PANEL MADNESS! day 5. 100 years. And if it is, I’ll wait.

This is my entry into Plok’s Panel Madness series, which he’s doing in concert with a whole bunch of other bloggers. It’s is kind of the product of a long line of conversations we’ve had about how comics blogging isn’t focused enough on the important stuff – the art. So instead of just bitching (like I do), Plok is doing something about it, with an all-star cast. I am breaking the rules a little bit and mangle the original Panel Madness setup that Plok has laid out – instead of one, pure image and a long text piece expounding on it’s virtues, I’m going to be a little more nonspecific.  The above image is the kind of thing I’d love to be writing about. It’s from a completely silent Moebius (not Silent Mobius) short from Heavy Metal called “Freefall”. It’s the kind of visually arresting moment – you are kind of forced to stop and stare, because it’s something you’ve never seen before. It’s a “panel” the way that Alphaville is a “movie”, you can describe it that way but you are simplifying it a little bit. It’s freezing a moment in time but it’s also conveying motion. It’s evoking a strange alien world but  showing you that it operates with the same laws of phsyics as ours – and the scale is immense. Now how about this one:

Paul Pope’s callback to the first Batman Detective cover, putting as much distance between us and Batman right at the start of the book. He’s saying to us “you’re not going to get close”, recasting one of those Batman images that everyone has seen into a silhouette – placing the world around him in focus. This is Paul Pope, this is science fiction – he is going to give us a fully immersive world that’s going to take up most of our time, more so even than Batman. It’s subliminally telling you what story to expect. Before this image, we are shown a very physical Batman. Like Frank Miller, Pope understands that the character is at his most powerful when his legendary skills are pushed up against human physical limitations. We open up with Batman on the run and bleeding, and then we’re shown just how impossible and dangerous that jump truly is.

When Year 100 first came out, Pope spoke a lot about making Batman a physical character again. And Pope places the importance on physical action in his compositions -

Here the eye is drawn right in to the one, solid motion. One of my favorite things about Pope is how he can just nail a moment in midair, and his shot choice is never what you’d expect. That is not a shot you see in American comics. Showing this angle, and not a pov shot or something else, is indicative of Pope’s skill at choosing the right moment, and every shot in this book is very deliberately designed to show you the character in relation to the world around him.

These three panels of man in motion – they show that Pope has figured out a way to do motion lines without resorting to manga-style subjective pov blur or classic American directional indicatiors. Yes, these are motion lines, but instead of being an artistic flourish, he’s found a way to make them diagetic. He’s using light, light everywhere to convey motion – a bit like Wong Kar Wei and Chris Cunningham use blurs and lensflare in their films. The gesture in the above frame is pretty great in itself – the shot of Batman right upclose, in the middle of shifting his weight (still in fairly heavy shadow, which I’ll come back to). But there’s a whole added dimension of motion with the light trails, instead of seeing one motion, we’re seeing four motions without the shot looking at all cluttered. That’s slight of hand, and it’s entirely subliminal. On top of that – this Pope’s Batman at his most Tezuka-like. I love it.

There’s something interesting between these two panel – essentially the same composition with minor differences. The top panel is Batman in action, once again the trails showing us action that have actually gone on before the panel occurred. This image is of someone moving so efficiently that we’re already seeing the aftermath. The gaurds are knocked out before the shot. We also always see Batman in action (not necessarily Batman, just when he’s in action) either slightly obscured or full-on in character as a demonic creature. Most of these are in wide or medium shot. The wide shot is interesting because it allows the audience to be observers, to see these melee fight scenes and chases with some objectivity. When dealing with other characters it feels a lot more intimate, the shots are closer.

This is the same composition, doing very different work. This Batman wants to be terrifying. Pope also mentioned that his Batman was a peking opera version of Nosferatu ( I wish I could find that interview). Here instead of lights, it’s smoke but the force in which the character is moving is shown while still showing just a final snapshot. The way the body is positioned isn’t cool, it’s awkward. He’s compensating for moving just a little faster than he thought, that’s why his one leg is flying back like that. It’s a minor detail, but it’s one that really makes the panel sing. And with the composition repeating, we can see that this time the character isn’t fighting this man, he is fucking with him. This Batman likes to take the “striking fear” part of the job up close.

This floating drones over a cityscape isn’t a new image for Pope, his depiction of Gotham here isn’t too far from his Paris in Heavy Liquid. This is the world Pope has given us. This is what a fascist dystopia looks like. Like Pope’s primary influence on year 100, V for Vendetta, there’s an understanding that the true fascism wouldn’t look like the rallies in the film version of 1984. It’s far more subtle. Silent drones scanning so far in the distance that you can barely make them out – cities where no one sleeps with the lights out during patrol. It’s ominous and minimalistic. The character might be a fan of Nosferatu, but Pope has designed the city to be a modern New York shot by Fritz Lang. Every shot of the city is as wide and low as possible.

