'Understanding Comics' Chapter 2 Summary

The second chapter of the Scott McCloud book ‘Understanding Comics’ continues on after the first and focuses more so on the ideas behind comics and how they are presented in different ways to present different meanings to different lifestyles.

McCloud looks in detail at the concept of the artistic forms (Language, realistic art and icons and symbols in particular) and the ideals behinds these forms. There is a large difference between realism and abstraction, and the chapter details how the more abstract art of cartoons can often allow for a better expression of ideals thanks to their simplistic form and focus on only important details. This simplistic form also allows a broader classification of their imagery, allowing more people to readily accept them and to see themselves in the artwork (Possibly explaining why people have such a connection with cartoons especially at a young age)

McCloud also looks at a variety of comics and their artistic merit on a scale between ‘reality, meaning and the picture plain’ and how different placement on this scale can create an assortment of meanings to different people. Similarly, we looked into how different forms of animation/artwork are utilised in a variety of cultures to impact on their viewers in certain ways. For instance, how Disney would use large eyes and other ‘cute’ features on young Simba within the Lion King movie to appeal to the younger (Or softer) audience, or how Japanese manga will use vivid face distortions in a highly abstract form to appeal to the humour of the Japanese youths.

Lets take a look at two pieces of art to cement this theory





This first is an Expressionist piece, the second is Realism. The first is more open to interpretation, it is abstract so there is no one solid meaning to what you see. And the artist has chosen their own colour palette and brush strokes, the piece is made from painting something but in their own way to fashion how they want you to respond to it. It is a piece that wants to capture you more to think about meaning. While the second, it is an artist trying to replicate a real situation. It is realistic art. There is little room for interpretation, it is simply what is seen. The artist is trying to show their prowess, highlighting their skill rather than craft meaning. This is what McCloud is trying to say, that artists can use symbolism or different ways of displaying their art to make the viewer approach and understand their pieces in different ways.

Essentially, the chapter details how comics use abstraction to focus more on ideas behind the artwork and how different delivery of these pictures can lead to different interpretations, both artistically and intellectually.

'Understanding Comics' Chapter 1 Summary

The first chapter of the Scott McCloud’s ‘Understanding Comics’ is a thorough and insightful look into the concept of comics, I type of insight I must admit I never actually considered when talking about comics myself.

In the chapter, McCloud defines the word ‘comic’ and their meaning. Or at least he tries to an extent that the English language allows him to, showing just how complex comics can really be and he acknowledges how hard they are to define. He also looks at the history of comics, illustrating these using historical examples of ancient art and scripture that fit the ‘comic’ definition, showing their usefulness as a story telling device.

Through a combination of these two factors McCloud is able to display comics in a way that destroys the common perception of them being childish and without meaning. By showing their complexity in definition and their similarity to highly praised artwork he is able to show them in a more mature and dignified light and that they can hold deep meaning underneath their exterior. This idea is similar to what we discussed with South Park in our lectures, that strong meaning (Both good and bad in the case of South Park) can often be hidden underneath a seemingly childish delivery system.



Although its being seen now more than in the earlier days, since episodes of South Park are so easy to create (Taking only a few days at a time for each episode) they are able to produce episodes on current events and thus deliver a message to the public much more quicker than other. They can focus on the script and message and not worry so much about what it will look like, and as the show is humourous people are able to more easily warm to it and accept the messages more readily. Yet people see it outrightly as crude and useless due to its look/format and humour style, much like how people will judge comics as child-like due to their association with children.

Overall McCloud aims to show that there is a lot more to comics might think, and wishes to leave the reader with an expanded mindset when reading into understanding comics.

Response to three points of the Growth Manifesto

18. Stay up late. Strange things happen when you’ve gone too far, been up too long, worked too hard, and you're separated from the rest of the world.

