Interview with a Superhero?

 
“A lot of times your neighborhood, your town, your city is being invaded by people who you think are going to hurt your family, your society,” he says. “Well, then you have to act, because the government isn’t going to come help you.”

And there’s the premise of almost every superhero story ever written. Only the speaker isn’t from a comic book. He’s from Iguala, Mexico. Reporter E. Eduardo Castillo interviewed him for the Associated Press late last year (the article is here). “He would appear on camera wearing a ski mask,” explains Castillo, “and his voice would be distorted.” I can’t help but hear Stephen Amell’s distorted voice on Arrow. The set-up also reminds me of the Tom Bissell short story “My Interview with the Avenger” that appeared in the superhero issue of VQR a few years back (that’s Gary Panter’s drawing from the issue above).

Instead of a utility belt, Castillo’s interviewee “wears a bag with a strap over his chest in which he carries several walkie-talkies and cell phones, one of which he used to take calls and issue orders.” Instead of superpowers, “he usually carries a .38-caliber pistol and an AK-47 assault rifle.” He’s a killer—a trait that might put him in the same league as the Punisher or Steve Ditko’s The Question.

Here are more excerpts from Castillo’s article:

In recent years, residents of a number of towns and cities have taken up arms to protect themselves against drug cartels.  “I can’t say I’m a vigilante,” says the killer, “but I am part of a group that protects people, an autonomous group of people who protect their town, their people.”

He says no one forced him to join his organization. His parents and siblings don’t know what he does. He raises cattle for a living. He isn’t married and has no children. Although he would like to have a family, he knows his future is uncertain. “I don’t really see anything,” he said. “I don’t think you can make plans for the future, because you don’t know what will happen tomorrow.”

“It’s not a pretty life,” he says. Life in an area torn by drug disputes is rarely pretty.

The killer has a grade-school education. He wanted to continue studying, but when he was a child there was no middle school in his town. “I would have liked to learn languages … to travel to other places or other countries. I would have liked that,” he said.

He acknowledges that what he does is illegal. He recognizes he would be punished if caught by the authorities. “For them, these (killings) are not justifiable under the laws we have, but my conscience – how can I put this – this is something that I can justify, because I am defending my family.”

He sometimes feels sorry about the work he does but has no regrets, he says, because he is providing a kind of public service, defending his community from outsiders.

If you take a standard definition of a superhero—I like Pete Coogan’s—Castillo’s interviewee seems to hit the mark. He uses his specialized skills to conduct a selfless, pro-social mission. Plus Castillo, like his reporter counterparts in so many comic book tales, provides his interviewee with a codename: The Killer. Though even with the mask, his “jeans and a camouflage T-shirt” aren’t your standard superhero costume, but he does wear a mission-defining iconic symbol on his forehead, the preferred placement before Joe Shuster drew an “S” on Superman’s chest. Castillo writes:

He wore a baseball cap with a badge bearing the face of Sinaloa cartel boss Joaquin “El Chapo” Guzman and “prisoner 3578” – Guzman’s inmate number before he escaped through a tunnel from Mexico’s maximum-security prison in July, cementing his image as a folk hero.

Robin Hood was an outlaw folk hero too, but here things get a lot more complicated. Castillo’s killer works for a drug cartel.

Federal authorities told the AP that several drug gangs in Guerrero, including those that operate on the Costa Grande, act as self-defense groups to generate support from local residents.

“Of all the bad lot,” the killer said, Guzman “seems to be the least bad.”

In several cases, authorities have claimed these vigilantes are allied with rival gangs, and pass themselves off as self-defense groups to gain greater legitimacy.

He says he is defending his people against the violence of other cartels. Things would be much worse if rivals took over.

A rival gang, “would do worse damage.”

Superheroes tend to be more idealistic than that, but if the killer is looking at the big picture—like Ozymandias in Watchmen—is he still one of the pragmatic good guys? Since “violence spikes when cartels are fighting each other for control of territory,” is he making his community safer the only way he can?

Unfortunately, that way makes him “a man who kidnaps, tortures and kills for a drug cartel.”

The killer says he ‘disappeared’ a man for the first time at age 20. Nine years later, he says, he has eliminated 30 people – maybe three in error.

There are many reasons people are disappeared, the killer says. It may be for belonging to a rival gang, or for giving information to one. If a person is considered a security risk for any reason, he may be disappeared. Some are kidnapped for ransom, though he says he does not do this.

In fact, he maintains his own sense of morality in a variety of ways.

