What's a unique strength comics have as a medium?

2 storytelling devices. You can use narration for exposition and visuals for main plot, all on the same page/panel.

out of curiosity, what is the video game equivalent of comic characters breaking the 4th wall to interact with their panels?

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Literature is about information complexity and density, whereas comics convey audiovisual “events”. One releases more dopamine than the other, no points for guessing which.

There are novels that might as well be someone dictating a comic to the reader, and there are comics that approach the informatic depth of a novel

So there’s a threshold of literary value below which a novel might be better off in comic or film form. Like for instance Marvel paperbacks (some of which are decent) that could have just been comics.

Wouldn't that be theater? The actor can literally step off the stage through the 4th wall.

It's debatable whether video games even have a 4th wall, since for all intents and purposes the audience plays a character in the tale.

maybe characters interacting with status bars/ui elements?

>literary value
novels are not better narratives just cause they have more words in them user

It literally achieved the perfect comedic formula

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>2 storytelling devices. You can use narration for exposition and visuals for main plot, all on the same page/panel.
l'll add to what you said user: that a single page of juxtoposed images and narrative make a piece of art as a whole.
and each page in a comic book is like a painting worth a thousand words, and the narrative on the page can be worth a plethora of knowledge.

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I'm pretty sure that's not what he meant.

I think it's a very easy medium to get into/produce rather quickly with limited resources if one is forced to. It's why other visual mediums like video games and films tend to use storyboards, a type of comic one could argue, to plan the major beats of their stories.

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they allow for ideas to be more accurately transmitted in terms of stuff like "what the room looked like" and "what the person in question looked like" to people who might not have the vocabulary for knowing automatically.

as said there's also the whole ability to have a little more fine control about what's going on in terms of tone, pacing, focus, etc. and shifts in all of those things.

really what I think comics are good at is bringing more visual fair and telling stories visually, though that's a double edged sword as bad/unsuitable art can render even a well-written comic bad.

>novels
lol I bet you watch talkies too

whats going on with those lines

So that's what this is huh? Some kind of contract with god?

You have total control over space, time, and even subjective experience e.g. You can use different art styles (photorealistic, or cartoonish, or highly abstract and geometric, or bare bones unfinished pencil drawing appearance, etc.) and varying degrees of adherence to typical structure vs. breaks from typical structure (is the action inside a neat rectangular panel with gutter space or is it stretching outside the panel creating an impression of other otherworldliness or the supernatural) to create altered senses of experience in the reader's mind.

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interesting a lot of superhero comics don't try anything experimental like this.

Probably.

>You can use different art styles
how unique to comics

You can subtly show something without actually bringing attention to it. Also the reader is the one moving the story forward through time. In a film its always going forward, you can't really pause on a specific moment and analyze it all at once. Its not meant to be stopped, you can but you're no longer in the moment, you're on a single frame. In a comic you can see multiple moments in time simultaneously while going forward and backwards seamlessly.

Imagine waiting your time replying just to be a cunt.

cry more

Beautiful Darkness was so fucking good, bros.

Don't pay attention to stupid bullshit gimmicks like "unique strengths". Have you ever seen a comic that plays around with panels or pages or whatever bullshit and have it turn out amazing? No, it's always just "that was neat I guess". Just write and draw cool things.

THIS
Eisenstein was such a TRYHARD
just tell a STORY

Transition is generally less jarring in sequential storytelling.

It doesn't have to be played up to an experimental level, it's just an inherent strength, whether you exploit it or not.

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He says as he keeps responding to various anonymous posts, hoping antagonism will create a reaction and garner attention.

I mean Watchmen did an amazing job with it, but whatever.

you're gay

>I don't want to think, let me be an infant fed in primary colors until I die, OR ELSE

They’re the most effective propaganda.
No amount of convincing words can beat a great political cartoon distributed to the masses. Pictures are much harder to ignore.

i just feel like a lot of people treat them as Animated Films for the Wannabe Auteur with No Budget

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potkettle faggot

I'm going to be that asshole: most political comics, being one panel, aren't technically comics, which require sequential storytelling.

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i think most people on the street would consider that a comic.

