What's your opinion on naturalistic dialog?

What's your opinion on naturalistic dialog?

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>This... Smells like Bendis

Bendis?

Write a fucking novel.
This crap doesnt respect the medium.
Comics have limited space, and this is a terriblely unentertaining way to use it.
As a kid I could pick up a random cool looking comic, and have no context, just grab one in the middle of an arch with no idea who the characters were, and in a single issue I got a single episode. It would tell a story, that might be part of a larger story, often was, but could be entertaining on its own.
Now its just filler and exposition, entire comics without one good page.

Your example isn't realistic, either. Normal people don't talk like they've got ADHD and teen second memories.

Away from that, though, the idea that art imitating life is an inherent goal is flawed. The point of a comic book is to entertain: your dialogue should be entertaining (or thrilling or emotive or whatever your trying to get across at that moment). Having it be realistic above all else starts as you trying to make sure you don't break sod, and ends with laziness masquerading as realism. Ask them why the dialogue is boring to read and it'll get deflected with 'but it's realistic' as if that matters more than it being boring.

Based
Comics is a visual medium.
Go to Yea Forums if you want a 500 page “comic”.

This brings to mind all the comicbook adaptations of novels that consists entirely of copypasting paragraphs from the book over half-hearted pages. Fuck that shit.

sometimes it might work, but a lot of the time it feels like the writer is being too cute

I like this.

based truth
Comics should be about sequential and visual storytelling, with the text bubbles substituting for dialogue.

>Now its just filler and exposition
This has nothing to do with telling a story in one chapter. It's a structure problem.
There's a lot of cape comics with 6 chapters arc where the first 2 are introduction, the 3 next are padding and/or the author playing for time and the last is conclusion. It often feels like the conclusion came before the story even started because some writers seem to come up with a premise and a resolution but have no idea what to put in between.

Pretty sure even novels avoid this.
This sort of thing only works as a script.

Bendis Jr needs to be stopped

>Normal people don't talk like they've got ADHD and teen second memories.
Some do, which is the entire point of naturalistic dialogue that people don't male polished speeches in their everyday life.

>This sort of thing only works as a script.
Or in comics.

>lets ask the board with a 5 grader's understanding of english

You don’t need that many words. We could cut half that dialogue down through sequential art. Like holy shit its an eyesore to look at.
Its all just:
>WORDS WORDS WORDS WORDS WORDS

Nope

>You don’t need that many words
Or maybe you do. Depends entirely on the scene and writer.

Yeah it does.

>We could cut half that dialogue down through sequential art.
You don't even know what you're talking about.

No, it really doesn't user.
This kind of dialogue is literally only good for plays.

Just seperate them, that whole page could be used for a ton of different perspective shots instead of one HUGE Panel ala the 90s with swiggles and globs that people could barely tell the difference (The colors are all white and I can’t tell who says what).
Its not creative and whoever comes up with this should be chucked into Bendis Blender.

>Pretty sure even novels avoid this.
Bendis speak is a bastardization of a similar style employed by novelist Max Alan Collins.

Shit I didn’t mean to write that.
My point is that this should have had the dialogue cut down or add something to seperate them.

Why the flying fuck does harley's speech start up top, then immediately shift BELOW ivy's dialougue, then shift ABOVE on the second row, then BELOW on the 3rd row.

>No, it really doesn't user.
It really does user as these this type of dialogue doesn't only work in plays but also in comics or tv or movies.

I'm not reading that shit

There's only so much a letterer can do when he's handed out this absolute bullshit.

Though the latter is more prolific than Bendis' main inspiration David Mamet

>Away from that, though, the idea that art imitating life is an inherent goal is flawed. The point of a comic book is to entertain: your dialogue should be entertaining (or thrilling or emotive or whatever your trying to get across at that moment). Having it be realistic above all else starts as you trying to make sure you don't break sod, and ends with laziness masquerading as realism. Ask them why the dialogue is boring to read and it'll get deflected with 'but it's realistic' as if that matters more than it being boring.

This

Its a pacing problem. Comic format relies on "page-turner immersion" where the flow of reading is so fast you practically feel like reading a movie. OP's example page should've needed at least 5 pages with 3-8 panels to play out the dialogue. Also comic is a visual medium, make the characters do something other than be talking heads sitting or standing.