Some in his circumstances use drugs, but he says he doesn’t. “When people are on drugs, they’re not really themselves,” he says. “They lose control, their judgment.”

Unlike others, he says, he has standards: He doesn’t kill women or children. He doesn’t make his victims dig their own graves.

He doesn’t consider himself a drug trafficker or a professional killer, although he is paid for disappearing people. He does not see himself as bad.

He sometimes feels sorry about the work he does but has no regrets.

The problem is that people under torture sometimes admit to things that are not true: “They do it in hope that you will stop hurting them. They think it’s a way to get out of the situation.”

That may have happened to him three times, he says, leading him to kill the wrong men.

While Castillo’s interviewee provides a grotesque study in rationalization and self-deception, I’m equally disturbed by how well his tale parallels the tropes of superheroism and what those parallels suggest about the popularity of a genre about violent men who break the law while serving what they call the greater good.

(AP Photo/Dario Lopez-Mills)

(AP Photo/Dario Lopez-Mills)

Captain Equilibrium!

Captain Equilibrium-016 (1)

Text: Jeff Fiske with Joan Gavaler

Movement: Joan Gavaler

Dramaturgy: Chris Gavaler

Movement/Vocal Coach: Elizabeth Wiley

Click here for a video of the Oct. 20, 2015 dress rehearsal.

CE1

(Coat rack DL. Run across. Stride in. Run off. Return with some sign of tiredness.)

I am – Captain Equilibrium.

(power lunge)

I fix imbalances in society.

Crime.

Accidents.

Impending disasters.

Wherever life is out of balance …

I restore balance.

Neighborhood arguments.

Returning lost toys to small children.

Even the occasional cat stuck in a tree.

Wherever you find imbalance, you’ll find me.

(run in a box to solve problems.)

Which means I work all the time.

(More and more tired.)

There is always some mugging to prevent.

Some fire to put out.

Some falling person to catch.

It becomes almost impossible to stop.

I used to have a life, a whole other identity.

Captain Equilibrium used to be my secret identity, and now it’s my only identity.

(remove mask.)

I don’t even know why I bother with this thing.

You know, Superman never wears a mask.

He hangs out with the same people in both of his identities, but do they ever notice that Superman and — the other guy — are the same?

His own friends never notice that the guy in the glasses is Superman because they never expect much from him.

They don’t really look at him, even though they see him every day.

We can’t see a hero if we’re not looking.

Folks talk to Captain Equilibrium face to face,

(put on mask)

and an hour later talk to me, and never make the connection.

Nobody believes that I could be Captain Equilibrium.

They don’t see it as a 2 possibility, and now I don’t see it as a possibility either.

(remove mask.)

So I spend all my time as the Captain.

(hang up mask.)

People’s expectations — lack of expectations — is all the mask I need.

Besides, that mask gets really hot.

Sweat pours into my eyes.

It blocks my vision.

I get rashes along here…

(Run reverse path in a box to solve problems. Tangle in cape.)

I want to keep restoring balance, but it seems my abilities have been fading.

For many, losing strength and resilience is an inconvenience.

But for me, this is endangering my livelihood; endangering my LIFE!

I am Captain Equilibrium!

I was afraid of losing my superhero status, so I became a member of the Justice Union.

East Coast Branch.

I was so excited.

I thought that working with other superheroes would give us all greater opportunities to do greater good.

I thought that being part of an elite team, I could be a top superhero again.

You know what happened?

I have been given the job of managing the budgets.

You know, “Let Captain Equilibrium balance the books.”

My most challenging foes aren’t bank robbers or natural disasters or even supervillains.

My greatest foes are

(remove cape. Hang up.)

tax audits, missing receipts, computer glitches.

(playful arc of movement.)

You laugh, but you know what’s really funny?

I am an accountant!

That’s the work I do in my real identity.

And, I’m really, really good at it.

I love helping people correct their financial missteps.

Help them get their lives in order.

Balance their dreams and realities.

You have to be honest with them, take off the kid gloves.

(Push down gauntlets.)

Help them see things clearly.

No blinders.

No cover-ups.

(Pull one gauntlet back up.)

They don’t need Captain Equilibrium for that.

(Power lunge. Tired.)

It’s been so long since I’ve stretched out on the hammock.

Read a good book.

Taken a trip.

Even just a walk around the neighborhood.

Brushed the cat.

Or had a real talk with a friend, face to face.

(pull other gauntlet halfway up. Pause. Remove gauntlets.)

I’m saying goodbye to the Captain for a while.

(hang up gauntlets.)

I’m going to let my real identity be … real.

