Author Introduction

on one website or application which allows for ease of access. After all, webtoon portals are designed with this in mind, as: “a hub-spoke model that reduces costs for production, distribution, scouting new talent, and diversification of contents” (Jang & Song, 2017, p. 175). These are e.g. webtoons or three-panel strip webcomics. There are a number of reasons for their popularity in translation with both official publishers and fan translators alike, some of which are as follows:

• regular formatting; chapters/strips rarely differ from each other in panel count and format

• similar format to that of printed comics, be it the strip form or page form

• a lack of heavily enhancing features, i.e. elaborate animations and interactivity; at most music and low-key animations

• easy editing with software programs; pages are not elaborate and therefore do not require great editorial efforts

• an established worldwide reader base that is familiar with the format; lack of experimental features that would cause reader confusion

While the aforementioned reasons may prove to be a defining asset in initiating translation projects, this does not mean that such translation efforts are substantially easier than translating enhanced webcomics, as could be observed on the example of Moss (2010). Nor does this imply that more attention should be paid to non-enhanced webcomics in place of enhanced webcomics. Rather, both basic forms should be taken into account.

It is for this reason that the following case studies will focus on two base examples; a non-enhanced webcomic by Ursula Vernon titled Digger (2003-2011), and an non-enhanced non-serialized webcomic titled These Memories Won’t Last (2015) by Stuart Campbell. The two titles represent the basic sides of the aforementioned webcomic taxonomy (thesis page), and have been established in terms of quality, positive consideration and fame. In the practical part of this thesis, Digger (2003-2011) figures as the main case study- the author of this thesis has worked on its translation over the course of three years, and continues to do so. On the other hand, These Memories Won’t Last (2015) is an example of a highly enhanced webcomic that takes advantage of online affordances without sacrificing its integrity as a work. This work will be analyzed as a supplementary, shorter case study.

Both case studies will be supported by aforementioned translation theories and approaches.

3.2. Case Study 1: Digger (2003-2011)

illustrations and text (Gilmore, 2015). For instance, the book series Dragonbreath, whose recent volume was published in 2016, has been lauded for its humor and engaging artwork, as well as its inviting format for young readers (Flaherty, 2020; Bird, 2009). The plot of the series, which centers around a dragon that cannot breath fire, is enhanced by “a combination of [normal] book text interspersed with comic-like pages that tell parts of the story in ways that make them easier to digest and a lot funnier” (Briana & Krysta, 2012). Indeed, Vernon defines herself through her emphasis on illustrations in her works, regardless of whether they are done in the comic page format or as accompanying pictures, as well as her light and sarcastic approach to tried fantasy tropes, such as her Hamster Princess (2016) (Vernon, qtd. in Gilmore 2015). Vernon has been compared to the British fantasy and historical fiction author Eva Ibbotson, largely due to the fact she cites Ibbotson as an inspiration but also because of how she handles the fantasy genre (Bird, 2015; Jenny, 2018). Vernon proposes a light, approachable manner for younger audiences, and a dark, horror-based approach for older audiences e.g., her fairy-tale contemporary re-telling written under her pen name T. Kingfisher The Twisted Ones (2019), inspired by Arthur Machen’s short horror story The White People (1906).

Vernon also released another horror title a year later-The Hollow Places (2020), inspired in turn by Algernon Blackwood’s The Willows (1907).

In this way, Vernon’s writing is meant for more than one kind of addressee. Relying on presenting horror in an approachable manner, Vernon aims to re-contextualize old works and tropes whilst bringing out the creepy and surreal hidden within them (Spacek, 2020). This is something she achieves well, as noted by reviewers (Wilkes, 2020; McKanic, 2020; Bone, 2020) who describe her recent work as both terrifying and surreal (McKanic, 2020). While also compared to H.P. Lovecraft in her approach to horror, even Vernon’s more serious works are but not bereft of humor (Wilkes, 2020;

McKanic, 2020) nor endearing characters (Deo, 2020) that are meant to stick with readers. As can be seen, regardless of genre, Vernon’s comedic sense and wittiness is a constant in her works, such as in her children’s fantasy novel Castle Hangnail (2015), which has also been lauded for its clever humor (Bird, 2015). Her works aim to please the reader and provide relatively carefree enjoyment. The ability to write witty humor is primarily what makes Vernon stand out as an author, as well as her imaginative approach to fantasy and horror that addresses a variety of recipients. These are qualities that have to be reflected (and are) in translation.

It is here that Vernon’s webcomic Digger (2003-2011) can be described as a valuable precursor to her current work. Digger (2003-2011) sets the tone and style that Vernon bore throughout her career.

