This introduction to this special issue of European Comic Art on ‘Comics and Adaptation’ provides a brief overview of the field of adaptation studies, with a particular focus on its considerable developments and expansion since the late 1990s, as it has moved beyond a comparative novel-to-film approach to centre instead around questions of intertextuality and hypertextuality. This special issue aims to contribute to this field and to the growing body of works on comics and adaptation. The authors explore questions of transnational circulation of visual, narrative and generic motifs (Boillat); heteronormalisation and phallogocentrism (Krauthaker and Connolly); authenticity of drawn events (Lecomte); identity in a stateless minoritised culture (Blin-Rolland); ‘high’ and popular culture (Blank); reverence in comic adaptations of the literary canon (de Rooy); and documentary and parody (Ripley).
Comics and Adaptation
Armelle Blin-Rolland, Guillaume Lecomte and Marc Ripley
This article revisits questions of the embodiment (screen and otherwise) with regard to the most representative first generation hypertext fictions—Shelley Jackson’s Patchwork Girl—in order to show how this new genre’s search for identity takes the form of a programmatic inversion of the principles underlying the Romantic poetics and imagery and of a conscious identification with the forms that established views of literature exiled from its realm. The analysis follows the train of metaphorical oppositions deriving from the contrast that Patchwork Girl sets up between book and hypertext by presenting itself as a derivative of Mary Shelley’s novel embodied in a monster (re)born from discarded pieces (of prose or flesh) as opposed to the beautiful and harmonious body that is the book.