Kind of an obvious answer, but I think one thing that comics can do that animation and books can't are the the sudden and full impact of a moment, whether it's focusing on a single facial expression, or a whole scene conveyed through one detailed panel.

Something that can hit you all at once without a camera panning to it or the need to set it up with prose, and something that can be held on for as long as the reader needs to in order to take the whole moment in.

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I know, but we are Yea Forumsnnoisseurs.

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You’re right, I thought the OP said “cartoons”

But you have to play around with panels and pages to come up with interesting layouts that pace out and emote the action the way you want it to. You don't have to break the fourth wall and have full spreads every page, you save your breaks in your "system" for the most intense, exciting, or important parts of the story. It's just boring to have every panel be the same size/type in longer comics and, and if you don't vary scale/shape according to the action, it's not really a comic anymore but a bubbled storyboard unless you're deliberately pacing the story in a monotonous way.

I fucking love Gaston

That's a cartoon, not a comic

>You can use different art styles
>how unique to comics
I didn't say "you can use different art styles" is unique to comics. You took those six words away from the rest of the post and responded to it like it was its own standalone claim for some reason. You have art shifts in other media like animated film, but you don't have total control over space, time, and subjective experience in the way you do with comics, with art shifts being part of that.
Time in film is ultimately still a frame by frame process in motion, while comic time is created in the reader's mind through the way juxtaposed non-moving images laid out on a single page get parsed, and the lack of a literal frame by frame process in motion means you have a lot more power to alter or break what the reader experiences since the motion is happening in the reader's mind rather than through the literal motion of light and color on a movie screen.
You don't have the ability to shift art beyond the frames of a film and everything in a film is going to be displayed in terms of changing imagery that exists objectively outside the viewer, whereas the comic's comparable sense of ordered frame by frame structure isn't literally moving in time and you can take what the reader's mind does to imagine this movement and alter it to where they can experience something more than ordinary space and time.
By analogy it's like everything you can do with mathematics without mapping to a physical world phenomenon. The physical world can have rocks that map to counting numbers for example, but maths can go further and deal with negative, irrational, or complex numbers because it's abstract and not bound by incidental material world baggage.

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The page. Individually, each panel could be considered a still image of an ongoing animated sequence There's a reason comic artists make excellent storyboarders and movie makers in general. Even panel size and shape can be sorta approximated with varying camera angles, focal lengths and camera movements.
But a page is defined by an overall composition. You could say it's similar to a scene, to continue with the movie/cartoon comparison, but there's a cadence that's specific to comics as you have the full page there at the same time and you need to "zoom in" to "enter" a panel. It's an imposed rhythm, but it has a very strong effect Which is why most webtoons are an abomination, as they don't bother even with basic page layout. On the other hand they've produced some webcomics with animated panels that is something fascinating I'd like to see more often..

Point illustrated here with a visual lesson in composition during an in media res lesson in composition:
imgur.com/a/JLhh1JQ

Back to comics in general, from time to time you see people playing with gutters, 4th wall and panel order, but most of the time those are basic tricks as you preserve a straightforward scenaristic continuity. It's just a loop instead of a straight line, nothing too fancy. Vidya can go way deeper in that aspect with tons of branches intersecting.

Chris Ware does some really interesting stuff in his books, tho. The physical object allows him to do stuff that doesn't render well in a cbr file.
I wouldn't like being his printer.

There may be others but I'm not a repository of comic knowledge.
Not really specific. A movie can do the same with a narrator.

Savefile awareness/modification.See DDLC or MGS2 ; or planescape:torment that had the MC taunt someone with "whatever, I'll just reload and get you on my next try".

