alonalambert

[alonalambert]

The visual style of a comic can dramatically shift the message being portrayed, and even the influence it has. Visually impressive works can be wonderful and impactful experiences; while interesting content can often fall short if accompanied by a poorly chosen art style. A brilliant example of utilization of a style is the usage, and the contrasting rebranding, of Clear line. The clear line art style is one that perfectly pairs with theme adaptation through just minor adjustments.

Clear Line is an art style emphasizing clarity, simplicity, realism, proportion, and of course contour. Using often crisp linework artists working in a clear line style capture a blend of simplicity and description. Narrowing the content of the artwork down to its simplest visual descriptions while still capturing levels of realism.  Through this clarity in description and almost truthful appearance the clear line style can easily be viewed as a brilliant art style for positive and unifying narratives. We see this type of usage within “The Adventures of Tintin” Comic/graphic novel series.

Within Tintin stories; like “Tintin in Tibet; we see representation of French citizenhood, specifically the balance between being a good and bad citizen. We also see much emphasis on French national pride. Alongside these themes we can even see fascinating levels of realism via consistency and, later in the series, through attempts for character variety. These concepts only existed through the Clear line style. Emphasized and distinct character traits; environmental consistency; and an emphasis on visual cues referencing the real world were all delicately crafted by the clear line style. Through this style we can even see evidence of readers developing a level of trust and comfort in the clear line style. Due to its seemingly truthfulness we are led to developing unwavering trust and understanding for these world rules and ideas.

Through the understanding of this development the world of comics saw a resurgence of clear line but now in a contrasting fashion. This upcycle of a very clear, honest, and often positive style was that of now dark and serious tones. Clear Line was now becoming a style of subverting expectation. The style that is associated with honesty, now showcased worlds and stories of subversion and hidden themes or meanings. Often the colors even became moodier or more chaotic elements of mark-making became involved. The stories attached to clear line often even became much more personal. We see this in the graphic memoir “Fun Home” by Alison Bechdel.

Bechdel utilized Clear line to delicately portray a variety of characters and themes; and utilized it’s brilliant realism to truly immerse readers into her story. Clear Line’s realism: even after it’s revitalization, remained one of the primary tools for a graphic narrative. Clear line became even more realistic in this sense. A style dedicated to the expression of real concepts, real feelings, and real events. Clear line’s clarity can be empowering or horrifying. Through the utilization of clear line, stories often became more relatable and impactful for the reader. Blending Realism with often abstract concepts especially became easier and more influential for through the clear line style; and it will only continue to be developed upon.

 Hergé, . Tintin Au Tibet. Tournai: Casterman, 1966. Print.

[alonalambert]

The Impact of The Silver Age

Nearly every person has had an experience of feeling like an outsider, that fear of never finding your place; or feeling your difference, born or gained, will prevent you from becoming something. Marvel often highlights heroes created from the average person. Over the Years Marvel has exposed us to the beauty, complexity, and strength of individuality. For many, these heroes are beacons of hope and empowerment. They are not just brute strength, many fight battles of intelligence, emotion, craft, and skill. These Heroes are more representational of what each person has within them; obviously expanded to more fantastical realms but the idea applies. Looking at examples from the silver age of Marvel comics we will discuss this internal battle with identity acceptance and understanding.

Beginning in the Silver Age of comics we see a push towards personability and individuality within Marvel’s hero roster. With Heroes like Spider-man, the Fantastic Four, and the X-Men we are exposed to a new variation on realistic situations, and often serious ones. With Spider-Man we see the learning, growth, and challenges of Peter Parker, a nerdy teenage boy just trying to fit in and find his place in society. Peter faces the challenges of teenage hood while also having these newfound abilities that offer him a form of popularity he had never received before. It is exciting and almost all consuming; but he quickly realized these powers came with the duty to use them for good. Peter’s growth is one of the highlighting narratives; It is a relatable narrative. Just as Peter Parker, a nerdy hero, is trying to navigate this world us the viewers are often doing the same.

