#structurism

[electricgecko]

Maxime Guyon

[growingupartist]

Everything design / Design everything -474- 02/16/17

[bluebeardsboyfriend]

Geometric Compositions 01, 01B, 02 & 03. Inspired by Franco Grignani and Gerrit Rietveld.

Prints and stuff available here  Tee shirts coming soon!

[matikura]

Anime influence, in my book is shorthand for /derisive tone

Western artists under manga influence manage to make the oddly twinkly eyes hit the uncanny valley, without fail.

One theory I have is because they only adopt the highly rendered eyes, without considering the balance between the lack of a clearly visible nose line, and unnatural jawline that is also part of the trifecta of manga-ish face pattern

Dead giveaway in my humble opinion.

The out of place sparkling diamond for eyes in first and foremost why I throw the accusation of anime influence

But secondly, it's the difference is strategy of character design.

If it looks Pop and Catchy without much consideration to rendering cost, practicality of drawing that character a billion gazillion times with different creative teams with distinctly unmistakable difference in style

That is stopping character design at the concept design stage, before the necessary whittling down of details for the animators [people who draw the genga for anime] benefit happens

So there's a spark but not much personality fleshed out?

Especially in direct competition to comics favored combination of, ridiculous outfit with nondescript beautiful people, rendered in a extension of photorealistic anatomy [ cartoonish exaggeration of man on the street, art style ]

One example of Anime ish design that would not translate well to comics way of making a character be original, would be how Yu-Gi-Oh MC has a ridiculous looking starfish for hair

Is he just born like that? Is it a fashion choice? No one knows but it sure is eye catching and unforgettable.

It isn't important Why he looks like that, so long as the audience attention is drawn to him before anything else.

If you did took that strategy of character design in [superhero] comics, that would firstly make anonymity, and down to earth real person the audience can relate to, very hard to achieve

While people do have hairstyles in real life that are colored and styled with manic dedication

Copying that fashionista lifestyle as the basic template for the visuals, without considering how high maintenance a *multi colored mohawk* would be, makes for ill thought out character design

Because the internal personality gets divorced from their signature look [outfit]

Yeah you maybe don't care about the audience not connecting with your good looking character, so long as they look Fire.

but when the later creative team can't get a instant reading on them, possibility of good feature gets significantly diminished!

[ this post has been a continuation of my complaining about Punchline backup from Joker series having meh. Art. ]

If I was being mean about it without consideration, as I later realized using *anime influence* as a self explanatory term might come accross as

I would have simply said the scene where Harper twin Bro is having a confrontation, the antagonist looks like a melting wax candle

Because his face is tiny and the colorist style is impasto

I love Impasto. I will read a series just because the art is impasto.

[matikura]

Dark Reign banner Ironman is a struggle to get in to the rhythm of reading

I guess the Decompressed storytelling from Tom King Bats is the common denominator

TKB: the paneling style reminds me of Watchmen? Or the Doomsday clock series that was reported to be a respectful homage to that art style

So payoff of that creative direction aside, I can hazard a guess that it's a experimental attempt at sequential storytelling?

The ... You're big day issue? The one where Joker is waiting for a invitation at some random dudes house.

It felt like it was trying to do something with the spatial awareness. By keeping cut scene to a minimum. Each panel is continuous, if differently timed in between.

Maybe think of those movies that stay in one location and don't jump around?

What are those called solid situation suspense?

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Five nightmares was easier to follow, as literally it was framed as numbered series of peak in action.

most wanted feels needlessly drawn out, as nothing much moves forward?

I don't know if there was like a scheduling issue with other runs, where Iron man needed to be available for random cameo at a moments notice, thus couldn't be held up in a situation where he definitely Can't Be anywhere else but his own run. show. Whatever you call it.

The volume of dialogue being condensed to be appropriately smarty pants sounding scifi adventure doesn't help, improve the experience, for me at least.