All right, let me be drunk armchair analyst expert and explain why I posted this page.
>Panel 1
We enter the scene, through the sky, we are set up as an observer thourhg a high angle shot. Note how the colors are mostly natural, with a grey background.
>Panel 2
We follow Prunelle alone in his narrow idea in his narrow mind, in this narrow panel.
>Panel 3
Enter a new room, change background color, now vertical shapes frame the shot inside the panel, with the rightmost (the one most towards future action) is in shade.
>Panel 4
We are now in the shade, cold colors. The verticality around the edges of the panel is more present, feels a bit oppressive. The last remains of color from the normal world seem only a reflection at the edge. Again, the darkest place is where the characters head up next.
>Panel 5
The entire panel is now framed in darkness on 3 sides and even from our POV, the blue hue has now affected the characters. It feels mysterious and small, but less oppressive because of the objects obstructing our view having haphazard shapes. The light is now at the "future" edge of the panel.
>Panel 6
When it's dark space shrinks, and something beyond visuals is what you concentrate on (the characters comment on hearing music and smelling hot dog and fried fish).
>Panel 7
Largest panel in the comic, narrowness opens into a place lit in hot lighting. The framing is now entirely round instead of straight shadows. The light is central and doesn't lead anywhere. It's a supremely comfy place that feels like Lagaffe could live there forever.

Drawings and animation are inherently superior to live-action bs because you can create things you couldn't find in a million years IRL.

>total control over subjective experience
please explain further
this should be good

Different user, but I think it can depend on the story's execution.

Bone is one of my favorite comics of all time but the layout of a lot of the pages was fairly uniform.

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>Have you ever seen a comic that plays around with panels or pages or whatever bullshit and have it turn out amazing?
Yes.
Somebody here has never read Lone Sloane.

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>

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A couple more

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oh, did I make a sarcastic post with neither memearrows nor a picture of a bearded man?
I'm sorry, it shan't happen again

What did Bazin have to say about animation? I'm curious.

you really are retarded, holy shit.

ooooh

You can change artstyle in a movie too.
Who framed roger rabbit combined live action and traditional drawings, Code Lyoko was 2d in the real world and 3d in the virtual world, Madoka had paper cutouts for the eldritch witches... You could argue that CGI and special effects are a form of this, even though most movies tend to try having a single unified style.

There's nothing preventing you from animating different characters with different techniques, or changing the technique depending on the scene/theme/point of view.
There's probably a handful of short films out there that explore those perspective.

That's Scott McCloud's definition, but it's no more valid that another one.
Early comics started in this form, and it wouldn't make sense to include the ones with 2+ panels but not those with a single one, especially if they're from the same series.

On the contrary, you could say that Hearthcliff is a sequential story, with each cartoon being a single panel of the overall work. Even had actual issues published by Marvel.

There will always be fringe elements no matter where you put the limit, I see no reason to argue about which ones should be excluded.
You could do the same with a movie: It starts with a single frame and ends with a full lenght production, but where does it constitute a movie? Two frames? One second? One scene?
No matter the distinctions, it's intellectual wanking 99% of the time.

tl; dr: They're to be filed under comic for all technical purposes. I'd rather ignore them because they're shit than because of some elitism.

directly? not much, as far as I know

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Well, counting comics and manga as one thing... The ability to create what is essentially a reader-driven jump scare, where turning the page leads into a shocking image that you can often expect based on the previous page. Specifically this is great because you can bookmark specific pages to see them later easily, another highly valuable strength unlike movies where maybe there's a scene select but it takes time to load everything up and go through the menus to select the scene, and even then you need to watch the scene in question or fast forward. With a comic you can bookmark a page, and just open it up whenever and the page is instantly in your face.

Source is Layers of Fear by Junji Ito, one of his best stories and this is basically the least horrific splash page that really has nothing to do with the plot other than confirming a trend with the characters.

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>Early comics started in this form
Entirely debatable.

As I said I'm being a persnickety asshole, but this is the thread to be it, innit.

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I guess that's fair, though there's more appeal to art than illusion.

another clinical psychologist
they sure are abundant here

1) Perfect pacing. You the reader decide how quick or slow moving between panels happens.
2) Ability to backtrack. If there is something hidden in a previous panel, you can go back and examine it at any-time.
3) Using panels to create space or closure. Few panels on a page shows an open area, many panels gives the impression of being trapped.
4) Poses. You can have a character pose over multiple panels to show off their character model without stopping the flow of the comic.
5) Creative layouts. You can have mazes between panels, you can have the panels make a larger picture, etc.
6) Unlimited imagination on a limited budget. As long as it fits on the page, and you can think it up, you can express new and creative ideas to anyone in a much more efficient way than prose can express it, for only the price on ink and paper.

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I think there's a quick snappiness to panel-based humor that's hard to recreate in other mediums.