This final panel is my favorite in the book – extreme wide, a shadow and glare off in the distance, some light manga motion effects. This is Pope’s Akira shot, and maybe the definitive shot throughout the book. Wings and a streak of light, speeding away from the reader. If you look closely, you can see how the lines bend around the figure. We are seeing a distortion of reality, and we can barely see it. Everything that’s great about this book is there in this one image – motion, a lush environment, the collision of three seperate schools of comics in one shot, a barren future, a main character that we can never get a proper look at.

Back to you, Tucker .

About these ads

About sean witzke

This entry was posted in Uncategorized. Bookmark the permalink.

19 Responses to PANEL MADNESS! day 5. 100 years. And if it is, I’ll wait.

  1. 3.0kafka says:

    You made me want to dig Year 100 out and
    read it again, great job.

  2. M.A. Masterson says:

    You’re so young. It’s a pity I have to kill you.

    You’re too smart, kid. Sorry. Orders from upstairs. Shouldn’t have signed it.

  3. Damn, Sean — you’re a natural at this! Like Pope, you make navigating the space on the page look easy.

    I love the last line about “a main character that we can never get a proper look at“, cos that’s the paradox of Pope’s Batman. You know how he works, way better than you know how most any other version of Batman works — you’ve seen him navigate his city, take his lumps, kick some ass, and generally scare the shit out of people in great, physical detail (as you illustrate so well in your post). But yet, somehow, Pope keeps you at a distance from the character. It’s a neat trick, one that resonates nicely with the book’s themes and enhances the sense and mystery and excitement of the thing, and it’s all in that last image.

    Very nice.

  4. Sean B says:

    Very nice, indeed! I love, seriously love, breakdowns that give us a real deeper insight into the storytelling motifs and strategies at play. So much better than the crap that makes up 90% of comics commentary on the Net, which usually boils down to half-assed consumer reports like “You should totally buy this because it’s awesome!” or “This is incoherent trash and everyone involved should be shot!”
    I can honestly say you’ve given me an even better understanding of why Pope’s shit works for me.

  5. sean witzke says:

    Tomorrow, my review of Mysterius The Unfathomable will be up and it will read in it’s entirety “YOU SHOULD BUY THIS IT’S FUCKING AWESOME”. Because it is, have you read it?

    Thanks guys.

    Mark, you’ll never take me alive.

  6. Sean B says:

    I plan on reading it on my lunch, as a matter of fact (along with the latest issues of Young Liars, Incognito and the Boys), and I shall judge the awesomeness of said comic for myself. And if it is not, in fact, awesome as you allege, I will write my own post claiming it is crap and everyone involved in making it should be shot.

  7. pillock says:

    Oh good, I didn’t comment! That’s fortunate — I tried, but I was so heavy under the influence I’m sure it wouldn’t’ve made a lick of sense.

    Thank God for the limits of human endurance!

    This is fabulous, Sean. Be right back after I wash the hangover out of my hair. Tucker’s got a hell of an act to follow, here.

  8. pillock says:

    Right, here we go: but what can I say that you haven’t already? A Peking opera of Nosferatu indeed, my God what a line that is! Everything looks collaged, here — I don’t know when I’ve seen figures in a comic that were so static, that drew such attention to the illusion of motion the comics artist creates — oh wait, but of course I have, that’s why you threw in Moebius, isn’t it? I don’t know if this is like film or like drawing or what…looking at it, I find myself thinking “aha, so this is what I like about Frank Quitely, only condensed and mainlined” — the artist wants us to see something, exactly as he sees it, in complete and deliberate detail, but without any waste. The lines in this really are remarkable AND SO IS THIS ESSAY…! Shit, I want to rewrite mine, now.

    Bravo! I will be purchasing this. Tell Pope you ought to get a royalty. It’s like Chaykin seen through Japanese eyes, how awesome is that?

  9. Another great essay! Panel Madness Week is truly aces!

  10. sean witzke says:

    I kind of feel like a jackass with these compliments – everyone else talked about the story possibilities that came out of their panels and all I did was talk about like… mechanics. Thanks guys.

  11. Pingback: Destroy All Comics - Panel…Craziness! « Strange Ink

  12. Just wanted to add that I loved that.

  13. pillock says:

    I saw that Twitter! It’s a shame Mr. K was too busy.

    Next time!

  14. Doppelganger says:

    Sean… you are on fire my man….

  15. Pingback: Journalista - the news weblog of The Comics Journal » Blog Archive » Feb. 23, 2009: Return to Big Nothing

  16. Curt says:

    Cool choice of comics, and illuminating, spot-on analysis!

  17. sean witzke says:

    Curt and Dopp – jeez, coming from you guys – thanks!

  18. pillock says:

    That Journalista link is totally hilarious to me!

Leave a Reply

Fill in your details below or click an icon to log in: Logo

You are commenting using your account. Log Out / Change )

Twitter picture

You are commenting using your Twitter account. Log Out / Change )

Facebook photo

You are commenting using your Facebook account. Log Out / Change )

Google+ photo

You are commenting using your Google+ account. Log Out / Change )

Connecting to %s