Similarly, within series like the Fantastic Four and X-Men we see a battle for acceptance and unity. Focusing on Fantastic Four we see newly created superhumans battling life in an average human world. People do not want to accept them; some people mock or fear them. They did not ask to get hit by Gamma Rays and become Superheroes, but with this new power they chose to use it to help. Even with all of the people they help or save they still have to fight to even be respected. X-Men carries a similar discussion but on a broader Civil Rights base. Mutants in the Marvel universe are genetically just as common as any human; but through the hatred for Mutants we begin to see the effects hate can have on a group of people. We see the X-Men themselves Fighting for Unity, fighting for acceptance, and fighting back mutants who decided to allow hate to guide them towards revenge. We see the wishy-washy ideas of humans; some appreciating Mutants, and others fighting for their extinction. Through X-Men we are seeing a very real concept being portrayed and we see the long-term fight to achieve even small steps towards a larger goal. With a Series as open as X-Men we can also take the same ideas and apply them to children or teenagers who feel lost, alone, and different. Charles Xavier built a school for mutants, a safe location for them to be with people who appreciate their differences. Many people wished for somewhere that was filled with people of like mind when they were teenagers or children.

The impact that stories like X-men, Spider-Man, and the fantastic four can be that of great importance. As someone who grew up with comics, films, and shows from each of these franchises I personally felt the impact they can have. X-men especially made me feel like I has skills, talents, and gifts that were meant to help the world. Through seeing these characters, I felt like I understood the draw to want to conform and pretend to be normal. Mimic those around you and fit in, but that rarely works so just like those heroes I so adored we have to fight and work towards being accepted and appreciated for who we are. Each person is made to impact the world, it just is shown and utilized in many ways. Marvel showed us this, and much more within their comics. Marvel helped me and many others to feel acceptance and hopeful.

[alonalambert]

Progression in Marston’s Wonder Woman

How was a time of continued modesty and pushed male superiority challenged by the progressive comics like that of Wonder Woman? Analyzing Wonder Woman, we can see many interesting avenues of activism towards an interest in a more female dominated society and an overall appreciation for Women. 

As a Self-Proclaimed "Women Supremacist" William Moulton Marston crafted a complexly woven story of strength and superhuman qualities in women through the Superhero comics about Wonder Woman. By taking a Greek story of the fall of the Amazons, and turning it on its head; via the ever strong and everlasting matriarchal society of the Amazons seen in Wonder Woman; Marston starts his journey in creating a narrative of encouraging female strength. This thriving matriarchal society sometimes referred to as paradise island is full of women who, at the time of conception, were all considered "scantily clad". Some comic viewers of the modern day see this as skin for the sake of skin, or just a moment of shock value. An element of visual teasing that while full of intelligence and strength these people are still just women there for visual appeal. I, however, feel that this is both a commentary on the Greek inspiration of Marston and a progressive statement.

Wonder women's appearance is very openly scoffed at within the first Issue of Wonder Woman. Yet even with the comments surrounding her, she is “so unconcerned”. With a statement like this and imagining being a young lady seeing this. I feel this moment is an expression of encouragement for women to ignore societal norms; I mean, Diana would never be concerned with them so why should we? I feel the design of Diana is also meant to express some of the inspiration from the Greek myths. In the Ancient Greek society Male athletes and warriors were often seen with little to no garments on; this was due to the appreciation for physique. Maybe, Marston wished to show something similar within the Amazonians Matriarchal society, an appreciation for female physique and garment utility. Within the next image we do see Diana’s common usage of her bracelets as a tool for defense; thus, furthering this idea.

Continuing to a separate example of progression within wonder woman was the balance of action. Typically showcased within comics is a blunt force approach to getting a job done. This can be seen within comics like Superman and Batman. Typically, male heroes are showcased as strong and powerful forces, leading with their fists. In contrast Diana was shown as primarily someone who will use another’s force to her advantage, using mind over brawn. This idea is furthered more broadly within Paradise Island, her people value the intelligence of women, the thoughtfulness and willingness to compromise. Diana is often seen negotiating and discussing issues over just immediately trying to force a solution. This is one of the primary themes within Wonder Women’s development towards female empowerment. Marston pushed this concept of intelligence over aggression and force.