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You can do shit like this

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Bump

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You place the line wherever you want. Myself I'd rather put it right in front of the calligrams, but it's not like there is something supporting it beyond my beliefs.

Would you exclude Daumier's work because he uses only one panel each time, or include it because he did numbered thematic series?
You can infer the previous panel from pic related. If anything the interval is stronger there than in most comics.

Topffer was absolutely inspired by caricaturists of his time. He even called his work "engraving literature". I think whether you consider him to take caricatues and transform them into a real story or to take novels and put them in visual form defines where you put the bar.

McCloud on the other hand is an author (and unsurpringlingly, he's far better as a storyteller than as an artist). He doesn't envision art without the story, and it colors his judgement of the medium. He sees narration first an foremost as enuncing sequential events. Description of an instant situation to tell a story is not at all in his toolbox (and it's quite visible in how he treats his big scenic panels in the Sculptor imo)

(Fucking hell is translating specialized concepts into english a chore... Half of those don't have perfect mirror translations)

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Ben explique en Français alors, con du cul ;)
Good post though, seriously.

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Multiversity was so fucking good it hurts to not have more of it.

>You can subtly show something without actually bringing attention to it.
underrated.
comics give the viewer a measure of control that film or animation can't match. it allows them to control the pace at which the story develops instead of it being strictly mandated by the speed of the film and the director's pacing, as you said, like being able to fast forward and rewind and pause a movie, but without the immersion breaking mental load of pressing buttons and navigating to the exact place in the movie you're looking for. instead, you can find what you're looking for at a glance and then immediately dive into it.
i'll add that that control, being able to stop and smell the roses, allows the viewer to process detail in a much more involved way, which in turn allows creators to be more expressive and subtle and encourages them develop much deeper worlds and characters than can be explored in other formats.

>On the other hand they've produced some webcomics with animated panels that is something fascinating I'd like to see more often..
seriously why is this not being heavily exploited

I always love those jumpscare horror comics, the korean ones that auto-scroll to the jumpscare to simulate motion are always great.

cancer to look at
kinda cool but mostly for the reference
cancer to look at

comics allow for the creation of a solo or collaborative visual narrative of any style, type of story, length, and target audience with a budget that is essentially the cost of the supplies necessary to create it. you can do whatever is within your ability and skill to do with the medium, and you can also own and control the finished product yourself if you wish.

very few other visual media allow the creator full control of their creation the way comics do.

Counterpoint: if you don't construct your pages in the proper way and the panels are a mess, it easily becomes bad.
Also, Elfquest.

holy shit I fucking LOVE this issue

>Recently released in an oversized deluxe hardcover with a bunch of Druillet sketches and a huge interview
>200 bucks
someone please send money or help

I'm not versed in Bazin's work so I won't comment on his fragment but the idea of illusion and mischief is deeply ingrained into art. Just consider words like artifice, artificial, artful and so on. If there is one definition of art that is encompassing enough is that it's the craft of lying.

there, there

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That's where verisimilitude lies (in the other sense of the word), but there's something to be said about representing something for instance that's felt but not seen or heard in reality, it can make the lie more palpable.

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>Therein verisimilitude lies
Fixed that for myself. If I'm going to talk about the defnition of art, might as well be pedantic about it.

is this why intricate background art is nice in comics?

$$$ and time, which is also money

Unless it's one of those korean horror comics (whose names I can't remember for the life of me) where the added value is great, as you can't go wrong with jumpscares, there's not much point on it.

You're more likely to see it as a bonus (Murata on OnePunch Man making some animated panels just for kicks) or as part of a multimedia project where it kinda becomes your moneyshot (Homestruck, Prequel...)

Well, isn't art all about communicating ideas? Thanks to the human brain that's killer at pattern recognition we can see even invisible things like gas, movement or state of mind with only a couple lines on paper.
The rest is cultural gestalt. Look at pic. Some parts express nothing real (i.g. stars and crash lines), yet are immediately understandable. They may have come from idioms, from one succesful comic, or from a thousand other sources, but they've become accepted as part of the medium. Sometimes to the point of being cliché.

