BTW, this uses 3-Point Perspective, which McCloud also discusses within the same chapter.
Showing posts with label Adam Borgia. Show all posts
Showing posts with label Adam Borgia. Show all posts
Wednesday, June 8, 2011
Making Comics - MEKA
In Making Comics, page 160, McCloud introduces the "establishing shot." In MEKA, this scene of a sprawled out mech in a war-torn and demolished part of the city is visited and referred back to many times throughout the remainder of the story. Often the time of day has changed, and there are some alterations to perspective, but it is always this same "Ground-Zero" were are shown to bring us back to what has happened.
BTW, this uses 3-Point Perspective, which McCloud also discusses within the same chapter.
BTW, this uses 3-Point Perspective, which McCloud also discusses within the same chapter.
MEKA - Adam Borgia
1. Analyze: Falling Action - Primary
Ryan has already established how important the Event is for this story, that of a large-scale mech battle... I would add an Event within that Event (one that is part of the larger whole, but more specific to the characters) which may be identified as their mech being destroyed. I would label this smaller Event as the climax for this volume, making the results afterward the Falling Action (and thus the preceding actions part of the Rising Action). The battle still continues for the two characters, but their method of survival has gone from being one defined by technology to one defined by personal drive and instinct, the latter being thrust upon them by the failure of the former. I believe this deserves to be identified as "primary" if only because the narrative is driven by these two characters working together in the face of danger, and would be just as coherent (as much as possible in a French comic anyway) if done in any other setting or period.
2. Rating: PG-13
There is a lot of pervasive violence going on, though most of it is between machines or between man and machine. Physical bloodshed is shown, but mostly from a distance as part of the atmosphere, and the story doesn't dwell on it. Nudity is present, but not explicit. The panels and shots are organized in such a way so that you know they are naked because of circumstance, but like the gore mentioned earlier, the story doesn't dwell on it. The rating is due more to the violence than any nudity.
3. Springboard:
Both Ryan and Chad have already discussed the attention to detail in the architecture of the environment and the construction of the machines, either large or small. You can review their comments for more insight into this. I did appreciate how the artist/creator didn't completely ignore physics, which sometimes happens in science fiction. Bodies reacted fairly believably to explosions, quakes and being thrown around violently in a giant mech (I would totally expect that to play out in such a way...). Since there are numerous grenades being tossed like candy toward the end, and the two characters are always covering up their ears, I was interested in looking into how grenades affect hearing. Warfare has been documented to cause temporary or permanent hearing loss. And those with sensorineural hearing loss have a different threshold for sound--the softest sound audible to them is louder than the softest sound perceived by those with normal hearing.
4. Apply:
I don't want mechs in my story. I like them, but I don't think they belong. I do like French though, so maybe putting that in somehow... My treatment also doesn't have the vibe of a survival story, but there are elements of desperation that I could use.
Tuesday, June 7, 2011
Travis Walton - Adam Borgia
Having Travis Walton come and give a short presentation was great. I liked hearing him talk about the collaborative process involved in all the stages of making comics. I imagine that it's similar to other artistic projects, which is why I found it so relevant considering the projects I am currently involved with. It brought up in my mind a dilemma that I wonder if all artists encounter--how much do you sacrifice your vision in favor of just getting a job done, and what's more important to you, getting paid or having something you're proud of with your name on it?
He continued on this idea of "balancing" and the "give-and-take" by bringing up or mentioning little things like how important it is to listen to your gut (or the Spirit for those of us who understand the context he was using) versus simply following what looks good on paper. I don't know how many other professional people would make that kind of statement, so it was nice to hear.
He continued on this idea of "balancing" and the "give-and-take" by bringing up or mentioning little things like how important it is to listen to your gut (or the Spirit for those of us who understand the context he was using) versus simply following what looks good on paper. I don't know how many other professional people would make that kind of statement, so it was nice to hear.
Thursday, June 2, 2011
Jake Parker Presentation
I don't know how I spaced out on responding to Jake Parker's presentation. I've been going over what he talked about with us again and again though, noticing how applicable it is in relation to our current reading list. So even if this is the first evidence you're seeing of my attentiveness, please don't think I wasn't putting the information to use.
Anyway, that's what forgiveness is for.
All of my big interests have already been taken and shared in previous posts (which is what I get for being the last to respond), such as panel pacing and sizing and the effectiveness of word bubbles in directing flow.
So while I may not be able to bring anything new to the table as far as bringing up new insights, I can say that I have gone back to my notes and Jake's presentation in creating my beta comic. I was really struggling to figure out where to start and how to do it, and thinking about my layout actually gave me the final direction I needed in my story telling and narrative, which is a little backwards from what I was expecting.
Anyway, that's what forgiveness is for.
All of my big interests have already been taken and shared in previous posts (which is what I get for being the last to respond), such as panel pacing and sizing and the effectiveness of word bubbles in directing flow.
