Maximizing Image

I read a graphic novel recently, Shortcomings by Adrian Tomine, and I was somehow disappointed that the expensive book only featured people talking. The story itself had enough emotional depth to qualify for an arc of character development, but the creator didn't play too much with the visual aspect. Two people talking in a restaurant. Two people talking in a bedroom. Two people walking down the street. People talking.

In short, the story, while readable, didn't quite suit the medium. It would have been more effective as a stage play for an intimate audience than a graphic novel. The images seemed to weigh less than the words--Tomine used a realistic style that, while pleasing to the eye, allowed no room for visual experimentation or styling.

Then, of course, the question: is visual experimentation required? The answer is no, especially if you're doing a story like Shortcomings. The issue is not the way a story is presented, but the medium used to present the story. The actual question should be: is your story the kind that maximizes the potential of the image-text interplay? Or, specifically, are you maximizing the image-text relationship in your work, despite the kind of story you choose to present?

One of the best examples I can cite that maximizes the possibilities of both words and pictures is Blankets. It is a beautiful book, with a visual style that reinforces--even intensifies--the gravity of the words. Despite the story being quiet and introspective, it was very moving. Conceivably, if Craig Thompson had used a more realistic style, the book would have lost a lot of its power.

Another example is Kick-Ass. John Romita Jr.'s rough kinetic, even cartoony, style offers the necessary edginess to Mark Millar's script, effectively taking the story beyond the confines of the violent superhero story into a visceral experience. If Jim Lee had drawn Kick-Ass, the effect would have been different, if not out of sync.

It's not enough that the graphic novelist master the fundamentals of anatomy, perspective and composition. The graphic novelist must have the ability to make the art side flex its own storytelling muscle, while matching the mood and atmosphere relayed by the text. Will a comics page still be interesting--keep a reader on his toes--if the words were taken out? That's the challenge.

The Great Middle Ground

What can the graphic novelist do to increase the value of their stories, not just in the eyes of the comics reader, but also to the average civilian?

The general public has been weaned, even spoiled, by motion pictures. I use motion pictures here because comics have become film's strange bedfellow. And it appears that a number of creators have deemed it necessary to create comics that approximate film.

But comics can never be film. Comics do not have the benefit of physical motion. And the more that comics are attached to film, the lesser its value becomes.

So what can the graphic novelist do to place the medium in its rightful independent place as an incomparable artform, and yet not be too artsy that it alienates the common Joe?

The principle I've always held is this: "Give them what they want, then give them what you want." To be profitable, the graphic novel should think "profitability." Structure a story using the standard genre of film--romantic comedy, sci-fi thriller, buddy cop, etc.--to make the story familiar and seemingly comfortable to read, but offer the left field surprise.

1) While the graphic novel can be made to look like a film, it should have important elements (visual and verbal) that are difficult to translate to film. In effect, offering an audience the experience that only comics can provide.

2) While the graphic novel can have stories that can be imagined as a profitable film, it should have story elements that would make film producers think twice. In short, important story elements that can be depicted freely in an unregulated medium, but would be subject to extreme scrutiny by the film industry.

3) The success of a lot of films is hinged on celebrity--bankable actors with reliable performances--which the graphic novel does not have the benefit of. It is thus required of the graphic novelist to position him or herself as the celebrity, by producing compelling well-written and drawn stories. The graphic novelist has to think and work like a professional novelist, and not just "some person who makes comics."

4) One aspect of film that the graphic novel can freely exploit is the presentation of thought. It is almost impossible to present conscious thought in commercial film, but thought is a mainstay in the arsenal of comics creation. Also note that the presentation of thoughts is widely used in prose novels. The graphic novelist can use thought to enrich a narrative.

5) The graphic novelist should put equal weight the planning of words and pictures. It is not enough to have a great script. The graphic novelist would have to play the role of production designer--taking care to research for the depiction of locations, locales, costumes, props, etc. And this visual research ought to extend to the "performances" of the characters, with each character serving as an "actor." The graphic novelist should provide a wealth of visual and verbal nuance. Doing so would add significantly to the impression of worth in the eyes of the public.

At the end of the day, it's all about worth. If a graphic novel intends to sell, it's supposed to be seen a worthy by the people who flip through it in a bookstore.

Art for the Commercial Graphic Novel

Last night, I was thinking in my usual over-analytical mode of the anti-social sort. I sat in the kitchen and thought out loud--a typical conversation with myself. And the topic at hand concerned art style.

What kind of art style would the commercial graphic novel have to help boost its chances of success? As I pondered on this question, the word+image concept popped into my mind.

The graphic novel in question should have art that would satisfy the taste of its intended audience, the same way that its story ought to be written.

Would Jim Lee's style give justice to a romantic comedy? Would James Kochalka's style work for a swords and sorcery epic? Arguably, they could. But the popular manga style apparently didn't work for Marvel comics, so there must be something about art style that should figure into the whole commercial graphic novel idea. (As a side note, I used to think that every Wonder Woman fan adored Adam Hughes' rendition of our dear superheroine, but I've read in a forum that there are a few who thought otherwise.)

This reminds me of a friend of mine who writes great dark fantasy stories. I told him that maybe he ought to try other kinds of stories--like stuff for kids. Surely a talented writer could easily write a short children's story. Well, he tried it, and it didn't work. The story he wrote had all the trappings of his dark fantasy style, albeit using less words in his sentences. It didn't occur to me then that writers had a default style, a methodology they're most comfortable with, a distinct way they interpreted their view of the world. The same way that Mariah Carey is best doing RnB, and Fall Out Boy doing rock.

