The Relationship of Images and Texts

In a modern age that represents constantly blurred borders caused by cultural mixing and the free exchange of content, the confines that demand special attention is the last ubiquitous method of communication by text and pictures. Evidently, images and records are quickly combined to create multimodal texts (Martinec and Salway 339). Matching visual representations with texts is a basic strategy for assisting students in changing their visual literacy ability. Furthermore, the inclusion of comics provides a unique opportunity for students to observe the features of the pictures, such as independence, while words develop a strong sequential description. While engaged in the book writing with my fellow group participants, there has been incredible insights obtained from learning about the association between graphics and texts, within a fortnight. Consequently, I am capable of implementing the knowledge and skills gained in diverse ways such as comedic writing or rather prospective satirical writing. Evidently, comedic and image communication is authoritative teaching instruments; reading and creating comics motivates students to advance additional skills at critically scrutinizing and developing words that investigate complex theories (William 13). Therefore, in this essay, I present my reflection concerning the knowledge and skills gained from interacting with images and words, and my prospects towards comics to assess individual experiences in the type of narratives linked to satire and comic writing.

Arguably simple graphics and summarized texts provide us with large amounts information other than a narrative. In retrospect, I had a unique encounter during group presentation session of the book, whereby the audience seemingly acknowledged the contemporary scenarios of the United States politics. There was a positive reaction from the public in aspects that the book features satirical jokes concerning the U.S. politics, in which people use perfectly intermixed words and images to establish ridicule. Therefore, I was able to learn a great deal from the presentations, more so on the part where an emphasis gets given to both graphics and texts interactions. In this view, these features enabled the audience to comprehend the theories of satirical comics quickly. According to Williams (2008), the perfect match of comics and graphics contribute to the following:

1. Motivate more interest among the audience and students towards the genre

2. These techniques are inexpensive to understand

3. The vocabulary in texts is easy to comprehend as well.

In addition to the images contributing to an in-depth articulation of the information than the words, they are both a perfect pair that interacts with together effectively to contribute to overall narrative to the audience.

Furthermore, my learning about the integration of graphics and texts has revealed new insights and exploration of this skills to a diverse form of writing such as satire writing. LeBoeuf (2007) argues that satire is a robust tool of art that has the potential to illustrate out the deficiencies in particular human character and also social aspects that result from them. In that connection, these issues soon become absurd, surprisingly hilarious, that is consequently entertaining and outstretch to the larger audience. Indeed, this is a significant skill that I have learned during the book writing period. I have learned to maximize any available opportunity to implement this approach and create humor for the audience.

Furthermore, I have learned that satire has the capability to defend its creator from guilt for disapproval, due to its implied nature as opposed to overtly declared. Thus, considerably, this technique emerges as a fundamental tool for dissenters in strenuous or rather oppressive social or political events (LeBoeuf 1).

The interpersonal association that connects images and words engage in a reinforcement of their purpose in communicating to the reader or audience, as well as with the congruence of their attitudinal inferences. I have also learned that as many scholars indicate about the adaptation of various types of cohesion in information linked to action, a majority of systems is subject to the combination of logico-semantic and connected positions. These are created to categorise the association between texts that get viewed as key objects in photographs in magazines and newspapers, and to a superficial level as images in motion and conversations in a film (Martinec and Salway 342).

Conclusion

In conclusion, integrating what I have learned about the healthy relationship between image and words, it would be easy to apply that in the writing of satire. I am more intrigued by satire as an alive technique in contemporary time, which has gotten enforced in the internet, cartoons, literature and comics. Impressively, information that would get criticized or even amount to rebuke if overtly proclaimed is now spreading to huge societies in satirical versions and creating a significant impact. Indeed, I have learned to appreciate the nature of comics in information sharing and an appropriate medium to cross boundaries, establish empathy, as well as to impart students about the artistic venture and interpretation of robust texts.

Works Cited

LeBoeuf, Megan. _x0093_The Power of Ridicule: An Analysis of Satire._x0094_ Senior Honors Project. Paper 63 (2007), pp. 1-46

Martinec, Radan, and Salway, Andrew. _x0093_A System for Image-Text Relations in New (and Old) Media._x0094_ Visual Communications 4.3 (2005), pp. 339-374.

Williams, R., Marie-Crane. _x0093_Image, Text, and Story: Comics and Graphic Novels in the Classroom._x0094_ Art Education, 2008, pp. 13-19.