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Chlouvānem/Literature: Difference between revisions
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===''Læjāktoma'' (comics)=== | ===''Læjāktoma'' (comics)=== | ||
It was in the early Kaiṣamā era that the art of comics became widespread in the whole Union. The whole tradition of comics in the Inquisition (and in most other countries of the former Kaiṣamā), nowadays extremely pervasive in popular culture, was a Skyrdegan import: the countries of Greater Skyrdagor had already been writing comics for more than fifty years in their own style, mostly independent from the tradition that had arisen in the West. As such, even the term for comics used in Chlouvānem (''læjāktoma''), as well as those in other languages of the Union, are derived from Skyrdagor ''lezsahta komg'' [ɮɛʒɑxta kɔm], literally "drawn word".<br/>As expected, early Kaiṣamā comic artists were from Gorjan – an ethnically and culturally Skyrdegan country that had been annexed to the Inquisition – but the spread was so fast that in a few years' time comic artists were found in all parts of the Union. | It was in the early Kaiṣamā era that the art of comics became widespread in the whole Union. The whole tradition of comics in the Inquisition (and in most other countries of the former Kaiṣamā), nowadays extremely pervasive in popular culture, was a Skyrdegan import: the countries of Greater Skyrdagor had already been writing comics for more than fifty years in their own style, mostly independent from the tradition that had arisen in the West. As such, even the term for comics used in Chlouvānem (''læjāktoma''), as well as those in other languages of the Union, are derived from Skyrdagor ''lezsahta komg'' {{IPA|[ɮɛʒɑxta kɔm]}}, literally "drawn word".<br/>As expected, early Kaiṣamā comic artists were from Gorjan – an ethnically and culturally Skyrdegan country that had been annexed to the Inquisition – but the spread was so fast that in a few years' time comic artists were found in all parts of the Union. | ||
''Læjāktoma'' from the Kaiṣamā countries have, however, developed their own characteristics, setting it apart at least as a sub-genre, not only in the linguistic sense, from Skyrdegan ''lezsahta komg''. While Skyrdegan comics and, especially, their characters are already less realistic than those of Western comics, realism is even less aimed for in Kaiṣamā comics: proportions of features, especially facial features, are purposely unreal, sometimes with satyrical effect, as with the tiny or even apparently non existant mouths being used by some artists as a symbol of the "burden of censorship" in the Union. It is, in fact, the existence of censorship that has contributed to draw Kaiṣamā comics away from realism, as the less realistic the characters and the situations were, the less they could be questioned from the authorities, even if they contained subtle satyrical messages or social denunciations. | ''Læjāktoma'' from the Kaiṣamā countries have, however, developed their own characteristics, setting it apart at least as a sub-genre, not only in the linguistic sense, from Skyrdegan ''lezsahta komg''. While Skyrdegan comics and, especially, their characters are already less realistic than those of Western comics, realism is even less aimed for in Kaiṣamā comics: proportions of features, especially facial features, are purposely unreal, sometimes with satyrical effect, as with the tiny or even apparently non existant mouths being used by some artists as a symbol of the "burden of censorship" in the Union. It is, in fact, the existence of censorship that has contributed to draw Kaiṣamā comics away from realism, as the less realistic the characters and the situations were, the less they could be questioned from the authorities, even if they contained subtle satyrical messages or social denunciations. | ||