So while I may not be able to bring anything new to the table as far as bringing up new insights, I can say that I have gone back to my notes and Jake's presentation in creating my beta comic. I was really struggling to figure out where to start and how to do it, and thinking about my layout actually gave me the final direction I needed in my story telling and narrative, which is a little backwards from what I was expecting.
Monday, May 30, 2011
Making Comics - Moving Pictures
In Making Comics, Scott McCloud discusses body language and its relation to, and difference from facial expressions: "expressions are more surface-oriented... while body language is more silhouette-based, all about how our limbs, hands and head are positioned" (pg 103).
In the 2nd panel (pg 93 of the novel) you can see the basic shapes of eyes and nose and how they communicate an attitude of the woman. Much stronger in mood communication however are the 4th and 5th panels. Even though little of each character's bodies are shown, their relation to each other and the gesture, simple as it is, establishes the feelings right there in that scene.
In the 2nd panel (pg 93 of the novel) you can see the basic shapes of eyes and nose and how they communicate an attitude of the woman. Much stronger in mood communication however are the 4th and 5th panels. Even though little of each character's bodies are shown, their relation to each other and the gesture, simple as it is, establishes the feelings right there in that scene.
Moving Pictures - Adam Borgia
1. Analyze: Event - Secondary
We know from the setting almost immediately that this isn't a modern story. The war is just about to reach France's front door (in part of the narrative, since there are flashbacks), and so it sets the actions and character motivations of wanting to hide and protect artwork from any invaders. Thus it is this story's Event. But the War is always either on the horizon (flashback), or the eventual occupation (narrative present) has yet to reach its feverish high, thus I would label it as secondary over primary, since the interactions between characters and their personalities would still come through I think in another place or time.
As a side note, I feel I need to be honest and say that this book lost me more so than any others I had read to this point. That might be one reason I was disappointed. I think the premise had such promise, but in my eyes fell short of what it could have been. Plus, I didn't find any of the key characters to be likeable enough to draw me in to their lives. Some minor characters were far more interesting and enjoyable to "watch." In this way I am reminded of some artistic foreign films that try to win you over with mood and ambiance and hold to the idea that apathetic and angsty souls automatically make for moving stories. I respectfully digress. What was the main lesson of the novel? How did our character change? Or does she just run away? Because I feel the whole package lacked direction, it left me, as the reader, with little direction of my own.
That all being said, I have nothing but positive things to say about the aesthetics of Moving Pictures. For me, the visuals carry the story and are much more effective in establishing mood and influencing readers than the dialogue and the handling of the characters.
2. Rating: PG-13
A couple is not-so-subtly shown to be sleeping together, although none of these actual scenes are shown. There is one F-word (pg 32), but it is used rather awkwardly (I can only reason that the author used it simply for its alliteration in the sentence) and stands out in a novel which otherwise is fairly clean. And Nazis rarely factor into stories below pg-13...
3. Springboard:
A lot has been said regarding the history research needing to be done to make this story feel authentic. I would instead like to make mention to the research needed in bringing the story to life and giving it authenticity through visual reference. There are scatterings of "reproductions" of actual works of art as background to several scenes and panels. Towards the end of the book are also several pastoral landscapes of the countryside. It is possible that all this gathering of good photo reference could have been done indirectly by third-parties, but I would be more than willing to venture that the creators did some traveling in that part of the world for their own personal referencing.
I looked up the unique history of one of the paintings mentioned in the book, Les Noces de Cana (The Wedding Feast at Cana) by Paolo Véronèse. According to the book, the painting ended up in France because of a post Napoleonic War treaty/trade between countries. Other sources however say that Napoleon first looted the painting from its site in a Monastery in Venice, cut it in half for the journey to France, then sewed it back together in Paris. With regards to the post-war art trading, this painting was never returned to Italy, but a Charles Le Brun painting was sent in its place. During WWII this massive painting was rolled up and transported around France in a truck to avoid looting.
4. Application:
I do not htink that I would like to explore the wartime setting for my treatment (later ones, perhaps). I did appreciate the techniques in panel transitioning though, including some transitions from the "present" to memories in the characters' past. The employment of harsh outlines and silhouettes was striking and I would consider exploring their implementation for my own story.
We know from the setting almost immediately that this isn't a modern story. The war is just about to reach France's front door (in part of the narrative, since there are flashbacks), and so it sets the actions and character motivations of wanting to hide and protect artwork from any invaders. Thus it is this story's Event. But the War is always either on the horizon (flashback), or the eventual occupation (narrative present) has yet to reach its feverish high, thus I would label it as secondary over primary, since the interactions between characters and their personalities would still come through I think in another place or time.
