I'm sorry, but I simply have to know, where was it going?
In my mind I conjured an explanation that since you could only put up one animated robot a day you didn't think it would go anywhere, but that's probably just a rationalization.
In the same vein, do you have an idea of where a comic is going when you start? Some, like "Happy Town" seem VERY random while others like "Meadow of The Damned" seem very structured (even part one).
I recently, by inspiration, tried some 'improv' comics, but found that it didn't seem to work with me. Instead of drawing a truly improvisational comic I would just draw a comic I had running around in my mind for awhile. I suppose titling and such helps but...
Basically I am in search of more MI info. I remember right around when you first intro'd the new comic/section, you never really provided a whole lot of info on how you go into the process. I'm not saying you have to give it up, but anything would be appreciated.
Also, anyone else tried doing improv comics in the past or since MI?
-- Fulgore
Robots Love to Dance (Plus random musings)
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Apparently nowhere, but it was fun while it lasted. Neil Gaiman pointed out that by my definition, it wasn't even comics -- just a single row of dancing robots.I'm sorry, but I simply have to know, where was it going?
Meadow was the only one so far that had some overall planning, though I often have an idea of what's coming next by the time it gets underway.
Try picking a word out of the dictionary, or a card from a tarot deck, and make a comic out of that. That way, you can't plan ahead!I recently, by inspiration, tried some 'improv' comics, but found that it didn't seem to work with me. Instead of drawing a truly improvisational comic I would just draw a comic I had running around in my mind for awhile.
I think that the art jams are truly improv. Each panel plays off the others and the only elements that you can control is your panel. You can't plan the story, you can only contribute.
later,
Randy
later,
Randy
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The whole concept is fun
The neat thing about TMI is hearing the gears moving in Scott's head. Having the comic unfold over time is a lot different than just seeing the whole thing posted at once, because you realize that the conclusion hasn't come into existence yet.
My favorite so far is probably the MOTD, but perhaps that is not fair to the shorter ones that didn't have the space to develop. Proto was cool too.
My vote is for more unpredictability -- one thing about the improvs so far is that while they seem to vary improv to improv (e.g. style, animation, theme), they don't take too many curves once the ground rules are established.
Maybe some kind of internal coherence is essential to a good comic, but I think it might be fun to see some of these improvs really go off the deep end.
My favorite so far is probably the MOTD, but perhaps that is not fair to the shorter ones that didn't have the space to develop. Proto was cool too.
My vote is for more unpredictability -- one thing about the improvs so far is that while they seem to vary improv to improv (e.g. style, animation, theme), they don't take too many curves once the ground rules are established.
Maybe some kind of internal coherence is essential to a good comic, but I think it might be fun to see some of these improvs really go off the deep end.
Uninformed Bob -- thanks Scott
While I don't think it had anything to do with my post, I think Uninformed Bob is just what I was thinking about in terms of seeing a progression among the panels. It was really neat reading and watching the meaning of the panels change while they visually remained (mostly) the same. Funny to watch things go from hokey to disturbing/sublime to just wacky. I am feeling the impulse to make another micro-payment...