"Suzie's a normal girl with an extraordinary ability: when she has sex, she stops time. One night she meets Jon... who has the same gift. And so they do what any other sex–having, time–stopping, couple would do: they rob banks."
"Yes, fifteen years ago it was. We were kids who didn't know squat about print publishing and now we're older and we don't know squat about web publishing. But we hope Pulp International manages to entertain. It's a bit different from our old Pulp, but it's similar in many ways too. We'll be looking for pulp everywhere – certainly in the usual places, like books and magazines, but also in music and art. For that matter, we'll also be looking for pulp events – that is, real–world crimes with a touch of deceit or corruption. And lastly, we'll be posting images from blaxploitation, sexploitation, noir, horror, sci–fi and psychedelia films, because these too seem like pulp. At least to us. So there you go. Nothing is permanent, and this site won't be either, but as long as it's fun, and you enjoy it, we'll be here."
Montag (Oskar Werner) 'reads' his illustrated newspaper in bed. The scene is from François Truffaut's classic film treatment of Ray Bradbury's 1953 novel about a dystopian world where written books have been outlawed.
"Wardrip–Fruin builds upon the foundation laid by Lev Manovich, who, in his 2002 book The Language of New Media, suggested that the natural development of media studies in an age of 'programmable media' should be 'software studies' (a set of approaches which includes 'expressive processing' but also code studies which, in Wardrip–Fruin's words, looks at 'the specific text of code' written by developers).
Expressive Processing fulfills and extends the promise of Manovich's ideas, putting the theory into practice through a set of case studies of the artificial intelligence engines of a dozen or so software programs that might be loosely called 'games.' That the first real example of a software studies approach comes out of game studies is both to be expected and (somewhat) regretted. On one hand, games of the sort Wardrip–Fruin examines are a medium for storytelling and character creation, and as such are natural extensions of the work of previous literary and media studies scholars and thereby set up a convenient space for humanities scholars and teachers to consider the important cultural and technical issues raised by Wardrip–Fruin in an environment more familiar than, for instance, an analysis of the software that drives Walmart (one of Wardrip–Fruin's suggestions for another work of software studies scholarship). Unfortunately, like graphic novels and musical theater, the genre is still too easily dismissed as popular entertainment by too many of those who most need to hear Wardrip–Fruin's arguments."
(Doug Reside, 2010)
Reside, D. (Fall 2010). "A review of Noah Wardrip–Fruin's Expressive Processing: Digital Fictions, Computer Games, and Software Studies." Digital Humanities Quarterly 4(2).
"For Isabel Greenberg, the winner of this year's Observer/ Jonathan Cape/Comica graphic short story prize, it is a case of third time lucky. 'I'd entered twice before,' she says. 'And once, I'd been a runner–up. But to win is such a nice thing. I'm so happy about it. Everyone tells you when you leave art school that it is going to be hard, but you never really know quite how hard until you're out there. It can be a bit depressing.' How will she spend her £1,000 prize money? 'I'm not sure. I should do something really sensible, like buy myself a copy of Photoshop.' She laughs. 'Or maybe 500 bottles of Winsor & Newton ink.'
Greenberg, who is 23, graduated from the University of Brighton, where she studied illustration, last year. She is now working as a freelance illustrator, and trying to finish her first graphic novel. Her winning entry, Love in a Very Cold Climate, tells the story of a marriage – only this couple, a south pole dweller and a north pole dweller, will never be able to touch one another, surrounded as they are by a magnetic force field. It's beautifully drawn, of course, from first to last frame, but it's also exquisitely written. In particular, the judges admired the way Greenberg handles time, somehow capturing a shared lifetime in just four pages."
(Rachel Cooke, 6 November 2011)