Fixing bad acting in a comic book
Вставка
- Опубліковано 21 сер 2022
- How should we tell a story in a comic? Is it possible to imply nuanced acting from a character who wears his underpants on the outside? Also, an update on the delayed Hannibal graphic novel!
My 'Game of Thrones' video to which I refer: • Duel of the bitches - ...
Chris Steininger's response video: • Response to Lindybeige...
Thanks to Chris Steininger for the use of his artwork.
Support me on Patreon: / lindybeige
Buy the music - the music played at the end of my videos is now available here: lindybeige.bandcamp.com/track...
Buy tat (merch):
outloudmerch.com/collections/...
More videos here:
All Lindybeige: • All Lindybeige
Lindybeige: a channel of archaeology, ancient and medieval warfare, rants, swing dance, travelogues, evolution, and whatever else occurs to me to make.
▼ Follow me...
Twitter: / lindybeige I may have some drivel to contribute to the Twittersphere, plus you get notice of uploads.
Facebook: / lindybeige
My website:
www.LloydianAspects.co.uk
Channel page:
/ lindybeige
Glenn Fabry has also talked about this, his solution is to approach it like a silent movie, where the actors are playing up their expressions and emoting to camera.
Thats also what Stan Lee advised in "How to Write Comics the Marvel Way"
17:00 I think getting rid of the guards is actually a bad move. It makes her look vulnerable and embarrassed instead of sullen and brooding, and making her smaller only enhances that effect. Letting her keep her retinue reminds the reader that she's still a powerful, crafty woman who is likely to strike back at a later time.
@Igor Hartmann But I think her character is such that she would have been feeling angry in that moment. Would have been fuming and plotting revenge, however embarrassed she also felt. So I guess the difference is instructive -- one version to emphasize the pain and humiliation, the other to emphasize that the fight isn't over -- but from the source material I think the version with the guards is the better one.
It also removes the movement, it's not obvious that she's walking away. You could leave them there but make them less opaque so they fade into the background
@@Skatche I agree with keeping the guards. Also I might have changed the angle to show her more from the front as in the TV show so that we could see the angry mouth. Or at least show clenched fists from the profile.
@@anarionelendili8961 I think that could work with the right artist, but there's a small wrinkle in that idea: a lot of comic book artists just aren't that great at conveying subtle emotion through facial expressions. From the panels in this video, I think the guy who drew them falls into that category, and I don't mean to denigrate him, art is hard work and different people have different talents. Using compositional elements instead is a good strategy.
Something I think could work is having her walk toward her guards. The laughter is still visually directed at her, but instead of walking sullenly like a dog with its tail between its legs, show her walking with purpose. The guards would stand ready at the other end of the panel, and it would visually convey that she's returning to where she's strongest to regroup
“Panelbook” I like that term! It’s certainly more casual sounding than graphic novel, something that sounds forced in a conversation, thank you for making that a thing!
It sounds very British to me, which is perfect for Lindy
That "Oh you've seen it already!" at 7:49 was perfectly timed with me coming back :)
Same here.
The "guard question" is interesting. Without the guards in the panel the woman being laughed at seems powerless, bullied and alone somehow. I take pity. With them behind her, I see a powerful woman being challenged by lesser nobles.
Which is kind of what it is, at least in the book. Cersei’s sheer ego and insanity always allowed her to keep a sort of moral highground, albeit completely imagined. In her mind, she was always winning, keeping in mind her paranoia around the (spoiler alert) prophecy saying her valonquar (or little brother) would kill her.
Lindybeige has been uploading at breakneck pace by his standards!
It's good to have standards.
He does tend to upload in batches. We’ll get nothing for months now.
I remember when he uploaded regularly. Good times
I disagree completely with removing the guards. It would give the wrong impressions. This scene shows an arrogant Margery Tyrrel overplaying her hand and crossing a very dangerous and manipulative character. If she was chased away from the room by the sycophants laughter it would give the impressions that she's being bullied and all that Margery said was correct and Cersei's power truly is waning.
