Web Comic como herramienta promotora de lectura en el ciberespacio común de no lectores

Abstract

Although reading rates in Colombia show an increase from 1.7 to 2.7, a closer look at the data reveals the true figures and the existence of two distinct populations: readers and non-readers. While the reading population reads an average of 4 books per year, a figure lower than the 5 books in countries like Argentina or Mexico, the non-reading population has only increased its average reading from 1.7 to 1.9 books per year. These figures are alarming because, as Mafalda said, "living without reading is dangerous; it forces you to believe whatever you're told." Although various campaigns and strategies have been implemented to promote reading, such as Libro al Viento, Paraderos Paralibros Paraparques (PPP), or even the Bogotá International Book Fair itself, these efforts fall short because their reach and impact are mostly reflected in the reading population—that is, they promote reading among those who already read. This is not at all bad, as it still encourages reading, but it raises the question: How can we reach the non-reading population? One possible strategy, spurred mainly by the isolation of the Coronavirus pandemic, is the distribution of books in digital format. While these are not a replacement for paper, they are a more affordable option. However, challenges remain, primarily the price of books and, secondarily, the need to use third-party applications or platforms to carry out the reading. Thus, we propose the first step for a long-term strategy: If the mountain won't come to Muhammad, then Muhammad must go to the mountain. It is pointless to create physical spaces and cyberspaces for reading if the non-reading population does not reach them. We continue promoting art only for artists; reading is not just exclusive—it is exclusionary. Therefore, it is more viable to bring reading to the common spaces of "non-readers," which brings several factors to the table: first, the digital environment has a broader reach than the physical one, so we will focus on cyberspaces rather than physical spaces; second, these cyberspaces, formed through platforms like Facebook or Instagram, are more receptive to graphic narratives than plain text, making the comic, webcomic, or comic strip format the best option; and third, these cyberspaces allow for the free publication and reading of content, so price or cost will no longer be an obstacle to reading.