As a side note, I feel I need to be honest and say that this book lost me more so than any others I had read to this point. That might be one reason I was disappointed. I think the premise had such promise, but in my eyes fell short of what it could have been. Plus, I didn't find any of the key characters to be likeable enough to draw me in to their lives. Some minor characters were far more interesting and enjoyable to "watch." In this way I am reminded of some artistic foreign films that try to win you over with mood and ambiance and hold to the idea that apathetic and angsty souls automatically make for moving stories. I respectfully digress. What was the main lesson of the novel? How did our character change? Or does she just run away? Because I feel the whole package lacked direction, it left me, as the reader, with little direction of my own.
That all being said, I have nothing but positive things to say about the aesthetics of Moving Pictures. For me, the visuals carry the story and are much more effective in establishing mood and influencing readers than the dialogue and the handling of the characters.
2. Rating: PG-13
A couple is not-so-subtly shown to be sleeping together, although none of these actual scenes are shown. There is one F-word (pg 32), but it is used rather awkwardly (I can only reason that the author used it simply for its alliteration in the sentence) and stands out in a novel which otherwise is fairly clean. And Nazis rarely factor into stories below pg-13...
3. Springboard:
A lot has been said regarding the history research needing to be done to make this story feel authentic. I would instead like to make mention to the research needed in bringing the story to life and giving it authenticity through visual reference. There are scatterings of "reproductions" of actual works of art as background to several scenes and panels. Towards the end of the book are also several pastoral landscapes of the countryside. It is possible that all this gathering of good photo reference could have been done indirectly by third-parties, but I would be more than willing to venture that the creators did some traveling in that part of the world for their own personal referencing.
I looked up the unique history of one of the paintings mentioned in the book, Les Noces de Cana (The Wedding Feast at Cana) by Paolo Véronèse. According to the book, the painting ended up in France because of a post Napoleonic War treaty/trade between countries. Other sources however say that Napoleon first looted the painting from its site in a Monastery in Venice, cut it in half for the journey to France, then sewed it back together in Paris. With regards to the post-war art trading, this painting was never returned to Italy, but a Charles Le Brun painting was sent in its place. During WWII this massive painting was rolled up and transported around France in a truck to avoid looting.
4. Application:
I do not htink that I would like to explore the wartime setting for my treatment (later ones, perhaps). I did appreciate the techniques in panel transitioning though, including some transitions from the "present" to memories in the characters' past. The employment of harsh outlines and silhouettes was striking and I would consider exploring their implementation for my own story.
Wednesday, May 25, 2011
"Passing" - Adam Borgia
1. Idea Stage:
First Idea - [Comes from a short story idea I had years ago (and I don't remember where that one came from exactly)] A man who pre-dates Adam as the real "first" being on earth had eaten of the fruit of the tree of life before the forbidden fruit, and thus lives forever in a state of innocence, having never experienced the Fall.
Second Idea - [This comes from a number of sources, including religious studying, movies, and even my most recent Sandman readings, as well as long, slow walks back from campus] An agnostic man becomes the newest, modern-day host for Legion, the body of demons we read about from the New Testament.
*Third Idea - Edit* - A "self-help group" for schizophrenics and other mental sicknesses [I find mental illnesses fascinating, and I think groups like AA are humorous in their approaches sometimes--kind of like the blind leading the blind].
2. Story
1.) Backstory - One man ate of the tree of eternal life as still lives, being passed secretly around different religions and hidden from the world; another man struggles to find his place in the world. 2.) Rising Action - The immortal man escapes his custody and enters the real world; the other man becomes inhabited by Legion and starts to display erratic, schizophrenic behavior. 3.) Climax - The possessed man discovers that Legion is using him to get to the immortal man; the immortal man realizes he does not fit in, considers revealing his true self. 4.) Falling Action - Both men are forced to interact at a mental illness help group... the possessed man makes the decision to leave society and let himself die so that Legion cannot pass on to anyone else. 5.) Denouement - The immortal man realizes that he can make a difference and that he has a purpose, and so he takes Legion into himself to protect the rest of the world (he hasn't Fallen and thus cannot be corrupted by Legion) and leaves the other man free to go on with the rest of his life.
*Short Story - Edit*
1.) A man is shown inside of a high school at night, where he has arrived early for a weekly group meeting. 2.) The room and chairs begin to fill up around him, and as it begins we see that someone has decided to sit and listen outside the room. 3.) One of the group members--a person who think his job is to be a crime fighter--starts to talk, the man outside perks up and peeks inside the room. 4.) The man who arrived early senses someone is looking through the window and darts out of the room to confront him. 5.) The man outside has already fled, and the exit door is left swinging open.
3. Appropriation/Style
Okay, so this isn't the best picture in the world, but it's here right now as proof that it was completed on time. Chad is my witness.