The guards being there, immediately prop Cersei up after she was humiliated by Margery. And they're not the golden guard of the Royal Family, they're the Lannister's Army, they serve as a reminder that even if Cersei was to lose the title of Queen, she is still a immensely powerful characters in her own right, and that King's Landing has become just as much a Lannister city as Casterly Rock, they own the place. Margery is very much the younger, less experienced and more arrogant upstart, challenging the Queen in her home turf.
The result of this scene is that we should feel that the wind is turning, that Margery might be able to chase away Cersei BUT that Cersei isn't just an old women being bullied, and the shame and desperation will only make her more dangerous in the coming times, especially with the support she has from House Lannister.
I might have posted the guards a bit further away though, give a bit of time for Cersei to process her emotions, and as she goes from shame to revenge, the guards locks-step and flank her. The fact that they immediately appear undermine the threat to Cersei's power. She comes out of the exchange a bit shaken, we should feel that maybe something could happen. Her guards appearing immediately, dispel this notion just as quickly and the only option we're left with is "Margery is done for".
My first thought was to position Cersei dead center coming right at the 'camera' with the guards on the very edge of the panel flanking her, showing her steeled expression (implying that the facade of her smile dropped as soon as Margery couldn't see) and behind her the door is only slightly ajar with small wispy speech bubbles seemingly seeping out as if the laughter is just barely echoing out to her
@@coltnichols4502 Yet another idea could be to work with perspective.
I.e. show Cersei not exactly from the front but e.g. slightly off to the right and at a slightly upward angle (and maybe _just a tiny bit_ hunched over) with her guards a few steps behind her (might even just draw them slightly less detailed and a little shadowy so they look a little spooky) and Margery and the other women as noticeably smaller figures in the background than Cersei in the front.
The idea being that while Cersei might look slightly beaten because of her tiny hunch, she would also appear kind of "larger than life" compared to the other women and thus subtly towering over them (through the perspective and upward angle, that is) to show that while she might have kind of "lost the first round", she continues to be a powerful woman which remains extremely dangerous and a force to be reckoned with in the future.
I.e. use perspective and angle to create a foreshadowing that there _will_ be blood some time in the future, but just not yet - and it won't be Cersei who'll bleed.
@@drops2cents260 Now this I like
@@coltnichols4502 Mission accomplished. :-)
Leave the guards there, but the Hahaha was aimed at her with the ending, which shows enough.
The "Show, don't tell" advice should be revised to "Don't exclusively tell, you must also show". Encouraging someone to never "Tell" only makes writing miserable and also doesn't make a good story either
I completely agree that “show don’t tell” isn’t the whole truth, but it’s a very easy rule of thumb to remember with only three words (kill your darlings and chekhov’s gun are other great ones). Slightly longer but more accurate versions of these phrases would not stick as well imo
One does not tend to take these catchy-phrases literally.
@@alexkfridges many more people than you think do in this day and age.
@@iota-09 That's silly. You can attach a bucket of footnotes and caveats to any common saying (since they're never 100% precise), but no one does that.
You might as well complain that "comparing apples and oranges" needs to specify that there are some ways in which it *is* valid to compare apples and oranges.
@@alexkfridges Tell that to teachers that circle every instance of telling and put "show dont tell"
they have a very one-track mind
You can say what you want about the internet but it made me obcessed with art in all forms there are so many talented people willing to teach us to do our own art
Not the Internet Randal. Say what you want about Jesus, but leave the Internet out of this.
I'll let myself out.
What's your point...??? About the internet... Do tell
Perhaps you can ask the internet to teach you spelling and punctuation.
@@strydyrhellzrydyr1345 internet gives unlimited access to all sorts of artists and learning tools
*obsessed
I didn't expect a art tutorial about sequential art from this channel, but I like it
that intro was quite meta. it sounded like you're talking about the emotional journey of a crowdfunding backer.
Lindy is by far my favorite youtuber as far as internet personalities go. This man is like an avatar of the chaotic nature of my many interests. I cherish him so much.
5:51 One of my favorite books ever is "Understanding Comics" by Scott McCloud, and he uses the umbrella term "comics" for the art form, after discussing some of the other terms people use (comic books, graphic novels, etc.) so I use that term as well.
