Other representations of the phenomenon

The main source of information in hermeneutic phenomenology is the human being who experiences the phenomenon that is the object of the research. However, this is not the only source of information. Creswell highlights the role that “depictions of the experience outside the context of research projects” has to understand the multiple layers that construct a certain experience (Creswell 2007, 61-62). He mentions diverse sources such as descriptions from novels or poetry or representations in

paintings or choreographies. In similar but more specific terms, Van Manen lists several sources that can be potential sources of data, highlighting the role of literary and

artistic depictions (1997, 70, 74). In some cases the researcher collects these

representations and in other cases the participants themselves provide them as part of their understanding of the phenomenon.

I am aware of the importance of media culture in our society and how it influences our construction or understanding of certain experiences. Because of this I actively scanned media products to collect and potentially use the diverse

representations of comics reading and readers available in popular culture. These representations can be found in many formats, some of which are comics,

documentaries, television shows, and novels. I did not study these materials following any systematic methodology, such as discourse analysis, but I was attentive to any replication or connection between any conceptualization in these representations and information provided during the interviews. For example, increasingly television shows refer to comics as graphic novels and they still also perpetuate the stereotypes and practices of comics fans over other kinds of readers. A perfect case of this example is the show Big Bang Theory, mentioned by several participants. The show mixes geek and comics culture, focuses on superhero comics and collection practices, and the

experience of reading comics is often equated with the memorization of superhero mythology. Other examples of television shows with comics creators, readers, or comics-related plots are:

• Bones. Season 1, episode 12: The Superhero in the Alley.

• Castle. Season 2, episode 06: Vampire Weekend. Season 4, Episode 02: Heroes and Villains. This television show is also an extraordinary case of media synergy where one of the novels created by the fictional author and main protagonist is adapted and published as a graphic novel. Its release is publicized during the Heroes and Villains episode when Castle visits a comics store as part of the investigation.

• Heroes. Broadcast from 2006 to 2010. The show’s plot and production was rooted in superhero narratives and aesthetics. Also, NBC created a series of graphic novels linked to the show and available through the show’s website.

• The O.C. Broadcast from 2001 to 2007. Especially during seasons 2 and 3 the show focuses on the interest that one of the main characters, Seth Cohen, has for comics. He even creates his own title Atomic County.

• Smallville. Broadcast from 2001 to 2010.

• The Walking Dead. Broadcasted from 2010 to present.

It is also impossible to deny the influence that movie adaptations have on how readers’ experience or understand the world of comics. In my interview schedule I included a question about the similarities and differences between experiencing a book, a comic, and a movie. Even though I included it towards the end of the schedule, the topic of movie adaptations and their influence on discovering comics often emerged earlier in the interview. The following list is not meant to be comprehensive, but it includes many of the movies adapted from comics that opened in the past six years:

•Ratner, Brett. Director. 2006. X-Men: The Last Stand.

•Wright, Edgar. Director. 2010. Scott Pilgrim vs. the World.

•McTeigue, James. Director. 2006. V for Vendetta.

•Vaughn, Matthew. Director. 2010.

Kick-Ass. •Satrapi, Marjane. Director. 2007.

Persepolis.

•Favreau, Jon. Director. 2010. Iron Man 2.

•Snyder, Zack. Director. 2007. 300. •Schwentke. Robert. Director. 2010.

Red. •Story, Tim. Director. 2007. Fantastic

Four: Rise of the Silver Surfer

•Besson, Luc. Director. 2010. The Extraordinary Adventures of Adèle Blanc-Sec.

Man 3. Night: Dark Days. •Johnson, Mark Steven. Director. 2007.

Ghost Rider.

•Vaughn, Matthew. Director. 2011. X- Men: First Class.

•Toro, Guillermo del. Director. 2008.

Hellboy II: The Golden Army.

•Spielberg, Steve. Director. 2011. The Adventures of Tintin: Secret of the Unicorn.

•Leterrier, Louise. Director. 2008. The Incredible Hulk.

•Favreau, Jon. Director. 2011.

Cowboys & Aliens.

•Favreau, Jon. Director. 2008. Iron Man. •Branagh, Kenneth. Director. 2011.

Thor. • •Bekmambetov , Timur. Director. 2008.

Wanted.

•Campbell, Martin. Director. 2011.

Green Lantern.

•Znyder, Zack. Director. 2009.

Watchmen.

•Gosnell, Raja. Director. 2011. The Smurfs.

•Sena, Dominic. Director. 2009.

Whiteout.

•Whedon, Joss. Director. 2012. The Avengers.

•Hood, Gavin. Director. 2009. X-Men Origins: Wolverine.

•Nolan, Christopher. Director. 2012.

The Dark Knight Rises. •Mostow, Jonathan. Director. 2009.

Surrogates.

•Webb, Marc. Director. 2012. The Amazing Spider-Man.

•Hayward, Jimmy. Director. 2010.

Jonah Hex.

•White, Sylvain. Director. 2010. The Losers.

Table 5: List of movie adaptations 2006-2012

Finally, I tried to participate in any comics related activity that happened in my city. As well, I found especially interesting my visits to the Toronto Comics Arts Festival

in 2009, 2010, and 2011. This festival reminded me of other small festivals I have previously attended in Spain and Brussels where the focus of the convention is not primarily superhero comics. Also, for example, European and Japanese creators are regular visitors and webcomics always have a reserved spot in the festival. Although I did not use these materials and experiences in any systematic manner during the interview process, it was extremely useful to have them as part of my personal knowledge and life experience when interviewing. When the interview process is as fluid and reactive as in this study, I never knew when a certain piece of information could be helpful to draw a comparison, connect several thoughts, or help elaborate a difficult point.