William Moulton Marston’s Wonder Woman was a push towards female strength and power within comics and entertainment. While trying to craft a world that is improved by the Amazonians, Marston created an important steppingstone towards even more progressive comic writing. In trying to invite female readers DC comics allowed for a slight mocking of the typical goal and pattern within their comic selection.

  Marston, William Moulton, 1893-1947. Wonder Woman. New York :Holt, Rinehart and Winston, 1972.

[alonalambert]

A push for change through March

Civil Rights movements, especially those expressed via John Lewis’s March, are so complex and important that they can be quite challenging to showcase and discuss. John Lewis, Andrew Aydin, and Nate Powell were able to brilliantly showcase and discuss moments in history in an intensely impactful manner, however. March is an informative and powerful autobiographical graphic novel series that shares John Lewis’s story through the civil rights movements of the 1960’s and beyond. An important note to make before I begin, for this analysis I have read sections from March Book One and all of March Book Three. If I were to completely read all three of these graphic narratives I feel a truer and fuller discussion could be had, but I definitely would like to analyze the content I have taken in and it’s impact.

Now, To Begin.

When listening to John Lewis’ interviews talking about his experiences and the writing within this novel series; he often highlights elements that he found were most impactful. Lewis also often mentions his hopes and goals for these novels. To summarize, Lewis carefully crafted these novels to be roadmaps and guides to success in change. The methods and material needed to succeed in creating powerful and true moral change. I wish to explore some of the concepts showcased and portrayed in this guide for the normalization of protest and fighting for change.

In order to better grasp the concepts showcased, I feel, John Lewis very specifically chose to tell a childhood story within the first section of March Book One. This being the scenes of his connection to the chickens within his childhood farm. Parallels between how he treats these chickens and feels for these chickens, and his future of fighting for change and fighting for love for all begin to imply the tone of the March series. With the greatly impactful and often uncomfortable topics that are too be shown within the March autobiographies the immediate level of personal connection between John Lewis and the novels, forces the viewer to understand that these are people being discussed. We are tackling the topic of saving and providing freedom for living and breathing individuals. Much like when Lewis accidentally harms some of his hens and chicks; any rights movement is going to have mistakes, challenges, and hardship. People may be hurt, people might die, but most importantly we must fight for as much peace as possible. These are concepts that were introduced within this first section within book one. Continuing to the later content of this comic series, we find elements of these concepts in their fuller form. With these elements the viewer is pushed to understand the importance of the humanity and individuality of every person involved. Within the civil rights movement the fight for freedom and equal rights wasn’t just something relating to a couple of speeches and a hand full of people who wanted to vote. This was the equality of a whole group of people on the line. March introduced us to the importance of the individual, the importance of voice, and the importance of action. All of these things are necessary to create change and Lewis wanted us to utilize that. The graphic narrative series March is so elaborate and impactful in a way that can only be fully understood after reading. Through showcases of faith, hope, compassion, peaceful action, negative feedback and pushback, and much more we are given a sliver of what a successful movement needs. John Lewis shares with us the importance of movements and change. The importance of individual voice, and a variety of voices and actions within these novels. Without every single variable success doesn’t happen. This is what Lewis wished to share with us through March. He hoped for us to continue to push for growth and fight for humanity in our own way; and aim for moral brilliance. Alona Lambert

Lewis, John, Andrew Aydin, and Nate Powell. March: Book One. , 2013. Pg. 5-38 

Lewis, John, Andrew Aydin, Nate Powell, and Leigh Walton. March: Book Three. , 2016. Print.

