Here are this week's links to what I've had published recently...Here are this week's links to what I've had published recently...
There was an episode of Radiolab I heard some years ago where they were talking about language and how it impacts thinking. They were looking at some people who had grown up under different/unusual language circumstances... deaf people who created their own sign language, for example. The basic conclusion -- if you can really call it "basic" -- was that the language we learn and use has a direct and notable impact on how our brains process information.
One of the examples they brought out was this group who created their own sign language when they were kids a few decades ago. It was taught and passed down for the next generation or two, and there are people in their 40s with this language, as well as kids in their pre-teens. Not surprisingly, the actual language grew and evolved, but more significantly, the younger kids had different thought processes than the adults. The adults had only come up with one sign for "think" while the kids had a variety to work from: "think", "understand", "believe", "dream", etc. Going hand in hand with that, psychologists found that the kids did a much better job of comprehending what other people might be thinking and feeling than those older people who had fewer words to work with. The kids were "thinking about thinking" while the adults simply did not.
They also spoke about another deaf man who did not have a sign language at all for many years. He grew up to adulthood having essentially no language capabilities at all. (I didn't catch many more details than that. I tuned in to the program part-way through.) But, interestingly, once he did learn language, he began to think differently. He would never elaborate much on it, but he seemed to suggest that, prior to language, his thought process was more primal in nature. Eating, sleeping, shelter, etc. Having language allowed him to process the world differently and think in larger, more abstract terms.
(And before anybody brings it up, that whole "Eskimos have 1,000 different words for 'snow'" bit is a myth. The differing tribes that are generally lumped into the eskimo culture don't have appreciably more or less words for 'snow' than any other language.)
Now let's slide this conversation over to comics.
Comics have a language component, obviously. But beyond the typical word balloons and narrative boxes and sound effects you might be thinking of, the comics are something of a language unto themselves. The way you read comics is different than how you read English. (Or Japanese. Or French. Or whatever your native language is.) Think of the now-classic anecdote in Understanding Comics where Scott McCloud's mother saw two separate pictures instead of a single sequence. She couldn't "read" the language of comics. Despite being able to see the images and read the English words in a comic book, she couldn't read comics.
If your understanding of language(s) shapes how you think, how your brain processes information, wouldn't having the ability to read comics imply that comic readers think differently than non-comic readers? I don't know what that difference might be -- maybe comics folks can more readily break tasks down into component parts, maybe they have a better understanding of spatial relationships, maybe they can better differentiate discrete chunks of information, etc. -- but it seems to me that such a distinctly different type of language (comparing comics to English, as opposed to comparing Spanish to French) that almost has to come with some kind of different way of brain processing, if my understanding of that reporting was accurate.
Neil Cohn is probably the best known person in comicdom that's doing actual research along these lines, but to the best of my knowledge, he has not (and, Neil, please correct me if I'm wrong) specifically written on the psychological angle of being able to view the world differently because of a different language base.
But that would make for an absolutely fascinating study, I think: seeing how comic readers think differently than non-comics readers. (Let me be clear, too, I'm talking about people who CAN'T read comics, not people who DON'T read comics.) My obvious bias would be to assume that it would provide an advantage to be able to think as a comics reader, but I would certainly like to see what/how that might manifest itself.
One of the examples they brought out was this group who created their own sign language when they were kids a few decades ago. It was taught and passed down for the next generation or two, and there are people in their 40s with this language, as well as kids in their pre-teens. Not surprisingly, the actual language grew and evolved, but more significantly, the younger kids had different thought processes than the adults. The adults had only come up with one sign for "think" while the kids had a variety to work from: "think", "understand", "believe", "dream", etc. Going hand in hand with that, psychologists found that the kids did a much better job of comprehending what other people might be thinking and feeling than those older people who had fewer words to work with. The kids were "thinking about thinking" while the adults simply did not.