Unmasked.

Even super.

(circular path.)

That is our equilibrium.

(sway.)

CE4

The Visual Superhero (Analyzing Comics 101)

Having already talked about framing and layout and closure and abstraction, I’m backing up now to what should be square one for “Analyzing Comics 101.” Who are the creators doing all of this framing, etc.? Although Will Eisner’s 1940s Sunday newspaper section The Spirit is a significant exception, superhero comics are typically created by multiple authors, with production divided into five semi-independent roles.

Writer: Creator who conceives the story idea, plots the events, plans the content and sequence of panels typically through a written script, and/or composes the words that appear in caption boxes and word balloons. The various writing roles may involve more than one individual.

Penciler: Artist who sketches the pages, typically based on a writer’s script. A superhero comic typically has only one penciler.

Inker: Artist who finishes the pages by penning over the penciler’s breakdowns. More than one inker may be involved in a single issue, and a penciler sometimes inks her own pencils.

Colorist: Artist who designs or co-designs color or gray tones and adds them to the inked pages.

Letterer: Artist who draws the scripted words (but not sound effects) inside balloons and boxes.

The words and images in a comic book are the product a complex and sometimes overlapping creative process. Although rarely credited, a penciler often co-writes by making encapsulation and layout decisions and sometimes creating content based on the credited writer’s story summary. 1950s Marvelman writer Mick Anglo wrote no scripts, but “would instead suggest a basic plot outline to an artist, giving him a specific number of pages to fit the idea into. Once the art was complete, Mick would then write in the actual wording for the letterer” (“Miracleman Alias Marvelman”). Stan Lee followed the same process in the 60s, dubbing it the Marvel Method. Jack Kirby and Steve Ditko would also sometimes conceive and pencil stories independently, leaving margin notes for Lee to expand into dialogue and narration. Job applicants seeking writing positions were hired based on their ability to fill in four pages of empty talk balloons and caption boxes from Fantastic Four Annual #2, further suggesting that pencilers were often the primary “writers” at Marvel.

Even when working from full scripts, pencilers may exert a great deal of creative control. According to 90s Deathlok writer Dwayne McDuffie, penciler Denys Cowan “felt free to alter my panel breakdowns and shot descriptions whenever he had a better idea” (28).

Neil Gaiman even encouraged Andy Kubert to alter his 2003 scripts: “Feel free to ignore my suggestions if you can see a better way of doing it. (You are the artist.) … Also, there’s an awful lot to cram in here, so let me know if you need more room, and if I’m trying to jam in too much…” (Marvel 1602).

Penciler and inker relationships are complex too. Inker Eric Shanower was notorious for adding details to layouts, while Vince Colletta was notorious for eliminating them. John Byrne even voiced homophobic complaints about Bob Layton’s inking of his work:

I actually feel physically ill when I look at Bob’s stuff. […] It’s like everything is greasy and slimy. […] all his men are queer. They have these bouffant hairdos and heavy eye make-up and an upper lip with a little shadow in the corner which to me says lipstick. Even the Hulk. I will never forgive him for what he did to the Hulk’s face in the annual that we did together.

I remember my father looking at […] the finished inks […] and my father said, “Well this guy’s queer.” No, he didn’t look queer in the pencils, Dad.

When John Byrne inked Steve Ditko in the 80s, their styles clashed queerly too, creating Byrne-detailed figures arranged in signature Ditko poses.

comics 002

Unless the penciler is instead painting in a color medium—Alex Ross prefers gouache watercolors—color is added to comic pages last. Before Photoshop, this was accomplished during the printing process by overlaying color-separation boards and screening ink by percentages in dot patterns. The colorist would select color combinations for each discrete shape, and multiple assistants would cut the shapes from each board. Color decisions might also be indicated by the writer in a script or by the penciler in the margins of the layout. Because the artists’ boards remained black and white, colors can be altered with each publication. Alan Moore and Garry Leach’s first chapters of Marvelman originally appeared in black and white in Warrior magazine in 1982; the retitled Miracleman #1 was reprinted in color in 1985 by Eclipse Comics; and Marvel Comics reprinted it again in 2014 with a new color design by Steve Oliff. (Kevin Melrose discusses this in more detail here.)

  

The final product of a comic book consists entirely of ink on paper (originally the lowest grade, pulp paper), but the images are the result of multiple processes. At times it is useful to discuss each contribution independently, while at other times such divisions may be burdensome or indeterminable. Nathaniel Goldberg and I in “Economy of the Comic Book Author’s Soul” analyze contributors as a single, pluralistic author whose words and images display unified intentionality. We might also analyze a given comic as though it has agency itself. Unlike a traditional painting—which may be copied and mass distributed—a comic book is its multiple copies. The artboards may be considered works of art too, but the artboards are not the comic book produced from them. A comic book has no single original.

