actions panel

anonymous asked:

teru meeting fishmob: "what the fu-"

this images name in my drive is Im Sorry and I do think its very accurate

so I was going through the loss.jpg tag and people are getting angry because of how miscarriage isn’t a funny thing. And that’s true! Miscarriage is a sad thing and not at all something okay to laugh at!

But the thing that makes loss.jpg funny is because of how it’s bad storytelling. When you want a funny comic, you often have simplistic, similarly arranged panels to deliver the punchline. It’s funny because of either something being said or something changing! (Buckley could work on the funny though.)

See, Garfield is a good example of this:

Almost all of those panels have the same two figures in roughly the same spot. This helps accentuate how the last panel (the punchline panel, if you will) is different!

Ctrl+Alt+Del is a comic series that kept to this pattern:

Here, again, we have panels arranged simply, and the figures in the same  arrangement (height and placement, if you will) so that people pay attention to the text. The text is the funny part here, so there is no reason for the figures to change much.

But loss.jpg is a serious piece. I mean, I’ve never experienced this, but I’m willing to bet that if I or my spouse or my friend experienced a miscarriage or something, I’d be devastated! However, it kept to the silly, simplistic format.

“Well, okay.” you say. “How do you convey serious emotions in comics?”

And that depends on the emotion! The regular squares of the above comics enforce a sense of regularity. Meanwhile, with, like, an action comic, the panels will often be misshapen and crooked to give the idea that woah! something is happening.

Woah!! that guy almost go eaten by a dino thingy. It’s chaotic and confusing- meanwhile if you had put that into our “loss” format, the action would seem to have been much less important. In fact, you could almost say that it looked funny! See what I’m getting at?

“Okay. But whateverhisnameis from CAD isn’t fighting dinosaurs. Would he need those wacky panels?”

Well, sort of! You might want a misaligned panel for the panel when he opens the door, because I’m pretty sure he’s slamming it open, not gently pushing the door aside. But for the other panels, it would seem DragonBall Z levels of overdramatic to have WOAHH ACTION panels. You’d want something that isn’t too repetitive, thought. Something like this!

Here, the panels are pretty regular. But the placement of the figures is different according to each panel, creating that difference that we need to keep the actions from seeming funny. Sure, nobody is throwing punches, but there is something serious going on!! This isn’t perceived as funny because the figures are different per each panel.

Compare to loss.jpg and what do we have?

we have figures all positioned about knee height, with our protagonist always on the left, and always facing right. The last panel is almost always the punchline panel- that’s why people think that loss.jpg is people laughing at miscarriage. It’s not.

So what would make loss.jpg look like the serious story it’s trying to convey?

I scribbled this in 5 minutes in paint, but here’s my idea of what a better “loss” would look like:

He bursts through the doors and rushes to the receptionist, who directs him to the doctor. As he steps into the hospital room, he sees his wife crying and approaches to comfort her.

Is this perfect? Probably not! I’m honestly just learning comic theory right now. But does it convey the serious and honestly sad story of loss.jpg? Yes! You can’t tell a serious story in a silly manner. It’s like trying to tell a WWII survivor’s story with wingdings font. Using the wrong tools and techniques will get the wrong story across.

TL;DR loss.jpg’s punchline is that Tim Buckley needs to learn how to tell a story, not that miscarriage is in any way funny

Storytelling/Storyboard Resources

@chaokoal said to ask-kimdaily:hiii in one of your previous posts you mentioned that you had a long list of references for storyboarding and storytelling resources >< i was just wondering if you could share some of them here if it isn’t too difficult for you!! :“”) thanks in advance !! i really love your comics and storyboards,, i literally come here whenever i feel sad

First of all, thank you so much! I’m so glad that my comics offer some comfort when you’re sad :’) That really means a lot to me! It really motivates me to work harder!!

I decided to make this into a post since a lot of people ask for tips~ I’m going to put the resources under the cut!

Keep reading

Happy Christmas evening @tishawish~
so, uh, i actually drew two pictures for you for christmas lol. I actually drew this one first because the elementalists AU sounded so cool and interesting, but it didn’t feel very Christmas-y so i refrained from uploading this one and instead drew you another one. But both of them weren’t very christmas-y either way orz.
I am very proud on how it turned out and since it was meant for you i might as well show it to you too :)

Flowey Is Not a Good Life Coach - Chap. 2, page 4

Previous    |      Top    |      Next

EDIT: I realized the last few panels were unclear, and that’s my fault for poor choice of imagery. Those two panels are just showing Flowey’s roots and vines whipping back into the ground; he then pops up in the last panel in his small form again.

