In a 22-page comic, figuring an average of four to five panels a page and a couple of full-page shots, a writer has maybe a hundred panels at most to tell a story, so every panel he wastes conveying a.) something I already know, b.) something that's a cute gag but does nothing to reveal plot or character, or c.) something I don't need to know is a demonstration of lousy craft.
Jean-Luc Godard said that cinema is the truth 24 frames a second. I think cinema is lies 24 frames a second.
Animators have to live life 24 times as long as we do - every 24 frames of a second.
In comics the reader is in complete control of the experience. They can read it at their own pace, and if there's a piece of dialogue that seems to echo something a few pages back, they can flip back and check it out, whereas the audience for a film is being dragged through the experience at the speed of 24 frames per second.
The main difference between illustration and comics is that comics are much, much more work. Every comics page is the equivalent of six to nine illustrations.
A picture story just doesn't run like a film. It doesn't have 24 frames per second. It doesn't deal with this illusion of movement.
Be it 120 frames or 24 frames or film or theatre, you're trying to be a fully formed human being and trying to be honest.
The cinema is truth 24 frames-per-second.
Comics are essentially films with fewer frames per second.
The magic of comics is that there are three people involved in any comic: There is whoever is writing it, and whoever is drawing it, and then there's whoever is reading it, because the really important things in comics are occurring in the panel gutters, they're occurring between panels as the person reading the comics is moving you through, is creating a film in their heads.
Taking a comic strip character is very hard to write. Because comics are meant to work in one page, to work in frames with minimalistic dialogue. And a lot of it is left to the imagination of the reader. To do that in film, you've got to be a little more explanatory. And that requires a good screenplay and good dialogue.
I changed the layout of comic books in general. When I came in, layout design wasn't really part of what you did. It was all just panels, panels, panels. So when I came in, I thought, 'Nah, let's change that,' and I designed the page.
Death comes in a flash, and that's the truth of it, the person's gone in less than 24 frames of film.
I don't think comics use iconic forms - or they don't have to. But that makes them even more "cool," if I understand the idea. One has to be quite involved to make comics work. Signals have to be decoded on both the verbal and visual level, simultaneously, and the reader must do a lot of cognitive work between panels as well. Comics definitely need an engaged reader.
Film is truth 24 times a second, and every cut is a lie.