-Short Story Supplement Stage-
a) The dominant MICE quotient in the short story is Idea
b) The primary conflict is the outside man wanting to be involved with the rest of the group, but afraid to open up
c) The theme is about revealing your true self
d) Major world limitations affect the demon possession--transferring between active vessels requires the loss of one demon from the Host each time, going to a new host once the old one has died does not (same with being exercised); if the host dies with no replacement hosts nearby, the demons get weaker and may eventually "die" themselves. This won't really pop up in this short story version...
4. Beta Comic Stage
This is in process, but I really did start it. I've got the thumbnails done and the page layouts organized, but it needs to be more to scale and a little tighter before it reads well enough. Chad is my witness (again).
First Idea - [Comes from a short story idea I had years ago (and I don't remember where that one came from exactly)] A man who pre-dates Adam as the real "first" being on earth had eaten of the fruit of the tree of life before the forbidden fruit, and thus lives forever in a state of innocence, having never experienced the Fall.
Second Idea - [This comes from a number of sources, including religious studying, movies, and even my most recent Sandman readings, as well as long, slow walks back from campus] An agnostic man becomes the newest, modern-day host for Legion, the body of demons we read about from the New Testament.
*Third Idea - Edit* - A "self-help group" for schizophrenics and other mental sicknesses [I find mental illnesses fascinating, and I think groups like AA are humorous in their approaches sometimes--kind of like the blind leading the blind].
2. Story
1.) Backstory - One man ate of the tree of eternal life as still lives, being passed secretly around different religions and hidden from the world; another man struggles to find his place in the world. 2.) Rising Action - The immortal man escapes his custody and enters the real world; the other man becomes inhabited by Legion and starts to display erratic, schizophrenic behavior. 3.) Climax - The possessed man discovers that Legion is using him to get to the immortal man; the immortal man realizes he does not fit in, considers revealing his true self. 4.) Falling Action - Both men are forced to interact at a mental illness help group... the possessed man makes the decision to leave society and let himself die so that Legion cannot pass on to anyone else. 5.) Denouement - The immortal man realizes that he can make a difference and that he has a purpose, and so he takes Legion into himself to protect the rest of the world (he hasn't Fallen and thus cannot be corrupted by Legion) and leaves the other man free to go on with the rest of his life.
*Short Story - Edit*
1.) A man is shown inside of a high school at night, where he has arrived early for a weekly group meeting. 2.) The room and chairs begin to fill up around him, and as it begins we see that someone has decided to sit and listen outside the room. 3.) One of the group members--a person who think his job is to be a crime fighter--starts to talk, the man outside perks up and peeks inside the room. 4.) The man who arrived early senses someone is looking through the window and darts out of the room to confront him. 5.) The man outside has already fled, and the exit door is left swinging open.
3. Appropriation/Style
Okay, so this isn't the best picture in the world, but it's here right now as proof that it was completed on time. Chad is my witness.
-Short Story Supplement Stage-
a) The dominant MICE quotient in the short story is Idea
b) The primary conflict is the outside man wanting to be involved with the rest of the group, but afraid to open up
c) The theme is about revealing your true self
d) Major world limitations affect the demon possession--transferring between active vessels requires the loss of one demon from the Host each time, going to a new host once the old one has died does not (same with being exercised); if the host dies with no replacement hosts nearby, the demons get weaker and may eventually "die" themselves. This won't really pop up in this short story version...
4. Beta Comic Stage
This is in process, but I really did start it. I've got the thumbnails done and the page layouts organized, but it needs to be more to scale and a little tighter before it reads well enough. Chad is my witness (again).
Monday, May 23, 2011
All*Star Superman - Adam Borgia
1. Analyze: Event - Primary
For this treatment of Superman, there is an event that occurs early on which sets the tone for the rest of the volume (and I imagine the series as well) that effects the fate of Superman himself, and we are watching how we spends his time, where his thoughts are going, and how the people closest to him in his life are reacting to these changes. I'm being slightly vague because I don't want to ruin it. The "real" Event then becomes this approaching deadline that both the characters and the viewers are awaiting. I don't know if it's cheating to include as my analysis the identifying of an Event that isn't even fully manifested in this volume, but to me it is SO important that I just had to. Now go read it and see for yourself.
2. Rating: PG
It's Superman. He's not just a super powered alien, he's a super man, and exemplifies the best in all of us. I've always admired the character of Superman for being a beacon of strength and determination, but also one of morals and values. There is comic violence in here, as thugs and monsters alike need a beat-down from time to time. Language is minimal. It's good stuff.