They also spoke about another deaf man who did not have a sign language at all for many years. He grew up to adulthood having essentially no language capabilities at all. (I didn't catch many more details than that. I tuned in to the program part-way through.) But, interestingly, once he did learn language, he began to think differently. He would never elaborate much on it, but he seemed to suggest that, prior to language, his thought process was more primal in nature. Eating, sleeping, shelter, etc. Having language allowed him to process the world differently and think in larger, more abstract terms.
(And before anybody brings it up, that whole "Eskimos have 1,000 different words for 'snow'" bit is a myth. The differing tribes that are generally lumped into the eskimo culture don't have appreciably more or less words for 'snow' than any other language.)
Now let's slide this conversation over to comics.
Comics have a language component, obviously. But beyond the typical word balloons and narrative boxes and sound effects you might be thinking of, the comics are something of a language unto themselves. The way you read comics is different than how you read English. (Or Japanese. Or French. Or whatever your native language is.) Think of the now-classic anecdote in Understanding Comics where Scott McCloud's mother saw two separate pictures instead of a single sequence. She couldn't "read" the language of comics. Despite being able to see the images and read the English words in a comic book, she couldn't read comics.
If your understanding of language(s) shapes how you think, how your brain processes information, wouldn't having the ability to read comics imply that comic readers think differently than non-comic readers? I don't know what that difference might be -- maybe comics folks can more readily break tasks down into component parts, maybe they have a better understanding of spatial relationships, maybe they can better differentiate discrete chunks of information, etc. -- but it seems to me that such a distinctly different type of language (comparing comics to English, as opposed to comparing Spanish to French) that almost has to come with some kind of different way of brain processing, if my understanding of that reporting was accurate.
Neil Cohn is probably the best known person in comicdom that's doing actual research along these lines, but to the best of my knowledge, he has not (and, Neil, please correct me if I'm wrong) specifically written on the psychological angle of being able to view the world differently because of a different language base.
But that would make for an absolutely fascinating study, I think: seeing how comic readers think differently than non-comics readers. (Let me be clear, too, I'm talking about people who CAN'T read comics, not people who DON'T read comics.) My obvious bias would be to assume that it would provide an advantage to be able to think as a comics reader, but I would certainly like to see what/how that might manifest itself.
It's generally suggested that you sit down and write this pitch out beforehand. Figure out all the high points that are absolutely critical, and get them down in a linear, easy-to-understand narrative. Make your selling point(s) and differentiator(s) as clear and concise as possible. Then practice reading that aloud over and over again until you have it down cold. Commit it to memory and give yourself periodic refreshers. You should be able to launch into your elevator pitch at any time. Because you never know when you might bump into someone who could help you. Possibly even in an elevator. Because what you don't want to sound like is this...
"Yeah, I do this comic. And it's a webcomic. But I'm also printing them up, and selling those here. And it's about these guys who do stuff. Mostly in space, but sometimes on alien planets. And there's lots of laser fights and spaceships. Oh, and it's called..."
Some people seemed to get that enough and they say something like, "I do a webcomic called X. It's a cross between Buffy the Vampire Slayer and Star Wars. You can find it at MyWebSite.com."
Now I know a lot of people don't like the "it's a cross between" analogies because they think it shortchanges their work, and makes it seem derivative. But if I'm going through an Artists' Alley and you aren't able to capture my attention fairly quickly, I'm going to move on to the next guy. I can probably tell from your promo art some basic information about the genre, so give me something else to clue in on.
An elevator pitch doesn't HAVE to include "it's a cross between" analogy, but it does need to get the point across very quickly. It needs to convey the high points. It needs to grab someone's attention. It needs to be something that is concise enough to stick in someone's brain. And, IF it manages to include a catchy name and/or URL, so much the better!
Regardless of how great and riveting your comic may be, you still need to get me to pick it up first. I've said it before, but the world's best comic ain't worth bunk if no one knows it!