[alonalambert]

‘Monstrous’ Behavior within “My Favorite Thing is Monsters”

Human Behavior is a wildly complex and confusing entity that is barely understood. There are many theories on how behavior is impacted and showcases itself. Sigmund Freud’s theory on Psychoanalysis is a wildly explored idea based on our behavior being expressed via three primary concepts. We see the usage of said concepts: The Id, The unconscious/impulsive mind; the Ego, reality/the reasonable; and the Superego, societal norms/our morality: showcased in various ways within the graphic novel ‘My Favorite Thing is Monsters’ by Emil Ferris. Ferris’s means of using these concepts is shown through the variety of characters and is typically using a connection between an unconscious concept and a conceptual physical being/trait. Through analyzing how Ferris explores these concepts I hope to not only offer a deeper insight into the foundation of her novel, but also better understand the impact of how these ideas are being expressed. What are these concepts in relation to these characters, and how can they impact us as viewers? Let us consider…

 To ensure we are all on the same page, ‘My Favorite Thing is Monsters’ is a sketch journal-styled novel about a ten-year-old girl named Karen. This novel shows snapshots of Karen’s life through her drawing-based journal entrees. She has an elaborate connection and interest in Horror, Monsters, and Campy horror aesthetics that often can be a greatly impacting the serious themes shown within this narrative. While set in the 1960’s, this graphic narrative tackles discussions on sexuality, puberty, race, trauma, social expectation, and much more. I feel the most Important thing to consider is that Karen is a ten-year-old girl exposed to very harsh adult experiences at a young age; experiences that are often difficult for adults to handle.

Woven through this story we see many examples of what can be considered subconscious and unconscious relations between visual monsters and “the monsters within”. To Karen’s young mind monsters are fascinating and relatable. She often so terribly different, like many of the monsters she loves so dearly. When she became curious about taboo topics and situations, she expressed fears of being hunted down. This was showcased through her drawings of herself as the wolfman; howling and summoning the towns people who wished her dead. Even with their evil drive the people were not truly monsters like Karen felt she was. They were just the ugly side of humanity. Expression of this connection between her instincts and monstrosity is explored later within the narrative. If you pay attention, Karen’s feelings of being monstrous are not all that negative. She began to embrace her difference; her otherness, and even showcases another character as like her. Within a rather intense scene where local bullies attempt to sexually harm Karen, a soon to be friend named Franklin comes to her rescue. At this moment, the way Franklin is shown, as a normal African American Boy, is shifted to that of Frankenstein. A monster, just like Karen. Karen’s innate feeling of being different and alone, is now shifted to both characters being similarly different. With the Sixties being a time riddled by racial bias Franklin was similarly frowned upon as Karen felt to be. These examples share how Karen’s exposure to societal norms and unconscious drive weave together to create this monster of an image. She sees herself, and now Franklin, as monsters surviving the harshness of unaccepting world. While towards the end of the novel Karen’s embrace of monsters is challenged by learning of her brother, whom she idolized, being a killer she still maintains much of her natural drive towards embracing and being empowered through her monster self. The many Challenges that Karen faced were surpassed through the confidence and strength that this monster idea placed upon her. While she was a young girl within many traumatic and difficult situations; she is equipping herself with the strength to surpass these obstacles. Completing Volume one you are left with her Monster side becoming more Vengeful and animalistic as she lashes out within her dream.  This novel is one of two volumes. I predict that the second volume would continue to explore her feelings of being this monster; and I hope that she learns to continue to embrace it. I so desperately want to see Karen be proud of her oddness and embrace this feeling of difference. Elements of Emil Ferris’s novel felt very relatable and really expressed similar feelings/thoughts to that of many that I have had. The connection between the superego and the Id to that of fearful experiences and feelings of Monstrosity are implications that reflect ways that I and some of the people I know processed traumatic or impactful situations. For this reason, this novel felt almost difficult to write about. Anytime I read it or analyze concepts my want to stumble down strange mental rabbit holes. Either way I feel this graphic narrative is important and impactful. I would definitely recommend it to others; even if I somewhat find it difficult to return to. Alona Lambert

 Ferris, Emil. My Favorite Thing Is Monsters: Book One. 2016.

[alonalambert]

The Impact of Underground Comix

Let us go back to the 1960’s. Well, actually, maybe we shouldn’t...