3. Springboard:
I would say that the author would have had to know about science in order to pull of all the technobabble going on in this series, but that's really not true. They can just put together words that sound good like Star Trek did. The author would have had to know about past comic figures though, such as Atlas and Samson who make an appearance here. I wasn't too familiar with their standing in the world of comics (although I know the figures from mythology and the Old Testament). After looking them up, it seems that they come from a Golden Age of comics, some even pre-dating DC Comics (but still having some relation to the latter company as evidenced in crossovers). One version of Atlas gained his powers by absorbing an alien crystal giving him his powers and allowing him to exist outside of time. In All*Star Superman Atlas makes reference to Zeus and the like, so he may not be the same character. Samson, as a comic character, is apparently a descendant of the original Samson, also having super strength and agility (so long as his hair isn't cut). This may or may not be the same Samson seen in All*Star, but I can't seem to find any other Samson presence in comic books. I'd be curious to know what other history or evidence people may have on these supporting characters.
4. Application:
I don't really plan on using aliens and implausible science in my own story, but in reading this and other superhero comic books, I have become interested in the idea of a superhero, and how that might be translated into a real world setting, or at least some delusional manifestation of it for one of my minor characters.
Making Comics - All*Star Superman
Scott McCloud talks about facial expression beginning on page 80, focusing a bit later on elements like exaggeration (pg. 94) to get a point across quicker, or to show the gravity of a situation or encounter when subtlety isn't something you're going for. There is of course a way to achieve these things using correct anatomy, but in comics you have a little more free range of emotions to manipulate.
In All*Star Superman the character of Lex Luthor often portrays the look of condescension, anger or deviousness (sometimes all three in a good day). What I thought was great in reading this was noting not just how the artist Frank Quitely uses an expression to carry one of these emotions across, but actually uses the character himself to make this exaggeration. I noticed this particular scene being a little bizarre until I went back several pages and noticed how one of Lex's eyebrows rubs off following an intense--and sweaty--situation. Lex Luthor appears to be one of those individuals born without any bodily hair (attributing to his baldness). When it is pointed out to him that one half of his brow is now absent, he physically draws on an absurdly exaggerated brow denoting the aforementioned deviousness, and just in time for the climax of his evil monologue. It's both funny and disturbing. Good job, Frank.
In All*Star Superman the character of Lex Luthor often portrays the look of condescension, anger or deviousness (sometimes all three in a good day). What I thought was great in reading this was noting not just how the artist Frank Quitely uses an expression to carry one of these emotions across, but actually uses the character himself to make this exaggeration. I noticed this particular scene being a little bizarre until I went back several pages and noticed how one of Lex's eyebrows rubs off following an intense--and sweaty--situation. Lex Luthor appears to be one of those individuals born without any bodily hair (attributing to his baldness). When it is pointed out to him that one half of his brow is now absent, he physically draws on an absurdly exaggerated brow denoting the aforementioned deviousness, and just in time for the climax of his evil monologue. It's both funny and disturbing. Good job, Frank.
Monday, May 16, 2011
Heavy Liquid - Adam Borgia
1. Analyze: Event - Primary ~Quasi Spoilers~
Although the Idea behind the story overlays everything (that being that a strange and extremely rare mystery metal may be melted down with strange hallucinogenic effects), I really felt that Event was more significant to at least our main character and his drive throughout the story. He's addicted to this drug, true, but as it is slowly revealed to us, he is also addicted to a girl from his past from whom he is now separated. It appears that he is slightly more willing to overcome the latter addiction however, and so it creates a nice parallel. The Event referred to though is his being hired by a shadowy businessman to track down this girl (who is trying very hard NOT to be found); this realization of this request is always looming over him, and he must sort out his own motives for doing so--is it strictly business and a means to another fix, or is it something more? The arrival of this event brings some strong emotions to the surface from both sides and allows for a sorely needed healing for all parties.
2. Rating: PG-13/R
There are a handful of uses of the "F" word (5 or so), although these are used as a nickname for a tech device and not explicit in their use or directed toward anyone, and the swearing occurs over the course of a few pages. There is also one scene with partial side nudity from a flashback. It actually felt a little out of place... There's honestly just a lot of heavy adult themes going on here involving gangs and violence and consistent drug use (albeit a very different kind of drug, not a narcotic). With a well placed censor sticker and some crossed out text, this could be a comfortable PG-13 all around.
3. Springboard
Well the easiest thing to point out is that Paul Pope would have had to know and understand the nature and habits and lifestyle of drug addicts, but I don't really care to know how he did his "research." Safe to say it is very convincing. Not so convincing is one of his minor character's French. I don't know if if was intentional, but there were a fair amount of grammatical and sentence forming mistakes. Maybe Google Translate gave Pope a hard time. There is actually a good portion of the story involving art and sculpture though, and Pope would have to know certain terms and processes he describes to keep from coming off as lazy.
I've been around a lot of studio artist who deal with sculpture as a medium, so I am slightly aware of the "lingo." The difference between casting and moulding is significant, even though I've heard them used interchangeably. Moulding is when the original work is covered with a material (either bronze or resin) and allowed to set, creating a mould (clever, huh?) when separated from the sculpture. Casting comes from using this mould as a skeleton or framework to produce a certain amount of replicas. Casting is not done usually in the same medium as the original sculpture, which is why a marble statue may be cast in replicas of plaster or cement. This distinction is important at a certain point in the story involving one of the characters and a decision they choose to make.
