jokingofcourse

jokingofcourse

Name: Jo King O'Course

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    jokingofcourse's Recent Comments
    November 15, 2019 11:41 am Thanks to having to exist in the world as an actual human being, I'm falling down on my iFanperson-ness duties, so this posting is too late to matter, but...fun fact: electrical outlets were installed upside down to designate that they were connected to a light switch. Did everyone already know that?...well everyone does now...and by everyone I mean the future people who instead of downloading episode 708 of a weekly comic book podcast on a phone app use the internet to call up the website and then scroll down to look over old comments.
    July 12, 2019 1:45 am ...if I weren't born broken hearted, a tear would form in my eye, over how well the internet has worked out here. I was hoping for exactly this reply. Thanks much for the suggestions. (And as a sign of how grateful I am I won't even quibble about the one's I'm familiar with) Also to avoid your necessity for any self promotion I'll commend the work at PanelxPanel and also tell ever ifanboyer to immediately stop reading my ramblings and you-tube the PanelxPanel adjacent videos at Strip Panel Naked & just watch all of them on endless repeat. If you find everything I've written here annoying, you'll love Strip Panel Naked. Approachable, thoughtful analysis about why the comics you actually read are so great. and its Thursday night on last weeks show comments, so that's more like a shout into the abyss than a plug. But I try.
    July 9, 2019 2:26 pm As embarrassing as it is to keep posting large comments of text, two final points: You guys had a liberal arts education, remember back to film appreciation or art history survey course. Look back at the texts used in those classes (Film Art, an introduction or Gardner’s Art History or whatever is being used nowadays) and compare those to “Understanding Comics” and tell me they’re the same. Of course they aren’t. No comparison. and Mcloud wasn’t even trying to be like them. And that’s my point. By fans, for fans. Then think about why film makers like Orson Welles or Hitchcock and /or artists like Picasso or Cezanne (to name old agreed upon folks) are considered important. You instantly think about their innovations compared to their contemporaries and then place them in a line with past artists. We don’t have ten different names to explain the fracturing of the picture plane in cubism or the camera angles and cutting in film. And people just coming to these art forms have scholarly texts to refer. OK. Dones for reals now. No one has solved comics yet and it sure as heck ain’t going to be me.
    July 9, 2019 12:01 pm Thanks Josh. For anyone who hasn’t read it before Scott Mclouds books are excellent. However I must be a poor communicator, as my copy is a decade old, worn out and I tell you you as much as I appreciate it, Understanding Comics is still written from a “fan” perspective rather than an academic one. (ie : I made comics and so can you, here’s how) Also check out Will Eisner’s books on sequential storytelling too. Which are also essentially “here’s how to make comics like me and what I’ve learned “ books. Comics need a scholarly compendium so that all discussion can springboard from those agreed upon standards. Anyone entering film or visual arts (or music, opera, theater...) has a set of agreed upon terms, techniques and historical context to form opinions with. Comics do not even have agreed upon terms for the techniques employed in the medium. Rather it’s just a hodgepodge of terminology from other art forms criticism at best. See terminology from film criticism (pan, fade in, cut, etc.) or from visual arts (form/background, composition, layout, light source, etc.) and that doesn’t cover anything unique to comics. No other art form is about substituting space for time or attempting to control the pace in which the reader advances through the work. Comics needs formal terms and historical context for its unique techniques that it employs. I mean can you, or anyone, tell me who was the first cartoonist to use any given page layout, panel type, inking style, coloring technique? What were the predecessors and current outside cultural influences that spawned those techniques? I don’t know. To me comics will not be considered a unique art form without those things. And no collection of random fans “here’s my opinion on comics” will ever help.
    July 8, 2019 4:34 pm oops, retroactive humility: I don't mind pleading ignorant here. If there really is a text out there that systematically categorizes the methods of comics art form and their relevance I would love to know. I am by no means near an expert, which is why I don't just go write one. dang a freakin roo now i'm really late.
