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</td><td><font size="5">September 2000</font></td>
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Scott McCloud: <B>Reinventing Comics; online comics</B>
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<h5>Understanding</h5>
Where Art goes, there tramps after it the black-clad stalker of Art Theory.
Comics is virtually the lone exception: you can still consume your comics
untouched by comics theory and comics criticism. This is not
all to the bad-- <i>contra</i> Socrates, the unexamined life is
preferable to <a href="baudri.html">narcissistic</a> or <a href="reader.html">predictable</a>
critical wanking. But good criticism can, hopefully tell us something.
(It can be an illuminating exercise to try to explain exactly what you like about a comic.)
<p>Scott McCloud didn't invent comics theory, but he served up a big tasty
portion of it in <i>Understanding Comics</i>, in 1993. This was a remarkable
work, not only because it had something new to say to almost all of us,
but because McCloud wrote about comics <b>in</b> comics. This was arguably
a bit of grandstanding (should painting theory be painted? should music theory
be sung?), but it worked; it showed McCloud's commitment to the form,
allowed the concepts he was explaining to be immediately demonstrated, and
showcased McCloud's sly sense of humor.
<h5>Reinventing</h5>
<p>This year's <i>Reinventing Comics</i> begins by explaining that it's not exactly
a sequel. It's just as well; it's nowhere near as accomplished a book.
<p>The first half is basically a screed on <b>the sorry state of American comics</b>.
The main problem here is breeziness. He covers women in comics, for instance,
in five pages, and gay and lesbian comics in three panels. He says all the
right things, but the speed of the treatment conveys the opposite message.
A few wordless disconnected images don't offer much motivation to check out
the works; compare the extended treatment and lengthy extracts devoted to Jason
Lutes's <i>Jar of Fools</i>. (An exception is an intriguing couple of panels
from Carla Speed McNeil; but even those simply stand out for their own quality,
without any help from McCloud.)
<p>The second half is an exploration of the <b>use of computers</b> to create
comics-- and more importantly, to distribute them; McCloud thinks the near-infinite
bandwidth of the Web, plus micropayments, could be the saving of comics...
<i>if</i> creators remember to develop <i>comics</i>, and not half-assed
attempts at the animated cartoon.
<p>This section, by the way, makes it clear that McCloud is-- in the terms
he introduced in chapter 7 of <i>Understanding Comics</i>-- a <b>formalist</b>.
What really gets him going is messing with the medium itself. He's basically
spent the last few years on a computer binge-- not merely playing with the
new toys, but figuring out how they should <i>change the medium itself</i>.
<p>There's plenty of interesting ideas here; but I finished the book rather frustrated.
The basic problem: For the first time I found myself
doubting McCloud's basic method, which is to talk about comics <i>using</i> comics.
<p>It worked in <i>UC</i>, partly because to illustrate the idea of comics
he used comics. Talking about time in comics, for instance, he showed
(pp. 100-102) some rather amusing panels of a couple of slackers talking.
By contrast, a typical illustration in <i>RC</i> is a sketch of someone
involved in comics or the Internet, or an iconic restatement of the text--
the comics industry, for instance, is drawn (over and over again) as a big snakelike dollar sign.
<p>It's not that much different, then, from a typical essay in <i>Slate</i>,
except that instead of a new illo for every three paragraphs, you get
a couple per sentence. The effect is frankly a bit tiring.
(And despite his theory about cartooned figures, too much abstraction
destroys reader identification. To talk about art in <i>UC</i>,
McCloud invented a handful of artists; they were specific enough to
be memorable-- they worked as characters. To talk about art in <i>RC</i>,
he uses a generic Artist Icon in visor and black vest, about as
easy to identify with as a Ped Crossing sign.)
<h5><a name="ex">Experimenting</a></h5>
<img src="illo/zot.jpg" alt="From the new Zot" align=right>
More interesting is to turn to McCloud's actual experiments. One plays with
both form and interactivity:
<A href="http://www.scottmccloud.com/comics/carl/3b/cyoc.html"><i>Choose Your Own Carl</i></a>
is an interlocking crossword-puzzle of panels dealing with Carl, a hapless walk-on
from <i>UC</i>; if the multiple paths weren't enough, the content of each panel is
suggested by McCloud's readers. (He used my ideas twice! Whee!)
<p>This is all just for fun, but it's quietly revolutionary, effectively
making McCloud's point that comics on-line shouldn't just attempt to shoehorn
paper panels onto the monitor, but should do things that were simply not
possible on paper.
<p>A more serious work is <a href="http://www.scottmccloud.com/comics/chess/chess.html">
<i>My Obsession with Chess</i></a>, one of the first demonstrations of McCloud's
ideas that online comics should spread out into huge vistas, rather than
being divided into panels or pages. Here, it allows him to play up the
resemblance of cartoon panels to chess squares; and it's a good dollop of
autobiography, too.