Making Comics - Heavy Liquid
Yo.
So on pages 60 and 61 of Making Comics, Scott McCloud discusses character design and the fact that we as humans look for human characteristics in almost everything around us, be it animals, machines or doodles. Many cartoonists and artists tap into this and anthropomorphize (sp?) non-human subjects to engage the reader. Paul Pope uses a simple, abstract human gesture for one of his "characters" in Heavy Liquid to allow us to connect him to another character. As loose at the design is, it still reads as human(ish), versus being totally alien and having no congruency making that connection difficult or impossible.
If this doesn't make sense to you, come talk to me. It all works out in my head.
So on pages 60 and 61 of Making Comics, Scott McCloud discusses character design and the fact that we as humans look for human characteristics in almost everything around us, be it animals, machines or doodles. Many cartoonists and artists tap into this and anthropomorphize (sp?) non-human subjects to engage the reader. Paul Pope uses a simple, abstract human gesture for one of his "characters" in Heavy Liquid to allow us to connect him to another character. As loose at the design is, it still reads as human(ish), versus being totally alien and having no congruency making that connection difficult or impossible.
If this doesn't make sense to you, come talk to me. It all works out in my head.
Monday, May 9, 2011
Making Comics - The Sandman
- I wanted to talk about the different panel transitions from Making Comics as it relates to my reading of The Sandman before talking about other connections between our readings.
There are all sorts of transition devices being used. I don't know if the series as a whole favors one kind over another or not (because I haven't read all of them yet), but I was able to pick out when one kind was being used in a given "episode" and the effect it tended to have. There isn't a huge need to blow through the story, since there's a lot of room to tell it, and so there are a number of instances where images are being shown without time passing quickly, or with no reference of time at all. You can notice an aspect-to-aspect transition in the page shown below, where Hell is depicted, but there is no clear sequence of happenings. It's just showing different scenes and landscapes with some narration occurring to give a sense of the vastness of the place.
This technique fits in especially well with this part of the story (which you'll just have to read).
And here is an example of moment-to-moment transition, used to draw out an action for emphasis, which compliments/mirrors the thought process of the character involved.
- Choice of Image is also significant in this body of work. The group of contributing artists change throughout each episode, and so some incarnations of characters warp slightly. This is fitting considering the ethereal nature of some of them, but I also felt that in many instances, the image existed solely as an expression of that artist's personal taste. By far the most important "Choice" though is Choice of Word. The language and story as represented by words is the true strength behind this series, and is what motivated me to keep reading, as I often found myself at odds with the art direction.
There are all sorts of transition devices being used. I don't know if the series as a whole favors one kind over another or not (because I haven't read all of them yet), but I was able to pick out when one kind was being used in a given "episode" and the effect it tended to have. There isn't a huge need to blow through the story, since there's a lot of room to tell it, and so there are a number of instances where images are being shown without time passing quickly, or with no reference of time at all. You can notice an aspect-to-aspect transition in the page shown below, where Hell is depicted, but there is no clear sequence of happenings. It's just showing different scenes and landscapes with some narration occurring to give a sense of the vastness of the place.
This technique fits in especially well with this part of the story (which you'll just have to read).
And here is an example of moment-to-moment transition, used to draw out an action for emphasis, which compliments/mirrors the thought process of the character involved.
- Choice of Image is also significant in this body of work. The group of contributing artists change throughout each episode, and so some incarnations of characters warp slightly. This is fitting considering the ethereal nature of some of them, but I also felt that in many instances, the image existed solely as an expression of that artist's personal taste. By far the most important "Choice" though is Choice of Word. The language and story as represented by words is the true strength behind this series, and is what motivated me to keep reading, as I often found myself at odds with the art direction.
The Sandman: Season of Mists - Adam Borgia
1. Analyze: Character - Primary
Both Character and Event seem to be almost equally persistent in vying for attention. Without spoiling too much (and robbing the next reader from their own analysis), there is an actual event that is "foretold" in the beginning, realized halfway through, and then dealt with as the story reaches its conclusion--but I really felt that the whole event (and sub-events) existed as a means for the main character to show his true character. I viewed much of this story as one about growing up, albeit in a very different way from the typical adolescent perspective we're used to seeing. The protagonist, Dream, is actually more of an idea or power or force that is eternal, and less like your average conflicted hero. We as the reader wonder as he does himself throughout the story whether someone like him is to be held to the same standards as mortals or other persons. Isn't he beyond that? Or are there certain traits and qualities that themselves are eternal in nature and ought to be upheld by everyone and everything? Deep stuff.