Superhero comics, because they tell stories through representational images, also create tensions between how a subject matter is depicted and the subject itself—in other words, between the story world of the characters (diegesis) and the physical comic book in the world of the reader (discourse). No tension between diegesis and discourse occurs in prose-only texts because the words on the page in no way resemble the world they linguistically evoke. But because comics discourse includes representational images, their diegetic content is ambiguous. Is a drawing of a superhero a photo-like document of the superhero as others in the story see him? Or is the drawing an interpretation of the character which may be in some way diegetically inaccurate?

This tension does not occur (or occurs much less) in the non-fiction of graphic memoirs and graphic journalism because the images represent real-world content and so are understood as interpretations. Graphic novels, because their content is fictional, create a greater tension, and superhero comics, because they are an amalgam genre that includes fantasy and science fiction, heighten it by depicting subject matter that both does not and often cannot exist. The diegesis-discourse tension poses a question: Do comic book superheroes exist as they are depicted, or do they exist independently from their depictions? This is a philosophical question I can’t resolve here, but the tension is a factor when analyzing superhero comics visually.

Words ‘n Pictures

That title means both “words and pictures” and “words in pictures,” because both phrases describe comic books. Although not all comics include words, essentially all superhero comics do. (A near exception, the five-page “Young Miracleman” story in the back of Miracleman #6 includes two talk balloons each containing the transformation-triggering word “Miracleman!” and a range of sound effects, newspaper headlines, and signage.) How images and text work together is one of the most complex and distinctive qualities of the form.

Words in comics have their traditional linguistic meanings, but they are also drawn images that must be understood differently than words in prose-only works. Their line qualities and surroundings influence their meanings. Dialogue and narration are traditionally rendered at a later stage of production by a separate letterer, after the penciler and inker have completed their work. The size, shape, and color of lettering can denote volume, tone, or intensity, especially when representing speech. Bolding is especially common, typically multiple words per sentence. Sound effects, however, are drawn by primary artists as part of the images. These are onomatopoeic words or letters that represent sounds in the story world. Often the lettering style is so expressive it communicates more than the letters’ linguistic meaning.

Words are typically framed within a panel. Spoken dialogue appears in talk balloons (traditionally an oval frame with a white interior), internal monologues in thought balloons (traditionally a cloud-like frame with a white interior), and unspoken narration in caption boxes (traditionally rectangular and colored, though sometimes narration appears in separate caption panels or in white gutters). Adding a pointer to a word container and directing it at an image of a character turns the words into sound representations or, if a thought balloon, into representations of an unspoken but linguistic mental process, both linked to the specific place and time of the depiction.

The absence of a pointer on a caption box indicates that the words originate from outside of the depicted scene. First-person narration with no pointer may be linked to a remote setting if the words are composed by a character from some other, implied moment and location that is not visually depicted. Though the words in talk balloons are understood to be audible to characters, the drawn words and containers are not visible within the story world even when drawn blocking story elements. As with lettering, the size, shape, and color of containers communicate additional meanings about the words. For talk balloons, the graphic quality of the balloon edges denotes how the words are thought, spoken, whispered, shouted, etc. Finally, the containers create semantic units similar to line breaks or stanzas in poetry.

Words also influence and are influenced by surrounding images that are part of the subject content. Pioneering comics artist Will Eisner identifies two kinds of images: a “visual” is a “sequence of images that replace a descriptive passage told only in words,” and an “illustration” is an image that “reinforces (or decorates) a descriptive passage. It simply repeats the text” (132). Scott McCloud goes further, identifying seven “distinct categories for word/picture combinations” (). Two of McCloud’s categories, “word-specific” and “duo-specific,” correspond with Eisner’s “illustration,” while the other five (picture-specific, intersecting, parallel, independent, montage) fall under Eisner’s “visual,” which “seeks to employ a mix of letters and images as a language in dealing with narration” (139).

To indicate the level of image-text integration, we combine and arrange McCloud’s and Eisner’s categories in a spectrum, beginning with the highest level integration.

Montage visual: images include words as part of the depicted subject matter. This is the only instance in comics in which words are part of the story world. All other words are discourse only.

Interdependent visual: images and words communicate different information that combines.

Intersecting visual: images and words communicate some of the same information, while also communicating some information separately.

