|In telling a story, it's important that the characters in the tale act in a convincing way. So the comic strip artist needs to be a bit of an actor too, so that they can draw characters with convincing expressions and body language.||No matter how good an artist you are, if you don't keep a control of the acting of your characters you just end up with B-movie melodrama, which will kill your story stone dead. And under-acting is as bad as over-acting.||There's no easy solution to this problem. You'll need to spend time watching people interact in real life, and watch as many movies (with good actors) as you can. With time you'll get better at depicting convincing acting.|
|Spider-Man 25 (1965)
Some fine work by Steve Ditko on Amazing Spider-Man. Look at the body language in the last five panels on the page as Peter Parker persuades Jameson to buy into another crackpot scheme to discredit Spider-Man.
|Journey into Mystery 117 ('65)
This page featuring a brooding Loki from Jack Kirby's Thor, is sending entirely the wrong message. Or maybe Kirby intended Loki to come across as a theatrically camp character ... who knows?
Generally acknowledged as the king of comic artists, the late Will Eisner drew this adaptation of the soliloquy from Hamlet - and it features some embarrassingly bad body language which just adds up to bad acting ...
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