It is an overview of the horror/SF double feature, covering every movie released initially in that format between 19 in the United States. This is a big book, 400 pages in full sized paper. Twice the Thrills! Twice the Chills! by Bryan Senn. As a reference work, it’s useless to the point of actively harmful.ĩ6. As a fantasy, it’s intermittently fun some rather nasty misogyny does sneak in and the book is wildly anti-science. For material I’m not familiar with the primary sources of, like Gulliver’s Travels, I have no idea if it’s reflecting the source material accurately, or making things up whole cloth. Several of the entries do not exist outside this book, and others are so distorted that their actual folkloric origins have been clouded and obscured by people using this as a source. It opens with a disclaimer that “the creators of this book have… unlocked their own fantasies”, which means that it invents Arthuriana and Greek myths wholeheartedly. But for an “encyclopedia”, it makes up a lot of stuff. Michael Page, the illustrator, is credited first, and rightly so. For another thing, it was fairly pricy used. For one thing, it was recommended to me by who I was working with on commissions. Encyclopedia of Things That Never Were by Michael Page and Robert Ingpen. Your words can move in real time with the images or they can be a narrative related to the scene or they could be nonsequitors entirely! The better question is how do you think? Do you need all the words and action written first before you break down the visuals? Do you need a panel by panel breakdown to be happy, or can you freewheel and translate from word and general outlines to thumbnails? What suits you? I really cannot answer this because I think when it comes to what goes where with regard to art, it's a bit of "how do you process visuals" and also a bit of "who's drawing this?" - effectively, who is the interpreter for the exact thing you are writing? Is it you or someone else? If it's you, would you benefit from a barebones script alongside thumbnailed paneling? Would you be served by a barebones script, then thumbnails, then a new script that includes panel and page breakdowns? What frees you up to do what you need to do to tell your story?ĩ2. You have the freedoms (and audio limitations) of a truly silent film with none of the physical limitations. The answer is, well, it depends! The freedom of comics is if you can imagine it, you can make it happen.
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