Week 5 reading response
Understanding Comics
Sometimes it stresses me out how exacting and scientific McCloud is about comics / art in general. I understand the need for analysis in all art forms and the idea that this much theory legitimizes comics to those who scoff, but sometimes I just roll my eyes and wanna just be a believer in "if you've got it, you've got it. If you don't, you don't" re: a person's ability to me an impressive cartoonist / artist in general. I would be interested in seeing how he breaks down more experimental art comics since the rules he ascribes and patterns he notices apply greatly to highly commercial comics (though he'll give a nod to people like Spiegelman once in a while). Aaanyway, I do like the bit in this reading about see vs. say, how you may be drawing what was just written in the narration box, but the illustration specifically highlights an emotion or setting or some other detail that is missing from the text but also important to the tone and meaning of the story. That's something I think a lot about in order to not be redundant and I think the way he laid it out is great and clear.
Sniff
I agree with John that this is a really great example of contemporary/interactive animation (which was on display at Future of Storytelling). I really love this concept and hope to do something interactive like this. We're learning a bit about interactive animation in our Languages class, so hopefully we can get to this point of interactive installation by the end! While human interaction is done on a more subconscious, immediate level, I think projects like this exemplify how human-to-human interaction does have a level of analysis and then response (similar to the dog/human).
Sometimes it stresses me out how exacting and scientific McCloud is about comics / art in general. I understand the need for analysis in all art forms and the idea that this much theory legitimizes comics to those who scoff, but sometimes I just roll my eyes and wanna just be a believer in "if you've got it, you've got it. If you don't, you don't" re: a person's ability to me an impressive cartoonist / artist in general. I would be interested in seeing how he breaks down more experimental art comics since the rules he ascribes and patterns he notices apply greatly to highly commercial comics (though he'll give a nod to people like Spiegelman once in a while). Aaanyway, I do like the bit in this reading about see vs. say, how you may be drawing what was just written in the narration box, but the illustration specifically highlights an emotion or setting or some other detail that is missing from the text but also important to the tone and meaning of the story. That's something I think a lot about in order to not be redundant and I think the way he laid it out is great and clear.
Sniff
I agree with John that this is a really great example of contemporary/interactive animation (which was on display at Future of Storytelling). I really love this concept and hope to do something interactive like this. We're learning a bit about interactive animation in our Languages class, so hopefully we can get to this point of interactive installation by the end! While human interaction is done on a more subconscious, immediate level, I think projects like this exemplify how human-to-human interaction does have a level of analysis and then response (similar to the dog/human).
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