of an after-school Minecraft Club in comic strip form. Here I will briefly elaborate on how comic strips came to form an integral part of this project. My adoption of the comic form was not a case of me bringing an existing skill to my project; rather it arose as a need that emerged from the project itself. I use comic strips in two main ways: as a form of transcription, and as a means of exploring theory.
Comic Strips as Transcription
My first use of comic strips followed the funeral of a virtual horse. During their Minecraft play, children role-played a funeral for a horse that had ‘drowned’. This was captured using video (in the room) and a screencast of my screen (in the game). When I attempted to produce a multimodal transcription of this episode, using text alone, I felt that my written output did not represent the nature of the events I had observed; it felt like a reduction of what I had seen. As I gradually added visuals to my written account I realised that I was creating a form of comic strip. Rethinking my approach to transcription led me to produce around 25 more such comic strips, based on episodes from the club, identified by me and the participants.
Comic strip transcripts have been used by others (Plowman and Stephen, 2008). My particular take on these combine visual data relating to the on- and off-screen action seen in the club, alongside the children’s speech and additional scene-setting comments. The ‘Horse Funeral’ comic uses mainly on-screen visuals, whereas some of the other comics draw more heavily on action in the room; an additional example of this technique can be found in Bailey (2015).
Comic Strips as Methodology
My use of comic strips spread beyond transcription to the development of my methodology. The pages below begin a longer exploration of Deleuze and Guattari’s (1980) image of thought, ‘the rhizome’, using my own staged screenshots from the game itself. The rhizome was fundamental to my methodological approach, which I called ‘Rhizomic Ethnography’.
Where Minecraft screenshots felt insufficient, I turned, nervously, to pen and paper. Drawing did not come naturally, however the process helped me both to exemplify and expand my thinking. This chimes with Sousanis’ (2015) assertion that such techniques can lead to an ‘unflattening’ of ideas. The act of drawing pushed me well beyond my own comfort zone, also giving me an unexpected emotional attachment to the ideas I was seeking to explore.
These comic strips were produced with the help of the application Comic Life: https://plasq.com/apps/comiclife/ios/
Bailey, C.(2015) ‘Free the Sheep’. Literacy, Early View[online]: http://onlinelibrary.wiley.com/doi/10.1111/lit.12076/full
Deleuze, G. and Guattari, F.(1980) A thousand plateaus: Capitalism and schizophrenia. Bloomsbury Publishing.
Plowman, L. and Stephen, C.(2008) ‘The Big Picture? Video and the representation of interaction’. British Educational Research Journal, 34 (4)541 – 565.
Sousanis, N.(2015) ‘Unflattening’. Cambridge. Harvard University Press.