Humor in Comic Strips:
A Pragmatic Analysis of Nemi
Introduction
“Laughter is the best medicine.â€
This proclamation suggests by medical experts and psychologists prove to be effective and wise. The therapeutic effect of laughter is somehow paradoxical and mysterious. Many experts in various disciplines provide plenty of varied explanations, derived from thorough studies about such psychological function.
In many countries, people believed that laughter helps alleviate stress and emotional depression due to various circumstances such as problems in family, relationships with friends, loved ones and economic or political problems.
As an antidote for psychological stress and problems, laughter, is derived from various sources of human interaction and mediums. One can laugh out loud while watching Jim Carrey in his movie “Ace Venturaâ€, or the recent “Kung Fu Pandaâ€. One laughs very much when watching a comedienne delivering punch lines in a comedy bar. Everyone acts and experience such kind of deliverance, a releasing strategy against stress and to have healthy lifestyle.
However, the point of which one moves to laugh is because of one who can deliver and create humorous scenarios. This boils down to human characteristic and ability – Humor.
Many would say that humorous people do not manifest a life that is sad and lonely, do not care about problems and stress-free, but help reduce tensions in the inner dispositions.
Humor in this context, is a human behavior expressed in various ways and habits. There maybe psychological theories that would prove how one can create or make a humorous scenario or action, and others respond laughter to it. However, this I think is beyond the context which, I am trying to explain.
In this paper, I would like to bring this human characteristic in the realm of language and linguistic analysis, dissecting hidden discourses and meaning found in texts which creates humor. In this sense, to be more specific, I would like to attempt telescoping various explicit and implicit elements of linguistic structures found in the texts using a print medium, in particular, a comic strip Nemi.
The following discussions will cover various concepts indicators primarily used in language in order to give light to the whole of the project. The paper utilized selected editions of the comic strip Nemi for analysis and dissection. The fecundity of the whole project will depend upon the use of appropriate theories and concept that would guide the operation throughout the project.
Historical Background of the Character
Basically, Nemi is a Norwegian comic strip written and created by Lise Myhre. Nemi as the name implies is the main character wearing a black dress as speaks somehow of her identity. This black cartoon character exemplifies various issues of a society which explicitly or implicitly portrayed in the story. Nemi exposes different lifestyle, cultural orientation, and political beliefs. This, however, explicitly manifested in her character, but is controlled and moved by the inventor or creator. In this regard, I would like to suspect that though, this character attracts various interests in the academic fields, it only purposively provides funny or humorous statements yet with profound subtle meaning. In dissecting this subtlety of meaning, let us use various comic strips to be our subject for dissection and analyses.
Figure 1 (May 6, 2008 edition)
This figure applied a cognitive linguistic notion of construal. In this case cartoonist used metonymy to exhibit a peculiar scenario between the characters involved. Clearly, the presentation of characters from the level of physical expressions is suggestive of explicit condition and meaning to readers. On the other hand, in order to bring more satisfaction to the humor established in this figure, the cartoonist employed a conceptual metaphor as expressed in this scenario. The sequence of the story relates an absence of cognitive/logical mechanism. The presentation of metaphor is only realized on the conversation between Nemi and Cyan. Applying the discourse analytical theory, the statements rendered by both characters signified a semiotic referential meaning to water as what Cyan referred to as “moonshineâ€. This means that “moonshine†serves as contextually salient reference point to the referent water.
Figure 2 (May 01, 2008 edition)
This figure obviously commits a fallacious account referring to the exchange of statements between Nemi and Cyan. The absence of this cognitive mechanism in the last sequence provides comical reaction or humor to the readers. Obviously, in the point of view of a theory, this figure triggered a funny scenario for the incongruity between objects, characters, and events. This is clearly executed in the second and third sequences which in effect generate a funny scenario. In the hindsight, the crucial point of the story ends on the last sequence where cognitive mechanism reveals a contradictory response. Cyan, instead of giving Nemi serious suggestions of what she wanted to hear, is rather, offering a bowl of chocolates. However, it reveals in the gestures and facial expressions of Nemi the interest to devour the chocolates as a remedy to forget her predicament which in effect creates humor.
Moreover, we should not disregard the fact that Cyan’s facial reaction as she offered a bowl of chocolates elicited certain meaning. It would be best to decode such facial reaction on the basis of historical account. This means, we should consider the relationship of Cyan and Nemi as best of friends. Since, the strip are continuous, there might be a preceding account in which Cyan’s reaction to this predicament of Nemi is somewhat usual and not to be given serious attention that would be a valid assumption why Cyan did offer a bowl of chocolates in order to forget the issue.
Figure 3 (April 29, 2008)
The cartoonist utilized expressive visual sketches or caricatures to convey understanding with the event while texts managed to reinforce the visual sketches. However, if it is sketched without the appearance of the texts, most probably, readers may conduct various assumptions and understanding to it.
