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Getting creative with panels
emnmnme
Registered User regular
Registered User regular
Anybody read House of Leaves? The novel uses text in funky ways to make the reader feel uneasy. How often does this happen with panels in comic books?
There was a recent Spider-Man story where he was fighting a god of some kind. During the fight, the god punched Spider-man across pages and panels and poor Spider-Man, unable to break the fourth wall, couldn't figure out how he was being attacked from nowhere.
What are some other good examples?
There was a recent Spider-Man story where he was fighting a god of some kind. During the fight, the god punched Spider-man across pages and panels and poor Spider-Man, unable to break the fourth wall, couldn't figure out how he was being attacked from nowhere.
What are some other good examples?
emnmnme on
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Morrison and Sook did some really neat things with with panels in Seven Soldiers: Zatanna.
As far as other examples, the David Mack stuff on Daredevil is all pretty "outside the box" of normal comic conventions. His words and images are all over the page. The two stories, Parts of a Hole and Wake Up were both good, but his third Daredevil entry, Vision Quest was not really worth reading.
house of leaves has given me the scariest experience out of any form of creative work. If you like horror stuff, or really intense experiences, it's a must read.
There's some creative panel-work in the first few issues of Sandman, as well. I'm thinking of #2 (i think) when he's going back to the Dreaming, around when he talks to the three women.
I remember what you're talking about, but can't place the issue in my head. Basically, they appeared fighting each other (or something like that) in a FF issue, and they didn't provide the explanation until issues later.
I don't know if this qualifies for what the OP wants, but the black speech balloons in We3 kind of creeped me out.
In addition, early in Morrision's run on Batman, Batman had a fight in an art gallery which featured old-school comic-book exclamations as exhibits, which were worked into the fight scene. If anyone has a scan or two, it's easier to see than explain. Really, all of this is easier to see than explain.
This is the only page is the only one I could find. But it doesn't really hold a candle to the preceding pages.
A similar artist is Marcos Martin and his work on Amazing Spider-Man of late. he had scenes where Spidey was shown walking around a building through different panels before arriving at the final piont of the scene back where he started and banging his fist in his hand with the 'ive got it!' type of moment.
Both scenes are difficult to describe, but I'll see if I can find a scan later.
Alan Moore's 1963 ?
In general, J.H. Williams III and Frank Quitely are good artists to look for for this type of thing; check out Promethea and the aforementioned We3.
Did he even do the 3D work or did he just draw the comic and someone else with experience in that field just turn it into a 3D comic?
oh man, i remember when i realized just how prevalant that was in that fight scene. it was both really cool, and a great moment when i realized that jezebel wasn't actually thinking "wow". rereading that scene completely altered my perception of how she was acting once i put that together.
I think he had to really jack up the perspective of the 3-D scenes to make it stand out for the 3-D effect to work.
Simone Bianchi does some things with his panels, like panels that are silhouttes of characters in another panel.
Also, in the Daredevil "Parts of a Hole" arc done by David Mack and Quesada that introduced Echo, Mack did the layouts for the pages and Quesada drew it. It was really cool, especially a page where it retells Matt's origins from the center of the page spiraling out. Also, there were pages where Matt was trying to put together the pieces, and it was laid out like a puzzle. Cool stuff.
edit: here, you ingrates:
yeah, definitely prometheus- the mobius strip spread alone is nothing short of brilliant.
Does anyone remember the Genesis game Comix Zone? Your character could knock enemies through "walls" and tear away some of the background to use as a paper airplane.
This right here, artistically demonstrated how Tinker experienced space and time differently than we humans (or dogs) do. Like how you think you're really fast when trying to catch a fly, but to the fly, you're moving slow as shit.
Generally speaking (on topic) I think Jim Lee often empowers the story by abandoning the traditional panel. He puts his art there on the page, as a whole, and runs the story across it. No one ever agrees with me.
i really think that comes down more to j.h. williams than warren ellis in that case. everything williams illustrates ends up looking insane.
Does anyone have a scan of the page? It's hard to describe, but it's really worth seeing. Especially when compared with the page before.
Random note: Paul Cornell is in Dublin for P-Con and autographed the issue for me
Is that the one where it turns out Echo's spirit animal is Wolverine?
I don't know if I'd call it good, though. It was kind of nauseating and claustrophobic at first, but it flowed extremely well, and as things in the story come to climax, the layout feels less and less closed off. By the end I was really impressed with it as a story-telling device, but from an art-only perspective it's pretty terrible.
Obviously, most of you have read it as well. Was anyone else really off-put by that at first?
From that aspect, I'm disappointed with a ton of mainstream comics. However, a good writer/artist or writer/artist team with a great synergy can really bring it together.
Exactly. DKR is packed with story compared to almost anything else of the same length not written by Morrison or Moore. And I think that's why it works so well.