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Comics and Sequential Art: Principles and Practices from the Legendary Cartoonist by Will Eisner
mark_johnson's review against another edition
3.0
Якщо ви хочете навчитися створювати комікси, ця книга повинна бути першою до прочитання. Тому що усі книги, які ви прочитаєте після неї, розкажуть вам приблизно те саме, тільки краще.
Мені не пощастило і я прочитав Comics and Sequential art після двох книг Скотта Макклауда (власне, саме з рекомендацій Макклауда я і дізнався про неї). Уроки, які дає Айснер - це основне, що треба знати і на жаль, я уже це проходив. Варто також зауважити, що уроки ці ілюструються на прикладах коміксів 40-их років і треба розуміти, що медіа досить змінилося з тих часів.
Усе це в жодному разі не означає, що книга не заслуговує на увагу. Особисто мені здався цікавим і корисним розділ WRITING & SEQUENTIAL ART, у якому Айснер розмірковує про взаємодію сценариста і художника. Крім того, у останньому розділі йде мова про технічну сторону видання коміксів, що цікаво для розуміння деяких тенденцій в їх історії.
Загалом, отримати задоволення і максимальну користь від ці книги можна за умови, що це ваша перша книга з теорії коміксів - це хороша стартова точка для розуміння цієї художньої форми, після якої можна переходити до більш поглибленого вивчення (наприклад, Making Comics того ж Скотта Макклауда). Якщо ж ні, то як на мене, вона несе виключно історичний інтерес.
Мені не пощастило і я прочитав Comics and Sequential art після двох книг Скотта Макклауда (власне, саме з рекомендацій Макклауда я і дізнався про неї). Уроки, які дає Айснер - це основне, що треба знати і на жаль, я уже це проходив. Варто також зауважити, що уроки ці ілюструються на прикладах коміксів 40-их років і треба розуміти, що медіа досить змінилося з тих часів.
Усе це в жодному разі не означає, що книга не заслуговує на увагу. Особисто мені здався цікавим і корисним розділ WRITING & SEQUENTIAL ART, у якому Айснер розмірковує про взаємодію сценариста і художника. Крім того, у останньому розділі йде мова про технічну сторону видання коміксів, що цікаво для розуміння деяких тенденцій в їх історії.
Загалом, отримати задоволення і максимальну користь від ці книги можна за умови, що це ваша перша книга з теорії коміксів - це хороша стартова точка для розуміння цієї художньої форми, після якої можна переходити до більш поглибленого вивчення (наприклад, Making Comics того ж Скотта Макклауда). Якщо ж ні, то як на мене, вона несе виключно історичний інтерес.
novva's review against another edition
3.0
Jesus Christ this book was hard to get through. Racist caricatures aside, I’m glad I read the second half because a lot of the information I was looking for just happened to be in those pages. Everything else was kind of a toss up. McCloud did a much more entertaining job of explaining things, but kudos to Eisner for introducing these theories in the first place. Credit to where credit is due.
mlindner's review against another edition
4.0
Cohn, Neil. Comics, Linguistics, and Visual Language: The Past and Future of a Field. http://www.visuallanguagelab.com/P/NC_Comics&Linguistics.pdf. Accessed 6 Mar. 2018.
COCC NC1764 .E47 2008
COCC NC1764 .E47 2008
jmcarnes45's review against another edition
3.0
I understand that this book is probably useful for practitioners in comics, but I found it to be rather shallow in its exploration of the form. It was also very oddly organized and I found myself confused about what was being discussed in specific sections. Nevertheless, there are some important gems of insight in the book and it remains a staple in the practitioner-theory of comics studies.
cintiandrade's review against another edition
4.0
Excelente para quem busca saber um pouco mais sobre teoria de quadrinhos e arte sequencial.
luciereads's review against another edition
4.0
3.5 stars
I read this for class. It wasn't the most interesting book ever but it was enjoyable. I found that some of the example comics were actually a bit confusing because I didn't always understand the story.
