Vizling Comic
The Vizling demostration comic is presented as both a text version and the graphic version, page by page. If you prefer an audio version, check out our Vizling Comic Narrated Version (MP3 format).
Page 1
Beneath the glowing word Vizling, we meet Aaron, a young man with a shaved head and short beard wearing glasses, and Darren, a graying man with a moustache and small beard wearing yellow glasses. Aaron, holding a laptop with a Vizling logo on it, says, 鈥淗i, I鈥檓 Aaron, co-founder of Vizling, an interactive accessibility app for blind and visually impaired and sighted readers.鈥 Darren then introduces himself as well, 鈥淎nd I鈥檓 Darren, the other half of Vizling. Our aim is to provide a free and open platform for everyone to read multimodal texts in fully accessible, equitable ways.鈥
Aaron then points to a definition of the word 鈥淢ultimodal鈥 displayed on a hanging screen. 鈥淢ultimodal texts,鈥 he explains, 鈥渁re becoming more common in education, news, medical information, and instructional training materials.鈥 The definition of the word Aaron points to reads: 鈥淢ultimodal: relating to, having, or utilizing more than one mode of communicating, like words and pictures, at one time.鈥
While written text can be easily translated using braille or text-to-speech programs, multimodal texts are difficult to translate because they communicate a single message in two different modes. Examples provided here are pages from the New York Times, a chart showing the rising rate of COVID-19 deaths, a superhero comic and a mnemonic chart for understanding how to spot a stroke.
Multimodal texts create a meaning together rather than on their own, such as one might encounter with a 鈥淐AUTION: WET FLOOR鈥 sign that shows the image of a person slipping and falling in addition to the words in order to emphasize the risk. Instead of independent, the words and image are interdependent.
Other current methods of translating multimodal texts simply turn something like a comic into text, but BVI readers miss out on page layout, reading at their own pace, and understanding panel composition.
Page 2
In classroom settings, as when Darren lectures about superheroes before a class of students, not having a full ability to follow along with multimodal texts creates profound and legally precarious issues with equitability for K-12 and college.
鈥淚n fact,鈥 as Aaron emphasizes with examples from a computer laptop and science textbook, 鈥淭extbooks in general contain more and more digital and printed multimodal information.鈥
Darren explains that 鈥淢ultimodal texts don鈥檛 often conform to simple linear narratives,鈥 as illustrated by a series of images progressing from Darren and Aaron in a lab mixing chemicals to the two of them flying through the air in superhero outfits.
Aaron continues, 鈥淏VI readers are at an additional disadvantage when trying to 鈥榙ecode鈥 graphic and text combinations, especially as they relate to spatial concerns.鈥
Page 3
Aaron鈥檚 head appears as a personified fingertip to help explain: 鈥淭o address these concerns, our process uses a combination of screen-touch, haptic responses, and visual linguistics to help BVI readers have the most equitable and accessible reading experience.鈥
A visibly vibrating Darren continues: 鈥淗aptics are the vibratory responses you鈥檙e likely familiar with from your phone. Vizling uses these to help BVI readers understand panel boundaries and the dominant path for reading a graphic narrative.鈥
Using a tablet displaying a comic, Aaron explains: 鈥淎s the user traces their finger across the screen, each panel is read to them while they receive haptic guidance as to which path the narrative takes.鈥
鈥淚f the user moves into a panel in the wrong order,鈥 Darren continues. 鈥淭hey receive haptic response letting them know they鈥檙e progressing in the wrong direction.鈥 An illustration conveys the 鈥楤ZZT!鈥 noise readers receive for not following the correct path of narration."
Page 4
When a reader touches the first panel of the comic on the tablet, the tablet reads out: 鈥淧ANEL 1, AARON EXCLAIMS TO DARREN, 鈥楧ID YOU SEE THE GAME LAST NIGHT?鈥 PANEL 2, AARON THROWS HIS ARMS UP, 鈥業T WAS CRAZY!鈥 DARREN LOOKS NONPLUSSED.鈥 Aaron appears in his lab coat between examples to explain: 鈥淭he Vizling App has several modes to appeal to all readers. Narrative mode reads the comic aloud.鈥
Narrative Grammar Mode is illustrated by a finger tracing panels on the tablet. Aaron says, "Narrative Grammar Mode relays info panel-by-panel. But the user must apply sustained touch to the screen.鈥 As the finger moves from panel to panel, the tablet reads out: 鈥淧ANEL 1, ESTABLISHER. AARON EXCLAIMS TO DARREN, 鈥楧ID YOU SEE THE GAME LAST NIGHT?鈥欌 Aaron continues, 鈥淗aptic responses let them know whether they are following the comic in the correct sequence.鈥
Using visual linguistics, the app will let the reader know where they are in the action arc while guiding them through the preferred reading sequence. When they follow an incorrect sequence, as illustrated by a finger drifting into an incorrect panel, they will receive a 鈥淶ZT!鈥 or haptic response.