Even at the start of this I was worried about my kids not being back yet, I don’t even have kids and I’m 17 lmao
You’re a master story teller Lloyd
Its always a treat to see a lindybeige upload
A hidden gem for sure
I have a feeling that every background wall in a Lindybeige video is all in the same room but shot on a different choice of an infinite number of fancy walls.
The Berserk manga, from deceased Kentaro Miura does this really well, it's not exactly the same as a comic book, but as you read it, you develop feelings towards characters, a good story comes not from what is said, but what is left unsaid, as seen on that manga, at a point you realize that one of the characters has always loved other one "main cast", but it is never explicity said, it's in the way he looks at her, and when all is going well, disaster strikes, and you're left hoping that these fictional characters you've grown affected to don't die.
I really enjoyed all your videos! Hope you never quit
Good description of the problems taking a book and turning it into a film. Your first dialog from the book took less than a minute to read. That translated to several minutes of filming (plus a load of extra's and a bus) just to cover a few sentences in the book. In that way it seems to have a similar issue with panel books.
Never thought I'd see this kind of video from you, I'm pleasantly surprised!
One of the best panel books I’ve ever read was HOSTAGE by guy delisle. Which is a true story featuring hundreds of panels of of the same man in the same clothes chained to the same radiator by himself- its the most gripping dramatic thing I’ve experienced I have no idea how he does it but definitely worth studying.
Sounds interesting to me. But I guess it's not a broad audience type of style.
I myself really like the movie "Das Boot" but I know that many people might think it's boring as it's telling it's story quite subtly, it's more about dialog and expressions than action. I guess it might be similar with panel books. The 'broad audience' might think that it is boring to look at a bound up guy rather than that guy ripping himself loose, fighting his guards, fleeing, rearming and eventually killing the big bad evil guy that plotted his kidnapping...
@@annasstorybox7906 Das Boot good film
A link in the description to both videos you refer to would very welcome.
Done. Thanks.
Great to hear some real progress is made on the panalbook! Still excited to receive mine!
I always wondered about those photographs in the background. Where are the others from old videos? I bet they have stories worth listening to.
I think he said they got lost when he moved house
Sometimes I get the urge to post the "first" comment but then I quickly think better of it.
Inspiring stuff! Thanks for the insights!
It’s weird to think some people who preordered In the Search of Hannibal have probably died of various causes before the novels release
Dibs on their books!
I always found the concision required by comics to be a strength of the medium. Sure, it may mean that it isn’t appropriate for all stories, but-that’s fine-not every story is appropriate for every medium. Glad to get a status update on Hannibal, and I’m looking forward to it!
It's the funniest thing- just a few days ago I got a recommendation for one of your years-old Hannibal comic videos that I'd already seen, and it left me wondering how that project was coming along...
After 6 years, you'd have to say it's a con.
No update in a year and even that was fairly insulting to backers.
19:10
I tried to watch this twice and I fell asleep twice. When the book burning begins, may it begin with comic books and graphic novels.
I like the term panel book :D
I didn't back your panel book but I am getting more and more interested even though the information about it is already strung out over such a "long" time frame...
it's videos like these that surprise me on the bredth of subjects lloyd can cover in his videos, and how delightfully entretaining they are
Part of the problem is that they made things so hyperrealistic that what I call "the music of comics" is lost. To convey speed in the Kirby School you use sketchier drawings, to convey things stopping it becomes extra detailed. To show things are overwhelming, literally draw things that way, with a cacophony of colors and every single bit of the page highly detailed with too much on it. To focus the attention on one thing, make only that part detailed. Maybe toss the background entirely. Using the kids not being there analogy: Show her biting her lip, the background bare except for the clock she's sideyeing that's between pictures of the children looking unnaturally happy. Her hand can be in the foreground tapping. That's just one panel. Then, without any picture, write vrooom psssh and hahahaha in a way that shows motion across an otherwise blank section of the pahe. Next sketch her feet racing with tap tap tap tap tap of her high heels that she's wearing to make this easier. Make it colorful with tons of sketchy background details. Follow it up by her feet in the doorway, the color is all gone and there are heavy shadows and it's hyperrealistic. That could be as much as 4 pages, or as little as 1 and a half. But most of what is conveyed is done through what is and isn't shown.