    July 8, 2019 4:31 pm "Qwickster" gentlemen. The genius Netflix spin-off company name that the world still mourns that never came to be. Also I agree with Conor's assessment in general of "Comics Media" and its lack, however, I would say that its actually a much larger issue, where few in comics even themselves seriously consider comics an art form(beyond self congratulating lip service to justify their career choice to ignorant public), so what is there in comics to seriously probe? How many decades are we into this art form and we have yet to even have a basic text or website that identifies or catalogs any of the techniques used in the medium itself, their inventors, innovators and timelines. When was the first use of inset panels, splash pages, diagonal compositions...etc. All analysis in comics is fan analysis. All comics history books are about the behind the scenes gossip and relationships not about the advancements on the page. (Flip through any art history text to see the difference) All the more serious arts criticism places contemporary work in its art historical context (what new ground are they breaking/ perceived boundaries are they pushing) and compares it with its place in our current culture. (how is the artist influenced by it or commenting on it) Its impossible to write any criticism like that in comics because first you'd have to undertake the gigantic task of writing the entire history of the comics medium as an art form. and now I'm done ranting...and I'm late...damn podcasts.
    June 10, 2019 1:52 am Far be it for me to defend writers of a movie of which I do not possess the interest to even contemplate seeing, and not to say that these writers wouldn’t have mucked it up anyway, however I am dubious that anyone could make an impactful version of the Dark Phoenix Saga fit into 2 hours and some change, unless it was the third film in a carefully planned trilogy. The comics version’s emotional impact comes from years of storytelling and relies on previous character knowledge. You need invested versions of the relationships. Scott and Jean, Xavier and Jean, Scott and the new team, etc. So that when those relationships are tested and break or hold together alone versus space armies on the dark side of the moon you actually feel something. These movies have laid none of that groundwork. You need some version of the 60’s comics storyline (Scott & Jean on adventures with the team flirting, bonding, growing closer) followed by the Phoenix Saga (really though beginning in issue 98 with Scott & Jean’s first on-panel kiss on their Christmas date night prior to the multi-issue Sentinel attack that culminates in Jean’s sacrifice and crashing into Jamaica Bay) up through Xavier mind blocking Jean's new powers down and only then you could move into the Dark Phoenix Saga about Jean’s corruption and fall and ultimately final sacrifice. (Minus of course the Mastermind brainwashing aspect and all other adventures in-between these storylines) Oh well, third times a charm I guess.
    May 31, 2019 4:54 pm A lil’ late for posting, but for posterity and future listeners... Definitely go back and check out Dash Shaw’s early work. His art style varies project to project. Didn’t read his Clue book, however from the preview pages online, the art is radically different (and more blah pedestrian from my ignorant judgement of a few pages) than his previous books. Please read “BodyWorld” to get a sense of his excellent use of color and varied mediums/ line styles that give it the off kilter psychedelic tone. If you’ve read Charles Burn’s “Black Hole” or any of Chris Ware’s or Daniel Clowes work you’ll enjoy “BodyWorld” for that same suburban ennui goes awry story. And if not just read it anyway. It’s probably at a library if you live in the big city and if not, there’s free chapters online. See future judgemental listeners, just know that people in your past didn’t want the dismissing of Dash Shaw’s art to go un-clarified. And don’t tell me how I died I still want it to be a surprise... it’s my cat, right? She kills me in my sleep... No don’t say anything... But I’m right? Just blink if I’m right...
    May 19, 2019 5:29 pm as much as I enjoy some good ol fashion BigRazor ribbing...Edgewell owns Harry's now, not Schick. At best Schick and Harry's are step-siblings. Under your joke logic you could've also said Playtex Tampons owns Harry's, Hawaiian Tropic sunscreen owns Harry's..and I'm already bored of listing things. and great, now BigTech owns everything I just typed. dang. no winning.
    March 17, 2019 7:09 pm late to reply but for posterity's sake: The Kurtzman EC war comics were "Two Fisted Tales" & "Frontline Combat" (really if your library has the reprints flip through any old EC collected edition, some stories can get repetitive but the art is always pretty good) It seems like cheating the question, but there's plenty of early 80's indie work that is worth knowing like Chaykin's "American Flaqg" , Dave Steven's "The Rocketeer", Baron/ Steve Rude's "Nexus", Mike Kaluta's "Starstruck" or Barry Windsor Smith's "Machine Man" (OK that's a Marvel comic but you get the point)