I found this point to be particularly interesting to me, as I myself spend most of my time awake at night. My version of a good nights sleep spans from 3am to 12pm, so I can relate to the statement ‘staying up late’. But I’ve never really thought of drawing at such an early time. Although I can understand what the point means by strange things happening, as when I get tired around that time I experience a state of being close to that of intoxication. Drawing at a time when I’m in this weird state could be interesting for drawing’s sake, as what my mind’s eye sees, perceives and thinks could be radically different to what I experience when completely alert. Thus this could help further my drawing skills and vision


34. Make mistakes faster. This isn’t my idea -- I borrowed it. I think it belongs to Andy Grove.

One thing I particularly hate is not having something looking perfectly like the way I want it to the first time I draw or animate it. Normally when I encounter such a situation I stop all the artwork I have done and leave it, most likely moving onto another drawing and completely forgetting about all the time and effort I put into it. Although I am able to learn from my mistakes, it’s normally a much more long and drawn out process (No pun intended). I think if I were able to complete most of my work and as such make a larger amount of mistakes I would be able to view my imperfections and judge myself at a higher rate and with superior quality. The only way to improve is to learn from my mistakes, so I need to finish those mistakes first.



41. Laugh. People visiting the studio often comment on how much we laugh. Since I've become aware of this, I use it as a barometer of how comfortably we are expressing ourselves

I’m particularly fond of laughter, I find it is one of the most potent and enjoyable way of expressing oneself and bringing my joy to others. Having a statement like this, simply ‘laugh’, is perhaps the easiest yet most deep statement in which to live your career to. It promotes a good worth ethic as well as a good goal and can make even the dullest situation a little brighter. It too can also be extremely expressive based on ones mood. It’s a statement I already try and live my life by. That nothing is over being looked at with laughter. So it’s good to see that my ideas are already heading on the right track.

Observational Walk

I feel at one with nightime walking, there is something peaceful and tranquil about it. So I thought my observation filled walk should be on a quiet night to allow me to gain a little more insight into one of my favourite pastimes. This presented challenges mainly due to the nature of taking pictures in the dark, hence why some of the photos look overexposed, wobbly or exeedingly bright. My walk took me on a fairly basic route, out around a school local to my area, around some backstreets, to a highway and then back home. But I was able to get a few good shots as well as some interesting observations:

Observations

- Everything is very still, little to no wind (At least when I went out)
- Cockroaches are much more active and scurry into view with surprising frequency
- I met only 3 other people and a dog on my journey

- The surroundings were relatively clean from what I could see

- Lights are either harsh white light or warm orange/yellow light
- White light producing lampposts are generally smaller and have a circular case protecting the globe

- Orange light producing lampposts are generally larger, have an oval shaped case protecting the globe and can be seen with two heads (Normally line the freeway/highway)

- The orange light will give the surroundings an orange hue, unlike the white light which just illuminates
- Lampposts are not tube shaped, but are actually octangular (As in they have 8 sides)
- When light is seen through objects (Such as tree leaves) the objects make the light source seem to glow more
- The road glistens in the light due to the refractive nature of the gravel

- Shadows produced can stretch on for meters if uninterrupted by a harsh light source, even able to cross an oval length and still be seen on tree trunks

- Shadows also have varying degrees of intensity as in they vary in darkness depending on the strength of the light source creating them

- Shadows are not extremely defined but have more of a softer outline

- When light is absent and looking at something far away, the eye can see little but pitch black in the shadows
- The sky is not pitch black, large light sources (such as from the city) produce enough light to illuminate the sky and make it more of a grey colour. This effect is called light pollution
- Trees silhouette against the sky
- Signs refract light. Lampposts are positioned in a way not to allow the sign to reflect their light. The white light lampposts also seem to reflect less
- People also tend to obey the road rules less at night
- It is easy to walk into spider webs

Sound Observations:

- Sounds include cars heard driving/speeding in the distance, the docile hum of sprinklers and naturally a chorus of crickets
- There are two aspects to the cricket chorus. A long, singular note drone generally heard in the distance. And the constant, repeating chirp of those crickets more nearby.