Boy Flowey just needs to step tf away from Papyrus. Like if he keeps going like this we might even be able to say that he isn’t being very nice. I dunno.

So I broke new ground making this page–I’ve never done action panels before. They’re an art unto themselves… I guess you just do a lot of motion lines and stuff? But there’s more to it than that. I want to incorporate a lot more action panels in future pages, so I guess I’ll have to do some research on that. It’s a learning experience.

anonymous asked:

Man Kaneki's arms aren't being consistent at all. Last chapter he had regular looking arms under his sleeves when talking to Akira. This chapter his arms are back to being scaly. What is the truth Ishida?

Ah no, it’s a good stylistic choice! Ishida will only gesture in some detail (or exclude it entirely) in order to balance a panel out, especially if it’s farther away from the “camera”. Example:

Filling in his whole wrist with scales would create a big random dark patch on the horizon line, thus dragging your line of vision to a totally unimportant part in the panel. That’s a big no-no. 

Instead, he leaves it open and light, so your line of vision bounces from Akira’s face, down the line of her arm connecting to his stomach, and back up to Kaneki’s face. The action of the panel has more impact when focused on only those three things. A+!!!! 

But here:

The panel allows for the detail of his arm. The black of his shirt and white of his hair is balanced out by the dark-to-light gradient in the background, and the moderate detail in his hair is balanced out by the scales on his arm. NICE!!!

Also! When looking at an animal from far away, their fur and/or scales and/or skin appears as one convergent form– you can’t count each individual hair or plate. Same goes for humans with freckles and hair, or patches of particularly rough skin (cough Kaneki). Gesturing in a particular trait is way more aesthetically pleasing than trying to cram in every little detail :D

TA-DA. And that’s my mini lesson on space and balance. Something I paid $42k/year in art university to learn and am passing down to you for free 🎉

A had a weird moment of deja vu when I read this story. I was certain that it was a reprint because I know I’d read it before. After extensive research, I figured out that I had read it before - when it first came out. Which means that I’m more or less up to the point where I started reading Heavy Metal on the regular.

The story itself is pretty straightforward in Prado’s ongoing effort to document how terrible people are who think that their social status gives them a right to do pretty much anything without regard to anyone else or the consequences of their actions. The panel where they knock the guy off the bench when there’s a perfectly good empty bench right there seems pretty symbolic.

Also, because I take great delight in pointing these things out - the table of contents for this issue indicates that the name of the story is “No Respert for Nothing” (sic).

(Heavy Metal issue #162, May 1996 - Page 56 No Respect for Nothing by Prado)

So far all of the panels have had something to do with feminism and the presentation/politicization of the Woman in cinema. My paper has literally nothing to do with that topic at all. So…this will be interesting to see what the other papers are.

anonymous asked:

tbh what threw me off at first with this chapter is the layout of the panels and the way the action is depicted... it's not as fluid as it usually is and it feels kind of awkward? but idk if it's because of how the action is depicted (panel layout) or if it's the action in itself that's awkward (casual violence to "express affection") irdk

the action is awkward for a western audience to view, for sure.

as for the actual drawings itself, hmmm. i’m not the best person to comment on this from an artistic perspective tbh. the perspective of the chapter changes a lot, so there’s never a constant angle from which to view this all from, nor is it like we’re seeing the scene from one of the characters’ perspectives. but i think the constant change is meant to give it a disjointed effect, which in turn adds to the jerkiness of their movements. it’s awkward and disjointed and too sudden. 

sounds familiar…


I was just supposed to draw that one Zoro panel. But then I went, “Why not?” and practiced doing 4 more poses for him. 

I swear it was an accident a sexy accident

anonymous asked:

On the page that they shot his hand, I noticed they also managed to shot his earring off.

They sure *did* shoot his earring off.

Before I wasn’t sure what that was, since you still see the earring dangling in that ear. But it’s really one of those action panels that overlays frames, so it looks “animated” and adds to the apparent speed in which everything is happening.

Shit. That bullet came *way* too close to hitting him twice. He could have ended up like Wolfram with half an ear missing….


CORRECTION! An anon pointed out that it is Soma’s left earring that got shot off, and sure enough, he was grazed on the left ear… and now does have a small part of his left ear missing.