You've been hired to teach a class. It can be about anything you want as long as it's related to cartoons and/or comics. What subject would you teach and how would you teach it?
>>78252913
>My cartoon is shit 101
People should learn on their early stages why their cartoons are shit and how to save them from disgrace.
>>78252913
I'll explain to them why TTG is the best cartoon ever made and why they should follow in its example.
GIANT FUCKING ROBOTS:
your in depth full year class on how to make badass robots and mecha universes within the limitless realms of cartoons/comics!
here you'll learn that chicks do in fact dig giant robots, the best way to scream out your lungs in a final attack, how to draw explosions, and most importantly how to make it look badass!be sure to pick up our secondary class "how to deal with your show being cancelled after one really good season!
>Comparing old with new and why old fags are but hurt about modern cartoons and their noodlie arms.
Any one you was born in the 80 need not apply, for your kind thought all kinds of shit was good.
>>78252913
>Comics & Society from 1940-2000
A class where people read comics address social problems and analyze why the comics failed or succeeded in doing so.
I'm not even close to being remotely qualified, but this class can't be any worse than what most people are taught.
>>78253802
U is for Urbanmech!
Hail /tg/, praise our Urbie overlords.
How Goku can defeat Superman
>>78253990
[SPOILER] K I L L Y O U R S E L F [/SPOILER]
>>78254021
hey pal you messed up your tags
>>78252913
Doubletakes 101
NEWFAG ALERT
Alright class, listen up, we're going to go over the basics of creating comics and comic theory. Are you all listening? Get your pencils and notebooks ready, here we go.
Comics are very similar to other popular forms of media, such as film or literature, but are unique enough to stand alone. Often times, media can be separated into two categories based on reader experience. The first category being a Spectator experience, and the latter being a Participant experience.
When you are being entertained, your brain is using it's cognitive functions to create imagery in your head. In literature however, this can take a very abstract form. Say for instance, you and your friend read a passage from a book. "The bug hairy man raised his club over the defenseless damsel." You have both read the same passage, however, your internal imagery of the passage can be vastly different. Your friend could imagine the "big hairy man" as a grotesque brute wielding a mishapen branch. You however, could imagine the "big hairy man" as a burlesque strongman wielding a club fashioned in the 14th century. Regardless of what is seen, the story does not progress unless you as the reader envision imagery. You are using cognitive function to portray events that are being shown in words. You are creating life in those pages, you are a Participant.
In film however, you use less of your cognitive functions, because the imagery of the sequence of events is being presented to you, you are a Spectator. The imagery is universal to everyone who is watching it. The "big hairy man" is being portrayed on the screen, and would be hard to describe differently by two different groups. And also int his case, film will continue to proceed with or without the cognitive use of a person's brain. (Unless aided of course, by a remote control)
In comics however, it can be envisioned as BOTH a Spectator and Participant experience. Ranging from abstract thoughts that are harder to read in experimental comics which rely heavily on shape and form to continue the narrative, to very content driven comics, which are seen in very wide use today.
In comics, the story does not advance so long as YOU the reader, do not read it. The comic requires the cognitive functions of reading words in the dialogue as well as creating a continuing narrative by reading along the panels to create the story. In this case, you are the Participant. However, because the story is being presented to you in a visual format, just like in film, the imagery involved in universal, and is seen the same by each and every reader who views it. In that way, comics are a hybrid of film and literature.
Next, I will explain the five choices involved in making comics. Take a small break and heat yourself up some Hot Pockets™ Take a swig of that Arizona Iced Tea jug you've got next to you. We're gonna learn!
Hope you enjoyed your break, anons, we're back in session.
In creating comics, there are a few basics to go over, and these are what are commonly referred to as the Five Choices made when creating comics. And those choices are:
Choice of Moment
Choice of Frame
Choice of Image
Choice of Word
Choice of Flow
We'll go over each one separately.
So what is a choice of Moment? Or rather, how would you describe a moment? A moment is a split second in time. As comics are at their very heart, an array of frozen in time moments juxtaposed in a sequential order. When telling your story, you need to break it down into moments. For example, "Miles was running down the street, then he stopped to pet a kitten. The kitten turned out to be Cthulu, Defiler of Kings and He Who Hides in the Deep."
