Thursday, January 30, 2014
Thursday, January 23, 2014
WEEK ONE
Hell on Earth
Panels start out very uniform. Very straightforward, even pacing. Speech balloons/text is also spread out relatively evenly across the page and is clearly sectioned off by each panel. Most of the shots zoom in on an action or some element of the scene. As the story progresses, more vivid coloring is used (from white to a fiery red-orange). Whenever something demonic happens, the panels become much less uniform and the structure breaks down to match the mood.
Nightwings
Panels start out much more dynamic on this one. Lots of diagonals and overlap. There’s a variety of camera angles, which gives it more of a cinematic feel than the previous comic. First person narration is primarily used.
Frost and Fire
Lots of descriptive language included (assuming from the original text). Panels used to lay out the environment. Whenever he dreams, panels are no longer sectioned off and there are a lot more overlapping elements that give it more of a dreamy quality.
Merchants of Venus
Another first person. Lots of staightforward shots focused on characters, and less use of cinematic angles.
Demon with a Glass Hand
A wide variety in shots used. Less focused on the character and more focused on the action. Some experimentation with layout and breaking off panel walls. Large, elaborate scenes and settings vs. blackness with a single spot light. Several panels at once vs. no indication of panels at all. More experimental than some of the previous mentioned.
The Magic Goes Away
Zoomed out shots mixed in the close ups on characters. Also a mix of structured paneling and big open scenes. Panels become shaking an unsettling for a brief two pages to indicate a lack of control at that moment in the story.
Sandkings
Plenty of talking an narration. Several wide landscape shots to layout the scene. A lot of the story is told directly through words with the pictures as an aid, rather than simplifying words and trying to portray more through action.
Panels start out very uniform. Very straightforward, even pacing. Speech balloons/text is also spread out relatively evenly across the page and is clearly sectioned off by each panel. Most of the shots zoom in on an action or some element of the scene. As the story progresses, more vivid coloring is used (from white to a fiery red-orange). Whenever something demonic happens, the panels become much less uniform and the structure breaks down to match the mood.
Nightwings
Panels start out much more dynamic on this one. Lots of diagonals and overlap. There’s a variety of camera angles, which gives it more of a cinematic feel than the previous comic. First person narration is primarily used.
Frost and Fire
Lots of descriptive language included (assuming from the original text). Panels used to lay out the environment. Whenever he dreams, panels are no longer sectioned off and there are a lot more overlapping elements that give it more of a dreamy quality.
Merchants of Venus
Another first person. Lots of staightforward shots focused on characters, and less use of cinematic angles.
Demon with a Glass Hand
A wide variety in shots used. Less focused on the character and more focused on the action. Some experimentation with layout and breaking off panel walls. Large, elaborate scenes and settings vs. blackness with a single spot light. Several panels at once vs. no indication of panels at all. More experimental than some of the previous mentioned.
The Magic Goes Away
Zoomed out shots mixed in the close ups on characters. Also a mix of structured paneling and big open scenes. Panels become shaking an unsettling for a brief two pages to indicate a lack of control at that moment in the story.
Sandkings
Plenty of talking an narration. Several wide landscape shots to layout the scene. A lot of the story is told directly through words with the pictures as an aid, rather than simplifying words and trying to portray more through action.
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