Essentially a “getting the band back together” chapter. Thanks to @scribefindegil for beta reading!
you like Ghost
uh, I have the whole series on DVD in my dorm room…” Dipper
fiddled with the cup of soda in his hand, outside the cafeteria. “If
you wanted to maybe come over and watch them sometime. Or just borrow
them!” He added hastily, “Borrowing’s fine too!”
the whole series?” Amy replied. “Even the controversial lost
episode where you can see cameraman Dirk Firkington run by in the
background wearing a sheet over his head?”
that one, yeah,” Dipper laughed. “It’s pretty funny, I guess.
Although it’s also really unprofessional. I mean, paranormal researcH
has enough trouble being taken seriously without stuff like—ah, I
mean…” Dipper hesitated, not wanting to go off on a rant.
Amy smiled at him.
“This is pretty cool, I’ve met lots of people who watch this kind
of thing for a goof, but never anyone who takes the paranormal
the paranormal seriously,” Dipper said, leaning in. “When I have
my own ghost hunter series, I’m going to bring it the sophisticated
level of discourse it deserves.”
Daredevil like Spider-Man spends a lot of time leaping and swinging across New York City’s rooftops, but they both do it in very different ways. Where Spidey is lanky and moves in a fun, flexible and rubbery way, DD is built like a ballet dancer and moves with the grace of a gymnast.
When I was going to the School of Visual Arts I took a History of Animation course and an interesting fact I learned was that many of the great early animators were very athletic. Apparently they had some kick-ass baseball teams and the theory presented was that It was this physicality that gave them that much more of an understanding of character dynamics and movement. Now I don’t know how true this was but in my mind it made total sense. Just as they say, write what you know, the same goes for art. The more you know, the more you’re exposed to in life, the more visceral and well rounded your art will become because you will have that many more sources and experiences to pull from. Another reason it made sense to me is from my own experience.
I remember as a fan disappointedly coming to the end of Miller and Mazzucchelli’s Born Again saga because it marked the end of their run on the title. But then the new team of Anne Nocenti and John Romita, Jr. took over and DD didn’t miss a beat. And WOW, Romita inked by Al Williamson was a revelation, every page was a masterpiece. What JR JR was bringing to DD wasn’t just beautiful draftsmanship and dramatic storytelling but also an athleticism that I hadn’t seem in super hero comics since Jack Kirby. These were two dimensional images that seemed as if they were moving on the page. I remember thinking to myself, I’ll bet anything this Romita guy is a decent athlete and wow, nice mullet. Years later when I became a working pro and had the honor to meet Johnny I found out I was right. The mullet was gone but it turns out he was a very good athlete and together we helped Marvel kick DC’s butt in softball a few times.
The Devil Moves Me
As a comic artist we have many storytelling tools available to us. Some help deliver the impact and emotion of a scene some effect timing. None I feel is more important than how we guide the readers eye. As Westerners we read left to right and this is a trait that we comic artist use to our advantage. For example, if we want an action scene to move smoothly and to pick up the pace from the previous scene, it’s advisable to have your action on the page move as consistently left to right as possible as that is how Western reader’s eyes have been taught to read. Someone throws a punch, left to right. A gun is fired, left to right. Yes there are always exceptions, but starting with the basics help. In contrast, If we want to slow the scene down, we can shift the action and move right to left or stop it completely with all the action moving stagnantly towards center. I could go on and on about all of this but I’d be typing all night. Let’s just say that I worry about these things as I draw every page and every cover and so do most professionals. If we do our jobs right, you guys never notice it, you just enjoy what you read. If we do our jobs wrong you suddenly become aware of the man behind the curtain. It’s like watching a movie with a heavy handed director and you’re constantly aware of their presence behind the camera.
On these two pages, 18 and 19 from issue 9 of Parts Of A Hole, DD encounters one of the Murphy twins, a hired hit man for Wilson Fisk. As I mentioned in a previous installment I’m not a fan of speed or motions lines but you can see here how I used Daredevil’s billy-club cable, Murphy’s coat and other elements in what I thought were fun ways to indicate motion. Also on page 19, while I had no real option but to have DD moving right to left because of the way he was pushing off the wall, I still tried my best to keep the reader’s eye going from that top right panel and snaking in an inverted “S” pattern down to the bottom right.
Behind The Page
Many of the sound effects are missing from these pages. They were a very important part of this layout so if you want to get the full effect, it’s not like I would suggest that you should go out an pick up a copy of Parts Of A Hole. I’d leave that to David Mack.
I loved JR JR and Al Williamson’s art so much on Daredevil that there’s was some of the very first original comic art I ever bought once I was able to afford something other than rent and food.
Some choice John Romita, Jr. and the late Al Williamson DD images. Poetry in motion.
Only Josh and his acoustic guitar. Incredibly clear vocals. He slays this song every single time. I’m so used to the full-band or piano version, though, that this seemed incredibly more raw. Beautiful, as always.