Let’s just briefly consider the time that was the Sixties: a time of conflict, protest, instability, and the aim for massive change. This stressful period was also filled with a developing Anti-Authority, protest, and youth culture fighting against America’s traditional values. With these culture shifts came new and interesting developments in expression and entertainment; We specifically will take a look at the impact this had on Comics and Graphic narratives. Around this time Comics were mostly limited to magazine, newspaper, and specified publications which often involved heavy business driven influence on the work itself. There were standards and rules within publishing that limited the content being shown and who could create said content. The previously mentioned Anti-Authority themes of the sixties did change the game, however.

With children’s pocket change coming into play at this time, and of course the mentioned conflict within cultural tradition a new world of comics was created, Underground Comix and Alternative comics. With very similar drives towards satire, taboo discussion, personal expression, and overall shock value both new forms of comics became a new and exciting form of anti-traditional entertainment. The serious and often very adult topics intrigued people within protest culture and teenage audiences. All while the Taboo discussions served as naughty introductions to adult themes for children and teenagers. Groups like that of Mad Magazine and Zap Comix began changing what the world of comics could look like. New art styles, taboo topics, serious issues, and social movements were showcased within these publications.

With this change and the ever-expanding audience of comics viewers, further development of personal expression within comics was becoming more common. Sexuality, Feminism, and social expectation were often explored inspired by these underground Comix through biographical works. Harvey Pekar’s “American Splendor” comic series is a primary example of comic and biographic unity. Narratives like that of “Fun Home” by Alison Bechdel and “Maus” by Art Spiegelman both showcase what can be inspired by the Underground Autobiography. With this unity of personal storytelling and comic fundamentals allowed artists to showcase elements of themselves that were more taboo topics. Alison Bechdel’s work was an expression of her sexuality and her learning about a new side of her father. With underground Comix inviting self-publication artists were able to share serious topics to a wide audience in a way that is more approachable for the artist themselves; and in the case of Spiegelman making the content easier to digest for readers. Art Speigleman’s “Maus” was a graphic novel that told one family’s perspective of World War II. While some would argue his use of Anthropomorphic characters aided in downgrading the impact of the story, but either way it’s a creative decision that he wanted to make in order to tell his story. With that side note, the importance of self-publication and self-expression is the main thing I wish to highlight.

The development and growth of Underground Comix opened a new world of possibility for cultural and emotional growth. The artists of the underground were able to bring important topics and social movements towards the foreground of entertainment exposing more people to honest examples of the lives many others lived. These artists created a space for important discussion and a fight for change with entertaining, satirical, and sometimes just emotional works. This change in comics continues to carry into the modern day where we see art and narratives heavily inspired by this past comic movement.

Until the next, 

Alona Lambert Comic works mentioned:  Bechdel, Alison. Fun Home: A Family Tragicomic. 1st Mariner Books ed. Boston: Houghton Mifflin, 2007. 

[written by Harvey Pekar ; illustrated by David Collier]. Harvey Pekar's American Splendor : Unsung Hero. Milwaukie, Or. :Dark Horse Comics, 2002  

Spiegelman, Art. Maus: A Survivor's Tale. New York : Pantheon Books, 1986-1991.

[alonalambert]

Nostalgia and Impact through Spectacle and Fantasy

Elaborate drama and fantastic experiences make up the scenes of Little Nemo in Slumberland, a comic series published within the early 1900′s. Within this series we follow the young Little Nemo as he traverses the whimsical and often nightmarish world of Slumberland. Scenes of Circus-like grandeur fill Little Nemo’s dreams with spectacular feats and fantastic encounters, perfectly highlighting childhood imagination. Join me, just as we join Nemo, in exploring the fantasy and splendor of this finely crafted land of adventure.  In capturing the grandeur of fantasy and spectacle, Little Nemo in Slumberland’s writer and illustrator, Winsor McCay, brings the viewer into new and exciting realms. To do this McCay uses imagery like that of the circus and characters of oddity. He also will take familiar creatures or concepts and exaggerate their action or dramatically contrast our expectation of them. An example that we see these things expressed is the comic strip showcasing Little Nemo partaking in a race among the stars. A race on its own does not seem very grand or surprising, but this race quickly elevates into the sky where a wide variety of animals riding animals joins Nemo in competition. With bold, solid colored backgrounds highlighting the surprises within each panel, and jarring racer combinations, McCay easily shifts our perspective on this dream world. As the first Little Nemo comic I was introduced to, this piece set the tone for the level of world building and breaks down automatic assumption. While not what we expect, this dream of racing among the stars is easily understood as just that, the adventurous dream of a child. The use of Bold, contrasting, and ever-shifting color themes found within this work is often used to guide our attention and highlight shifts in world laws.