How do we present this in comics form? We break this up into moments.
Moment One; Our main character Miles is seen running down the street.
Moment Two: Miles stops as he sees a kitten
Moment Three: The kitten reveals himself to be Mankind's Dark and Unholy Master
We have taken this event and broken it into three individual Moments in time.
This brings me to the second part of the Choice of Moment. Transitions. How one panel transitions to the next is very important, as it determines the change over time, and the affect it has on the reader.
These transitions are:
Moment to Moment- in which a fraction of a second is the difference in time between two panels. (A bullet fired, an eye blinking)
Action to Action- in which one action directs to another action. (A sequence of dance moves, a pilot pressing different buttons)
Subject to Subject- in which the panels transition from one subject to another (a conversation between two people, shifting focus between important props)
Scene to Scene- in which the panels transition over great deals of time from one scene to another. (The distant moon of Tatooine to Cthulu's fiery pit of despair, A sunny day in the the park to The Unholy Ones Abyssmal Deep)
Aspect to Aspect- in which the panels transition between different subjects, actions, events, etc to create a single unifying idea. (cookingware, stovetop, baking mitts to identify a kitchen; or wind, water, sand, colorful umbrellas to identify a sunny day at the beach)
Non-Sequitor- Used mostly in experimental comics, panels that seem to jump and shift from one random thing to another.
More please, this is interesting.
My apologies class, I was just cooking some dinner. Back in session.
Choice of Frame, this is the point in which one chooses the kind angle or panel to be used in a comic. Often times, panels are of a standard square or rectangluar format, to best portray an image, however, they are not confined to take such shapes.
Consider your frame, or panel, as a window. Your audience is on the outside, looking in, and so you present them the window from the angle that most benefits your story.
If you want to show something as large, grand, or even intimidating, then you should present the angle from a low point, so that the large figure is escalated in its grandeur. Alternatively, to show something as insignificant, present it from a high point angle, as if we are looking down on it. Human beings are accustomed to determining the greatness of things by size. Which is why we are fascinated by large feats of architecture, and think very little of small creatures such as ants.
However, if an ant were the size of a building, and the building the size of an ant, we would think very differently about them indeed.
Back to thinking of the panel or frame as a window, what do you feel would happen if you allowed the reader to look so far in, that the borders of that window seem to disappear. When you yourself look so far out a window, that you are pretty much hanging outside of it. You are a part of that world,and the same effect can be accomplished with your readers, this is especially useful in Establishing Shots, a panel or two that defines the location of a scene. These should be used at the start of every new scene to give your readers a sense of location and setting.
Choice of Image seems rather straight-forward, it is of course, the images used in the story.
Now of course, there are plenty, and I mean PLENTY of books, people, and artistic instituions that will tell you the RIGHT way t draw and the WRONG way to draw. However, this is on a purely visual arts scale. What matters more than artistic visuals in comics is the narrative, or how the story is told.
Many popular webcomics today attribute their success to the artistic genius of artists such as Ashley Cope and her work, Unsounded. While other works, though not artistically astounding, have become popular because they adhere to a narrative, such as literary classic, Tails Gets Trolled.
As long as your images follow a narrative, you can put pretty much whatever you want in the panels! For example, "a person is walking," the narrative is complete so long as you depict a person walking, they can be fat, thin, professional, slobbish, man, woman, baby eating demon, the possibilities are endless. So long as the narrative is complete, you are set.
A few words on narrative. What is narrative? A narrative, as stated before, is the progression of story. A narrative can be complete with stick figures even! However, if you want a characters thoughts, feelings, personality, and ideals to be remembered, it is always good to have more unique and defining characteristics so that your readers can call upon those visual identifiers to bring up that particular combination of traits.
Example, we can see a picture of Spiderman, and attribute characteristics to that image based on what we know about Spiderman.
Spoon- metal, slightly-malleable, used for eating
Cat- Fluffy, sometimes temperamental, love to pet
Cthulu- Dark Lord of Chaos, Master of the Deep Ones, May His Name Be Praised
We identify things by a set of characteristics, and characters are no different. It is how our brains function.
