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Post by Deleted on Sept 27, 2014 21:57:38 GMT -5
This deceitful looking comic grabs a Daredevil fan's attention until you open it and get the shock of your life...no comic inside, it reads like a novel.  I put mine back in the Wizard bag where it's been for the last 15 years or so...unread...  |
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Post by fanboystranger on Sept 27, 2014 23:12:38 GMT -5
As soon as I saw the thread, I yelled out, "Don McGregor!" Thankfully, I was alone at the time.
I will say this for Don, though: his verbose captions often achieved sheer brilliance.
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Post by berkley on Sept 27, 2014 23:21:16 GMT -5
Bendis throws in so much dialogue that ultimately says nothing "Man I could go for a cheeseburger" "You can go for a cheeseburger?" "I can certainly go for a cheeseburger" "Why don't you go for a cheeseburger?" "Its not my turn to go for a cheeseburger" "We take turns going for cheesburgers?" "Of course, you don't want everyone going for cheeseburgers at the same time" Who's turn is it to go for cheeseburgers?" "I thought it was you're turn to go for a cheeseburger" "Then why didn't you just come out and ask me to go get a cheeseburger?" "Because Bendis doesn't write things that way" this would be quite fitting in a Quentin Tarentino movie. David Mamet seems to be his most important influence, from what I've heard on line. Not hard to believe, if you've read any Mamet. |
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Post by Deleted on Sept 27, 2014 23:26:37 GMT -5
this would be quite fitting in a Quentin Tarentino movie. David Mamet seems to be his most important influence, from what I've heard on line. Not hard to believe, if you've read any Mamet. If you read any of Bendis' indy stuff and count the f-bombs you can really see the Mamet influence  -M |
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Post by ghastly55 on Sept 27, 2014 23:39:57 GMT -5
There's an issue of Howard The Duck circa 1977-78 that is basically illustrated text. Gerber wrote a short story about his cross-country move and Colan OE Mayerik or whoever was the artist at the time basically did spot illustrations.
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Post by berkley on Sept 27, 2014 23:56:42 GMT -5
I haven't read it for decades but I remember that as one of my favourite issues of any series ever, if it's the one I'm thinking of - the one where they were going to have to use a reprint because the artwork wasn't ready or something, but Gerber wrote a long prose piece and got a bunch of different artists to provide some quick illustrations. Even if I felt it was as a failed experiment, I'd still think it was fantastic of Gerber to come up with something like that instead of letting it just be a reprint issue. But I don't think it was a failure at all - I thoroughly enjoyed it as a reading experience on its own merits.
Gerber had another unusually text-heavy story in Man-Thing, didn't he? "Song-Cry of the Living Dead Man", was it?
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Post by tolworthy on Sept 28, 2014 2:20:25 GMT -5
Amateurs.  You didn't specify what kind of comic, so I'll just leave a link to Subnormality, my favourite currently published comic. Winston Rowntree refers to his style as the "wall of text". www.viruscomix.com/page584.htmlThis example is far from the most verbose. You should see him when he really gets going. |
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Post by JKCarrier on Sept 28, 2014 10:30:14 GMT -5
Gerber had another unusually text-heavy story in Man-Thing, didn't he? "Song-Cry of the Living Dead Man", was it? Gerber used prose in a lot of his comics. "The Kid's Night Out" in Giant-Size Man-Thing had a lengthy diary sequence. Stewart the Rat started off with what was essentially an extended suicide note. I remember an interesting bit in Giant-Size Defenders that described how Daredevil perceived the Defenders via his heightened senses (Son of Satan sounds like he has two heartbeats because of the evil inside him!). |
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Post by ghastly55 on Sept 28, 2014 10:41:37 GMT -5
That's one of the reasons I gravitated towards writers like Gerber in the 1970s.
For me, the writing is far more important that the art. Dull, serviceable artwork cannot destroy a great story, while great art cannot save a poorly-written one (cf., any given Continuity Comics issue).
Some people hated Don McGregor for being verbose and pedantic and preachy, but I loved his work on Black Panther and was horrified to see him replaced by the laughably-bad work (IMFAO) done by Kirby upon his return to the House Of Ideas. (More than anything, it was probably Kirby's return that caused me to drop out of comics reading and collecting for four years starting in 1977/78.)
To this day, it's writers rather than artists that I follow, and it seems to be writers that are promoted more today. It's not EPTING's Captain America, it's BRUBAKER's Captain America. Hickman's Fantastic Four, Remender's Secret Avengers, Aaron's Wolverine, Bendis' everything else ...