<p>He continues his ruminations on comics <i>in</i> comics in
<a href="http://www.scottmccloud.com/comics/icst/icst.html">an on-line column</i></a>.
If anything these work better than <i>RC</i>, but they tend to give me the
same sense of wondering why a 500-word essay (i.e., shorter than this review)
has been so laboriously illustrated.
<p>Perhaps the documentary form is inherently difficult; what about
narrative? Check out McCloud's <a href="http://www.comicbookresources.com/columns/zot/">
<i>Zot! Online</i></a>-- where McCloud's ideas about computer comics finally
come to life.
<p>I preferred the black & white bits of <a href="bob19.html#2">the old <i>Zot!</i></a>;
but one reason is that the colored books were colored so awfully.
The online <i>Zot!</i> is really pretty, and another point is made--
how much American comics have missed soft-focus and subtle colors.
<p>You move through McCloud's comics by scrolling, and he's already learned
how to use this to impart a sense of time. I particularly liked a huge
panel in episode 3, representing an explosion in the air and the subsequent
long, long fall. You couldn't do that on paper, where it'd just be
a bunch of pictures of people in a void. A similar technique is used
in episode 2 to dramatize a character's extreme reluctance to speak.
<p>The backstory on Dekko, also in episode 2, is worth the whole trip...
the simple narrative explodes into an array of graphical experimentation,
reinforcing the notion that we're dealing with someone who's disturbed
yet brilliant. (No, not McCloud, silly-- Dekko.)
<blockquote>
<b>This just in</b>-- McCloud's run of <i>Zot!</i>
is done. It's a must-read to see the possibilities of on-line comics;
as a story, it unfortunately demonstrates once again the bankruptcy
of the superhero genre. There's a real idea there (would it be better
to have an eternal robotic body?), but there's simply no room to
explore it after cramming in the boilerplate hero/villain rigmarole.
<i><a href="android.html">Blade Runner</a></i> explores the concept further in five minutes
than all sixteen episodes of <i>Zot!</i> do.</blockquote>
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Tristan Farnon: <B>Leisuretown</B>
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More online comics that go beyond scanned paper:
<a href="http://www.leisuretown.com"><i>Leisuretown</i></a>, by the mysterious Tristan
A. Farnon (why the James Herriot reference I don't know... though those <i>were</i>
the two most intriguing characters in those books).
These are mentioned in <i>Reinventing Comics</i>, though I discovered
them thanks to <a href="spinn.html">the SpinnVolk</a>, which has mostly appreciated
them for their vicious pornographic wit ("there's only 2 kinds of women
who don't WHINE: GIFS and JPEGS").
<p>First, form: the comics look like photographs of big rubber animals in
actual locations. I have no idea how he does them, really, except that
they involve a good photo editor and insane patience... not only must the
technique take longer than drawing would, but some of these comics are
over a hundred pages long.
Whatever it is exactly, it works. The comics have a look unlike any other;
and the cheesy-looking toys set up some expectations about content which
Farnon then proceeds cheerily to demolish.
<p>Content: the title could just as well have been Misanthropy Theater.
They mostly focus on slackers in dead-end jobs, their general
sense of being smarter than everyone else tempered by a realization
that this is getting them absolutely nowhere. The latest installment,
"QA Confidential", starts out discussing temp jobs, and moves on to
the dilemma of QA (no one, but no one, wants to see the bug you've found).
Much of this is blisteringly satirical (and even insightful),
and you won't want to miss the
hilarious media parodies, such as the <i>Tetris</i>-like game called
<i>Shit Keeps Falling</i>. And then, if you can believe it, the
story turns dark.
<p><i>Leisuretown</i>
isn't for everyone; it's intended for people who find a comic called
"American Masturbator" hilarious rather than just evil. (If
"intended" is the right word; Farnon isn't exactly market-testing
to reach the widest audience, here.) It's
not exactly <i>funny</i>; it's <i>entertaining</i> in the
way the best rants are. Anyone can rant; some have the ability to rant <i>well</i>.
My best example (the Meaningless Drivel Home Game) has
disappeared from the web (except for <a href="http://www.ewav.com">a remnant</a>); but you could try <a href="http://www.jwz.org/gruntle/">Jamie
Zawinski</a>, or my pal who does <a href="http://www.notmydesk.com">Not My Desk</a>,
or <a href="http://www.xibalba.demon.co.uk/jbr/log.html">Justin Rye's SF/linguistics pages</a>.
It can be baffling why these folks are quite as worked up as they are;
but they don't have the humorless unreadability of the true crank (say,
Edo Nyland on how all languages derive from Basque... or
<a href="http://www.zompist.com/bob17.html#2">Dave Sim on women</a>).
<blockquote>
<font color="#FF0000"><b>This just in</b>:</font>
Farnon is now a little less mysterious:
TCJ has published <a href="http://www.tcj.com/232/i_farnon.html">an interview with him</a>.
</blockquote>
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