'Discuss, with reference to two or more comics creators, the relationship between the mimetic and the symbolic in pictorial narrative.' The comic book is an artistic medium that blurs the pictorial visualisations of objectivity with subjectivity through its inherent use of both mimetic and iconic imagery to drive its pictorial narratives. In Understanding Comics, Scott McCloud argues that the reader identifies with iconic images because the lack of mimetic detail reflects the interior ‘conceptual world’ to which our identities reside (1994, p. 40). He continues by elaborating that the objectivity of mimetic images reflect the exterior ‘sensual world’, and therefore the reader naturally interprets these images as ‘other’ to themselves (p. 36). McCloud divides iconic imagery into three categories: symbols; the icons of language, science and communication; and pictures. He identifies ‘the symbolic’ as ‘the images we use to represent concepts, ideas and philosophies’ (p. 27). Therefore, we can extrapolate that the relationship between the mimetic and the symbolic in pictorial narratives is representative of a comic book auteur’s engagement of the metaphorical imagery of the ‘conceptual world’ with the realism of the ‘sensual world’ in order to incite a desired effect upon the reader. Charles Burns and Junji Ito are two comic book auteurs with comparable pictorial styles. Both are renowned for: operating within the horror genre; engaging highly detailed, mimetic imagery with surrealistic body horror; narratives that revolve around adolescent characters; and prominent use of black and white colour schemes. Due to the myriad of similarities, I aim to examine how these two artists respectively portray the relationship between the mimetic and the symbolic in their pictorial narratives, and to highlight any differences. (Figure One.) Charles Burns is perhaps best known for his graphic novel Black Hole (2005), which details how a small town’s adolescent population is effected by a sexually-transmitted disease that induces irremediable mutations in mid-1970’s America. In Black Hole, Burns disfigures the mimetic body to visually infuse the pictorial narrative with its symbolic subtext. This is first exemplified in the double page spread that opens Black Hole (see Figure One). The first panel establishes a mimetic icon of female genitalia. The icon is not explicitly contextualised as vaginal, but its mimetic detail and evocation of birth imagery both heavily suggest it to be. Then, Burns employs a non-sequitur transition to the second panel, which shows the realistic picture of a dead frog during dissection. For the reader, the non-sequitur transition necessitates the presence of symbolism as a means of connecting these two panels. This connection is determined by the conversion of the vaginal image from the mimetic to the symbolic. The incision on the frog’s stomach reflects the vaginal image of the first panel. Consequently, a symbolic subtext is constructed that connects mimetic imagery of female genitalia to that of disfiguration, death and the animalistic. This is the manner in which Burns presents much of the novel’s symbolism, embedded within the mimesis of its characters as disfiguration. Within the context of the narrative’s ensuing themes, this symbolism is employed as a motif to drive Burns’ philosophical musings upon adolescent existentialism and sexuality. In addition, this symbol is conveniently pictured in a way that refers back to the title; Black Hole. The symbol manifests upon the disfigurements of Chris and Rob (see Figures Two and Three), both of whose character arcs conclude with separation and death. (Figures Two and Three.) Interestingly, whilst the vaginal symbol is related to death, the phallic symbol is employed as a signifier of life. The phallic symbol is introduced in the non-sequitur transition of the double page spread that opens chapter two (see Figure Four). The first panel does not present a mimetic phallus but the archetypal symbol of the bone. The adjacent panel portrays a gigantic, disembodied and interpretably God-like arm; its positioning makes it appear to have a metaphysical superiority over the natural landscape. Again, this reinforces the metaphorical relationship between sexual symbols and body disfigurement. The phallic symbol is related to the disfigurements upon the mimetic bodies of two characters, Keith and Eliza, both of whose character arcs conclude with union and hope. Furthermore, Eliza’s phallic mutation (see Figure Five) is portrayed as far more erotic than Chris’ vaginal mutation, which is shown to be purely tragic and detrimental. Keith’s phallic mutation (see Figure Six) poses no disadvantages and is covered up easily by his clothes, whereas Rob’s vaginal mutation screams out his darkest secrets, thus soiling many personal relationships along his character arc. Polarity and mirroring is a prominent motif throughout Black Hole’s narrative and, here, Burns appears to be associating the vaginal symbol with the negative and the phallic symbol with the positive. (Figures Four, Five and Six.) Whilst this equation suggests a misogynistic philosophy being driven through the novel’s symbolism, there is little evidence in the character portrayals, text and pictorial narrative to advocate this. In fact, it is rather the opposite, as the sole villains of Black Hole take