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Post by Cei-U! on Sept 28, 2014 12:10:24 GMT -5
I haven't read much by Bendis but if the above is a typical example of his writing style then I must conclude he doesn't understand the medium he's working in. That entire six-panel monologue should have been no more than a single 20-word balloon.
Cei-U!
You aren't writing a flippin' movie, dude!
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Post by Deleted on Sept 28, 2014 12:41:21 GMT -5
I haven't read much by Bendis but if the above is a typical example of his writing style then I must conclude he doesn't understand the medium he's working in. I'd have to disagree, he's won all of these awards for his comics...and I did enjoy his Ultimate Spider-Man run. Awards: 1999 Will Eisner Comic Industry Awards - Winner - Talent Deserving of Wider Recognition: (for Jinx; Goldfish; Torso [Image]) 2001 Will Eisner Comic Industry Awards - Nominee - Best Writer: (Powers [Image], Fortune and Glory [Oni], Ultimate Spider-Man [Marvel]) 2002 Will Eisner Comic Industry Awards - Winner - Best Writer: (Powers [Image] and Alias, Daredevil, Ultimate Spider-Man [Marvel]) 2003 Will Eisner Comic Industry Awards - Winner - Best Writer: (Powers [Image]; Alias, Daredevil, Ultimate Spider-Man [Marvel]) 2004 Will Eisner Comic Industry Awards - Nominee - Best Writer: (Alias, Daredevil, Ultimate Spider-Man, Ultimate X-Men [Marvel]; Powers [Image]) |
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Post by Cei-U! on Sept 28, 2014 12:44:35 GMT -5
And "The Greatest Show On Earth" won the Best Picture Oscar. Awards don't mean anything. But like I said, I've read almost nothing by Bendis.
Cei-U!
Hey, I could be wrong!
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Post by Ish Kabbible on Sept 28, 2014 12:55:17 GMT -5
Not a fan of Bendis' style of writing The Avengers. However both his Daredevil run and Alias were excellent.
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Post by benday-dot on Sept 28, 2014 13:14:06 GMT -5
That's one of the reasons I gravitated towards writers like Gerber in the 1970s. For me, the writing is far more important that the art. Dull, serviceable artwork cannot destroy a great story, while great art cannot save a poorly-written one (cf., any given Continuity Comics issue). Some people hated Don McGregor for being verbose and pedantic and preachy, but I loved his work on Black Panther and was horrified to see him replaced by the laughably-bad work (IMFAO) done by Kirby upon his return to the House Of Ideas. (More than anything, it was probably Kirby's return that caused me to drop out of comics reading and collecting for four years starting in 1977/78.) To this day, it's writers rather than artists that I follow, and it seems to be writers that are promoted more today. It's not EPTING's Captain America, it's BRUBAKER's Captain America. Hickman's Fantastic Four, Remender's Secret Avengers, Aaron's Wolverine, Bendis' everything else ... Except for being a Gerber fan, which I very much am, I gravitate toward the opposite point of view. Of course comics are a two way street, and the best of them elevate both the writing and the art to the best they can be, but it is overall the graphic side of the equation which makes for the greatest attraction with me. I seek out comics for superlative art, or at least art that I find special or stylistically appealing, and even if the accompanying story is mediocre I'm frequently sold on the book. Conversely, where we are given an excellent and entertaining story to read, I often consider the book with a lamentable "what might have been" if the accompanying art comes across to me as repulsive or indifferent. My decision to pick up any comic always meets the "art test" first. |
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Post by adamwarlock2099 on Sept 28, 2014 13:44:41 GMT -5
Bendis throws in so much dialogue that ultimately says nothing "Man I could go for a cheeseburger" "You can go for a cheeseburger?" "I can certainly go for a cheeseburger" "Why don't you go for a cheeseburger?" "Its not my turn to go for a cheeseburger" "We take turns going for cheesburgers?" "Of course, you don't want everyone going for cheeseburgers at the same time" Who's turn is it to go for cheeseburgers?" "I thought it was you're turn to go for a cheeseburger" "Then why didn't you just come out and ask me to go get a cheeseburger?" "Because Bendis doesn't write things that way" this would be quite fitting in a Quentin Tarentino movie. Well that's because they are both have the same level of skill in their ability to entertain in their respective mediums. |
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You didn't specify what kind of comic, so I'll just leave a link to Subnormality, my favourite currently published comic. Winston Rowntree refers to his style as the "wall of text". 