Image-specific visual: images communicate all information, while words repeat selected aspects.

Word-specific illustration: words communicate all information, while images repeat selected aspects.

McCloud also includes two categories that are not integrated, and we add two more.

Duo-specific illustration: images and words communicate the same information. Although this might appear to be the most integrated category, there is no integration if each element only duplicates the other so that no information is lost if either element is ignored. Words and images are independent.

Image-only visual: isolated images communicate all information. Since comics do not require words, this is the most fundamental aspect of the form.

Word-only text: isolated words communicate all information. This requires the highest level of reader visualization, an approach at odds with graphic narratives as a form.

Parallel visual: images and words communicate different information that do not combine. This requires the same level of reader visualization as word-only texts, but the presence of images complicates and potentially interferes with that visualization.

With the exception of the most integrated category, montage visuals, all combinations of words and pictures produce some level of image-text tension because words, unlike images, exist only as discourse. Though drawn on the page, words are not visually perceptible to the characters in the story. Images, however, depict content that is perceptible to characters, so drawn objects and actions appear as both discourse (ink on paper) and diegesis (the world of the story). A drawing of a superhero flying (discourse) communicates the fact that the superhero is flying in the story (diegesis). The words “the superhero is flying” communicate the same diegetic fact, but the ink-formed letterforms bear no resemblance to their subject matter. There is no overlap between diegesis and discourse. Since both words and images are made of ink lines on paper (because printed words are images), some lines in a comic exist only in the reader’s world and some appear to exist in both the reader’s and the characters’ worlds.

Graphic novels create further image-text tension by highlighting the potential gap between text-narration and image-narration. In graphic memoirs such as Art Spiegelman’s 1980-1991 Maus, Marjane Satrapi’s 2003 Persepolis, and Alison Bechdel’s 2006 Fun Home, the text-narrator and the image-narrator are understood to be the same person, the actual author. When a character in a graphic novel controls the first-person text-narration in caption boxes, it is not necessarily clear whether that character is also controlling the image-narration in panels. If the words are generated by an omniscient third-person text-narrator, does that same narrator generate the images, or are the images generated by a separate narrator?

Unintegrated image-texts imply a separate text-narrator and image-narrator. In the case of a duo-specific image-text, the two modes of narration duplicate information without any integration, as if two narrators are unaware of each other. Integrated image-texts, however, imply a single narrator controlling both words and images in order to combine them for a unified effect. At the center of the spectrum, a word-specific illustration implies an image-narrator aware of text but a text-narrator unaware of image. Similarly, an image-specific visual implies a text-narrator aware of images but an image-narrator unaware of text.

Parallel visuals are more complex; although the two narrations are independent and so seemingly unaware of each other at the level of the panel, the overarching effect is integrated. In such cases, the separate text- and image-narrations may create a double image-text referent, in which a word has one meaning according to its linguistic context but, when read in the context of the image, acquires a second meaning. Alan Moore is best known for this approach, having perfected it with Dave Gibbons in Watchmen.

 Image result for watchmen comic panels

Framing the Dead

Actually, this post should be titled “Framing, Abstracting, and Closuring the Walking Dead,” but that’s way too many verbs, plus closuring isn’t a word. Or at least it wasn’t. Maybe it is now. This post is also a follow-up on three previous “Analyzing Comics 101” posts on, you guessed it, framing, abstraction, and closure.

I’m once again picking apart the corpse of Tony Moore and Robert Kirkman’s The Walking Dead #1 to show how these concepts can come together. This time, just the first two pages will do the trick.

http://s13.postimage.org/q0zzzhedz/image.jpg

So framing first. The top full-width panel is symmetrical and misaligned, so the right side includes more than the primary subjects of Rick, Shane, and their police car which appear cropped in the foreground, plus the escaped convict and his truck in the middleground. The rectangular panel could include all of the rectangular police car, but instead provides surrounding detail, including a horse (the first hint at the Western motif), a Rotary Club sign (suggesting a small community theme?), and distant mountains in the background (further establishing the rural setting).

However, it’s the bottom panel that gives the initial framing its biggest meaning, since the open foreground space of that first panel parallels the page’s most important image in the bottom panel: Rick being shot. The bottom frame is symmetrical and proportionate, making the first misaligned framing a form of spatial foreshadowing. Moore also shifts the parallel angle of perspective, effectively rotating the shooter to the background, Shane to the middleground, and Rick to the foreground, the most significant visual space. Note also that Rick occupies the right side of the image, gaining further significance since as Anglophone readers we conclude the panel on right. We read top to bottom too, so Rick being shot occupies the concluding space of the overall page too (it’s also the peak image in an implied 4×2 grid, but we covered visual sentences and layouts elsewhere).

