oh alan

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Nathan Fillion’s panel Q&A at Phoenix Comic Con | June 7, 2014 (x)

Q: If Firefly had gone on longer, what is something you would’ve hoped to have gotten to do with either just Mal or the story in general?

do you ever just want to grab that one actor, shove her/him down on a bed, and, straddling him/her, lean down and whisper, very respectfully, “tell me about your characterization process, you’re just so ridiculously talented - like, are you more of a method person or do you prefer just really intense script work, because i am right there with you, honestly.”

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A study in panel borders:
Inspired by this awesome post about making comics quickly, I took a look at some comics I own to get some sense of different kinds of panel design choices.

I came away feeling like I’d learned a little less than I’d hoped, but here are some takeaways:

* You can get away with smaller panels than you think
* Extremely weird comic panels CAN work, but when it fails it looks painful and forced.
* Simple is not bad.
* There are actually a LOT of possible combinations.

Specific notes:

Scott McCloud uses a 4x3 sliceup of the page, and it’s four VERTICAL slices and three HORIZONTAL ones, which is weird because it makes the panels, on average, LESS square. This works with the particular comic really WELL though, because he draws himself in closeup, talking, a LOT.

DAR and Narbonic both are webcomics mashed into book format, but both worked surprisingly well as page layout in the end.

Blacksad is REALLY variable and the page layouts are hand-crafted on a per-page basis. No speed gains here, but perhaps a message that full custom has its place.

The Resonator is fairly formal but never *too* rigid with panel choices. Lots of narrow or tall panels, which works as a way to alternate between big establishing shots and dense dialog. Very tall panels for single speaker, long ones for two-person dialog or to combine a lot of text and visuals. In general, Resonator is print-native and has TINY text…

Ultimate X-Men is a fun read but the panel design is a disaster. Almost none of the choices of graphic design work at all. Occasionally an establishing shot hits home, but in general the layout is trying WAY too hard.

Watchmen. Formalism raised to the ultimate. It’s precise, it’s a 3x3 grid, it’s piss-on-a-plate-with-no-spills precise and that’s fine, for two reasons: one, everything is about time, and two, it gets the panels the hell out of the way of the story.

Augustus is an example of what Ultimate X-Men was trying to do, except it succeeds. Lots of variation, but on average very orderly. Kind of strikes me as the sort of thing you “have to be GOOD” to pull off well.

Update: I’ve also added:
Part 2
and All 72 Possible 2x3 Panel Grids

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"He walks in the doorframe and looks at the machine, which is the embodiment of the love of his life, Christopher. He smiles, and in my mind, what I was saying was, ‘I’m coming to see you now.’ He turns off the light, walks into the darkness, and that’s it(..)"- x