Confessor
CCF Mod Squad
Not Bucky O'Hare!
Posts: 10,220 
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Post by Confessor on Nov 27, 2024 19:32:47 GMT -5
And really, how much does the average person move when they are in conversation? I mean, apart from their jaw, obviously. I guess that some people are very animated in conversation, but a lot of folk aren't particularly. But regardless, I think Gaydos's art on that page works well to convey the atmosphere of the conversation. If you look at some John Buscema pages , he moved the camera around even if they were just talking. Sure, but he might not be communicating what Bendis's script is trying to communicate on that page. The page layout is done that way to convey something. |
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Post by Reptisaurus! on Nov 27, 2024 19:47:40 GMT -5
If you look at some John Buscema pages , he moved the camera around even if they were just talking. Sure, but he might not be communicating what Bendis's script is trying to communicate on that page. The page layout is done that way to convey something. I guess it's possible the next page could redeem this... like the static shots are set-up for a big visual punchline. Like lulling the audience to sleep before waking them up.... |
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Post by berkley on Nov 27, 2024 20:58:01 GMT -5
I thought Bendis was famous for having a page of panels with the same head shot and two dialog balloons. Myself, I really like Bendis' dialogue. I find it both entertaining and very naturalistic in a similar way to Quentin Tarantino's dialogue (which I'm also a big fan of). Alias is likely the best thing he's ever written, in my opinion. As for the repeat use of panels in that Michael Gaydos page, that would be an exception rather than the norm overall, though it's also a stylistic trait of Bendis's scripting and his direction to the artists he works with. But it's also very much a deliberate choice, not just a case of lazy artwork. The art is communicating Jessica Jones' boredom in that scene along with the other woman's casual curiosity. The lack of different "camera angles" emphasises the slightly stilted atmosphere between the two characters, while enhancing the casual, conversational nature of the scene. Personally, I rather like it.
I haven't read enough to have a strong opinion about Bendis in general but there is one thing that doesnt work on that page: the black-haired character's head is turned in an awkward angle throughout: it's a position that might be taken as part of a movement, turning one's head to say something to someone behind or to the side and then turning back to a more natural position, but no one would ever turn it and keep it there throughout a sustained exchange of dialogue without moving. It looks completely unnatural and therefore undermines the realistic effect Bendis is presumably striving for with his dialogue.
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