That is to say, if I go through squeezing my brain following pseudo intellectual talk, there had better be some interesting mystery taking place.

Otherwise I cranked up my mental focus to a place where comic plots are shallow, and now I have to intentionally wind down to appreciate the more sensationalist storytelling style of comic books featuring Superhero exploits.

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Fraction Punisher was so much fun, I'm confused why this watered down long form came out as the bestest choice for the scenario presented?

I don't hate it but the pacing is just not there. I guess if it was a cinematic moving picture, I would attribute the non linear speed of moving the story along, as conveying the feeling of being on the run, hopeless in the dark of fugitives.

Problem is comics do this weird thing where it's simultaneously a third person omniscient narrator, and first person account of the leading man.

At the same time for some reason. There might be subtle grammatic switch in tone that I'm not registering as glaringly obvious as a train track change.

... So in this case, Iron man not knowing when the tide is going to change and being anxious for the future, gets reflected on to the narration feeling lost and confused as to which direction they are supposed to be heading towards. Or shepherding the audience towards, in other words.

[matikura]

maybe put the detective back in detective comics before you start throwing rocks at Bruce for not inspiring people to oppose vigilante related homicide

When actually focusing on a murder case, we follow along with Bruce, who's always triggered by senseless killings

Even when the victim was a domestic abuser of sorts, Bruce feels awful for the killer who felt they had no choice but to go through with the act of taking a life

That! Is how you make the audience feel like murder is a no win situation.

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some punisher comics made me more emotional about violence than Batman usually does.

Marvel universe being a place where heroic ideals and hope can ultimately prevail, pulling the trigger is solely a personal choice.

The narrative doesn't let the culpability escape by framing it as a " but no one was going to do something "

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Where as Batman writers with a God complex don't have the skill to make a detective story, where Bruce doesn't have the right to save a victim

[matikura]

fanon is doing a half ass job at deconstructing sidekicks

Fanon Jason saves Tim fics loooves to make Red Hood parrot their "children shouldn't fight his war " agenda

Which let's dissect that statement shall we.

The components are two facts.

Children should be innocent and care free, thus fighting at all is prohibited and forbidden.

His War is not a forward minded project with clear goals that are achievable in the near future, which is essentially wasting valuable youth on a pipe dream.

Now if we focus on his war, this statement is somewhat interesting if handled properly.

As in it can directly rebuff " a good soldier " as being inherently corrupted and poisonous thing to bestow upon a shiny new hero.

I have a major fucking problem with the asinine takes that make use of;

the metaphysical concept of carefree toddlers frolicking, as the golden metric for indicating a fictional utopia's degree of prosperity

I don't use this term lightly but, condescending coddling courtesy of the patriarchy, much?

Traditionally children fighting in heroic fiction is framed as

1) a situation where the chosen one is cornered in to a spot of unfair responsibility,

2)but in spite of the crushing pressure, doesn't buckle under the weight of expectation,

3) and shows true character in choosing selfless action,

4)unafraid of paying the ultimate price for defying a all powerful enemy

A lot of anime have fun with step two, where the MC does in fact have a problem with being brave and triumphant in battle

And more self aware light novels do make a point of emphasizing, step one being a super nightmarish situation that is Not Fun to be in

So when sorrowfully bemoaning the state of affairs that is Sidekicks in realistic Superhero settings

What exactly does the " children shouldn't fight his war " provide to the audience as a message?

Disregarding step three as, a child is too biologically immature to have real feelings and opinions, thus their right to self determination is null and void

Then completely ignoring step four, despite canon providing a mountain of evidence that children fighting actually do make a difference in this context of heroic fiction

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All that to say PTSD ridden vet of the superhuman warfare Tim Drake

Red Hood knowing death and loss, but not understanding what Tim has seen

Tim not wanting to leave the battlefield because then it all becomes too real

Red Hood skipping the living the dream part of being a superhero as Jaybin

In contrast to Tim who's been to the highest peak and been mentally splattered down to earth