It's a form of language, and is mostly artificial. One could argue that even the phyperrealists cheat, and that their goal isn't to paint the real but to make you believe they do, while they reappropriate as an human form of expression what was "stolen" by photography and other mechanical means (and often tweak it because of artistic considerations).

On the other hand, you're gotta have a hell of a hard time picturing things like grid hallucinations, despite them being quite widespread and constant. It's just that the some part of the real are stronger in our representations.
A car is conceptualized and can be reproduced. The light at the end of the tunnel? Not so much.

/wank

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>csq les francophones de /queau/ se branlent sur la bande dessinée de manière non-sexuelle alors que tout le monde nous prend pour des Préverts

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ribbit

Also good horse art but best BD horse artist is Lambil.

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>>On the other hand they've produced some webcomics with animated panels that is something fascinating I'd like to see more often..
a lot of artists draw with a view to getting it printed at some point. since, technically in a webcomic, sideways would make more sense than vertical, but most webcomics are vertical

you can say dresden kodak user, it's ok

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While i agree with most of your post, I think comics still have a very sweet spot, because while both the art, the narrative and the history themes can be abstracted and hidden as well as in literature or visual art, there's still a conceptual (and literal) frame which ties into a continuum the comic cannot escape from. There is a necessary relation, discrete or not, between every panel and page. It's kinda hard for me to articulate this in english because most of the comic theory I read was in portuguese or spanish, but I believe Groeensteen calls it an arthrology. It's been a while since I read that book and I kinda hate semiotics, but this flexibilization of time gives comics a higher level of abstraction than pretty much any other artform or style outside of conceptual art and philosophy

Alright guys, we've warded the cape and the cartoon fans off the thread with art theory. Now we can start phase 2 of the plan and finally have a discussion about non-mainstream comics without shitposters.

Le ver est dans le fruit, honhonhonhonhon.

It's like a quadrupedal kangaroo.

I dunno user, Bluecoats is great (until the later albums) but there's a ton of competition in the western department also medieval and coat & dagger, although less often.
Even Mezieres draws awesome horses (as he was a cowboy in the US for a decade).

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>out of curiosity, what is the video game equivalent of comic characters breaking the 4th wall to interact with their panels?

Undertale has this with a boss eating your save and autosaving during a boss fight in an attempt to torture you.

Kid Icarus: Uprising has the main final boss rip the credits apart because he isn't finished yet.

In context I think he's using the word illusion in a much broader sense than we usually think of it. He's talking about the key difference between photography and painting, which is that a photograph can only capture something that physically exists, while a painting is not restricted by whether it's subject is actually real or not. And because a painting is created by a person instead of by a mechanical device like camera, they are by definition subjective. Every painting is an illusion in the sense that no painting is actually a real depiction of it's subject matter. They're all fakes. Not fake as in "false" but fake as in "not real". And that's not a bad thing, in fact it's one of painting's (and drawing's, and animation's) greatest strengths. A photo shows what something is, a painting shows something as the artist sees it.

what are some great western comics? looking for some good ones. so far i have lucky luke on my list

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I guess I value Lambil recreating what little intelligence you can see in a horse's eye.

>without shitposters
cute

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Lucky Luke is absolutely essential, although drop it once Goscinny dies.Next on the list are Blueberry (objectively) and Bluecoats (subjectively).

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>Wouldn't that be theater? The actor can literally step off the stage through the 4th wall.

Additionally part of the whole point of breaking the 4th wall is to draw the audience further in to the world of the characters by removing the barriers between the "real" world and the world of story. It's hard to get any more real than having a physical, flesh and blood person sit in front of you and look you dead in the eyes.

As an aside, this is one of the reasons I love live theater and think it doesn't get enough attention or focus these days. There's something inherently visceral about watching real, physical people that can't be recreated with recordings or drawings. I think it makes all the emotions land in a way that feels much more immediate than any other medium.

What the other guy said. On top of Goscinny's Lucky Luke, The Man who Killed Lucky Luke is an excellent hommage.
Haven't read Gus but it's usually well-liked, and you're not taking risks with Blain at the helm.

