Wednesday, June 18, 2008
Friday, June 13, 2008
I've been banging my head against a wall for the last couple of weeks working on a single page of my always forthcoming comic. It's a backup story and I want it to look distinctly different from the main section of the comic, so I've been trying to learn how to draw in a style that isn't naturally my own. Its involved a lot of studying other cartoonists. I arrived on this. It's obviously heavily influenced by Tom Gauld. Tell me what you think. And be honest.
Tuesday, June 10, 2008
Yesterday I picked up a copy of Dash Shaw's Bottomless Belly Button. I've just begun to read it, so this is not a review in the traditional sense. I just want to comment on a couple of Shaw's innovations.
I've been told that it is nearly impossible to translate manga into english because the breadth and depth of onomatopoeia in Japanese has no equivalent in western languages. For example, Japanese has many "sounds" to represent different types of silence, which cartooinsts use to texture scenes. These are often dropped in translation because we lack the exact words to describe the idea that the cartoonist was conveying. Reading Dash Shaw is the closest I can come to understanding manga without becoming fluent in Japanese. Shaw understands that comics are not film storyboards or illustrations to a text; that they are text themselves. He uses his drawings like words and, conversely, uses words as details in his drawings. When a character steps out of a shower I see the words "steam, steam, steam, foggy" and I know exactly what that sensation is, better than any drawing could convey. By writing out those describers he adds time to the image. I read the image longer because of the text. It's an intelligent way around the problem of a reader seeing, but not really reading a comic with few words.
Bottomless Belly Button is over seven hundred pages long, and it feels like an epic American novel in your hands. It also, unlike many recent attempts at "the great American graphic novel" (here I am thinking of Blankets, Bone, Jimmy Corrigan), reads like a novel. It is legible and engrossing without spoon feeding the story to the audience or fluffing up empty ideas with pretty drawings. Shaw's clumsy but effective cartooning reads not like "artwork" but like ideas set down in concrete lines. Like words beyond the capacity of words. Like comics.