the form of lustful, socially-outcast males, whose jealousy, anger and misogynistic attitudes drive them to commit either murder or rape. This effects the two central female characters, Chris and Eliza, and is portrayed as tragic. Additionally, these socially-outcast characters are depicted with mimetic features that appear distorted and disfigured even before they have been infected with ‘the bug’. (see Figures Seven and Eight). Paul Gravett comments that Chris, who ‘used to despise “geeks”’ like Dave, is now on the ‘receiving end of rejection herself’, exposing ‘in psychological and biological intimacy the cost of the desperate desire for acceptance’ (2005, p. 111). Developing Gravett’s argument, Burns disfigures the mimetic bodies of the popular students with symbolic mutations to dismantle the stereotypical American high school hierarchy. By doing this, Burns manipulates the mimetic/symbolic relationship to pictorially present a level playing field upon which the novel’s characters can relate to each other and express the existential turmoil of adolescence. (Figures Seven and Eight) Furthermore, the image of the dissected frog evokes imagery of sexual abuse. The vaginal symbol is torn open, the frog’s limbs are pinned apart and helpless and it is treated as a devalued specimen upon which others can inflict harm to its interior. Therefore, we can interpret the symbolic accordance between the vaginal and the negative as a feminist critique of the misogynistic values of the novel’s contextual setting, or the adolescent experience itself. Kathleen Wisneski argues that ‘Burns is able to simulate an alternate understanding of temporality’, through the phantasmagoric pacing of the panels, ‘to portray the experience of having imbalanced systems’, in relation to the developing brain of the adolescent (2012). Elaborating on this notion, it is arguable that Burn’s engagement of the mimetic with the symbolic visually elicits the liminality of adolescent existence and perception; not quite the realism of adulthood, not quite the fantasy of childhood. Wisneski goes on to state that, ‘Teenagers in a world governed by rules with which adults are familiar, and adept at living within, appear immature and irrational’. Therefore, the surreal mutations of the adolescents’ bodies can be seen as physical expressions of this psychological irrationality. Winseski further delineates the pictorial expression of the adolescent mind, asserting the similarity between the shape of the incision on the frog’s stomach and a graph of functional development correlating with age (see Figure Nine). (Figure Nine.) This incision and the vaginal image serve as juxtaposing existential symbols. The vaginal image be interpreted as birth imagery; the surrounding black alludes to the birth canal, the white within the shape alludes to the outside world. In contrast, the incision on the frog’s stomach is surrounded by white flesh and inside the incision it is black. The pages present a symmetrical polarity of life and death. Additionally, the one point perspective and colour contrast of this symbol within both panels suggests imagery of two opposing portals in which to pass through, highlighting the narrative’s themes of existentialism; will the adolescent characters choose life or death, progression or stagnation? Burns presents adolescence as a crossroads for the individual and explores the alternative outcomes of free will through the narrative’s multiple narrators. It is also exemplary of Burns’ symbolic employment of colour. Though Black Hole’s pictorial narrative is drawn solely in black and white, Burns takes advantage of this stark palette to further drive the novel’s themes of duality, presence of ‘yin-yang’ (From left to right; Figures Ten and Eleven.) imagery and the association of white with life, black with death. The symbolic use of the monochrome palette is best exhibited in the chapter ‘A Dream Girl’. A monochrome palette has a strong effect upon the mimesis of a pictorial narrative and, akin to the disfiguration of the novel’s mimetic bodies, it is applied for a symbolic purpose. The chapter details Keith mulling over his encounters with both of his love interests, Chris and Eliza, and Burns presents these as an existential crossroads, concluding with Keith’s defining act of agency. First is the encounter with Chris (see Figure Ten). Black dominates the colouring of these two pages. Chris’ face is obscured by dark shaded hair and she lies in a bathtub of black water. In addition, the left page panels’ perspective of Chris is looking down on her; she is below the reader, alluding to the black hole, death or even Hell. The three central panels use aspect-to-aspect transitions that each frame Chris’ body differently, making her body appear grotesque and distorted. On the adjacent page, we see Chris in only two panels, obscured by dark shading. We also pass through three different transition styles that induces a disorientating and ultimately introverted experience that feels disconnected from reality. In opposition, the encounter with Eliza is dominated by white (see Figure Eleven). Eliza is bright and positioned above the reader, alluding to angelic and heavenly imagery. The lack of heavy inking makes the two pages feel lighter and less intense than the encounter with Chris. Eliza’s unobscured face is focused upon for most of the