So the commercial graphic novel should not only carry a commercially-viable story, but also commercially-appealing art, an art style that matches the mood and nuances of the story to be told. The Jim Lee style is perfect for superheroes, but I find it hard imagining its effectivity in a period British war story, at least in the eyes of the general public.

Who do I think would make great artists for the commercial graphic novel? Adam Hughes, Bryan Hitch, Brian Bolland, Paolo Serpieri, Jackson Guice, Greag Land, Alan Davis, Mark Schultz, George Perez, Phil Jimenez, and all artists whose styles tend towards the more realistic. They can make characters act and express emotions that resemble real life.

And when a story resembles real life, yet still hinges on the fantastic, it would have an easier time connecting to a large audience. It would be easier to sell.

Are Graphic Novels Crowded Out?

They say that the market for comic books and graphic novels isn't that large, since the entertainment industry has been dishing out numerous options to the public, all vieing for consumers' hard-earned dollars.

While there may be some truth to this notion, I firmly believe that the market is still large enough.

Thousands of products and services get launched every year, but while there are some of them that tank so deep it hurts, there are those who catch the attention of a sizeable number of people, big enough to translate marketing efforts to profits. For instance, there are dozens of smartphones in the market, with Nokia, Sony-Ericsson, Samsung, Motorola, Palm, and others in a continuous struggle for dominance in their respective niches. But, lo and behold, a company popular for its computer chips decided to join the fun. Asus now has a few smartphones out in the market, and there's little indication that they're failing.

Then there are social networking sites, and even until now I can't fathom why people still find themselves registering in the new sites when there's already Friendster, Multiply, MySpace, Ringo, etc. I thought that I've had it, content with my Friendster and Multiply accounts, but now I'm semi-obssessed with Facebook. Now, there are networking sites that are interest specific--book lovers, comics enthusiasts, visual artists, pet lovers, and a whole lot more.

Yes, it's crazy, but the point is: people are always on the lookout for something new.

Those who are really familiar with Japanese comics will tell you that manga isn't just about high school, or sorcery, or cool characters in Cosplay-worthy costumes. Manga has been used for the longest time to tell stories about a whole lot of things, from cooking to golf. Early this year, I was given a copy of a graphic novel about Warren Buffett (yes, that Warren Buffett). It told his life story, but focused on how he managed to build himself up from stock brokerage ingenue to one of the richest people in the world. And the graphic novel was created by one Ayano Morio-- a woman.

Comics creators should, now more than ever, exert efforts to quell the stigma surrounding comics. We lament how the general public doesn't take comics seriously, and yet we ironically create stories that reinforce the stigma. If we want to erase the belief that comics are just superhero kids' stuff, why can't we create comics that aren't about superheroes? Why can't we create comics with rich plots, complex characters and mature themes? Why can't we put some effort into bringing out the unique storytelling abilities of comics?

I think the challenge facing a lot of aspiring graphic novelists is impatience. Many prose novelists take a year or two to plan, outline, research, write, and rewrite their novels. Some even write whole chapters only to discard them later on because the stories "weren't working." While it can be argued that it's easier for prose writers since their only physical output are words on paper, as opposed to graphic novelists who write, draw, ink and letter, the rule doesn't change. To make a really great product, we have to invest a lot in its creation.

So why not test yourself this coming 2008? If you want to be a better writer, study good novels and movies. Read how-to books on fiction and screenplay writing. Invest time in putting together a script for a non-superhero story. Find your unique voice. Explore.

If you want to be a better artist, be meticulous about your craft. Go through non-comics anatomy and perspective books. Study composition. Create your personal style. Download a script of a screenplay or a stageplay and do a sequential study of a scene. Try different approaches to storytelling. Explore.

When you've gained a little more confidence, create a short comics story that's not for the superhero market. As I've been mentioning over and over in this blog, the field is still open for fresh stories. And a well-crafted story will find its audience despite the rain of carrots from the entertainment industry.

Wanted: Comics Artist

Beef up your art portfolio. Scriptwriter is seeking graduating students of illustration or fine arts, to bring to life a short story using the comics format. Twelve plates/pages total. Applicants should be comfortable with pen and ink, and have a good instinct for visual storytelling. Looking for styles similar to Jim Scancarelli (Gasoline Alley), Adrian Tomine (Shortcomings), or Tom Batiuk (Funky Winkerbean). Publication guaranteed. Rate is $30 per page.

You must be at least 18 to apply. Send a cover letter, samples and your CV to John Smith through .

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Instead of going through the usual comics want ads for talent, why not try the career/job offices of colleges and universities? The advantage: students of illustration aren't there for the heck of it. Illustration isn't only a hobby, it's a chosen career. They're not going to moonlight this. They're paying dollars to learn about it.

When you tap into this student pool, you know they've already gone through the training. You know they have an acceptable level of discipline, geared towards professionalism. It's important that you start with a small project--it won't demand too much of their time while they're finishing school. And you have to pay them as well.

Tapping into student talent also gives you access to a lot of non-superhero and non-manga styles, a bonus if you're writing under a different genre. When you place a want ad, specify the styles you're looking for, and a list of established artists who use the style.

Try it out: contact the nearest college, university or art school and ask about their policies about posting want ads on campus or through their online bulletin board. Or try to get in touch with the student organization, and see how receptive they are to working on "graphic storytelling or comics" projects.