I read this for class. It wasn't the most interesting book ever but it was enjoyable. I found that some of the example comics were actually a bit confusing because I didn't always understand the story.
eliwray's review against another edition
2.0
One of the basic premises Eisner returns to throughout the book is that there is a pretty specific universality of meaning: that there is a wealth of detailed meaning humans hold in common, for most every gesture, facial expression, character stereotype, symbol, etc. Eisner defines a lot of comic success through the creator having access to a detailed understanding of a given reader's response (drawing on this wealth of common experience he thinks they share) and the creator manipulating that response skillfully. This is so foreign to my experience of storytelling and of people that the book stays pretty dry and inaccessible to me. With any level of diversity in a group of people, that common ground gets smaller and smaller. So basing storytelling success on mastering that sliver of ground quickly becomes pointless, and other narrative-building goals must be found.
Additionally, instead of systematically distilling comics down to more universal tools that various artists can approach in a variety of ways (Scott McCloud's "Understanding Comics" does this quite well), there's a lot of meandering focus here on what Eisner thinks makes the best stories. I found this more useful as historical content than as instructional guidance. This may be of more use to someone who is a fan of his; though I know of his critical role in comics history I haven't read any of his work before.
Finally, as an echo of the first issue I mentioned, I nearly had to put the book down after the first 60 pages. Be warned that in that time we're treated to The Spirit's blackface-style African-American sidekick Ebony, a grown woman put over a man's knee and spanked, and multiple other moments of racist and sexist crap. Yes yes, that era, times were different, etc. That doesn't make it any less belittling, and that doesn't turn shit into good storytelling. It's not a coincidence that the artist who values stereotypes as the heart of his medium lazily relied on offensive available caricatures of any people with whom he did not share that much-talked about common experience.
Additionally, instead of systematically distilling comics down to more universal tools that various artists can approach in a variety of ways (Scott McCloud's "Understanding Comics" does this quite well), there's a lot of meandering focus here on what Eisner thinks makes the best stories. I found this more useful as historical content than as instructional guidance. This may be of more use to someone who is a fan of his; though I know of his critical role in comics history I haven't read any of his work before.
Finally, as an echo of the first issue I mentioned, I nearly had to put the book down after the first 60 pages. Be warned that in that time we're treated to The Spirit's blackface-style African-American sidekick Ebony, a grown woman put over a man's knee and spanked, and multiple other moments of racist and sexist crap. Yes yes, that era, times were different, etc. That doesn't make it any less belittling, and that doesn't turn shit into good storytelling. It's not a coincidence that the artist who values stereotypes as the heart of his medium lazily relied on offensive available caricatures of any people with whom he did not share that much-talked about common experience.
gengelcox's review against another edition
3.0
This is something of Will Eisner’s lifework, the non-fiction complement to his wonderful work from the 1950s onward with The Spirit through [b:A Contract with God|861023|A Contract With God and Other Tenement Stories|Will Eisner|https://images.gr-assets.com/books/1328363057s/861023.jpg|250281]. Herein, Eisner describes the means by which his stories work, what makes them flow and live. Before [a:Scott McCloud|33907|Scott McCloud|https://images.gr-assets.com/authors/1231113775p2/33907.jpg]’s [b:Understanding Comics|102920|Understanding Comics The Invisible Art|Scott McCloud|https://images.gr-assets.com/books/1328408101s/102920.jpg|2415847], Eisner was the standard bearer for the explanation of how comics achieved their effect. But this book never got the acclaim that McCloud’s did, for it is not necessarily directed at the public, but at the would-be comics professional. In fact, most of the book is a reworking of Eisner’s lecture notes from his teaching time at New York’s School of Visual Art. The general public can still glean some great information about the medium from this book, but McCloud has supplanted Eisner as the popular textbook for courses on comics.
depleti's review against another edition
3.0
I'm beginning to think I'm becoming desensitized to a lot of these drawing books. They all have something solid and good to say about comics and art and what-have-you, but after a while it all starts to repeat. Still, some good stuff in here, especially if someone doesn't know anything about comics.
Just try to ignore the blatant racism in some of Eisner's sample comics. They were written in the 40s and 50s, after all.
Just try to ignore the blatant racism in some of Eisner's sample comics. They were written in the 40s and 50s, after all.
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