Speaking Broadly again, McCay has a brilliant habit of using size and proportion to imply the importance and impact of a scene, character, experience, or mood. Often done through panel height and hierarchy; but sometimes also tackled through clutter of a scene. Many times, we see the environment and characters towering over Little Nemo. We even see these characters attempting to control or guide Nemo; but much of the time Nemo shifts his trail resulting in a domino effect of negative experiences. These dreams tumbling into nightmarish and dark places. Places of fear, loss, and anxiety. Nemo, a stubborn and sometimes courageous, child is learning and exploring this scary land of oddity. He is what many children dreamed of being, just as these are his dreams, and thus through these comics we find ourselves drifting into thoughts of our childhood wonderlands. Drifting into wonderment about the fears and concerns of our youth. The shifting tides of impact; grandeur and beauty found within the styles and motifs, and themes found within the brief, story-driven content; express the beauty of this comic series. Little Nemo in wonderland is where we find artwork, sharing the whimsy of Art Nouveau, and adult perspectives expressing the nostalgia of childhood imagination and adventure. This magical Journey set within a child’s mind shows us the importance of every element applied to a piece of entertainment; and how entertainment can tap into our hearts and souls. Until the next, 

Alona

McCay, Winsor. Little Nemo in Slumberland. New York Herald, 1905-1911

[alonalambert]

Satire, Commentary, and... Romance? The Impact of Rodolphe Topffer

If you have ever explored a medium from a historic perspective, you almost certainly saw a wildly different selection of commonalities expressed compared to that of modern works. You can see this heavily expressed in things like Film and Video Games. As technology developed the realm of creation was able to grow, but the social and cultural changes over time also heavily effect the created works. Of course, this applies to Comic narratives as well! Through exploring early comics and marking comparisons to modern comic motifs you can learn a lot about the fundamental inspirations within comics! Rodolphe Topffer is a shining example of an artist who greatly impacted the world of comics. Join me as I share some elements of Topffer’s narratives and how they may have influenced modern comics.

 Starting with a brief summary of the works we will be taking a look at, Topffer’s narratives are satirical works as commentary on romance, social expectations, and personality quirks. His narratives can follow a single subject partaking in socialization and comedic commentary on social class. Now, we can actually dive into a further breakdown of comic elements.

 When reading Topffer’s comics you have to keep in mind that they were made in a time with extremely different social norms. For example, within the 1800s the responsibilities and levels of social class were slightly different and even had different expectations than would ever happen during the modern day. The idea of romance was also wildly different. Marriages were still commonly based upon social, political, economic standing. Marriage arrangement was also still common. As a female reading in the modern day, I find some of the content less enjoyable or deserving of a good eye roll, but of course this content was normal and relatable for that era.

  That being said. The basic structure of how these social ques were implemented into comics is still used to this day. I often think of Editorial cartoons/comics in relation to Topffer’s works. Both use Satire as a message delivery method and are often commentaries on current events or social controversy.

Something extremely specific that carries into modern comics is romantic commentary. Looking at Histoire de M. Vieux Bois, a tale of Monsieur Vieux Bois falling hopelessly in love and chasing said love, you find many absurd examples of a man doing anything for love. I literally mean anything. Attempted murder, it’s there. Silly Kidnapping, yup that’s a thing. I could go on writing every example, but I think you get the gist even with just two. Similar concepts of a lovesick fool can be found in modern media, including comics. Extremely exaggerated and intense acts of love are still common in more modern comics, especially socially driven works. Overall, I feel that Rodolphe Topffer’s comics were revolutionary in the level of exaggeration that was acceptable for satire narratives. Similarly, His works showed a certain level of comedic social criticism that is still used within editorial comics. Works like Histoire de Monsieur Jabot showcased a commentary on the actions and assumptions of a middle-class man attempting to be like the upper-class. He does this through what you must assume are stereotypes found within said upper-class; Fancy clothing, specific attitude, specified activities, social action, etc. Utilizing Stereotypes for comedic purposes and to spread a message is less common in extremely modern comic works, but was common in comics until around the early 2000’s. I am sure there are still some comics and narratives that use these methods, but they are much less encouraged. These message driving methods did get the job done, however. In comedy and comics.

