World Of Smudge Comics -

Unlike the authoritative, sharp line (often associated with superhero comics or clear line), the smudge implies touch — a hand dragging across paper, a finger smearing wet ink, a digital stylus with pressure sensitivity. Using Laura U. Marks’ concept of haptic visuality , this paper shows how smudge comics address the viewer’s skin as much as their eyes. Case study: — where smudged panel borders suggest dream logic, and graphite transfers create a sense of physical exhaustion. 3. Temporal and Mnemonic Functions

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This paper proposes the concept of “Smudge Comics” as a distinct visual and narrative mode within contemporary graphic narrative. Unlike the crisp, vectorized lines of mainstream digital comics, smudge comics embrace graphite transfer, ink bleed, erased residue, and digital blurring to create unstable, porous worlds. Through case studies of artists such as Jillian Tamaki (in her loose sketchbook comics), Tom Hart’s Rosalie Lightning , and the digitally smeared works of Brecht Evens, this paper argues that the smudge functions not as a mistake but as a deliberate aesthetic strategy. It generates affective ambiguity, represents traumatic memory, and invites haptic reading. The “world” of smudge comics is thus a phenomenological space where narrative authority is deliberately softened, leaving room for readerly sedimentation and emotional inference. 1. Introduction: Defining the Smudge World of smudge comics

The Unfixed Line: Narrative Ambiguity and Material Memory in the World of Smudge Comics Unlike the authoritative, sharp line (often associated with