A Quote by Francoise Mouly
There is a visual narrative that is implicitly understandable even when you don't understand the words and in a good comic, and they are hard to find, but good comics have parallel intertwined narratives.
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Good and Evil are very hard to explain or understand. I'm sure that evil exists, but it is hard to isolate. Good and evil are intertwined and impossible to separate. They are not completely opposites and in fact are often one and the same.
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.
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 wanted wherever possible to lean into the comic form and do things in the story telling that could only be done in comics and which pay homage to the many strands of comic and visual storytelling tradition.
Words aren't very good at describing complicated, strange visual things. You can try, and the reader will have some sort of image in their mind, but words aren't good at that.
Juliet is one of those rare novels that has it all: lush prose, tightly intertwined parallel narratives, intrigue, and historical detail all set against a backdrop of looming danger. Anne Fortier casts a new light on one of history's greatest stories of passion. I was swept away.
All narratives, even the confusing, are implicitly hopeful; they speak of a world that can be ordered, and thus understood.
Oh yeah, I grew up with comics. You know, I always like to describe myself as a 'narrative junkie.' I love novels, I love comics, movies, TV. If it's a good story, I'm hooked.
I'm often associated with parallel narratives or dual narratives. The 'Devil in the White City' was a fluke.
The good news is that the comics field is small enough and informal enough that once you have made a comic, you have achieved your dreams: you have broken into the comics industry. The problem with breaking in, though, is that staying in is harder.
I vividly remember my first 'Superman' comic, which my granddad bought me when I was about 7. From that point on, all I wanted to do is draw comics. And specifically, superhero and science fiction comics. Basically I used to copy comic books, and draw my own comics on scrap paper.
"Comic book" has come to mean a specific genre, not a story form, in people's minds. So someone will call Die Hard "a comic-book movie," when it has nothing to do with comic books. I'd rather have comics be the vehicle by which stories are told.
'Comic book' has come to mean a specific genre, not a story form, in people's minds. So someone will call 'Die Hard' a 'comic-book movie,' when it has nothing to do with comic books. I'd rather have comics be the vehicle by which stories are told.
Animation is about timing; movement or lack of movement, often in time with music. These are the tools which make it's visual gags work, or not. Again, comics don't have those tools, so you have to find some sort of parallel to create something that suggests a close approximation of the source material, but without the ability to truly replicate it.
Comic books sort of follow with the move - if people see the movie and if they're interested in the character and want to see more of the character, they start buying the comic books. So a good movie helps the sale of the comic books and the comic books help the movie and one hand washes the other. So, I don't think there's any reason to think that comics will die out.
I think we all are born inside of our parents' narratives. We stay there for a good while. We are taught their narratives about everything: their marriage, the world, God, gender, identity, etcetera. Then, at some point, our own narrative develops too much integrity to live inside that story. We don't ever fully escape it, but we move into our own stories.
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