Our next segment is on Choice of Word
Words and Pictures are the bread and butter of comics. Words alone make up only literature, whereas Pictures alone do not make a Graphic NOVEL. (Though there has been works that reject this notion)
Words and dialogue move a comic forward, much like reading a book. And just in a book, the words and dialogue can take many different forms, a narrator may be speaking over the entire session of the book, or it may be developed over dialogue by a variety of different characters.
Words work with pictures to create the unique experience that is a comic. Often times in comics, Words can be broken up into several groups depending on their relation with the pictures involved. And they are as follows:
Word-Specific- Wherein words provide all the details needed for the narrative, and pictures are only there to extenuate the idea.
Picture-Specific-Wherein pictures provide all the information needed for the narrative, and words are only there to extenuate the idea.
Duo-Specific- Words and pictures are providing the same information needed for the narrative, and work to extenuate each other.
Intersecting- Words and Pictures provide some information on their own individually, but are needed by eachother to convey the idea of the narrative in a whole.
Interdependent- Words and Pictures combine to convey an idea that alone, would convey two separate ideas.
Parallel- Words and pictures follow different ideas and do not seem to intersect (this is common when a narrator or overtone is speaking in a scene which they are not involved in)
Montage- Words and pictures are combined in a visual fashion (image of a STOP sign, Plaque on an important building, Signs being held by protestors)
Finally class, we shall review Choice of Flow.
No, this isn't your (or your girlfriend's) flow, this is flow in regards to how your reader's eyes move along the page. Traditionally, in Western cultures, we read from left to right/ top to bottom (alternatively, in Eastern cultures and most Middle Eastern cultures, reading is done right to left)
That being said, your reader's eyes will naturally start at the top left of a page and panel. By using the artwork and the positioning of word balloons/ text. you can guide your reader to the place that the eyes naturally conclude reading, the bottom right.
A composition, that is the arrangement if subjects in an artistic piece, will dictate where your reader's eyes will follow. Use things such as ascending, descending, growing, shrinking, fading, manifesting, and other artistic techniques to move your readers along the page. If you feel that your artistic level is not high enough to do such a thing, you can also take your readers attention to word balloons, and direct the flow of the page using them. Your readers will go from one balloon to the next closest one, so place them properly!
Alright class, I hope you've enjoyed this small instruction on comics. Please feel free to ask any questions if you didnt understand something or feel differently about something that was said.
When are you going to do Choice of Gender?
>>78258793
Choice of Gender isn't one of the traditional five choices made when creating comics.
However, if you are truly concerned about this and are not making a cheap joke, then I can tell you a little bit about character development.
Readers are most receptive when they are reading about relatable characters. And there is a particular reason for this. We humans are hard wired to interpret symbols we see as ourselves. In fact, even something so simple as a scribble or a bunch of rocks on Mars's surface can be interpreted into a human face.
This is something we are psychologically wired to do. Many scientists believe it is a survival function so that we are aware of our own species. You may ask yourself, okay, but where is this going? Allow me to continue.
BAsed on this survival fact, we humans absolutely LOVE seeing ourselves in everything. Burnt toast, the moon, so much so, that we even CARVE OUR OWN RESEMBLANCES into cliffsides. You see, we humans are a rather narcissistic race.
When we look at other humans, we see ourselves in them, two eyes, a nose, a mouth (This is also why we are turned away when we see people with malformations on their faces)
However, there is only one person's face we can never see without the aid of a reflection. Our own.
When it comes to conversation, we only know we are smiling due to the vague knowledge that we can FEEL the shape of a smile on our face. Same goes with the wide variety of other expressions. When it comes to simplified figures, like cartoons and comics, we RELATE to them more, because the simple shapes are very much like our own concept of how we see ourselves in an everyday conversation. That general SHAPE of a smile or other emotion.
More to the point, characters who fill out certain character traits we see in ourselves and conform as our IDENTITY are characters we are likely to preference. Why? Well, we are in fact a narcissistic species after all. We like things that reminds of ourselves.
Choice of Gender
>>78259006
Good show, WiseAnon.
>>78259094
Thank you my good man
Can someone screencap this for me, please?