I was suprised that this was a Lindy video
I thought it was one of the comic story time people I subbed to
@Lindybeige
22:08 Well, of course page space is a valuable resource - but: in some cases, "drawing out the plot" (e.g. by repetition) can actually be useful to intentionally create tension.
For instance, you can create the impression of things happening very fast in e.g. by drawing different single people fighting by themselves in multiple single panels who are not "connected" to each other to create the atmosphere of chaos and disarray which happens in battle.
But in the scene with Cersei and Margery, you actually could draw out the plot a little to create tension and suspense by e.g.:
1) Drawing the panel of Cersei saying "Good",
2) then a panel of Margery's mouth smiling with a slight air of thriumph,
3) then a panel with Cersei saying "Good...",
4) another panel with Margery's mouth with the smile being slightly more tense to show an air of wariness,
5) then Cersei saying "...I'm glad to hear you're happy",
6) and then a final panel with Margery's mouth showing perhaps a slightly uneasy smile to show that while Margery still thinks she has won, she also feels slightly uncomfortable because Cersei didn't yield to her completely.
And of course you shouldnt do that too often because that could make a story become lengthy and boring (and would be a waste of valuable page space if done too often), but sometimes "slowed down" storytelling does have its place and can emphasise the importance of a certain scene for the plot to come.
Cool thoughts about an issue I had never considered, and also didn't realize how much I needed to know the answer too :)
This made me realize how socially retarded I am. It also explains why so many scenes or entire shows seem so boring to me - I just don't get any of this nuance. Unless something is specifically stated, I have a very hard time telling what a scene is meant to convey. I didn't get that scene in GoT when I first watched it and didn't know why they wasted valuable time on pleasantries.
someone in the comments metnioned a comic that focuses pretty much on ONLY that, and the question that came to me intsntaly: well i'm autistic and kinda suck at body language, i wouldnot get it then, right?
@@iota-09 Maybe not no, but if you give it a shot and find you're still enjoying it, but in a different way, that's fine too :)
great vid. never thought about comic books in that sense. very interesting to know. like the panel book idea. :). sounds like a very interesting novel.
you are so energetic, you almost make me get out of my chair LOL 🌷🌱
I think that the guards should be in the picture, I think it comunicates taht she is still of importance because she has guards following her. She is still important after all. But it she might not feel that way, which is why she is angry. So I think the best option would be to have the gurads there, but only as shaddows, almost siluettes. Comunicating that they are still there, they just don't matter to how how she feels, nor to how the conversation felt.
Furthermore they can used to demonstrate how she feels the need to have that protection, that the words and the laughter are as weapons against her and her guards are to be her shield, made worse by the fact that the laughter eclipses them, they are useless as a defence in this scenario.
@@hi-im-kerri That is actually also true, yes. I feel like not having anyone there would depict someone who is meek and alone, helpless to the cause of the laughter that attacks her. But Cercei is not meek or helpless. She is just meeting someone who can be her match. And I think that what you said demonstrates the neuance perfectly.
A simple technique I'm surprised to not see brought up in either video or its comments (pardon if I've missed anyone):
*Diagonal lines.*
Simply put, when you use ordinary orthogonal lines (vertical and horizontal) in a panellogue (yeah bugger it I'm making my own term), that connotes the passage of time betwixt. But with *diagonals*, it instead suggests contemporaneous action!
For just two panels, any diagonal will do. For three or more panels, some more thought is required. The diagonals can either radiate out from a central "star-burst" point, align neatly, or form higgledy-piggledy tumbledown panels. These can connote a total simultaneity, a very rapid almost-simultaneity, or a very vague sense of "the following actions could happen in any order and sequence which YOUR imagination assembles them".
(there's even a possible sequence I've just imagined, never seen done outside of the vivid eye of my mind, in which the panels are simply rotated 45' to make a series of diamond squares cascading down the page, in turn conjuring a "competing queues" effect of multiple roughly simultaneous actions jostling past each other at once. Such visio-temporal pleasures are impossible outside of the panellogue medium)
If all the characters across these panels look in the same direction - all to the left let's say, or all peering into the middle of the starburst, this helps to reinforce the feeling of temporal union further, all while transforming the traditional use of panel breaks into a purely spatial, or in Chris and Lloyd's demo, EMOTIONAL metric of distance. Marvelous, isn't it?