Rick is also emphasized because our perspective moves with him, beginning in panel five. These four middle framings are symmetrical while vacillating between proportionate and abridged, because the figures are sometimes cropped mid-chest, adding to the sense of Rick and Shane being trapped in a cramped space. Though drawn smaller than Shane in panels one and two, when Rick stands in panel three, he encompasses more space: his action literally makes him larger. Because the angle of perspective is the same in panels two and four, Shane remains the same.

Closure between the images is minimal. The first panel establishes the overall area, and the following five panels work within it, demanding little spatial closure. Though the time span of each panel and the gaps between them is inherently inexact, the first four transitions suggest no significant gaps, and so they imply a steady movement forward in time, requiring only basic temporal closure. The fifth transition, however, implies a gap in which Rick turns around to face the shooter. So in addition to temporal closure, the panel transition requires causal closure because the action of Rick turning is undrawn; we infer it in order to explain why Rick’s back is no longer turned to the shooter as it was in the previous image.

Finally, Tony Moore’s drawing style is roughly 3-3 on the abstraction grid, so it shows both a moderate amount of detail (translucent) and a moderate amount of contour warping (idealization). Arguably, the figures show a level of 3-4 abstraction, with intensified contours. In the second panel, Shane is impossibly wide and Rick impossibly thin, with Rick’s head roughly half the width of Shane’s shoulder.

shane and rick abstraction

The effect characterizes each through visual exaggeration and further establishes them as foils. Meanwhile, the shooter’s head contrasts the straight lines that compose Rick and Shane’s bodies with frenetic lines and lopsided features.

crazy guy

Though the effect is more striking, the shooter’s lines contours remain within an idealized range. Rick’s bullet wound, however, is intensified or even hyperbolic.

rick's wound

Since no human being could survive a wound that extreme, the image creates higher closure demand after the page turn because we retroactively understand the image to be exaggerated. There’s an overt abstraction gap between what is drawn and how it is drawn. And because a literal understanding of the image contradicts the story, we ignore it (diegetic erasure).

http://s13.postimage.org/9r9twl3pz/image.jpg

The leap to page two is major in other ways too. The image requires a great deal of temporal closure with details that also require a range of casual closure. After being shot, Rick was taken to a hospital–perhaps by paramedics in an ambulance, though most of the casual facts go unconfirmed. He is in a bed in a bedroom, not a critical ward or operating room, so presumably his wounds were successfully treated and he was left to recuperate. The time gap is ambiguous, but his beard growth suggest several days.

The framing marks a major change too. Though still symmetrical, the full-page panel is also expansive. Rick’s figure is the subject, but a great deal of the surrounding room is drawn for a spacious effect unlike the previous page’s variously proportionate and abridge panels. The angle of perspective shifts from parallel to downward, so we are no longer viewing the image as a character would but as if from a more omniscient vantage.

The style of abstraction has shifted too. While Rick remains at 3-3 (translucent idealization), the room is closer to 2-2 (semi-translucent generalization). The level of detail is much greater than on the previous page and the line contours are only warped slightly below the level of photorealism. Notice the line quality of the shadows and reflected chair legs on the floor.

The 2-2 image is also a full-page panel, giving it further significance. When the first zombie later appears on page six, we retroactively fill in additional closure into the temporal gap: the zombie apocalypse occurred while Rick was unconscious and safe behind his bedroom door. Page two is the most significant image in the issue, because it is 1) the most detailed and least abstracted image in a stylistic context of less detail and higher abstraction, 2) the first of only two full-page panels, 3) the most expansively framed image, and 4) the image demanding the highest amount and range of closure.

There’s plenty more visual analysis available on these two pages (haven’t even started to talk about the difference in Moore’s rendering of sound effects and speech yet), but you get the picture.

Abstraction Bingo with Bill Sienkiewicz

First time I saw a comic book by Bill Sienkiewicz (I’m told it’s pronounced sinKAVitch), my tiny adolescent brain exploded. It must have been one of his early New Mutants, so summer of 1984, just moments before I stumbled off to college. It wasn’t just that the cover was painted (I’d seen New Defenders do that the year before) but how dizzyingly un-comic-book-like his art looked to me. It took thirty years, but I finally have the words to describe it.