In early 1951, EC Comics published The Haunt of Fear #6, whose lead story was an adaptation of Bradbury's short "The Handler" which appeared in Dark Carnival. Writer/editor Al Feldstein "borrowed" the plot from the book and reworked it a bit for the Graham Ingels-drawn story "A Strange Undertaking..." This was done without Bradbury's knowledge, and the tactic was repeated more than a couple times over the next year before Bradbury found out. He then famously wrote a very cordial letter to publisher Bill Gaines reminding him that he hadn't been paid yet. (Brian Cronin covers that story here.)
What I thought might be interesting, though, is reproducing here the original version of the story from the January 1947 issue of the pulp magazine Weird Tales with a spot illustration by Lee Brown Coye. Coye was as well-known for his horror illustrations as Ingles was for his horror comics, and did a fair amount of work illustrated various H.P. Lovecraft pieces. Although interestingly, a Lovecraft piece immediately follows Bradbury's in Weird Tales but it wasn't Coye's work. Bradbury editted most of his stories a bit for Dark Carnival so this is probably slightly different than the version Feldstein read when he adapted it.
Anyway, here's the original published version of what would become Bradbury's first story to be adapted into a comic book...
I haven't done a Comics Calendar post since June, so it's high time we get back to them! As usual, please check the time zones noted below and adjust to your location as appropriate.
- August 3, 4:00pm PT
Jerry Craft : From Reluctant Reader to Newbery Medal
The Sacramento Public Library in partnership with the California State Library presents: Newbery Medal Winner Jerry Craft. The Artist’s journey from being a reluctant reader to a published author/illustrator. - August 5, 2:00pm BST
Workshop: Manga
They’ll be looking at the basics of drawing manga, creating our own character, and then featuring them in a page of manga artwork. Free worksheet: a page of blank manga panels for the final exercise. Ages 8-14. Registration: £12 UK. - August 6, 10:30am ET
Draw like a Comic Book Artist
"Draw like a Comic Book Artist" is a virtual program that will show you how simple, fun and relaxing it is to draw, communicate and tell stories with illustrations. Using our graphic novel collection as inspiration, we will practice with tools we already have at home and leave you with awesome ideas to explore. Ages 8 - 12. - August 6, 7:00pm BST
David Lloyd talks V for Vendetta
Illustrator of the iconic V for Vendetta, David Lloyd, will be live at Hull Central Library and streamed to an online audience. V for Vendetta by Alan Moore and David Lloyd was first published as a comic strip in 1982. The story reflected the political climate of the time exploring themes of power, fascism, anarchy and freedom. 40 years later V for Vendetta still resonates, with the iconic V mask symbolising protest and rebellion around the world. Ages: 18+ - August 7, 10:00am CT
DGPL Library Con
ALL THE FUN OF A CONVENTION... AT HOME! Attend the library's first-ever library con virtually on August 7! Acclaimed panelists (including Tim Seeley, Katie Cook, Monica Gallagher, David Gallaher, Robin Ha, and Mark Crilley) will discuss comics, teach new drawing techniques, and more! Winners of the Cosplay Contest and Trivia will receive prizes! - August 7, 7:00pm BST
V for Vendetta: Behind the Mask
The Cartoon Museum presents an exclusive showcase of their 2021 exhibition V for Vendetta: Behind the Mask. Ages: 16+ - August 8, 1:00pm PT
Intro to Digital Coloring - Free Workshop with Marissa Louise
Professional color artist Marissa Louise will teach an introduction to digital coloring, with a focus on graphic novels. She'll cover some basic color theory, the difference between RGB and CMYK color, how contemporary colorists are now making comics, what tools to use, and the basics of printing. - August 11, 2:00pm BST
Workshop: Create a Comic Strip
Learn how to design your own cartoon characters and then draw them in a one-page comic strip story. Great for beginners, and fun for those with a little more experience. Free worksheet: a page of blank comic panels for the final exercise. Ages 8-14. Registration: £12 UK. - August 14