Can't stop thinking about what happens to the dishes in the dryer
Re: the Hannibal book and printing and delivery costs...
I am not a backer, but just as a thought, maybe some of the backers would be happy with getting a pdf rather than a physical book? If it is done on volunteer basis, and even if a minority would go for it, it might be enough to alleviate those issues?
For the staring show of both of them face to face, I think the only distance I get from it if you have them in different panels is that it gives the impression that they're staring at each other for longer. There's an implied time, but the scene is still the same, because it's a composite scene of two panels, rather than two panels on their own.
The guards / no guards thing is interesting. I'd favour the guards being in as almost the entire background as martial and menacing as possible with a smaller Cersei in front dwarfed by them and followed by laughter. You'd get the "small and humiliated" vibe instantly followed by the remembrance that the woman the new queen just humiliated has a large and vicious army she is quite capable of ordering kill everyone in the place.
2:00
In the movie The Rock (sean connery; aging SAS convict on alcatraz) a US general visits his wifes grave before embarking on a suicidal mission.
The inscription on the stone was simply " His wife"
Interesting. And this is exactly why I have trouble with graphic novels: I pick up on almost none of this kind of compositional detail.
Berserk is good, you can try that
I really hope the hannibal book will be for sale later, and not just the people that pre ordered, I really want to buy it, but I missed the fundraiser
what i really admire in lindybeige is his ability to make big characters or historical moments relatable, that might not do him justice but i saw that bbc (i think) documentary about hannibal but it was lindybeiges video on the second punic war and it's that long rant that started my years long passion for military history and tactics. Imagine if teachers spoke with such enthusiasm. anyway i cant wait to read the comic, it couldnt be in more capable hands. Another moment in history which i would love to see or read in some visual format is caesars time in alexandria. What a wild chapter of history
Your back!
It also shows the ambiguity inherent to all one-sided conversations, but images in general, that I interpreted the featureless head figure as being honest about his happiness in every iteration of the panel. I interpreted the darkness and the distance of the bubble as conveying his own surprise at the realization.
babe wake up new lindybeige video dropped
It does remind me of one of the reasons I have had such a hard time getting into western (america and europe) panel books. There's such an emphasis on the text. I mean, there's a lengthy narration. Some thought bubbles, some word balloons. And off in the corner of the panel theres a very generic illustration that shows what I already have gotten from the narration, the thought bubbles and the word balloons. Oh, and there's usually a sound effect or two in there as well. And maybe an aside by the author and/or editor or whomever had a random thought on the subject matter. And this gets repeated for all the panels, all the pages throughout the story.
Meanwhile I pick up an asian panel book and it's so much easier to get a flow going. I've read complete tomes of a Junji Ito story at the time it would take me to read one chapter of most western panel books. Simply because mr Ito kept things focused one just a couple of elements per panel. And made sure those came across as clearly as needed.
Sorry, rambling over.
For American comics It’s the legacy of comics being written by people who didn’t draw them so it’s to wrestle ownership of the comic back from the person who does 80% of the work by physically dominating the page. That and for like 40 years it was basically illegal (the comics code) in the US to make comics that weren’t for kids so it was all dumbed down and explained.
*laughs in Frank Miller*
You would probably like Sandman by Neil Gaiman then.
I wanted to say something about art, dialog and storytelling of Berserk, but...
It's great. All of it.
Monday night beige. Just the thing before bed.
Hello from Newcastle Aus
Well, you have to play to a medium's strength. I suppose that can also mean foregoing things that are a bad fit, but one thing you can do much easier in comics than in film is change the zoom and position of the "camera". Shot-reverse-shot with an uneven power dynamic? Show one character from a low angle and the other from a high one. Or mess with the "lighting".
And while interactions like this are much more work in a comic than in film, other things can be conveyed much more quickly, like large panels giving an overview of a location while still having lots of detail. In a film, you might have to go "wide shot, swoop in, bit of action, back out, in again to a different character" to show what each is doing, where they are in relation to each other and what's going on around them. Even in writing this can get pretty unwieldy. But in a comic, you can have it all just be one big panel, because the reader can take their time looking at all the detail. You can also show a lot of rapid movement happening all at once without it being disorienting, or showing things that aren't there while a character is describing them.
