Writing with Pictures" – topics include "Clarity and Persuasion", "The Five Choices", "Choice of Moment", "Choice of Frame", "Choice of Image", "Choice of Word", "Choice of Flow", "Working Methods", "Clarity vs. Intensity" and "Intensity vs. Persuasion" Zabel, Joe (2006-06-21). "Making Lightning – An Interview with Scott McCloud". The Webcomics Examiner. Archived from the original on 2008-03-24. There are certain universals in comics, and one of those is choosing the moments to represent — any narrative can theoretically be broken down in infinite ways. An artist might choose to stretch a few seconds of activity into dozens (or thousands) of incremental panels. Understanding Comics won multiple Harvey Awards in 1994 for Best Graphic Album/Original Material [12] and Best Biographical, Historical or Journalistic Presentation. [12] In addition, McCloud won the 1994 Harvey Award for Best Writer. [12] It's amateurish, but I believe if you're aware of how great a book is while you're reading it, it's not working at its best. You can go 'oh wow that's such a clever way to illustrate this idea, and the text is so effective', but it's a bit like reading an instruction manual, and nothing personal or particularly poignant. I guess the idea is to understand the basic structure and potential of comic art, but must it be so academic and dry? The book doesn't limit itself to the conventional art theory, but rather ventures into fundamental epistemological and phenomenological debates. It's informative and eye opening, but not particularly relevant, like every single other art theory textbook. Except this one has pictures (or should I say, integrated with pictures?)

Furey, Emmett. "SCOTT MCCLOUD'S "MAKING COMICS" TOUR CONCLUDES IN HOLLYWOOD", Comic Book Resources (September 4, 2007). I think McCloud did a great job of including all kinds of comics, from Schultz to Spiegelman to Lee/Kirby to Otomo, without placing more value on one than another. I also liked the parallels he drew between comics and other art forms, although he emphasized visual arts far more than literature, which in some ways makes sense but I feel it neglects the fact that these are comic books. Even in Chapter 6, which was dedicated to how language and words combine to form comics, I did not notice any analysis of how comics stand up to other forms of literature. However, in the chapter dedicated to the artistic process, I thought what McCloud had to say on the subject was so perfectly universal to all art, including literature.

ultimately, i'm glad i read it, but only to the extent it identified a bunch of interesting topics/themes that i'm now inclined to think about on my own as i read more comics (and reflect on the ones i've already read)--i.e. issues of time, motion, panel sequence, reader perception, artistic style etc. but on the whole i was not thrilled with mccloud's own exposition and analysis of those topics. i simply don't agree with a lot of the conclusions he draws. he makes a lot of unjustified analytical leaps that just strike me as really reaching for something deep and i just wasn't buying it. also, i was really put off by his tendency to go out of his way to say "but this is just my opinion--feel free to disagree." it just comes off as defensive. i was annoyed by his whole process of trying to define what "comics" are. and i completely skipped the chapter on "the six steps" because i could tell it was going to annoy the crap out of me. i think this sequence of comments pretty well represents the irritation i experienced at the beginning of this chapter: Will Eisner Comic Industry Award Nominees". Hahn Library Comic Book Awards Almanac. November 16, 2011. McCloud, Scott (27 April 1994). Martin, Mark (ed.). Understanding Comics: The Invisible Art. McCloud, Scott; Lappan, Bob (illus.) (1sted.). HarperCollins. ISBN 978-0-06-097625-5. Brenner, Robin (March–April 2006). "Graphic novels 101: where to start". The Horn Book Guide. 82 (2): 240 . Retrieved 23 June 2014. Mukokuseki: While he doesn't mention it by name or even in the context of manga per se, Scott does give his insight into what he thinks is the operating principle behind this trope: When a person's image is presented in an iconic, abstract fashion, it encourages the reader to identify with that character and see part of themselves in him or her.

Neat, eh? Ја сам иначе тотална топузина за стрипове, а ову књигу ми је неко препоручио (мислим да је то био Душ(М)ан Младеновић, на чему му овом приликом топло захваљујем) када сам прије много година још имао амбиција да пишем ривјуе разних ствари, између осталог и стрипова, па сам хтио мало да се образујем. Тај пројекат ривјуисања је тренутно на леду, али нисам изгубио жељу да прочитам ову књигу, тако да је ето и она дошла на ред.I’m hoping it won’t run quite as long as the last book. Right now, I’m doing research enough for a very long book, but I’m hoping to apply it toward writing a short one. We’ll see! this is not only a testament to the validity of comics as an artform and mccloud's mastery of it, but also to the microscopic differences between the various supposedly discreet arts and vocabularies thereof when viewed from the vantage of a close and sensitive read of any one of them in particular. Moogfest is named for Robert Moog, late father of the Moog synthesizer, which was used on those recordings. He was a good friend of Walter so far as I know, and a good friend still when Walter became Wendy; one of the first public figures to undergo gender reassignment surgery.

For cost savings, you can change your plan at any time online in the “Settings & Account” section. If you’d like to retain your premium access and save 20%, you can opt to pay annually at the end of the trial. I’m hoping that I can articulate some of those common principles and help stitch together those disparate fields in a useful way. I don’t have a title yet, but I often describe it as “an Elements of Style for visual communication.” [Update: possibly a mistake, according to Neil Cohn who directed my attention to this.]Some of the mini-tours overseas are still waiting on specifics, but I’ll add details to the sidebar as they come in. Meanwhile, here’s a summary in plain English. You may change or cancel your subscription or trial at any time online. Simply log into Settings & Account and select "Cancel" on the right-hand side. The title of Understanding Comics is an homage to Marshall McLuhan's seminal 1964 work Understanding Media. [ citation needed] Publication history [ edit ]

If you do nothing, you will be auto-enrolled in our premium digital monthly subscription plan and retain complete access for 65 € per month. Understanding Comics is a pretty clever book, using the medium of comics to talk seriously about comics -- which is very likely to be dismissed by those who either insist comics should all be fun (and therefore if they're not interested in this, it's no good) or all comics are fun (and therefore have no serious value). That's a mistake. I hadn't heard of this before I started the Coursera course I'm doing on comics, but I don't need any prompting to take it seriously. Magnussen, Anne; Christiansen, Hans-Christian (2000). Comics & Culture: Analytical and Theoretical Approaches to Comics. Museum Tusculanum Press. pp.13, 14, 23, 49. ISBN 9788772895802 . Retrieved 23 June 2014.

She was my “muse” in the old, romantic sense; a force of life and love, an inspiration. She inspired characters in my work (especially and explicitly Meg in The Sculptor), and she was also a muse for the hundreds of young actors she taught and directed over the years in local children’s theatre productions. Chang, Bi-yu; Lin, Pei-yin (26 April 2019). Positioning Taiwan in a Global Context: Being and Becoming. Routledge. ISBN 978-0-429-66386-4.