The humor strategy, which I think, being applied in this figure is a misrepresentation of the utterances with the visual effects. In my point of view, the presence of contradictions and inconsistencies between the utterances used and the visual scenes showed do not reflect with the assumed meaning of utterances. The explicitness of such contradictions between an act and utterance is found in the very beginning of the sequences. Cartoonist used a metonymic tightening to express a cognitive resolution mechanism. However, absurd causal logic distorts the event structure which lead to incongruity and finally into a comical reactions.
Figure 4 (April 28 Edition)
Obviously, this presented incongruity. Basing the analysis on the exchanges of conversation, we can infer a clear presentation of incoherent and off-beat reasoning uttered by the caller to stimulate readers to laugh. However, no presence of satirical elements exists, yet parodical intonations are present. The cartoonist exaggerates the scenes in order to make the readers laugh and make fun of it. Obviously, through character’s facial contours, it clearly speaks that she detoured by the caller to reason out with caller’s uninterrupted speaking. However, cartoonist’s use of language texts emerges herself to irony. What seems ironical in this context is based on the last statement made by the caller on how to hem curtains, this also affirmed by the character’s facial expression.
Moreover, this presents a clear manifestation of Nemi’s politeness over the caller’s impolite behavior and rude manners. The silence of Nemi over the caller’s sarcasm tempered her impoliteness rather only treat superficially as it shown in her facial expressions.
Figure 5 (May 02, 2008 Edition)
In this context, to further analyze text; let us go back to the basic mechanisms used in the play of language. In my point of view, the simple concoction I can derive base on this is the symbolical and analogical relationship between the hedgehog and the physical structure of the old man. It should be noted that the utterance of the noun “hedgehog†must have a referent simply because it should follow a logical sequence, though, in figurative or analogical manner. There are two mechanisms which the cartoonist used in this event: parody and satire. However, these mechanisms do not explicitly found unless being examined in the texts employed. Moreover, the second sequence creates confusion regarding to the position of the texts. It may have two varied interpretation and understanding; it could be Nemi who thinks or the old man, with his action (by raising his hand, with a pointed finger) who thinks. In addition, the first sequence, the texts does not provide of any clue regarding statement uttered, not even a salient reference object, but the sequence blandly provides the readers the meaning of the first statement in the sequence number one. In this manner, we can even infer, the distortion of the event structure, since this unconsciously applied by the cartoonist herself, humor is effectively elicited.
Figure 6 (May 9, 2008 Edition)
In this strip, what is obviously elicited by the cartoonist was a serious logical mechanism drawn from logical propositions until it reaches the unexpected logical result. In this case, using the discourse analytic theory, the narrative of the texts originated from a serious conversation or question and answer between Cyan and Nemi. Cartoonist employed a narrative strategy in order to breathe the story with humor and fun. The exaggeration made by the cartoonist configures the total sequence in such a way that readers may produce laughter and fun.
The two did not expect anything will run down over Nemi’s comportment, and only to recognize bundles of sealed letters, but this I think under scrutiny, since, the visual is not clear enough to confirm if it is bonds of money or letters. Moreover, let us assume that object running down from the comportment is totally insignificant with the subject matter discussed by the two. Hence, if this is the case, we can infer the incongruity of the response made by Nemi with the object falling under her comportment, thereby, announcing the logical absurdity, which in effect injected the readers to laugh.
Figure 7 (May 23, 2008 Edition)
This strip is very interesting, even in just a simple look on creative visual strokes of the cartoonist. Putting in mind the major cognitive-communicative principle of referential accuracy, one of the components in a cartoons creation is the saliency, sufficient enough to guarantee an adequate interpretation of the depicted scene. Putting it in this context, each scene established points of reference for the overall interpretation. This strip obviously provides an “unsaid†sequence of interrelated scenes which summed up a single story.
What becomes the central subject of this strip is the inability of Nemi to sleep because of her insomnia. However, the presence of telephone in overall sequence sets as the salient reference point, with this in mind, readers can easily decipher and interpret the meaning of the whole scenario. Moreover, the whole strip occupies “unsaid†conversation, portraying the story only in the form of visual images with minimal texts. However, the texts presented are able to provide intended meaning to the readers. Such the capitalized letter “Z†expresses meaning of sleeping while obvious text “I can’t sleep†a reference to Nemi’s insomnia.
Figure 8 (May 20, 2008)
In this figure, the obvious is clear. The disarrangement of sequences do not tempered or even affects the overall story. Two prominent personalities in history are used by the cartoonist in order to pose a clear understanding of the story. Note that two prominent figures side by side with the characters are understandably horrific. However, this borrowing of prominent figures gathered humorous reactions from the readers. To further analyze the strip, we come to think that this figures in both sides can be considered irrelevant if not because of the two characters. The logical mechanism used by the cartoonist effectively dissects humorous tension to the readers. The texts used by Cyan made the prominent figures alive.
