Data
Table: Monstress
Panel
|
Abstraction
|
Panel
to Panel Transition
|
Time
|
Line
|
Words/
Images
|
1
|
Kippa
– 3.5
DG*
- 2.5
|
Action
to Action,
Aspect to Aspect
|
Quick,
Instant
|
Kippa
- thick to thin
DG
– thick outline, thin for detail
|
Duo
|
2
|
Maika
– 2.5
DG
– 2.5
|
Aspect
to Aspect
|
Drawn
out
|
Maika
& DG - thick outlines w/globule lines branching out, thin lines for
detail
|
Interdependent
|
3
|
Maika
&
DG
– 2.5
|
Moment
to Moment
|
Drawn
out, Line of motion
|
Maika
& DG - Thick & thin,
|
Interdependent
|
4
|
Maika
&
DG
– 2.5
|
Moment
to Moment,
Action to Action
|
Drawn
out,
Line
of motion
|
Characters
break out of panel. Heavy w/Dark lines
|
Parallel
|
5
|
Maika
&
DG
– 2.5
|
Moment
to Moment
|
Drawn
out,
Line
of motion
|
Maika
& DG - Thick & thin,
|
Parallel
|
6
|
Maika
– 3
DG
– 2.5
Kippa
– 3
|
Aspect
to Aspect
|
Slow
|
Maika
– thick & thin lines
DG
- thick outlines w/globule lines branching out
Kippa
– thin lines, thick outline
|
Interdependent
|
DG*
~ Dead God
By Kaitlin Gomez
Could an argument be made concerning the pop-out effect of panel four? What is the artist's intent in doing this and is it effective? Through the course of the page it is apparent that panel four is from Kippa's perspective. Is this significant? Does Kippa act as a lens for the audience?
ReplyDeleteWhile I agree with a majority of your work, I am a bit confused on some of your panel transitions. When you list two, is that to show that is a "mix" of the two, or is it a list of two potential transitions in which one was not decided upon? Also, I feel like the colors and lines used could be seen as compliments to one another; and they propose good vs evil in that the younger/main characters are much softer as well as use brighter colors while the rest of the scene uses dark colors and are heavily detailed with short, choppy, harsh lines
ReplyDelete