I reiterated my essay today, editing and attempting to make improvements, but I fear that I would go over the word limit. There was actually a lot I wanted to communicate in this writing, but I had to constantly remind myself that I had to weigh the different materials and critique them, not just use them once and move on to the next. The review requires me to make critical judgments, and also tests my ability to synthesize and integrate the information. I must also ask deep questions adequately. I tend to get caught up in structuring my paragraphs, unable to decide which ideas and concepts should be prioritized. When I was writing this second edit of the essay, my thoughts were quite muddled in my mind. It was true that I had a lot to discuss concerning comics, but I had to focus on what is essential. I still have not evaluated McCloud's book yet.
For now, my writing reads:
It may be appropriate to examine first what
constructs the comic, and the working mechanisms behind the craft. Comics, as
Will Eisner suggests, communicates a language.[1]
The makeup of this language consists of both image and text, confined within
panels and speech bubbles, and altogether conveys meaning. Eisner believes that
the language of comics is the cross-breeding of prose and illustration, and to
interpret it requires the sophistication of its reader. Before one can read
words, one must learn the language, vocabulary, and grammar; such as before one
can read comics, one must understand the disciplines of comics. We rarely refer
to reading comics as “looking” at comics. This is because reading is an active
process, and the reader is in a constant state of interpreting the given
material. Reading informs us, and we are able to extract information from
words, and this process is similar to reading comics. Scholar Thomas Wolf
explains that: “The reading of words is one manifestation of this activity; but
there are many others --- reading of pictures, maps, circuit diagrams, musical
notes…” [2]
This reconsideration of the term supports the notion of comics as a form of
reading which encompasses the deciphering of both text and imagery, an idea
posed by Eisner. In his book “Comics and Sequential Art”, Eisner demonstrates
the intricacies of the comic, through his own experiences as a comic artist and
teacher. There are many great examples from Eisner’s own works that portray
comics as an effective way of communication. For instance, when discussing the
panel outline and its various different styles and purposes, Eisner presents a
page from “The Spirit”, which utilizes a frame in the form of cracked grounds
and walls to establish a subterranean setting.[3] “Comics
and Sequential Art” is a comprehensive investigation into each aspect of the
comic, examining their roles in creating an effective way of narrative. Eisner
also has constant reminders that the interpretation of comics heavily relies on
the mutual experiences of both reader and creator. In an analogical sense,
comics unifies art and literature, as well as the imaginations of its reader
and maker. Through Eisner’s prose it is easy to understand the craft of comics,
yet there seems to be something lacking in his definition of comics, and how it
exactly captivates its readers.
[1]
Eisner, Comics and Sequential Art, 1.
[2] Thomas Wolf, "Reading Reconsidered", Harvard
Educational Review 47, no. 3 (1977): 411-429.
[3]
Eisner, Comics and Sequential Art,
52.
I tried drawing a caricature of an old man I saw on the train. Colour combination and palettes have always been a weakness of mine, I hope to improve this somehow.
No comments:
Post a Comment