I was flipping through the 2014 Top 50 Comics Writers thread...so what ACTUALLY makes for good comics writing?
I suppose everybody agrees on believable dialog and good pacing. But after that, almost everything seems negotiable. Mix of dialog and other text styles? OK by me, but I don't want info-chunks bricking up every page. World-building? Oh, yes, I want to hear the story world as well as see it. Slick and funny dialog? Love it, but random graffiti-chat that *could* occur in any setting or any story isn't enough. Emotion? I want to see it, and definitely don't want to read long whiny monologues! Anybody have really different priorities?
What about the way a story starts? I scanned the first 2 spreads of a few comics - so different! Legible scan may be too big, so just in case I can't attach, they are:
Chuck Dixon "Winter World"
Starts with monologue which establishes the society of the winter world. Drops the reader straight into escalating action - personality and scene are set up straight away, but characters and their affiliations are revealed much more slowly. Monologue commentary doesn't recur until p. 11.
WinterWorld_0001.jpgNewYork4_0001.jpgYLastMan_0001.jpg
Brian Vaughan "Y: The Last Man"
Really exploits comics formatting to build a strong time sequence. The opening page starts with a single statement by a single woman, setting up an expectation of a private crisis, which is quickly shown to be overwhelming in scale. Overlapping balloons make it clear that communication is not taking place, and the page narrows back down to a single character locked into their private response to the crisis. This rapid change of social focus is repeated in several time-lapse flashbacks involving different characters and settings, which pile up faster and faster as the story returns to "now" - it takes 30 pages to do that, but each little story ends on the pause-button, so that we hit "Now" with any number of story-lines about to come crashing down on our heads.
Brian Wood "New York Four"
The opening page is a little character study of the main character - not only hard information such as name and current occupation, but timing of interaction shows her character too. The info-drops continue with the first full spread - no dialog, just information about the exact NY location of the scene shown. The amount of text is not huge, and although the style is a bit didactic, it's casually phrased, and accurately conveys the idea that the NY setting is a big part of the writer and artist's message. We don't see any interaction with major characters until the 4th spread. By then, the reader knows a lot about the world and several of the characters. I gather that the comic was aimed at YA readers, and the story-telling is definitely very accessible.
Abel Lanzac (translated by Edward Gauvin) "Weapons of Mass Diplomacy"
Even though the opening takes its time to gather steam, stop, go, stop, and go again, the reader is thrown into the political world on the first full spread. The dialog IS the plot, and it's just perfect, every hesitation and every non sequitur is a pin on the battle plan.
Jay Hosler "Clan Apis"
This is one of the most sophisticated science/expository comics I've seen. The story opens with a very simple and specific narration, starting with text and introducing images very gradually. However, spread by spread, we are forced to adjust our POV as consumers of the narrative - at first it's just writer and reader, then we realize that the "narrator" is a bee, and so the reality that is being described is a bee's reality. And then Hosler shows us that the "story" is not even the same for every bee. It's not until the 4th full spread that the principal character's voice is heard, the setting of the story is revealed, and the narrative shifts firmly into dialog.