Inside the Erotic Cartoonist’s Studio (2)

Hello, watchers, welcome to another day in my studio! Here, it's not just about drawing, inking, and coloring. No, it's also a sanctuary for contemplating stories, a space filled with inspiring comics and theoretical books on comics and art that come to my rescue when I hit creative blocks or face doubts.

Today, I want to dive into something truly essential: 'Comics and Sequential Art' by Will Eisner. There's so much to unravel, so let's jump right in!

Who was Will Eisner, and what was his importance in the Comic Industry?

In a nutshell, Will Eisner launched his comic book career in 1936 with grand artistic dreams for a medium often underestimated. He was one of the earliest pioneers in American comic books. Sadly, his innovative ideas found little support, leading him to step away from commercial comics after his iconic work, 'The Spirit,' concluded in 1952.

Fast forward to the 1970s, fueled by the growing enthusiasm of comics fans, Eisner made a triumphant return. His goal? To infuse comics with literary depth. He envisioned his work reaching wider audiences through mainstream publishers and traditional bookstores, not just comic shops.  In 1978, 'A Contract with God' was introduced by the small press Baronet Books. It was marketed as a 'graphic novel,' a term that would go on to define book-length comics.

'A Contract with God' firmly established Eisner as an icon in the comic world. He continued creating graphic novels and contributing to comics theory until his passing in 2005. To honor his legacy, the Will Eisner Awards were born in 1988, presented annually at San Diego Comic-Con.

You might be wondering: What exactly did Eisner contribute to the Comic Industry, and why is he so highly regarded? What sets him apart?

Well, Eisner's impact was monumental in liberating the comic medium from its perception as mere children's entertainment. In his hands, comics ascended to the realm of art, akin to how literature and films are celebrated as art forms. It's important to note that many of us cartoonists have grappled with a sense of inferiority compared to other artists. Personally, I was a closet cartoonist until a few years ago. Even today, my family introduces me to others as a watercolor artist because it sounds more socially acceptable and prestigious. However, this is unfair because creating comics demands a diverse skill set, and only a select few have been touched by the crazy muse of comics.

Will Eisner paved the way for cartoonists who followed him, and for that, we are immensely grateful. He opened doors and shattered preconceptions, allowing comics to be recognized as a legitimate and respected art form.

But it's more than that, of course! Eisner was a true pioneer, always thinking outside the box. His vision of visual narrative was not only brave but also brilliantly innovative. He tirelessly experimented to discover new ways of expressing ideas and emotions beyond the confines of comic panels. Now, let's delve into one of his most significant theoretical works.

‘Comics and Sequential Art’

The term "sequential art" got its name in 1985 thanks to the insights of Will Eisner in his book 'Comics and Sequential Art.' Eisner broke this form down into four key elements: design, drawing, caricature, and writing.

These four elements are like the essential tools in a cartoonist's toolkit. Sometimes, in the world of comics, roles are divided, and writers collaborate with illustrators. But, regardless of their specialization, both need to grasp the concept of sequential art to create a comic that truly connects with readers.

Eisner reminds us of the power of universal signs in our drawings, which enhance understanding. Things like body postures, facial expressions, and gestures can convey feelings and actions, enabling us to tell a story without uttering a single word. It's a valuable tool, especially when we exaggerate these elements to infuse our characters with even more expression. Objects, too, carry significance. Take a clock, for instance; it effortlessly signifies the passage of time. Everyone gets it, making it a visual storytelling element that needs no accompanying text to explain.

But what I find truly innovative in the book is the concept of timing. The size and placement of panels in relation to others on the same page create a time frame for the narrative. Speech bubbles and other visual cues also play a crucial role. For instance, if we have four equal panels in a row, they simulate the same time slot. It's like musical notes on a staff; they go, 'pam pam pam pam.' Now, if we enlarge the last panel, it changes the rhythm to 'pam pam pam paaam.' That's more or less the idea.

Here's another fascinating concept from the book: treating the frame of the panel as a narrative element. Let me illustrate with some examples from the book:

A. Notice the jagged outline - it packs a punch, suggesting explosive emotion.

B. In this case, an elongated panel creates a sense of height. Placing several square panels in succession mimics the fall of a body.

C. One of my personal favorites is when a character breaks out of the panel's confines. This one in particular shows a feeling of strength and impending threat.

D. Another method I frequently use is an open panel without a frame. It hints at boundless space, evoking a sense of calm. In my view, it's as if time has stood still or is moving at a leisurely pace.

You can see how 'Comics and Sequential Art' serves as a cornerstone for anyone with dreams of creating comics. I hold it in high regard, although it's just one of the many references I value. It even inspired another one of my essentials, 'Understanding Comics' by Scott McCloud. Its influence on modern comic artists is undeniable. It marks a significant milestone in the history of comics, creating a clear before-and-after in the world of sequential art.

Personal thoughts and intriguing curiosities about Eisner's comics.

Well, I've shared my deep admiration for Will Eisner, and as a pioneer, we owe him immense gratitude for his contributions to the comic industry. However, if you were to ask me whether I love his comics, I'd have to admit that while I greatly value his teachings, his comics aren't quite my cup of tea. Our tastes are influenced by different generations, after all. I do find 'The Spirit' to be wonderfully original and entertaining for its time, but it may come across as somewhat innocent in today's context. As for his latest works like 'A Contract with God,' they carry a more mature and dramatic tone, but I must admit that the caricature style feels a bit jarring to me. It's a personal preference. Nonetheless, I do recognize the incredible craftsmanship in his art and inking.

As a fascinating discovery, I just stumbled upon the fact that Will Eisner, along with his pal Jerry Iger, created the character 'Sheena, Queen of the Jungle.' What's even more astonishing is that she holds the title as the first female comic book character with her own series, debuting in 1941—pre-dating Wonder Woman! Sheena was not only groundbreaking but also embodied characteristics of being sexy, brave, and tireless in her fight against evil. Wow! 

There were even two TV series based on Sheena, one in 1955 with the model Irish McCalla and another in 2000 with Gena Lee Nolin. Sorry, Will, but I have to confess that I lean more towards Sheena than The Spirit. She's just more my type.

That's all for now, dear patrons. I need to get back to work. Time flies between these panels, and I have pages to finish for this month. Until next time, bye!  :)