Amidst all the bizarre and fascinating things happening here, I was intrigued, and actually invested the most in witnessing the personal development--and in some ways, penance--of Dream. Someone so inhuman in so many ways becoming more human is a great transformation. And I suspect there is much more to be seen.
2. Rating: PG-13.
There are a lot of heavy thematic things going on in the story. Some range from the common trials and disappointment we all deal with to several "What the Heck?!?" themes (I apologize, but that is honestly the best way for me to describe certain parts). There are some gruesome scenes depicting torture in Hell, and the dialogue, while relatively clean from a profanity point of view, contains a handful of instances of amorality and debauchery (pg. 11 of episode 2, pg. 10 of episode 4, pg. 1 of episode 6), as well as a few suggestive visuals here and there. I can't recall anything outright explicit. However, if the artists or writer had wanted to expand any of these to a more graphic level (which wouldn't have done anything for the story, in my opinion), then this rating could be R.
3. Springboard
Mythology runs throughout this story, and I expect throughout the entire series. Neil Gaiman is not exclusive in his preference however, as he seems to be comfortable combining Norse, Greek, Japanese, Egyptian, Faerie and Christian theology and mythos. I would expect that he had done substantial research into each of these fields in preparation for this work. His take on some major characters are both faithful to other depictions while unique in their own right. I went back to look into some apocryphal sources regarding angels, the fall and the domain of Hell to see where Gaiman drew particular bits of inspiration. I learned somewhat of the heiarchy of archangels (Michael, Gabriel, Raphael, Uriel) and their roles, but in Gaiman's treatment, Lucifer is the one listed as the greatest of the archangels, second in power only to God (by the way, Satan is not at all what I expected here, and that's a good thing. I found him to be a very original take on a very, very old figure).
Both Character and Event seem to be almost equally persistent in vying for attention. Without spoiling too much (and robbing the next reader from their own analysis), there is an actual event that is "foretold" in the beginning, realized halfway through, and then dealt with as the story reaches its conclusion--but I really felt that the whole event (and sub-events) existed as a means for the main character to show his true character. I viewed much of this story as one about growing up, albeit in a very different way from the typical adolescent perspective we're used to seeing. The protagonist, Dream, is actually more of an idea or power or force that is eternal, and less like your average conflicted hero. We as the reader wonder as he does himself throughout the story whether someone like him is to be held to the same standards as mortals or other persons. Isn't he beyond that? Or are there certain traits and qualities that themselves are eternal in nature and ought to be upheld by everyone and everything? Deep stuff.
Amidst all the bizarre and fascinating things happening here, I was intrigued, and actually invested the most in witnessing the personal development--and in some ways, penance--of Dream. Someone so inhuman in so many ways becoming more human is a great transformation. And I suspect there is much more to be seen.
2. Rating: PG-13.
There are a lot of heavy thematic things going on in the story. Some range from the common trials and disappointment we all deal with to several "What the Heck?!?" themes (I apologize, but that is honestly the best way for me to describe certain parts). There are some gruesome scenes depicting torture in Hell, and the dialogue, while relatively clean from a profanity point of view, contains a handful of instances of amorality and debauchery (pg. 11 of episode 2, pg. 10 of episode 4, pg. 1 of episode 6), as well as a few suggestive visuals here and there. I can't recall anything outright explicit. However, if the artists or writer had wanted to expand any of these to a more graphic level (which wouldn't have done anything for the story, in my opinion), then this rating could be R.
3. Springboard
Mythology runs throughout this story, and I expect throughout the entire series. Neil Gaiman is not exclusive in his preference however, as he seems to be comfortable combining Norse, Greek, Japanese, Egyptian, Faerie and Christian theology and mythos. I would expect that he had done substantial research into each of these fields in preparation for this work. His take on some major characters are both faithful to other depictions while unique in their own right. I went back to look into some apocryphal sources regarding angels, the fall and the domain of Hell to see where Gaiman drew particular bits of inspiration. I learned somewhat of the heiarchy of archangels (Michael, Gabriel, Raphael, Uriel) and their roles, but in Gaiman's treatment, Lucifer is the one listed as the greatest of the archangels, second in power only to God (by the way, Satan is not at all what I expected here, and that's a good thing. I found him to be a very original take on a very, very old figure).
Thursday, May 5, 2011
Jake Wyatt - Britta Kind of Stole One of My Ideas
When Jake mentioned that a comic has the responsibility of telling its story through either words or pictures, and that one often has to carry the bulk of the burden at any given time, I almost immediately tuned out. Time passed a little slowly in reality while speeding incredibly fast in my brain as I thought about all the possibilities and permutations of this single facet. But then I came back to the present, and it turned out I hadn't been "away" all that long. Neat.
Anyway, I had thought a little about examples I'd seen in my own readings and some examples passed around class, but I really tried to visualize how this would be achieved in my own story that we're hammering out.
