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Month: September 2017

6 Things Done Best In Comics

Comics are an incredible medium, art from the in-between space. Visual like movies, yet driven by words. Pictures powered by prose.

Having read comics for over 35 years, I’ve seen the trends come and go. Lots of folks say the medium has grown up. That today’s audiences are more sophisticated, their tastes more eclectic.

I’d agree that there’s definitely more people creating comics today, than the days when Stan Lee and Malcolm Wheeler-Nicholson first started.

But I often wonder if many modern creators jump into the medium with a full appreciation of what it represents and where it came from. Or if they just look to comics as a quick fix—a production of their IP quicker than a novel and far cheaper than motion pictures.

Whatever the current cultural status of the medium and whatever the future holds, you’ve landed on this article of mine today… and today we’re gonna stop and take some time to discuss what makes a comic unique. We’re gonna reflect and analyze the medium itself, and see if we can’t grasp the concepts that thrust a comic toward its true and full potential.

Originally, I wanted to title this article something like “What you can do in comics, but not in the movies”. But in the last bunch of years, computer graphics have really come along. I’d argue that there is little (if anything) you can’t do in movies these days.

Subsequently, I gravitated toward the title, “What you can do in comics a hell of a lot cheaper than you can in the movies”. This works for a lot of what we’re gonna talk about, but to simplify it, I threw away any kind of stringent comparative format, we’re just gonna focus on the core strengths of the comic medium, bouncing around with comparisons to its sister mediums (movies and novel fiction) as it fits the discussion.

As a comic is a collaborative effort between 6 distinct roles: Writer, Editor, Penciler, Inker, Colorist and Letterer, the lines of a comic’s core strength do tend to blur among them. For the purposes of this article (as always on this site and in my books) we will be focusing from the writer’s perspective.

Lastly, before we get into it, this is gonna be one of those long articles, appx. 4000 words, (I actually think I’m gonna start referring to them as “epic” in my newsletter so people know they need to grab a full cup of coffee before reading). Today, I’m gonna get down the main ones that jump out in my brain.

All the ones I forget… I’ll come back and add them in at a later time (I’ve already got a follow up list).

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Comic Pacing Decompression and Compression

In the Working Writer’s Guide to Comics and Graphic Novels I have a section dedicated to pacing. I cover the basics there, discussing the relevancy of panel counts, word counts and the content itself. One of the things I didn’t discuss is the more advanced concept of Decompression vs. Compression.

Whether or not you’re familiar with these two terms, if you’ve written any comics, you’ve already been implementing them.

As comics are not a complete look at an entire narrative, but rather glimpses of the most important (and hopefully entertaining) parts, comic scripting at its heart IS compression. Taking ten pounds of story and stuffing it into a one pound container.

Let’s look at the following scene breakdowns (not panel breakdowns).

Scene 1:

Our cop hero is transporting a criminal. The criminal gets loose in the back and has a wicked fight with our hero. The car crashes, the fight continues outside. Our hero gets splattered with acid, burnt with a flame thrower and his clothes are mostly torn from his body, before the criminal escapes.

Scene 2: Our hero now cleaned up and bandaged, walks into his captain’s office where he’s quickly chewed out for screwing up big time.

There are distinct visual changes between the scenes. Our hero is no longer covered in acid (it must have been washed off somewhere). He secured bandages and applied them to his burns. And found (bought, stole or by some other means procured) a change of clothes. None of which is shown to the reader. The reader (who’s paying attention) knows this all happened because the elements have visually changed. From scene 1, to scene 2, the story’s been compressed.

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The Cost of Making Comics

The following article discusses the costs associated with the creative end of comic production, budget brackets, and both successful and unsuccessful methods to reduce these costs.

Before we get into it, I’d like to thank you for purchasing membership to the site and paying for this article. I hope everyone that visits my site recognizes it as a community for comic writers… as such, your support directly allows me the time to put out more articles and engage the community. Thank you.

It’s kind of ironic that my first paid membership article is going to be a very rough, uncomfortable one for many of you. A lot of people in the public forums don’t like me for my bold opinions. As I’ve stated elsewhere, a lot of my own clients grit their teeth when they receive feedback from me. Though they appreciate it at the end, it’s never easy for anyone to get tough love and honest feedback.

I recently finished reading Band of Brothers, by Stephen E. Ambrose… You might have seen the World War 2, HBO mini-series of it. Good book, good series. So the guy who trained Easy Company (the main group of soldiers of the story) was a guy named Herbert Sobel. A real hard ass who everyone in the company hated. But after they went through World War 2, lots of guys had a different opinion on him. One said (off the top of my head) “Sobel made Easy Company. His hard-ass training saved many of our lives in combat.”

Business (and comics) is war.

You may not take a bullet or have to jump out of a plane, but when your hard earned finances are on the line, it might feel just the same.

I’m hard on you boys (and girls, of course) because I want you guys to make it through. I want you to be successful. And telling you everything is peachy, not letting you know what the real world is like out there, while that approach might get me more likes on social media, it won’t get you any closer to your dreams.

So, How much does it cost to make a comic?

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