![]() Based on the Systemic Functional Linguistics (SFL) framework of the ideational metafunction, this article discusses how linguistic formations are constructed and construed through transitivity in an abridged text. The focus of the analysis concentrates on the verbal text contained in speech bubbles and caption boxes common characteristics of the comics medium. Having been condensed from the original classic Journey to the Centre of the Earth (JttCotE) by Jules Verne, the present study examines the link between these structures and how they represent the original text. This article investigates the application of Halliday’s theory of transitivity to analyse the verbal structures of an abridged text in the form of a graphic novel. This means looking deeper at all individual instances, even if at first glance they appear to represent a counter point or marginalised voices. Using a range of examples from Weibo, such as anti-Trump posts, women fitness influencers, and posts about gender inequalities in the workplace, we argue for the importance and value of looking for politics in all kinds of social media comments and platforms, not so much in terms of formal politics, but a more banal and everyday kind. It is in these banal and everyday instances of communication that deeper senses of who we are, and values and judgements about the social order, reside. Arguably, even the most banal comments are infused with norms and values, with scripts about what should be done, what is important and what is not, based on discourses about how we should run our societies. Communication about everyday events, actions, issues and people articulates dominant (and sometimes alternative) ideological discourses about the nature of our society. Here we argue that all of this content, at core, is ideological and political. Social media content is diverse, ranging from political and social commentary to more mundane, every day, ‘soft’ content. This demonstrates not only that the ability of political satire to enable the powerless to resist the powerful applies in the context of (in)security but also that it enables the powerless to resist “powerful” coercive nonstate actors. The dominant theme that crosses both YouTube and Twitter is that users perceive the French security services as impotent, and that resistance to ISIS can paradoxically only come from local vectors of insecurity, crime, and violence linked to the ongoing proliferation of organized crime in Marseille. Within this, symbols, features and properties of the local urban environment of Marseille are the dominant symbolic resources that are utilized, reconstructed, and deployed to structure and subvert everyday discussions of (in)security. By tracking this vernacular discussion of (in)security across social media platforms, this article demonstrates that, while some intertextuality exists, the crossing of platforms changes both the form and substance of security discussions. ![]() Methodologically, this argument is pursued through a thematic analysis of a YouTube video authored by a French Muslim that defies an ISIS threat to his hometown of Marseille and the resulting, multiauthored Twitter response. Rich, multimodal, social media data provide important means to understand digital forms of everyday constructions of (in)security that discuss, subvert, and parody dominant terrorism and security narratives in the wake of the rise of the Islamic State group. ![]() This article intervenes in critical terrorism studies and conceptions of vernacular security to argue that social media has become an important arena for everyday constructions of terrorism and (in)security. In fact, studies of digital creativity in educational contexts have focused largely on evaluating the effectiveness of multimedia applications and multimodal pedagogies through case studies, drawing conclusions from samples of various sizes and offering pedagogical recommendations based on their findings (see, e.g. Although there is an abundance of hypotheses in creativity (see Boden, 1994Boden,, 1998Boden,, 2004Boden,, 2009Carter, 2004 Csikszentmihalyi, 1988Csikszentmihalyi,, 1997Csikszentmihalyi,, 1999Runco, Nemiro, & Walberg, 1998) and sophisticated theories in multimodality (see Bateman, 2007Bateman,, 2008Bateman,, 2013Bateman and Schmidt, 2012 Kress & van Leeuwen, 2006 Veloso & Bateman, 2013) which regard them as two independent entities, a simple unified theory or an applicable framework for both phenomena as one remains to be formulated, particularly one that is designed from the perspective of multimodal creativity users, such as teachers and learners of multimodal creativity, rather than solely from a scholarly point of view.
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