The best “panel book” I ever read was the Black Orchid trilogy. The graphics in that created real emotion. Definitely worth tracking down.
If you haven’t already, I recommended reading “understanding comics” by Scott mc cloud.
The scope of “panel books” maybe wider than you think.
I do so like these shorts of yours, lloyd.
New lindebeige !
Hurrah ! ! !
This was great, looking forward to reading iSoH very much :D
The repetition of pretty much the same panel like the Cersei example in my view is to be used only if it is a scene critical to the plot or character development that really needs a lot of focus, otherwise while conveying the message it slows down the pace too much. I would prefer the choice of the separate bubbles like in the later example with the Roman commander.
In the laughter scene, I feel like the removal of the guards would really change the message that we would be communicating, making Cersei look like an outsider bullied at school instead of someone with power that is furious and already plotting for revenge.
why did I not get a notification foe this one despite having rung the bell ? had to be linked to it from a fb group
Not sure if it's in scriptwriting, but the only thing missing from your reading was the rising dramatic music! Good stuff.
Since u brought the subject up, I came to think about Mark Crilley here on youtube. I love the skill of that man when it comes to this topic. He is a published comic book author and how to draw youtuber =)
That blank staring face guy is so very resembling a very famous panel from a japanese panel book where a person capable at knocking out anyone with a single punch listens to a big villains backstory and just goes...
"Ok..."
The scientifically perfected "deadpan-face" :)
Oh man that Hannibal book still isn't out? Can't wait to get it, glad I didn't kick start it
I'd have long since claimed my money back by now had I backed it.
Doesn’t the hours of free content he produces grant him freedom from overbearing deadlines?
Things take as long as they take. I’m sure Lloyd is putting a great deal of care in the work.
Whatever the cost to support a quality creator is a reward in itself, never mind the outcome:
Which if Lloyd’s body of work is anything to go by then the wait will be worth it.
As an artist i kind of had all this information in the back of my mind, and i find it funny you think the distinction is important enough to make clear! Its always fun to hear non-artists talk about art things. The panel man is right, visually she should be alone in that scene! But you lloyd are also right, the guards could be hidden by shadow, or standing further away from her to imply distance!
I would have her standing with out the guards and the laugh in focus, then another panel made up almost the same way but with her a little straighter, walking, her guards walking behind her, and the laughter getting fainter. The shot in the show promises she's about to take action, and this panel should indicate such as well...
I'm writing my own comic idea atm so it's a bit strange seeing you make this video out of nowhere since it's something I've had to figure out myself
Captions and thought balloons can also be used to set the tone. A simple "The hatred was palatable" caption in the panel where the two woman were looking at each other while smiling is all you would need to state clearly they didn't like each other.
I agree, but at the risk of being 'that guy', the word is 'palpable' (capable of being touched or felt) rather than 'palatable' (pleasant to the mouth). I apologise if autocorrect switched it for you and you already knew.
As a non-native speaker of the english language I'm glad for someone to point out such nuances I'd've missed otherwise
17:28. Blurr them. Make them faded or with less detail.
Also, on the discussion about whether to put the young and the old queen in different pannels or not: you could hsve them in different pannels but with the same backround. That way our eyes tell us that they are at the same location and in the same time, but the illustration (interposing a definitive barrier that is visible only to the reader and not the characters) suggests that they stand opposed and apart.
I really liked this video. You could also call it "On visual syntax and grammar of a pannel book".
I’d love to hear about all the bits in the background. What are the two wooden panels to the bottom right of the board?
I'm glad you're still arround
Hannibal update at 19:07
"She doesn't even register him"
That's the husband, alright!
For a masterly example of expression without words, see Brian Dennehy in the film ‘The Next Three Days’ (2010).
David Mamet talks about this in Ön Directing Film¨' super helpful book for thinking about storytelling visually
Curiously specific.
This man has the audacity to discuss the appropriate way to engage an audience and tell a story while we are waiting almost a decade for his scam of a graphic novel
HUZZA!
Well done and thank you!
