What went right?
Why is the nine panel grid so effective for comic storytelling?
What are your favorite comics that use this for.at?
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What went right? Why is the nine panel grid so effective for comic storytelling?
Frick off Tom King
Tom King has never used it well because, plainly, he's a shit writer.
I liked it on Watchmen, Love and Rockets, From Hell, Alec, and Amazing Spider-Man.
Now not to defend King because he is indeed a shit writer, but shouldn't the page layout fall into the artist's responsibility?
No, the writer has far more control when he decides the page layouts. Shocker, I know.
Huh. That would explain why awful panneling is so commonplace within the big 2. They should consider letting the people who studied art decide how the art should be sequenced.
It’s horrible, it looks clunky and dated, smaller manga pages with less panels are so breezy to read, this is dull
This seems to be how Japs think. I read somewhere that a Jap thought the Watchmen movie was conceptually amazing, loved eveything about it, but trying to read the comic was impossible beacuse of the word count and paneling. It's crazy to me as a westerner because it's so easy to read.
context context context.
Depends on the story
Less panels means you pay more for a story. Especially Manga is cheap for the page count. And when you count page size, comics are cheaper. Ic you translate that to story, it is much more expensive.
But it mostly depends on the artist how compressed it is written.
>Less panels means you pay more for a story.
So there are actually people who think this way after all. I couldn't believe it when I saw that as an argument in favor of the extra exposition and word count in capeshit
It makes sense when you consider people say manga is a better value because they have more pages for the same price.
Page count alone isn't a proper comparison between US and Japanese comics.
>Less panels means you pay more for a story.
what?
What a weird sequence. The clock is supposed to indicate this is happening really fast because he's a speed-themed character but the images themselves don't do anything to promote that idea.
The clock is added specifically because its not communicating speed
Its the definition of telling instead of showing. The writer added something specifically to tell you
>hey this guy is super duper fast and is punching a bunch every second
because he and the artist are incapable of actually showing it to you so you could figure it out yourself.
It's a countdown timer. Bruce is trying to stall Yellow Flash for 1 minute before Barry arrives
and it only goes down once every four panels, indicating Zoom is punching Batman four times every second, yet each panel is a garden-variety depiction of a punch; neither singly nor together do they communicate that Batman is experiancing being punched faster than a normal human could.
How do you suggest indicating a short time frame in a comic book?
It can be tricky here since he's pounding away without moving but the classic way is using afterimages.
In fact the nine panel grid is self-sabotage here since it denotes a slower, methodical pace to the scene.
Most modern American comic artists of the last 20 years are fricking terrible at depicting action, motion, or anything that's not characters standing around and this went double for a lot of DC's big artists of what I'll term the Johns Era of the back half of the 2000s.
There's more sense of motion and impact in the last panel of pic related which is a fricking business drama than there is in OP's image from what's ostensibly an action comic.
If you clearly don't read comics why bother replying to this thread?
I've been reading comics for 30 years. Are you going to tell me, with a straight face, that guys like Fabok and Ivan Reis can actually draw good action sequences? There's good, dynamic artists like Kenneth Rocafort and Iban Coello but dynamic action art hasn't been the strong suit of American (largely cape) comics over the last two decades.
idk who these homies are
Not really.
nothing