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Words for pictures : the art and business of writing comics and graphic novels
Step-by-step lessons teach comics writing hopefuls everything they'll need to take their ideas from script to dynamic sequential art. The book's complete coverage exposes the most effective methods for crafting comic scripts, showcases insights from Bendis's fellow creators, reveals business secrets all would-be comics writers must know, and challenges readers with exercises to jumpstart their own graphic novel writing success.
Book
Reading Graphic Novels
Distinguishing the graphic novel from other types of comic books has presented problems due to the fuzziness of category boundaries. Against the backdrop of prototype theory, the author establishes the graphic novel as a genre whose core feature is complexity, which again is defined by seven gradable subcategories: 1) multilayered plot and narration, 2) multireferential use of color, 3) complex text-image relation, 4) meaning-enhancing panel design and layout, 5) structural performativity, 6) references to texts/media, and 7) self-referential and metafictional devices. Regarding the subcategory of narration, the existence of a narrator as known from classical narratology can no longer be assumed. In addition, conventional focalization cannot account for two crucial parameters of the comics image: what is shown (point of view, including mise en scène) and what is seen (character perception). On the basis of François Jost's concepts of ocularization and focalization, this book presents an analytical framework for graphic novels beyond conventional narratology and finally discusses aspects of subjectivity, a focal paradigm in the latest research. It is intended for advanced students of literature, scholars, and comics experts.
eBook
Comics and Language
It has become an axiom in comic studies that \"comics is a
language, not a genre.\" But what exactly does that mean, and how is
discourse on the form both aided and hindered by thinking of it in
linguistic terms? In Comics and Language, Hannah Miodrag
challenges many of the key assumptions about the \"grammar\" and
formal characteristics of comics, and offers a more nuanced,
theoretical framework that she argues will better serve the field
by offering a consistent means for communicating critical theory in
the scholarship. Through engaging close readings and an accessible
use of theory, this book exposes the problems embedded in the ways
critics have used ideas of language, literature, structuralism, and
semiotics, and sets out a new and more theoretically sound way of
understanding how comics communicate.
Comics and Language
Comics and Language
eBook
Framed ink : drawing and composition for visual storytellers
Explores fundamental concepts in composition, layout, and the elements of successful visual storytelling by using 230 unique illustrations and 166 easy-to-understand diagrams as examples.
Book
Drawing from Life
Autobiography has seen enormous expansions and challenges over
the past decades. One of these expansions has been in comics, and
it is an expansion that pushes back against any postmodern notion
of the death of the author/subject, while also demanding new
approaches from critics.
Drawing from Life: Memory and Subjectivity in Comic Art
is a collection of essays about autobiography, semiautobiography,
fictionalized autobiography, memory, and self-narration in
sequential art, or comics. Contributors come from a range of
academic backgrounds including English, American studies,
comparative literature, gender studies, art history, and cultural
studies. The book engages with well-known figures such as Art
Spiegelman, Marjane Satrapi, and Alison Bechdel; with cult-status
figures such as Martin Vaughn James; and with lesser-known works by
artists such as Frédéric Boilet.
Negotiations between artist/writer/body and drawn/written/text
raise questions of how comics construct identity, and are read and
perceived, requiring a critical turn towards theorizing the comics'
viewer. At stake in comic memoir and semi-autobiography is
embodiment. Remembering a scene with the intent of rendering it in
sequential art requires nonlinear thinking and engagement with
physicality. Who was in the room and where? What was worn? Who
spoke first? What images dominated the encounter? Did anybody
smile? Man or mouse? Unhinged from the summary paragraph, the
comics artist must confront the fact of the flesh, or the corporeal
world, and they do so with fascinating results.
eBook
Share your smile : Raina's guide to telling your own story
Offers writing prompts, activities, and tips and techniques for writing and illustrating a story.
Book
Alan Moore
Eclectic British author Alan Moore (b. 1953) is one of the most acclaimed and controversial comics writers to emerge since the late 1970s. He has produced a large number of well-regarded comic books and graphic novels while also making occasional forays into music, poetry, performance, and prose.
InAlan Moore: Comics as Performance, Fiction as Scalpel, Annalisa Di Liddo argues that Moore employs the comics form to dissect the literary canon, the tradition of comics, contemporary society, and our understanding of history. The book considers Moore's narrative strategies and pinpoints the main thematic threads in his works: the subversion of genre and pulp fiction, the interrogation of superhero tropes, the manipulation of space and time, the uses of magic and mythology, the instability of gender and ethnic identity, and the accumulation of imagery to create satire that comments on politics and art history.
Examining Moore's use of comics to scrutinize contemporary culture, Di Liddo analyzes his best-known works--Swamp Thing, V for Vendetta, Watchmen, From Hell, Promethea, andLost Girls. The study also highlights Moore's lesser-known output, such asHalo Jones, Skizz, andBig Numbers, and his prose novelVoice of the Fire. Alan Moore: Comics as Performance, Fiction as Scalpelreveals Moore to be one of the most significant and distinctly postmodern comics creators of the last quarter-century.
eBook
Comics confidential : thirteen graphic novelists talk story, craft, and life outside the box
\"Marcus turns his literary microscope to the world of comics, which has lately morphed and matured at a furious pace. Powerful influences from manga to the movies to underground comix have influenced the thirteen artists and writers interviewed in these pages to create their own word-and-picture narratives\"-- Provided by publisher.
Book
The Comic Book Western
One of the greatest untold stories about the globalization of the
Western is the key role of comics. Few American cultural exports
have been as successful globally as the Western, a phenomenon
commonly attributed to the widespread circulation of fiction, film,
and television. The Comic Book Western centers comics in
the Western's international success. Even as readers consumed
translations of American comic book Westerns, they fell in love
with local ones that became national or international sensations.
These essays reveal the unexpected cross-pollinations that allowed
the Western to emerge from and speak to a wide range of historical
and cultural contexts, including Spanish and Italian fascism,
Polish historical memory, the ideology of shōjo manga from
Japan, British post-apocalypticism and the gothic, race and
identity in Canada, Mexican gender politics, French critiques of
manifest destiny, and gaucho nationalism in Argentina. The vibrant
themes uncovered in The Comic Book Western teach us that
international comic book Westerns are not hollow imitations but
complex and aesthetically powerful statements about identity,
culture, and politics.
eBook