Results tagged “J Michael Straczynski” from Birmingham Mail - Speech Balloon

BOOKS ABOUT comics, people in comics and some other related stuff...

Writing & Illustrating the Graphic Novel
By Mike Chinn (A & C Black)

A How to book for the budding comic book writer and/or artist. It goes through the usual valid points in a professional attentive manner, with some work paid to the modern use of computers in colouring and lettering.

Why specifically graphic novels? A marketing tool - they're popular. A very valid leading chapter goes into outlining their popularity, why they are similar and different beasts to regular comics but little more, I personally would have preferred something a little more academic but then I'm sure that would potentially acttract less purchasers.

It's nicely designed and good to see some interesting new artwork and from some less than usual sources. There are good layout through to finished work examples by Jon Haward and a plethora of Alan Burrrows' work - in fact no one should have been more surprised than me to turn to page 74 and see my own Long Tall Sally newspaper strip proposal drawn by Alan looking out at me.

Chinn, the editor of the British Fantasy Society newsletter, Prism, has written comics himself (quite a few for D.C. Thomson) and has authored other books (I'm sure a previous how to use the comic medium had Burrows supplying layouts for Bill Story) and comes across in an approachable and knowledgeable fashion. It's one of the better, more accessible How Tos of its kind on the market.

I understand Mike Chinn comes from Birmingham, and in all likelihood Hall Green - if he's reading this, or someone who knows him is, I hope he can get in contact as I'm sure some of the other local comics community would be interested in meeting up with him.

Visual Storytelling - The Art & Techniques
By Tony C. Caputo (Watson-Guptill Publicatons)

I never thought much of what I've come across from the NOW comics line that Caputo published in the 80s but there's now doubting he's got an impressive way with How to Do books and calls on top notch experts like Harlan Ellison & Jim Steranko to supply specialist information.

Visual Storytelling encompasses the appropriate use for those techniques necessary in comics, film, animation & interactive games and does it well.

Although much of it is second nature to me after all these years of study it's put together in a very informative manner and there are aspects I found useful, welcome stylistic trips down memory lane and something worth browsing through again.

The Book of Alien
By Paul Scanlon & Michael Gross (WH Allen/Heavy Metal Communications)

This book of the making of first came out in 1979. They were rarer items back then. These days we get half hour TV ads presented as documentaries prior to the cinema screenings that are later collected on the DVD.

What would really be special would be to see this book back in print together with the never reprinted Archie Goodwin and Walt Simonson original Alien graphic novel adaptation of the film.

Within this book is an industrious collation of interviews, on-the-set articles and photos, and page upon page of concept illustrations by the likes of Ron Cobb, HR Giger, Chris Foss and my personal favourite Moebius.

The writing's enthusiastic and still holds the readers interest, even if like me you're not actually over the top about Alien, the layout is of its time but very comprehensive.

The Complete Book of Scriptwriting
By J Michael Straczynski (Titan/Readers Digest)

This book veers dangerously towards discussions about money, forewarning me of Star Trek creator G Rodenberry's tedious biography where he seemingly listed how much everything cost in his life. I'm far too English for that kind of thing to stuff and there is an American bias to this.

Straczynski was story editor on Murder, She Wrote - not that I liked the series (I don't generally like Angela Lansbury in anything) but it was a top rated show in the USA for so long I was intrigued to get some behind the scenes info - there's not that much of it but the anecdotes presented generally raise a smile. Of course he's more renowned for Babylon 5 now.

There are comprehensive sections well worth reading and there are others that are equally dull. For example, there's too much discussion about type point sizes and indentation references that computers have overridden the need for so that section's outdated.

TV. Film, a surprisingly large amount of radio (I'd discussed radio drama with an American friend recently and he said there wasn't that much so that confounds me), how technology will improve; give more work to writers; make productions cheaper; some theatre and animation (always outdated as soon as it's written in my experience). His comic work is not touched upon.

I found that like what he has to say more than I do his actual writing of stories but he generally comes across as one of the good guys, even if, up to now, I'm not his greatest fan. I can see his professionalism but can't feel his passion.

Those serious should buy this and refer to it as they write their own scripts. Harlan Ellison might disagree on some aspects but the Straczynski's got decades worth of practical experience in the American market.

Excelsior!
By Stan Lee & George Mair (Fireside/Boxtree)

Stan the Man's autobiography is an alliterative rollercoaster of bad puns and tales of the glory that was Marvel, the comics publishing company he made big.

In depth it ain't, but there's enough background detail about Mr Leiber to the gist of where he came form and how he got to where he did, and currently is - And it wasn't because of family connections.

He's almost dismissive about all the other forms of writing he did in his youth but it's important and impressive stuff. He also pays rightful tribute to Kirby and Ditko but their fans always cry loudest. I'm sorry but the underdog is not always right.

Too many US comic book editors have pretended they're new millennium Lees but they haven't been - they take his superficial PR mannerisms not his exacting skills and his intuition - something that is either there inherently or experience gives you the edge on.