panels. The panel transitions are solely moment-to-moment, eliciting an atmosphere that feels more grounded and, ultimately, positive. This exemplifies how Burns manipulates the mimesis of colour, as well as the techniques of panel transitions and perspectives, in order to emphasise the symbolic in his pictorial narratives. Burns’ mimetic register remains consistent throughout Black Hole to construct a highly vivid and convincing world in which to immerse the reader. The singular instance of expressive distortion occurs during the depiction of Keith’s acid trip, which also features an example of Burns’ sparing use of sound effects. In contrast, Junji Ito applies a plethora of iconographic techniques to distort his manga’s mimetic register. Frederik L. Schodt suggests that manga ‘are an open window onto the Japanese id, a view – not necessarily of reality itself – but of a culture’s aspirations, dreams, nightmares, fantasies, and fetishes’ (Macwilliams and Schodt, 2008). Junji Ito displays an enunciated interest in exposing the nightmares of the Japanese id. In Ito’s seminal graphic novel Uzumaki (2002), the mangaka disfigures the mimetic body in order to stimulate a sensual response in the reader. Ito achieves this through subtle manipulations of the mimetic register, building to a climactic panel depicting high mimetic detail fused with disturbing surrealist imagery. The effect is a disorientating pictorial narrative in a deliberate effort to disturb the reader. The mangaka is renowned as one of the leading creators of horror manga in Japan with widespread crossover appeal to international audiences also. Across his oeuvre, primarily built up of short stories, Ito reiterates a specific and idiosyncratic narrative arc that manipulates the mimetic and the symbolic in order to reach a crescendo of uncanny horror. This arc involves a character who is uncontrollably compelled into irrational behaviour, which slowly draws them in to their, or others’, gruesome demise, followed by a brief, often ambiguous, conclusion. The most distinctive feature of Ito’s narrative arc is the presentation of the climax: a tense, dread-fueled page turn onto a large panel, frequently one or two full page spreads, containing what is simultaneously the most realistically drawn but disturbingly surreal image of the narrative. These panels have come to represent Ito’s signature style; one that blends the mimetic with the symbolic in a pure evocation of uncanny horror. As well as carving the mangaka a well-respected niche, this motif has attracted criticism for being an apotheosis that simply carries otherwise stale narratives (Creamer, 2015). The image above showcases one of the most recognisable and defining panels of Ito’s career. Taken from the graphic novel collection Uzumaki, an early international success following its publication by VIZ Media, the third panel of the right page demonstrates the typical thematic and illustration style of Ito’s distinctive trope: a realistic picture that portrays imagery of the unreal permeating the mimesis of the ordinary. However, whilst Burns applies this same technique to drive a symbolic subtext, Ito is arguably less focused on illustrating a specific philosophy, as his intention is to unsettle the reader, and this is better achieved through an application of ambiguity that toys with the sense of the uncanny. This marks the essence of Ito’s distinctive style, as he combines influences from the Japanese art of Ero guro nansensu (erotic grotesque nonsense) with Western horror tropes, particularly those of H.P. Lovecraft. The narrative of Uzumaki details a town that becomes infected with the symbol of the spiral, manifesting itself in various body-horror deformations of the townspeople and eventually corrupting the surrounding ecosystem and architecture, as the manga shifts from domestic to social terror, adopting a more post-apocalyptic tone in the third act. The third panel exhibits the symbolic motif of the spiral by underscoring it through perpetual body horror. The disfiguration of the mimetic face forms the focal point of the panel. Outside of this expressive distortion, the girl’s face is drawn with a high level of detail and shading, appearing as the most mimetic panel in the chapter. However, this panel does showcase a pictorial meta-symbolism. The disfiguration that dives past Azumi’s eye adopts imagery that alludes to Carroll’s rabbit hole. The ‘rabbit hole’ is ‘a metaphor for something that transports someone into a wonderfully (or troublingly) surreal state or situation’ (Dictionary.com, 2018). Ito’s rabbit hole spirals down into the depths of the human mind and, therefore, the unconscious mind, typically associated with repression, the id and the symbolic vocabulary of dreams. In the 1919 essay The Uncanny, Sigmund Freud locates the sense of the uncanny within the unconscious mind, stating that the ‘uncanny is in reality nothing new or foreign, but something familiar and old – established in the mind that has been estranged only by the process of repression’ (p.13). Furthermore, Freud establishes ‘involuntary repetition’ as a manifestation of the uncanny, which is seen through the involuntary repetition of spirals appearing throughout the central town of Uzumaki, which drives the entire narrative, and the sinking dread that ensues upon their visualization. Consequently, this panel