While Topffer’s comic like narratives also influenced comics in more straightforward ways like: style, timing, introducing some level of paneling, etc: I find that getting your gears turning and thinking about the more social and content driven elements is an interesting way to take a deep dive into these narratives while furthering your knowledge on comics. I encourage further research and thoughtfulness on similar themes. Thank you for reading, and until the next. 

Alona

 Rodolphe Topffer. “Histoire de Monsieur Jabot”. Geneve’, 1833.

Rodolphe Topffer. “Histoire de M. Vieux bois”. 1837

[alonalambert]

Panel size and layout can make or break a comic

Often when reading comics, the artwork and text within the panels are expected to be the most memorable element within the comic. Eleanor Davis' "Seven Sacks" comic (Note: This comic is one within a book of many, “How to be happy” Eleanor Davis), while having beautiful artwork and interesting dialog, is elevated towards it's eerie and suspicious tones via the clever layout and panel dynamic. The impact of this comic enforces the importance of comic design outside of just wonderful artwork, art styles, and written word. Let's take a look at how Davis used panels, panel layout, and transitions to develop a truly memorable and unsettling comic.

This Comic begins in an expected panel style, using wide panel shots to showcase the landscape and introduce you to the scene, then introducing characters and our first dialog within smaller panels. With the next page's panels appearing very nicely repetitive. While this seems like a basic thing to mention. I think it is important to know the calm structure the reader is introduced to. Within this almost pattern like structure of the first few pages, page bleeds are used as a transition method. These page bleeds, the extension of the image outside of the typical frame sizing, invite a sense of movement for the ferry (as seen on pages 60 and 63). This is a subtle, but lively detail. Page 64 shows a usage of panel sizes to imply information, specifically the size of the creature on page 64 compared to the Ferry man. His introduction panel is wider, and taller and within that this character takes up most of this frame. Size expression is something that is utilized further in the following pages.

Where these panel shifts get most exciting are on pages like page 66. Not only is there zero dialog within this and the next page, but you also find the image of a tall panel nearly covering half of the page. Immediately following you have about a third of the page, horizontally. Both panels make the creature within feel just as large as it is meant to be, towering over the ferry man. Looking at the next page this size is further expressed through a panel bleed stretching over half of the page. Much like the bleeds previously shown the panel feels like a time passing transition, but also implies the size and intimidation caused by this massive creature. The next usage of expansive panels showcasing grand distance and ominous themes is on page 69. The left side of this page consists of a full panel showing the top of trees and upward flowing smoke. This tall panel feels like you are gazing up nervously viewing this smoke towering above. Talking about it doesn’t sound as ominous and eerie as it actually reads, but these panel size shifts and subtle changes are very impactful. Much like there are Large panels to imply larger mass, there also includes small panels in order to suggest that feeling of being small or unsure.  

These panel variations blend wonderfully with the suggestions towards closure that the panel transitions add; from wide shot panels showing the passing of time to short panels for quick interactions. Even showing moments of contemplation and concern through silent panels of back and forth action. This comic uses a wide variety of visual cues to create an eerie atmosphere and imply unsettling events are afoot. Without all of the panel variation and use of silence this comic would feel unsure in it’s theme and I feel the story would fall short. The comic “Seven Sacks” is a brilliant example of an artist mastering the theme they are aiming to achieve and creating a truly interesting art experience. I encourage further exploration of this comic, and plan on exploring Eleanor Davis’ other works in order to see her other uses of visual cues.