This is informative as hell.
>>78259521
Also the cthulhu bits are hilarious.
>>78252913
The new gods and why they should worship Darkseid. Beatings would be involved.
Did anyone ever screen cap WiseAnon's stuff?
I want this for later.
>>78259883
Kek. Is that an edit of one of those bible comics?
Bump for the informative posts
>>78261814
Doesn't look like it, no.
>Good morning class, and welcome to COHIST 348: The History of the 616 Marvel Universe.
>I'm suggesting to all of you to drop the class and take something else. We'll be going over the entirety of the 616 time line and it's just God-awful with all the retains and nonsensical events and legacies.
I don't know, since I'm an engineer, I guess hoe to not fuck up your cartoon world with dumbass physics, math, or other logical fuck ups
>that one cartoon where the person gets super smart and probes it by reciting the Pythagorian theorem
>Obscure Simpsons Jokes and How To Understand Them
>>78263934
>Fill in the blank
>>______ Feed and Seed
>>Chuck's ____ and ____
I'd probably teach a class on Hypercrisis. I suppose reading Grant Morrison and event comics would be a big part of it
>Your Waifu a Shit: Critical Analysis of Anon's waifu and how to slander her
>Basic Guide to Generals and How to navigate in them
>Historical Overview of Company Wars
Help me /co/
I've been unable to find a comic since FOREVER
the parts i can remember are as follows:
at one point a person with force fields is suffocated, because it was the only method some agency had determined could kill him
The force field "user" could not turn it off, and could not feel touch sensation, but got really fat because the force fields selectively allowed food particles to penetrate it, and taste was his only pleasure outlet
He is killed by the superhero, because all the powers originate from the same source, and when one hero died, the power lost was redistributed to all the others
All the people with powers had been at some even in their childhood
The anti-hero is intentionally segregated from humanity and interaction so that he would be able to deal with the other heroes if they went off the deep end
The superhero starts forcefully segregating all the others "for their protection" to consolidate his access to the power source
>>78259006
>>78258754
>>78258637
>>78258475
>>78258267
>>78257974
>>78257950
>>78257497
>>78257477
Thank you, anon. This was an excellent write-up, and I appreciate it greatly. You truly do have a love for comics, and I'm very happy to share a discussion space with people who share such a degree of appreciation and fondness for my favorite storytelling medium. Good on you, man.
Heeeeeeey /co/... I'm like, your sub or something. You know, cuz your regular teacher got in a wicked bad car accident. So, my name is /Mu/zac, not Mr./Mu/zac cuz that's my dad, and I'm here to teach you about... uh... comic theory or something. Says here your teacher left me some teaching notes a couple days ago while they were in the hospital, but I'm gonna be completely honest with you and say I didn't read them. I'm not saying that I spent the weekend baked and unable to read or write but I'm also not saying that's not what happened ya know?
Since we "can't find" your teacher's notes I decided to bring in my 19th century harpsicord. It's a little old and busted but I'm sure that we'll learn about cartoons and comic books somehow right? I mean I know it doesn't sound right but uh... Oh I know! We're gonna learn about the Rebecca Sugar style of song writing! Yeah!
So first you need to make sure that you're not singing and that a song would be completely out of place right? Right. So like it is now. Actually nothing like it is now, cuz that's related to what's going on in class. Um. Oh shit look outside, you see that kid ditching class? Yeah he should start singing.
Ok now which one of you lil shitheads has reached puberty? You, in the back, you look like you've got a deep voice. I need you to try to sing as high as you can about ditching school. No, higher. Higher. Get out of your octave range! Good it sounds like you're completely untrained and out of your element. Great job!
Now we need lyrics... nah fuck it let's sing about how we feel. I know that we could be portraying it in a visual way, or a little bit more succinctly, but we have to fill 10 minutes of bullshit. Nobody else join in. Don't do it, make it as awkward as possible.
I'm going to start strumming on this this thing now. If anyone's awake after we finish this song by recess you get an A for the day.
I love how the OP was just looking for the different kinds of comic related classes that /co/ would teach and then this one guy goes and gives a full fucking college level session on comics and comic theory.