Following the comic in the correct sequence will be signified by a positive haptic response, as when the reader traces their finger through the proper sequence and receives a gentler 鈥淏MP!鈥 haptic.
Page 5
Page 6
Translation Mode is illustrated by Aaron speaking in Spanish: 鈥淟a aplicacion Vizling tambien tendra un modo de traduccion. Lo que permitira que los lectores escuchen obras en una variedad de otros idiomas.鈥
Darren responds: 鈥淎aron speaks Spanish. He said, 鈥楾he Vizling App will also have a translation mode, allowing readers to hear works in a variety of other languages...I鈥檓 pretty sure.鈥
The app鈥檚 searchability function is demonstrated, comically, with Aaron applying a big sticker that reads 鈥榃erewolf鈥 to a large, gray werewolf鈥檚 chest. As Darren wonders about werewolves riding skateboards, a quick Vizling check responds: 鈥淵our search located 412 examples of werewolves riding skateboards.鈥
As for researchability, Darren explains that 鈥淭he Vizling App promises to unlock quantitative research into BVI accessibility, multimodality reading for all users, graphic narratives and more.鈥 Aaron punctuates this idea by peering inside Darren鈥檚 exposed brain with a magnifying glass and saying, 鈥淎ll while providing equitable access to multimodal texts.鈥
Page 7
Actual feedback from preliminary studies provided the following quotes from a cross section of readers of many races, genders and ages:
A woman shares: 鈥淚 lost my vision at the age of 7 months. I often have trouble with multimodal media, and the only way I can understand the materials is by seeking help from those around me. I typically don鈥檛 read multimodal media when I鈥檓 alone.鈥
Another woman says: 鈥淚 like to watch TV, but older shows do not have descriptive audio and sometimes the audio is not helpful in determining what is happening visually.鈥
A man confides: 鈥淚 have been blind from birth, so I have never read a comic. I was excluded from these types of things for so long, that I never developed an interest. I would love to try it out, though.鈥
Another man notes: 鈥淭here is so much that I miss when I watch TV or movies. I cannot get the entire intended experience because there is audio as well as things happening visually and dialogue. It is overwhelming and ceases to be entertaining.鈥
A woman says: 鈥淲hen I encounter multimodal media that I can鈥檛 understand, I avoid them or grudgingly get help.鈥
A man explains: 鈥淚 was born blind, and I have trouble navigating and searching multimodal material. I often have to have people explain things to me that I am reading. I would totally read comics and graphic narratives if there was an app that rendered them accessible.鈥
A woman shares: 鈥淚 use haptic feedback every day. It is very effective for guiding me on my device.鈥
A man states: 鈥淲hen I read multimodal media, I have found that the text is hard to follow or the graphics move too fast for me to fully comprehend what is happening.鈥
A non-binary person says, 鈥淚 read graphic novels. Sometimes the text is difficult to follow, and I don鈥檛 understand how the pictures relate to the story. I would read more if there was an app that made it easier for me to read.鈥
Finally, a woman explains: 鈥淚鈥檓 not blind, but I鈥檓 over 50 and my vision has deteriorated enough that I can鈥檛 often read the text on multimodalities on my phone鈥檚 screen. It would be great to easily navigate those images for full effect.鈥
Page 8
In conclusion, as Darren explains while holding a book with a complex DNA helix rising from its pages, 鈥淭he Vizling App will help all K-12 and colleges/universities wishing to be fully compliant with the Disabilities Education Act of 1990 (and avoid lawsuits!). To comply, schools must provide all materials for all classes in fully accessible and equitable formats.鈥
Aaron illustrates some potential application for the Vizling technology by traipsing across a city map in his lederhosen. 鈥淭his technology,鈥 he says. 鈥淎lso holds tremendous potential for all manner of everyday multimodal texts such as works of art鈥 (referring to a museum on the map), 鈥渕enus鈥 (referring to a restaurant on the same map), 鈥渙perational manuals鈥 (referring to a factory), 鈥...and maps!鈥
Another example shows Darren sitting on the floor trying and failing to assemble a chair using instructions from the I Kan Engineer Anything website, displayed on a nearby laptop.
As one of the characters in an inset comic explains: 鈥淰izling will act as a Netflix of comics, providing free and accessible access to a vast library of new and existing works.鈥 A fellow character adds: 鈥淎ll while contributing to a growing library of digital humanities research.鈥 Their comic friends all cheer and hold signs showing love for Vizling.
Finally, Darren and Aaron stand together. Darren, holding a comic in his hands, says 鈥淭he Vizling App is important for all readers.鈥 To which Aaron, standing next to him with a laptop open to a multimodal text in his hands, adds, 鈥淚ts novel approach creates equitable access to existing knowledge with the promise to generate even more.鈥
