Comic books Essay

Comic book of accounts established themselves as an independent media in which story abides its take in rules progression of story follows by ad hoc hold of frames sequences and their com state of affairs. Judging by the structure of amusive books and graphic novels we stand captivate many similarities with different medias, same(p) pics adaptations of curious books and and painting itself.However, we jakesnot abjure distinctive differences of these two medias. Films have their own perception and flow of clock time and so do graphic novels. Both make an impact by using their own way of storytelling. But what media is better for telling stories when it comes to image adaptations of comic books? For me idea to bring comic book story to extensive screen has its drawbacks and benefits. Beside intelligible part of movie sound, any(prenominal) movies benefit from master visual style of their source material, movies wish well Sin metropolis, 300 and barb Tracy, whic h makes them striking due to the considers moving image feature. Or other way around, for voice, when film director like Tim Burton applied his own visual style while producing Batman, which was supported by bizarre and gonzo timbres like Joker and The Penguin and by Gotham itself. Same with Guillermo Del Toro and his adaptation of Hellboy. But my position is that comic book movies are not that sophisticated in comparability with their authorized material, solely only if consider that original material were foot al iodin graphic novels like Watchmen, V is for Vendetta, Sin City e.t.c. But at the same time, films based on mainstream pledge of comics intentness like X-men, Spider-man, Batman and so on, in some cases, dont very fall that far behind from their comic book versions. To show that we can examine several movies that were filmed based upon graphic novels and break them pull down by categories of what make comics to be comics and then compare.Comicsjuxtaposed pictoria l and other images in deliberate sequence, intended to convey instruction and/or to make an aesthetic response i the viewer (Scott McCloud, Understanding of comics) Starting from obvious comic books are collections of static images, therefore the way how reader perceives information depends on the way how comic book artist manipulate these visuals. In Scott McClouds book Understanding of Comics light upond tells us about how comic books drop our understanding of events by executingspecific transition of frames like horizon to scene, action to action or aspect to aspect. We cannot also miss the graphic style of a certain comic book, which also plays a major role in storytelling. In addition, composition of these two in particular taken elements is what holds all imagery together to create a specific report, on from each one foliate separately and jointly. Sin City is a very visual standard, both on comic pages and on screen. Creators of this movie, including author of o riginal Sin City (Frank Miller), captured the strongest feature of comic book vague and white imagery with some coloured elements, grotesque characters and, in some parts, shots were borrowed from comic book panels. Some of the stills from the film depend so a good deal like frames of the comic book as to make no difference. And theres a narration that plays like the captions at the top of the frame, consideration the stage and expressing a stark existential world view. (Roger Ebert) unmatchable of examples of it is scene where Marv kills priest in confessional booth, it was transferred frame by frame from comic book page. This scene, in my opinion, is the closest in representing comic book way of narrative in movie. Because sequence of original frames are action to action has close to similar pacing with movie, despite difference in executing them, when in comic book it is shown on one page and in movie it is a movement of frames.Sin City is a good example of a very well tran sferred material from one media to another, but broadly because material is oftentimes to a greater extent stylised than, for example, Watchmen where style is used more as a supporting tool The actors are mined for the archetypes they demand characters are rotated into a hyperdimension. We get not so ofttimes their presence as their essence the movie is not about what the characters put or what they do, but about who they are in our wildest dreams. (Roger Ebert)Visually movie does not inferior to original work, even though comic images look oft bolder and it supports characters design and make scenes look much more organic, when in movie you still see that actors are just actors and that is where audience has to use their suspension of disbeliefa willingness to suspend ones critical faculties and believe the unbelievable sacrifice of realism and system of logic for the sake of enjoyment (Samuel Taylor Coleridge)But we cannot say that Sin City is totally original work, it obv iously borrows a lot of elements from older comic books, such as The Spirit or Dick Tracy and from films of 30-40s. Element such weirdie shadows was used intensively in many frames and added a lot to all(prenominal) scene were characters casted shadows on their surroundings. This shows that comics are not that different from movies, in wrong of what they are showing to viewer, but form of comics media is what makes it unique and substantiveeach successive frame of a movie is projected on precisely the same space the screen while each frame of comics moldiness occupy a different spacespace does for comics what time does for film (Scott McCloud) That being said, from example of Sin City we can say that pictorial features are not that hard to reproduce in movie where stylization is a major feature, same with frames. However, composition of the whole page work completely differently from films and that is where adaptations fail at reproducing comic books form. Another example o f graphic novel adaptation is Watchmen created by Alan Moore and Dave Gibbons. When Sin City is much more stylised story, Watchmen is much more about context and themes. As graphic novel it uses every opportunity that is given to it as comics media. One of the most interesting is composition of frames throughout the novel,Movie adaptation of Watchmen does not show given themes in the same way like original version does, simply because it doesnt have this ability like page composition, and even if tried to use it might have undone the form of film media. As an example, running theme of Rorschachs masquerade, which changes its flesh ceaselessly. Dave Gibbons and Alan Moore created layouts that are symmetrical and in the middle of the book you can find this symmetry as well, and not just randomly placed, but used in the scene where Rorschach is being interviewd by shrink with Rorschach test. In movie, though, we could not see this additional narrative, despite film directors (Zack Snyder) attempts to recreate other visuals of Rorschachs theme, like some silhouettes of symmetrical images, mostly in scenes where charactersdie.Speaking of Rorschachs mask in terms of representation in both versions in comic book mask was changing, but due to media of comics, we could only see specific patterns, which were deliberately drawn as something straightforward to emphasise what character was going through, or just like vague patterns as audiences ad hominem test, especially when Rorschach was facing towards reader in close ups. This quick way of creators to establish once again comic books media and their understanding of it proves that comic books form will always take advantages to use its own limitations for creating something very unique for its media. In movie version constant moving of pattern doesnt let concentrate on it colossal enough before it replaces by another pattern. Although there is one pattern that can tell what is Rorschachs mood is at that outcome scene Rorschachs ambush by police forces. His mask creates crosses on his eyes which is effective but less original than ideas from comic book.