Prior to her publishing of Digger (2003-2011) as a webcomic, Vernon’s creative experiences had centered around creating freelance art commissions, as well as writing personal stories that only one of

which was sent to a publisher (Vernon, qtd. in Myman, 2021). As Vernon herself notes, she “began Digger purely as an experiment in black and white”, as she was put off by how long fully-colored pages took to crerate (Vernon, qtd. in Myman 2021). This decision set a course for her artistic style; currently, most of her illustrations are done in two to three monochrome colors, and are characterized by thick, distinctive line work. While Vernon assumed Digger (2003-2011) would be a short project, the webcomic ran from March 18, 2003 to March 17, 2011, reaching roughly 900 pages, with the full print version officially containing 850. During its run the fantasy epic achieved recognition, being nominated for awards and finally being awarded the Hugo award for science fiction literature in 2012. The webcomic was lauded, and continues to be, for its humor and wit, as well as its clever plot and memorable characters (David, 2012; Heller, 2017; Redhead, 2014; Bastian’s Book Reviews, 2017).

Digger (2003-2011) has been described as a fantasy epic due to its length (Bastian’s Book Reviews, 2017) as well as a high fantasy comic (Davis, 2012) arising from its ambitious subject matter.

The webcomic starts with the introduction of the titular Digger-of-Unnecessarily-Convoluted-Tunnels-Digger for short- who is an anthropomorphic wombat that has lost her way while digging a tunnel.

After wandering into a cave system and nearly being attacked, she digs herself back up to the surface and into a temple dedicated to the Hindu god Ganesh. From this point onwards, the webcomic centers on Digger’s adventures in a foreign land that features magic, the divine, religious entities, and strange but amusing creatures, e.g. a child demon, a tribe of talking hyenas, flying rats who act as messengers, a trapped god underground, a group of acolytes and even regular bandits. Digger’s primary goal is to get back to her wombat colony, which is revealed to be a difficult task due to the magical ley lines running beneath the temple and blocking her return; it is then that her goals shift towards eliminating the root cause of the problem- gods beneath the earth that are allegedly hampering her return.

Digger (2003-2011) features complex characters and situations that challenge the reader from a moral standpoint, often veering into the realm of philosophy: “In cartoon black and white images, Vernon introduces a world with a deep cosmology, where gods are punished and revived and demons tempt and torment (. . .) Vernon manages to present some of the best scenes of cultural relativity I’ve read in fantasy” (Alanjoli, 2013). Alanjoli (2013) goes on to note that the webcomic frequently emphasizes the consequences of one’s actions regardless of ideals. It also challenges the notions of blind loyalty and adherence to religious rituals, whilst simultaneously valuing tradition and beliefs throughout the story as well. As much as Digger is a skeptical atheist, she respects whomever she comes across, even it means having to drink strange herbs or follow the directions of a talking statue. It is in fact from these situations that humor frequently arises, as Digger’s nonchalance and annoyance with magic and gods provides an amusing contrast with what is supposed to evoke awe and admiration

(Davis, 2010). Vernon achieves a balance between creating a both serious and humorous work, which thoroughly engages the reader in how a profoundly good character can influence others for the better (Alanjoli, 2013). The added rich and carefully thought-out lore of the work further makes it appealing;

it is not delivered in a heavy-handed manner, but through e.g. Digger’s anecdotes or casual character remarks that are aided by the comic medium.

It is this complexity that made Digger (2003-2011) an important first work in Vernon’s career;

not only did it demonstrate her skill as a writer and illustrator, but its also stands out as being not only the longest comic the author penned and illustrated, but also her only published webcomic. After the success of Digger (2003-2011), Vernon permanently shifted towards publishing novels and illustrated stories in print form. This was mostly due to a combination of coincidence, luck and unusual success, or as Vernon herself describes her career, “a weird progression” (Vernon, qtd. in Myman, 2021) from not having a published book to being contacted by an agent and commissioned to write her first children’s book titled Nurk: The Strange Surprising Adventures Of A (Somewhat) Brave Shrew (2008).

Yet while Vernon’s post-Digger (2003-2011) works have been translated, Digger (2003-2011) itself has not, despite two versions being published in print form: one as a series of six separate volumes, and the second as a so-called “omnibus edition” from Sofawolf Press, which combines all volumes, as well as Vernon’s additional artwork, notes and commentary that have been featured online. As such, before looking into the subsequent case study and translation analysis of Digger (2003-2011), a brief look into the translation approaches and strategies of Vernon’s works from English to Polish is in order.