Case (![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png)
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fandomsecrets2012-01-22 02:42 pm
case) wrote in fandomsecrets2012-01-22 02:42 pm
[ SECERT 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.
The most tl;dr that ever was
Prepare for some SUPER tl;dr somewhat generalized crash course on cultural/ artistic differences between comics.
First off, I'm going to have to ignore the "this looks more soulless" "no, this looks more soulless" argument because that's all personal artistic taste. I've seen some really bland American superhero work and I've seen some of the most plastic, moe crap in the world where in either stick figures might have told a better story. Let's not get started on anatomical issues (or the excuse of "that's my style!") that plague work from anywhere on the board. That's a whole other other thesis.
There are quite a few differences in production of comics in all of the origins in question.
In Europe it's often one or two people that have a whole WEEK to do one page. There are quite a few artists there that work in a much larger format than is standard to American or Asian sizes. Of course, the traditional vs digital age has altered this a bit, but it's the same idea. A lot of European comics (at least the French BD which I admit I know more than I would the English way of comics creation) are also published in a far larger format. They can fit more panels on a page and they are often more along grid format. One of my favorites is Jazz Maynard. It's French and I can't even read it, but I can follow it along because it's easy and beautiful and I love the style. The action is also gorgeous! Check it out if you get the chance! Some people have problems reading European comics because they don't necessarily follow some of the "rules" set in American storytelling (for mainstream stuff, at least, which tends towards a bit more cinematic).
Meanwhile, in Japanese comics, it's often teams pumping out a book monthly or so for magazines or issues, what-have-you. A main creator, potentially writing, layouts, and penciling. Potentially a different inker. A letterer. A toner. There isn't a stigma of ensuring backgrounds as location is established and then it often focuses more to the action or character. HOWEVER, this really does depend by artist and genre, so I can't generalize it all (shoujo very emotionally based so more tone, focus on the character while shounen of course would be lots of action, typically, so on and so forth with jousei, etc, etc). Many publication formats are smaller thus less panels on a page per average (it's what, 3 - 5?) Plenty of people might have difficulty reading this because instead of the left to right European/US comics would have, it flows the opposite direction.
MEANWHILE over in the US, you'll find varying systems as well. In terms of superhero, it's often writer, penciler, inker, colorist, letterer. Sometimes no inker even. Sometimes penciler is inker or assists. An assembly line like in Japan to speed things up. They're doing about 26-30 pages a month. A lot of action is focused on cinema so you'll find things like the 180 rule to make flow easier. Panels (in theory, with a good storytelling) can follow more a grid or are meant to change layout for the sake of pacing and story. Wider gutters (space between panels) might drag time out. More words? Longer time to read the page, slower action. So on and so forth, this is not a comics class so I will not go into details like crazy. Not to mention US comic panels average around 5-7. Our print format is also larger than Japan's but smaller than European (or at least French BD).
OH GOD SECOND COMMENT NEEDED. Way too long. What I have done. [To be continued.]
no subject
Like anything, it'll just take getting USED to. You've got some good suggestions of books to go with. Have at! I know you've focused on superheroes for American comics, but I say you should try checking out some other genres of what US comics have to offer. It's actually not JUST superheroes! I myself am a huge Vertigo fan. Or check out some Oni Press, Dark Horse, Top Cow, Archaia etc. There is a style inspired by EVERYTHING (which is what actually drew me to European comics in the first place). A lot just gets drowned out by the big dogs DC and Marvel (which I love superheroes too so oh well!)
Some of the reasons for that storytelling is in the PROCESS. And there is also the difference between good comics and crap comics. Pick a character you want to focus on and find some works that perhaps follow the grid system more than some of the experimental layouts. As for art style, you'll find all sorts that don't necessarily follow the more Kirby-esque mold. Dustin Nguyen does some gorgeous superhero work you may enjoy?
Good luck OP!
And daaayuuum. Sorry about the tl;dr. Seriously. I could write a thesis on this crap. I know I rambled up there, but I hope that at least gives some background?
no subject
(Anonymous) 2012-01-23 04:40 am (UTC)(link)Also Dustin Nguyen is great!