I think those series beyond bigboys publisher`s motion comics . BUT INVINCIBLE SERIES seems pretty cool !!!

I dont know maybe jumbo trucks cash push Watchmen , Batman or any bigboys motion comic so much popular , though we know .. thats suck

That’s what happens everytime I channel my Inner Stan, ‘cept on the internet, you don’t see the big stupid grin on my face when I pretend to be my hero.

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@Joseph OUCH. I’m sure everyone else caught that too. Yikes, that makes me feel bad. I’ll fix it, and be more careful.

hmmmmmm

Maybe it’s just one of those things that we’ve grown accustomed to in comics, but there are 3 background colors in the last four panels (and four panel sizes) and I don’t find it distracting in the least. Try doing this same thing in a moving format and it would look like the inside of a disco wearing drunk goggles.

Motion comics are a really astonishing textbook case of the latter, IMHO. There are better ways to compete with Pirate Bay.

Thank you for commenting, everyone. Really.

@Kurt: That’s an excellent point about he fluidity of the term, “comics”. I was so inside my own inflated ideas that I didn’t realize that the comics I love aren’t too funny.

@Elliot: Well, I think that when you try to adapt comics to motion comics, you must translate elements of the reading experience. It’s a bit like translating a foreign text: there is inherently some interpretation and change in bringing the message from one culture to the next.

Also, yes, the wordless panel is irreplaceable because it last exactly as long as you want it to. It it is perfectly timed by everyone who looks at it in the theater of the mind. Also, there is no other information (no sound, no soundtrack, no movement) to distract you. My favorite wordless panels have the same effect as an Edward Hopper painting: when you view it, everything else in the room gets quieter. You can’t do that with the extra information in a motion comic, mostly because of the timeline involved.

That said, you have much more experience in this than I do. You can probably think of some examples that you’ve seen that I haven’t, that really make the media sing. I’m not disparaging the art form, just defining some terms. And yes, Motion Comics can ONLY be good for the industry.

@Gordan I’m really glad you liked it.

@Dan Yes, we all need to support the industry and any effort for innovation and experimentation. And yes, Motion Comics can be easier to watch than some comics are to read. I myself would probably, for reasons financial and spacial as well as aesthetic, find myself more likely to purchase certain titles in Motion form.

Sweet everyone. I know I can’t do one of these for every post, but I’ll be on the lookout for another appropriate subject for the sequential essay.

Point taken – it’s “similar,” not the same. And thanks for reinforcing my point about comics fans and semantics – we could argue this stuff endlessly.

When you read text at 600-2200 words per minute, a 32-page comic book disappears in no time at all. Having voice actors narrate the text content of a comic essentially forces a reader’s pace to follow the intention of the creators.

Readers spend more time on a frame, looking at the artwork, because the spoken word is so much slower than the speed of thought. What artist doesn’t like having their art examined for longer?

“Motion” comics transforms the writer’s role slightly. Comic book writers use similar language and concepts to film directors already – this new technology opens up opportunities for them to implement these concepts and truly direct a reader’s experience.
Precise word choice becomes the most important tool in moving the reader through the story because the story only progresses at the speed of the voice actors. That means we probably won’t see a lot of early Chris Claremont internal monologuing…

One other thought re: Motion comics vs animation. Animation typically is forced to work with simplified shapes (3D cgi is changing this – but even then, the movement is stylised and simplifed to save costs) and colours, where comic artists are able to imbue relatively static images with a high level of depth, detail, and texture.

Comic books have always borrowed and integrated concepts from other media types. Will motion comics work? Doesn’t matter – what’s vital at this point in time is Marvel and the other companies -try- to make motion comics, and that we support their efforts at adding a new dialect to the language of comics.

$0.02

it says special thanks to scott mccloud on it.

I disagree (and agree with the comic/article).

How long of a shot would that final panel translate to in film? Ten seconds? Twenty seconds? Well, in a comic, it lasts FOREVVVEEERRRRRRRRR. I’m being silly, but the point stands: the effect is SIMILAR, not “the same.”

That said, I loved the strip. I’m always happy to see people use comics for non-fiction.

Animation, movies, and television – along with motion comics – ask something different of their audience than printed material does, by virtue of being passive forms of entertainment, and they have their own “language of time.” It’s just different than what’s used in comics, and that’s okay.

I think the important thing to remember here is that motion comics – with the exception of the upcoming Spider-Woman project – are being made not for comics fans, who can debate the semantics of this topic endlessly, but for the non-comics fans who went and saw Iron Man or The Dark Knight, and who might need a little prodding to pick up a comic. It’s just another gateway into the medium, and hopefully it will be a successful one.

On the other, in a world where comic books are rarely comic and not always books, where novels are not all new and where one can watch films without any actual film involved, terminology just doesn’t strike me as being that rigid. Language changes through use.

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