Last week I offered an Abstraction Grid, a 5×5 breakdown of comic art according to amounts of detail and exaggerated contours.  It looks a lot like a bingo board, and since I know of no comic artist with a wider range of styles than Sienkiewicz, he’s my first player.
 

 
Bingo starts with a free space, that one right there in the middle, and comics do too. The middle square is 3-3 on the grid, the style of most superhero comics. It combines a medium amount of detail (I call it “translucent” to differentiate from the two ends of the scale, “opaque” and “transparent”) and a medium level of exaggeration (I call it “idealization,” that sweet spot nestled between line-softening “generalization” and shape-warping “intensification”). Sienkiewicz, like most comics artists, started his career in the middle square:

3-3

   

I vaguely remembering seeing some issues of Moon Knight as a kid, but the art didn’t register as anything special, because that was Marvel’s Bronze Age Prime Directive: draw like Neal Adams.

Perfectly good style, but if you slide over a square to the left, more detail is more interesting:

2-3 

     

     

Sliding to the less detailed right is fun too, stripping those idealized forms down to something a little more basic:

4-3 

  

Sienkiewicz can go even further, reducing subjects to minimal details, sometimes just undifferentiated outline shapes.

5-3:

tumblr_ma7xgf4fWF1r93mfqo1_1280  

1-3 is rare in comics, but disturbingly common in advertising. Photography provides the maximum amount of details, and Photoshop lets you idealize them:

The fourth row of the grid is intensification. Where idealization magnifies and compresses shapes but stays mostly within the bounds naturalism, intensification steps out of bounds, usually by throwing proportions out of whack.

Seinkeiwicz is a pro:

3-4

  

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The exaggeration is more pronounced with more detail:

2-4

       

Less detail creates a more of a classic “cartoon” effect:

4-4

  

Meanwhile, the left half of this Stray Toasters face strips away eve more detail, so only the minimal number of lines remains:

5-4

And the sparse lines of this torso are impossibly regular too:

1-4 is rare, but sometimes a fashion ad blows it by Photoshopping beyond idealization and into inhuman intensification.

I call the top range of exaggeration hyperbole because it breaks reality completely. Sienkiewicz is one of the few comics artists who spends any time this high on the abstraction grid. His minutely detailed yet absurdly proportioned Kingpin from Daredevil: Love and War is one of my all-time favorites:

2-5 

The Demon Bear by itself is 3-4 intensification, and the figure of the New Mutant facing it is your standard 3-3, but the combination steps into hyperbole:

3-5

These scribbles of Joker’s face and body are simpler but exaggerated to a similar level of unreal.

4-5

  

And then there’s cartoonish chaos of Warlock’s Bill the Cat face:

But, like most superhero artists, Sienkiewicz spends almost no time up in 5-5. That’s South Park terrain:

For 1-5 photography, stop by Celebrity Photoshop Bobbleheads:

Moving back down the grid now, the second row of shape abstraction is generalization, just a slight tweaking of line quality. The New Mutants here have a typical level of detail for a comic book, but the those lines evoke real-world subjects.

3-2

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Some of these New Mutants (not Fireball and Warlock though) look distantly photographic, though with even less detail:

4-2

While this portrait of Lance Henriksen is dense with detail:

2-2

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5-2 is rare, a fully realistic human figure in outline only. And most 1-2 photography hides its Photoshopping so well it registers as undoctored photography.

Seinkeiwicz spends time in that photorealistic corner too though.

1-1

This next image from Big Numbers may be an altered photograph, with just a little detailed flattened.

1-2

1-3, 1-4, and 1-5 are rare since it defeats the point of photorealism to strip too many details away.

Finally, notice that many of Seinkeiwicz’s best effects are a result of using more than one kind of abstraction in a single image:

The overall figure is 3-4 intensification (humans are not roughly 2/3rds legs). But while the top half of the figure has a medium level of detail, the legs are flat with not a single line of shadings, so 4-4. And though the gun is intensified too, it is impossibly large in relation to the figure, and so 3-4.

Skim back up the other images for more of these combo effects.

Meanwhile, how well did Bill do on the Abstraction Board?  I count 16 out of 25 squares filled. Let me know if you find an artist with a higher score.