For some of us this idea may seem a little intangible, but I believe that you can see this same idea readily manifested in a media like film. In both the Star Wars and Lord of the Rings sagas, you can notice that at times very little is happening in way of dialogue, but all of the emotion is controlled via the scenery or sweeping orchestra (i.e. Luke gazing out on the Tatooine sunset during his last few moments as a simple moisture farmer [goodbye Tosche Station!]); the opposite is also true, where "what's being said" is more important than the "where" or the "what's happening" (i.e. the Council of Elrond scene where the shots aren't very diverse [a lot of close-ups, fewer zoomed out with scenery/architecture], and music plays little role, but there's a huge amount of backstory given and the set-up for the rest of the film is laid out).
When you find out about the "rules" that exist within art--in all its forms--you will more frequently find that your ability to be creative increases. You can't push against limits that aren't there. Honest.
Anyway, I had thought a little about examples I'd seen in my own readings and some examples passed around class, but I really tried to visualize how this would be achieved in my own story that we're hammering out.
For some of us this idea may seem a little intangible, but I believe that you can see this same idea readily manifested in a media like film. In both the Star Wars and Lord of the Rings sagas, you can notice that at times very little is happening in way of dialogue, but all of the emotion is controlled via the scenery or sweeping orchestra (i.e. Luke gazing out on the Tatooine sunset during his last few moments as a simple moisture farmer [goodbye Tosche Station!]); the opposite is also true, where "what's being said" is more important than the "where" or the "what's happening" (i.e. the Council of Elrond scene where the shots aren't very diverse [a lot of close-ups, fewer zoomed out with scenery/architecture], and music plays little role, but there's a huge amount of backstory given and the set-up for the rest of the film is laid out).
When you find out about the "rules" that exist within art--in all its forms--you will more frequently find that your ability to be creative increases. You can't push against limits that aren't there. Honest.
Monday, May 2, 2011
Syllabus (where did this word even come from?)
I enrolled in this course because Richard Hull told our class we should. And I knew I needed to carry 6 credits for the Spring term to qualify for my scholarship. And I knew Jared was teaching it, so those three things added up to me, well, adding the class.
I definitely want to improve my knowledge of comic books and graphic novels, but that is just so broad itself I almost don't know where to start... I don't know if I would ever get to the point where I'm an avid collector (it takes a lot of thinking and effort for me to commit to new hobbies and projects), but I figure that becoming familiar with this form of media is a far more interesting and entertaining way of being connected to current trends in society, politics and psychology.
What interests me the most about comics is probably what interests me the most in movies, television and books:
- What does it take to make a great story? How "original" to you have to be to be original?
- What's the best way to tell a story (verbally and visually)?
- What place do editing and censorship have in the storytelling process--how can I tell a powerful story without sacrificing standards?
- How do we reinforce certain standards and ideals to the masses?
I really want to see how these kind of things are addressed and ignored in the comics of today. I also want to see how someone who may be unfamiliar with the world of "traditional" comics handles the stories and treatments of a project (i.e. Neil Gaiman and Orson Scott Card). I'm always coming up with scenes and stories and ideas, but I never seem to get them fully realized. I need to learn how before my brain explodes.
I want to be informed. And then, if I am able, I want to make a difference.
(P.S. I was there with Chad at the comic book store, and the two of us two of us definitely were out of our element. I wonder how, and if, that will change over the course of the term.)
I definitely want to improve my knowledge of comic books and graphic novels, but that is just so broad itself I almost don't know where to start... I don't know if I would ever get to the point where I'm an avid collector (it takes a lot of thinking and effort for me to commit to new hobbies and projects), but I figure that becoming familiar with this form of media is a far more interesting and entertaining way of being connected to current trends in society, politics and psychology.
What interests me the most about comics is probably what interests me the most in movies, television and books:
- What does it take to make a great story? How "original" to you have to be to be original?
- What's the best way to tell a story (verbally and visually)?
- What place do editing and censorship have in the storytelling process--how can I tell a powerful story without sacrificing standards?
- How do we reinforce certain standards and ideals to the masses?
I really want to see how these kind of things are addressed and ignored in the comics of today. I also want to see how someone who may be unfamiliar with the world of "traditional" comics handles the stories and treatments of a project (i.e. Neil Gaiman and Orson Scott Card). I'm always coming up with scenes and stories and ideas, but I never seem to get them fully realized. I need to learn how before my brain explodes.
I want to be informed. And then, if I am able, I want to make a difference.
(P.S. I was there with Chad at the comic book store, and the two of us two of us definitely were out of our element. I wonder how, and if, that will change over the course of the term.)
Best Coolest (Adam Borgia)
Is Jared the only one reading these?
http://whatsinyourpasta.blogspot.com/2011/05/comics-appreciation-questionaire.html
http://whatsinyourpasta.blogspot.com/2011/05/comics-appreciation-questionaire.html
Subscribe to:
Posts (Atom)