If you like the gritty ones:
readcomiconline.to/Comic/Chinaman (about a man from china)
readcomiconline.to/Comic/Undertaker-2015 (about an undertaker)
readcomiconline.to/Comic/Bouncer (about a bouncer)

Also Jeremiah if you aren't adverse to post apocalyptic stuff, because it's a western with motorbikes. and good luck finding it in english as the translated editions make no sense

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In the era of easy access to filmed media, live theater should be due for a resurgence. I'm not sure the people doing it have it in them to engineer such a revolution.

thanks anons.

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i sometimes watch at the cinema filmed recordings of shakespeare plays by such and such popular actor, they seem really popular among the older crowd at least

You remind me that pic related is pretty neat.

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There is a sequence. First, image which is the buildup - then caption, which is the payoff.

And yes, that means comic panels with multiple word baloons contain sequence WITHIN panels.

Yes, also I know that means Scott McCloud was wrong. Deal with it.

Pic related.

Trust me, you don't want to know More seriously, there's also Cotton Kid, comedic series about a bumbling pinkerton detective and his prepubescent brother than always manage to escape school and join him on investigations, and Lapinot - Blacktown, a good oneshot by Lewis Trondheim.
Also Jerry Spring if you want some old school adventure hero. Still holds up to this day.
Man, we do love westerns. And it's one of the periods that is not near but not far away either, so comics really help putting in an atmosphere compared to books. It doesn't have the remoteness of the middle ages, or the identifiable elements of the XXth century.

There was a good horror comic about a demon parading as a priest and destroying a whole town while being opposed by a little girl, but I can't remember the title. I believe it was storytimed on Yea Forums or /tg/.

Saw a live retransmission of an operan from NY MET at a movie theater. Twas a bit expensive compared to a regular film, but between the closeups, the subtitles and the behind the scenes stuff, it was totally worth it.
I know the Bolshoi has something similar, and probably others too.

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0 vs 2 vanishing point perspective

Can you explain?

I don't know that one.

otherwise nice looking webcomic kinda infamous for being a mess panels wise

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Good Lord

I wouldn't say he's wrong. He gives his explanation to what constitutes the medium in his opinion. He's not speaking immortal truths, but it's not like there's a definitive answer there anyways
(and besides, it's hardly sequential ART if half the steps are non-visual; I'm not disagreeing with you, but he could hardly go with "narrative including a pic somewhere" for his presentation, otherwise most regular novels would qualify as well). His definition makes sense, although I don't follow it personally.

On a sidenote, it's funny how the US word comic strip, contrary to the french bande dessinée or the japanese manga, makes no reference to drawing. Probably shapes the perception of the medium (and explains why the invented "graphic novel" when they wanted to go away from the funnies' reputation).

On the topic of speech bubble sequences, accumulation is not ideal. It's a useful tool for some situations, but most of the time it's full of drawbacks.
Take Franquin . He was very strict about speech bubble position, to make them flow naturally with the picture, and always put his mouths to echo the end of the bubble (see the last panel: "...ici" - open mouth, "...bonheur" - closed mouth). You can't do that when youbut several bubbles per character. Which is one of the reasons why we have the separate black panel with only bubbles in it instead putting everying together at the end.
Even Blake & Mortimer, a comic verbose like no other, avoided having more than one speech bubble per character in a panel.

>all this talk of non-English comics criticism and study

damn my american laziness.

y'all making me wanna read some more non-American Westerns

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>Even Blake & Mortimer, a comic verbose like no other, avoided having more than one speech bubble per character in a panel.

I've seen Alan Moore quotes about him counting words in speech bubbles and bubbles per panel to figure out the best amount/way to use the space but cannot find the quotes ever again. Pretty sure it was Watchmen related

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i tried to edit it to be more readable, not sure i did the best job .

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it was 28 words of dialogue per panel i believe

>non-American Westerns
Does America produce a lot of western comics? You don't hear much about it, even compared to other niche genres like fantasy or pirates.

thank you

i think there are more westerns than pirates.

to be honest, speech bubbles flow is hard as fuck, way more than people would think.
You can rarely use long sentences, or long dialogs at all, and you also need impact in your sentences, you can't end a page on something asinine or in the middle of an exchange.

>yfw early marcille had thin ears.

I just meant American Westerns bc it's inherently an American genre. So it's cool to see it filtered through other people

comics have a lot in common with poetry that you don't see people talk about much

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something that doesn't really come up is that it's easier to have a character with a short name because the name wastes less space

One person can create something visual by themselves.