Why Simple Is So Complicated (Analyzing Comics 101: Abstraction)

I’m teaching “Superhero Comics” this semester, and so I’m once again pulling out Scott McCloud’s abstraction scale:

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It begins with a photograph of a face and ends with a face comprised only of an oval, two dots, and a straight line. McCloud calls that last face a “cartoon” and the middle face the standard for “adventure comics,” ie superheroes. All of the faces to the right of the photograph further “abstract [it] through cartooning” which involves “eliminating details” by “focusing on specific details.” Computer programs can do the same kind of stripping down:
 

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But some “simplification” isn’t so simple. Look at the different between this photograph and its cartoon version.

make a caricature profile picture of you

McCloud’s scale actually combines two kinds simplification. Each step to the right of his spectrum appears simpler because: 1) the image contains fewer lines, and 2) the lines are in themselves less varied. A line becomes smoother by averaging its peaks and lows into a median curve, and so the second kind of simplification is a form of exaggeration. Since exaggeration can extend beyond averaging McCloud’s spectrum actually requires two kinds of abstraction. Each face is altered both in density and in contour quality. Density describes the number of lines; contour quality describes the magnification and compression of line shapes. Abstraction in density reduces the number of lines; abstraction in contour quality warps the line shapes. The less density reduction and the less contour warpage, the more realistic an image appears.

I like McCloud’s five-point scale though, so I’ll offer two of my own.

The Density Scale:

  1. Opacity: The amount of detail is the same or similar to the amount available in photography.
  1. Semi-Translucency: The amount of detail falls below photorealism, while the image still suggests photorealistic subject matter.
  1. Translucency: While reduced well beyond the range of photography, the amount of detail evokes photorealistic subject matter as its source material. This is the standard level of density in superhero comics art.
  1. Semi-Transparency: The sparsity of detail is a dominating quality of the image, and subject matter can evoke only distantly photographic source material. Semi-Transparency is more common in caricature and cartooning.
  1. Transparency: The minimum amount of detail required for an image to be understood as representing real-world subject matter.

The Contour Scale:

  1. Duplication: Line shapes are unaltered for an overall photographic effect. Though naturalistic, reality-duplicating line shapes exceed the norms of superhero art by reproducing too much information.
  1. Generalization: Line shapes are magnified and/or compressed to medians for an overall flattening effect that conforms to naturalistic expectations. Generalization is the standard level of abstraction for objects in superhero art.
  1. Idealization: Some line shapes are magnified and/or compressed to medians while others are magnified and/or compressed beyond their medians for an overall idealizing effect that challenges but does not break naturalism. Idealization is the standard level of abstraction for superhero characters.
  1. Intensification: Line shapes are magnified and/or compressed beyond their medians for an overall exaggerating effect that exceeds naturalistic expectations. If the intensification is explained diegetically, the line shapes are understood to be literal representations of fantastical subject matter within a naturalistic context. If the intensification is not explained diegetically, then the line shapes are understood as stylistic qualities of the image but not literal qualities of the subject matter. Explained or Diegetic Intensification is common for fantastical subject matter in superhero art; unexplained or Non-diegetic Intensification occurs selectively.
  1. Hyperbole: Line shapes are magnified and/or compressed well beyond medians for an overall cartooning effect that rejects naturalism entirely. Hyperbole is uncommon in superhero art because the stylistic qualities of the image dominate and so prevent a literal understanding of the subject matter. Hyperboles in a naturalistic context are understood metaphorically.

The two scales can also be combined into a Density-Contour Grid:

1-5 2-5 3-5 4-5 5-5
1-4 2-4 3-4 4-4 5-4
1-3 2-3 3-3 4-3 5-3
1-2 2-2 3-2 4-2 5-2
1-1 2-1 3-1 4-1 5-1

Both scales take photorealism as the norm that defines variations.

McCloud’s photographed face is the most realistic because it combines Opacity and Duplication, 1-1 on the grid, demonstrating the highest levels of density and unaltered contour. It’s opposite is not McCloud’s fifth, “cartoon” face, which combines Transparency with Idealization, 5-3; its level of density reduction is the highest and so the least realistic possible, but its contour warpage is moderate and so comparatively realistic. Replace the oval with a circle to form a traditional smiley face, the contour quality would rise to Hyperbole, 5-5, the most abstract and so the least realistic position on the grid.

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Cartooning covers a range of grid points, but most cartoons fall between 4-4 and 5-5, both high density reduction and high contour warpage. Charles Schulz’s circle-headed and minimally detailed Charlie Brown is a 5-5.
 

 
The characters of Archie Comics are some of the most “realistic” of traditional cartoons at 4-4.

 
McCloud’s middle, “adventure comics” face combines Translucency and Idealization, 3-3, the center point of the grid and the defining norm of superhero comic art.
 

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Like all grid points, 3-3 allows for a variety of stylistic variation between artists, within a single artist’s work, and even within a single image, but it does provide a starting point for visual analysis by defining areas of basic similarity.