@maxdbcomics.bsky.social

Just a young working artist, a cartoonist, and a non-professional comics historian. https://maxdbcomics.blogspot.com

But where the eponymous “50 Foot Woman” is presented as a threat—a fearful specter of quasi-feminist revenge—Elasti-Girl is a hero. Her male teammates are not intimated and neither is the general public. She is a figure of hope, not fear. 8/11

Bild

Aspect-to-aspect transitions can emphasize dynamic action. At left, this involves us in the action, making it more visceral. They can also subvert linearity in favor of contemplative moodiness. At right, supernatural elements shift our perspective along with Hellboy’s. 3/10

Bild

Finally finished the non Campbell arc by Campbell! Issue 3 didn't sit right but was executed well. #6 and 5 drawn by Kampe and Ganucheau were a little slight but I really liked the message of issue 6. Looking forward to talking about this with my bookclub. #comicsky

Issues 4, 5 and 6 of Sophie Campbell's Supergirl in front of a window with trees behind it.

Honestly positive feedback to people doing the right thing (even after originally doing the wrong thing) creates a motivation and permission structure for others to change their minds and apologize and change course Without that, people are incentivized to double down and not change

McCloud’s visualizations are similarly effective when he discusses how repetition and changing the space & size of panels can alter our perceptions of time. Note how McCloud emphasizes the use of formal elements to cultivate feelings–that is, to suggest meanings rather than prescribe them. 8/11

A page from Understanding Comics demonstrating the concepts described above; McCloud draws a simple conversation in three ways, using repetition and spacing to suggest the passage of time.