FREE COMIC BOOK DAY
Free Comic Book Day is traditionally held the first Saturday in May each year. However, in 2021, the event has been pushed to August in the hopes that much of the disruption related to COVID-19 will be behind us. As such, FCBD 2021 will take place on Saturday, August 14! Check your local comic shops and libraries for online and in-person events! - August 14, 2:00pm BST
Yuricon 20th Anniversary Discussion - Global Yuri Fandom
Join Yuricon founder Erica Friedman and Yuri researchers Verena Maser and James Welker for a conversation about global Yuri fandom! - August 18, 6:00pm ET
Howard Chaykin - Part II: PARADIGM BEYOND
Whether you’re a beginner trying to find your artistic voice or seasoned artist looking to hone your visual language skills, comic book artist/writer Howard Chaykin’s Paradigm art classes exclusively on TalentTalk teaches aspiring artists what shapes, distance, and movement tell us about time and journey. In this visual exploration, Chaykin takes you inside storytelling to walk you through page layout and show you WHAT works and WHY. Registration: $30 US. - August 19, 2:00pm BST
Workshop: Manga
They’ll be looking at the basics of drawing manga, creating our own character, and then featuring them in a page of manga artwork. Free worksheet: a page of blank manga panels for the final exercise. Ages 8-14. Registration: £12 UK. - August 23, 7:00pm BST
LDC Monthly Online
A live LDComics online event with guests sharing illustrated presentations about their comics work, career-life tips, latest graphic novels and more! Guests this month are Anarya, Dominique Duong, and Carol Isaacs (aka The Surreal McCoy). - August 25, 2:00pm BST
Workshop: Create a Comic Strip
Learn how to design your own cartoon characters and then draw them in a one-page comic strip story. Great for beginners, and fun for those with a little more experience. Free worksheet: a page of blank comic panels for the final exercise. Ages 8-14. Registration: £12 UK. - August 26, 6:00pm ET
Howard Chaykin – Part III: PARADIGM IN PRACTICE
The Paradigm in Practice deals with writer tools for story breakdown, and also the hidden nuances of comic storytelling. How should you format a script, regardless if you’re working with an artist or drawing it yourself? Why do panel borders MATTER? How can a conversation become the greatest action? How do you best bring the reader into the time-and-place setting of your story? All this and more is addressed by one of comics’ greatest storytellers! CRUCIAL information for pros, and deeper appreciation for enthusiasts! Registration: $30 US. - August 27, 12:00pm ET
Charlie Adlard: Q-and-A and Original Art
Your purchase of this Talk gets you access to a limited, private 50-minute Q&A session with Charlie Adlard! Charlie is happy to answer questions about the process, his experiences in comics, or art in general! Only FIVE seats are available for this exclusive session! ALSO: Your purchase includes an original drawing by Charlie of a character of your choice on a 6.5-by-10 inch high-quality 3-ply board provided by TalentTalk! BONUS: Charlie is donating his proceeds from this talk to Hero Initiative. Registration: $325 US. - August 29
Boise Comic Arts Festival
Boise Comic Arts Festival (BCAF) inspires creators of all ages, cultivates a comics community, showcases local and international artists, and creates opportunities for discovery and collaboration. For the health and safety of our community, Boise Comic Arts Festival 2021 will be a hybrid in-person and virtual event this year. All panels will be hosted on Zoom and are FREE to attend, but registration will be required. More information coming soon! - August 30, 8:00pm ET
Matt Wagner: Q-and-A and Original Art
Your purchase of this Talk gets you access to a limited, private 45-minute Q&A session with Matt! Matt is happy to answer questions about the process, his experiences in comics, or art in general! Only FIVE seats are available for this exclusive session! ALSO: Your purchase includes an original bust sketch by Matt of a character of your choice on a special, high-quality, 6.5-by-10 inch 3-ply illustration board provided by TalentTalk! Registration: $275 US.
Here are this week's links to what I've had published recently...
