[ SECERT POST #1846 ]

[case]

⌈ Secret Post #1846 ⌋


Warning: Some secrets are NOT worksafe and may contain SPOILERS.


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Notes:

Secrets Left to Post: 05 pages, 110 secrets from Secret Submission Post #.
Secrets Not Posted: [ 1 2 3 - broken links ], [ 0 - not!secrets ], [ 1 - not!fandom ], [ 0 - too big ], [ 0 - hit/ship/spiration ], [ 0 - omgiknowthem ], [ 0 - take it to comments ], [ 0 - repeats ]
Current Secret Submissions Post: here.
Suggestions, comments and concerns should go here.

Comments

[flowerylook.livejournal.com]

I don't think that was OP's point. He was talking about panel organization, not about art. Newer panel organization in comic books, specially in action sequences, can be harder to follow than manga due to its compression. Compare this:

http://www.comicbookresources.com/prev_img.php?pid=11208&pg=4

To this:

http://4.bp.blogspot.com/-UXSbTT4WJ3s/TcpKaAv33mI/AAAAAAAAAY4/ZUiNSXy1PVA/s1600/blade-of-the-immortal-1523127.jpg

It's a natural consequence of being forced to write 20 pages monthly whereas manga artists get to draw 20 pages weekly or 40 pages monthly.

[(Anonymous)]

I prefer the first :/

[flowerylook.livejournal.com]

I'm not talking about preferences, though, but rather that the first can be confusing because the action doesn't really flow from panel to panel.

[(Anonymous)]

I think you missed my point. Where they say "That's bad" I say. "That's good give me more please." And they did talk about the art. "emotionless puppets?" "The way they're drawn doesn't sit right with me."

Also seriously the previous poster is right. Western comics aren't all the same if you don't like one you can find another. Runaways (http://www.beyondhollywood.com/uploads/2010/09/runaways-2.jpg) was one of my first, too. Marvel Adventures is actually a really good fun line. Plus is brought us the concept of Storm/Thor which is awesome. If they truly wanted to like it they could find something they liked.

If they can't? So what. Why is it a big deal?

[flowerylook.livejournal.com]

I've read Runaways, at least the first volume. It's certainly easy to read, but also features very little action sequences. That's actually my problem with super-hero comics, whenever there are action sequences, they're usually too compressed. They don't have movement-to-movement transitions but rather scene to scene transitions.

[mika-kun.livejournal.com]

I found the second one more difficult to follow than the first and I rarely have a difficult time following any type of comic. I don't think you picked the best illustration for your point.

Also, it very much depends on the artist. Some manga artists can't write a fight scene to save their lives and some American comics have amazing fight scenes.

I do think that the lack of compression you were talking about allows for greater freedom though.

[(Anonymous)]

Makes sense to me... the second one is just too much to read for an action sequence.
Although manga can still confuse the fuck out of me.

[(Anonymous)]

I don't even read comics or manga, but...

In the first:
1. Two guys are holding Takio down; another one is going to hit him.
2. Spider-man appears and hits the armed one.
3. Something happens and Takio is free! Did he manage to release himself? Did Spider-man help him... without knocking down the two enemies? The two men released him because they were too surprised by Spider-man?
It's weird how they're ready to fight immediately, anyway. And look, the man in purple has a sword now. I don't even see said weapon in the previous panels.
4. Time to fight. It's pretty impossible to know if the enemies attacked first, because we're just seeing Spider-man and Takio looking cool.
5. They won easily! There's only one last enemy standing (but not attacking. He looks like waiting if they're going to hit him). Someone else appear out-frames and Takio seems to be looking in that direction.
The pile of defeated enemies is weird if we see the previous panel, where Spider-man and Takio are fighting with opponents in opposite directions. We can guess Spider-man took the extra work of sending all the enemies in the same direction, even the one he was sitting on in the previous panel, who doesn't look defeated.
And… they enemies are being sent against a rock? Or that is a gray sheet in the wall?


In the second:
1. The character looks up and notices something.
2. Someone, actually, who's attacking him while he was distracted... killing someone or just checking a body?
3. He moves his sword on his direction in a rush. Even without understanding the only text, is pretty obvious he was taken by surprise.
4. Before he defends himself from the attack, someone else appears and kills the attacker.
Now it's obvious they're outside. In a road or something?

Yeah, you proved OP's point.

[kryptoncat.livejournal.com]

I agree. Also, that was a lot of talking for one action sequence in the first comic.

[jenken.livejournal.com]

I think part of this issue is that you're also using...not the best examples? I've gotta say, this is a tad biased here. You've chosen a lovely, iconic Blade of the Immortal action sequence--a very nice choice.

But the American comic you chose is definitely a rather crap page. This page breaks the 180 rule at least twice. There are an infinite number of other beautiful action sequences to choose from, no matter if it's manga, manwha, European, American, etc.

I think the difference here is purely crap storytelling vs good storytelling, and not exactly the best way to show differences in two culturally based arts. :\

Also, manga artists also work on huge creative teams where they might write and then do layouts and pencils or someone else will ink, another will tone, another will letter. It's a different process than America where yes, you'll find that same process, but there are tons of artists now who actually do it all.

ANYWAY, I think I'm actually going to write a huge spiel on this in reply to the original post so it doesn't seem like it's all at you (because really, it's not). I just wanted to bring up that I don't think this is a very fair comparison. Like comparing an apple to a rotten orange at the bottom of the pile.