>it's cool to see it filtered through other people

inb4 cultural appropriation :^)

I wonder how different the treatment is on both sides of the Atlantic: Are different kind of stories told, is there recognizable tropes used by the yuro authors, and so on. I often see the "young progressive female teacher" archetype, but I don't know if it's an european cliché or something that was really common in the wild west.
As least that genre of comic attracts history-minded folks and isn't emotionally charged, so a western eurocomic isn't likely to be a firebrand (unlike contemporary works set in Europe... Good luck finding a comic about the Commune that wouldn't pass for straight up soviet agitprop).

I should ask some old gents about the western craze, I wonder how it came to Europe exactly, and what were the inspirations and sources of information available.

And more:
Stuff by Hugo Pratt: Sergeant Kirk, Wheeling, Indian Summer (XVIIIth century for the last two)
Buddy Longway, great series following a trapper's life.
Yakari, not amazing (still fond memories from when I was a kid, but objectively it's not that good) about a kid that can talk to animals and is nanabozo's pal. Interesting because it's a good representative of a handful of comics about indian kids.

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speghetti westerns user

not sure about old west specifically, but if you were a victorian woman and you wanted to have a career instead of getting married, teaching was usually what you were stuck with.

all you need to know is that there was A LOT of thought put into this

I haven't touched DK in years. was virtually unreadable when I started it, and not just for paneling reasons. has it gotten any better?

i don't know. i've read some but basically forgotten it myself. might be worth making a new thread

this is the most recent strip.

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What the fuck are you even on about, you pedant? The technics nor the pic aren't anything special.

Alright, since user sounds like he's proud of his farts as long as they're shrouded in mystery:

Graphical perspective:
To give the illusion of volume and distances, we use what is called vanishing lines and points. Basically, a vanishing line is your horizon, and objects farther away from the viewer look smaller (and lines tend to reach it). It means the side of a building (a rectangle), will look like a trapezoid (both vertical lines stray the same, but the horizontal ones (floor and ceiling) are angled to reach the line in a point.

Only problem is that a vanishing point only works for parallel lines. If you have non-parralel lines to begin with (like interesting roads like in pic, or building facades at an angle) you need several. If you have a non orthogonal city/building layout and a bird's eye view that takes perpendicular perspective into accout, it can get quite complicated, or at the very least busy.

Perspective (or lack thereof) can be used for many neat tricks as, like focal length, distorded views can produce effects on the viewer. However user's pic is completely ordinary.

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Funnily, I've read an interview of the authors of the comic Jessie Jane, where they said they disliked spaghetti western (Sergio Morricone aside) because they denatured the myth.
Their love for the genre apparently came from US movies, Jack London's and Fennimore Cooper's books, and a couple encyclopedias.

I tend to forget that fantasy and sci-fi became mainstream in the last quarter of the 20th century; before that it was all about historical stuff.

>You can change artstyle in a movie too.
>I didn't say "you can use different art styles" is unique to comics.

Like the Whitehouse song and dance number in unsounded

Have a link casualvillain com/Unsounded/comic/ch09/ch09_10.html

Meh that's at least readable, so it's not as bad as some of his previous pages. The tall thin panel with the shower was nice I'll give him that. Still looks way too cluttered. There's some really fucky sense of time in the middle where the brown girl is in the shower, it looks like she went from showering to completely dry and dressed in the span of like two sentences since the conversation didn't pause and there was no indication of time passing between the panels. The row under that with the redhead leaning in should have been like one or two panels instead of 4. Overall still shit paneling but not the worst I've seen from Diaz.

I want more comics to employ techniques from paintings and other visual mediums to enhance a story. In The Adventures of Luther Arkwright, Talbot uses several such techniques. Here he uses a memento mori drawing as a death flag (both of these characters will die later in the comic).

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how comics can play with the perspective like no other art form

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>Have you ever seen a comic that plays around with panels or pages or whatever bullshit and have it turn out amazing?

Yes multiple times.

Everything from Watchmen to Sandman to Animal Man and million smaller indie comics.

Is this good?

the ability for the writer to be a movie director via didascaly