Re: Buzzcope previews Ultimates 2 #10.
Pistachio said:
I'm not complaining, just trying to understand how all the Ultimate universe pieces fit together, story-wise and time-wise. Given that they started from scratch, I hoped that the Ultimate editors would keep a tight rein on everything, given the few titles they have.
Your thoughts?
I'm pretty sure there's already several continuity holes in the Ultimate universe. It's really not all tied together that impressively.
But welcome Pistachio! My dad is always eating your nuts.
Ultimat E said:
I replied to the wrong post above. I said sound effects are so 90's X-Men - I meant thought balloons. I don't really have a problem with sound effects. Thought balloons are an abomination.
A good comic like Watchmen or Ultimates doesn't need thought balloons. If the writer and artist are good, they can convey what the character is thinking without words if words aren't warranted. Anything else should be left alone to develop during the course of the story.
Maybe it's just my distaste for silver-age comics showing, but when I read a character thinking "Yikes! I'd better jump to avoid these rockets!" it ruins the panel. What an absurd thing to put in a comic. It sounds ridiculous and insults the reader's intelligence.
People do thought-balloons all the time. The difference is that they're rectangle boxes now instead of bubbly balloons. Before, the rectangle boxes would be, "Meanwhile..." while the thought-balloons would represent characters thoughts. Now, we don't get "Meanwhile" except as a pure text without box or anything like "The Triskelion" and the boxes are now filled with the same diatribe we had in bubbly balloons. Cosmetic change, no more - It's voice-over narration.
Sloppy, lazy writers use the narration boxes like the sloppy, lazy writers used thought balloons - as ways to easily convey the emotions, thoughts, and exposition of a story without having to do any of the work. While the really good writers who knew what they were doing would use the concept of voice-over narration to counterpoint the story. For example, Jeph Loeb's very bland discussions of emotions in Daredevil: Yellow and Spider-Man: Blue, where he uses the narration boxes to not only tell us exactly what Daredevil/Spidey is feeling, but to tell us what is going on and what has just happened and so forth. J Michael Straczynski's nonsense voice-overs in Amazing Spider-Man #36 and the recent The Other storyline, along with Kevin Smith and any number of other writers who write an episode with such a 'profound meaningful turning point' that the character state, in their narration boxes, 'there are no words, there are no words' yet still manage to fill 22-pages with text. And if someone doesn't use the tool of voice-over narration to remove sub-text from their story, they do it in the dialogue, as Bendis or Millar do.
But those who can write, use the voice-over narration to enhance the storytelling. Bendis did this admirably in the first 20+ issues of Ultimate Spider-Man with Spidey's wise-cracking persona was counterpointed with narration that helped create a feeling of this being the 'first' Spider-Man stories, wtihout being intrusive. Frank Miller turns voice-over narration into a complete self-pastiche in Sin City by being so relentless in its use. Brian Azzarrello seemlessly blends voice-over narration and dialogue in all of his works. Alan Moore uses beautiful prose narration in many of his earlier works to enhance the symbolism and meaning of his stories as we see in V for Vendetta, Miracleman, and Watchmen, and in other times, such as his Superman and ABC stories, he actually and honestly uses thought balloons to create windows into the minds of the protagonists whilst simultaneously harking back to simpler times.
A tool is a tool. Like decompression, dialogue, flashbacks, panel sizes, gutter sizes, splash pages, sound effects, narration boxes... thought-balloons are another tool.