strikes so profoundly because it symbolises the artistic intention of Ito’s manga: to plunge deep into the human psyche and disturb the framework of rationality with distressing uncanny imagery. The eye that tumbles down the spiral can be seen to symbolise the reader themselves - the eye that looks upon the page - as their visual sense compels the rational mind into the dark corners of the unconscious upon viewing Ito’s uncanny imagery. Azumi’s eye loss also coincides with Freud’s postulation that ‘the feeling of something uncanny is directly attached to… the idea of being robbed of one’s eyes’ (p. 7). The spiral’s purpose is to terrify, yet like Carroll’s rabbit hole, simultaneously it is intriguing, hypnotic and, similar to Uzumaki’s doomed characters, we are drawn to it with an irrational curiosity and urge to discover more. Arguably, this panel is Ito’s most revered because it both establishes the stylised mimesis of Ito’s art and represents the spiral into terror that each reader of the auteurs work is drawn into. As well as this, the mimetic detail and realism of this panel institutes an ‘otherness’ between the character and the reader. McCloud proposes that, ‘When you look at a photo or realistic drawing of a face… you see it as the face of another’, continuing that, ‘through traditional realism, the comics artist can portray the world without… and through the cartoon, the world within’ (1994, p. 41). This is emphasized through the mimetic distinction between Azumi and the more iconic, cartoon faces of Kirie and Okada (seen in panels three and thirteen), in which the reader better identifies, underscored in these character’s expressions of fear. Ito’s horror proves most effective when the relationship between the mimetic and the symbolic is unnervingly enigmatic. Possibly the most disturbing chapter of Uzumaki is ‘The Umbilical Cord’, a narrative that bombards the reader with troubling and irrational imagery, such as: talking babies, who want to return to the womb, with placentas erecting from their stomachs; characters uncontrollably devouring placentas; a mother with her baby stitched back into the womb; a mother drinking from a blood pack; and the same mother killing characters with a mosquito-like spear that protrudes from her mouth. The chapter is particularly unsettling because it hints at a symbolic subtext with its allusive imagery but repulses any rational interpretation. Combined with violent disfiguration of the mimetic body and characters that are driven wild by irrational, transgressive impulses, the narrative highlights another of Ito’s horror techniques: the pictorially-realistic flat character. E. M. Forster defines the flat character in Aspects of the Novel (1927) as two-dimensional, uncomplicated and resisting of major development (Encyclopaedia Britannica, 2018). Ito’s stories, especially Uzumaki, are congested with flat characters. These flat characters are employed as vehicles to drive the visual horror of Ito’s pictorial narratives, the most disconcerting aspect being their high mimetic detail. By realistically illustrating flat characters, the mangaka further emphasises their ‘otherness’ and the sense of uncanny. This works in conjunction with the influence of H.P. Lovecraft on Ito’s work and the overriding nihilism that permeates the pictorial narratives. Burns, on the other hand, draws round characters in Black Hole; the narrative’s characters embark on a journey of transformation both physically and psychologically, struggling with existential decisions throughout. In conclusion, Burns establishes a relationship between the mimetic and the symbolic in pictorial narratives to drive a conceptual subtext, whilst Ito avoids a direct philosophy being drawn from his manipulations of mimesis; instead the symbolic remains equivocal and more iconic, as to produce a sensual response from the reader. Bibliography Burns, C. (2005). Black Hole. London: Jonathan Cape. Creamer, N. (2015). Fragments of Horror GN 1 Review. [online] Anime News Network. Available at: https://www.animenewsnetwork.com/review/fragments-of-horror/gn-1/.91271 [Accessed 22 Oct. 2018]. Dictionary.com. (2018). What Does rabbit hole Mean? | Slang by Dictionary.com. [online] Available at: https://www.dictionary.com/e/slang/rabbit-hole/ [Accessed 28 Oct. 2018]. Encyclopaedia Britannica. (2018). flat and round characters | Definition & Examples. [online] Available at: https://www.britannica.com/art/flat-character [Accessed 28 Oct. 2018]. Freud, S. (1919). The Uncanny. [ebook] Cambridge. Massachusetts Institute of Technology. [online] Available at: http://web.mit.edu/allanmc/www/freud1.pdf [Accessed 26 Oct. 2018]. Gravett, P. (2005). Graphic Novels: Stories to Change Your Life. London: Aurum Press Limited Ito, J. (2017). Uzumaki. 8th ed. San Francisco: Viz Media. Macwilliams, M. W. and Schodt, F. L.. (2008) Japanese visual culture : explorations in the world of manga and anime. Armonk, N.Y. ;London : M.E. Sharpe, 2008. McCloud, S. (1994) Understanding comics : the invisible art. New York : HarperPerennial, 1994. Wisneski, K. (2012). The Adolescent Brain & Charles Burn’s Black Hole - ComicsVerse. [online] ComicsVerse. Available at: https://comicsverse.com/two-curved-lines-with-a-black-hole-in-the-middle-the-adolescent-brain-and-charles-burn-s-black-hole/ [Accessed 26 Oct. 2018]. Figures 4, 5 and 6. Figures 7 and 8. 7