Floating Point

Blam by Roy Lichtenstein was originally All American Men of War #89 by Russ Heath.  And here I present to you "Bang" by Aaron Kaneshiro.  The memetic transmission of ideas from one artist to another lead to infinite redundancy and connectivity.  Here I tried to draw a parallel between the world of Davey Crockett and Science Fiction.  Boys with their guns in the wild, facing down adversities with violence and square jaws. Here I am trying to incorporate the EC/DC comics style of the 50's more.  The one principle I stumbled on today was the fact that line widths express lighting and give objects volume through subtle variation.  In Japanese work it is more common to see a uniform line that encompasses every object with the same width, and depth is created more through observed shapes.  Using a brush more than not seems to help.  There's a great sense of dynamics they communicated with in that era in the line widths and accents.  I hope to obtain the secret eventually..

Cerebus:  Form and Void- David Sim This book is an ambitious meld between fantasy and a critique of Ernest Hemingway.  Aside from being entirely cerebral, it is accompanied by very powerfully drawn winter scenes in a beautiful, photorealistic style.  Many objects are depicted as suspended fragments of shadow.  There is a long flashback featuring Ernest Hemingway's wife taking us through a recollection of her safari in Africa.  The story is overall effective in making us feel the sense of desperation during a blizzard and the anguish of such a long, arduous trail. My gripes are with the pacing and the composition.  A good deal of the scenes could stand to be illustrated in a more conventional style, as varying panel sizes tend to needlessly divert attention from the story.  A lot of dialogue had a tendency to change font and even include objects in the sound effects that represent letters (scissors as the letter P.)  I found these variations to be unnecessary, purist that I am.