The Third Person

In the winter of 2004, a shy woman named Emma sits in Toby’s office. She wants to share this wonderful new book she’s reading, but Toby, her therapist, is concerned with other things. Emma is transgender, and has sought out Toby for approval for hormone replacement therapy. Emma has shown up at the therapy sessions as an outgoing, confident young woman named Katina, and a depressed, submissive workaholic named Ed. She has little or no memory of her actions when presenting as these other two people. And then Toby asks about her childhood . . . As the story unfolds, we discover clues to Emma’s troubled past and how and why these other two people may have come into existence. As Toby juggles treating three separate people, each with their own unique personalities and memories, he begins to wonder if Emma is merely acting out to get attention, or if she actually has Dissociative Identity Disorder. Is she just a troubled woman in need of help? And is “the third person” in her brain protecting her, or derailing her chances of ever finding peace? The Third Person is a riveting memoir from newcomer Emma Grove. Drawn in thick, emotive lines, with the refined style of a comics vet, Grove has created a singular, gripping depiction of the intersection of identities and trauma. The Third Person is a testament to the importance of having the space to heal and live authentically.

Narrative strategies for vast fictional worlds across a variety of media, from World of Warcraft to The Wire. The ever-expanding capacities of computing offer new narrative possibilities for virtual worlds. Yet vast narratives—featuring an ongoing and intricately developed storyline, many characters, and multiple settings—did not originate with, and are not limited to, Massively Multiplayer Online Games. Thomas Mann's Joseph and His Brothers, J. R. R. Tolkien's Lord of the Rings, Marvel's Spiderman, and the complex stories of such television shows as Dr. Who, The Sopranos, and Lost all present vast fictional worlds. Third Person explores strategies of vast narrative across a variety of media, including video games, television, literature, comic books, tabletop games, and digital art. The contributors—media and television scholars, novelists, comic creators, game designers, and others—investigate such issues as continuity, canonicity, interactivity, fan fiction, technological innovation, and cross-media phenomena. Chapters examine a range of topics, including storytelling in a multiplayer environment; narrative techniques for a 3,000,000-page novel; continuity (or the impossibility of it) in Doctor Who; managing multiple intertwined narratives in superhero comics; the spatial experience of the Final Fantasy role-playing games; World of Warcraft adventure texts created by designers and fans; and the serial storytelling of The Wire. Taken together, the multidisciplinary conversations in Third Person, along with Harrigan and Wardrip-Fruin's earlier collections First Person and Second Person, offer essential insights into how fictions are constructed and maintained in very different forms of media at the beginning of the twenty-first century.

Roberto Esposito is one of leading figures in a new generation of Italian philosophers. This book criticizes the notion of the person and develops an original account of the concept of the impersonal - what he calls the third person

Each year writers and editors submit over three thousand grammar and style questions to the Q&A page at The Chicago Manual of Style Online. Some are arcane, some simply hilarious—and one editor, Carol Fisher Saller, reads every single one of them. All too often she notes a classic author-editor standoff, wherein both parties refuse to compromise on the "rights" and "wrongs" of prose styling: "This author is giving me a fit." "I wish that I could just DEMAND the use of the serial comma at all times." "My author wants his preface to come at the end of the book. This just seems ridiculous to me. I mean, it’s not a post-face." In The Subversive Copy Editor, Saller casts aside this adversarial view and suggests new strategies for keeping the peace. Emphasizing habits of carefulness, transparency, and flexibility, she shows copy editors how to build an environment of trust and cooperation. One chapter takes on the difficult author; another speaks to writers themselves. Throughout, the focus is on serving the reader, even if it means breaking "rules" along the way. Saller’s own foibles and misadventures provide ample material: "I mess up all the time," she confesses. "It’s how I know things." Writers, Saller acknowledges, are only half the challenge, as copy editors can also make trouble for themselves. (Does any other book have an index entry that says "terrorists. See copy editors"?) The book includes helpful sections on e-mail etiquette, work-flow management, prioritizing, and organizing computer files. One chapter even addresses the special concerns of freelance editors. Saller’s emphasis on negotiation and flexibility will surprise many copy editors who have absorbed, along with the dos and don’ts of their stylebooks, an attitude that their way is the right way. In encouraging copy editors to banish their ignorance and disorganization, insecurities and compulsions, the Chicago Q&A presents itself as a kind of alter ego to the comparatively staid Manual of Style. In The Subversive Copy Editor, Saller continues her mission with audacity and good humor.