Very clear in this strip the fear of Cyan when they are walking along the graveyard, however, Nemi, seems relaxed and never realizes what Cyan is thinking about things when one is walking along the graveyard. This depiction clearly manifests the relationship between Cyan and the two prominent figures in both sides. We can then infer that the mechanism used is an association and analogy between the two prominent figures and the graveyard that Cyan is thinking.
Figure 9 (May 8, 2008)
This figure uses a narrative strategy in infecting humorous reaction from the readers. The discourse analytical theory provides a background on how comics effectively attract people to laugh. Through the use of narrative strategy, language, and cognitive/logical mechanisms, cartoonists in general successfully provide entertain the readers. In this context, cartoonist, with a conscious desire employed narrative strategy and cognitive/logical mechanisms. Observably, the two guys, manifests an “indifferent†behavior towards Nemi. They talked about things which are normally exclusive for guys, without considering the presence of Nemi. The cartoonist, in this sense, tried to select effective points of reference in order to carry out effectively its purpose.
In the second sequence, we can see the interruption of Nemi over the guys who continuously talked about their friends, however, towards the third sequence, the guys consistently feel “indifferent†with Nemi’s reaction and the last sequence showed frustration on Nemi’s face. As we have seen in this strip, the presence of gender issue in humor is still persistent. In this strip, cartoonist showed women as inferior and subject for humor. As what the two guys acted, it clearly posits women’s subjection for humor. Nemi, in this strip becomes a satire or a metaphor depicting the gender issue that even today still controversial and unsettled.
Figure 10 (May 27, 2008 Edition)
The metonymic construal and incongruity are apparent in this comic strip. These mechanisms prevail in the overall sequence. The clarity use of metaphor, analogy and sarcasm are vividly inscribed. In the first sequence, still the boy delivered clear utterances. In the second sequence, he now uses metaphorical and figurative statements attacking the style of Cyan. On the third sequence, the boy throws sarcastic behavior. The last sequence showed Nemi’s reflective reaction to what the boy’s statement. However, to deepen more our analysis on the story of the strip, we are lead to discover subtle messages and meaning encrypted in the texts.
Nevertheless, cartoonist’s selection of salient reference points provides us a ground for fertile discussion and analysis of the strip. Like in this strip, Cyan’s facial expressions exemplified certain meaning that relatively connects with cartoonist’s simplification of texts inscribed in various strips.
Conclusion
Any means of communications are considered a “mediumâ€, meaning in order to convey a message or meaning to some intended audience, one must have to use a medium in order to convey this. Whether the medium is effective or not is not an issue. But, in most cases, it should be considered important.
A comic strip, is a medium, primarily, a print medium which composed of caricatures, draw in a peculiar and in interesting manner with simple and minimal conversations. However, even the elements found in such medium are minimal and restrictive; it stimulates interests from the audience, particularly children or even young adults who are fond of reading comic strips.
Any kind of story can be told in this medium in so far as it conveyed a clear message and meaning to the readers. One cannot measure its effectiveness unless proper instruments are used for survey. The readers/audience is the determinants of its effectiveness. Moreover, whatever the result, will lead us to understand its implications.
The best example we can draw here is Nemi, the effectiveness of the comic Nemi is measured on its way of presenting a story in a humorous manner. It only shows that the more people subscribe to read this comical character, the more they are interested for entertainment and laughter. The relevance of Nemi as a comical character to the audience is widely appreciated, though, on the surface level, audience are preconditioned to read only because of entertainment and laughter, but on the deeper level, it unconsciously formed certain psychological conditions influenced by reading such comic strip.
Here, the influence of communication, in particular, the mediums are but significant and influential in conveying a message and forming particular views or consciousness. The medium used maybe classic, however, if it extends to the electronic medium, and easily accessible to anybody, this I think, would grant more readers.
Through this effort of analyzing pragmatically selected strips of Nemi, we are brought to the ground of fertile ideas not only on language but beyond the language used. The discovery of the “incompassing-ness†of language demonstrates how complex the words being combine and use in various and repeated ways.
On the other hand, verbal and non-verbal language makes us understand each other despite of cultural, social, and political differences. Moreover, with the varied use of language we come to realize how it makes life light and fun. We cannot appreciate humor unless we are oriented to language, as much as we are all linguists in our own contexts, we can find ourselves laugh at certain extent to comics or comedy movies, or even in the level of face-to-face basis.
Applicability and practicability of theories and principles are but important in changing the social or even political system of various cultures. Language in this sense, in particular, comic strip like Nemi, can be a channel to convey critical issues of the society and can be an agent for a conscious being to be aware of his/her status in the society.
Credit:ivythesis.typepad.com
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