The book comes over as fleetingly short with not enough background information, and he's still over-loyal to Marvel but the times and circumstances he was born under shaped him that way. But who are we with all time's hindsight but far less skill to criticise the choices he made? Most people simply don't understand, let alone appreciate the management decisions he would have had to make at Marvel. His subsequent work in the movie biz and his modern comic book writing may not excite us but the amount of work he delivered that did in the past remains monumentally classic for all the right reasons and was a genuine art director when those things counted for more than knowing your way round a computer's mouse!

Rustboy (re) Animating a Lifelong Dream
By Brian Taylor (XL5 Editions)

This came out in 2003. A beautiful album sized hardcover coffee table tome. It tells the story of Brian Taylor's childhood fascination with animation, his growing up to be a graphic designer and illustrator, then how the advent of computer technology proved the tool to make his lifelong dream of producing a full length animation completely by himself.

Via the Rustboy website, subsequent interviews and features in magazines worldwide, further exposure and some significant renown has been gained for the project - Taylor isn't rushing but he's working on it.

The book is superbly designed with excellent visual reproduction (including a 3D section with glasses included) explaining where the idea for Rustboy came from, various stages of development, aspects of the storyline, technical details and a considerable amount of information on the process of colouring - not only applying it but more importantly why such colours are used for mood, effect, contrast etc. No wonder comic book colourist James Offredi was able to loan me his copy of this book to read!

Fantasy Art Techniques
By Boris Vallejo (Paper Tiger)

Published back in 1985. I never used to like Vallejo's work - At my bluntest I used to pontificate to a dear friend of mine (Hi, Martin!) that Frank Frazetta's figures sweated like workingmen and Vallejo's were too busy standing posing for that kind of thing.

Well, time's given me a different perspective on things - That's what happens when some years of your working life gets caught up editing fitness and bodybuilding magazines - so I learned, it not to appreciate, then respect more narcissistic values, and so know where Vallejo's interests in that area come from and their intentions.

What I can appreciate about this book is that Vallejo's philosophy about his approaches, intentions, and the need for a pragmatic approach for commercial considerations also comes across well to the reader. Similarly, as with the Rustboy book the information given about colouring is probably quite invaluable.

Hot Tips from Top Comics Creators
Edited by Dan Markstein (Fictioneer Books)

Collecting snippets from interviews with over 2,500 creators as featured in Comics Interview magazine up to 1994. Sage advice is offered long with personal opinions, contrary anecdotes although not enough crusty old man moans for this reader. However, there's still stuff that is pertinent and worth taking note of and its very brevity of comments makes use of that.

The Language of Comics
By Mario Saraceni (Routledge, Taylor & Francis Group)

It states somewhere that this is part of an Intertext series that is intended "to develop readers' understanding of how texts work". I personally viewed it as one of semiotics (covered at the outset) whereby the use of signs as symbolism is used to study communication.

I gather it's a UK based book intended at the 16-18 year old. If so, why has Saraceni focussed on US alternative/independent comics as examples - not least since he is a lecturer based in Thailand, and that culture's different use of the comics' form in comparison with more western idioms could have proved enlightening?

To be frank, there's actually very little information filtered throughout this book. You've probably read it in a more entertaining, evocatively informative and downright succinct form via Will Eisner or Scott McLoud. To be perfectly honest with you, if, as an adult, you didn't know most of what's presented in this book implicitly by now then it's too late!

This is stuff that should be intuitive to kids attending nursery school (my own daughter knew this kind of stuff when she was two, as did her niece. That's little girls who don't read comics much, remember!).

A variation of the book intended for behavioural patterns and child psychology would still need much more meat to the flimsy bones tossed here. If this truly is the level at which youths turning towards adulthood are being pitched we're in worse trouble than I thought and I'm torn between feeling appalled and going paranoid wondering if there's some prejudiced secret agenda going on, but ultimately have to accept that it's simply an ignorantly produced book. And overpriced.

The Pocket Essential Robert Crumb
By D K Holm (Oldcastle Books)

At the outset I was relishing devouring the heavy minute text in this guide to the grumpy old weirdo father of underground comix with some relish.

Alas before too long I felt I was reading a student discourse - a chronological listing of Crumb's life and artistic career, where the main comic of a given critical time period is given an appraisal as to the typical Crumb woman, his confessions, its financial worth, and a verdict of approval or otherwise given of the whole thing.

The latter part of this for me totally superfluous and the former I more or less knew from previous articles or interviews related to Crumb. His place, from the 60s-80s in pop culture is important from the advent of flower power to the rise and fall of punk, from Zap to Weirdo.

Ultimately, it's only the surmising of his most recent years and a new interview (hardly that insightful) that afforded my attention. Others will find this of immense use - media studies students most likely. Entertaining? Insightful? Nope.

Holm, the author of this guide, tries to make a case for Crumb being one of literature's great writers and while I agree his contributions are indeed admirable his unique voice is heard best within the comics medium so without any art being reproduced within the book Crumb's value as a comic book maestro is undermined.

I criticise but must admit there's an awful lot of information given for those new to Crumb, and at a very affordable price. There are also books on Alan Moore and TinTin in this series, but they would all benefit from having a few pictures in them.

Briefly found at libraries within Birmingham and Solihull, Comics At War by Dennis Gifford has historic value and The Best of British Comic Art by Alan Clark includes an excellent Ken Reid section with gorgeously outrageous art.