Question about In Search of Hannibal:
Will it be made available for purchase (even a limited print) for the larger audience you've gained since the Kickstarter?
Strong video, by the way. I like it.
Search of Hannibal, is that still a thing? havn't heard him mention it for years now. will it ever be released or what's exactly going on?
@@prince-solomon Watch the video you're commenting under.
Many Mangas do exactly that: Using many panels and pages to convey subtlety. But those often have many, many pages.
It's strange to admit, but I didn't realise that I'd, over the years, developed a different mental vocabulary for reading com-...panel books. I've always aprecciated and understood the artists works, somehow, but failed to comprehend why the images spoke so strongly to me.....Thankk you Loyd
Can't wait for your comic book eeerrr graphic novel eeerrrr panel book.
Now that's taking the hair to the next level.
Panel books! Brilliant! I love that term, it’s wonderful.
Panel book makes me think of, like, bound wood slabs with inset ingravings of landscapes or something.
I think it’s less a problem with the medium, and more a problem with the audience. Specifically, how they tend to read - or have been conditioned to read - comics and graphic novels.
Very few people are actually closely analyzing each and every panel in a story, looking for details that may show what the artist is trying to convey. No, what the vast majority of readers are doing is quickly scanning the panels looking for dialogue boxes.
In your example of the woman worried about her kids, there would’ve been pages without dialogue. I think most readers would’ve just skimmed through each page and panel until they finally saw some dialogue boxes and thought to themselves “ah, finally the story can begin.” Although, as you illustrated, they would be missing a great deal of information by skipping the textless panels.
But I think we’ve perhaps been conditioned to read panel books this way. Think of all the superhero comics of the past; if there was no dialogue it was usually a fight scene (which still had sound effects in dialogue boxes).
In other words, all of the important story information was always TOLD not SHOWN. The idea of telling a story without dialogue in this medium simply wasn’t done back then (or even now?)
Anyway that’s just my thoughts.
The point of drawing techniques like these is that you don't have to look closely and analyse them. You understand what they mean below the written words, even if only subconsciously. Just skimming would probably miss that.
But I don't relate to the "we" you're using there. I remember actually looking at the images reading old comic books. Where have you learned that the vast majority doesn't look at the images more than to search for text?
16:50 if I were to draw that panel, it would be from a different perspective. Front view of the queen, the guards following to either side, allowing view of the sycophants and the other lady having a laugh at the table. Allows less room for misinterpretation, imo.
I use Blender for all my video editing. It's not as fancy as Divinci Resolve, but it's much more lightweight.
Thank you.
Hope i can actually get this at my local bookstore
The manga Berserk does a good job of conveying deep emotion in single panels, just with single facial expressions. You oughta check it out.
Also, I hope that elephant doesn't grab Hannibal by the penis.
(13:41) " ... rather than put the two panels next to each other, he's put one slightly lower."
Also, each speech balloon is placed lower than the previous one.
Without watching, I nominate this for best video on UA-cam 🤣
Now we know the reason behind the delays on ISOH. He had to bring Lee Strasberg from The Other Side and teach the characters how to express without words.
Howdy, Lloyd, when isfh finally comes out, might I suggest you submit it to the annual bande dessigné competition in Angouleme in France. Angouleme has it own cartoon/bd/ graphic novel museum and an annual expo. Check it out for greater audience! Hope all well that end, Simon (opsoverseas)
I haven't watched Lindy yet, but I don't need to I work as an artist...I learned to draw faces by reading Vault of Horror, and Tales from the Crypt. Those guys had to get facial expressions just right, not just to sell the horror panels, but they had to make a nice, serene, lead up to the POW! HORRIFIC UNDEAD THING!!!
I think the guards being there is nice to represent she still has power and prestige and that there are still people loyal to her even through the loss of direct power. Maybe a comeback is going to happen soon
To me, getting rid of the guards makes it seem a bit more like she’s being bullied. Which isn’t really the message.
I saw the title and immediately said to myself "well, the writing of course" then got a few minutes in and changed my mind to "ok maybe it's more about the art" and by about 8 minutes in I didn't know what to think anymore. I will be calling them panel books now.
Its both.
Hey Lindy; You last few videos have been immensely quiet, could you boost the audio volume a bit within the video itself?