The idea of more natural dialogue is fine in and of itself when it's placed in a mundane situation but talking like you have ADHD isn't natural

Natural dialogue would have been allright as part of a 24-page hardcore sex scene.

Please stop posting "nu-uh" like an underage faggot.

top kek

The comic book writer Bendis?

Make me.

Jacob Bendis? 1940?

That Bendis?

He's a Bendis drone, what did you expect?

That Bendis.

1940? Time does fly by, right? Never lost his touch, that Bendis.

Banedis?

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Holy fuck that was obnoxious and didn't flow well at all. There's a line between autism-laden info-dumps per speech bubble and jankey-ass two-word sentence tradeoffs that snake through the whole page.

>do something other than be talking heads sitting or standing.
Visual doesn't mean showy. There's different way to represent a conversation visually. The most time efficient boring way (often seen in french comics) is one panel taking a third of the page where characters exchange monologues rather than a real dialogue. Op's picture is just a variation of that. One dialogue in one panel. Boring.

>brainlets complaining about more dialogue
Kek, might as well just buy a picture book with no words

So Bendis

I don't have any real problem with the dialogue, but then we know those characters and we know this is a Bendis thing

>Comics is a visual medium.
Words. Have. Meaning.

I get why the writers feels it sounds more natural, but my eyes just want to drift to the point where I'm not drowning in text bubbles. Maybe just use it sparingly for the dialog of teens and children.

BendisKingspeak is truly a extension of Mamet-speak. His play's dialogue works when performed but looks/feels stilled when contained to a back and forth like a script.
When King or Bendis do it against a still frame, they merely make the problem worse.

That dialogue isn't naturalistic.
When people speak, they tend to want to keep the floor, and so will pop off more than one compound in their sentence.
Every single one of those dialogue balloons could have also included the dialogue of the balloon that came after it, and it would feel much more natural.
This is supposed to be a slow conversation with a somber tone. The way the dialogue is laid out makes it seem like they're spitting their words out a mile a minute.

I'm all in favor of the awkwardness of natural speech, with the repetitions, mis-speaking and such.
But do it in multiple panels.
If you're going to have them say so much, you need to show time passing while they do it.

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I thought n52 supergirl's knee window boots were a cool alien fashion

It’s amazing how King manages to be worse than Bendis

>show, don’t tell
That’s what I think.

Yeah, Bendis

Still not as bad as Manga.

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This is infinitely better than the OP image

Togashi should just go write a novel.

That was fucking awful. It's like watching water dropless slide down a windowpane, it's just nothing and goes nowhere.

>muh visual medium

>What's your opinion on naturalistic dialog?
If it's done right

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Bendis, the writer from Marvel? That Bendis?

Fuck naturalistic dialogue and fuck realism that serves no purpose in general. If I wanted reality, I wouldn't be consuming fiction!
I don't want realistic dialogue for the same reason I don't want to watch Batman spend twenty minutes trying to find a parking spot big enough to fit the Batmobile.

No, the one from DC, not the one from Marvel or the one from 1940. That Bendis.

Comic writers nowadays come off as failed screenwriters, hoping that whatever dreck they shit out will get bought by some studio later on

Too many people want to be screenwriters without knowing it.

Fuck you, shitposter, Breaking Quarantine was good

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Is hard to read

Ok aside from this one page are there OTHER examples of “naturalistic dialogue”? My perspectives might change if given a bit more context here.

The worst is Blake and Mortimer.
Nothing compare to that level: not only do texts sometimes take more space in a panel than the art, but when you can see the art the narration is often describing what you're seeing.

>I don't want to watch Batman spend twenty minutes trying to find a parking spot big enough to fit the Batmobile.

Did somebody actually tried to do that?

Naw man, having a wall of text is fine just so long as it has art to go with the flow of the conversation, a single page like the one in the OP is just fucking lazy.

I like it when it isn’t formatted like ass.
This is formatted like ass- why the hell is it a splash page?

Watch a movie then faggot.

This is the sort of thing I worry about when making a comic.
Because I want to draw the expressions of the character with each new thing they say, with a new panel for each emotion they evoke when speaking.
But that might be incredibly tedious to a lot of people, even if I'd happily put that effort in, and I've never seen a comic that goes into such detail.

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Hardly. It’s just walls of text. I prefer the way it’s done in the op

>shit taste