Self Versus Others explores the third-person effect and its role in media as a means of persuasion. This scholarly work synthesizes more than two decades of research on the third-person effect, the process in which individuals do not perceive themselves to be impacted by particular messages—such as persuaded to engage in risky behaviors or encouraged to be violent—but they believe others will be. Authors Julie L. Andsager and H. Allen White focus their analysis specifically on the role of media and media messages, and assert that the third-person effect functions as a means of persuasion. They explore the underlying concepts and connections this effect shares with established theories of persuasion and mediated communication. The only volume to date focusing on the topic, Self Versus Others demonstrates the significant impact persuasion has on public opinion, behavior, and policy. As such, understanding the means through which persuasion can be accomplished thereby provides a powerful tool. Timely and succinct, this book: *provides thorough synthesis of third-person effect literature; *argues that systematic versus heuristic processing underlies third-person perceptions; and *conceptually links third-person effects with co-orientation. Intended for communication scholars with an interest in persuasion, as well as those in key areas including mass communication, health communication, and political communication, this book is also appropriate for advanced courses in persuasion, communication theory, and campaigns.

Raised, tested, trained and indoctrinated in the Blocks, Molly Zero is being groomed for the governing Elite. Rebelling against her fate, she flees. An innocent searching for truth, Molly finds the world outside the Blocks alien and frightening. Her flight plunges her first into the heart of a small community. Next, attracted by their eccentric gaiety, she joins the travelling gypsies, roaming the country in Commercial Air Cushion Vehicles. And then Molly gets caught up in urban terrorism...

The beloved mangaka adapts one of his country—and teh world's—great works of supernatural literature Shigeru Mizuki—Japan’s grand master of yokai comics—adapts one of the most important works of supernatural literature into comic book form. The cultural equivalent of Brothers Grimm’s fairy tales, Tono Monogatari is a defining text of Japanese folklore and one of the country’s most important works of literature. This graphic novel was created during the later stage of Mizuki’s career, after he had retired from the daily grind of commercial comics to create personal, lasting works of art. Originally written in 1910 by folklorists and field researchers Kunio Yanagita and Kizen Sasaki, Tono Monogatari celebrates and archives legends from the Tono region. These stories were recorded as Japan’s rapid modernization led to the disappearance of traditional culture. This adaptation mingles the original text with autobiography: Mizuki attempts to retrace Yanagita and Sasaki’s path, but finds his old body is not quite up to the challenge of following in their footsteps. As Mizuki wanders through Tono he retells some of the most famous legends, manifesting a host of monsters, dragons, and foxes. In the finale, Mizuki meets Yanagita himself and the two sit down to discuss their works. Translated with additional essays by Mizuki scholar and English-language translator Zack Davisson, Tono Monogatari displays Mizuki at his finest, exploring the world he most cherished. Tono Monogatari was translated by Zack Davisson, an award-winning translator, writer, and folklorist. He is the author of Yurei: the Japanese Ghost, Yokai Stories, Narrow Road, and Kaibyo: The Supernatural Cats of Japan and translator of Shigeru Mizuki's multiple Eisner Award-winning Showa: a History of Japan and famous folklore comic Kitaro. He also translated globally renowned entertainment properties such as Go Nagai's Devilman and Cutie Honey, Leiji Matsumoto's Space Battleship Yamato and Captain Harlock, and Satoshi Kon's Opus. In addition, he lectured on manga, folklore, and translation at colleges such as Duke University, UCLA, and the University of Washington and contributed to exhibitions at the Henry Art Gallery, The Museum of International Folkart, Wereldmuseum Rotterdan, and the Art Gallery of New South Wales.