Until the next and Thank you for reading.

Alona

 Davis, Eleanor. How to be Happy. Gary Groth, Fantagraphics Books, 2014, pg. 59-70.

[alonalambert]

Visual Examination of Calvin and Hobbes

.Calvin and Hobbes expresses a complex simplicity showcasing Bill Watterson’s skill and high levels of visual Literacy. Even if the illustration or writing style of this series is not of your personal interest, you can not deny the amount of knowledge needed to develop a series of comic strips of this quality. Join me as I explore a few examples of visual knowledge ranging from subtle character portrayals to utilizing shape and color to express shifts in theme and movement. 

To begin, I want to break down the overall appearance and structure of the reoccurring Calvin and Hobbes characters. Mostly looking at how shape language offers suggestions to the character personalities. Let’s start with Calvin himself, A mostly square base with a blend of rounded and sharp corners. The round corners make for a friendly and inviting appearance; while the few pointed elements might be a suggestion towards his slightly mischievous personality. To further accentuate this, shift your gaze towards Hobbes. Hobbes contains only round shapes. Not only does this offer a suggestion towards him being a plush, stuffed animal; but this also implies a kindness and complete lacking of even slightly aggressive characteristics. He is soft in every way possible. Looking at them together, they both contain short and squat body proportions; suggesting youth and cartoon-like immaturity. To contrast this you can take a look at Calvin’s parents, who occasionally appear within the series. You see they are much more realistic in the proportion category while still retaining the cartoon visual aesthetic of simplified features. The more elongated proportions might be implying maturity and a lacking of whimsical fun personalities. They are adults within a comic driven by the beauty of childhood fascination and imaginative exploration. If the adults were just as visually inviting and playful as the children, the main focus, then the comic strips would feel more like an ode to human imagination and would possibly pull attention from Calvin and Hobbes themselves.  Now that we’ve briefly broken down the characters, What other visual cues are there to explore theme and invite interest? Well, We will now discuss Color. Color is exciting as it can make or break the mood of scene. Watterson uses color very strategically within Calvin and Hobbes. Take a look at This comic strip where Calvin discusses the possible meaningfulness of life.

Do you notice anything striking about the color usage? Within the second panel you see a dramatic shift from the normal character palette to this highly saturated green and teal combination. This could be seen as a simple decision to just do something different, but I feel this color shift was a deliberate decision to help in adding intensity to the statement being made. The second panel’s dialog is meant to be slightly shocking, suddenly implying no meaning to our lives. Showcasing Calvin’s sudden realization. This color shift and bold dialog is meant to invite a feeling of needing to reflect the concept being expressed. A similar Juxtaposition would be seen in this comic strip.

Within this comic strip about the fragility of life. You see a completely different use of color, or the lacking of color to be specif. You expect a bright and positive comic viewing experience, and then are met with no color and a single dreary image of relatively realistic dead bird. This automatically invites a feeling of unease. Just through the sudden realistic image, but the lacking of color also aids in this unease,and slightly depressing tone. The comic then carries on with a mostly normal feel, until the final panel where you retain some of that lacking saturation and unsettling feeling. The use of realism can imply a separation of maturity and innocence within Calvin and Hobbes. This realism can also be a way of implying Calvin finally witnessing and truly understanding the reality of life and death. It’s not just something he can ignore but it’s also a challenge to fully grasp as a child. The final scene expresses a moment of reflection and thoughtfulness of the characters, possibly them trying to wrap their heads around what they are feeling about this experience. This conclusion of mine is crafted from the isolation and the suggestion of the characters solemnly gazing at the birds passing overhead. 

This post was only discussing a small collection of visual language usage in expressing ideas that Watterson utilizes. He often found ways to adjust and improve the impact of each individual comic strip. Even using the same method again, for example the realism, to express a different theme. Each comic has it’s own unique qualities that are extremely fascinating to explore. With that, I invite you to challenge my own subjective views and use context clues to create your ideas for the concepts of these comics.

Thank you for reading, 

Until the next. 

Alona 

Calvin and Hobbes Comic Strips of: 

Watterson, Bill.