| Original message ([an error occurred while processing this directive] Views )[an error occurred while processing this directive]
|
Replies:
|
| Freeter 3707th Post
 
Platinum Carpet V.I.P- Board Master
    
    
    
     
     
|  "Re(1):Comicbook Writing"
, posted Sat 15 Feb 23:15
quote:
Yep, I have a class this sem that talks about comic book writing. We're gonna do an individual report about a given comic book/manga series/ artist of our choice and describe it storywise, as well as the artist's use of color, hue, paneling, attention to detail, etc.
I've chosen Love Hina, and I'm thinking of some pages in the manga that can describe Ken Akamatsu's style in general. Any ideas? Suggestions would be greatly appreciated. :)
Kinda hard to describe color when the manga's b&w, isn't it?
If you want to wow them with the attention to detail, show them Haruka and Seta's wedding. They'll be floored 
|
| CrazyMax
179th Post
Regular Customer
| "Re(3):Comicbook Writing" , posted Tue 18 Feb 07:26
quote:
Yep, I have a class this sem that talks about comic book writing. We're gonna do an individual report about a given comic book/manga series/ artist of our choice and describe it storywise, as well as the artist's use of color, hue, paneling, attention to detail, etc.
One thing to pay attention to in particular is that in a lot of manga they use places where you have to turn the page as a visual/storytelling element; the bottom of the left-hand page either seems normal or seems to be leading up to something, then BAM! full page shot of something really dramatic on the next page.
Ken Akamatsu is REALLY good at this technique, which has a specific name in Japanese that I can't remember at all right now. Any given volume of Love Hina probably has at least a dozen examples.
Hmm. I never considered that... I should keep that in mind when I draw multi-panel stuff...
This is not an uncommon technique. Actually it's pretty standard in visually story telling.
Drawing a comic book page usually involves a 'Z' pattern. - Of course this is reversed in Japanese manga - What Japanese manga has taken beyond American or European comic art is the 'flow'. The common goal of every comic book page is take your eye from the upper left corner to the bottom left as quickly as possible, hopefully leadly to something on the next page with great impact.
I liked the opening page of art to do this, into a double page spread, for great ( cinematic ) opening impact.
Another 'rule' ( unofficial of course ) to keep in mind when designing your pages, the Jack Kirby rule. Which is that the thing or event of greatest importance on the page always gets the biggest panel on the page. This instinctively delivers your point.
Of course, all of this maybe irrelevant. Since the course is on comicbook writing you will only deal with scripting, story arcs, and etc. Nothing to do with actually drawing or designing pages. Usually the writer has little to do with how pages are done, just the actual story itself.
|
| Megane
124th Post
Regular Customer
|  "Re(4):Comicbook Writing"
, posted Tue 18 Feb 17:12
quote:
This is not an uncommon technique. Actually it's pretty standard in visually story telling.
Drawing a comic book page usually involves a 'Z' pattern. - Of course this is reversed in Japanese manga - What Japanese manga has taken beyond American or European comic art is the 'flow'. The common goal of every comic book page is take your eye from the upper left corner to the bottom left as quickly as possible, hopefully leadly to something on the next page with great impact.
I liked the opening page of art to do this, into a double page spread, for great ( cinematic ) opening impact.
Another 'rule' ( unofficial of course ) to keep in mind when designing your pages, the Jack Kirby rule. Which is that the thing or event of greatest importance on the page always gets the biggest panel on the page. This instinctively delivers your point.
Of course, all of this maybe irrelevant. Since the course is on comicbook writing you will only deal with scripting, story arcs, and etc. Nothing to do with actually drawing or designing pages. Usually the writer has little to do with how pages are done, just the actual story itself.
Not exactly irrelevant... My teacher gripes about a certain period (early 90's, but I might be wrong) in Western comics where the writer does something like:
pages 5-12: A fight scene. Make it look good.
IMHO, the writer should say a lot more than that.
|
| CrazyMax
181th Post
Regular Customer
| "Re(5):Comicbook Writing" , posted Tue 18 Feb 17:56
quote:
Not exactly irrelevant... My teacher gripes about a certain period (early 90's, but I might be wrong) in Western comics where the writer does something like:
pages 5-12: A fight scene. Make it look good.
IMHO, the writer should say a lot more than that.
That period still exists, that is known as the 'Marvel' Style. Since the Lee/Kirby days Marvel stressed visuals. They hired artists they trusted to get over the story visually. So the writer would write a basic outline for the penciller to breakdown over the course of ( now ) 22 pages. The penciller would be free to intrepret his story, then the pencilled pages were sent back to the writer to put in the dialogue.
It was considered the 'DC' style for a writer to do a full story that was written out in detail. This has become more in vogue with the rise of the British writers like Alan Moore, to Grant Morrison, to beyond. This guys have even been known to illustrate their own little notations for the penciller to follow. The problem with this is, this style is often not very popular with some pencillers.
The Marvel style promoted more of a collaborative approach between writer & penicller. In my opinion, one of the finest examples of this would be the Claremont/Byrne run of X-Men in the 80's, that all X-Men stories are compared ( and found wanting ) to.
Digression: This is inevitably what led to the rise of the writer/artist i.e. Frank Miller. He took over writing Daredevil when Roger Stern stopped, and we got Daredevil/Elektra from it.
Writers often want to say more, and they do. Sometimes they may have to realize that comic books are not the written word, the are a visually collaborative medium. Just ask any film writer, who's script look nothing like the final movie.
|
| Treepull Aitch
9th Post
New Customer
| "Re(7):Comicbook Writing" , posted Thu 20 Feb 21:07:
Link Here
The writer of the critically-acclaimed Sandman series maintains an active presence on his website. He keeps a near-daily blog where he often answers reader's questions. Try e-mailing him about his writing style.
There's a good chance he'll reply....unless, of course, it's already in his FAQ.
Oh, and try picking up Dream Country (Sandman III). It's got a Sandman script at the back.
[this message was edited by Treepull Aitch on Thu 20 Feb 21:08] |
| Gen 1326th Post
Red Carpet Executive Member
| "Re(5):Comicbook Writing" , posted Thu 20 Feb 22:20
quote:
This is not an uncommon technique. Actually it's pretty standard in visually story telling.
Drawing a comic book page usually involves a 'Z' pattern. - Of course this is reversed in Japanese manga - What Japanese manga has taken beyond American or European comic art is the 'flow'. The common goal of every comic book page is take your eye from the upper left corner to the bottom left as quickly as possible, hopefully leadly to something on the next page with great impact.
I liked the opening page of art to do this, into a double page spread, for great ( cinematic ) opening impact.
Another 'rule' ( unofficial of course ) to keep in mind when designing your pages, the Jack Kirby rule. Which is that the thing or event of greatest importance on the page always gets the biggest panel on the page. This instinctively delivers your point.
Of course, all of this maybe irrelevant. Since the course is on comicbook writing you will only deal with scripting, story arcs, and etc. Nothing to do with actually drawing or designing pages. Usually the writer has little to do with how pages are done, just the actual story itself.
Not exactly irrelevant... My teacher gripes about a certain period (early 90's, but I might be wrong) in Western comics where the writer does something like:
pages 5-12: A fight scene. Make it look good.
IMHO, the writer should say a lot more than that.
How old is your teacher?
|
|
|
"Comicbook Writing" 
"Re(2):Comicbook Writing" 
look! I finally made a stupid tag!
"Re(6):Comicbook Writing" 